Loading...
The URL can be used to link to this page
Your browser does not support the video tag.
Home
My WebLink
About
2016-448-E Arts - Chapel Hill Philharmonia - Spring 2016 Arts Grant Agreement
A DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 C a r. joe O ORANGE COUNTY ARTS COMMISSION SPRING, 2016 GRANT AGREEMENT ° „ Y ` n THIS AGREEMENT, entered into this 8th day of August, 2016, by and between Orange County ("County"), by and through the Orange County Arts Commission ("Arts Commission") and Chapel Hill Philharmonia("Grant Recipient"). WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of local arts experiences by providing funding and support for diverse high quality programs and projects. WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program to provide economic opportunities to Orange County artists and non-profit organizations coordinating arts projects benefiting the citizens of Orange County. WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, an agency of the Department of Cultural Resources and the National Endowment for the Arts. WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the Spring Arts Grant through the procedures duly adopted by the Arts Commission; and WHEREAS, both parties wish to promote and maintain the integrity and clarity of the Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the County; NOW, THEREFORE, the County and the Grant Recipient, for the consideration and under the conditions hereinafter set forth, agree as follows: 1. Approved Grant Project. Grant funds are provided under this Agreement for the project ("Project") described in the Grant Recipient's Grant Application, attached hereto and incorporated herein as Exhibit A. 2. Grant Award. Grant funds in an amount not to exceed One Thousand Five Hundred Dollars ($1,500) have been awarded by the Arts Commission to the Grant Recipient for the approved Project. These funds must be matched at least dollar-for-dollar with cash from the Grant Recipient's funds not derived from either Orange County appropriations or the North Carolina Arts Council. 3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots Program funding to the Arts Commission. Final decisions on Grassroots Program funds to the North Carolina Arts Council are subject to approval by the North Carolina General Assembly. 4. Responsibilities of the Grant Recipient 1 Revised June 2015 DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 A. Implementation. The Project implementation shall take place between July 1, 2016 and June 30, 20 17. The Project shall be implemented in the manner described in Exhibit A. T ime is of the essence in the implementation of the Project. B. Modifications to project. Grant Recipient shall present major changes to the original proposal, including but not limited to changes in design, implementation schedule and increase in Project budget by more than 10%, in writing to the Arts Commission for approval. Arts Commission shall approve or disapprove Grant Recipient's request for modifications within seven (7) days of receipt thereof Consent to project modifications shall not be unreasonably withheld. A its Commission's decisions shall be in writing. In the event the Arts Commission fails to approve or disapprove the requested modifications within the time stated herein, the modifications shall be deemed approved. C. Non—assignment. The grant cannot be assigned or transferred to a different project or artist without prior written approval of the Arts Commission. D. Records. Grant Recipient must maintain records and other evidence pertaining to costs incurred and revenues acquired during the Project implementation. Grant Recipient shall maintain financial records pertaining to the Project for three (3) years from the date of this Agreement, in case of audit. E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding taxes or other debts of any nature. The grants shall be utilized solely for the purpose of implementing the Project and Project related expenses. F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report on July 7, 2017 . The Final Report shall be in the format required by the North Carolina Arts Council. F ailure to submit the Final Report or late submission of the Final Report, for any reason, shall be grounds for denial and/or cancellation of grant funds for the Project and future grant proposals. 5. Responsibilities of the Arts Commission A. Payment. The Arts Commission shall release the grant funds in the amount of $1,500 to the Grant Recipient. 6. Publicity A. Acknowledgement. Credit must be given to the Orange County Arts Commission using the Arts Commission logo and if State funds are received to the North Carolina Grassroots Program in brochures, news releases, programs, and all other printed and online publications. Copies of such printed materials must accompany the evaluation report. When no printed information is used, verbal credit shall be given. In addition, all print and promotional material must include the following credit line (check all that apply): 2 Revised June 2015 DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 i. County Funds Only. "This program is supported by the Orange County Arts Commission. " ii. X North Carolina Arts Council Funding. "This program is supported by the Orange County Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, a state agency. " B. The Grant Recipient must enter all events, exhibits and performances open to the public and related to this grant award on t he ExploreChapelHillARTS.com website and display ExploreChapelHillARTS.com publicity materials (postcards, brochures, etc.) prominently and consistently at their venue or performance space. In addition, the Grant Recipient must add a link to the ExploreChapelHillARTS.com (ExploreChapelHillARTS.com logo preferred) to their main webpage. The Grant Recipient shall contact the Orange County Arts Commission for replacement ExploreChapelHillARTS.com publicity materials. 7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the Arts Commission and the North Carolina Arts Council and their officers and employees from any and all claims or actual injury, damage or loss to a person, or real or personal property that results from or is in any way connected to the use of the grant funds. 8. Independent Contractor. The Grant Recipient is an independent contractor and not an employee, agent or other representative of the County and/or the Arts Commission. Nothing contained in this Agreement shall be construed to create the relationship of principal and agent, or employer and employee, between Grant Recipient and Arts Commission or Orange County Government. Grant Recipient understands and agrees that he/she is not authorized to incur any expenses or any liability whatsoever on behalf of the County or the Arts Commission and has no authority, expressed or implied, to obligate or make representations on be half of the County or the Arts Commission. In addition, Grant Recipient agrees to maintain his or her own worker's compensation insurance for himself/herself and his or her employees for the duration of the art work's installation. 9. Termination A. In the event of any of the circumstances set forth below (hereinafter referred to as "default"), the Arts Commission may immediately terminate this Agreement: (i) Any fraudulent representation in any verification required to obtain payment under this Agreement or other dishonesty on a material matter relating to the performance of services under this Agreement. (ii) Nonperformance, incomplete service or performance, or failure to satisfactorily perform any part of the Project or to comply with any provision of this Agreement, as determined by the Arts Commission in its sole discretion. 