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2018 Music on the Hill Pg 1

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Pg 2 Music on the Hill 2018


“Discover all that we have to offer!”Scott Avedisian, Mayor

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Table of Contents

Artistic Director

Welcome to Music on the Hill’s 11th Festival

We thank our many advertisers in this concert book for supporting our 2018 Music Festival. We hope you will patronize their businesses.

Funding for our festival is provided in part by grants from the Rhode Island State Council on the Arts, through an appropriation by the Rhode Island General Assembly, The Carter Family Charitable Trust, Aaron Roitman Fund for Chamber Music and many generous businesses and individuals.

John M. Pellegrino

Donors...................................................... p. 2

List of Advertisers................................ p. 9

Ticket Information............................. p. 10

Concert Schedule................................. p. 11

Concert Programs

MENDELSSOHN.................................... p. 12

BRAHMS & MORE.............................. p. 16

BACH & MOZART............................... p. 20

SONATAS................................................. p. 26

OCEAN STATE COMPOSERS.......... p. 30

RICH & ROMANTIC........................... p. 38

LAWN CONCERT................................... p. 42

Musicians ............................................. p. 45

Mission Statement ............................. p. 56

I’m thrilled to announce that seven fantastic concerts will take place in our beloved Ocean State in June, for our 2018 music festival. In addition, of course, we’ll offer our annual outreach concert for Warwick elementary school children, as well as some surprise pop-up appearances for unsuspecting passers-by!

June 2nd opens the festival in Westerly with a rarely-of-fered program comprised of the complete works for cello and piano by Felix Mendelssohn. From June 3rd through June 10th, we travel north and focus our remaining six concerts in the center of the state. June 3rd’s Brahms & More, in Warwick, is packed with fun, passionate and delightful music. June 5th’s concert is sure to excite with both Bach & Mozart. June 6th shares four Sonatas, June 7th’s Ocean State Composers concert offers listeners some home-grown pride, and June 8th features a Rich & Romantic program. Our fi nal concert is an outdoor picnic program featuring the Narragansett Brass Quintet at Clouds Hill Museum on Post Road in Warwick. There’s literally something for everyone in 2018’s music festival.

As in past years, Music on the Hill continues to offer free admission for students attending any of our concerts. Please bring your children, grandchildren and younger relatives to the festival! All are welcome.

My deepest thanks to you the donor, you the ticket buyer, and you the past/current/future board member for your support. Music on the Hill is deeply rooted in Rhode Is-land, and fl ourishes thanks to you!

See you at the concerts.



We wish to acknowledge and thank the many people who have supported Music on the Hill

Grants

Benefactors ($1000 to $1999)

Patrons ($500 to $999)

Supporters ($250 to $499)

Sponsors ($2000 and above)Anonymous * Greenwood Credit UnionNancy Kays & Tom Spain *Sue & Ken Loiacono * Music on the Hill Board of Directors Gerard & Carol Pellegrino * John Pellegrino *Robert & Marie PetrarcaDonald & Jane Rankin

Aaron Roitman Fund for Chamber MusicCarter Family Charitable TrustRhode Island State Council on the ArtsTaco/The White Family Foundation

Michelle Reed Baker *Anthony & Lisa BruzzeseDavid & Martha CapaldiLori Freeman *Geri GulatiPatricia HagertyTrevor Handy Margaret Hoff Barbara Lamagna *

Peter & Diana AlmonteAnonymous *Craig & Maria Kohanski John M. Pellegrino *Donald & Jane Rankin *Sally Ryan

Ginny & John Eastman *Gerard & Carol Pellegrino

* Gifts in honor of Alice Pellegrino

Supporters ($250 to $499) continued

Hubert & Ronelle MeunierAlfred & Sandra Pellegrino * Bruce & Carol StevensRobert & Angela StoneRex TienLee D. Vincent

We gratefully acknowledge our musicians' many contributions. Their generosity and

love for the Music on the Hill Festival allow us to keep ticket prices low, and to

offer free admission to students.



We wish to acknowledge and thank the many people who have supported Music on the Hill

Donors ($100 to $249)

Friends (up to $99)

Music on the Hill thanks Anton Miller, Rita Porfiris, Trevor Handy, Diana McVey and Bonnie Anderson for their generous

contribution of special performances at our spring fundraising events!

Peter & Diana Almonte *Harold & Rosemary BarkerCherie A. Beatty *Glen & Joan BerwickIda Bilodeau *Victoria Blaser *Constantin Caramicu & Martha Rice David & Brenda CarcieriEdward Cardente *Drs. Nancy & Ralf CarriuoloBetty ChallgrenAnn R. CrawfordFred & Karen DawsonSonja & Anthony DeStefanisAnn & Dick EganFrancis FazzanoCheryl FerrisRose & Stanley GalekGarden Hill Properties, Frank DiZoglioJohn & Linda GoldenMary A. GrellnerGabriel HayekLynda Horenstein *Anne HolstVyra Imondi Craig & Maria Kohanski * Nancy R. LewisMaija M. LutzJohn A. MacLennanMae’s Place, Cassie FugereCarolyn MarshallAnton Miller & Rita Porfiris *Anne & Victor Modugno *Powell & Cheryl MorinDrs. Robert Patterson & Renee Boblette *Dr. Dorothy PieniadzElizabeth & Daniel ReardonElaine & Ken Reuben

Judith Ablon *Nick & Roz Butziger *Janet Chen *Donna Conaty *Linda DiPreteRobert D. Firdman *Loraine ForcierVyra Imondi *Kimberly Knickle *Katie McLin *Marc Moskovitz *Nancy NesterRuby ShalanskyStanley SpinkRuth Whipple *

Freya O. SamuelsBob & Joanne SchachtAudrey ShapiroDorothy & Dixon StearnsHenry & Angela TarlianM. Frances TaylorLeslie & David Tente *Rex Tien *John & Carolyn WheelerBirgitta Whited *

Donors ($100 to $249) continued



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Listing of AdvertisersArtistic ContoursAspire DermatologyBald Hill Dodge Beekman ViolinBlackman Insurance AgencyClouds Hill MuseumCoastal Medical Skin & LaserCrow’s Nest RestaurantDecisive Wealth ManagementEast Greenwich Dental AssociatesChristopher L. Franklin, CPAGreenwood Credit UnionGulati Asset ManagementHoly Cow Ice CreamMae’s Place, RestaurantMain Street Coff eeErin Marsh, RealtorMattioli OrthodonticsMusica DolceMutual Adjustments, Insurance AdjustersNew England Institute of TechnologyOld CanteenPeople’s Liquor WarehousePratt Family DentistryR.I. Philharmonic OrchestraRobert’s Musical InstrumentsSaint Elizabeth HomeSmile Designers, DentistryStrand Optical Co.Thorpe’s Wines & SpiritsTom’s MarketWarwick Department of TourismWest Shore Dental AssociatesYour Salon

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Sponsors

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Alice & John Pellegrino

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Artistic Director John M. Pellegrino



To Purchase Tickets:To Purchase Tickets: (Students with ID are admitted free)

Tickets for our 2018 Music Festival

A) Online: www.BrownPaperTickets.com A) Online: www.BrownPaperTickets.com Search: Music on the Hill Search: Music on the Hill Choose # of concert tickets and ticket delivery: Choose # of concert tickets and ticket delivery: Print at home Print at home oror Mailed Mailed oror Held at Will Call at concert Held at Will Call at concert $20 (+ $1.69 service fee ) $20 (+ $1.69 service fee )

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Complete form and mail with check payable to Music on the HillComplete form and mail with check payable to Music on the HillMail to: Mail to: Music on the Hill, Box 633, East Greenwich, RI 02818 Music on the Hill, Box 633, East Greenwich, RI 02818

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2018 Music Festival

Sunday June 3rd Brahms & More 7:00 pm St. Gregory the Great Catholic Church 360 Cowesett Road, Warwick, RI

Wednesday June 6th Sonatas 7:00 pm Immaculate Conception Catholic Church 237 Garden Hills Drive, Cranston, RI

Friday June 8th Rich & Romantic

7:00 pm SS Rose and Clement Catholic Church 111 Long Street, Warwick, RI

Sunday June 10th Lawn Concert Narragansett Brass Quintet 2:00 pm Clouds Hill Museum 4157 Post Road, Warwick, RI


Tuesday June 5th Bach & Mozart 7:00 pm Immaculate Conception Catholic Church 237 Garden Hills Drive, Cranston, RI

Saturday June 2nd Mendelssohn 7:00 pm Dunn’s Corners Community Church 221 Post Road, Westerly, RI

Artistic Director

John M Pellegrino

Thursday June 7th Ocean State Composers 7:00 pm St. Gregory the Great Catholic Church 360 Cowesett Road, Warwick, RI



Mendelssohn

Meet and Greet the Musicians following the Concert

Saturday, June 2, 2018 7:00 pm Dunn’s Corners Community Church 221 Post Rd, Westerly, RI

Album Leaf in B Minor and Song Without Words in D Major, Op. 109 8’

Variations Concertantes in D Major, Op. 17 10’ Theme and Variations, 1 through 8

Sonata No. 1 in B-flat Major, Op. 45 22’ I. Allegro Vivace II. Andante III. Allegro assai

- INTERMISSION -

Sonata No. 2 in D Major, Op. 58 26’ I. Allegro assai vivace II. Allegretto scherzando II. Adagio IV. Molto allegro e vivace

Keith Robinson, cello; Donna Lee, piano

Mr. Robinson’s and Ms. Lee’s appearance is made possible by the Aaron Roitman Fund for Chamber Music.

This concert is funded in part by Music on the Hill’s Board of Directors

Program subject to change

Felix Mendelssohn (1809-1847)



Program Notes for “Mendelssohn”Felix Mendelssohn is considered by many to be the greatest musical prodigy of the nineteenth century. In fact, Mendelssohn handily defeated even Wolfgang Amadeus Mozart for the title of “greatest child prodigy of all time” in a recent survey of music critics conducted by BBC Music Magazine.

Mendelssohn received his earliest musical training from his mother, Lea, an amateur musician. As he grew older, his family’s comfortable position in society allowed him to study with the very best teachers; he took les-sons in violin, piano, and organ, rapidly becoming profi cient at each. He also sang as an alto for the prestigious Berlin Choral Society. Felix gave his fi rst public performances as a keyboard soloist at the age of nine, although he found himself upstaged by his thirteen-year-old sister, Fanny, who was also an extraordinarily gifted pianist. Despite her talents, Fanny was discouraged from becoming a professional musician, which would have been an inappropriate profession for a woman of her class. Felix’s career, however, quickly blossomed.

From an early age, Mendelssohn studied the basics of composition. Before his eighteenth birthday, he had composed thirteen string symphonies, one full-scale symphony, concertos for piano and violin, chamber mu-sic, choral works, four operas, and numerous pieces for solo piano. What is striking about these early works is their stylistic maturity. The octet for strings, composed when Mendelssohn was sixteen, and the overture to A Midsummer Night’s Dream, written the following year, are two of the greatest and most popular works in his entire output. Music was not Mendelssohn’s only interest. His grandfather was Moses Mendelssohn, the great Enlightenment-era Jewish philosopher, and Felix seems to have inherited a healthy passion for intellectual pursuits. He studied art, learning to paint and draw with great skill, as well as languages, literature, history, and science.

In 1826, Mendelssohn enrolled at the University of Berlin. After fi nishing his education, he traveled widely. His fi rst trip was to England, Scotland, and Wales. This visit inspired several famous works, including the Heb-rides Overture and the “Scottish” Symphony. He returned to Britain several times; he was well-liked there, and Queen Victoria came to consider him a friend. Mendelssohn also visited Italy and France, where he met with other prominent composers such as Berlioz, Donizetti, and Chopin.

While Mendelssohn is primarily known today as a composer, he was also a prominent conductor. Mendelssohn the conductor played an important role in reviving the music of Johann Sebastian Bach: his presentation of Bach’s St. Matthew Passion in Berlin in 1829—the fi rst performance of the work since Bach’s day—helped to inspire public interest in the long-neglected composer.

Mendelssohn held music director positions in Düsseldorf, Leipzig, and at the royal court in Berlin. It was the musical life in Leipzig to which he devoted himself most fully. Despite a busy schedule presenting and per-forming concerts there, however, Mendelssohn found time to marry and raise fi ve children. In 1843, he estab-lished the Leipzig Conservatory, a highly respected institution that is still operating today.

Mendelssohn died in Leipzig of a stroke at the age of 38. Despite the fact that Mendelssohn had been a prac-ticing Lutheran nearly his entire life, the reception of his music was impacted by his Jewish heritage as anti-Semitic sentiments rose in the century after his death, particularly in Germany. His works were banned in the Third Reich, and the Nazis tore down the statue of him that stood in Leipzig. In the decades since World War II, however, Mendelssohn’s popularity has surged, with audiences all over the world once again appreciating his genius and enjoying his music.

The solo cello works belong to the “private sphere” of Mendelssohn’s life. He had an excellent cellist in his family, his brother Paul. Paul may not have played as large a role in the composer’s biography as did his sister, Fanny, yet his prominence in Mendelssohn’s life was far from negligible. All four Mendelssohn siblings (Fan-ny, Felix, Paul and Rebecka) were extremely close. Three years younger than Felix, Paul eventually followed in their father’s footsteps and became a banker. Yet he was by all accounts an accomplished musician, and we

Continued on the next page



may be sure that whenever Felix composed for the cello, his brother’s playing remained an important reference, whether or not he actually dedicated the piece to him.

Album Leaf in B Minor and Song Without Words in D Major, Op. 109 These two shorter works, unpublished during Mendelssohn’s lifetime, are personal souvenirs written for cellists with whom the composer had come into contact. The brief Album Leaf wasn’t printed until 2002, which sounds incredible, but in fact, there are literally hundreds of Mendelssohn works still unpublished. (A few years ago, a special Mendelssohn Project was launched in New York City to remedy this situation.) Mendelssohn notated the present Album Leaf in the album of Julius Rietz, a cellist and conductor who succeeded him as music direc-tor in Dusseldorf in 1835. Apparently, the composer left the piece unfi nished; in the manuscript, the last phrase is left hanging on the dominant. The Song Without Words was published in 1868, 21 years after the composer’s death, with the opus number 109. It is the only work with this title in which the piano is joined by a second instrument. The “song” was inspired by a young French musician by the name of Lise Cristiani. Mendelssohn really made the cello sing in this heartfelt miniature, in which the usual “ABA” form gave him a chance to introduce not one but two gorgeous melodies in alternation.

