june 6-10, 2017 - stageview · artistry of the aeolus string quartet with an intimate performance...

Alejandro Hernandez-ValdezArtistic Director

JUNE 6-10, 2017

V I C T O R I A B A C H F E S T I V A L 1

MEXICO BELLOpg. 30

BACH AT NOON–ORGANpg. 23

FLAMENCO SYMPHONYpg. 29

Calendar of Events | 2-3

History of the Festival | 5

Meet the Artistic Director | 9

Contributors | 10-11

Tuesday, June 6, noon: New Young Artists | 13-15

Tuesday, June 6, evening: Aeolus Quartet | 16-18

Wednesday, June 7, noon: Bach at Noon–Cantatas | 19-20

Wednesday, June 7, evening: Light Moving | 21-22

Thursday, June 8, noon: Bach at Noon–Organ | 23-24

Thursday, June 8, evening: Fanfares for Victoria | 25-26

Friday, June 9, noon: Bach at Noon–Cantatas | 27-28

Friday, June 9, evening: Flamenco Symphony | 29

Saturday, June 10, evening: Mexico Bello | 30-32

About the Artists | 35-41

Festival Staff | 43

Acknowledgements and Thanks | 45

ARTISTIC DIRECTORAlejandro Hernandez-Valdez

EXECUTIVE DIRECTORNina M. Di Leo

EMERGING ARTISTS COORDINATORFaith DeBow

BOARD OF DIRECTORS

OFFICERSMary Ann Sawyers, PresidentTim Hornback, Vice PresidentDr. Margaret Rice, SecretaryGary Childress, Treasurer

BOARD MEMBERSSallye AllenCarolina AstrainBill BlanchardDoris BoydClay CainPaula CoblerDavid FaskasJohn GriffinVanessa Hicks-CallawayDr. Michael HummelGlenn HunterPhyllis KellerSuzanne LaBrecqueLinda PattersonJohn QuittaEileen StewartDolly StokesJoanna SwiftTommy TaylorRonald WalkerPhilip WelderGay Wickham

ADVISORY BOARDJohn B. BiermanJohn E. “Buddy” BillupsWilbur CollinsDr. Marylynn FletcherDr. Walter E. HerbstJoe A. HewellLynn KnauppM. Russell MarshallNeldene MatusevichCatherine McHaneyDavid P. McLarryJanet S. MillerMary Sue Koontz NelsonDr. Anne WagnerDr. Will WagnerTony Yarbrough

S E A S O N S P O N S O R S

L E A D S P O N S O R S

Albert E. and Myrtle Gunn York Trust

Cloyd and Ethel Lee Tracy Foundation

VICTORIA BACH FESTIVAL ASSOCIATIONPO Box 1086 • Victoria, TX 77902 • 361-570-5788

www.victoriabachfestival.org • info@ victoriabachfestival.org

V I C T O R I A B A C H F E S T I V A L2

It is a distinct honor to serve as President of the Board of an organization that for forty-two years has brought together creative

artists and passionate listeners for an extraordinary week of music.

When you spend time at the Victoria Bach Festival as an artist, volunteer, or audience member, you come to understand that there truly is something very special about this week. The collaboration and creativity, the friendships and fellowship, are what make the Victoria Bach Festival an event unlike any other. Marked by extraordinary music, celebrations, and parties, the Festival is a reunion we look forward to all year long. It’s the people that make this Festival special, and I am glad to count you among them.

I am proud of our exceptional team at VBF that includes our dedicated Board of Directors and Executive Director, and committed staff and volunteers. Their collective efforts enable us to attract and inspire artists and drive the Festival forward. I want to thank all our Past Presidents, Advisory Board members, and of course the businesses, individuals, and foundations that support this wonderful week of music.

This year, we are so excited to welcome our new Artistic Director, Alejandro Hernandez-Valdez. His background in choral and orchestral conducting shows a deep sensitivity and a commitment to artistic excellence. He has been thoughtful in programming beautiful cantata and organ concerts that bring us back to the music of our Festival namesake, J.S. Bach, while also offering music by contemporary composers that shows us how alive and exciting classical music is today.

I welcome you all, from near and far, to experience the wonderful performances that Alejandro and our VBF musicians have prepared for the 2017 Victoria Bach Festival.

Mary Ann SawyersPresident, Victoria Bach Festival Board of Directors

PRESIDENT’S MESSAGE

TUESDAY, JUNE 6 WEDNESDAY, JUNE 7

AEOLUS QUARTET LIGHT MOVING

EMERGING ARTISTSFaith DeBow leads the 2017 Emerging Artists, harpist Emily Klein and tenor trombonist Dillon MacIntyre.

First United Methodist Church 407 N. Bridge Street

NOONFREE ADMISSION

BACH AT NOON: CANTATASAlejandro Hernandez-Valdez leads the VBF Choir and Baroque Chamber Orchestra in Bach’s timeless, profoundly beautiful cantatas.

First Presbyterian Church 2408 N. Navarro Street

NOONFREE ADMISSION

Violinists Nicholas Tavani and Rachel Shapiro, violist Gregory Luce, and cellist Alan Richardson in the intimate, historic setting of Our Lady of Loreto Chapel in Goliad. “A rich and warm tone combined with precise ensemble playing…and an impressive musical intelligence.” –Cleveland Plain Dealer

Presidio La Bahía 217 US-183, Goliad

7:30 pm$50 sec. A$30 sec. B

An examination of the creative partner-ships between composers now and then: Philip Glass, Steve Reich and David Lang; and Clara & Robert Schumann and Johannes Brahms. Featuring pianist Michelle Schumann, violinist Christabel Lin, violist Korine Fujiwara, and cellist Greg Sauer.

Trinity Episcopal Church1501 N. Glass Street

7:30 pm$40 sec. A$25 sec. B$20 sec. C

BACHFEST BREAKFASTViolinist Corinne Stillwell and cellist Greg Sauer.

Liberty Coffee Haus 206 N. Liberty Street

9:00 amFREE ADMISSION

BACHFEST BREAKFASTViolinist Susan Doering, cellist Dieter Wulfhorst, and pianist Faith DeBow.



FOR ADDITIONAL INFORMATION ON PERFORMERS, VENUES, AND CONCERTS, GO TO WWW.VICTORIABACHFESTIVAL.ORG.

JUST FOR KIDSEMERGING ARTISTS

Thursday, June 8 – 10:30 amVictoria Public Library

302 N. Main Street

Thursday, June 8 – 1:30 pmChildren’s Discovery Museum

1205 Sam Houston Drive

BIG BANG RHYTHM PARTYSaturday, June 10 – 1:00 pm

Victoria Public Library302 N. Main Street

Paul PolasekMayor, City of Victoria

WELCOME TO VICTORIA!

The City of Victoria is pleased to be a season sponsor of the 42nd annual Victoria Bach Festival. While you are here enjoying this fabulous music, I encourage you to explore our vibrant community’s history, museums, attractions, restaurants, and merchants.


In the summer of 2016, I was invited to conduct a couple of concerts at the

Victoria Bach Festival. I had been told that Victoria was a special place and that VBF was a truly unique festival, but never did I imagine this would be true to the degree I experienced it. The warmth, openness, and true love for what goes on during this week of music is inspirational.

This summer, VBF will prominently feature the breathtaking music of J. S. Bach in three afternoon concerts: two performances by the VBF Choir and Baroque Ensemble and one performance by New York City-based organist Renée Anne Louprette. In addition, we will feature the artistry of the Aeolus String Quartet with an intimate performance at the exquisite Presido La Bahía. Michelle Schumann will present a highly original program juxtaposing music by friends from past and present, and the Flamenco Symphony will bring a lively outdoor program to DeLeon Plaza. The Emerging Artists (previously known as the New Young Artists) and Bachfest Breakfast series at Liberty Coffee House will continue to delight listeners with performances in a relaxed atmosphere.

Finally, our two exciting orchestra concerts are not to be missed: “Fanfares for Victoria,” a program highlighting soloistic virtuosity, and “Mexico Bello,” a joyous musical fiesta presenting Mexico in its three most important historical facets: Pre-Columbian Mexico, Colonized Mexico, and Mestizo Mexico.

As performers, audiences, staff, and Board members come together to enjoy the fruits of a year of preparation, let us reflect on the Victoria Bach Festival’s fleeting nature. In only 5 days, over 20 fabulous performances in a variety of settings involving a multitude of artists, composers, and compositions will fill South Texas. People come from different parts of the country with the sole purpose of nourishing their spirits via one of the most mystical, magical, rewarding, and inspiring phenomena in the human experience: live music. I’m glad that you are among them.

We warmly invite you to come to each of our concerts and be a part of this unique celebration.

Alejandro Hernandez-ValdezArtistic Director

ARTISTIC DIRECTOR’S MESSAGE

THURSDAY, JUNE 8 FRIDAY, JUNE 9

SATURDAY, JUNE 10

FANFARES FOR VICTORIA FLAMENCO SYMPHONY MEXICO BELLO

BACH AT NOON: ORGANSoothing and thrilling at once, the transcendent organ works of J.S. Bach are some of his finest compositions. Performed by Renée Anne Louprette.

First United Methodist Church 407 N. Bridge Street

NOONFREE ADMISSION

BIG BANGJoin us for a rhythm party! Victoria Bach Festival percussionists lead a drum workshop for participants of all ages who want to get into the groove.

Victoria Public Library 302 N. Main Street

NOONFREE ADMISSION

BACH AT NOON: CANTATASJ.S. Bach’s expressive cantatas capture an astonishing range of musical styles. Stephen Redfield and Gesa Kordes perform Bach’s double violin concerto.

First Presbyterian Church 2408 N. Navarro Street

NOONFREE ADMISSION

Alejandro Hernandez-Valdez conducts the VBF Chamber Orchestra in a lively evening of celebratory works by Aaron Copland, Alberto Ginastera, Joan Tower, and Leonard Bernstein. Featuring clarinetist Vanguel Tangarov.

Leo J. Welder Center214 N. Main Street

7:30 pm$40 sec. A$25 sec. B$20 sec. C

A celebration of Mexican composers, featuring vibrant works by José Pablo Moncayo, Silvestre Revueltas, Carlos Chávez, and Arturo Márquez. U.S. premiere performance of Mariachitlán by Juan Pablo Contreras. Alejandro Hernandez-Valdez conducts the Victoria Bach Festival Orchestra.

Victoria Fine Arts Center1002 Sam Houston Drive

7:30 pm$40 sec. A$30 sec. B$25 sec. C

Led by guitarist and songwriter David Massey, Flamenco Symphony combines nuevo and traditional flamen-co with world music and classical elements, with influences from rhumba to rock.

DeLeon PlazaMain and Forrest Streets

7:30 pmFREE

ADMISSION

BACHFEST BREAKFASTViolinist Sonja Larson and cellist Nora Karakousoglou.



BACHFEST BREAKFASTViolist Korine Fujiwara and violinist Christabel Lin.



FOR ADDITIONAL INFORMATION ON PERFORMERS, VENUES, AND CONCERTS, GO TO WWW.VICTORIABACHFESTIVAL.ORG.

Start your mornings with music Tuesday through Friday at the BACHFEST BREAKFAST series. Enjoy performances by VBF musicians with your coffee and pastries at Liberty Coffee Haus.


HISTORY OF THE VICTORIA BACH FESTIVAL

The Victoria Bach Festival aims to inspire and educate musicians and audiences of all ages and backgrounds

through high-quality and diverse orchestral, choral, and chamber music performances. The first Festival was presented in 1976 in Victoria, Texas, under the direction of Dr. David Urness with the sponsorship of the University of Houston-Victoria. Artistic Director Alejandro Herandez-Valdez prorgrams orchestral, choral, and chamber music

performances by local and nationally acclaimed artists in various venues in Victoria and South Texas. Recent seasons included performances of Bernstein’s Chichester Psalms, Bach’s Magnificat and Bach’s St. Matthew Passion. Free concerts and children’s programming are an integral part of Festival events and reflect a commitment to outreach and the development of new audiences for the arts.