3 Revised June 2015 DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 (iii) Failure to adhere to the terms of applicable county, state or federal laws, regulations, or stated public policy. B. In the event of default by the Grant Recipient, the Arts Commission has the discretion to elect to terminate this Agreement, in whole or in part and/or require the Grant Recipient to repay the grant funds within seven (7) from written notice of default or allow the grant recipient the opportunity to cure the default. T his clause shall not be interpreted to limit the County's or the Arts Commission's remedies in law or in equity. 10. Miscellaneous. A. Entire Agreement. This Agreement and the attachments contain the final and entire understanding of the parties with respect to the subject matter of this Agreement. All modifications and amendments to this Agreement shall be in writing. This Agreement shall be binding upon the parties, their heirs, successors and assigns. B. Governing Law. This Agreement shall be interpreted in accordance with the laws of the State of North Carolina and the Orange County. C. Entire Agreement and Signatures. The parties have read this Agreement and agree to be bound by all of its terms, and further agree that it constitutes the complete and exclusive statement of the Agreement between the parties unless and until modified in writing and signed by the parties. This Agreement together with any amendments or modifications may be executed electronically. A 11 electronic signatures affixed hereto evidence the intent of the Parties to comply with Article 1 1A and Article 40 of North Carolina General Statute Chapter 66. IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant Agreement, effective on the last date this Agreement is signed by both parties as indicated by the dates set forth under signatures below. Forjrnlgonbbehalf of the Grant Recipient ao�4:4.,d foodwi,m, 8/11/2016 Y85C74A450... Chapel Hill Philharmonia Date For and on behalf of Orange County Government Signed by: ED:1u kut, tka"mt-IrStt 8/15/2016 Bonnie ammersleys, County Manager Date 4 Revised June 2015 DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Arts Program Grant - Sprin Vaive g g p g 2016- 17 Application Form AMEX rr Orange County Arts Commission liENI Promoting the artistic and cultural development of Orange County, North Carolina Evaluation Criteria • Artistic merit of program. • Populations served— impact for geographic &traditionally under-served populations. • Feasibility of proposed activity&effectiveness in fulfilling applicant's mission. • Cooperation between organizations and artists. • Evidence of feasibility of program, community support, and responsiveness to community needs. • Emerging organizations are encouraged to apply. 1 Applicant Information Applicant Name John Konanc(for the Chapel Hill Philharmonia) Mailing Address 1408 Washington Street, Durham, NC 27701 Daytime Phone (919)682-8754 Fax Number Email Address john.konanc@hotmail.com Web Site www.chapelhillphilharmonia.org Project Director Donald Oehler Title Music Director DUNS Number 070423639 2 Project Director Information Project Director Home Address 706-202 Copperline Drive, Chapel Hill, NC 27516 Daytime Phone 919-962-1042 Evening Phone 919-452-5804 Email Address dloehlerpemail.unc.edu 3 Grant Request Summary Arts Program Grant Request $1350 Total Cash Match $1725 Total Organizational Budget 2014-2015 $15400 Past Year 2015-2016 $16500 Current Year 2016-2017 $17000 Projected for Next Year Summary Statement for Proposed Uses of Arts Program Grant The grant will help support a free concert in December featuring faculty members from the UNC Music Department's Vocal program in works by American composers. The grant will be used to partially fund the CHP's music director, rent for rehearsal and performance venues, and music for the program. 919/968-2011 — 131 West Margaret Lane, Room 216, Hillsborough, NC 27278— www.artsorange.org DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Narrative Spring 2016 Arts Program Application Organizational Profile The Chapel Hill Philharmonia(CHP), originally named the Village Orchestra, was formed in 1983 to provide a setting for local amateur musicians to meet and perform together as a symphony orchestra. The CHP's four-fold mission has remained consistent over time: • Offer accomplished volunteer adult and student instrumentalists an opportunity to play together in an orchestra • Provide an environment that allows orchestra members to develop their musical talents • Inspire both adults and children to appreciate, study, and play classical music by providing free classical music concerts • Encourage musicians of all ages to strive for musical excellence In the CHP's early years active membership was approximately 50 players and the group played two or three concerts per season. In the past 16 years, under the leadership of Prof. Donald Oehler, the orchestra has grown to more than 85 active players and now presents four free concerts per season, reaching a total audience of around 1200 people each year. The CHP is open to musicians without audition and draws members from Chapel Hill, Carrboro, Pittsboro, Durham, Apex, Cary, Raleigh, Wake Forest, Sanford, Burlington, and Mebane. Musicians span a wide range of occupations, including scientists, engineers, teachers,physicians, homemakers, students, and faculty members. The youngest players are usually in their teens, while the oldest are over 80. What they all share is a love of music and a commitment to playing it for their enjoyment and the enjoyment of others. In addition to growing in size, the orchestra has broadened the scope of its activities in recent years: • Starting in 2001, the group has performed numerous concertos with professional soloists, including hornists Kimberly van Pelt and Kurt Kellan; trumpeters Paul Neebe and Tim Hudson; cimbalom player Petra Berenyi;pianists Barbara Rowan, Fritz Whang, Elizabeth Tomlin, Greg McCallum, and Thomas Otten; saxophonist Matthew McClure; clarinetist Donald Oehler; and violinists Yoram Youngerman and Jennifer Curtis (partially funded by an Orange County Arts grant). • Beginning in 2005, the group has given a few premieres of new works by contemporary composers, including Eddie Bass (partially funded by an Orange County Arts grant), Terry Mizesko, Jay Greenberg, Garth Molyneux, and Ann Millikan. • In 2008, the orchestra first teamed with vocal students from the UNC Music Department to present a concert of opera arias and ensembles. Repeated again in 2012 and 2014, these"Divafest"programs have allowed developing singers the rare opportunity to appear with full orchestral accompaniment. • Under the leadership of guest conductor Andrew McAfee, the orchestra initiated a children's concert in 2007 and has made it an annual event since 2009. With attendance of around 300 (evenly split between elementary-school-aged children and adults), this concert in particular reaches beyond traditional classical music audiences. The 2015 children's program was partially funded by an Orange County Arts grant. • Starting in 2015, the orchestra has sponsored summer chamber music concerts featuring orchestra members. Though this program is still in its infancy, the CHP hopes to reach audiences in smaller, less formal venues through these concerts. • The orchestra has also occasionally collaborated with other area ensembles, including the Chapel Hill Community Chorus (2009), the Piedmont Youth Orchestra(2012), and the Chapel Hill Youth Violin Ensemble(2012). DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Narrative Spring 2016 Arts Program Application The