Variations Concertantes in D Major, Op. 17 Variations Concertantes in D Major, originally called Andante con variazioni, was Mendelssohn’s fi rst solo cel-lo piece, and was indeed dedicated to brother Paul. Completed just a few days before Felix’s 20th birthday, this is a technically-demanding work with a great deal of challenging passagework. The theme, of Mendelssohn’s own invention, has a gentle, grazioso character. The variations, eight in number, begin in a relatively conven-tional way, with the two instruments taking turns in embellishing the melody. Yet by the fourth variation, the emotional intensity increases; the fi fth contains the original touch of a cello part that is pizzicato (plucked) throughout. After a more tranquil sixth variation, the seventh is marked “Presto ed agitato” and switches to the dramatic minor mode. A gentle transition leads to the fi nal variation and the coda, which take the simple theme to unexpected emotional heights.

Sonata No. 1 in B-flat Major, Op. 45 Of the two sonatas, most cellists and listeners prefer the second, yet the fi rst one, written in 1838, is also a work of great originality. One of its most intriguing features is how the fi rst and third movements are mirror images of one another. Their main themes are almost identical, and it is fascinating to see Mendelssohn start from a similar premise and reach completely different conclusions each time. The fi rst movement is a sonata form with a very strong forward momentum, and the last movement a rondo which keeps returning to its starting point. The fi rst movement has a powerful con fuoco (fi ery) coda that brings proceedings to a close with a bang, while the fi nale ends in a dreamy pianissimo, with delicate arpeggios (broken chords) in the piano and a succession of quiet long notes in the cello. Between these bookends, we hear a simple Andante based on two melodies, one in the minor and the other in the major. The varied repeat of the fi rst theme, with delicate piano fi ligrees and piz-zicato notes in the cello, is particularly memorable.

Sonata No. 2 in D Major, Op. 58The second sonata, written fi ve years after its companion, was originally conceived with Paul in mind; in sev-eral of his letters to his brother, Felix referred to the work as “your sonata.” Yet, in the end, the work was dedi-cated to a Russian diplomat named Count Mathieu Wielhorsky, who, like Paul, was also an accomplished non-professional cellist. It is certainly a more ambitious work than its predecessor; it is in four movements instead of three, and its emotional range is much wider as it includes a scherzo-type movement that is more wistful than humorous, and a very unusual Adagio that is impossible to categorize altogether.

The opening theme of the fi rst movement seems to pick up where the fi rst sonata had left off: a broad, expan-sive cello melody with an elegant sweep and high energy. Yet the music soon takes a different turn as Mendels-



sohn begins to dissect the theme in ways that are completely new, with a much greater diversity of textures and harmonies. Moments of great suspense are created as the thematic material becomes more and more fragment-ed; at one point the music almost comes to a standstill, only to bounce back with even more fervor than before.The second movement is, in a way, not unlike its counterpart in the fi rst sonata. The mood is determined by lyricism and nostalgia, yet one of the repeats of the nostalgic theme erupts in a sudden fortissimo outburst, after which the music returns to its initial peaceful state.

In the third-movement Adagio, the piano plays a solemn chorale melody in constant arpeggios, which is a rather unusual way of playing a chorale. It is reminiscent less of a congregation singing in church than of a roman-tic poet (maybe a bard from the Ossianic poems of which Mendelssohn was so fond) playing his harp. Soon enough, we hear the singing voice of the poet as well, as the cello enters with a passionate recitative.

The entire movement is based on the juxtaposition of these two disparate, yet very compatible musical fi gures. The animated fi nale, which follows without a pause, presents its main theme only after a curious bridge section in which the tempo and the D-major tonality are gradually established. After the spirited melody fi nally does get underway, a brilliant rondo unfolds in which both players have ample opportunity to demonstrate their virtuoso skills.

(Adapted from notes by Peter Laki, originally printed on Mendelssohn: Complete Works for Cello and Piano, Keith Robinson and Donna Lee, Blue Griffi n, 2012)



Brahms & More

Meet and Greet the Musicians following the ConcertProgram subject to change

Sunday, June 3, 2018 7:00 pm St. Gregory the Great Catholic Church 360 Cowesett Rd, Warwick, RI

Franz Schubert (1797-1828) Salve Regina in A Major for Soprano and Strings, D. 676, Op. posth. 159 9’ Diana McVey, soprano; Anton Miller and Kristen Pellegrino, violins; Rita Porfi ris, viola; Elisa Kohanski, cello; John M. Pellegrino, bass

Robert Schumann (1810-1856) Three Fantasy Pieces for Clarinet and Piano, Op. 73 10’ I. Tender and with expression II. Lively, light III. Quick and with fire Daniel Gilbert, clarinet; Donna Lee, piano

Robert Fuchs (1847-1927) Selections from 12 Duets for Violin and Viola 6’ Anton Miller, violin; Rita Porfi ris, viola

Dorothy Gates (b. 1966) Imaginings 5’ Michelle Reed Baker, French horn; Bonnie Anderson, piano

Svante Henryson (b. 1963) Off Piste 5’ Daniel Gilbert, clarinet; Keith Robinson, cello

Paquito d’Rivera (b. 1948) “Benny” from The Cape Cod Files 6’ Daniel Gilbert, clarinet; Donna Lee, piano

- INTERMISSION -

Johannes Brahms (1833-1897) Trio for Clarinet, Cello and Piano in A Minor, Op. 114 27’ I. Allegro II. Adagio III. Andantino grazioso IV. Allegro Daniel Gilbert, clarinet; Keith Robinson, cello; Donna Lee, piano

Ms. Lee’s and Mr. Robinson’s appearance is made possible by the Aaron Roitman Fund for Chamber Music.

This concert is funded by John Pellegrino, Gerard Pellegrino and Carol Pellegrino in memory of Alice Pellegrino


www.MusicOnTheHillri.orgContinued on the next page

Program Notes for “Brahms & More” Franz Schubert (1797-1828) Salve ReginaSalve Regina in A Major for Soprano and Strings, D. 676, Op. posth. 159 in A Major for Soprano and Strings, D. 676, Op. posth. 159Franz Schubert died at age 31, but his compositional output in such a short time was extraordinary. As a boy, he studied with Antonio Salieri, the infamously maligned contemporary of Mozart. By age 13, he showed an interest in writing sacred music, despite the fact that his weakest course in school at the time was religion. Schubert went on to compose six full-scale masses, as well as several versions of Salve Regina. Salve Regina in A Major for Soprano and Strings was composed in 1819, but was not published until 1842, as a version for soprano and orchestra. The work is in song form, which consists of three parts: an opening melody, a contrast-ing minor section, and a return to the opening theme. The fi rst section is quietly simple and is followed in the contrasting section by an expansive use of harmonies and thematic ideas. The work then returns to a somewhat more complex original theme but ends in a quiet and sublime manner.

Robert Schumann (1810-1856) Three Fantasy Pieces for Clarinet and Piano, Op. 73 Op. 73 Three Fantasy Pieces (Drei Fantasiestücke) for Clarinet and Piano, Op. 73, was written in 1849. Robert Schumann wrote these movements in less than three days and originally gave them the title of "Night Pieces" but ultimately decided to label them "Fantasy Pieces." The title is one that Schumann was fond of, having used it as the heading of several of his compositions. This poetic description as well as title seems to promote the fundamental Romantic-era concept that creative expression is at the helm of the composer's unrestricted imagi-nation. Just maybe, the connotations of the term "fantasy" could justify the sudden mood changes that seem to surge about throughout this composition. The fi rst piece, or movement, starts in A minor as it dreamily refl ects a melancholy mood, concluding with a fi rm resolution in A major. The second piece starts where the fi rst left off (A major) but is playful, energetic and positive. The fi nal piece is again in the familiar land of A major, but suddenly drives into a frenzy of fi erce energy. The movement pushes its performers to their limits as Schumann instructs them to play "faster and faster." The movement ends victoriously with a triumphant conclusion.

Robert Fuchs (1847-1927) Selections from 12 Duets for Violin and Viola Robert Fuchs was an Austrian composer and teacher of composition. The list of his illustrious students is quite long and includes such luminaries as Jean Sibelius, Alexander Zemlinsky, Erich Korngold, Hugo Wolf, and Gustav Mahler. The 12 Duets for Violin and Viola were written in 1897, soon after the death of Fuchs’s be-loved friend, Johannes Brahms. Fuchs and Brahms had forged a friendship that included long walks and talks. When Fuchs wrote his piano four-hand works, he brought them to Brahms and they would play through them together. Brahms was extremely complimentary of Fuchs's music, writing that, “Fuchs is a splendid musician, everything is so fi ne and so skillful, so charmingly invented, that one is always pleased.” It is clear that Fuchs's musical talents touched a lot of people, audiences and musicians alike. His own lack of self-promotion may be the biggest reason why he is not better known today, though he was certainly revered during his lifetime. In fact, huge events were held for both his 75th and 80th birthdays. He passed away four days after his 80th birth-day, reportedly due to excessive celebration.

Dorothy Gates (b. 1966) Imaginings Dorothy Gates was born in Belfast, Northern Ireland. Dorothy received her Bachelor of Music degree in Com-position and Trombone Performance from Queens University Belfast, Master of Music degree in Trombone Performance from the University of Michigan, and her PhD in Composition from the University of Salford. Dorothy has produced works in many genres that have been performed in concert halls throughout the world, including Carnegie Hall, the Royal Albert Hall, Cadogan Hall, The O2, Queen Elizabeth Hall in London and the Roy Thompson Hall in Toronto. In 2015, the New York Staff Band of The Salvation Army released a CD of Dorothy Gates's music entitled All Glorious (available on iTunes). Career highlights include the perfor-mance of The Lamb by Joseph Alessi in April 2010; the U.S. Army Field Band's performance of Hope at the

Song translation on Pg 35



International Trumpet Guild conference May 2014; the performance of War Cry with the New York Staff Band at Carnegie Hall March 2012; and the screening of her silent movie The Salvation Army Lass in the O2, Lon-don, England, July 2015. Dorothy is the Senior Music Producer for The Salvation Army's Eastern Territory in New York and has been the Composer-in-Residence for the New York Staff Band since 2002, the fi rst woman in this role.

Imaginings was commissioned by Michelle Reed Baker for performance in recital at the International Women's Brass Conference in June 2017. The composer writes: “Michelle asked for a low solo, playing to her strengths, and so that's what I did. The recital coincided with her retirement from the Metropolitan Opera Orchestra, so the title Imaginings is a nod towards her imagining her new life in retirement with her husband Charlie. Some of the material is derived from Charlie's fi rst name, Charles.”

Svante Henryson (b. 1963), Off Piste Swedish bassist, cellist and composer Svante Henryson was born in Stockholm, Sweden, in 1963. His perfor-mance and compositional interests span from classical music to jazz and also include a deep love of hard rock. As a bassist, he has held positions in both the Oslo Philharmonic and Norwegian Chamber Orchestra. Today, he focuses mostly on orchestral and chamber music composition and is the Artistic Director of the Umea Chamber Music Festival in Sweden. He wrote Off Piste in 1996 for his soprano saxophonist friend, Anders Paulsson. The two friends also share a common interest apart from music, and that is their love of alpine skiing! Both deeply enjoy off-piste, or off-trail skiing. The composer is quoted as saying, “Skiing is like dancing downhill very rhythmically in snow. The music in Off Piste goes a little out of the mainstream, going a little ‘off piste.’” This short swoosh down the mountain is complete with motoric patterns and agile redirects. You may feel the abrupt changes in fl ow as the trip downhill unfolds, a few jazz infl ections and some Swedish folk memories thrown into the vibrant mix.

Paquito d'Rivera (b. 1948) “Benny” from The Cape Cod FilesPaquito D’Rivera defi es categorization. The winner of fourteen GRAMMY Awards, he is celebrated both for his artistry in Latin jazz and his achievements as a classical composer. Born in Havana, Cuba, he performed at age 10 with the National Theater Orchestra, studied at the Havana Conservatory of Music and, at 17, became a featured soloist with the Cuban National Symphony. As a founding member of the Orquesta Cubana de Musica Moderna, he directed that group for two years, while at the same time playing both the clarinet and saxophone with the Cuban National Symphony Orchestra. He eventually went on to premier several works by notable Cuban composers with the same orchestra. Additionally, he was a founding member and co-director of the innovative musical ensemble Irakere. With its explosive mixture of jazz, rock, classical and traditional Cuban music never before heard, Irakere toured extensively throughout America and Europe, won several GRAMMY nominations (1979, 1980) and a GRAMMY (1979). In addition to his extraordinary performing career as an instrumentalist, Mr. D’Rivera has rapidly gained a reputation as an accomplished composer. Recent recognition of his compositional skills came with the award of a 2007 John Simon Guggenheim Fellowship in Music Com-position, and the 2007-2008 appointment as Composer-In-Residence at the Caramoor Center for Music and the Arts with the Orchestra of St. Luke’s.

D’Rivera’s works often reveal his widespread and eclectic musical interests, which range from Afro-Cuban rhythms and melodies, including infl uences encountered in his many travels, and back to his classical origins. Inspiration for The Cape Cod Files came from Benny Goodman’s intro to the Eubie Blake popular song "Mem-ories of You."

C H A R L E S

C B A D (Re) A (La) E E (Es)



Johannes Brahms (1833-1897) Trio for Clarinet, Cello and Piano in A Minor, Op. 114 Johannes Brahms was born in Hamburg, Germany, on May 7, 1833. As a child, Brahms was made to play piano in dance halls to earn money for his short-on-cash family. As an adult, Brahms continued to play the piano bril-liantly and also developed into a top composer. Nineteenth-century conductor Hans von Bulow touted Brahms as one of the “Three B’s,” including him in an elite grouping of foremost composers along with fellow Germans Bach and Beethoven. An obsessive perfectionist, Brahms was known to destroy many of his compositions and left a portion of his works unpublished. Such was his perfectionism that he began composing his fi rst symphony 22 years before it was premiered!

In 1890, at the age of 57, Brahms announced his intention to retire from composing. This came after a success-ful premier of his String Quintet No. 2 in G major, Op. 111 in Vienna. Shortly after his decision to retire, he listened to clarinetist Richard Muhlfeld perform Weber’s F-minor concerto, Mozart’s clarinet quintet, and some works of Ludwig Spohr. Brahms was greatly impressed with Muhlfeld’s tone quality and musicianship and raved about Muhlfeld in a letter to Clara Schumann. Brahms decided to come out of retirement in order to write four works for Muhlfeld: the Trio for Piano, Clarinet and Cello, Op. 114; the Clarinet Quintet (for clarinet and string quartet), Op. 115; and the two Clarinet Sonatas, Op. 120. During this time, Brahms’s compositions re-mained rooted in the classical tradition, while many of his contemporaries were moving to more modern-sound-ing Romantic compositions. Brahms, however, remained uninterested in the depiction of stories or images in his music. This method of composition was considered to be dated at the time, but Brahms himself was decidedly unperturbed by this judgment.

Composed in 1891, this trio’s mimicking and interplay of lines allow the listener to follow the melody from one instrument to another, and to consider each response. One might even consider the instruments to be hav-ing a conversation. At the same time, the melodic lines fl ow continuously, creating delicate, tender moments. A scholar and friend of Brahms, Eusebius Mandyczewski, remarked of the trio that, “It is as though the instru-ments were in love with each other.”