1976-1988David UrnessFounder

1989-1991Blanton Alspaugh

1992-2015Craig Hella Johnson

2016Michelle Schumann

CurrentAlejandro Hernandez-Valdez

1977: Neldene Matusevich1978-1980: Jim Miller1981: Ross Stevens1982: Phil North1983: Jim Miller1984: Sally Olsen1985-1986: Don Welton1987: Ed Reiff, Jr.1988-1989: Lynn Knaupp1990: Shirley Williamson1991-1992: Dorothy L. Welton1993: Ann V. Herbst

1994: Dennis Passmore1995-1996: John W. Griffin, Jr.1997: Janet S. Miller1998-2000: John W. Griffin, Jr.2001-2002: Donald H. Eastham2003-2004: Dorothy L. Welton2005-2006: James W. DeBolt2007-2008: John Quitta2009-2010: John W. Griffin, Jr.2011-2013: Dr. Michael Hummel2014-2015: Paula CoblerCurrent: Mary Ann Sawyers

ARTISTIC DIRECTORS

PRESIDENTS OF THE BOARD OF DIRECTORS


VICTORIABACH FESTIVALand STAGEVIEW

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Hailed by The Washington Post as a conductor “with the incisive clarity of someone born to the

idiom,” Dr. Alejandro Hernandez-Valdez is an acclaimed choral and orchestral conductor, solo and chamber pianist, composer, and arranger.

Dr. Hernandez-Valdez began his tenure as Artistic Director of the Victoria Bach Festival in September 2016, replacing Grammy award-winning conductor and composer Craig Hella Johnson, who led the Festival as Artistic Director from 1992 to 2015.

As Artistic Director, Co-Founder, and Conductor of the New Orchestra of Washington, he has collaborated with international artists such as J. Reilly Lewis, Arturo Márquez, Dana Lyn, Rahel Rilling, Sara Rilling, Duo Alturas, Akemi Takayama, Ryo Yanagitani, Linda Mabbs, Soichi Muraji, Izumi Kamata, Tim Park, and others, and has premiered works by Andrés Levell, Javier Farias, Joel Friedman, Dana Lyn, John Mackey, and Julian Wachner.

Since August 2015, Dr. Hernandez-Valdez has been Director of Music at the historic Unitarian Church of All Souls in Manhattan where he also serves as Artistic Director of Musica Viva. Founded in 1819, the Unitarian Church of All Souls is the most influential Unitarian Universalist congregation in the United States. Musica Viva is a professional choral ensemble founded in 1977 with a long tradition of top-caliber performances, innovative programing, and a strong dedication to the commissioning of new works. Previously, Dr.

Hernandez-Valdez served as Director of Music at Westmoreland Congregational, UCC in Bethesda, Maryland, where he led a dynamic and widely respected music program.

In 2011, Choral Cantigas honored Dr. Hernandez-Valdez, alongside Septime Weber, Artistic Director of The Washington Ballet, and Placido Domingo, with the first-ever “Award for Talent” in celebration of the ensemble’s twentieth anniversary. To mark this occasion, the Mayor of Washington, D.C. proclaimed April 28th as “Latinos in the Arts Day”.

As a pianist, harpsichordist, and organist, Dr. Hernandez-Valdez has played under the baton of conductors David Zinman, Sir Neville Mariner, John Williams, Valery Gergiev, Christoph Eschenbach, Helmuth Rilling, Rafael Frübeck de Burgos, Robert Spano, James Conlon, Julius Rudel, James DePriest, Jeffery Kahane, Michael Stern, Murray Sidlin, James Ross, Robert Shafer, J. Reilly Lewis, Simon Halsey, and Norman Scribner.

In 2013, Dr. Hernandez-Valdez appeared twice at Trinity Wall Street in New York City during the Britten100 worldwide celebration, which was organized by the Britten-Pears Foundation in honor of the 100th

anniversary of the composer’s birth. With the New Orchestra of Washington he recently recorded Gustav Mahler’s Fourth Symphony (released in 2015). In December of 2014 he composed and premiered “The Imaginary City,” a cantata for soloists, choir, and orchestra inspired by the life of Ramzi Aburedwan, a violist who has opened music schools through Palestine to teach music to underprivileged children.

Dr. Hernandez-Valdez’s profile has recently been included in a book by the Mexican Ministry of Foreign Affairs entitled El mundo en las manos/Creadores mexicanos en el extranjero (The World in Their Hands/Creative Mexicans Abroad), which features successful Mexican nationals residing in diverse parts of the world who are leading figures in diverse artistic fields, including music.

Dr. Hernandez-Valdez was presented with the Shenandoah Conservatory Alumni of Excellence Award for 2016, which is bestowed to alumni who have made exceptional contributions to their profession, attained a national level of prominence within their fields, and demonstrated exceptional integrity.

ARTISTIC DIRECTOR ALEJANDRO HERNANDEZ-VALDEZ


SEASON SPONSORSAlbert E. and Myrtle Gunn York TrustCity of VictoriaO’Connor & Hewitt FoundationTexas Commission on the Arts

STARJanet S. MillerVictoria AdvocateVictoria Television Group

CONDUCTOR’S CIRCLEAlice & Gary ChildressCloyde & Ethel Lee Tracy Foundation Dodie GriffinJohn Griffin & Lynn KnauppKeller & AssociatesThomas M. O’ConnorPatricia & Timothy PulliamKay & Ron Walker

PROGRAM SPONSORSAmerican BankPat & Bill BlanchardFran & Larry Collmann Cole, Easley, Sciba & WilliamsDr. Gary & Mary CoxCrossroads Title CompanyCullen, Carsner, Seerden & CullenRhea & Fred FryH-E-BTim Hornback & Bob McKnightBarbara & Jay LackShelby & James MillerPatterson Well ServiceProsperity BankDr. Margaret & Gene RiceStewart TitleTDECU MortgageTrustTexas BankUniversity of Houston-VictoriaAnne & Will WagnerDonna & Roger WelderWells Fargo Foundation

BENEFACTORSteve & Mary Cay BarkerDeTar System Board of TrusteesNina & Jeffrey Di LeoBetty Jo & Donald ElderLester & Burdine GiesePenni GietzDr. Suzanne & Larry LaBrecqueJaney & Melvin LackStephen & LaJuana RothMary Ann & Richard SawyersDon & Mona SmithThe VanderVoort Family FundPhilip WelderAllison & Don WhitakerWendall Wheeler Wilson

PATRONSallye Allen & Forrest DenisonMarguerite DeBolt Piano StudioDiamond FiberglassDavid FaskasJacquie & Richard FritzCora Jo & Michael HummelRobert & Trish KarliTwyla KelloggMr. & Mrs. Robert R. MartinKay & Jim McHaneyMorgan Dunn O’ConnorDr. Robert W. & Helen ShookSouth Texas Eye CenterMitzi & James StewartDolly & Jim StokesJoanna & Charlie SwiftMark Zafereo

SUSTAINER Linda & Will ArmstrongCarolina AstrainBruce & Vicki BauknightJohn & Beryl BiermanAnn & A.C. BrownBette-Jo BuhlerPaula & Chris CoblerDrs. Wendy & Harold Crater

Don & Amy EasthamKathleen & David EdwardsRose & George ElmerExxon/MobilDr. Marylynn Fletcher & Mr. O.C. Garza Jacqueline Marie FlynnJim & Virginia FurnessElizabeth GreesonMr. Gary Hall & Mrs. Eileen StewartJennifer & Robert HoustonBuddy & Jerra LeeBill & Paula LeskeMary & Richard LoganMargaret LysterJeanie MayneMary Carroll McCanCarol & David McLarrySara H. & Kevin MeinhartJohn Moraida & Joe BaughDr. Vic & Mrs. Mary Jane MorganMary Sue Koontz NelsonSusan & Bob OakleyDrs. Miguel Ormazabal & Maria RamosJames & Wanda SneddonSkip SockellCdr. & Mrs. W.E. Southern, USN Ret.Spring & Tommy TaylorTenna & Chris ThompsonCarole WallaceClyde & Mary Kay WalrodDavid WatsonMrs. Virginia WelderMelita ZafereoDoris & Robert Zumwalt

FRIENDMartha BernhardtDoris & David BoydDr. Ruth ConstantJim & Esther FordVanessa Hicks-CallawayDaphne & Peder McHattieVicki & Peter McNallyDeronda & William RobertsGeorgia Roberts

CONTRIBUTORS

The Festival is made possible through the generosity of the individuals, businesses, foundations and government agencies who donated to the annual fund and supported events throughout the year. The following list includes cash and in-kind gifts received between June 2016 and May 2017. To all of you, our heartfelt thanks!

2016 Conspirare Christmas SponsorsTexas Commission on the ArtsKeating Family FoundationDeTar Healthcare SystemsUniversity of Houston-Victoria

Alice & Gary ChildressJohn Griffin & Lynn KnauppPhyllis & Lane KellerAggie & John Quitta

Mary Ann & Richard SawyersDrs. Anne & Will WagnerKay & Ron Walker


TURQUOISEAtzenhoffer Auto GroupJewel & Bill Buchanan /

Tammy & David MurphyDeTar Healthcare SystemThe O’Connor & Hewitt FoundationUniversity of Houston-Victoria

DENIMAlice & Gary ChildressFordyce HoldingsJohn Griffin & Lynn KnauppGary Hall & Eileen StewartCora Jo & Michael HummelKeller & AssociatesMelvin & Janey LackLinda PattersonMary Ann & Richard SawyersVictoria AdvocateVictoria Television GroupKay & Ron Walker

TWO-STEP Armstrong Warehouse & Transfer Co.Marsha & Joe BlandJan & Bobby JacobKelly Garrett Kucera, Attorney at LawMary Sue & Tom NelsonAggie & John QuittaMargaret & Gene RiceBarbara & Steve SamplesRayba & Dennis SchrollerJim & Dolly StokesProsperity BankAnn & Will Wagner

COMPOSER CIRCLEAlice and Gary ChildressLynn Knaupp and John Griffin

ORCHESTRA CIRCLEThe Victoria Advocate

IN MEMORY OF LEONARD GIETZ Mary Ann & Richard Sawyers

IN MEMORY OF DOROTHY ALCORN Nina & Jeffrey Di Leo

CONTRIBUTORS

ENSURING THE VICTORIA BACH FESTIVAL LEGACY

ENDOWMENT TRUST DONATIONS

MEMORIALS

Generous contributors to the Victoria Bach Festival Endowment Trust are building a permanent financial foundation for the Victoria Bach Festival. Revenue generated by the Trust helps assure the artistic excellence and financial viability of the Bach Festival.

Donations in memory of or in honor of special people can be made to the Victoria Bach Festival Endowment Trust, PO Box 1086, Victoria, Texas 77902. Donors may establish a Named Endowment in honor of or in memory of a loved one. For information about Named Endowments, contact the Bach Festival office at (361) 570-5788.

The Victoria Bach Festival Endowment Trust is a 501(c)(3) nonprofit corporation under the Internal Revenue Code.

Turquoise & Two-Step Fundraiser Sponsors

13

Prelude from Partita in G major, BWV 829 Johann Sebastian Bach (1685-1750) Arr. Henriette Renié

Emily Klein, harp

Sicilienne from Flute Sonata in G minor, BWV 1031 Johann Sebastian Bach

Dillon MacIntyre, tromboneEmily Klein, harp

Impromptu in C-sharp minor, Op. 28 No. 3 Hugo Reinhold (1854-1935) Arr. Elizabeth Hainen

Emily Klein, harp

Ballade Eugène Bozza (1905-1991)

Dillon MacIntyre, tromboneFaith DeBow, piano

Quietude, from Five Preludes Carlos Salzedo (1885-1961)

Emily Klein, harp

Pièce en forme de Habanera Maurice Ravel (1875-1937)


Morning Walk Norman Bolter (b. 1955)


Danses Claude Debussyi. Danse Sacrée (1862-1918)ii. Danse Profane

Emily Klein, harpFaith DeBow, piano

Trombone Concerto Henri Tomasiiii. Tambourin (1901-1971)


The Swan from Carnival of the Animals Camille Saint-Saens (1835-1921)


Tuesday, June 6, 2017, at noonFirst United Methodist Church

407 N. Bridge Street

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2017EMERGING ARTISTS

IN CONCERT

PROGRAM SPONSORAmerican Bank

V I C T O R I A B A C H F E S T I V A L


Houston-based harpist Emily Klein is in her third season as Principal Harpist with Opera in the Heights (Houston,

Texas) and previously held the Principal Harp chair with the Orchestra of the Southern Finger Lakes (Corning, New York).

As an active freelance musician she has performed with the Houston, San Antonio and Baton Rouge Symphony Orchestras, Chamber Orchestra of San Antonio, and the Houston Grand Opera for their production of Das Rheingold. Competition credits include first-place in the Senior Division of the 2012 TexASTA Solo Competition, and first place in the 2010 Mildred Milligan Harp Competition.

Ms. Klein has performed in venues such as Carnegie Hall, the Kimmel Center, Jones Hall, and the Villa Mazzotti in Brescia, Italy. She has participated in prestigious summer festivals such as the National Orchestral Institute, Bowdoin International Music Festival, Round Top Festival Institute, Texas Music Festival, Castleton Festival, Chautauqua Music Festival, and Interlochen Arts Camp among others.