orchestra has always been primarily supported by member donations. In the past few seasons the CHP has tried to diversify its funding sources, starting a small endowment fund in 2013, selling some advertising in our programs, applying for local grant funding, and collecting small donations at concerts. The group's revenue plan for the current year is 60% from member donations, 10%from endowment returns, 10%from grants and 10%from outside sources. Current Programs and Services The CHP is planning five different programs for 2016-2017 and is also supporting its annual Young Artist Competition. Detailed programs and exact dates are still to be determined. • October 23, 2016: A children's concert featuring Britten's"Young Person's Guide to the Orchestra". • December 11, 2016: A classical concert with guest soloists from the UNC Music Department's Voice faculty, featuring a program of American composers (see below). • February 2017: Auditions for 2017 Young Artists Competition. Winner performs in concert with the orchestra in May 2017. Runners-up read their repertoire with the orchestra in rehearsal. • February 12, 2017: A classical concert with guest soloist Dana Protopopescu performing Schumann's Piano Concerto. • April 30, 2017: A classical concert featuring Brahms's Serenade#1 and the winner of the 2017 Young Artists Competition. • Summer 2017: Chamber music concerts with members of the CHP. Proposed Uses of Grant Funds The December program is a special opportunity for the CHP on several different levels. • For the first time the orchestra will collaborate with members of the UNC Music Department's Voice faculty. Though much of their work at UNC involves teaching and mentoring students, they are all established artists still actively performing all over the world(see Artist Profiles). • The musical program will exclusively feature American composers. Despite inroads made by Americans like Aaron Copland, Charles Ives, Samuel Barber, and George Gershwin, classical concerts are still usually dominated by European composers. The December program is a chance for the CHP to introduce some lesser-known home- grown repertoire to audiences more used to Bach, Beethoven, and Brahms. • After 18 months of renovations, the CHP will be returning to Hill Hall Auditorium, its traditional performance venue. Some changes have been made to tame the reverberant acoustics of the hall and the orchestra's sound should improve. The CHP anticipates an audience of around 300 people for the December concert. Because the program is free, the audience tends to be more diverse in income level than most classical music audiences. The attached sample CD includes short examples of archived CHP performances with vocal soloists and in American music. Also attached are a sample program and poster from past concerts. Grant funds have been requested to help pay the salary of the music director, rental costs for the use of UNC Music Department facilities, and music rental costs. Remaining expenses for the concert(not covered by the grant request) include program printing costs, salaries of technical staff, and reception costs. 000wSWn Envelope ID: o80r1305~^u0A-4bAE-A1o0-C9r0r4AC3304 S .0" ear rwm &sr'mr AVM 2(]16-17 Arts Program Application -- Page Three Financial Information Please provide a projected budget for your proposed project utilizing the format below. Project Expenses Cash = Grant Amount + Applicant Expenses Requested Cash Match A Personnel (Employees) Administrative staff( %)* Artistic staff(20%)* 1400 __$700 700 Technical/Production staff(20%)* __$150 __$150 *Show% of wages devoted to this project B Outside Fees and Services Artistic contracts Other contracts: C Space Rental __$300 __$150 __$150 D Travel E Marketing __$25 __$25 F Remaining Project Expenses(Itemized Below) Music Rental Fees __$1000 __$500 __$500 Programs __$150 __$150 Reception __$50 __$50 GTotal Cash Expenses __$3075 = __$1350 + __$1725 Project Income Cash Income A Admissions B Contracted Services Revenue C Other Revenue(specify): Donation Jars __$300 Program Advertising __$225 D Private Support Corporate support(specify): Foundation support(specify): Other private support(specify): E Government Support Federal State/regional (not including this request) Local(not including this request) F Applicant Cash __$1200 G Grant Amount Requested __$1350 in this application H Total Cash Income __$3075 (must at least equal Total Cash Expenses, Item G in Project Expenses) DocuSign Envelope ID: 08671365-A26A-45AE-A1B0-C9F674AC3364 /dfl„ dmaNNINN 47, 2015-1 7 Arts Program Application — Page Four ORANGE COUNII-E ARTS COMIMSSIAN Signatures Ern EEE'eG ' Signature of Project Director iiiiii, Date Donald Oehler Typed or Printed Name - Project !Director 7:: i/E E teiG EITG2EEELE:EG,GEGE - % $4nature Authorizing(gilicisi Date / Rosaiind Volpe-Goodwin Typed or Printed Name Authorizing Official VP I. APPLICAiii KAS WILL NOT DE EN DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Artist Profiles Spring 2016 Arts Program Application MARC CALLAHAN A native of Wellsboro,Pennsylvania, bass-baritone Marc Callahan received his Bachelor of Music degree from Oberlin College where he studied with the renowned pedagogue Richard Miller. He holds a Master of Music degree from the Cincinnati College Conservatory of Music and a Doctor of Musical Arts in vocal performance and opera direction from the same institution. Dr. Callahan was also the recipient of the Rotary Scholarship from the Cincinnati Chapter, which allowed him to travel to France, where he earned a Diplome Superieur d'Execution de Chant from the Ecole Normale de Musique de Paris and a Diplome d'Artiste Lyrique from the Schola Cantorum. He studied French at the Institut de Touraine and French art song with mentor Francois Le Roux at the Academie Francis Poulenc. He was winner of the Prix Lili Boulanger at the Concours International d'Interpretation de la Melodie Francaise. Dr. Callahan's performance career has taken him around the world, singing at opera houses such as: The Royal Opera House, Santa Fe Opera, Theatre des Champs Elysees, Theatre du Capitole, Opera National de Lyon, Opera de Montpellier, Opera Comique, Theatre Royale de Versailles, Opera de Marseille, Central City Opera, Dayton Opera, the Ohio Light Opera and Opera North(UK), among others. His repertoire includes: Don Giovanni, Figaro (Le nozze di Figaro), Papageno (Die Zauberflote), Guglielmo (Cosi fan tutte), it Conte di Almaviva(Le Nozze di Figaro), Belcore(L'Elisir d'amore), Count Arnheim (The Bohemian Girl), Zar Peter(Zar and Zimmerman), Mercutio (Romeo et Juliette), Ramiro (L'Heure Espagnole), Harlekin(Ariadne auf Naxos), Sid(Albert Herring), Morales (Carmen), Pish-Tush(The Mikado), Samuel(Pirates of Penzance), Frederic (Lakme), Escamillo (Carmen), Passagallo (Opera Seria), Le Carnival(Le Carnival et la Folie), Artemidore(Armide), Bobinet(La Vie Parisienne), and Starveling(A Midsummer Night's Dream). As a concert performer, he has sung Charpentier's Lecons et Tenebres with Les Arts Florissants, an evening of melodie francaise with the London Song Festival, Haydn's The Creation, Gotterdammerung with Midsummer Opera(London), a program of Henri Dutilleux melodies (Radio France), Stravinsky's Les Noces, Philip Glass's Symphony No. 5, and as bass soloist in The Tempest with Les Ombres and the Opera de Marseille. JEANNE FISCHER Jeanne Fischer received her BA in Music and English from UNC-Chapel Hill. She continued her studies in the United Kingdom on a British Marshall Scholarship, completing an MM and Artist's Diploma at London's Royal Academy of Music. She received her DMA from the University of Maryland on a graduate fellowship. Dr. Fischer has performed