Tuesday, June 5, 2018 7:00 pm

Bach & Mozart


Jan Dismas Zelenka (1679-1745) Sonata No. 3 in B-flat Major 15’ I. Adagio II. Allegro III. Largo IV. Tempo giusto Gregory Cardi, violin; Anne Marie Gabriele, oboe; Steve Vacchi, bassoon; John M. Pellegrino, bass; Michael Bahmann, harpsichord

J.S. Bach (1685-1750) Brandenburg Concerto No. 5 21’ I. Allegro moderato II. Affettuoso III. Allegro Anthony Trionfo, solo fl ute; Anton Miller, solo violin; Gregory Cardi and Cami Sylvia, violins; Rita Porfi ris, viola; Elisa Kohanski, cello; John M. Pellegrino, bass; Michael Bahmann, harpsichord

- INTERMISSION -

J.S. Bach Gamba Sonata No. 1 in G Major 14’ I. Adagio II. Allegro ma non tanto III. Andante IV. Allegro moderato Keith Robinson, cello; Michael Bahmann, harpsichord

Wolfgang Amadeus Mozart (1756-1791) Divertimento in D Major, K. 251 28’ I. Molto allegro II. Menuetto III. Andantino IV. Menuetto (Tema con variazioni) V. Rondo (Allegro assai) VI. Marcia alla francese Anton Miller and Gregory Cardi, violins; Rita Porfi ris, viola; Trevor Handy, cello; John M. Pellegrino, bass; Anne Marie Gabriele, oboe; Leslie Norton and Michelle Reed Baker, French horns

Mr. Robinson’s appearance is made possible by the Aaron Roitman Fund for Chamber Music.

This concert is funded in part by an anonymous gift in memory of Alice Pellegrino

Immaculate Conception Catholic Church 237 Garden Hills Dr, Cranston, RI



Program Notes for “Bach & Mozart”Jan Dismas Zelenka (1679-1745) Sonata No. 3 in B-flat Major Bedrich Smetana has been given credit for the rediscovery of Jan Dismas Zelenka’s Baroque-era composi-tions. Smetana, who rewrote some of the scores that were uncovered from a site in Dresden, introduced one of the composer’s orchestral suites in Prague’s New Town Theatre festivals in 1863. Since the 1950s, Zelenka’s popularity has grown considerably, and by the early 1970s, most if not all of his instrumental works had been published in his native Czechoslovakia. The oldest of eight children, Zelenka was born into a musical family in 1679, just outside of Prague. As an accomplished young bass player, Zelenka made an impression on orchestras and their directors, scoring some extremely rewarding paydays. As Zelenka matured as a musician and artist, school and the leading composers of the day attracted him away from performing and back to studying. Jan’s compositions exhibit contrapuntal mastery and harmonic inventiveness, qualities that were very admired by his peers, J.S. Bach and G.P. Telemann. The trio for oboe, violin and bassoon (and continuo) that you will hear tonight deftly demonstrates so many of the magnetic aspects of Baroque-era music that draw us to this expres-sive time period. Although Jan Dismas Zelenka’s name is not associated with the most famous names of his era, Zelenka’s trio does demonstrate, at the highest level, that he was a master craftsman.

J.S. Bach (1685-1750) Brandenburg Concerto No. 5 Johann Sebastian Bach was born in Eisenach, Germany, in 1685. In Bach’s day, composers often had to prove their worth to potential employers by submitting scores of new works as part of their job applications. Even those composers considered today to be the all-time greats were still forced to prove themselves to the fi nan-cially elite. And this, rather surprisingly, is the case with all of J.S. Bach’s Brandenburg Concerti. The employer Bach was trying to impress was Christian Ludwig, Margrave of the Brandenburg-Schwedt region. The dedica-tion page of the score reads:

As I had the good fortune a few years ago to be heard by Your Royal Highness, at Your Highness’s commands, and as I noticed then that Your Highness took some pleasure in the little talents which Heaven has given me for Music, and as in taking Leave of Your Royal Highness, Your Highness deigned to honor me with the command to send Your Highness some pieces of my Composition: I have in accordance with Your Highness’s most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him.

Unfortunately, Bach was not rewarded with the job he had applied for, a fee for his efforts, or even a perfor-mance of just one of the concerti. There is evidence that none of the scores were ever performed and remained in the Margrave’s library until his death in 1734. At that time, the scores were sold for approximately $22, and sadly weren’t published until 1850. The date on the six concerti is listed as 1721, but it is widely believed that these pieces were written much earlier and most likely over a signifi cant period of time, while Bach was em-ployed either at the court of Weimar (1708–1717) or Köthen (1717–1723). This discovery suggests that the works were not conceived as a set of six, but rather organized as a group when they were repackaged to be sent to the Margrave. The original title of the set is Six Concerts à plusieurs instruments, and the dedication page describes them as concertos with several instruments.

Bach’s fi fth Brandenburg employs a solo fl ute, solo violin and an amazing solo (as well as ensemble) harpsi-chord part, with only a sparse ensemble of support behind this trio. The harpsichord has a monumental solo role in this gorgeous composition. All six Brandenburgs open with the larger group of musicians establish-ing the groove, but then the bulkier forces back away to let the higher solo lines take the lead. The concerto is



composed in the familiar fast-slow-fast larger-scope arch, launching into the fi rst movement with an energetic opening theme. Small motives are passed between the fl ute and violin as the movement develops. The total rock star in this movement, however, is the harpsichord! Even though the harpsichord is used in all six of the Brandenburg Concerti, the fi fth employs the instrument as the cohesive connection of the entire work. This fi rst movement comes to a close with the return of the opening theme, but not before Bach features the harpsichord in a stunning display of fi reworks. The second movement offers a welcome breather before the exciting third movement launches. This movement is scored for just the trio of soloists. The third movement is written in 6/8 time and allows Bach to show off his contrapuntal genius.

J.S. Bach, Gamba Sonata No. 1 in G Major In 1717, Bach became director of chamber music for Prince Leopold of Anhalt-Cothen; he was presumably re-sponsible for producing chamber music for the prince’s entertainment. Bach remained at Cothen until 1723 and produced most of his non-keyboard instrumental music during this period. During the year 1720, Bach wrote three sonatas for viola da gamba and harpsichord. The viola da gamba is part of the viol family, which for many years was a competitor of the violin family. Violas usually had six strings rather than four. Their tuning uses primarily fourths, with a major third between the two middle strings. (Instruments of the violin family are tuned in fi fths.) The strings are made of gut, which gives them a soft and sweet quality. The back of a viol is compara-tively fl at, and the fi ngerboard is fretted. Bach’s gamba sonatas follow the typical Baroque sonata pattern of four movements, slow-fast-slow-fast. The keyboard player’s right hand plays a line which imitates the soloistic line of the gamba player. The same musical ideas are often exchanged between the two lines. The keyboard player’s left hand plays the bass, only occasionally participating in the imitative conversation. Virtuosity is required for both players.

Wolfgang Amadeus Mozart (1756-1791) Divertimento in D Major, K. 251Mozart was not only one of the greatest composers of the Classical era, but one of the greatest composers of all time. He is not, however, identifi ed with radical harmonic or structural innovations or with the profound types of symbolism heard in some of Bach’s works. Mozart’s top compositions have a natural fl ow and charm to them, with the ability to express humor, joy or sorrow with mastery and conviction. His later operas are brilliant examples of high art, as are many of his later symphonies and concertos. Even his more juvenile works feature attractive and often masterful music. Mozart was the youngest of seven children. By the age of three, he was playing the clavichord, and by age four was writing short compositions. At the age of fi ve, he gave his fi rst pub-lic performance at Salzburg University. Much like Michael Jackson at a young age, Mozart spent his childhood touring and entertaining all over Europe. Performing and dazzling royalty (and earning a lot of money) was the norm in his childhood.

This Divertimento in D Major was written in July of 1776 and can be performed with a rather large ensemble of strings or a smaller chamber group (as you will hear tonight), with a solo oboe and two French horns fi lling out the texture. The fi rst movement is composed in a monothematic sonata form. The trio of the fi rst minuet is for strings only, while the third movement is in rondo form. The fourth movement’s form is composed in a fun mix of minuet and variations, constantly bopping back to the opening theme. The fi nal movement is a rondo where Mozart’s clear ABABA format can be heard.



Alice K. Pellegrino (1930-2017) Music on the Hill’s 2018 festival is dedicated to the memory of Alice K. Pellegrino. A long-time resident of Warwick, RI, recently of Ft. Myers, FL, Alice passed away on November 24, 2017, at the age of 87. Alice was a visionary supporter of Music on the Hill’s 2007 reorganization to an annual festival. Her husband of 56 years, John, was board president. Their son John Mark is artistic director. Jerry Pellegrino, our current board president, is Alice’s brother-in-law; Carol Pellegrino, corresponding secretary, is her sister-in-law; and violinist Kristen Pellegrino is her goddaughter.

An alto soloist and choral singer, Alice sang in the Robert Shaw Chorale, Collegiate Singers of New York, Peloquin Chorale and other professional groups, as well as church choirs. Alice was a passionate early education music teacher in public schools in Rochester, New York and Greenwich, Connecticut, and then at Rhode Island College’s Henry Barnard School as a model teacher for mu-sic education majors. As a member of the Voice faculty at RIC and a private teacher, she inspired her students to reach and grow. She touched many lives: her former students, neighbors and friends have recently shared memories of a gracious, kind, caring and giving educator and nurturer.

Sue Loiacono wrote: “It was my privilege to study voice with Alice as a high school and college student. Her expertise helped me to realize my dream of becoming an elementary music teacher when I graduated from her alma mater, Crane School of Music, SUNY Potsdam. With Alice, I learned as much about life as I did about singing. Grace is the fi rst lesson that comes to mind. Alice’s grace was ever-present, in her willingness to truly listen and in her guidance. As I came to know her family over those years, I saw that same grace in her interac-tions with them. Laughter is also high on my memory list. To this day, I can still hear the unique timbre of her laugh. Whenever she laughed, she smiled from ear to ear, her eyes twinkled, and her joy became contagious. Alice will always be in my heart, and that is a gift that I truly treasure.”

Alice was deeply moved by Music on the Hill performances and the artistry of the musicians. She wanted ev-eryone to experience those special moments in our concerts. As a board member, she was dedicated to ensuring that the music could reach as many listeners as possible, through education outreach performances in schools and nursing homes. She brought the human touch to all aspects of the organization, selling program ads, mar-keting, fundraising and making sure Music on the Hill off ered a special quality and warmth to concert-goers.A memorial service will take place Saturday June 2, 10:30 a.m. St. Luke Episcopal Church, 99 Peirce St., East Greenwich, RI, 02818. Memorial gifts in her honor may be sent to Music on the Hill, P.O. Box 633, East Green-wich, RI, 02818.


www.MusicOnTheHillri.orgMeet and Greet the Musicians following the Concert

SonatasWednesday, June 6, 2018 7:00 pm


Immaculate Conception Catholic Church 237 Garden Hills Dr, Cranston, RI

Thorvald Hansen (1847-1915) Sonatas for Trumpet and Piano, Op. 18 11’ I. Allegro con brio II. Andante molto espressione III. Allegro con anima Joseph Foley, trumpet; Bonnie Anderson, piano

Erwin Schulhoff (1894-1942) Sonata for Cello and Piano, Op. 17 23’ I. Frisch II. Langsam und getragen III. Fliessend, im Tempo di Menuetto IV. Rondo: Munter Elisa Kohanski, cello; Bonnie Anderson, piano

- INTERMISSION -

Ilja Hurnik (1922-2013) Sonata da Camera for Flute, Oboe, Cello and Harpsichord 15’ I. Allegretto II. Quasi marcia funebre III. Allegretto innocente IV. Prestissimo Trevor Handy, cello; Michael Bahmann, harpsichord; Anthony Trionfo, fl ute; Anne Marie Gabriele, oboe

Frédéric Chopin (1810-1849) Sonata for Cello and Piano in G Minor, Op. 65 29’ I. Allegretto moderato II. Scherzo: Allegro con brio III. Largo IV. Finale: Allegro Trevor Handy, cello; Bonnie Anderson, piano

This concert is funded in part by Robert & Marie Petrarca



Program Notes for “Sonatas”Thorvald Hansen (1847-1915) Sonata for Trumpet and Piano, Op. 18 Among the greatest pleasures of any musician is uncovering the work of a forgotten master and discovering a hidden gem. Such is the case with Thorvald Hansen’s Sonata for Cornet and Piano, known among its afi cio-nados as a signifi cant piece of the Romantic repertoire. Hansen was a Danish composer, conductor and multi-instrumentalist who performed professionally in Copenhagen on trumpet, cornet, and organ. His versatile skills are apparent in this sonata dating from 1903, in which the writing for both cornet and piano is extremely idiom-atic. In the fi rst movement, marked Allegro con brio, dotted march rhythms alternate with triplets, as the two in-struments move easily between melodic and accompaniment roles. Romantic yearning characterizes the lyrical Andante molto espressione, in which the cornet sings a heartfelt melody in long-breathed phrases. The tempo of the third movement is Allegro con anima, signaling a vigorous conclusion, replete with fanfares, to this compact but inventive work. Notes by Dr. Samuel Breene

Erwin Schulhoff (1894-1942) Sonata for Cello and Piano, Op. 17 Erwin Schulhoff was born in Prague and was the son of a textile merchant. His mother was the daughter of an orchestra conductor in Frankfurt. As a youngster, Schulhoff emerged as a child prodigy on the piano, and after consulting with Antonin Dvorak, launched his career in music. His schooling consisted of piano and composi-tion studies at the Prague Conservatory, the Leipzig Conservatory, and the Cologne Conservatory. Some of his most infl uential composition teachers were Claude Debussy, Max Reger and Josef Janácek. Schulhoff won many awards, including the Wüllner Prize at the Cologne Conservatory (1913) and later that year, two Mendels-sohn Prizes for piano and composition. During World War II, he attempted to emigrate west, then tried to make his way to the Soviet Union. However, before he had all of the paperwork arranged, he was arrested and thrown into prison in Prague in June 1941 following the invasion of the Soviet Union. He was then sent to a concentra-tion camp in Wülzburg, Bavaria, where he died eight months later from laryngeal and pulmonary tuberculosis.