An advocate for community engagement, Ms. Klein implemented the Holocaust Music Project with the sponsorship of the Da Camera of Houston Young Artist Program. Ms. Klein performs as a founding member of inFLUX, a flute and harp duo that acts as a catalyst for social change through music.

Ms. Klein obtained her Bachelor and Master of Music degrees from the Shepherd School of Music at Rice

University where she was a student of Paula Page, former Houston Symphony Principal Harpist. Ms. Klein enjoys teaching the harp at the High School for the Performing and Visual Arts and the American Festival of the Arts Summer Music Conservatory in addition to her diverse performance schedule.

For more information about the artist, go to www.emilykleinharp.com.

EMILY KLEIN, HARP

A native of Dallas, Texas, Dillon MacIntyre began playing the trombone at 11 years old. He continued his music

studies through high school and on to The University of Texas at Austin, where he received his bachelor’s degree in trombone performance. During his senior year, he studied abroad at the Royal Academy of Music in Aarhus, Denmark, and was able to travel and learn from musicians throughout Europe.

Dillon is currently pursuing his master’s degree at Northwestern University in Evanston, Illinois. His primary teachers include Michael Mulcahy, Douglas Wright, Timothy Higgins, Randall Hawes, Christopher Davis, Dr. Nathaniel Brickens, Niels-Ole Bo Johansen, Charles Villarrubia, and Dr. Noel Wallace.

Dillon has received first prize in the American Trombone Workshop’s solo and quartet competitions. He has also been awarded first prize for the Southeast Trombone Symposium’s Orchestral Excerpt Competition and has been a finalist for the International Trombone Festival, TCU Trombone Summit, Big 12 Trombone Conference, and the prestigious Steven Zellmer Competition. This July, Dillon

will be performing with the Northwestern University Trombone Choir at the 2017 International Trombone Festival in California.

DILLON Mac INTYRE, TROMBONE


Pianist and Emerging Artist Coordinator Faith DeBow enjoys a vibrant performance and teaching career based

in the Central Texas region. She joined the music faculty at Texas State University in 2001, where she teaches class piano and accompanying, and is a staff accompanist at Trinity University. She has been the pianist for choral ensemble Conspirare since 2005, and often plays orchestral keyboard with the Austin Symphony Orchestra.

Faith has had the privilege of performing in over a dozen states and eight countries, including Iceland, France, and Denmark. She has recorded for Harmonia Mundi and PBS with Conspirare, and for Albany Records with tuba player Tim Buzbee. Faith enjoys bringing new music to life, and has worked with many composers. She holds a master’s degree in accompanying and chamber music from the Eastman School of Music, where she studied under the Brooks Smith Fellowship, and a bachelor’s degree in piano performance from Butler University.

EMERGING ARTIST COORDINATOR

The Emerging Artists program (formerly the New Young Artists program) began in 1992 and has featured 56 of the nation’s most promising young musicians. Past performers include:

1992: Jana Holzmeier, David Blackburn

1993: Melissa Marse, Oliver Worthington

1994: Stella Keidann Hastings, Richard Gabrillo

1995: Jill Bates, Garrett Maddox, João Lourenço

1996: Nina Keidann Revering, David Dillard

1997: Hanan Alattar, Todd Keister

1998: Diane Schoff, Carr Hornbuckle

1999: Matthew Oltman, Annie Su

2000: Keith Gipson, Jennifer Needham, John Markert

2001: Amy Cowan, Mela (Sara Jane) Dailey, Douglas Harvey

2002: Jenifer Thyssen, Jorge Iván Gonzalez

2003: Stephanie Moore, J.D. Burnett

2004: Kathleen Ritch Brown, David Farwig

2005: Paul Max Tipton, Mark Dupere, Ivan Treviño

2006: Jessica Anastasio, Dann Coakwell, Lauren Snouffer

2007: Kathrine Schmidt, Jonathon Subia

2008: Taylor Baggot, Joey Kantor

2009: Catherine Clarke, Seth Lafler

2010: Erin English, Thales Smith

2011: Dashon Burton, Nicole Greenidge, Hilary Janysek

2012: Estelí Gomez, Laura Miller

2013: Jennifer Berg, Jane Leggiero

2014: Erin Calata, Patrick Kilbride

2015: Reese Farnell, Brian Giebler

2016: Katya Gruzglina, Chloë Schaaf

EMERGING ARTIST PROGRAM


String Quartet No. 3, “Mishima” Philip Glassi. 1957: Award Montage (b. 1937)ii. November 25: Ichigayaiii. 1934: Grandmother and Kimitakeiv. 1962: Body Buildingv. Blood Oath

vi. Mishima/Closing

String Quartet, Op. 11 Samuel Barberi. Molto allegro e appassionato (1910–1981)ii. Molto adagioiii. Molto allegro

I N T E R M I S S I O N

String Quartet No. 2, Op. 13 Felix Mendelssohni. Adagio – Allegro vivace (1809–1847)ii. Adagio non lento iii. Intermezzo. Allegretto con moto – Allegro di molto iv. Presto – Adagio non lento

Nicholas Tavani, violinRachel Shapiro, violinGregory Luce, viola

Alan Richardson, violoncello

Tuesday Evening, June 6, 2017, at 7:30Our Lady of Loreto Church

Presidio La Bahía217 US-183, Goliad

AEOLUSQUARTET

PROGRAM SPONSORSDr. Gary & Mary Cox

Kay & Ron WalkerAl ice & Gary Chi ldress

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Form and expression are intrinsically linked in the pieces on tonight’s program, which share a cyclical approach to

structure and a passionate lyricism that make for an intense listening experience.

The controversial and deeply poetic Japanese writer Yukio Mishima was the subject of the 1985 film Mishima: A Life in Four Chapters by Paul Schrader. Schrader depicts Mishima’s turbulent life by juxtaposing black-and-white archival footage, adaptations of Mishima novels shot in color, and a narrative of the day the novelist committed hara-kiri – ritual Japanese suicide – after a failed coup d’etat.

Philip Glass’s String Quartet No.3 (Mishima String Quartet) originally was written as parts of the film score. The quartet’s six movements correspond to events from Mishima’s life as depicted in the film. Glass’s cyclic, rhythmic music ranges from pensive and introspective in the first and second movements to aggressive and dramatic in the third, fourth, and fifth. The final movement begins quietly and features a lush violin line tinged with deep sadness.

Samuel Barber’s String Quartet was written in Rome in 1936 when the composer was 26 years old. Barber struggled with the final movement for a number of years, finally composing a conclusion that extracts parts of the first movement. This gives the quartet a unique form, with the monumental adagio rising out of two similar molto allegro movements.

The long, luscious lines of the emotional adagio movement are perhaps most familiar from the string orchestra version arranged for Arturo Toscanini. The adagio’s transcendent blend of hope, beauty, and sorrow has been used at ceremonies commemorating tragic events such as the funerals of Albert Einstein and Franklin Delano Roosevelt, and the memorial ceremony following the September 11, 2001 attack on the World Trade Center.

Eighteen-year-old Felix Mendelssohn composed his lyrical, intensely passionate second string quartet in 1827. Op. 13 makes several references to Beethoven’s late quartets, which Mendelssohn had been studying. The theme is based on a tender love song the young composer had written some months before, which he titled “Frage” (“Question”). The song’s lyrics read:

Is it true that over there in the leafy path by the grape arbor you always wait and ask the moonlight and the little stars about me? Is it true? Speak! What I feel can only be understood by someone who feels it with me, and who will stay forever true.

The song’s “Ist es wahr?” (“Is it true?”) phrase becomes a crucial motif in the quartet, binding the movements together. Like the final movement of Barber’s quartet, Mendelssohn’s finale quotes the previous movements and eventually circles back to the beginning theme in a “cyclical” structure. The haunting violin cadenza in the final movement conveys a deeply Romantic theme of love and yearning.

CYCLES FOR STRINGS


Praised by the Baltimore Sun for combining “smoothly meshed technique with a sense of spontaneity and

discovery,” the Aeolus Quartet is committed to presenting time-seasoned masterworks and new cutting-edge works to widely diverse audiences with equal freshness, dedication, and fervor. Violinists Nicholas Tavani and Rachel Shapiro, violist Gregory Luce, and cellist Alan Richardson formed the Aeolus Quartet in 2008 at the Cleveland Institute of Music. They were the 2013-2015 Graduate Resident String Quartet at the Juilliard School, and they currently make their home in New York City.

The Aeolus Quartet is the Grand Prizewinner of the 2011 Plowman Chamber Music Competition and 2011 Chamber Music Yellow Springs Competition. The 16th Annual Austin Critics’ Table named the Aeolus Quartet its 2010-2011 “Best Ensemble.” The Aeolus Quartet has released two critically acclaimed albums of classical and contemporary works through the Longhorn/Naxos label which are available on iTunes, Amazon, and major retailers worldwide.

The Quartet has performed across North America, Europe, and Asia in venues such as Alice Tully Hall at Lincoln Center, Weill Recital Hall at Carnegie Hall, Reinberger Recital Hall at Severance Hall, Merkin Hall, The Library of Congress, Renwick Gallery, St. Martin-in-the-Fields, and the Shanghai Oriental Arts Center.

Dedicated to bringing music into the community, the Aeolus Quartet has been widely recognized for its highly innovative and engaging outreach programs. For the 2015-2016 season, the Quartet was the recipient of a CMA Residency Partnership Grant. Named the 2015-2016 Guarneri Quartet Residency in recognition of Aeolus’ artistic achievement, the project involved extensive outreach and performance at Duke Ellington School for the Arts, the Sitar Arts Center, and George Washington University. The Fischoff National Chamber Music Association awarded the Aeolus their 2013 Educator Award in acknowledgment of the positive impact their educational efforts have had in diverse communities. Additionally, the quartet was awarded the 2012 Lad Prize which culminated in large-scale community engagement work, performing in the Stanford area, and a masterclass residency at Stanford University. The Aeolus Quartet has also served as teaching faculty at Stanford University’s Education Program for Gifted Youth (EPGY), the Austin Chamber Music Workshop, and Da Camera of Houston’s Music Encounters Program. Working in collaboration with the University of Texas through the Rural Chamber Music Outreach Initiative, the Quartet has presented educational programs and performances in communities throughout the state of Texas.

The Aeolus Quartet has collaborated with many leading artists, including Renee Fleming, Ida Kavafian, Joel Krosnick, and Paul Neubauer. The members studied extensively with the Juilliard, Guarneri, St. Lawrence, and Miró Quartets. Other mentors include artists such as William Preucil, Peter Salaff, Donald Weilerstein, Itzhak Perlman, Gerhard Schulz, and Mark Steinberg. Members of the Quartet hold degrees from the Juilliard School, Peabody Conservatory, the Cleveland Institute of Music, the University of Maryland, and the University of Texas at Austin, where they served as Graduate String Quartet-in-Residence.

The Quartet’s 2016-17 season includes multiple performances in New York – including Merkin Hall, an ongoing Bargemusic residency, and the Bulgarian consulate – residencies at Massachusetts Institute of Technology, Tulsa Chamber Music, and Texas Performing Arts, and extensive touring throughout the United States. In addition, the Quartet is partnering with the Chamber Music Society of Detroit and NYU’s MUSED Lab to create an entirely new app-based educational music residency experience for schools.

Aeolus is the ensemble in residence at Musica Viva of NY on the Upper East Side. Thanks to the generosity of the Five Partners Foundation and Ruth Trampler, the four members play on a set of instruments by famed Brooklyn luthier Samuel Zygmuntowicz. The Quartet is named for the Greek god Aeolus, who governed the four winds. This idea of a single spirit uniting four individual forces serves as an inspiration to the members of the Aeolus Quartet as they pursue their art.