as a soloist throughout the US and the United Kingdom, with groups such as the Smithsonian Chamber Players, The Bach Sinfonia, Ensemble Courant, the Washington Bach Consort, Princeton's Dryden Ensemble, and the University of Maryland Symphony. Her recordings include Bach's Lutheran Masses with the Rochester- based early music ensemble, The Publick Musick, and the Magnolia Baroque Festival radio broadcasts of Moravian solo anthems. In the UK, she was selected to perform in the St. Martin-in-the-Fields Outstanding Young Artists' Series, the Norfolk and Norwich Festival, and the Dartington International Festival. She is the recipient of several vocal prizes and awards, including First Place in the Voce Young Soloists Competition, the Royal Academy of Music's Ethel Bilsland Award, and the Diploma of the Royal Academy of Music (DipRAM). EUGENE GALVIN Eugene Galvin(bass-baritone)holds a B.A. in music education from Frostburg State University, an M.M. Vocal Performance from the The Catholic University of America, and a DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Artist Profiles Spring 2016 Arts Program Application D.M.A. in Opera Performance from the University of Maryland. Praised in Opera News for his "rich voice and superb musicianship,"Dr. Galvin has sung with the Washington, Wolf Trap, Cleveland, Cincinnati, Sarasota and National Operas, Opera New England, Opera Theater of Northern Virginia, and Summer Opera Theater companies, at Constitution Hall as Sarastro in Die Zauberflote under the baton of Victor Borge, and as the title character in Le nozze di Figaro with the New York Grand Opera. His roles also include Basilio, Don Giovanni, Col line, Dulcamara, Gremin, DeBecque, and Pandolfe. He played Marshall opposite Patti Lupone in the Kennedy Center production of Regina, and created two roles in Wolf Trap Opera's critically acclaimed world premiere of John Musto's Volpone. Recent engagements include roles with Washington Concert Opera(Alidoro, Quinault), roles in Opera Lafayette's Le Deserteur(recorded on Naxos Records) and Bartolo in Paisiello'sIl barbiere di Siviglia, and the title role of Gianni Schicchi with InSeries in Washington. On the concert stage, Mr. Galvin has performed with Ute Lemper and the National Symphony in Kurt Weill's Seven Deadly Sins, and with the Arlington Symphony and Williamsburg Symphonia. He was a regular featured performer in WMAL Radio's annual live Christmas concert from the Kennedy Center, and as bass soloist in the Kennedy Center's Messiah Sing-Along. MELISSA MARTIN Soprano Melissa Zwicker Martin is an alumna of the University of North Carolina at Chapel Hill, where she received a Bachelor's degree in Music and Political Science before obtaining a Master of Music in Vocal Performance from the Manhattan School of Music. Dr. Martin received her Doctor of Musical Arts degree from Mason Gross School of the Arts at Rutgers University, where she was a recipient of the David Reeves Scholarship and the Naumberg Scholarship. Dr. Martin has appeared in opera, concerts, and recitals throughout the United States and Europe. Representative operatic repertoire includes roles such as Pamina in Die Zauberflote, Zerlina in Don Giovanni, Musetta in La Boheme, Norina in Don Pasquale, Valencienne in Die Lustige Witwe, Rose Maurrant in Street Scene, Belinda in Dido and Aeneas, and Gertrude Stein in The Mother of Us All. A versatile performer committed to contemporary music, she was featured in the world premiere performance of James Legg's The Power of Xingu as Mrs. Garnett. Dr. Martin also created the role of Joy in the children's opera, The Araboolies of Liberty Street in conjunction with an arts-in-education community outreach program of New York. As a supporter of the Soho Think Tank's mission to nurture, strengthen, and promote a diverse community of independent theater artists, she appeared as Marni in the world premiere of the musical theater production, Child of God, at New York City's Ohio Theater. DONALD OEHLER Donald L. Oehler, Professor of Music at the University of North Carolina at Chapel Hill and clarinetist, has drawn high praise as a soloist, chamber musician, conductor and educator throughout his long career at the University. His performing activities have taken him throughout the United States, Central America, Canada, Great Britain, Eastern and Western Europe, the Middle East and Asia. He began his career as principal clarinetist of the Orchestre Philharmonique de Teheran in Teheran,Iran before moving to North Carolina to join the University of North Carolina music faculty. Mr. Oehler was one of the first American clarinetists to become active on classical or period instruments, including performance on the basset clarinet. He has sustained activity in the performance of new literature for the clarinet, giving world premieres of Peter Lieuwen's Trio for Clarinet, Cello, and Piano and T.J. Anderson's work"Huh, What Did You Say?"for DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Artist Profiles Spring 2016 Arts Program Application Clarinet and String Quartet. He also gave the US premier of Peter Maxwell Davies' Sonata for clarinet and Piano and gave one of the firsts US performances of John Adams' concerto, Gnarly Buttons Mr. Oehler has always had a widely-respected studio during his tenure at the University of North Carolina with former students presently in major teaching and performing positions. Additionally, he has been a conductor of professional ensembles, high school bands and youth orchestras, and presently serves as musical director of the Chapel Hill Philharmonia. Mr. Oehler has presented master classes in England, Wales, Belgium, Germany, Switzerland, The Czech Republic, Slovakia, Iran, Israel, Italy, Haiti, Hong Kong, Canada, and across the United States. Mr.Oehler is founder and director of the University Chamber Players,past director of the University New Music Ensemble and founder and member of the Qu'Appelle Winds, a Canadian-American wind octet. Mr. Oehler founded and directs Chapel Hill Chamber Music and the Chapel Hill Chamber Music Workshop. He was founder and artistic director of the Corso Internazionale di Music da Camera in Tuscania, Italy and served on the faculty of the Cours International de Musique in Morges, Switzerland for 16 years. He served as director of winds for MusicFest International in Aberystwyth, Wales and also as faculty member of the Utah State University Summer Music Festival. Mr. Oehler is a graduate of the Juilliard School. He studied with Orville Matthias, Bernard Portnoy, Joseph Allard, Robert Listokin, and Jack Brymer. TIMOTHY SPARKS Timothy W. Sparks has appeared with opera companies in the United States and Europe, including The Israel Vocal Arts Institute, Operafestival di Roma, Jacksonville Lyric Opera, First Coast Opera, North Carolina Opera, Greensboro Opera Company, Triangle Opera, National Opera Company(A. J. Fletcher Opera Institute), Brevard Music Center, Capital Opera-Raleigh, and Durham Savoyards. His representative operatic roles include Conte Almaviva, Anatol, Rodolfo, Don Jose, Nemorino, Don Ottavio, Ferrando, Prince Ramiro, Jaquino, Ralph Rackstraw, and Enoch Snow. With a commitment to contemporary music, Mr. Sparks has participated in the premiere of several new stage works by Joel Feigin, Benton Hess, Tom Lohr, D.J. Sparr, and Zachary Wadsworth. In concert, Mr. Sparks has appeared with the Hochschule der Kunste in Berlin, Canton Symphony Orchestra, Statesboro-Georgia Southern Symphony, North Carolina Symphony, Eastern Music Festival, Belleayre Music Festival, Breckenridge Music Institute and Festival, University of Notre Dame, Duke Artists Concert Series, Smedes Parlor Concert Series