Schulhoff fi nished his only Cello Sonata, Op. 17, on December 11, 1914, at the age of 20. There is no documen-tation of a performance of this piece during Schulhoff's life. The posthumous premiere was given on August 13, 1964, by cellist Ivan Merka and pianist Vera Čanová in Ostrava. Even though Schulhoff hadn't composed many pieces for strings at this point, it is surprisingly idiomatic for the cello. The fi rst movement, Frisch, is the most challenging harmonically and technically. The cello part is marked by virtuosic runs in a wide range of keys ac-companied by a heavily chromatic and polyphonic piano part. It is full of dense textures, thunderous octaves and dynamically bold passagework. The second movement, Langsam und getragen, is characterized by a soaring, sentimental melody accompanied by lush harmonies. The fi nal two movements, Tempo di minuetto and Rondo, are light, simple and playful. The Rondo serves as an exuberant fi nale with joyful banter between the piano and the cello. These two movements serve as a foil for the seriousness of the fi rst movement. The structure of the entire piece demonstrates a great maturity of purpose and intent on a large scale.

Ilja Hurnik (1922-2013) Sonata da Camera for Flute, Oboe, Cello and HarpsichordIlja Hurnik was a contemporary classical Czech composer, pianist, and writer. He studied at the Prague Conser-vatory and the Prague Academy of Arts. Later, he would spend many years teaching at the Prague Conservatory, supporting young musicians. Shaping these future artists was important to Hurnik, and he dedicated a number of his works to children. Infl uenced by the traditional music of his native Silesia, which lies on the Czech-Polish border, Hurnik began composing at age 11. Other noted infl uences include impressionism, neoclassicalism and new music. While maintaining a feeling of slight detachment in his music, he returned to old forms as a base for his organizational format. His compositions fl ow easily, as you will hear in tonight's sonata. A known author, Hurnik wrote several musical textbooks as well as a few works of fi ction. In an unusual honoring in 1998, an as-teroid was named after him: Hurnik 16929. This is a testament to how well-liked and respected he was through-out his career.



The fi rst movement of this sonata has a light, whimsical feel. The uniquely Baroque sound of the harpsichord is a rare treat in modern music. Moving toward the later movements, the piece develops a more mysterious and romantic tone, and tension and dissonance arise at times. To the listener, this work has an undemanding feel to it, unobstructed by weightiness. Translated literally to “chamber sonata,” this piece demonstrates Hurnik’s thoughtful organization of time and tones.

Frédéric Chopin (1810-1849) Sonata for Cello and Piano in G Minor, Op. 65 Frédéric Chopin was considered the poet of the piano. A Polish composer and virtuosic pianist, he was one of the great composers in the second generation of the Romantic Era. As a child, he showed astonishing talent and was principally self-taught. With the freedom to improvise, which he did from his start on the keyboard, Chopin naturally found himself composing by the tender age of seven. He studied at the Warsaw Conservatory and after fi nishing in 1829, traveled to Berlin and Vienna to absorb that musical culture. There he gave concerts which were met with high praise. He returned briefl y to Warsaw in 1830, before traveling to Paris in 1831, where he would reside for the rest of his life. In 1832, Chopin performed his fi rst concert in Paris, which was met with elated reviews. This helped establish Chopin in the music scene, and his early success ensured his fi nancial se-curity for the rest of his life. Unlike many of his contemporaries, Chopin enjoyed a luxury apartment, a fashion-able wardrobe, and his own carriage and servant. His main source of income was giving expensive lessons to wealthy aristocrats, with whom he fi t in well.

Chopin wrote over 200 works, most for solo piano with only a handful for other instruments. He created no symphonies, operas, ballets, or church music. Chopin most commonly performed in smaller, more intimate set-tings, where his new musical ideas could be investigated. Although he invested less time composing in the so-nata form, this piece, composed near the end of his life, leads one to wonder how his music might have evolved had he not died so young. The sonata’s beauty and strength are undeniable and provide a sharp contrast to the unrest in Chopin’s life at the time of its composition, when his health had begun to fail, and he was suffering from some troubling relationship issues. Powerful and dramatic, the sonata has a surprisingly modern feel.

Admiration for this piece grows each time it is heard; one could spend an entire evening with it on repeat and be met with an increase of excitement each time as its phrasing and harmonies become clearer and clearer. Writing this sonata was an arduous process for Chopin, and it took him over a year to compose. It was writ-ten for and dedicated to Auguste Franchomme, Chopin’s friend and a leading French cellist. Omitting the fi rst movement, Franchomme and Chopin premiered the last three movements at Chopin’s last public concert in 1848. This sonata would be the last composition published during Chopin’s lifetime, and Chopin asked to hear it on his deathbed. When this request was fulfi lled, Charles Gavard, a French publisher, asked Chopin if he was still in pain, to which the composer replied: “No more.” These would be the last words he spoke.



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Ocean State ComposersThursday, June 7, 2018 7:00 pm

St. Gregory the Great Catholic Church 360 Cowesett Rd, Warwick, RI

Thomas Bucci (1926-2017) Concertante for Viola and Piano 7’ Rita Porfi ris, viola; Jason Hardink, piano

Daniel Carr (b. 1972) William Blake Songs for Soprano and Piano, Op. 2 5’ “Nurse’s Song” “Poison Tree” “The Blossom” Diana McVey, soprano; Bonnie Anderson, piano

Daniel Carr Wind’s Lullaby 2’ Bonnie Anderson, piano

Daniel Carr Three Sara Teasdale Songs 7’ “It Will Not Change” “I Shall Not Care” “White Fog” Diana McVey, soprano; Bonnie Anderson, piano

Carl Schimmel (b. 1975) Contemplation on Vanessa in the Boneset 7’ Rita Porfi ris, viola; Jason Hardink, piano

- INTERMISSION -

Nico Muhly (b. 1981) Big Time for String Quartet and Percussion 10’ Peter Ferry, percussion; Anton Miller and Amy Sims, violins; Rita Porfi ris, viola; Elisa Kohanski, cello

Nico Muhly Beaming Music 8’ Peter Ferry, percussion; Jason Hardink, organ

Nico Muhly A Hudson Cycle 3’ Jason Hardink, piano

Sebastian Currier (b. 1959) Scarlatti Cadences and Brainstorm 10’ Jason Hardink, piano

This concert is funded in part by Donald and Jane Rankin



Program notes for “Ocean State Composers”


Thomas Bucci (1926-2017) Concertante for Viola and Piano Thomas Vincent Bucci, Sr. was a renowned pianist, composer and educator who spent most of his professional life in Portland, Maine. Born in Providence, Rhode Island, on September 7, 1926, he was the son of Italian immigrants. After graduating from Providence schools in 1944, Thomas served in the United States Army and conducted the 40th Division Band at the age of 19. Bucci went on to receive both his undergraduate and Mas-ter's degree from the New England Conservatory of Music in Boston. He studied piano with Felix Fox, Anna Lothian, and Howard Goding. In 1951, Thomas and his wife moved to Portland, Maine, where he began a 30-year career as Instrumental Music Supervisor for the Portland School System. He taught courses in electronic music, composition and theory. Thomas also conducted the Portland High School Band and Orchestra. From 1960-1972, he was the Musical Director at Portland Lyric Theatre. Thomas was a member of the Applied Mu-sic Faculty at the University of Southern Maine, where he taught piano, theory and orchestration. He remained at the University of Southern Maine until his 85th birthday. Many of his former students described Mr. Bucci as always pushing them beyond what they believed was possible. He was a humble man whose encouragement and steadfast support and friendship were felt by hundreds of his students (as well as his godson, Music on the Hill Artistic Director John Mark Pellegrino). Thomas performed extensively throughout New England in con-certs, radio and television. He appeared as a jazz soloist with several leading jazz groups. He accompanied the Maine All State Festival Chorus from 1962-1982. Thomas also performed with the Portland Symphony Orches-tra as a soloist on several occasions throughout his career and directed the Portland Junior Symphony Orchestra. Bucci was the Choral Director at Cheverus High School in Portland, Maine, from 1965-1972, in addition to serving as the organist at St. Joseph's Church for 45 years.

Many of Mr. Bucci's compositions have been performed throughout the United States. His Woodwind Quintet was performed at the Kennedy Center in Washington, D.C. and was commissioned by the Rhode Island Phil-harmonic. One of his compositions was selected to be placed in a time capsule at Lincoln Center along with the works of other American composers, where it will remain until the time capsule is opened in the year 2050.

Daniel Carr (b. 1972) William Blake Songs for Soprano and Piano, Op. 2 Daniel Carr, born December 16, 1972, in Providence, Rhode Island, is a composer of modern classical music. He has primarily written chamber music — focusing largely on works for fl ute, voice, strings and piano. Dan-iel grew up in a musical home — all four of his siblings and both parents played music. It was not unusual for several family members to be practicing different pieces of completely different genres, on different instru-ments, in different rooms throughout the house at the same time. Fortunately, there were also times when the family played together in ensembles — inspiring Daniel’s lifelong love of chamber music. Daniel played violin and piano when he was younger but did not become seriously interested in music composition until his mid-20s. His primary music teachers were his mother, pianist Naomi Carr, and Dr. Donald Rankin of the University of Rhode Island. He also completed courses in Theory and Counterpoint at Hunter College but never formally completed his Music Degree. Daniel graduated from URI with a degree in Finance in 1995. After graduating, he served in the Peace Corps. His fi rst mature work, Lesotho Variations for Solo Piano, was inspired by his time in the tiny African nation. Since returning from the Peace Corps, he has been composing (part-time) and work-ing full-time in Finance and Technology in NYC and Seattle.

The composer had this to say about William Blake Songs:

William Blake Songs for Soprano and Piano, Op. 2, were my fi rst attempt at composing “classical” songs for voice and piano. Having grown up listening to far more pop music than classical, these songs tend to have a Pop, Folk and even Broadway infl uence – wrapped in the cloak of Classical Music. These simple songs are to be sung with minimal vibrato and ask for a pure, clean tone.



Nurse’s SongWhen the voices of children are heard on the greenAnd whisp'rings are in the dale,The days of my youth rise fresh in my mind,My face turns green and pale.

Then come home, my children, the sun is gone down,And the dews of night arise;Your spring and your day are wasted in play,And your winter and night in disguise.

Daniel Carr Wind's LullabyWind’s Lullaby for Solo Piano is one of the fi rst piano pieces I composed. I had just turned 23 years old and had been composing for only a short time when I wrote it. It is a simple, lyrical piece with an arpeggiated left-hand under a right-hand melody. My mother, Naomi, who was my fi rst piano teacher, enjoyed this piece and played it often. – Daniel Carr

Daniel Carr Three Sara Teasdale Songs for Soprano and Piano, Op. 15 Three Sara Teasdale Songs for Soprano and Piano, Op. 15, initially started as two songs, but felt incomplete. An early-20th-century American lyric poet and fi rst winner of the Pulitzer Prize for poetry in 1917, Teasdale often wrote poetry of intense and powerful sadness. The second song of this set, “I Shall Not Care,” was rumored to be her suicide note (she took her own life in 1933), though the poem was actually published several years earlier. Teasdale’s poetry, however, can also depict hope and a desire for love. So, I added a third song, “White Fog” – which displays an awe of nature, as well as self-confi dence – to make the set more fully representative of Teasdale’s character and depth as a poet. – Daniel Carr

A Poison TreeI was angry with my friend:I told my wrath, my wrath did end.I was angry with my foe:I told it not, my wrath did grow.And I watered it in fears,Night and morning with my tears;And I sunned it with smiles,And with soft deceitful wiles.And it grew both day and night,Till it bore an apple bright.And my foe beheld it shine.And he knew that it was mine,And into my garden stoleWhen the night had veiled the pole;In the morning glad I seeMy foe outstretched beneath the tree.

It Will Not Change NowIt will not change nowAfter so many years;Life has not broken itWith parting or tears;Death will not alter it,It will live onIn all my songs for youWhen I am gone.

I Shall Not CareWhen I am dead and over me bright AprilShakes out her rain-drenched hair,Though you shall lean above me broken-hearted,I shall not care.

I shall have peace, as leafy trees are peacefulWhen rain bends down the bough;And I shall be more silent and cold-heartedThan you are now.

The BlossomMerry, merry sparrow!Under leaves so greenA happy blossomSees you, swift as arrow,Seek your cradle narrow,Near my bosom.Pretty, pretty robin!Under leaves so greenA happy blossomHears you sobbing, sobbing,Pretty, pretty robin,Near my bosom.



Carl Schimmel (b. 1975) Contemplation on Vanessa in the Boneset Composer Carl Schimmel was raised in Wakefi eld, Rhode Island, where he attended South Kingstown public schools and graduated valedictorian of South Kingstown High School in 1993. He took lessons at the Univer-sity of Rhode Island (piano with Dr. Donald Rankin, and composition with Dr. Geoffrey Gibbs), and was active statewide in scholastic activities, being a member of the Rhode Island state math team, a violinist in the Rhode Island Philharmonic Youth Orchestra, and winner of the Rhode Island state spelling bee in sixth grade. He and Jason Hardink fi rst met in the early 1990s through their participation in the Chopin Club, a recital series in Providence for young musicians around the state.

Praised by the New York Times as “vivid and dramatic,” Schimmel’s recent music is dense with literary and mu-sical references, often humorous, and combines intensity of expression with a structural rigor which draws upon his mathematics background. In infusing his music with extra-musical infl uences such as poetry, art, and even unusual words, he strives to construct nexuses of experience which refl ect both the inner life of emotions and the outer physical world which shapes us and is shaped by us. Winner of Columbia University’s Joseph Bearns Prize, the Lee Ettelson Award, and the 2017 Goddard Lieberson Fellowship from the American Academy of Arts and Letters, Schimmel has received honors and awards from many organizations. His works have been performed in Carnegie Hall’s Weill Hall, Merkin Hall in New York, Severance Hall in Cleveland, the National Arts Centre in Ottawa, St. Martin-in-the-Fields in London, Orchestra Hall in Minneapolis, and at other ven-ues throughout North America, Europe, Australia, and Asia. A graduate of Duke University (Ph.D.), the Yale School of Music (M.M.), and Case Western Reserve University (B.A. Mathematics and Music), he is currently Associate Professor of Music Theory and Composition at Illinois State University in Normal, IL.

The composer wishes to add this program note to tonight’s piece: “One warm, late summer day, thousands of butterfl ies descend upon the prairie as they make their way southward, inspiring elation and melancholy, the brilliant spectacle portending the coming cold.”

Nico Muhly (b. 1981) Big Time for String Quartet and PercussionAlthough born in Vermont, Nico Muhly grew up in Providence. He graduated from Columbia University with a degree in English Literature, then earned a Master of Music degree from the Juilliard School. Principal teach-ers were Christopher Rouse and John Corigliano. Muhly’s compositions have had signifi cant success in a wide range of media. Muhly is a former boys’ choir singer and has composed extensive choral music, resulting in commissions from well-respected groups. His orchestral works have been premiered by the American Sympho-ny Orchestra, the New York Philharmonic and the Chicago Symphony. His fi lm credits include Joshua and Best Picture nominee The Reader. He has recently been awarded a joint commission by the English National Opera and the Metropolitan Opera. Big Time is made from one the simplest things in the musical universe: a minor scale.