AEOLUS QUARTET

19

Der Herr Denket an uns, BWV 196 Johann Sebastian Bach i. Sinfonia (1685–1750)ii. Coro: Der Herr denket an uns und segnet unsiii. Aria: Er segnet, die den Herrn fürchteniv. Duetto: Der Herr segne euchv. Coro: Ihr seid die Gesegneten des Herrn

Orchestral Suite No. 2, BWV 1067 Johann Sebastian Bachi. Ouverture ii. Rondeau iii. Sarabande iv. Bourrées I & II v. Polonaise & Double

vi. Menuett vii. Badinerie

Christ Lag in Todesbanden, BWV 4 Johann Sebastian Bachi. Sinfonia ii. Verse I: Christ lag in Todes Banden iii. Verse II: Den Tod niemand zwingen kunnt iv. Verse III: Jesus Christus, Gottes Sohn v. Verse IV: Es war ein wunderlicher Krieg

vi. Verse V: Hier ist das rechte Osterlamm vii. Verse VI: So feiern wir das hohe Fest viii. Verse VII: Wir essen und leben wohl

Victoria Bach Festival Baroque EnsembleVictoria Bach Festival Choir

Alejandro Hernandez-Valdez, conductor

Wednesday afternoon, June 7, 2017, at noonFirst Presbyterian Church2408 N. Navarro Street

BACH AT NOON:

CANTATAS

PROGRAM SPONSORSDrs. Margaret & Gene Rice

Dr. Fred & Rhea FryCole, Easley, Sciba & Wil l iams

Wel ls Fargo Foundat ion

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V I C T O R I A B A C H F E S T I V A L


Stephen Redfield, concertmaster and leader

Joan Carlson, violinBruce Colson, violin

Boel Gidholm, violinGesa Kordes, vioinSuzanna Giordano-Gignac, violaMelissa Brewer, viola

Christopher Haritatos, violoncelloMelanie Punter, violoneMarcus McGuff, Baroque fluteKeith Womer, harpsichord

VICTORIA BACH FESTIVAL BAROQUE ENSEMBLE

SOPRANOStefanie MooreHeidi KleinKathryn RadakovichMeredith Ruduski

ALTOKatrina Burggraf-KledasCatherine HedbergLaura Mercado-WrightStephanie Reyes

TENORSteven BrennfleckAlex BumpasRobbie LaBancaSteven Soph

BASSCameron BeauchampBradford GleimJohn ProftThann Scoggin

VICTORIA BACH FESTIVAL CHOIR

While many credit the 19th century as the era of revolutionary musical innovations, Baroque composers created vital

genres like the concerto, the cantata, and the suite that were still in use when Beethoven began re-envisioning the symphony. “Derr Herr denket,” one of Bach’s early cantatas, is a good example of the first years of sacred cantatas. The piece is short and orchestration is spare, composed solely of string orchestra and basso continuo, the traditional Baroque accompaniment of keyboard and bass line.

The opening sinfonia features the characteristic French style of martial “long-short” rhythmic patterns before setting Psalm 115:12-15. Each chorus is fugal, with vocal lines joyfully racing after one another. The soprano aria promotes equality, celebrating how all people are blessed through faith, an idea sustained in the gracious duet for tenor and bass introducing the final chorus.

Bach’s orchestral suite is a perfect example of the standard Baroque genre that presenting a set of dances opening with an overture. Unlike other orchestral genres, suite composers can choose the types, number, and order of dances at their own discretion. Bach selects standards among slow (sarabande), moderate (minuet), and fast (bourée) dances, adding the less common polonaise and badinerie.

“Christ lag in Todesbanden” is a Protestant work founded in medieval Catholicism. One of Bach’s most beloved cantatas, the chorale tune appears in each of the cantata’s seven verses. However, part of the melody and text of stanzas four and five come from the 11th century Easter chant “Victimae paschali laudes [Let us praise the Easter victim].” Martin Luther expanded this text with a plethora of scriptural references from First Corinthians, Romans, Isaiah, Revelations and Exodus.

Bach treats the chorale tune as chant, bringing it forward one phrase at a time, its slower rhythms surrounded by more active material. Tracing this poignant melody throughout the cantata is one of the musical joys of this work. And listen for the variety he uses to elaborate “Hallelujah” which, like the chorale melody, appears in every movement.

Bach’s opening sinfonia employs the chorale tune, which normally only makes its first appearance in a cantata’s first chorus. The first chorus is fugal while the soprano section’s chorale notes soar above, ending in a celestial, repeated “Hallelujah,” a musical characteristic from the Medieval period when repetition signaled the importance of a particular idea and the appearance of the word in different registers represented omnipotence.

The soprano and alto duet with cello obbligato alternates “Tod [death],” bemoaning the sinfulness of humankind that led to the need for salvation. Immediately a tenor follows, singing the chorale tune with a jubilant violin obbligato he joins on “Hallelujah.” Extending syllables through additional notes was a Medieval gesture of praise.

The fourth verse quartet moves the chorale tune to the alto line, after which the bass elaborates the tune representing the stance of heroic faith in the presence of death. The lowest bass note appears on “Tode [death],” a bleak warning after which the soprano and tenor celebrate the banishment of sin with childlike joy with skipping dance rhythms, playing hide and seek between phrases. Finally, ending the cantata and the program, the chorus proclaims Bach’s faith through his glorious music.

–Dr. Yvonne KendallFor information on the artists, see pages 35-41.

BAROQUE INNOVATIONS: THE CANTATA AND THE SUITE

21V I C T O R I A B A C H F E S T I V A L

Romance Op. 22, No. 3 Clara Schumann (1819-1896)

Piece in Folk Style, Op. 102, No. 2 Robert Schumann (1810-1856)

Piano Quartet No. 1 in G Minor, Op. 25 Johannes Brahms i. Allegro (1833-1897)ii. Intermezzo: Allegro ma non troppo iii. Andante con moto iv. Rondo alla Zingarese


Double Concerto for Violin and Cello: Duet No. 1 Philip Glass (b. 1937)

Light Moving for Violin and Piano David Lang (b. 1957)

Double Concerto for Violin and Cello: Duet No. 3 Philip Glass

Cello Counterpoint Steve Reich (b. 1936)


Morning Passages from “The Hours” Philip Glass


Christabel Lin, violinKorine Fujiwara, viola

Gregory Sauer, violoncelloMichelle Schumann, piano

LIGHTMOVING

PROGRAM SPONSORSThomas M. O’ConnorJames & Shelby Mil ler

Wednesday Evening, June 7, 2017, at 7:30Trinity Episcopal Church

1501 N. Glass Street

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Robert and Clara Schumann and Johannes Brahms were a trio of friends, all pianists and composers. Robert and

Clara had fought a legal battle for permission to marry, since her father Leopold Wieck opposed the union. According to legend, Brahms carried a torch for Clara throughout his life, never marrying. All three composers wrote romances, lyrical one-movement works exuding the passionate ideals of the 19th century. Clara’s 1853 romance was one of three performed before King George V, who praised the opus enthusiastically.

Robert Schumann wrote his Five Pieces in Folk Style in 1849. While not literally based on a folk song, the second piece is shaped by a simple melody and a pastoral sweetness that is reminiscent of folk music. Clara Schumann found the Five Pieces delightful: “These are pieces in folk style with such a freshness and originality that I was enchanted.”

Brahms wrote his ambitious Piano Quartet No. 1 in G minor in 1861, when he was 28 years old. The second movement contains private symbolism referring to his love for Clara Schumann: the main theme is a haunting play on Robert Schumann’s “Clara motif” (a descending fifth pattern, for the five letters of her name). The Piano Quartet is heavily influenced by Hungarian folk music. Brahms’ ringing piano textures evoke the sound of the cimbalom, or Hungarian hammered dulcimer. The final rondo “alla Zingarese” (“in the gypsy style”) is a virtuosic showpiece, letting loose in the unbridled rhythmic and dynamic bravado of traditional Hungarian dances. Arnold Schoenberg was fond of this quartet, and developed an arrangement for full orchestra.

Friends and struggling young composers Philip Glass and Steve Reich went into business together in New York City in the late 1960’s. As Pulitzer Prize-winning composer David Lang tells the story, the Chelsea Light Moving Company failed miserably and quickly closed, but the company name inspired Lang’s gentle tribute to early Minimalism on tonight’s program.

Lang, a “post-minimalist,” is deemed an American master for his experiments in childlike simplicity and fairy tales, such as his passion based on the Hans Christian Andersen tale “The Little Match Girl.” His magical Light Moving features a pulsing violin line floating like a cloud above delicate, twinkling notes on the piano.

Glass and Reich are characterized as minimalists, composers who favor trance-like repetition of short, interlocking phrases. Glass specializes in large forms while Reich has focused on chamber music. A noted part of Reich’s oeuvre is a series of works for solo instruments and pre-recorded sounds. Reich’s jazzy New York Counterpoint for clarinet and recordings was performed by Richard Stoltzman at the 2014 Victoria Bach Festival. Likewise, Cello Counterpoint pulses with the energy of eight additional cellists in pre-recorded parts.

Philip Glass’s unusual 2010 double concerto on this program expands the form’s traditional three movements to seven, adding four duets that alternate with the three more traditional sections accompanied by the orchestra. All four duets show the Argentinian influence of Astor Piazzola’s nuevo tango. The lines of Duet 2 pursue one another with languid melancholy, while Glass enriches the double stops of Duet 3 with signature repetitive arpeggios, the broken chords similar to Bach preludes for keyboard. Duet 4 sways like a sultry two-part invention set to tango rhythms.

This program is a living example of the benefits of cultivating inspiring friends. As the Mexican saying goes: Dime con quién andas, y te diré quién eres (“Tell me who you spend time with and I’ll tell you who you are”). The time these great composers spent with fellow composers served to enhance their lives and work.

–Dr. Yvonne Kendall

For information about the artists, see pages 35-38.

Hailed for her “sensitive, flexible, and tempestuous dexterity,” (Fanfare Magazine) pianist Michelle Schumann has built a reputation for evocative and moving performances that are infused with unique energy and zeal. Schumann’s programs feature meticulously integrated selections of classic and contemporary repertoire producing performances that are “smart, irresistible, and utterly

captivating.” (Austin-American Statesman)

A fixture in Austin’s music scene, pianist Schumann is Artistic Director of the Austin Chamber Music Center, where she has won awards from the Austin Critics Table for Best Chamber Music Performance, Best Instrumentalist, and Best Body of Work/Season. She was named among the Top 5 Leaders

in the Arts in the Austin Under Forty Awards and received first prize in the 2006 Janice Hodges Competition.

Schumann has performed internationally at festivals in Turkey, Slovenia, Spain, England, Scotland, France, Austria, Germany, and Canada; and nationally at festivals in Fayetteville, Tanglewood, Round Top, Long Beach, the Massachusetts Museum of Modern Art, Victoria, and Keystone. She serves as Professor of Piano and Artist-in-Residence at the University of Mary Hardin-Baylor where she is the founder and Artistic Director of the Hillman Visiting Artists Series. She holds a Doctorate from the UT Butler School of Music and a Performers Certificate from the Vienna Conservatory.

Schumann served as Chamber Music Director for the Victoria Bach Festival from 2008 to 2015 was Interim Artistic Director for the 2016 season.

THE BENEFITS OF FRIENDS AND FAMILY

MICHELLE SCHUMANN, PIANO


The dramatic opening flourishes of Bach’s Toccata in D minor are instantly recognizable. After a tense pause, a low, threatening pedal growl is decorated by intricate arpeggios running up and down the keyboard. This flamboyant composition consists of intense mood shifts and tempo changes that leave an impression of grandeur. The Toccata in D minor was composed sometime before 1708, when Bach was younger than 20 years old. It was not published in his lifetime, and the lack of an original score has led some scholars to challenge the attribution to Bach.

Bach’s Pastorella, BWV 590, incorporates elements from the dance suite and Christmas pastorale. The four movements evoke elements of the nativity scene: rustic recorders and bagpipes played by shepherds in the fields, a lullaby, and rejoicing angels.

Schafe können sicher weiden (“Sheep May Safely Graze”) was originally written for orchestra in 1713 as part of a secular cantata to honor the birthday of Duke Christian of Saxe-Weissenfels. It is one of Bach’s most popular melodies, and has had numerous arrangements.

The piece has a pastoral theme and the lyrics to the original cantata (“Sheep may graze safely where a good shepherd watches”) can be interpreted as a depiction of the duke’s relationship to his people.

Bach’s sacred cantata Wachet Auf, ruft uns die Stimme (“Wake, awake, a voice is calling”), BWV 140 was written in 1731 while he was in Leipzig. He later transcribed the tenor solo of the fourth movement for organ. The violins’ line from the cantata is played by the right hand in the transcription while the left hand plays the tenor solo and the pedals take over the continuo’s bass line.

The Prelude and Fugue in E-flat Major are the opening and closing pieces of the third part of Bach’s Clavier- Übung, or collection of keyboard practices. This volume consists of “various Preludes on the Catechism and other Hymns for the Organ,” and represents Bach’s most extensive work for the instrument. The prelude begins majestically with three contrasting motives, which have been interpreted to represent the holy trinity.