at St. Mary's School, North Carolina Bach Festival, North Carolina Master Chorale, Concert Singers of Cary, Voices-The Chapel Hill Chorus, Choral Society of Greensboro, Greensboro Oratorio Society, Chamber Orchestra of the Triangle, Tar River Orchestra and Chorus, Coastal Carolina Community Chorus, and Hillyer Community Chorus. Mr. Sparks has performed the tenor solos in oratorio and concert works by Bach, Beethoven, Britten, Gounod, Handel, Haydn, Mahler, Mendelssohn, Mozart, Alice Parker, Puccini, Respighi, Rossini, Saint-Saens, and Schubert. In January 2011, his recording of the Arnold Schonberg chamber orchestra transcription of Mahler's Das Lied von der Erde was released by Centaur Records, Inc. The tenor received his BM in Vocal Performance from the University of North Carolina at Chapel Hill and MM with the Performer's Certificate in Voice from the Eastman School of Music. His teachers include Joel R. Adams, Dominic Cossa, Fredric Moses, Dr. Terry Rhodes, and John Maloy. DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Organizational Budgets Spring 2016 Arts Program Application 2014-2015 2015-2016 2016-2017 Music Director $6000 $6075 $6650 UNC Facilities $1500 $1500 $1500 Librarians/Stage Managers $600 $600 $750 Music Rental/Purchase/Copies $1270 $1980 $2685 Licensing Fees $340 $340 $565 Programs $820 $600 $600 Publicity $160 $100 $100 Archive Recordings $600 $500 $500 Performance Venues $2305 Liability Insurance $300 $300 Hororariums $2000 $1000 Musicians $600 $600 Receptions $200 $150 Competition Awards $400 $400 $400 Competition Judges $600 $600 $600 Parking $250 $250 $250 P.O. Box/Postage $75 $70 $70 PayPal $115 $80 $80 Fundraising $230 Miscellaneous $240 $200 $200 TOTAL $15400 $16500 $17000 Notes: (1) Dollar amounts are rounded to nearest$5 (2) 2015-2016 year may incur a few additional expenses (3) 2016-2017 year values are estimates (4) Hill Hall renovations in 2015-2016 forced the use of alternative performance venues DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Artists Contact List Spring 2016 Arts Program Application Artist Contact List Marc Callahan 211 Conner Drive, Apt. 14 Chapel Hill, NC 27514 info @marccallahan.com 541-230-8812 Jeanne Fischer 220 Della Street Chapel Hill, NC 27516 fischerj@email.unc.edu 919-942-6417 Eugene Galvin 13016 Farthingale Drive Herndon, VA 20171 galvin@unc.edu 703-969-7156 Melissa Martin 502 Highgrove Drive Chapel Hill, NC 27516 mbmartin @email.unc.edu 917-449-1594 Donald Oehler 706 Copperline Drive, Unit 202 Chapel Hill, NC 27516 dloehler@email.unc.edu 919-452-5804 Timothy Sparks 9549 Brookchase Drive Raleigh, NC 27617 tsparks@email.unc.edu 919-293-0495 DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Staff Roster Spring 2016 Arts Program Application Staff Roster Paid Staff: Donald Oehler, Music Director Alice Churukian, Librarian/Stage Manager Bill Slechta, Librarian/Stage Manager Ted Bissette, Sound Recordings Volunteer Staff: Veronica Allen, Concerto Competition Co-Coordinator Jennifer Arnold, String Personnel Dick Clark, Board Vice-President Lawrence Evans, Program Notes Mark Furth, Program Notes Rosalind V. Goodwin, Board President John Konanc, Wind Personnel/General Manager Judy Konanc,Publicity Rick Lehner, Secretary Laura Mendelssohn, Concerto Competition Co-Coordinator Merida Negrete, Reception Coordinator Jonathan Stuart-Moore, Webmaster Pat Pukkila, Social Media Mary Sturgeon, Treasurer Debby Wechsler, Programs Doug Zabor, Ad Sales DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Board of Directors Spring 2016 Arts Program Application Chapel Hill Philharmonia Board of Directors Rosalind V.Goodwin,President Steve Furs 104 Fieldstone Court 2317 Narrawood Street Chapel Hill,NC 27514 Raleigh, NC 27614 rvolpe@ilzro.org sff803@aol.com 919-968-6418 919-624-0853 Richard Clark,Vice-President Elizabeth Johnson 901 Phils Creek Road 2513 West Club Boulevard Chapel Hill,NC 27516 Durham,NC 27705 clarkbar@mindspring.com zabjohnson@gmail.com 919-929-7985 919-672-7099 Mary Sturgeon,Treasurer Judy Konanc 750 Weaver Dairy Road,Apt. 1121 2410 Shallowford Lane Chapel Hill,NC 27514 Chapel Hill,NC 27517 sturgeongemail.unc.edu jkonanc@hotmail.com 919-918-3377 919-493-5491 Richard Lehner, Secretary Merida Negrete 375 Wesley Court 504 Gatehouse Lane Chapel Hill,NC 27516 Durham,NC 27707 r.lehner@yahoo.com mn2628@gmail.com 352-538-2308 919-740-8656 Denise Bevington Debbie Wechsler 632 Kensington Drive 197 Spring Creek Road Chapel Hill,NC 27514 Pittsboro,NC 27312 denisebevington@gmail.com wechslerbrooks@gmail.com 919-477-3442 919-542-3687 Lawrence Evans Doug Zabor 3062C Colony Road 513 Red Bud Road Durham,NC 27705 Chapel Hill,NC 27514 lee@phy.duke.edu j dzabor@aol.com 919-630-0367 919-929-2301 DocuSign ID: o8071 �l�� � ���� F "m"n ��^., ��~�,/"/.,.,c x°v"".^.,�=, P. O . x � 2508. In reply refer to : 0248237276 Cincinnati OH 4520I Dec . 06 , 2007 LTR 4168C Eu 000000 00 000 00014550 BODC: TE CHAPEL HILL PHILHAHMONIA INC P 0 BOX 2853 CHAPEL HILL NC 27515 005654. Employer Identification Number : Person to Contact : Mr , Morton Toll Free Telephone Number : I-877-829-5500 Dear Taxpayer : This is in response to your request of Nov . 27 , 2007 , regarding your tax-exempt status . Our records indicate that a determination letter was issued in October 1999, that recognized you as exempt from Federal income tax , and discloses that you are currently exempt under section 581 (c) ( 3) of the Internal Revenue Cade . Our records also indicate you are not a private foundation within the meaning of section 509(a) of the Code because vuu are described in section (s) 509(a) ( 1 ) and 170 (b) ( l ) (A) ( vi ) ' Donors may deduct contributions to you as provided in section 170 of the Code . Bequests , legacies , devises , transfers , or gifts to vou or for your use are deductible for Federal estate and gift tax purposes if they meet the applicable provisions of sections 2055, 2106 , and 2522 of the Code . If you have any questions , please call us at the telephone number shown in the heading of this letter . Sincerely vours , �Y ' r� � � Michele M. Sullivan , Oper . Mnr , Accounts Management Operations I DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Past Reviews Spring 2016 Arts Program Application "DivaFest 3, or an Afternoon at the Opera, with the Chapel Hill Philharmonia" John W. Lambert, CVNC Review of February 2012 Concert "... Recollections of all these things came streaming back during the Chapel Hill Philharmonia's latest concert, which featured(young) stars of the UNC Department of Music's Vocal Music Division. It was a somewhat better deal than the more frequent concerts of winners of various concerto competitions, in which a whole batch of hopefuls are boiled down to just two or three or four finalists. This time,we heard a big batch of vocalists in varying stages of readiness— 17, if we haven't miscounted—in arias and duets from operas by Mozart (mostly), Offenbach, Delibes, and Puccini. Excerpts from the Carmen Suite (one of which was conducted by Vincent L. Povazsay), the Prelude to Die Meistersinger, and the Brindisi from La traviata(with the afternoon's most mature vocalists—Caroline Mason and Ryan Griffin—as the soloists and the rest of the singers as the chorus)rounded out the afternoon. Donald L. Oehler, Music Director of the Philharmonia, conducted. Hill Hall was substantially full, despite the lousy weather and dearth of close-in parking places—people were straggling in till half past three. The crowd clapped and cheered and stood and yelled. The orchestra is large—90 players were on the roster—and the sound sometimes overflowed the hall, but a good time was had by nearly all, for sure. It may well have been like that at the