White FogHeaven-invading hills are drownedIn wide moving waves of mist,Phlox before my door are woundIn dripping wreaths of amethyst.Ten feet away the solid earthChanges into melting cloud,There is a hush of pain and mirth,No bird has heart to speak aloud.Here in a world without a sky,Without the ground, without the sea,The one unchanging thing is I,Myself remains to comfort me.



From that small collection of notes (fi rst seven, working down to just four notes), the music explodes out in all possible directions when this limited material is allowed to ferment into different rhythms. As a special color-istic touch, Muhly allows the percussionist to play on any four metals that he or she fi nds sonically interesting. The work is titled Big Time for the different units of time that are divided up in complicated ways.

Nico Muhly Beaming Music Beaming Music (2002) is, at its heart, about small rhythmic cells transforming themselves into large, open chords. While this is most evident in the section immediately following the marimba solo two-thirds of the way through, the idea of something small blossoming into a huge chord pervades the piece. The title refers not only to the various metric subdivisions of the main material, but also to the percussionist who commissioned it and his sunny disposition during each stage of this piece's conception, rehearsal, and performance. Beaming Music is dedicated to Chris Thompson.

Nico Muhly A Hudson CycleA Hudson Cycle was written as a wedding present for two friends, one of whom was departing from New York to join the other. This is music of desire, longing, and anticipation – losing a beautiful place while approaching a beloved person. One can hear the right hand struggle to synchronize with the left, sometimes succeeding but often failing to coincide. The main pulsing fi gure, a restless rhythm of two uneven beats in the right hand for ev-ery three in the left, recalls the rush of the Hudson River. The Hudson represents home turf for Muhly, the body of water that is just outside his window. This might remind us of Philip Glass, one of Muhly’s most important compositional infl uences. Glass’s and Muhly’s style is called “minimalism.” Regardless of its scope or com-plexity, music that delivers a steady pulse, restricted pitch material, and slowly developing, repetitive structures is usually labeled “minimalist.” Minimalism often uses an erotic aural language, both in the frenzied repetition of its outward gestures and in the slowness of its progress. While Glass is famous for the neoclassical “cool” of his music, Muhly seems more interested in the unsettled bumps and blips with which a minimalist score devel-ops. This work’s relentless rhythms move forward as a river of sound, rather liquid and dark. A Hudson Cycle is driven, smooth, tense, restless, and sensual.

Sebastian Currier (b. 1959) Scarlatti Cadences and Brainstorm Sebastian Currier is the recipient of the prestigious Grawemeyer Award. Heralded as "music with a distinctive voice" by the New York Times and as "lyrical, colorful, fi rmly rooted in tradition, but absolutely new" by the Washington Post, his music has been performed at major venues worldwide by acclaimed artists and orchestras, including Anne-Sophie Mutter, the Berlin Philharmonic, the New York Philharmonic, and the Kronos Quartet. His orchestra piece, Divisions, was recently premiered by the Seattle Symphony, conducted by Ludovic Morlot, and will be performed by the Boston Symphony both in Boston and New York, conducted by Andris Nelsons. His Microsymph, referred to by the composer as a large-scale symphony that has been squeezed into only ten minutes, was commissioned by the American Composers Orchestra and premiered at Carnegie Hall. It has also been performed by such orchestras as the San Francisco Symphony, the Gewandhaus Orchestra, the BBC Wales Orchestra and the National Symphony Orchestra, and has been recorded by the Frankfurt Radio Orchestra with Hugh Wolff, conductor. He has received many prestigious awards including the Berlin Prize, Rome Prize, a Guggenheim Fellowship, a fellowship from the National Endowment for the Arts, and an Academy Award from the American Academy of Arts and Letters, and has held residencies at the MacDowell and Yaddo colonies. He received a DMA from the Juilliard School, and from 1999-2007 taught at Columbia University. He is currently Artist in Residence at the Institute for Advanced Study, in Princeton, New Jersey. Sebastian grew up in North Providence, the son of violist Robert and composer Marilyn Currier, and is brother to composer Nathan Currier.



The composer writes of these two pieces:

Although brought together as a set of complementary short piano pieces, Scarlatti Cadences and Brainstorm each have an independent genesis. Scarlatti Cadences was written for pianist Emma Tahmizian. The outer sections take "Scarlatti-like" cadential formulas and expand upon them, creat-ing delicate, sonorous and ephemeral textures, while the middle section emulates the percussive drive of many a Scarlatti sonata. Brainstorm, written for pianist John Kamitsuka, was written while I was in residence at the American Academy in Rome and dedicated to the then US ambassador to Italy, Ambassador Bartholomew. The piece constantly interweaves tonally ambiguous chromaticism with simple diatonic progressions in a satirical and sometimes raucous manner. It is in this combin-ing of diverse, even opposing, harmonic materials that the two pieces, Scarlatti Cadences and Brain-storm, come together and share a common thread. As a set, the work was premiered at the 2005 Van Cliburn Competition.

Salve Regina, mater misericordiae!Vita, dulcedo et spes nostra, salve! Ad te clamamus exules fi lii Evae.Ad te suspiramus, gementes et fl entes,in hac lacrymarum valle. Eja ergo, advocata nostra,oculos tuos ad nos converte. Et post hoc exilium ostende nobis Jesum,fructum ventris tui, O clemens, o pia,o dulcis virgo Maria!

Hail to thee, Queen, mother of mercy!Our life, our consolation, and our hope,hail to thee! To thee we cry, we, the banished children of Eve.To thee we sigh, sorrowing and weeping,in this vale of tears. Oh thou, our advocate,turn thine eyes upon us. And after our exile show to us Jesus,the fruit of thy womb. Oh compassionate, oh pious,oh sweet Virgin Mary!

Franz Schubert (1797-1828) Salve Regina in A Major for Soprano and Strings, D. 676, Op. posth. 159From Concert on Pg 16

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Rich & RomanticFriday, June 8, 2018 7:00 pm

SS Rose & Clement Catholic Church 111 Long Street, Warwick, RI

Joseph Jongen (1873-1953) Adagio for Violin and Viola in E Major, Op. 22, No. 1 7’ Anton Miller, violin; Rita Porfi ris, viola

Ottorino Respighi (1879-1936) “Sunset” 15' Mary Phillips, mezzo-soprano; Gregory Cardi and Cami Sylvia, violins; Liana Zaretsky, viola; Elisa Kohanski, cello

Edouard Dupuy (1793-1822) Quintet in A Minor for Bassoon and Strings 21' I. Allegro moderato II. Andante sostenuto III. Allegro Steve Vacchi, bassoon; Gregory Cardi and Cami Sylvia, violins; Liana Zaretsky, viola; Elisa Kohanski, cello

- INTERMISSION -

George Onslow (1784-1853) String Quintet No. 26, Op. 67 11' Molto moderato e grandioso Gregory Cardi and Cami Sylvia, violins; Liana Zaretsky, viola; Elisa Kohanski, cello; John M. Pellegrino, bass

Arthur Bliss (1891-1975) Quintet for Oboe and String Quartet, Op. 44, F. 21 23' I. Assai sostenuto — Moderato — Allegro assai agitato II. Andante con moto III. Vivace Anne Marie Gabriele, oboe; Anton Miller and Amy Sims, violins; Rita Porfi ris, viola; Trevor Handy, cello

This concert is funded in part by Sue and Ken Loiacono, in memory of Alice Pellegrino



Program Notes for “Rich & Romantic”


Joseph Jongen (1873-1953) Adagio for Violin and Viola in E Major, Op. 22, No. 1 Joseph Jongen is generally considered Belgium’s best composer after Cesar Franck. He was also a pianist and organist, with his most recognized works composed for the organ. In 1911, he became Professor of Harmony at the Liege Conservatory in Belgium. With the outbreak of World War I, he moved to England. Following his return to Belgium, in 1925 he became the Director of the Brussels Conservatory, remaining until his retirement in 1939. Jongen kept composing for the next fourteen years and died in 1953.

Jongen was 28 years old when he composed the Adagio for Violin and Viola, Op. 22. At the time, he was in the midst of a four-year journey through a number of European cultural centers, including Berlin, Paris, and Rome. Through his travels, he met and/or worked with many of classical music’s luminaries; Richard Strauss and Max Bruch in Berlin, and Gabriel Fauré and Vincent d’Indy in Paris. Jongen loved the viola and composed a number of works for it, including the substantial Suite pour orchestre et alto principal, Op. 48. The rarely-played Ada-gio is a most welcome short contrapuntal study superbly written for both instruments.

Ottorino Respighi (1879-1936) “Sunset” Ottorino Respighi studied to become a professional violinist and made his living that way until 1908, when composition became the center of his life. He is best known for his orchestral works, especially The Pines of Rome, The Fountains of Rome and Roman Festivals. He was also interested in poetry and the voice, and his output includes nine operas. “Sunset” (Il tramonto) is scored for mezzo-soprano and string quartet, and it is his only work set for voice with string quartet. The text is an 1814 poem by the English Romantic poet Percy Bysshe Shelley (1792-1822), translated into Italian by Runasimi.

Edouard Dupuy (1793-1822) Quintet in A Minor for Bassoon and Strings Raised in Geneva, Edouard Dupuy studied violin, piano, and composition in Paris in his teens. He worked at the court of Prince Heinrich of Prussia at Rheinsberg for four years, then toured Germany and Poland as a violin-ist for a year. He joined the Stockholm Opera orchestra as a violinist and became a member of the Swedish Academy of Music; several of his ballet pantomimes and compositions were premiered at the Swedish Royal Opera. In 1799, he sang lead roles at the opera, but political factors related to Napoleon led to his exile. Dupuy then joined the Copenhagen Opera orchestra and made his stage debut in Claus Schall’s Domherren i Milano. The premiere of his Ungdom og galskab (Youth and Folly) in 1806 marked a professional high-point, for which he composed the music and sang the role of Ritmester Rose. Dupuy directed the fi rst performance of Don Giovanni in Scandinavia as well as singing the title role himself. Following a scandal with the Crown Princess, Dupuy had to leave Denmark in late 1809. He went to Paris for three years, but after the election of Napoleon’s commander to the Swedish throne, he was able to return to Stockholm. There he became court violinist and singer and enjoyed great success as a conductor. He sang 18 roles at the Swedish Opera, including Figaro and Don Giovanni and reprising the part of Ritmester Rose. His music has fl eeting charm, evident particularly in the graceful ballads and merry drinking-songs of the operas and divertissements. Dupuy’s works include several operas, ballets, and many other theatrical works, instrumental concertos, cantatas, chamber music, romances, chansons, military and processional music, and piano pieces. The Quintet in A Minor for Bassoon and Strings is unusual in that Dupuy wrote only the fi rst two movements; the Rondo fi nale was composed by Dupuy’s con-temporary and Stockholm Court orchestra oboist Karl Braun. (Notes by Albert Hennige, Klaus Neiiendam and Steve Vacchi)

George Onslow (1784-1853) String Quintet No. 26, Op. 67Andre George(s) Louis Onslow was born to a French mother and an English father but is considered to be a composer of English descent. His writing is fi rmly planted in the early Romantic Era, but he owes much of his compositional success to the German and Austrian giants when it comes to form. Onslow's wealth, position and



personal tastes allowed him to pursue an uncommon life in comparison to most of his French composer friends; his comparatively successful lifestyle more closely paralleled his German composer contemporaries. Onslow’s music had a strong following, especially in England and Germany. The bulk of his writing was chamber music, but he also composed four symphonies and a handful of operas.

In 1831, Onslow was elected to the status of Honorary Fellow of the Philharmonic Society of London (Felix Mendelssohn preceded him as the fi rst recipient of this award). In 1842, Onslow's wealth dramatically increased upon the death of his father-in-law, who owned massive amounts of property. Onslow died unexpectedly in Clermont-Ferrand in 1853, just after his morning walk. Highly regarded during his lifetime by music critics, other composers, musicians and audiences, his reputation declined swiftly after his death and has only been re-vived in recent years. Tonight, we will present George Onslow’s music for the fi rst time, playing the fi rst move-ment of his four-movement string quartet, Op. 67.

Arthur Bliss (1891-1975) Quintet for Oboe and String Quartet, Op. 44, F. 21Sir Arthur Drummond Bliss composed his Quintet for Oboe and String Quartet, Op. 44, F. 21 in 1927. Bliss was one of Britain’s leading musical fi gures during the 20th century. His education included stints at Cambridge University and at the Royal College of Music. Serving in World War I didn't stop his passion for composing, and he wrote many works while serving his country during the war. He gained fame post-war as a cosmopolitan composer, and in 1921, he was appointed director of the Portsmouth Philharmonic Society. He moved to Santa Barbara, California, in 1923, witnessed his father's wedding there and met his future wife. While in California, he stayed active as a conductor, pianist, lecturer, and critic but relaxed his compositional output. In 1927, he returned to England with his bride and reconnected with his Romantic writing style, penning the work you will hear tonight. Bliss was back in the USA when World War II started, and he remained there to teach at Berkeley until 1941. He eventually returned to England to take an administrative job with the BBC. Bliss passed away in London on March 27, 1975.

One can hear the infl uence of Stravinsky and the composers of Les Six (Georges Auric 1899–1983, Louis Durey 1888–1979, Arthur Honegger 1892–1955, Darius Milhaud 1892–1974, Francis Poulenc 1899–1963 and Ger-maine Tailleferre 1892–1983) in this quintet, but its lyricism, full ensemble scoring, and rhythmic structure (most of the piece is in 6/8 meter) remind us more of conventional Romantic-era compositional practices. Re-garding this quintet, noted Bliss scholar Andrew Burn states that, "Bliss's voice assumed the mantle of maturity … all are imbued with a quality of contentment refl ecting his serenity." The work was composed shortly after his marriage. Fun Fact: the oboe begins the last movement’s middle section with a tune identifi ed in the score as “Connelly’s Jig.”



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In 1974 Priscilla Rigg established Music on the Hill as a concert series at St. Luke’s Episcopal Church in East Greenwich, RI. In 2007 Priscilla handed over the artistic reins to John M. Pellegrino, who converted Music on the Hill into an annual music festival that takes place in June. Since its evolution from a presenting organization into a music festival, Music on the Hill has grown each and every year into a fi nancially stable and artistically excellent jewel in the crown of Rhode Island performing arts organizations. To help Music on the Hill continue to thrive, please follow John M. Pellegrino’s lead by making it a benefi ciary in your will.

The mission of Music on the Hill is to present an annual, nationally recognized concert series. Music on the Hill brings home professional musicians and their friends who are eager to share their passion for music with a community they love. Music on the Hill inspires future generations with exciting performances featuring cham-ber music and innovative programming in both traditional and non-traditional settings.

Legacy Society Membership is available to all who inform Music on the Hill that they have included the festi-val in their will, or who have made the organization a benefi ciary of any other form of a deferred gift. In 2012, John M. Pellegrino included Music on the Hill as a benefi ciary from two separate, self-directed retirement plans and hopes that you will join him with a similar planned gift. Your commitment to the organization will keep Music on the Hill thrilling audiences for years to come. Thank you.