Toccata in D minor, BWV 565 Johann Sebastian Bach (1685-1750)Pastorella in F major, BWV 590

i. Pastoraleii. Allemandeiii. Ariaiv. Giga

Schafe können sicher weiden Arranged for organ by(“Sheep May Safely Graze”), from Cantata 208 André Isoir (1935-2016)

Wachet auf, ruft uns die Stimme (“Wake, awake, a voice is calling”), BWV 645

Prelude and Fugue in E-flat Major, BWV 552

Renée Anne Louprette, organ

Thursday Afternoon, June 8, 2017, at noonFirst United Methodist Church

407 N. Bridge StreetVisser-Rowland Pipe Organ

GREAT ORGAN WORKS OFJ.S. BACH

PROGRAM SPONSORTrustTexas Bank

BACH’S GREAT ORGAN WORKS

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Hailed by The New York Times as “splendid,” and “one of New York’s f inest organists,” Renée Anne

Louprette has established an international career as organ recitalist, accompanist, conductor, and teacher. She has performed with the Mostly Mozart Festival Orchestra, Voices of Ascension, Clarion Music Society, American Symphony Orchestra, The Dessoff Choirs, New York Choral Society, Oratorio Society of New York, and Piffaro. In New York City she has appeared in Carnegie, Zankel, Avery Fisher, Alice Tully and Merkin Halls, and Miller Theatre of Columbia University. In February 2015, she collaborated with the Los Angeles Dance Project in a performance at Verizon Hall of the Kimmel Center in Philadelphia. She has performed throughout the United Kingdom and Ireland, including Westminster Abbey and the Temple Church in London, St. Giles Cathedral Edinburgh and Dunblane Cathedral (Scotland), Galway Cathedral and Dún Laoghaire (Ireland). Additional European festival appearances include Magadino, Switzerland; In Tempore Organi, Italy; Ghent and Hasselt, Belgium; Copenhagen and Aarhus, Denmark; and Toulouse Les Orgues, France. She appeared as organ soloist with the Queensland Symphony Orchestra in Brisbane, Australia, in a performance of Saint-Saëns’ Organ Symphony broadcast live on ABC radio. She regularly performs at regional conventions of the American Guild of Organists and has been featured at two national conventions: the 2010 Convention in Washington, D.C., and the 2014 Convention in Boston where she presented the world premiere of Pamela Decker’s Faneuil Hall. Her recording of the “Great Eighteen Chorales” of J. S. Bach on the Metzler Organ in the chapel of Trinity College, Cambridge, England (Acis #58180) was named a classical music Critics’ Choice 2014 by The New York Times.

Ms. Louprette’s 2015-16 season included solo recitals at Woolsey Hall of Yale University, Washington National Cathedral, the Church of St. Ignatius Loyola and Queens College in New York City, Arizona State University, Pacific Lutheran University, and performances with the Mostly Mozart Festival Orchestra at Lincoln Center with violinist Joshua Bell and conductor Louis Langrée.

Renée Anne Louprette is University Organist and Coordinator of the Organ Department at Mason Gross School of the Arts, Rutgers University, and a former member of the organ faculty at the Manhattan School of Music, The Hartt School of the University of Hartford, and the John J. Cali School of Music at Montclair State University.

She was appointed Associate Director of Music and Organist of the Unitarian Church of All Souls in New York City in 2015. She has previously served as Director of Music at the Church of Notre Dame, Organist, Associate Director of Music and the Arts at Trinity Wall Street, and Associate Director of Music at the Church of St. Ignatius Loyola, all in New York City.

Ms. Louprette holds a Bachelor of Music degree summa cum laude in piano performance and a Graduate Professional Diploma in organ performance from The Hartt School, University of Hartford. She was awarded a Premier Prix - mention très bien from the Conservatoire National de Région de Toulouse, France and a Diplôme Supérieur in organ performance from the Centre d’Études Supérieures de Musique et de Danse de Toulouse, studying with Michel Bouvard and Jan Willem Jansen and improvisation with Philippe Lefebvre. She completed additional studies with Dame Gillian Weir, James David Christie, and Guy Bovet.

Renée Anne Louprette is represented in North America exclusively by Phillip Truckenbrod Concert Artists, LLC.

RENÉE ANNE LOUPRETTE, ORGAN


Quiet City Suite Aaron Copland (1900–1990)

Ron Ledbetter, trumpet Ian Davidson, English horn

Fanfare for the Common Man Aaron Copland

Variaciones Concertantes, Op. 23 Alberto Ginasterai. Theme for Cello and Harp (1916–1983)ii. Interlude for Stringsiii. Cheerful Variation for Fluteiv. Variation in the manner of a Scherzo for Clarinetv. Dramatic Variation for Viola

vi. Canonic Variation for Oboe and Bassoonvii. Rhythmic Variation for Trumpet and Tromboneviii. Variation in the manner of a Moto Perpetuo for Violinix. Pastoral Variation for Hornx. Interlude for Windsxi. Repeat of the Theme for Double Bassxii. Final Variation in the manner of a Rondo for Orchestra


Fanfare for the Uncommon Woman No. 1 Joan Tower (b. 1938)

Clarinet Concerto Aaron Coplandi. Slowly and expressively ii. Cadenza (freely)iii. Rather fast

Fanfare for the Uncommon Woman No. 2 Joan Tower

Prelude, Fugue, and Riffs Leonard Bernstein (1918–1990) arr. Lukas Foss

Vanguel Tangarov, clarinetVictoria Bach Festival Chamber Orchestra


Thursday Evening, June 8, 2017, at 7:30Leo J. Welder Center214 N. Main Street

FANFARES FOR

VICTORIA

PROGRAM SPONSORSPat & Bi l l B lanchard T im Hornback & Bob McKnight

Donna & Roger Welder Cul len, Carsner, Seerden & Cul len

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VIOLIN ICorinne Stillwell, concertmaster Juan JaramilloSonja LarsonNicholas Tavani

VIOLIN IIRachel Shapiro, principalSusan DoeringAnna Luce

VIOLA Bruce Williams, principalMichalis KoutsoupidesGregory Luce

VIOLONCELLODouglas Harvey, principalAlan Richardson

DOUBLE BASSAndrew Potter, principalJoseph Ferris

FLUTEAdah Toland Jones, principalRita Linard

OBOEIan Davidson

CLARINETVanguel Tangarov, principalMary Schani

BASSOONNathan Koch, principal

FRENCH HORNTom Hale, principalAnn-Marie CherryLauren PiccionePeter Rubins

TRUMPETRon Ledbetter, principalRobert CannonKeith Winking

TROMBONENathaniel Brickens, principalPhilip ArnoOwen Homayoun

TUBAMatthew Hightower

TIMPANISherry Rubins

PERCUSSIONThomas Burritt, principalGraeme FrancisNicholas Stange

HARPElaine Barber

PIANOGlenn Hunter

VICTORIA BACH FESTIVAL CHAMBER ORCHESTRA

In the lead-up to World War II, the swinging jazz of Count Basie and Duke Ellington flooded American radio waves with

optimism while classical music stormed with European gravitas. As the conflict ended, however, wartime horrors brought on disillusionment. Artists turned to fantasy and “magical realism,” dissolving barriers between reality and fantasy and between popular and classical art forms.

In the 1940s, Aaron Copland’s music responded to this world of shifting realities and mixed genres. His incidental music for Irwin Shaw’s play Quiet City enhances the story of a wealthy CEO who has vaulted beyond his working-class background but envies the artistic freedom of his wayward brother, a jazz trumpeter.

At one point in the play, a trumpet sounds in Central Park. The playwright describes the trumpet as “muted” and “infinitely far, like a slight wind. restless, dying” that “suddenly sweeps up, mocking now, mischievous, erratic.” Although the play found no audience on Broadway, Copland’s music survived. The composer expanded the original orchestration for Quiet City from a jazzy quartet (trumpet, clarinet, saxophone, piano) to chamber orchestra.

Legendary jazzman Benny Goodman commissioned the Clarinet Concerto from Copland in 1947. The concerto is in two movements, in slow-fast order, tied together by a virtuosic cadenza. The first movement is dreamlike, with open orchestration and lyrical passages reminiscent of Appalachian Spring. The cadenza hints at the style of Leonard Bernstein. The second movement shows influences from Latin American music as well as jazz. Copland was teaching in Rio de Janeiro at the time, and incorporated a Brazilian popular tune into the movement’s texture. The instrumentation of the piece is notable in that Copland generates a jazzy swing without the benefit of percussion or brass. While the jazz in the concerto is not improvised, it showcases the virtuosity possible on the instrument.

Copland penned Fanfare for the Common Man in 1942. The work became iconic for both the composer and his country. Its thunderous percussion supports brass with wide intervals, evoking the clash of skyscraper construction and railroad ties.

In 1986, Joan Tower composed the first of six parts of Fanfare for an Uncommon Woman, playfully riffing on Copland’s piece. She dedicates the fanfares to “women who take risks…who are adventurous.” Her first fanfare was commissioned by the Houston Symphony and dedicated to conductor Marin Alsop. The second fanfare was commissioned by Absolut Vodka and dedicated to Joan Briccetti, then artistic manager for the St. Louis Symphony.

Alberto Ginastera spoke out against the national upheaval in his native Argentina during the Perón term. By 1953, due to his protests against government excesses, he had been removed from his position at the country’s major conservatory. He returned to scoring films and composing commissions, including Variaciones Concertantes commissioned by the Asociación Amigos de la Música of Buenos Aires. These variations spotlight instruments within the orchestra and fuse national pride with magical realism.

Throughout the seven variations and two interludes, the “malambo,” a competitive male dance with roots in 16th-century Spain, recurs as a leitmotif. Performed by gauchos stamping their heeled boots and twirling the weighted ropes (bolas) used to wrangle cattle, the malambo features energetic rhythms that grab our attention in the mischievous clarinet variation, the short duet featuring trumpet and trombone, and the final variation for full orchestra.

Leonard Bernstein was also part of the movement to merge the two streams of classical music and jazz into a “third stream.” From its very title, “Prelude, Fugue, and Riffs” proclaims its Third Stream ideals. Initially commissioned by jazz great Woody Herman, it was premiered by, and later rededicated to, Benny Goodman. This instance of “composed jazz” was originally scored for solo clarinet and standard jazz band, but in the 1950s, composer Lukas Foss transcribed it for clarinet and chamber orchestra.

The unique musical blends found by composers on this program create magical worlds of fantasy and fanfare.

–Dr. Yvonne KendallFor information on the artists, see pages 35-38.

FANTASY AND FANFARE: FUSING MUSICAL STYLES


Schau, lieber Gott, BWV 153 Johann Sebastian Bachi. Chorale: Schau, lieber Gott, wie meine Feind (1685 – 1750)ii. Recitative (alto): Mein liebster Gott,

ach laß dichs doch erbarmeniii. Arioso (bass): Fürchte dich nichtiv. Recitative (tenor): Du sprichst zwar, lieber Gottv. Chorale: Und ob gleich alle Teufel

vi. Aria (tenor): Stürmt nur, stürmt, ihr Trübsalswettervii. Recitative (bass): Getrost! Mein Herzviii. Aria (alto): Soll ich meinen Lebenslaufix. Chorale: Drum will ich, weil ich lebe noch

Double Violin Concerto in D minor, BWV 1043 Johann Sebastian Bachi. Vivace ii. Largo, ma non tanto iii. Allegro

Stephen Redfield & Gesa Kordes, violin

Jesu meine Freude, BWV 227 Johann Sebastian Bach i. Chorale: Jesu, meine Freude ii. Es ist nun nichtsiii. Chorale: nter deinem Schirmen iv. Denn das Gesetzv. Trotz dem alten Drachen

vi. Ihr aber seid nicht fleischlichvii. Weg mit allen Schätzenviii. So aber Christus in euch istix. Gute Nacht, o Wesenx. So nun der Geistxi. Chorale: Weicht, ihr Trauergeister

Victoria Bach Festival Baroque EnsembleVictoria Bach Festival Choir


Friday afternoon, June 9, 2017, at noonFirst Presbyterian Church2408 N. Navarro Street

BACH AT NOON:

CANTATAS

PROGRAM SPONSORJohn Gri f f in & Lynn Knaupp, Dodie Gri f f in

In memory of Dr. John Gri f f in

Friday aftern

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“Music is an agreeable harmony for the honor of God and the permissible delights of the soul.”

–Johann Sebastian Bach

In “Schau, lieber Gott,” composed in Leipzig in 1724, Bach effectively combines common and uncommon compositional devices. One traditional device is word painting, exemplified in the tenor aria where storm-tossed notes flood over the syllables for Erretter [Savior] like tempests and in the next movement, Flüchtling [flight], where Bach paints the image of Jesus leaving earth to rejoin his father in heaven.