Old Met on those long-ago Sunday nights. As a showcase for UNC's vocal efforts, the program was a very positive thing. We'll await DivaFest 4 with keen anticipation..." "Chapel Hill Philharmonia and Soloists Bring Mozart to Children" Chelsea Huber, CVNC Review of October 2014 Concert "Kenan Rehearsal Hall at UNC Chapel Hill was nearly filled to capacity with children and parents eager to hear the Chapel Hill Philharmonia play selections from Mozart's famous opera Die Zauberflote, or The Magic Flute. An array of soloists, mostly current students or graduates of UNC Chapel Hill,performed the various roles of the opera with the Philharmonia. Since the concert was geared towards young children, it was more interactive; rather than sitting in chairs with their parents, children sat in a group directly in front of the orchestra and soloists, allowing the soloists to sing directly to their young audience. Narrator Stafford Wing explained the opera's story in between each number, often speaking his synopsis in the form of humorous rhymed verse. The first selection was, naturally, the Overture to the opera; a playful flute melody was introduced among the other instruments,hinting at the theme of the opera. The first vocal selection was Papageno's aria"Der Vogelfanger bin ich ja," sung by Evan Adair with humorous expression. Costuming was minimal, but the half-bird-half-man Papageno was depicted with several colorful feathers. When Adair mimicked playing the flute with a sparkly party whistle, he was successful in making the children laugh, involving them in the storyline of Mozart's work. The prince Tamina's first aria"Dies Bildnis ist bezaubernd schon"was sung by Drew Meyer, who provided a contrast to the previous selection with a wistful love song. One of the highlights of the afternoon was decidedly the performance of Diana Thompson, a professional coloratura soprano who played the role of the powerful Queen of the Night. With"0 zitt're nicht," she introduced herself as a mysterious and stately character, but later, in "Der Mille Rache,"she was convincingly angry and devious. Both of these arias contained impressive vocal runs, showcasing the difficulty of operatic singing clearly to DocuSign Envelope ID: 08671365-A26A-45AE-A1 BO-C9F674AC3364 Past Reviews Spring 2016 Arts Program Application children,parents, and the rest of us. Thompson depicted the duplicity of the Queen, whose composed anger sometimes leads to desperation. The Queen's character is contrasted with the character of her(supposed)daughter Pamina, especially with the aria"Ach, ich find's, es ist verschwunden." Slow string pulses accompanied the mournful tune, sung convincingly by Charlotte Jackson. Kayla Hill also shared in played Pamina, singing the duet"Bei Mannern, welche Liebe fuhlen"along with Nick Danker as Papageno. This duet, in an elegant slow waltz tempo, is romantic and pastoral. Notably, a beautiful horn melody is interwoven between phrases here. In addition, the expert dynamic control of both singers and the orchestra was apparent. To close the concert, the Philharmonia performed Strauss's energetic "Radetsky March," and the children were invited to play little plastic flutes and dance around to the music, which was quite charming. Also, conductor Donald L. Oehler allowed several children to "conduct"the orchestra in his place, which rounded out the interactive event..." DocuSign Envelope ID: D8671365-A26A-45AE-A1 BO-C9F674AC3364 Chapel Hill Philharmonia Hill Hall — University of North Carolina at Chapel Hill 7:30 p.m. Sunday, December 7, 2014 Donald L. Oehler, Music Director Felix Mendelssohn (1809-1847) Symphony No. 4 in A major, Op. 90 ("Italian") Allegro vivace Andante con moto Con moto moderato Presto and Finale: Saltarello Intermission Maurice Ravel (1875-1937) Pavane pour une infante defunte (Pavane for a Dead Princess) George Gershwin (1898-1937) An American in Paris You are cordially invited to join the performers in the rotunda for post-concert refreshments. Please silence your mobile devices. For the performer's safety, no flash photography. Recordings may not be posted to public web sites. DocuSign Envelope ID: D8671365-A26A-45AE-A1 BO-C9F674AC3364 Musical Travel I wanna kiss you in Paris I wanna hold your hand in Rome —Madonna ("Justify My Love") What better inspiration might a composer find than a distant land? Exotic folk melodies, local instruments, birdsong, pounding surf on rocky shores, whistling wind in forest treetops, even the cacophony of urban traffic–all may provide novel sonic color to enrich the musical palette. Before jet planes decimated time and the internet shrunk the globe to the dimensions of a smartphone, travel offered the best firsthand way to expand the composer's aural consciousness.A BBC Music Magazine online feature highlights 15 composers, beginning with Felix Mendelssohn, who "risked the physical dangers of travel to abandon themselves to the sensations of a fresh environment" (http://www.classical-music.com/ article/15-travelling-composers).And the compilers of that list somehow overlooked the ultimate journey by a composer, namely, Nikolai Rimsky-Korsakov's three-year circumnavigation of the globe as a Russian naval officer. Moreover, even composers who never strayed far beyond the borders of their own countries have explored new territory, both geographic and temporal, by reading literature, connecting with their family histories, or embracing the diversity of their homelands. Mendelssohn: "Italian Symphony" The Mendelssohn family had already traveled across a vast cultural span in the two generations before Felix emerged as a musical genius. In 1743 a frail 14 year-old named Moses left his hometown Dessau, where his father Mendel worked as a scribe of religious scrolls, and followed a rabbinic teacher to Berlin, the capital of Prussia. City archives record his inauspicious entry: "Today there passed through the Rosenthaler Gate six oxen,seven swine,one Jew."Against all odds, this poor, hunchbacked lad grew into a renowned philosopher, leading the Haskalah (Jewish Enlightenment) movement as a champion of education, reason, tolerance, and engagement with modern society. Moses adopted the surname Mendelssohn, derived from the Hebrew ben [son of] Mendel. He also became prosperous as business partner to a well- off silk merchant. Two of his sons, Joseph and Abraham, founded a successful bank in 1804. Abraham married Lea Salomen, granddaughter to an important court banker who had also served as the official head of Berlin's Jewish community for 35 years. They had four children. Following a trend towards nationalism and assimilation of German Jews into the majority society, the couple quietly arranged baptism for the children as Lutheran Protestants and followed suit a few years later, taking the additional name Bartholdy from the estate of another converted relative. Biographer R. Larry Todd (Duke University) observes in Mendelssohn: A Life in Music, "Several factors explain the growing attraction of conversion. By embracing Christianity, Jewish subjects achieved citizenship, though in reality the converted were still susceptible to discrimination. While some baptisms reflected genuine spiritual convictions, others were encouraged by the proselytizing zeal of Christians." The Mendelssohn children received outstanding educations, mainly with private teachers.Abraham and Lea were avid amateur musicians.They recognized that their first child Fanny, born in 1806,and Felix,three years her junior, possessed extraordinary gifts. Inevitably, people began to compare these siblings with Maria Anna and Wolfgang Mozart,the famous sister-brother pair from the previous century. However, whereas