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Lawn Concert

Clouds Hill Museum 4157 Post Road, Warwick, RI

Meet and Greet the Musicians following the ConcertProgram subject to change

Sunday, June 10, 2018 2:00 pm

This concert is funded in part by the Greenwood Credit Union

Narragansett Brass Quintet Joseph Foley & Gino Villarreal, trumpets; Robert Marlatt, French horn Alexei Doohovskoy, trombone; Thomas Gregory, tuba

G.F. Handel (1685-1759) Aria 5’

Gustav Holst (1874-1934) First Suite for Military Band 12’ I. Chaconne, arr. Foley II. Intermezzo III. March

Victor Ewald (1860-1935) Quintet No. 3 18’

- INTERMISSION -

Kevin McKee (b. 1980) Escape for Brass Quintet 4’

Charles Ives (1874-1954) Variations on America, arr. Foley 8’

George Gershwin (1898-1937) Porgy and Bess Suite 20’

In case of rain, the performance will be held at St. Gregory the Great Church, 360 Cowesett Rd. Warwick, RI

Bring chairs or blankets & maybe a picnic



Program Notes for “Lawn Concert” George Frideric Handel (1685-1759) Aria George Frideric Handel was a German composer who spent most of his career in London. Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Messiah, Water Music, and Music for the Royal Fireworks remaining popular. He was infl uenced both by the Italian Baroque and the middle-German polyphonic choral tradition. He died in 1759, a respected and rich man, and was buried in Westminster Abbey. One of his four Coronation Anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every British corona-tion since.

Gustav Holst (1874-1934) First Suite for Military BandAn English composer best known for his orchestral suite The Planets, Holst composed in a range of genres. His distinctive compositional style was the product of many infl uences, including Richard Wagner, Richard Strauss, Maurice Ravel and the English folksong revival of the early 20th century. Holst studied under Charles Villiers Stanford. He played the trombone professionally and later became a teacher—a great one, according to his colleague Ralph Vaughan Williams. He served as musical director at Morley College, and pioneered music education for women at St. Paul’s Girls’ School. In his later years, his uncompromising, personal style struck many as too austere, but he was a signifi cant infl uence on younger English composers such as Michael Tippett and Benjamin Britten. The Suite No. 1 in E-fl at is the cornerstone of 20th-century band repertoire. Written in 1909 for military band, it is the fi rst signifi cant composition to showcase the expressive range and capabilities of brass and woodwind bands. As a professional trombonist, Holst was appalled by the lack of repertoire for bands, which then consisted of marches, unimaginative operatic potpourris and hackneyed arrangements of popular songs. His experience as a band musician gave Holst a distinct advantage over other composers in this medium. Instead of approaching such compositions from an orchestral perspective by simply writing pieces for an orchestra without strings, Holst created works specifi cally for wind band, and the resulting pieces offer a crispness of musical line that became the foundation of 20th-century band and drum corps style. The Suite No. 1 in E-fl at is considered the fi rst meaningful step toward making the military band a serious concert medium.

Victor Ewald (1860-1935) Quintet No. 3A Russian composer of primarily brass works, Victor Ewald was a professor of Civil Engineering in St. Peters-burg, and was the cellist with the Beliaeff Quartet, which introduced much of the standard quartet literature to late 19th-century Russian concertgoers. He also collected and published Russian folk songs. Ewald’s profes-sional life, like that of many of his musical contemporaries, was in an entirely different fi eld, civil engineering. An obituary declared, “An entire industry for the production of brick and cement manufacturing is beholden to him.” Brass players are indebted to him as well, for a series of quintets which have become a staple of the repertoire, the most extended examples of original literature in the Romantic style and among the fi rst pieces composed specifi cally for brass quintet. Ewald was a member of a remarkable circle of amateur musicians, whose shared interest in indigenous folk music shaped a distinctive Russian national musical style. Aside from the engineer Ewald, the group included chemist Alexander Borodin, imperial guard offi cer Modest Mussorgsky and navy offi cer Nicolai Rimsky-Korsakov.

Kevin McKee (b. 1980) Escape for Brass QuintetAn American composer of primarily brass chamber music, Kevin McKee was born and raised in Yreka, Cali-fornia, a little mountain town in the heart of the “State of Jefferson” (Northern California). He began playing the trumpet in grade school at the urging of his father, who was the high school music teacher. He went on to earn two degrees in trumpet performance; a BM from Sacramento State, and a MM from the University of Maryland. His music has been performed on “every non ice-covered continent” and can be heard on over 20 recordings. In addition to composing, he is an active trumpet performer and teacher in the Washington DC area.




Escape was written for the University of Maryland graduate brass quintet and premiered at the conclusion of the composer’s Master’s Degree recital. Written in a cinematic style, it depicts a rapid descent down Castle Crags amidst a violent storm. McKee writes, “It works great as an opener/closer and is a blast to perform.”

Charles Ives (1874-1954) Variations on AmericaCharles Ives is one of the fi rst American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years. He combined the American popular and church-music traditions of his youth with European art music, and was among the fi rst compos-ers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Sources of Ives’ tonal imagery are hymn tunes and traditional songs, the town band at holiday parades, the fi ddlers at Saturday night dances, patriotic songs, sentimental parlor ballads, and the melodies of Stephen Foster. Composed in 1891 when Ives was 17, Variations is an arrangement of a traditional tune, the de facto anthem of the United States. Ives prepared it for a Fourth of July celebration in 1892 at the Methodist church where he was organist in Brewster, New York. Perhaps the earliest polytonal piece known, considered challenging even by modern concert organists, this piece was described by Ives as “almost as much fun as play-ing baseball.”

George Gershwin (1898-1937) Porgy and Bess SuiteGershwin’s compositions spanned both popular and classical genres, including orchestral works Rhapsody in Blue and An American in Paris, written in Paris after Nadia Boulanger declined to teach him. After returning to New York, Gershwin wrote the opera Porgy and Bess, then moved to Hollywood and composed numerous fi lm scores until his death in 1937 from a brain tumor.

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Gregory Cardi was born in Rhode Island. He began playing violin at age six and made his solo debut with or-chestra by age ten. After serving as concertmaster of the Boston Youth Symphony, he attended the Walnut Hill School under the tutelage of the late Masuko Ushioda. Mr. Cardi has appeared at Aspen Music Festival, Tanglewood Music Center, Kneisel Hall Chamber Music Festival, Pacifi c Music Festival and New York String Orchestra Seminar. A passionate orchestral musician, Mr. Cardi has served as concertmaster of New World Symphony, Pacifi c Music Festival and Tangle-wood Music Center orchestras, and assistant concertmaster of Juilliard Orchestra. He has taken part in master classes with the concertmasters of New York Philharmonic, Boston Symphony and Vienna Philharmonic. Chamber and solo engagements have taken him to Carnegie Hall, Har-

vard’s Sanders Theatre, Los Angeles County Museum of the Arts and Tanglewood’s Seiji Ozawa Hall. Mr. Cardi received his bachelor of music degree from Colburn School under the tutelage of Robert Lipsett, and recently fi nished his master of music degree at Juilliard School with Catherine Cho and Metropolitan Opera concertmaster David Chan. Currently a second-year violin fellow in the New World Symphony, he plays a Paul Siefried bow on generous loan from the Maestro Foundation.

Meet the Festival PerformersArtistic Director: John M. PellegrinoJohn M. Pellegrino is Principal Bass of ProMusica Chamber Orchestra and Peninsula Music Festival, Assistant

Principal Bass of Columbus Symphony Orchestra, and a member of Grand Teton Music Festival. He performs, tours and records with many of this country’s leading orchestras. In 2007 he was named Artistic Director of Music on the Hill. In the 1980s, John earned performance degrees from both the Manhattan School of Music and the Juilliard School. He has served on the faculties of Ohio Wesleyan University, the Eastern Music Festival, Kinhaven Music Camp and the Chamber Music Connection in Worthington, Ohio. In 2008, John was the recipient of the Ohio Private/Stu-dio Teacher of the Year award given by the Ohio String Teacher’s Association. His students have won competitions held by the International Society of Bassists, Columbus Symphony Orchestra,

Aspen Music Festival, Ohio String Teachers Association, Interlochen Arts Camp and the Philadelphia Orchestra, as well as positions in major American orchestras. John was born and raised in Warwick, RI, and owes much to his family of music educators/performers, private teachers, the public school music program in Warwick and to the Rhode Island Philharmonic Youth Orchestra program under the direction of Nedo Pandolfi.

Violin


Anton Miller made his Carnegie Hall concerto debut in 1992, and has appeared throughout the United States and abroad as a soloist, chamber musician, recitalist and pedagogue. He has performed over fifty violin concertos with a number of orchestras on four continents. His most recent solo release on Naxos features the Kurt Weill Concerto for Violin and Wind Ensemble. Anton is on the violin and chamber music faculty at the Hartt School; he previously has been on the faculty of the Oberlin Conservatory, Lawrence University, Swarthmore College, and New York University. He and his wife Rita Porfiris are the members of the critically acclaimed violin and viola ensemble, Miller-Porfiris Duo. Anton completed his Master of Music degree at The Juilliard School studying violin with renowned pedagogue Dorothy DeLay and chamber music with Felix Galimir and members

of the Juilliard Quartet. He received his Bachelor of Music Degree from Indiana University as a student of Franco Gulli.



Dr. Kristen Pellegrino is Associate Professor of Music at the University of Texas at San Antonio and has just been elected to become President of American String Teachers Association (ASTA). Her degrees are from the University of Michigan (Ph.D. in music education and M.M. in violin performance/ chamber music performance) and the Eastman School of Music (B.M. in music education and applied violin). Kristen was awarded ASTA’s String Researcher Award (2016) and AERA’s Out-standing Early Career Paper Award in Music Education (2014). In addition to 26 scholarly publi-cations (published or in press), Kristen is co-editor of the Oxford Handbook of Preservice Music Teacher Education in the United States. Kristen’s background in music education includes eight years of public school string teaching at the elementary and high school levels (seven of which

were in the Warwick Public Schools) and collegiate teaching experience, including Rhode Island College and colleges in Michigan and Virginia. Before teaching full-time, she was a full-time performing musician. Kristen graduated from Toll Gate High School in Warwick.

Amy Sims, a Los Angeles native, is a busy freelance Classical and Baroque violinist living in Boston. She col-laborates with musicians from the region in a wide range of genres from string quartets and in-timate Baroque chamber ensembles to large ensembles including Portland Symphony in Maine, where she is assistant concertmaster. She also performs with Boston Baroque, Boston Philhar-monic Orchestra, Boston Modern Orchestra Project (BMOP), Odyssey Opera, and Springfi eld Symphony Orchestra. In addition to her affi liations in New England, Amy is a recent recruit of Atlantic Classical Orchestra of the Treasure Coast region of Florida, where she commutes to serve as assistant concertmaster. Each August, Ms. Sims returns to the Peninsula Music Festi-val Orchestra in Door County, Wisconsin as assistant concertmaster. Before venturing to New

England, Amy was concertmaster of the Omaha Symphony from 2000-2010. With Bachelor and Master de-grees in Violin Performance from the University of Southern California Thornton School of Music with profes-sor Eudice Shapiro, Ms. Sims held the position of principal second violin of the Pacifi c Symphony Orchestra from 1994 to 2000 while performing and recording commissioned works with Southwest Chamber Music and studio recording for major motion picture soundtracks and television commercials.

Cami Sylvia was born and raised in Rhode Island, and began her studies at the age of ten. A recipient of the full-tuition Helen Forman Special Talents Scholarship, she received a Bachelor of Music Per-formance degree and a minor in Rhetoric and Writing from Rhode Island College. Additionally, Cami received both her Master of Music degree and Artist Diploma from SUNY Purchase Con-servatory, where she studied on scholarship under the tutelage of Deborah Buck. While at the Conservatory, Cami led the Purchase Symphony Orchestra on numerous occasions and served as principal second violin for the recording of The Crucible by Albany Records with the Pur-chase Opera and Symphony. She also won the 2017 Concerto Competition and had the opportu-nity to perform alongside members of Decoda, the fi rst Affi liate Ensemble of Carnegie Hall. As

a member of the Conservatory’s graduate string quartet, Cami participated in master classes with Ani Kavafi an, Kristin Lee, and Sean Lee of the Chamber Music Society of Lincoln Center; Phil Setzer of the Emerson Quartet; and members of the Kronos quartet. Cami is on faculty at Larchmont Music Academy in Larchmont, NY, and is delighted to be joining Music on the Hill this summer.

Violin cont.



Rita Porfiris has performed in major concert halls and music festivals across the globe as a chamber musician, orchestral musician, and soloist. Currently Associate Professor of Viola and Director of Chamber Music at The Hartt School, she has also been on the faculty of New York University, University of Houston Moores School of Music, Florida International University, and the Harlem School for the Arts in New York. She has given master classes, lectures and clinics worldwide. Ms. Por-fi ris is a member of the Hartt String Quartet and the Miller-Porfi ris Duo. She received Austria’s Prix Mercure, was a prize winner in the Fischoff Chamber Music Competition and the Primrose International Viola Competition, and a laureate of the Paolo Borciani International Quartet Com-petition. In her previous career as an orchestral musician, 15 years of which were spent with the

Houston Symphony, she worked under some of the most recognized conductors of the 20th and 21st centuries: Leonard Bernstein, Sergiu Celibidache, Kurt Masur, Michael Tilson Thomas, and Christoph Eschenbach. Ms. Porfi ris received her BM and MM in Viola Performance from The Juilliard School, studying with William Lincer. Other teachers and mentors included Paul Doktor, Norbert Brainin and Harvey Shapiro. www.ritaporfi ris.com


Viola

Liana Zaretsky is an active chamber and orchestral musician in the Boston area. She is the former principal second violinist of Portland (ME) Symphony and appears regularly with the Boston Symphony Orchestra and Boston Pops Esplanade Orchestra. An avid chamber musician, Ms. Zaretsky was one of the original members of the Radius Ensemble. She has collaborated with faculty from Longy School of Music and New England Conservatory, as well as with Boston Symphony mu-sicians to perform frequently. Ms. Zaretsky holds a Master’s degree in music from Northwestern University and a Graduate Diploma degree from the New England Conservatory. Between de-grees, she was a member of the New World Symphony, one of the rotating concertmasters, under Michael Tilson Thomas. Ms. Zaretsky is currently a string faculty member at the Rivers School

Conservatory and at the Preparatory and School of Continuing Education at the New England Conservatory. She continues to actively work with the Boston Youth Symphony, coaching chamber music and leading orchestra repertoire sectionals. In the summer, she has been a regular member of the Peninsula Music Festival in Wiscon-sin. This summer she will be running the summer classical program at the Rivers school, where she was recently appointed Artistic Director.