Bach employs key changes to represent the mood, or Affekten, of the text. When speaking of enemies, Bach composes in E minor, but when faith reasserts itself, the related key of G major assures renewed hope and faithful love. Johann Mattheson, an 18th-century theorist, defined E minor’s affetto as “sad, with hope for consolation” and G major as “brilliant, but suited to both serious and cheerful things.”

In the second chorale, later revived for the St. Matthew Passion, Bach sets the “devils of this earth” with dissonant harmonies that resolve on the declaration that God’s will prevails. Throughout the cantata, contrapuntal musical lines reveal doubt and despair, but as the mood shifts to jubilation for the final two movements, the final chorale delights in dance-like rhythms, hearkening back to the renaissance galliard, filled with the affirmation of faith of a place in heaven.

Composed when Bach was Music Director [Kapellmeister] in Cöthen, the double violin concerto stages a playful battle between the soloists and orchestra. Bach gives the first movement a close canonical and fugal treatment, with a clear sense of upward drive in the opening theme. The middle Largo ma non tanto movement offers a sublime interweaving of the voices of the two violins. In the closing Allegro movement, Bach creates an exciting interplay between the soloists and the orchestra.

As opposed to the “chorale cantata” that includes arias and recitatives centered about one chorale, the Lutheran chorale motet, like “Jesu meine Freude,” typically alternates between sacred chorale tunes and choruses. The chorales, proposed by Martin Luther to encourage congregational participation, have poetic texts. The choruses, identified by their more fugal character, have New Testament texts from Romans 8: 1-2, 9-11. This motet is Bach’s longest, with a central fugue in movement six from which f ive movements swirl outward.

The opening expresses plaintive joy that Jesus is the joy and treasure of his believers, leading directly into the setting of Romans’ opening verse that there should not ever be condemnation of those who “live for [wandeln]” the spirit, as opposed to the flesh. Bach stresses this reproach through repetition, delicately inserting an almost doubtful tone with the softer “not,” and a melisma of notes over the first syllable of wandeln. The remaining scriptures address the belief that the spirit will remain after the mortal body and even revive those mortal remains.

The lyricism in the women’s chorus accepts the freedom offered by surrender, in defiance [Trotz] against Satan (depicted as the old dragon), death, and fear. This chorale setting is Bach’s most elaborate of the motet, changing both meter and rhythm, eventually leading to a chorus of lower voices in the lullaby of a comforting siciliana, extending the everlasting life [Leben] through the spirit [Geist] bidding “good night [Gute Nacht]” to sin, pride, and corruption. The first chorus theme returns, cycling us back to the beginning with a final statement of a pathos-filled chorale with its soaring tenor line, leaving us “with hope of consolation.”


VICTORIA BACH FESTIVAL BAROQUE ENSEMBLE

Stephen Redfield, concertmaster and leader

Joan Carlson, violinBruce Colson, violin

Jann Cosart, violinBoel Gidholm, violinGesa Kordes, vioinSuzanna Giordano-Gignac, viola

Melissa Brewer, violaChristopher Haritatos, violoncelloMelanie Punter, violoneKeith Womer, harpsichord


REASSURANCE AND CONSOLATION IN BACH’S CANTATAS

SOPRANOStefanie MooreHeidi KleinKathryn RadakovichMeredith Rudusk

ALTOKatrina Burggraf-KledasCatherine HedbergLaura Mercado-WrightStephanie Reyes

TENORSteven BrennfleckAlex BumpasRobbie LaBancaSteven Soph

BASSCameron BeauchampBradford GleimJohn ProftThann Scoggin


David Massey, guitarNathan Hinojosa, guitar

Christabel Lin, violinJeff Grauzer, double bass

Carmelo Torres, percussion

Friday Evening, June 9, 2017, at 7:30DeLeon Plaza

Main and Forrest Streets

FLAMENCOSYMPHONY

PROGRAM SPONSORSKel ler & Associates

Crossroads Ti t le CompanyH-E-B

Delivered with equal levels of passion and virtuosity, Flamenco Symphony’s sound encompasses a wide variety of

cross-continental influences, straddling epochs as well as cultures. Led by guitarist and songwriter David Massey, the band’s approach is inspired by traditional and nuevo Flamenco styles, rock ‘n’ roll, and elements of world and classical music.

A Flamenco Symphony show might begin in a rumba style reminiscent of guitar masters Strunz and Farah, followed by traditional flamenco, leading into an epic rock number à la Santana or Led Zeppelin. David Massey’s dexterity is reinforced by some of Austin’s finest musicians.

David Massey began playing electric guitar at age 12. Early influences include Jimi Hendrix, Jimmy Page, and Dean Deleo. By the time he finished high school, his compositions incorporated a Spanish flavor into his maturing rock style.

Massey’s love of flamenco began as a teenager when he chanced upon a Spanish guitar CD at his local South Carolina Wal-Mart. “I was so drawn to how much could be done with just one guitar,” he remembered.

Massey became a professional guitarist, performing in rock bands in the Nashville, Tennessee, area. He continued to study Spanish guitar as an autodidact and performed solo flamenco guitar at local restaurants and clubs before moving to Austin, Texas, in 2011.

Flamenco Symphony was born when Massey met classical and gypsy violinist Chris Kranyak in 2012. After Kranyak’s departure from Austin, a larger ensemble was formed with violinist Christabel Lin (current member of Austin Opera, former Vienna Radio Symphony); master Latin percussionist Carmelo Torres (former drummer/ percussionist of the Los Lonely Boys, Jason Mraz and Del Castillo); energetic flamenco guitarist Nathan Hinojosa; charismatic stand-up bassist Jeff Grauzer (The Invincible Czars); and flamenco dancers Drea Pacot and Genevieve Obregon.

The band performs regularly at some of Austin’s hottest venues and is set to record its first full-length album in November 2017. Follow Flamenco Symphony online at flamencosymphony.com for information on album pre-orders and to experience the manifestation of four years of hard work and artistic evolution. Olé!

FLAMENCO SYMPHONY

Friday Even

ing

, Jun

e 9, 2017


Sensemaya Silvestre Revueltas (1899–1940)

Sinfonia India Carlos Chávez (1899–1978)

Chaconne in E minor Dietrich Buxtehude (1637–1707) arr. Carlos Chávez


Huapango José Pablo Moncayo (1912–1958)

Mariachitlán Juan Pablo ContrerasU.S. Premiere performance (b. 1987)

Danzón No. 2 Arturo Márquez (b. 1950)

Victoria Bach Festival OrchestraAlejandro Hernandez-Valdez, conductor

Saturday Evening, June 10, 2017, at 7:30Victoria Fine Arts Center1002 Sam Houston Drive

MEXICOBELLO

PROGRAM SPONSORSJanet Mi l ler

Palace Bingo

Cloyde & Ethel Lee Tracy Foundat ion Patterson Wel l Service

Patr ic ia & Timothy Pul l iam

Prosper i ty BankStewart Ti t le

TDECU MortgageFran & Larry Col lmann

Barbara & Jay Lack

Satu

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Eve

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7


A HISTORY OF MEXICO THROUGH MUSIC

Tonight’s program is a joyous musical fiesta that travels through Mexico’s most important historical periods: Pre-

Columbian Mexico, Colonized Mexico, and Mestizo Mexico. The composers represented show influences from folk music as well as European classical traditions.

Carlos Chávez and Silvestre Revueltas, both born in 1899, each contributed an invaluable legacy to Mexico’s national style. One of the most striking aspects of the Chávez legacy reveals itself in the “Indianist” movement illuminating the culture of indigenous peoples. This is a vibrant offshoot of the early 20th-century Nationalism found in works like Dvorák’s Slavonic Dances and Sibelius’ Finlandia.

In Sinfonía India, Chávez includes Aztec melodies from his maternal heritage in one continuous movement melding Europe and the Americas. The first theme, introduced with dynamic asymmetry, is from the Huichol people of Sonora, a Mexican state bordering California, Arizona, and New Mexico. The delicate second theme in clarinets, flutes, and gentle percussion comes from the Yaqui. Another slow theme from Sonora begins in a ceremonial horn and flute duet, later followed by a melody from the Seri people of Tiburón Island. Like people of African heritage in the Georgia Sea Islands, the Seri’s isolation helped them protect many of their traditions from outside influences.

As the sinfonia ends, each theme returns for a curtain call. The score, like much indigenous music, is heavy with woodwinds and percussion, requiring four flutes and four clarinets in addition to three oboes and bassoons. The four percussionists required in addition to the timpanist spotlight a wide variety of native percussion instruments (or their nearest counterparts).

A second Chávez contribution to Latin American music resulted from his travels to European capitals. Chávez returned with works of composers like Baroque craftsman Dietrich Buxtehude. Many years earlier, J.S. Bach had walked 250 miles across Germany without his employers’ permission to study with Buxtehude, risking his livelihood.

Born in Guadalajara, multi-talented musician José Moncayo earned his livelihood as a jazz pianist as part of the Grupo de los Cuatros [Gang of Four], all students of Carlos Chávez. The lively Mexican mariachi music known as huapango appears on the UNESCO List of the Intangible Cultural Heritage of Humanity. The name comes from a Native American Nahuatl word cuauhpanco, which means “on the wood,” referring to strong duple and triple zapateado dance rhythms stamped out on wood flooring. Moncayo’s setting features trumpets, violins, plucked strings and percussion, standard mariachi instruments expanded for orchestra.

Silvestre Revueltas’ Sensemayá is subtitled “a song for killing a snake” (canto para matar a una culebra.). Considered Revueltas’ magnum opus, this tone poem reflects a text by Nicholás Guillén, a Cuban poet who included Afro-Cuban dialect in his works. The music illustrates a folk-like tale about a snake with “glassy eyes” who “walks with no feet:”

The snake hides in the grassIf you hit it with the axe, it diesA dead snake can’t seeA dead snake can’t drinkIt can’t breatheIt can’t bite

Revueltas punctuates Sensemayá with rhythmic Yoruba words: “mayombe, bombe, mayombé,” represented by repetition in the bassoon. The vigorous music is driven with a sense of menace, the snake hunters surrounded by ominous sounds in the deep forest.

The Victoria Bach Festival is pleased to present the U.S. premiere performance of Mariachitlán (Mariachiland) by Juan Pablo Contreras. Recognized as “one of the most prominent young composers of Latin America” (Milenio), Contreras is a Los Angeles-based composer who has won the BMI William Schuman Prize, the Presser Music Award, ASCAP Morton Gould Young Composer Award, and the Arturo Marquez Composition Contest among others.

He offers these thoughts on his composition: “Mariachitlán is an orchestral homage to my birthplace, the Mexican state of Jalisco, where mariachi music originated. The work recounts my experience visiting the Plaza de los Mariachis in Guadalajara, the capital of Jalisco, a place where mariachis play their songs in every corner and interrupt each other to win over the crowd.”

“In Mariachitlán, traditional rhythms such as the canción ranchera (ranchera song) in 2/4 time (choon-tah choon-tah), the vals romántico (romantic waltz) in 3/4 time (choon-tah-tah), and the son jalisciense (Jalisco song) that alternates between 6/8 and 3/4 time, accompany original melodies inspired by the beautiful landscapes of Jalisco. Mariachi instruments such as the trumpet, harp, and violin are featured as soloists in this work. Furthermore, the strings emulate the strumming patterns of vihuleas, while the contrabasses growl like guitarrones.”

Toward the end of the piece, a policeman blows his whistle in an attempt to stop the party. The crowd responds by chanting ‘Mariachitlán!’ with increasing intensity, and is rewarded by more vibrant music.

Mariachitlán won the 2016 Jalisco Orchestral Composition Contest. The Jalisco Philharmonic Orchestra gave its world premiere at the awards ceremony on December 9, 2016, at the Teatro Degollado in Guadalajara.

Arturo Márquez completed his studies at the Mexico’s National Conservatory, after which he was awarded a Fulbright fellowship for study in the California. His fascination with the Caribbean is reflected in the fusion of African and Latino influences in Danzón 2, which displays the rhythms of a dance of Cuban origin that is also popular in Mexico and Puerto Rico. Syncopated clave rhythms decorate the clarinet and oboe lines as they trade melodic phrases and sensuous hemiolas, a rhythmic technique that plays with groupings of two and three beats.

Tonight’s vibrant program celebrates Mexico’s diverse heritage from Spain, from indigenous peoples, from Africa, and from the equally diverse music of its neighbor to the North. ¡Viva Mexico!



Juan Pablo Contreras is a Los Angeles-based classical music composer who incorporates Mexican popular and folk music

into his works. Recognized as “one of the most prominent young composers of Latin America” (Milenio), his music has been performed by major orchestras such as the National Symphony Orchestra of Mexico, the UNAM Philharmonic Orchestra, and the orchestras of Boca del Rio, Mexico City,

State of Mexico, and Jalisco in Mexico; the Salta and Cordoba Symphonies in Argentina; the Simon Bolivar Symphony Orchestra of Venezuela; and the Waco Symphony Orchestra in the United States.