Leopold Mozart aggressively marketed his children's precocity for financial gain, carting them around on a three-year Grand Tour of European royal courts, the Mendelssohns sought simply to cultivate their offspring's musical talents. Felix was tutored in composition by Carl Friedrich Zelter, a highly respected albeit conservative music educator. Felix composed prolifically and with sophistication far beyond his years. His parents showcased his works at Sunday musicales in their spacious home.Abraham hired a small professional orchestra for these events, and invited the city's DocuSign Envelope ID: D8671365-A26A-45AE-A1 BO-C9F674AC3364 011111111110H most influential cultural and political leaders. Moreover, Zelter enjoyed a close 1111, 111411111����' r,e�%,� , ��� personal friendship with Johann Wolfgang von Goethe and introduced his star t i1 �, � ,� pupil to this renowned writer, scientist, artist and statesman. Despite a 60-year ,, ;; �r ./„ age gap, Goethe became both a mentor and a close friend to the adolescent �' /' � composer. Having heard Mozart as a child, Goethe suggested that Felix's talent �r �, '� ;,r '� off' ar � � " + �� might surpass that of his legendary predecessor. 1111"1"11111111,11111111111111,,, ,11.1,,,1 1:11111,11117.10, 111111",' *d At age 16 Felix achieved a musical quantum jump consistent with Goethe's 111111110.10411,1111" 010010;f' judgment. His Octet for Strings, writes Todd, "catapulted [him] into the Western 1111 �<� , - canon of`great'composers...No work of Mozart from a comparable age matches F ,UrUd lotf7 111" the consummate skills of the Octet..." A letter from Fanny revealed that Felix based the Octet's Scherzo movement on a dream-like section from Goethe's 11,1111111 1,11 great tragic drama Faust. Todd goes further to propose that the entire work was drawn from this play. A year later Felix produced another literary-inspired masterpiece, a concert Overture on the subject of William Shakespeare's Midsummer Night's Dream. Felix Mendelssohn by Horace Vernet Beyond music, Felix proved an impressive polymath — a voracious reader in many fields, a fluent writer and poet in three languages, a skilled draftsman and water colorist, and a strong swimmer and gymnast. He entered the University of Berlin in 1827 and diligently studied philosophy, the sciences, history, and geography. He still found time to complete such compositions as his first mature String Quartet(Op. 13), influenced by Beethoven's remarkable late works in this genre, and the concert overture Calm Sea and Prosperous Voyage, based on two of Goethe's poems. Another singular project was the revival of J.S. Bach's largely forgotten St. Matthew Passion, kindling renewed recognition of that composer's importance. In Todd's eyes this "was the culminating event of Felix's youth" through which "he symbolically achieved full assimilation into Prussian culture and thus confirmed his Christian faith through Bach's ineluctable Passion." In the glow of this triumph, his university proposed to hire its newly minted graduate as Professor of Music. However, neither Felix nor his father was confident that Berlin would provide the best environment for his future, and he turned down the offer. The alternative was travel. Abraham sponsored a three-year tour (1829 to 1832) in which Felix explored England, Scotland, Bavaria, Austria, Switzerland, Italy, and France. He first sojourned in London at the invitation of that city's Philharmonic Society, and began a lifelong mutual love affair with the British. A hiking tour to the North inspired a set of drawings and water colors, and two major compositions. The tone poem The Hebrides, first performed in London in 1832, represents a musical response to the dramatic landscape of Fingal's Cave off Scotland's west coast. A walk through ancient ruins in Edinburgh sparked the conception of the "Scottish Symphony", completed some years later. During a brief interlude at home Felix enjoyed 21s' birthday festivities and completed his second mature Symphony (listed as No. 5), known as the Reformation, honoring the 300'" anniversary of the Lutheran faith. He later renounced the work as "youthful juvenilia" and it was published only two decades after his death. Setting out now on continental travels, Felix devoted two weeks to a final visit with the octogenarian Goethe in Weimar, ignited a romantic relationship with an attractive pianist in Munich, and found Vienna, which Haydn, Mozart and Beethoven had once made Europe's musical lodestar, a city in cultural decline. However, the main target was Italy where, in Zelter's words, "the very stones have ears,while here [in Germany]they eat lentils and pig's ears." Mendelssohn, again,was unimpressed; in Rome, his main base for more than half a year, he found "musical life severely lacking" (Todd), and Naples was no better. Rather, Felix was far more taken by paintings and sculpture and by social life with a group of young German and Danish artists. Perhaps the greatest musical influence from the Italian stay came from the Frenchman Hector Berlioz, a singularly creative, iconoclastic composer residing in Italy as a winner of the Paris Conservatory's prestigious Prix de Rome. DocuSign Envelope ID: D8671365-A26A-45AE-A1 BO-C9F674AC3364 Nonetheless, the Italian journey inspired Felix to "compose with fresh vigor" and begin a work that, he wrote to Fanny, "will be the jolliest piece I have ever written, especially the last movement." Responding to this "land of art...a chosen land of nature, where there is life and beauty everywhere," he produced the "Italian Symphony" (No. 4), dubbed by his biographer Heinrich Eduard Jacob "A Blue Sky in A Major." Mendelssohn filled in his sketches of the work in response to a commission from the London Philharmonic Society,and premiered it in that city as conductor on 13 May 1833. It proved extraordinarily successful on first hearing, and remains a staple of the repertoire. The work's opening movement, wrote early 20th century musicologist Charles Grove, "seems to embody the general feelings aroused by Mendelssohn's entrance into Italy and his journey from the Alps to Rome, of which such delightful records are left in his letters...Never perhaps was music written more wonderfully full of the fire of youth..."The solemn slow movement is sometimes compared with the "Pilgrim's March" of Berlioz's Harold in Italy. Grove chooses, instead, a cross-cultural religious metaphor, hearing in its opening phrase a "loud call to prayer or meditation, like the cry of the muezzin from the minaret." The third movement takes the form of a classical Minuet and Trio, evoking, not Rome, but rather Mozart's Vienna. However, in the last movement, labeled Saltarello after a leaping folk dance, the Italianate connection becomes overt. Grove proposes that this"Finale...was doubtless inspired by the Carnival of Rome, in the fun of which Mendelssohn joined as heartily as any born Italian..." Todd connects it more precisely to the composer's vivid recollection of a wild saltarello danced at a party, with tambourine in hand, by the daughter of Horace Vernet, director of the French Academy in Rome. Despite its popular acceptance, Mendelssohn was never satisfied with the"Italian Symphony,"tinkered with it repeatedly but (like the "Reformation") never published it, and reportedly wished it be destroyed after his death. Wherein lay the disconnect between the composer's feelings and the "Italian Symphony's" evident quality and popular appeal? It is difficult after nearly two centuries to psychoanalyze the bouts of severe self-doubt suffered by a genius. However, Jacob may have provided a key insight with the suggestion that Mendelssohn, unlike Berlioz, connected only superficially with the land he visited. "He was painting Italy as a traveling Englishman might see her. Italy did have its idyllic side, after all, although it was not exactly the real Italy."Tellingly, "Felix knew no Italians. He was totally unaware of the political currents of Italian life...