CelloTrevor Handy enjoys an active career in Los Angeles as principal cellist of the Santa Barbara Symphony Or-

chestra, member of the Los Angeles Chamber Orchestra, and studio musician in Hollywood. He also performs regularly with LA Opera, at festivals, on chamber music series, and teaches at Westmont College. Born and raised in Boston, he made his solo debut with the Boston Symphony Orchestra and attended The Juilliard School where he studied with Leonard Rose, Channing Robbins and Joel Krosnick. As a member of the Griffon String Quartet he won grand prize at the 1991 Fischoff National Chamber Music Competition. He has also previously been a member of the Columbus, Honolulu, Jacksonville, and New Haven Symphonies, played baroque cello for two years while in New York, and taught solfege at Juilliard Pre-College.



Elisa Kohanski enjoys a diverse performing career, as soloist, chamber musician and orchestral player, cham-pioning unique artistic collaborations. She has performed with the Miami String Quartet, Olivia Newton John, Robert Shaw, Gustavo Dudamel, Garrison Keillor, Phil Keaggy and Harry Connick, Jr., and in concert halls around the world including Carnegie Hall; Royal Albert Hall; Schlossfestspiele in Heidelberg; and Stefaniensaal in Graz, Austria. She is Principal Cellist of Pittsburgh Ballet Theatre and Wheeling Symphony, a member of Pittsburgh Opera, performs with Pittsburgh Symphony, and has played with River Oaks

Chamber Orchestra in Houston and Columbus Symphony. She is a founding member of Trio Nova Mundi and IonSound Project. Elisa can be heard on Trio Nova Mundi’s Canticum, IonSound’s CD by Jeremy Beck, and others including Giacinto Scelsi: Orchestral Works 1, and Daphne Alderson’s Joan of Arc and 16. She is adjunct faculty at Grove City College and in recent summers has taught and performed at festivals in Italy, Germany and this summer, Bosnia. She earned her Bachelor’s from Eastman School of Music and her Master’s from Carnegie Mellon. A native Rhode Islander, Ms. Kohanski has recently performed on an iceberg in the Arctic and visited her seventh continent, Antarctica, where she performed to an audience of people and penguins.

Bass John M. Pellegrino See Artistic Director

Voice

Keith Robinson is a founding member of the Miami String Quartet and has been active as a chamber musician, recitalist, and soloist since his graduation from the Curtis Institute of Music. His most recent recording, released on Blue Griffi n Records with pianist Donna Lee, features Mendelssohn’s complete works for cello and piano. As a member of the Miami String Quartet, he has recorded for the BMG, CRI, Musical Heritage Society, and Pyramid recording labels, was a member of the Chamber Music Society of Lincoln Center’s CMS Two Program, and won the Grand Prize at the Concert Artists Guild and Fischoff Chamber Music competitions, as well as prizes at the Evian and London competitions. Keith is a frequent performer at Music@Menlo, Santa Fe Chamber Music Festival, and Music from Angel Fire. He tours regularly with the Chamber Mu-

sic Society of Lincoln Center. Hailing from a musical family, his parents were both in the Houston Symphony. His sister Sharon is in the Kalichstien Laredo Robinson Trio and his brother Hal is the principal bass of the Philadelphia Orchestra. He plays a Carlo Tononi cello made in Venice and dated 1725.

Cello cont.

Diana McVey is an artist whose consummate skills as both singer and actress have made her highly visible in op-era, oratorio and as soloist with symphony orchestras. She is known for riveting and moving por-trayals of Countess Madeleine in Capriccio, Contessa in Le Nozze di Figaro and Lucia in Lucia Di Lammermoor. She has sung leading roles with Florentine Opera, Opera Theater of Pittsburgh, Opera Omaha, Opera Dubai, Opera Tampa, Opera Columbus, Lake George Opera Festival, Jack-sonville Lyric Opera, Treasure Coast Opera, Opera Naples, Light Opera Oklahoma, Ocean State Lyric Opera, Salt Marsh Opera Company, Boston Academy of Music, RI Philharmonic and Opera Providence. Recent engagements include Countess Madeleine in Capriccio with Opera Theater

of Pittsburgh, Adina in L’Elisir d’amore and Contessa in Le Nozze di Figaro with Florentine Opera, Vaughan Wil-liams’ Dona Nobis Pacem, Ein deutsches Requiem and La Bohème with Helena Symphony, Beethoven’s Missa Solemnis with Salisbury Singers, Contessa in Le Nozze di Figaro with Opera Idaho, Die Zauberflöte with Opera Omaha, productions of Carmen, La Bohème, La Traviata and Lucia di Lammermoor with Belleayre Music Fes-tival, Faure’s Requiem, Mozart’s Requiem, and Vivaldi’s Gloria at Carnegie Hall, Verdi’s Requiem with Helena Symphony, Elijah with Idaho Civic Symphony, and Vaughan Williams’s Dona Nobis Pacem with RI Civic Cho-rale & Orchestra.



Voice cont.Mary Phillips mezzo-soprano, was busy this season working for the Metropolitan Opera on four different op-

eras: Adès’ Exterminating Angel; Wagner’s Parsifal; Strauss’ Elektra and Massenet’s Cendril-lon. Mary’s recent operatic appearances include Larina in Tchaikovsky’s Eugene Onegin with Spoleto Festival, USA; Bragaene in Wagner’s Tristan und Isolde with Winnepeg Symphony and Dallas Opera; Third Maid in Strauss’s Elektra with Boston Symphony Orchestra; Jezibaba in Rusalka for Metropolitan Opera; and her acclaimed Eboli in Verdi’s Don Carlo for Vancouver Opera, Austin Lyric Opera, Canadian Opera and Sarasota Opera. Concert highlights include Handel’s Messiah with Teatro Massimo Bellini in Catania, Italy, New Jersey Symphony and

Gulbenkian Orchestra in Lisbon; Mahler’s Symphony No. 8 with New York Philharmonic; and Mahler’s Sym-phony No. 2 with Atlanta Symphony (recorded for Telarc), Los Angeles Philharmonic, Hong Kong Philhar-monic. Mary has sung solo alto numerous times in Beethoven’s Symphony No. 9. Recently, she and her sister, soprano Lori Phillips, performed a Russian duets recital with Russian Chamber Arts Society in Washington, D.C. and an American composers duet recital at Rhode Island College.

PianoBonnie Anderson is a performer and teacher in the Boston area. She especially loves playing chamber music,

collaborating with musicians from the Boston Symphony Orchestra, Orpheus Chamber Orches-tra, New York Philharmonic and Los Angeles Philharmonic. Highlights include Hindemith’s Trio for Saxophone, Viola and Piano with Branford Marsalis and Christof Huebner on the Nantucket Musical Arts Society Concert Series and Gershwin’s Rhapsody in Blue with the BSO Youth Concerts, Boston Pops, Springfi eld Symphony and Carlisle Chamber Orchestra. After her performance in Michigan, the Grand Rapids Press wrote, “Anderson’s gifts point to the poetic… the Brahms Sonata swept the listener away in ecstasy.” Bonnie is a member of the Orchestra of Indian Hill and is on the piano faculty at Phillips Academy. She has two record-

ings: solo piano music by Chopin, Debussy and Ravel; and a collaborative recording, Nightsongs, with Joseph Foley (trumpet, cornet, fl ugelhorn) on Summit Records. Bonnie attended the Juilliard School, Michigan State University, the French Piano Institute in Paris, and received her doctorate in piano performance from Boston University. Her primary teachers include Wha Kyung Byun, Russell Sherman, Deborah Moriarty and Martin Canin. This is Bonnie’s third season with Music on the Hill. www.bonnieandersonpiano.com

Jason Hardink is Principal Symphony Keyboard of the Utah Symphony. His performances include a wide-ranging repertoire of music by living composers and works of the historical canon. Recent per-formances include Olivier Messiaen’s monumental Vingt Regards sur l’Enfant-Jésus at Spec-trum NYC, the role of solo piano in Ives’ Fourth Symphony with the Utah Symphony, and the complete Liszt Transcendental Etudes paired with the Boulez Notations. Last summer he made his debut at the Cabrillo Festival of Contemporary Music as soloist in the North American premiere of Gerald Barry’s Piano Concerto with conductor Cristian Macelaru, and he recently performed Michael Hersch’s epic 2.5-hour solo piano cycle The Vanishing Pavilions in a Salt Lake City festival devoted to Hersch's music. Mr. Hardink has appeared as guest recitalist and

adjudicator for both the Gina Bachauer International Piano Competition and the Oberlin International Piano Competition. Hardink holds a DMA from Rice University, where he studied with Brian Connelly; his Doctoral thesis “Messiaen and Plainchant” explores the varying levels of infl uence that Gregorian chant exerted on the music of Olivier Messiaen. He is married to pianist Kimi Kawashima, and they are parents of twin boys, Luc and Derek.



Donna Lee made her solo debut in 1990 with the National Symphony Orchestra. She has since appeared as a soloist and collaborative artist at Kennedy Center’s Concert Hall and Terrace Theater in Wash-ington, DC and Lincoln Center’s Alice Tully Hall in New York City. She has also performed in Asia, Europe and throughout the US, with recent performances in Wuhan, China, Brno, Czech Republic and Maui, Hawaii. Donna Lee earned her doctorate from Peabody Conservatory of The Johns Hopkins University, her Masters from The Juilliard School, and her bachelor of music degree from the University of Maryland, College Park, where she studied with prominent artist-teachers Julian Martin, the late Rudolf Firkušný, and Thomas Schumacher, respectively. A highly sought-after teacher and clinician, she has had numerous prize-winning students. She has taught

at Peabody Conservatory, Bucknell University, and Interlochen Arts Camp in Michigan. Presently, Donna Lee is Professor of Music at Kent State University; during the summers, she is co-director of the Piano Institute at Kent State and artist-faculty at Kent Blossom Chamber Music in Ohio and Brevard Music Center in North Carolina. Donna Lee is a Steinway Artist.

Piano cont.

HarpsichordMichael Bahmann is equally at home on the fortepiano and the harpsichord, and occasionally performs on the

modern piano and the organ. His teachers include Karl Engel, Mack McCray on piano and John Gibbons on harpsichord. He holds degrees from Staatliche Hochschule fur Musik und Theater Hannover, San Francisco Conservatory and New England Conservatory. He is a founding mem-ber of Musicians of the Old Post Road with whom he has appeared at the Boston Early Music Festival, at early music festivals in Indianapolis, Regensburg and Mexico City and has recorded several CD’s. As a soloist or recitalist he performed at the festivals of Radio France, Koenigslut-ter, Aix-en Musique, Simiane la Rotonde, and for Chicago Symphony’s chamber concerts, Bay Chamber Concerts, and Museum Concerts of RI, and toured with the baroque orchestra Musica

Aeterna of Bratislava. In 2005 he was invited to direct Handel’s Orlando for the Festival de Antibes. As a long-standing member of Music of the Baroque of Chicago, he has recorded several concerti for harpsichord. He is artistic director of Musica Maris, a concert series dedicated to performing music from the 17th - 19th centuries on period instruments. He is music director and organist at United Congregational Church of Little Compton.

Peter Ferry has been called “the ingenious percussionist Peter Ferry,” (Chicago Sun-Times) and “an artist of vision... presenting percussion in a stunning thoughtful way” (Democrat and Chronicle). Peter Ferry is a young American percussion soloist re-imagining classical performances through innovative approaches to contemporary repertoire. Following his concerto debut at age 18, Ferry has championed the works of living composers, including Michael Daugh-erty who has praised Ferry as “one of the most promising and committed soloists of his generation.” Composer Elliot Cole created the multimedia percussion concerto The Future

is Bright for Ferry, which he premiered with ten ensembles around the country culminating at New York Univer-sity for its NYC premiere. A TEDx speaker, Ferry has collaborated with choreographer Nick Pupillo at Chicago’s Harris Theater and at the European Museum of Modern Glass where he was nominated for the Coburg Prize. An alumnus of the Eastman School of Music, Ferry graduated with the fi rst John Beck Percussion Scholarship, an Arts Leadership Program certifi cate, and the prestigious Performer’s Certifi cate recognizing “outstanding per-forming ability.”

Percussion



Anne Marie Gabriele joined Los Angeles Philharmonic in January 2000 as second oboist, a position she held in Columbus Symphony Orchestra from 1993 to 1999 and in Honolulu Symphony from 1990 to 1993. In addition to her duties in Columbus, she was Principal Oboist of Canton Symphony Orchestra (Ohio) from 1993 to 1999. A native of Rhode Island, Gabriele accredits her musical inspiration to an exceptionally strong public high school music program whose wind ensemble performed and competed internationally. At the Juilliard School in New York City, she earned Bachelor’s and Master’s degrees under the tutelage of John Ferrillo and Elaine Douvas of Met-ropolitan Opera Orchestra. Gabriele has participated in the Breckenridge, Aspen, Kent/Blossom,

and Waterloo festivals, as well as National Orchestra Institute. Recent solo appearances have included perfor-mances with Canton Symphony in 1996 and 1998. Since 2006, she has been Principal Oboist of Mozaic Festival in San Luis Obispo, California, and is a founding member of Music on the Hill in Rhode Island. She has served on the faculty of Colorado College Music Festival and is a guest teacher at The Colburn School and Indiana Uni-versity as well as an adjunct faculty member at New England Conservatory.

Anthony Trionfo is quickly establishing himself as a versatile leading musician of his generation. The Santa Barbara Voice hailed Anthony as “spellbinding, playing with expressive maturity and authorita-tive intellect.” Anthony was awarded First Prize in the 2016 Young Concert Artists International Auditions in New York. At 14, he performed with Las Vegas Philharmonic as a winner of their Young Artist Concerto Competition. Since then, he has gone on to perform concertos with the “President’s Own” United States Marine Band in Washington D.C., the Interlochen Arts Acad-emy Orchestra, and the Music Academy Festival Orchestra as the winner of their respective con-certo competitions. Most recently, Anthony performed Corigliano’s Pied Piper Fantasy with the Colburn Orchestra under the baton of Yehuda Gilad. He has appeared twice on NPR’s From the

Top alongside acclaimed pianist Christopher O’Riley. His 2017/2018 season includes debuts in New York and Washington D.C. as part of the Young Concert Artists Series. An active chamber musician, Anthony performed with Jacques-Yves Thibaudet in Poulenc’s Sonata for Flute and Piano in the Colburn Chamber Music Society Series. Anthony is currently in his fi rst year of graduate studies at the Colburn School where he studies with James Walker. Anthony Trionfo appears by arrangement with Young Concert Artisis, Inc. www.yca.org.