Contreras has won awards including the BMI William Schuman Prize, the Presser Music Award, the Jalisco Orchestral Composition Prize, the Brian Israel Prize, the Pedro Sarquis Merrewe National Arts Award, the ASCAP Morton Gould Young Composer Award, the Arturo Marquez Composition Contest, the EtM Con Edison Composers’ Residency, the Dutch Harp Composition Contest, the Nicolas Flagello Award, and the Mexican Endowment for the Arts and Culture Young Artist Fellowship. He holds degrees in composition from the Manhattan School of Music (M.M.), the California Institute of the Arts (B.F.A.), and is currently pursuing his DMA degree at the University of Southern California under the tutelage of Donald Crockett. His music has been recorded on Albany Records, Epsa Music, and Urtext Digital Classics. For more information about the composer, visit www.juanpablocontreras.com.

VIOLIN IStephen Redfield, concertmaster Bruce ColsonJackson GuillenLani HamiltonJuan JaramilloPatricia KarakasSonja LarsonMaria LinKatie McCoyRachel ShapiroMelissa TrevinoElise Winters

VIOLIN IICorinne Stillwell, principalJoan CarlsonSusan DoeringBoel GidholmGesa KordesAnna LuceNina MavrinacMelanie Anne RiordanJoseph SmithNicholas Tavani

VIOLA Bruce Williams, principalAmes AsbellMelissa BrewerJann CosartBrett DetweilerKorine FujiwaraSuzanna Giordano-GignacMichalis KoutsoupidesGregory Luce

VIOLONCELLOGregory Sauer, principalChristopher HaritatosDouglas HarveyNora KarakousoglouAlan RichardsonShawn SandersDieter Wulfhorst

DOUBLE BASSMelanie Punter, principalPatrick De Los SantosJoe FerrisAndrew PotterJonathan Rouse

FLUTEAdah Toland Jones, principalMartha FabriqueAdrienne InglesRita Linard

OBOEStanely Chyi, principalRebecca HaskinsMichael Johnson

CLARINETVanguel Tangarov, principalAlan OlsonMary SchaniHilary Scop

BASSOONNathan Koch, principalDaniel Chrisman, contrabassoonConrad CornelisonWilliam Hilbert

FRENCH HORNTom Hale, principalAnn-Marie CherryLauren Piccione Peter Rubins

TRUMPETRon Ledbetter, principalRobert Cannon Ken PeachKeith Winking

TROMBONENathaniel Brickens, principalPhilip ArnoOwen Homayoun

TUBAMatthew Hightower, principal

TIMPANISherry Rubins, principal

PERCUSSIONThomas Burritt, principalGraeme FrancisAdam BedellNicholas Stange

HARPElaine Barber, principal

PIANOFaith DeBow

VICTORIA BACH FESTIVAL ORCHESTRA

JUAN PABLO CONTRERAS, COMPOSER


Stephen Redfield, concertmaster Hattiesburg, Mississippi

Violinist Stephen Redfield, D.M.A., has been Professor of Violin at the University of Southern Mississippi School of Music since 1996. Each summer since 1992, Stephen has performed with the Victoria Bach Festival, where his performances as concertmaster and soloist have been produced on discs and broadcast nationally. Stephen is concertmaster of the Santa Fe Pro Musica and the Arizona Bach Festival. He has been concertmaster of the Oregon Bach Festival orchestra, where he recorded the Grammy Award-winning disc Credo.

Stephen performs regularly as a Baroque violinist with the Albuquerque Baroque Players, Nashville’s Music City Baroque, and the Atlanta Baroque Orchestra. Stephen’s Baroque chamber music credits include concerts with Marion Verbruggen, Mary Springfels, Elizabeth Blumenstock and Kenneth Slowik. As a member of the Sebastian Ensemble with harpsichordist Kathleen McIntosh, he has performed throughout the US, and in Spain, Cuba and Peru.

Vanguel Tangarov, clarinet Austin, Texas

Clarinetist Vanguel Tangarov has performed in more than 20 countries, in venues such as Berliner Filharmoniker Hall (Berlin), Gewandhaus (Leipzig), Schauspielhaus (Berlin), Concertgebouw (Amsterdam), Oslo Konserthaus (Norway), Cadogan Hall (London), Symphony Hall Birmingham (UK), Bulgaria Hall (Sofia) and Zaragoza Hall (Spain), to name a few. Tangarov studied clarinet at the National Academy of Music “Pancho Vladiguerov,” where he received bachelor of music and master of music degrees under the direction of renowned pedagogue and concert artist, Petko Radev, the former principal clarinet of Teatro Alla Scala di Milan, Italy. He holds a D.M.A. from the University of Texas at Austin. Tangarov is principal clarinet for the Austin Opera, Mid-Texas Symphony, and Victoria Symphony. Assistant professor of clarinet at Texas State, he also serves as artistic director of the Musicartissimo International Master Class Series USA.

He previously served as principal clarinet at the Sofia Philharmonic Orchestra, Bulgaria; Academia Chigiana Symphony Orchestra, Italy; Jeunesses Musicales World Symphony Orchestra, Germany; and Monterrey Symphony Orchestra in Mexico. He has appeared as a soloist with the Mid-Texas Symphony; Plovdiv, Rousse, Varna, and Sofia Philharmonic orchestras in Bulgaria; Constanta Philharmonic in Romania; and Monterrey Symphony and Monterrey Chamber Orchestra in Mexico. Vanguel Tangarov is a Buffet Crampon & Vandoren Artist and performs exclusively on Buffet Crampon clarinets and Vandoren products.

Elaine Barber, harp Austin, Texas

• Principal Harpist for Austin Symphony

• Early music specialist performing with Texas Early Music Project

• Featured soloist with Louisiana Philharmonic, Mississippi Symphony, Shepherd Symphony, and Metropolitan Chamber Orchestra

• Recorded for the Naxos, Nonesuch and Matador labels

Melissa Brewer, viola Tallahassee, Florida

• Principal Viola with the Atlanta Baroque Orchestra

• Asst. Principal Viola with the Tallahassee Symphony

• Principal and Viola d’amore soloist with Bach Parley

• Performs in regional orchestras throughout the Southeast

Nathaniel Brickens, trombone Austin, Texas

• Performed with St. Louis Symphony, Kansas City Symphony, Houston Symphony, Opera St. Louis, Austin Symphony, San Antonio Symphony, Ray Charles, Lena Horne, the Temptations, Andrea Bocelli

• Professor of Music, University of Texas at Austin

• 2013 UT Regents Outstanding Teacher Award

Thomas Burritt, percussion Austin, Texas

• Professor of Percussion and Director of Percussion Studies, University of Texas

• Clinician/endorser: Innovative Percussion, Zildjian, Remo, Beetle Percussion, Grover Pro Percussion

• Recorded two Grammy-nominated recordings with Conspirare: Conspirare in Concert and Pablo Neruda: The Poet Sings

ABOUT THE ARTISTS


Ron Ledbetter, trumpet Victoria, Texas

• Principal Trumpet, Victoria Symphony Orchestra, Corpus Christi Symphony Orchestra, Corpus Christi Ballet Orchestra

• Lead trumpet, Sound of Swing Big Band and U.S.S. Lexington Big Band

Ian Davidson, English horn & oboe Austin, Texas

• Founding member of the Wild Basin Winds

• Associate Principal Oboe, Austin Symphony Orchestra

• Assistant Principal Oboe, Austin Lyric Opera Orchestra

• Professor of Music, Texas State University

Susan Doering, violin Auberry, California

• Teaches at Fresno Pacific University and international masterclasses in Sweden and Germany

• Concertmaster of Tulare County Symphony Orchestra, performs with Fresno Philharmonic, Santa Rosa, Monterey Symphonies

• Co-Founder of Musica Viva Chamber Music series and Emerald Duo

• Board-Certified Music Therapist in California’s Central Valley

Korine Fujiwara, violin Tacoma, Washington

• Founding member of the Carpe Diem String Quartet and Marble Cliff Chamber Players

• Serves on violin faculty of Pacific Lutheran University in Tacoma, Washington, Artist-in-Residence at the Tacoma School of the Arts

• Performed on seven recording on the Naxos label

• Named one of Strings Magazine’s “25 Contemporary Composers to Watch”

Boel Gidholm, violin Rochester, New York

• Co-Director of the Rochester, NY, period-instrument ensemble Publick Musick

• Performs with Pegasus Early Music, NYS Baroque

• Appears on recordings with Fiori Musicali-Barockorchester Bremen, Steintor Barock (Bremen), L’Arco (Hannover), Apollo’s Fire, and The Publick Musick

Suzanna Giordano Gignac, viola & baroque violin Los Angeles, California

• Performs with the Pasadena Symphony and the Chamber Orchestra at St. Matthew’s

• Principal Viola: Musica Angelica, Santa Cecilia Orchestra

• Co-founder of the period ensemble Angeles Consort

• Freelance studio musician recording for motion pictures and television

• Recorded for Harmonia Mundi

Thomas Hale, French horn Austin, Texas

• Principal horn of the Austin Symphony and the Austin Lyric Opera

• Founding member of the Pinnacle Brass Quintet

• Frequent guest artist with the Chamber Soloists of Austin

Christopher Haritatos, violoncello Rochester, New York

• Member of the Rochester Philharmonic Orchestra

• Performs with early music ensembles including Pegasus Early Music, NYS Baroque, Handel and Haydn Society, and Ars Lyrica

• Co-Director of Publick Musick

• Appears on recordings with Fiori Musicali-Barockorchester Bremen, Apollo’s Fire, Tafelmusik, Fioritura, Publick Musick

ABOUT THE ARTISTS


Douglas Harvey, violoncello Austin, Texas

• Principal cellist of the Austin Symphony Orchestra and Austin Opera

• Performs with Chamber Soloists of Austin, Salon Concerts series and Austin Chamber Players

• Performs as soloist with Central Texas symphony orchestras

• Member of the Artisan quartet

Adah Toland Jones, flute Wimberley, Texas

• Professor of Flute at Texas State University

• Principal Flute with Austin Opera

• Performs with Austin and San Antonio Symphonies

• Recipient of Presidential Award for Creative Activities from Texas State and the Ball State University Alumni Citation

Nora Karakousoglou, violoncello Austin, Texas

• Performs with Austin Chamber Music Center, Austin Symphony, Ars Longa Ensemble, and Local Opera Local Artists (LOLA)

• Doctor of Musical Arts from University of Texas at Austin

Gesa Kordes, violin Tuscaloosa, Alabama

• Performs with Washington Bach Consort, Ensemble Musical Offering, Muses’ Delight, Opera Lafayette, Ensemble Tra i Tempi

• Instructor of Early Music Performance at the University of Alabama

• Recorded for Harmonia Mundi, FONO, Dorian, and Naxos

Sonja Larson, violin Austin, Texas

• Performed with Austin Chamber Music Center, Austin Symphony, Austin Opera, Chorus Austin, Boston Ballet, Boston Modern Orchestra Project, Rhode Island Philharmonic

• Artist in Residence, Armstrong Community Music School

Christabel Lin, violin Austin, Texas

• Soloist, New Zealand Symphony Orchestra, Christchurch Symphony Orchestra (NZ), Taichung Symphony Orchestra (Taiwan), Austin Civic Orchestra, Vienna Conservatory Chamber Orchestra

• Performs with Austin Chamber Music Center, Austin Opera, Flamenco Symphony

• Master’s degree from the Vienna Conservatory

Marcus McGuff, baroque flute Austin, Texas

• Performs with La Follia and the Austin Bach Ensemble

• Taught flute at Austin Community College and at Concordia University

• Doctor of Musical Arts from University of Michigan

Melanie Punter, double bass Tallahassee, Florida

• Associate Professor of Double Bass, Florida State University

• Principal bassist, Tallahassee Symphony Orchestra

• Principal bassist, Tallahassee Bach Parley

• Principal bassist, Atlanta Baroque Orchestra

• Member, Orchestra of St. Luke’s

• Performs regularly at Caramoor International Music Festival and the Charleston Bach Festival

ABOUT THE ARTISTS


Gregory Sauer, violoncello Tallahassee, Florida

• Principal cello, Tallahassee Symphony

• Assistant principal cello, Colorado Music Festival Orchestra

• Founding member of Trio Solis

• Associate Professor of Cello, Florida State University

Corinne Stillwell, violin Tallahassee, Florida

• Associate Professor, Florida State University

• Concertmaster of the Tallahassee Symphony

• Faculty at the Brevard Music Center

• Recordings on Naxos, Harmonia Mundi, MSR Classics, and Navona Records

• Solo performances across the US, and in Canada, Germany, and China

• Founding member of Trio Solis

• 25 years’ experience as a concertmaster and orchestral leader

Bruce Williams, viola Austin, Texas

• Principal violist, Austin Symphony Orchestra

• Artistic Director, Mason County Chamber Music Festival

• Member, Allegro Chamber Trio and the Artisan Quartet

• Director of chamber music, Texas Bach Festival

• Austin Critics Table 2003 outstanding instrumentalist

Keith Womer, harpsichord Round Rock, Texas

• Director and harpsichordist, La Follia Austin Baroque

• Organist, First Presbyterian Church, Austin, Texas

• Two-time winner of the National Federation of Music Clubs Award

• Austin Critic’s Table 2016 Award for Best Classical Instrumentalist

Dieter Wulfhorst, violoncello Auberry, California

• Member of the Santa Rosa Symphony, performs with Bakersfield, Monterey, Fresno, Sacramento, and Stockton Symphonies

• Co-director of Musica Viva chamber music series

• Performs internationally and in over twenty states in the U.S.