Daniel Gilbert joined the faculty at University of Michigan as Associate Professor of Clarinet in 2007. Previ-ously, he was Second Clarinet in the Cleveland Orchestra from 1995 to 2007. Mr. Gilbert is Prin-cipal Clarinet of CityMusic Cleveland. He is on the faculty of Case Western Reserve University and Cleveland Institute of Music preparatory and continuing education divisions. He serves as Principal Clarinet of Classical Tahoe Festival and Napa Music Festival and is on the faculty of Colorado College Summer Music Festival and Round Top Music Festival. A native of New York City, Mr. Gilbert received a Bachelor of Arts degree from Yale University and both a Master of Music degree and Professional Studies Certifi cate from The Juilliard School. Prior to joining

Cleveland Orchestra, Mr. Gilbert was an active freelancer in New York City with groups including Metropolitan Opera, American Ballet Theater, New Jersey Symphony, Solisti New York, Stamford Symphony and New Haven Symphony (principal clarinet 1992-1995). Mr. Gilbert is artist/clinician for Backun Clarinet and Vandoren. His concerts and master classes have received critical acclaim. Mr. Gilbert’s teachers have included: David Weber, Robert Marcellus, Richard Waller, Burt Hara and Judith Kalin-Freeman. Mr. Gilbert plays exclusively on Buffet and Vandoren products.

Flute

Oboe

Clarinet



French Horn

Robert Marlatt is currently principal horn with the Boston Ballet Orchestra, Pro Arte Chamber Orchestra, and the Bach, Beethoven, Brahms Society Orchestra, and a member of the Boston Philharmonic. Robert has performed as principal horn with the Portland Symphony, Rhode Island Philharmon-ic, Vermont Symphony, Opera Company of Boston, Boston Lyric Opera, Boston Landmarks Orchestra, and Symphony New Hampshire. He has also appeared with the Boston Symphony, Boston Pops, Springfi eld Symphony, New Hampshire Music Festival Orchestra, and numerous other ensembles throughout New England. An advocate of period instrument practice, Robert has performed as principal horn with Boston Baroque, the Handel and Haydn Society Orchestra, Ar-cadia Players, and appeared with Mercury Orchestra in Houston. He may be heard performing on

numerous recordings with Boston Baroque. Robert holds an MM from Northwestern University, and a BM from Ball State University. He was born and raised in Richmond, Indiana.

Michelle Reed Baker was born in Gulfport, Mississippi, and earned her Bachelor of Music from Moores School of Music at University of Houston and her Master of Music at The Juilliard School. Michelle was second horn of Metropolitan Opera Orchestra from 1990-2017, and a member of New Jer-sey Symphony Orchestra and a regular substitute with New York Philharmonic. Currently she freelances (Mostly Mozart Orchestra, Montclair Orchestra, ProMusica, San Diego Symphony), teaches at Manhattan School of Music, Montclair State University, Mannes College of Music, The Juilliard School, Texas Music Festival, Boston University, North Carolina School of the Arts, Western Michigan University, Kinhaven, New England Conservatory, California State

Long Beach and University of Delaware. The International Horn Society featured her in “Ask the Pros” in 2009. She appears at Round Top Music Festival in Texas, and has coached at Bowdoin International Music Festival in Maine and Verbier Festival in Switzerland. Michelle has performed with Michael Buble, Sting, James Taylor and Harry Connick, Jr., and can be heard on such soundtracks as The Good Shepherd, True Grit, Failure to Launch, Manchurian Candidate, Hail Caesar!, Moonrise Kingdom. Recordings include the Hindemith Sonata for Alto Horn with pianist David Korevaar on Kleos Classics. Michelle commissioned Imaginings, by Dorothy Gates.

Leslie Norton graduated from the Eastman School of Music and began her professional career as principal horn of the New Orleans Symphony at age 23. She has served as principal horn with the 13-time Grammy award winning Nashville Symphony since 1990. Norton is also an associate professor of horn at the Blair School of Music at Vanderbilt University, an affi liation she has enjoyed since 1989. Norton has taught at the University of Evansville, Western Kentucky Uni-versity, and the Eastern Music Festival. She has performed with the Rochester Philharmonic, the Atlanta Symphony, Grant Park Orchestra, OK Mozart Festival, Virginia Waterfront Festi-val, Music on the Hill, and the Skaneateles Festival. She is a founding member of Alias Cham-ber Ensemble, a group whose mission is to play great music to benefi t charitable organizations

throughout Nashville. This winter, Brad Warnaar’s Concerto for Horn and Orchestra was released on Naxos featuring Norton and the Nashville Symphony. Norton has released two chamber music CDs: This Road We’re On, a collection of commissioned works for her and husband, percussionist Chris Norton, and Horn Trios, which includes works by 21st-century American composers Liebermann, Schwarz, and Lansky.



TrumpetJoseph Foley, a native of Concord, New Hampshire, attended Boston University as a Trustee Scholar, where

he received his Bachelors and Masters of Music degrees. Mr. Foley is Principal Trumpet of the Rhode Island Philharmonic, the Portland Symphony, and the River Oaks Chamber Orchestra of Houston, TX. He has performed and toured with the Boston Symphony, the Boston Pops, the Metropolitan Opera, the Royal Ballet of London, and the New York Philharmonic. A founding member of the Atlantic Brass Quintet, he has performed with the Boston Symphony Brass Quin-tet, the Empire Brass, and at the Santa Fe, Buzzard’s Bay, and Newport Chamber Music Festivals. He has performed as soloist with the Boston Pops Orchestra, the River Oaks Chamber Orchestra, the Portland Symphony, the Rhode Island Philharmonic, the Juneau Symphony, and at Carnegie’s

Weill Recital Hall. He was soloist in the world premiere of the Trumpet Concerto by Harold Shapero. His CD with Bonnie Anderson, Nightsongs, has been met with critical acclaim. Professor of Trumpet at Rhode Island College, Mr. Foley has taught at Boston University, Boston Conservatory, and the New England Conservatory Preparatory School. He has presented master classes around the world, as a clinician for Vincent Bach.


Gino Villarreal is a native of Rio Grande City, Texas. He received a Bachelor of Music degree from Baylor Uni-versity in Waco, Texas. Prior to joining the US Coast Guard Band in October 2005, he served in the US Military Academy Band at West Point, New York. MUC Villarreal has been a member of the Storm King Brass at West Point, NY; the Imperial Brass in Woodbridge, NJ; the Newburg Symphony in Newburg, NY; and the Waco Symphony in Waco, TX. He has also performed with many different ensembles including The Jazz Knights at West Point, NY; the Symphony of South East Texas in Beaumont, TX; the Dallas Wind Symphony; the Richardson Symphony; the East Texas Symphony in Tyler, TX; and has been a featured soloist with the US Military Academy Band and The Imperial Brass Band. His teachers include Raul Sosa Ornelas, Barry Hopper, Tom

Booth, Wiff Rudd, Larry Black and Robert Sullivan.

Steve Vacchi has been professor of bassoon at the University of Oregon since 2000, where he also coordinates the chamber music program. He holds performance degrees from the Eastman School of Music, The Hartt School, and Louisiana State University, and also studied at the Yale School of Mu-sic. Formerly a faculty member at Wichita State University (KS) and the Brevard Music Center (NC), he was recently a faculty sabbatical replacement at Indiana University’s Jacobs School of Music. Vacchi has performed on 24 recordings ranging from the music of J.S. Bach to a recent work for bassoon and live electronics inspired by Swedish heavy metal band Meshuggah. He has performed in 25 countries throughout Europe, the Americas, Asia, and the Middle East. In

the U.S., Vacchi has performed with The Florida Orchestra, Santa Fe ProMusica, the Rhode Island, Tulsa, and Rochester Philharmonics, and the Saint Louis, New World, Baton Rouge, Colorado, Honolulu, Kansas City, Oregon, Sarasota, New Haven, and Wichita Symphony Orchestras. A member of the Oregon Bach Festival, Eugene Symphony Orchestra, Oregon Wind Quintet, Douglas Detrick’s AnyWhen Ensemble, and the Cabrillo Festival of Contemporary Music (CA), he has been a featured soloist in thirteen concertos. Vacchi also per-forms early music on historical bassoons with ensembles throughout the west coast.

Bassoon



Narragansett Brass Quintet Founded in 2003, the Narragansett Brass Quintet serves as the Faculty Brass Quintet at Rhode Island College. In addition to teaching at the college, the group has presented clinics and master classes at numerous schools throughout New England. With a repertoire spanning from Gabrieli to Gershwin, the group has entertained audi-ences with their virtuosity and engaging stage presence. Members of the group regularly perform with the top ensembles in the area.

TubaTom Gregory, a Rhode Island native, is an adjunct professor of tuba and elementary music theory at Rhode

Island College. He also teaches at Providence College and CCRI. Tom received his Bachelor’s degree from Boston Conservatory and his masters from Rhode Island College. While still an undergraduate he performed with the Bolshoi Ballet Orchestra in Boston. Tom served in the U.S. Navy music program performing on the tuba and electric bass. He performed for the 50th anniversary of D Day in Normandy. He has also performed with the Civic Orchestra of Chicago and Harry Connick, Jr. After leaving the Navy he became brass product manager for Boosey and Hawkes, USA. He was frequently asked to perform as soloist, adjudicator and give master classes. He has performed in 38 of the United States, England, France and Iceland.

TromboneAlexei Doohovskoy is an active New England area freelance trombonist and music educator. He is a member of

both the Rhode Island Philharmonic and the Orchestra of Indian Hill. He has performed with the Boston Symphony and Pops Orchestras, the Boston Lyric Opera, the Boston Ballet, the Boston Landmarks Orchestra, the Boston Modern Orchestra Project, the Springfi eld Symphony, and the Portland Symphony. As a chamber musician, he has toured nationally and internationally with the Empire Brass Quintet. Mr. Doohovskoy has earned fellowships from the New World Symphony in Florida, the Aspen Music Festival in Colorado, and the Norfolk Chamber Music Festival in Connecticut. He has been a featured soloist with the Northeast Pennsylvania Phil-

harmonic, the U.S. Air Force Band, the Sounds of Stow Festival Orchestra, the Lynn University Symphony, and the Brown University Wind Symphony. Mr. Doohovskoy currently serves on the faculties of Brown University and Rhode Island College. Since 2009, he has directed a unique summer trombone choir program in Concord, Massachusetts, combining the talents of players from around New England. Mr. Doohovskoy holds a Master of Music degree from New England Conservatory and a Bachelor of Arts degree from Brown University.

8230 Post RoadNorth Kingstown, RI 02852

Breakfast & Lunch

(401) 667-7272



Helping students turn their passion into great careers

OFFERING OVER 50 DEGREE PROGRAMS

401-467-7744

www.NEIT.edu

EAST GREENWICH, RI

O Th Hill i



ViolinGregory CardiAnton MillerDr. Kristen PellegrinoAmy Sims Cami Sylvia

ViolaRita Porfi risLiana Zaretsky

Cello Trevor Handy Elisa Kohanski Keith Robinson

BassJohn M. Pellegrino

PianoBonnie Anderson Jason HardinkDonna Lee

John M. Pellegrino, Ar-

Musicians 2018

Music on the Hill’s Mission The mission of Music on the Hill is to present an annual nationally

recognized concert series. This music festival brings home professional musicians and their friends who are eager to share their passion for

music with a community they love. Music on the Hill hopes to inspire future generations with exciting performances featuring chamber music and

innovative programming in both traditional and non-traditional settings.

Artistic Director John M. Pellegrino

Music on the Hill Board of DirectorsDiana AlmonteNick ButzigerDavid CapaldiAnne HolstLynda HorensteinVyra Imondi Craig Kohanski

Maria Kohanski Carol Pellegrino Gerard Pellegrino Marie PetrarcaRex TienLee Vincent

Officers - Music on the Hill President - Gerard PellegrinoVice President - Craig Kohanski Treasurer - Nick ButzigerRec. Sec. - Lynda HorensteinCorr. Sec. - Carol Pellegrino

VoiceDiana McVeyMary Phillips

Advisory Board Elisa Kohanski John Pellegrino Kristen Pellegrino Kate Tracey

HarpsichordMichael Bahmann Woodwinds

Anthony Trionfo, FluteAnne Marie Gabriele, OboeDaniel Gilbert, ClarinetSteve Vacchi, Bassoon

Narragansett Brass QuintetRobert Marlatt, French HornJoseph Foley, TrumpetGino Villarreal, TrumpetAlexei Doohovskoy, TromboneTom Gregory, Tuba

Emily Atkinson, Executive Director

PercussionPeter Ferry

BrassMichelle Reed Baker, French HornLeslie Norton, French HornJoseph Foley, Trumpet



2018 Festival Schedule Students with ID are admitted free

To Order Tickets

See Page 10www.MusicOnTheHillri.org

Wednesday June 6th Sonatas 7:00 pm Immaculate Conception Catholic Church 237 Garden Hills Drive, Cranston, RI Pg 26

Thursday June 7th Ocean State Composers 7:00 pm St. Gregory the Great Catholic Church 360 Cowesett Road, Warwick, RI Pg 30

Friday June 8th

Rich & Romantic 7:00 pm SS Rose and Clement Catholic Church 111 Long Street, Warwick, RI Pg 36

Sunday June 10th Lawn Concert Narragansett Brass Quintet

2:00 pm Clouds Hill Museum Pg 40 4157 Post Road, Warwick, RI

Tuesday June 5th Bach & Mozart

7:00 pm Immaculate Conception Catholic Church 237 Garden Hills Drive, Cranston, RI Pg 20

Saturday June 2nd Mendelssohn 7:00 pm Dunn’s Corners Community Church Pg 12 221 Post Road, Westerly, RI

Sunday June 3rd Brahms & More 7:00 pm St. Gregory the Great Catholic Church Pg 16

360 Cowesett Road, Warwick, RI

Bring chairs or blankets and maybe a picnic



2018 Festival Schedule Students with ID are admitted free

For more information & tickets go to:


Wednesday June 6th Sonatas 7:00 pm Immaculate Conception Catholic Church 237 Garden Hills Drive, Cranston, RI

Thursday June 7th Ocean State Composers 7:00 pm St. Gregory the Great Catholic Church 360 Cowesett Road, Warwick, RI

Friday June 8th

Rich & Romantic 7:00 pm SS Rose and Clement Catholic Church 111 Long Street, Warwick, RI

Sunday June 10th Lawn Concert Narragansett Brass Quintet

2:00 pm Clouds Hill Museum 4157 Post Road, Warwick, RI

Tuesday June 5th Bach & Mozart

7:00 pm Immaculate Conception Catholic Church 237 Garden Hills Drive, Cranston, RI

Sunday June 3rd Brahms & More 7:00 pm St. Gregory the Great Catholic Church

360 Cowesett Road, Warwick, RI

Bring chairs or blankets and maybe a picnic

Saturday June 2nd Mendelssohn 7:00 pm Dunn’s Corners Community Church

221 Post Road, Westerly, RI

2018 music on the hill pg 1 2016.pdf · 2018 music on the hill pg 1 table of contents artistic...

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