• Teaches at Fresno Pacific University

ABOUT THE ARTISTS


Heidi Klein Denton, Texas

• Performs with the Orpheus Chamber Singers, Orchestra of New Spain, Dallas Bach Society, Denton Bach Society, Dallas Arts District Chorale

• Adjunct instructor of voice at University of North Texas and at Texas Wesleyan University

• Master of Music degree in vocal performance from Indiana University

• Featured on recordings including CEMIsonics: The Threshold of Sound; Music of SEAMUS, Volume 7

Stefanie Moore Santa Monica, California

• Performs with Conspirare, Seraphic Fire, the Santa Fe Desert Chorale

• Performed with Austin Symphony, New York Philharmonic, Charm City Baroque, Bach Sinfonia, Washington Bach Chorus, Third Practice, Simon Carrington Chamber Singers, San Antonio Bach, Texas Early Music Project, AVE of San Francisco, California Bach Choir

• London solo debut: Berlioz’s Nuits D’été

Kathryn Radakovich Aurora, Colorado

• Performs with St. Martin’s Chamber Choir, Colorado Bach Ensemble, Anima Chamber Ensemble, Baroque Chamber Orchestra of Colorado, Denver Early Music Consort

• Performs as a jazz singer in Denver’s top jazz venues; Nocturne, Dazzle, and La Cour

• Performed at the Lionel Hampton International Jazz Festival with Bobby McFerrin, Jeff Hamilton, Benny Green, and Claudio Roditi

Meredith Ruduski Pflugerville, Texas

• Performs with Seraphic Fire, Santa Fe Desert Chorale, Texas Early Music Project

• Performed Esther in Texas premier of Lidarti’s Esther with Chorus Austin

• Writes, produces, and hosts Texas Early Music Project’s critically acclaimed opera pastiches and “Music History Shorts”

Katrina Burggraf-Kledas Arlington, Texas

• Performs with Dallas Bach Society, Orpheus Chamber Singers, Vox Humana, Dallas Symphony, Fort Worth Civic Symphony, Orchestra of New Spain, Denton Bach Society

• Featured recordings: Vox Humana’s Into the Night (Naxos), Orpheus’ Gifts of Christmas, and World of Sound, Orchestra of New Spain’s Masses for Celebration (Dorian)

Catherine Hedberg New York, New York

• Soloist, Bach’s B Minor Mass and Magnificat with Handel and Haydn Society

• Performs with Choir of St. Luke in the Fields, Ampersand, Central City Chorus, Festival Musique en l’Ile in Paris, Dalton Chorale, International Contemporary Ensemble (ICE)

• Performed with Boston’s Cantata Singers, Musicians of the Old Post Road, Boston Camerata, Early Music New York, Newport Baroque Orchestra

Laura Mercado-Wright Pflugerville, Texas

• Featured soloist with the MET Chamber Orchestra, Boston Pops, Austin Symphony Orchestra, Conspirare, Gotham Chamber Opera, Fort Worth Opera, Ensemble Signal, Tanglewood Music Festival, Guggenheim Works and Process, Mark Morris Dance Group

• 2014 nomination, best Classical Singer Performance, Austin Critics Table Award

Stephanie Reyes San Marcos, Texas

• Founder and director, Les Ancients early music chamber ensemble

• Associate Director of the Texas State University Singers, Men’s Chorus, and Chorale

• Master’s degree in Choral Conducting from Texas State University, December 2016

• Beginning doctoral studies in Early Music Performance at Indiana University-Bloomington


SOPRANO

ALTO


Steven Brennfleck Austin, Texas

• Recent performances: Alamo City Opera (Don Ramiro, Cenerentola), American Bach Soloists, Austin Symphony Orchestra, Chorus Austin, Georgetown Festival of the Arts, Round Rock Symphony

• Performed with American Opera Projects, the Caramoor Festival, Glimmerglass Opera, New York Lyric Opera Theatre, Opera Piccola of San Antonio, Portland Opera, Spoleto Festival USA, The Tanglewood Festival, Theatre Nohgaku and the Westminster Opera Theatre

• Carnegie Hall debut in 2012 in Handel’s Messiah under the baton of Andrew Megill

Alex Bumpas Dallas, Texas

• Soloist with Cleveland Pops, Russian National Orchestra, Dallas Symphony Orchestra, Knoxville Opera, Orchestra of New Spain

• Performs with Vox Humana, Orpheus Chamber Singers, South Dakota Chorale

• 2006 featured finalist on NBC’s America’s Got Talent with Three Redneck Tenors

• Co-wrote original musical comedy Counterpoint In Concert with emcee Dinny McGuire, tours US in 2018-19

Robbie LaBanca Austin, Texas

• Performs with Panoramic Voices, Chorus Austin, Texas Early Music Project, La Folia, and Conspirare

• Co-founder, vocal music collective Inversion Ensemble

• Soloist, Handel’s Messiah, Bach’s Magnificat

• Soloist and section leader, St. John’s United Methodist Church, Austin since 2002

Steven Soph Austin, Texas

• Soloist with The Cleveland Orchestra for programs of Bach, Handel, Stravinsky, and Mozart

• Co-founder, Trident Ensemble

• Recorded with Harmonia Mundi, Warner International, Sono Luminous, and Naxos

• Oregon Bach Festival Young Artist, 2016; Carmel Bach Festival Adams Fellow, 2014; American Bach Soloists Academy Artist, 2011

Cameron Beauchamp Austin, Texas

• Founding member, Roomful of Teeth

• Artistic Director, Convergence

• Recordings on Sony Classical, Harmonia Mundi, New Amsterdam Records, 4AD, Pro Organo, GIA, Edition Lilac, Klavier

• Collaborated with TuNeYaRdS, Kanye West, Holly Herndon, Sam Amidon, The Silk Road Ensemble, Peter Sellars

• Performed on Grammy Award-winning albums with Roomful of Teeth and Conspirare

Bradford Gleim Jamaica Plain, Massachusetts

• Performs with Conspirare, Handel and Haydn Society, Opera Boston, Hereford Three Choirs Festival, Boston Baroque, Emmanuel Music, Princeton Singers, Cut Circle, Connecticut Early Music Festival, Bermuda Festival, Santa Fe Desert Chorale, Boston Secession and Borromeo String Quartet

• Assistant Professor at Berklee College of Music

John Proft Austin, Texas

• Performs with Handel and Haydn Society, Boston Baroque, Conspirare, Exsultemus, Schola Cantorum of Boston, Seraphic Fire, Santa Fe Desert Chorale

• Performed with Dallas Bach Society, Orpheus Chamber Singers, Texas Choral Artists, Orchestra of New Spain

• Carnegie Hall Professional Training Workshops with Ton Koopman, conductor

Thann Scoggin Austin, Texas

• Soloist in Haydn’s Nelsonmesse, Fauré’s Requiem, and Bach’s Magnificat

• Performs with Roomful of Teeth, Conspirare

• Performed with Boston Baroque, Handel and Haydn Society of Boston, ensemble viii, Emmanuel Music, Texas Early Music Project

• Electric guitar and vocals in the experimental music group Convergence

• Appeared on recordings on the Harmonia Mundi, Linn, CORO, Gothic, and Albany labels

TENOR

BASS



Think of each beat as your heart’s way of cheering you on for staying physically active.

Want a standing ovation? Try keeping your diet low in cholesterol

and saturated fat too. For more ways to lower your risk of heart

attack and stroke, visit www.americanheart.org or call 1-800-AHA-USA1.

IT’S CALLED APPLAUSE.

You know that noiseyour heart makes

when you work out?

This space provided as a public service. © 1999, American Heart Association


Nina Di LeoExecutive Director

Jeanie MayneAdministrative Assistant

Nicholas StangeArtist Contractor

Joan E. CarlsonMusic Librarian

Matthew SchneiderStage Manager

Veronica CardenasLiz HernandezKim SchneiderStage Crew

Nora AlexanderProduction Assistant

Mike CanoAudio Engineer

George & Joyce MatthewsAudio & Video Recording Technicians

Tony Yarbrough, Brian CrespinTry Design

Mike White, Jaqueline PuretzPiano Technicians

STAFF & PRODUCTION PERSONNEL


Gary BranfmanCITY OF VICTORIA O.C. Garza Joshua GarrettDevereux GardensFIRST PRESBYTERIAN CHURCH Robert WyattFIRST UNITED METHODIST CHURCH Dr. Timothy Brewer Kellie Richardson Rebecca ThornburyGOLDMAN, HUNT & NOTZ Jamie McMahon HOMEWOOD SUITES Christina HenryThe Junior League of VictoriaKEDT 90.3/KVRT 90.7 Stewart Jacoby Don Dunlap Liz LaubachLEO J. WELDER CENTER FOR

THE PERFORMING ARTS Sue Prudhomme Ben HernandezGeorge & Joyce MatthewsJohn Moraida & Joe BaughGary MosesTRINITY EPISCOPAL CHURCH Jim Kee-ReesTRY DESIGN Tony Yarbrough Brian Crespin Sharon YarbroughUNIVERSITY OF HOUSTON-VICTORIA Dr. Vic Morgan Nancy GreshamVICTORIA ADVOCATE Camille Easton Catherine R. McHaney

VICTORIA CHAMBER OF COMMERCERandy VivianVICTORIA CONVENTION

AND VISITORS BUREAU Nancy Brittain Joel NovosadVICTORIA FINE ARTS CENTER Randy Wachtel Nora Alexander Ken PeachVictoria Public LibraryVictoria Rotary ClubVICTORIA SYMPHONY Michelle HallVICTORIA TELEVISION GROUP Regina Cantu John DarbonneGay & Matt Wickham

Jewel BallFundraiser CommitteeJoanna Swift, chairSallye AllenDoris BoydPaula CoblerSuzanne LaBrecqueLinda PattersonJohn QuittaMary Ann SawyersEileen StewartDolly StokesGay Wickham

Very special thanks to the following hosts who graciously open their homes to Festival musicians:

Sallye Allen & Forrest DenisonJoe Baugh & John MoraidaJohn & Beryl BiermanDebra Chronister

Paula & Chris CoblerMarguerite & Jim DeBoltNina & Jeffrey Di LeoCamille & Dan EastonDavid FaskasGrace & Tom FaulknerVirginia & Jim FurnessJohn Griffin & Lynn KnauppSean & Kathleen HamiltonLucy & Rey HerreraNancy & Bill HilbertSteve & Jana HipesVeronica & Russell HohltTim Hornback & Bob McKnightJennifer & Bob HoustonMike & Cora Jo HummelSusan & Ronnie HyakJan & Bobby JacobMartha & Ken JonesPhyllis & Lane KellerTwyla KelloggCynthia Lester & Scott HoopesMary & Richard LoganDr. Fred LykesRobert & Melissa LymanKatie Merriman Daphne & Peder McHattieMary Jane & Dr. Vic MorganBeth & Dan PersonJoyce RaimanCindy RobertsJan & Bryce ScottLidia Serrata & Al LedesmaNicholas StangeL’Nell & John StarkeyDolly & Jim StokesJoanna & Charlie SwiftJulia UtoffKay & Ron WalkerCarole WallaceTina & James Wayne

ACKNOWLEDGEMENTS AND THANKS

The Victoria Bach Festival is grateful to the following for your support. It is your generosity and dedication to the VBF that makes it all possible. To all of you, our heartfelt thanks!

june 6-10, 2017 - stageview · artistry of the aeolus string quartet with an intimate performance...

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