[or of] the cultural aspirations of the Italian people." Natives observed in a local café, evoked his disgust, as he observed "whole faces sprouting hair, sending up dreadful clouds of smoke, saying rude things...[their] dogs contributing to the spread of vermin..." Edward Green of the Manhattan School of Music in an article on "The Combat Between Respect and Contempt in the Mind of Felix Mendelssohn",suggests that the composer's temperament included "an unhandsomely competitive component," leading 111, to estrangement from all but a handful of people such as Goethe and his sister Fanny. This pattern, Green argues, began "very early in his life, when "' his family encouraged him to view himself as a F" superior being." Perhaps the wonderful facility of the "Italian Symphony" convinced its listeners, but failed to satisfy the heart of its self-aware composer. °" Green hypothesizes that "Mendelssohn's ��� ��� F1 �'` Thus, "� � inability ever to consider it finished..."unconsciously �, � �r pp R� „ �� [reflected his]shame about indulging in contempt for �� Ir �N��� � w� � P the Italian people.,, �1II1 IIVVI 'rye 1,1„1„1„1„1,100,0„„„i„,. ��...1Imi IV Il ti Die Ironically, Mendelssohn's own legacy has suffered ,. . . lor 11'11111 , ,._ irrevocably from racist contempt first promulgated by Richard Wagner in a screed on "Jewishness in One of Mendelssohn's Drawings in Italy Music." Despite Mendelssohn having been raised DocuSign Envelope ID: D8671365-A26A-45AE-A1 BO-C9F674AC3364 from childhood as a Christian, Wagner wrote that he "has shown us that a Jew can possess the richest measure of specific talents, the most refined and varied culture...without even once through all these advantages being able to bring forth in us that profound, heart-and-soul searching effect we expect from music." The challenge today is to move beyond the subtle long-term impact of Wagner's poison,and perhaps of Mendelssohn's own insecurity, to hear again the freshness, strength, and passion in his music. Ravel: Pavane for a Dead Princess Maurice Ravel, considered alongside Claude Debussy to have 01 ritranslated French Impressionism from the visual arts into music, Iii , i was born in 1875 in Ciboure, France, a Basque town located only ' 1 A 11 miles from the Spanish border. As a teenager he became a student at the Paris Conservatory where he studied composition with Gabriel Faure. From an early stage he was recognized Y as a g g j highly original voice, perhaps to his detriment, as conservative juries ;; ,� v repeatedly turned him down for academic prizes. He was rebuffed ° �%� ��% five times as a contestant for the Prix de Rome. This finally sparked ;f '%i1 a scandal in 1905, by which time Ravel was a well-established figure in French music, when all of the Prix winners came from a �,° i ��r° single studio. While he wrote relatively few works, and these often �' �� �� compressed and tightly focused his distinctive use of harmony and 11 1111111111 r A,000014 j �,�,, ,� � �,, ,��� skilled orchestration strongly influenced his contemporaries.gro 1 Ravel never traveled abroad until 1905, when a sympathetic editor took him on a canal trip of Belgium and Holland as consolation for Infanta Margarita Theresa in Las Meninas his final failure to win the traveling fellowship to Italy. His first visit to Diego Velasquez, 1656 Spain occurred in the autumn of 1911. Nevertheless, already from his first years as a composer Ravel produced works that suggest an intimate familiarity with that country, which he called "ma seconde patrie musicale" (my second musical homeland). Ravel attributed the "subtle authentic Hispanism" in his music to the influence of his Basque mother, whose compelling reminiscences of her youth in Madrid had fascinated him since early childhood. The dance rhythm of the Spanish Habanera appears in early works such as Sites auriculaires and Rapsodie espagnole. Specific influence of the Basque culture can be found in some of Ravel's most important compositions, including the Piano Trio (1914). His most famous work, Bolero (1928), is obviously Spanish-inspired. Ravel wrote it for the ballet company of Ida Rubinstein and imagined factory workers playing out the story of a bullfighter killed by a jealous rival. Ravel composed the Pavane pour une infante defunte (Pavane for a Dead Princess) as a commissioned work for solo piano in 1899, at the age of 24. It was premiered three years later by Ricardo Vines and immediately became a popular hit. Ravel produced a version for orchestra in 1910 which won even greater acclaim.The title leads some to take the work as a morose dirge. However, Ravel explained that he merely liked the alliterative words. The piece, he averred, "is not a funeral lament for a dead child, but rather an evocation of the Pavane [a courtly dance dating to the Renaissance] that might have been danced by such a little princess as painted by [17th century artist Diego] Velasquez."A specific visual reference would be the five portraits by Velasquez of the Infanta Margarita, daughter of King Felipe IV of Spain. Ravel dedicated the Pavane to his patroness Winnaretta Singer, wife of Prince Edmond de Polignac and heiress to the Singer family of sewing machine fame. The couple's drawing room in Paris was a center for avant garde music, and inspired Marcel Proust's literary pictures of salon culture. DocuSign Envelope ID: D8671365-A26A-45AE-A1 BO-C9F674AC3364 Gershwin: An Amerian in Paris George Gershwin was as American as apple pie, if one allows the simile to include a side order of borscht. He was born in Brooklyn, New York in 1898 to Russian-Jewish immigrants Moishe Gershowitz and Roza Bruskina,who morphed in their new country into Morris and Rose Gershwine (their sons later dropped the final "e"). George and his elder (by 2 years) brother Ira gravitated early to the Yiddish Theater District on the Lower East Side and East Village in Manhattan. This area was home for entertainment ranging from Shakespeare in Yiddish (the historical language of Ashkenazi Jews in Central Europe,with a Germanic base and written in Hebrew script)to vaudeville, burlesque, and musical shows rivaling those of the tonier Broadway theater. Born without the "silver spoon in the mouth" enjoyed by Felix Mendelssohn, George may have possessed equal innate talent. (And like Felix he became a skilled painter and an athlete.) Morris and Rose bought a piano for Ira, but George monopolized it.At the age of 15 he dropped out of high school to work as a"song plugger"on Tin Pan Alley,demonstrating songs from the music publishers whose shops clustered in a few West Side blocks adjacent to the theater district. Despite meager formal education, he displayed a passion for self-improvement,seeking out better teachers and studying music intensively. Charles Hambitzer, a fine pianist and composer, spotted Gershwin's "genius"and took the young man under his wing, bringing him to concerts and expanding his horizons to include music of Liszt, Chopin, and Debussy. Still, it was in popular music that George first made his mark,arranging and recording piano rolls. He began to write successful songs, following in the footsteps of another musician with Russian-Jewish roots, Irving Berlin. However, even before his 21st birthday Gershwin had gone further than Berlin in graduating from Tin Pan Alley to compose a full Broadway musical, La La Lucille. Al Jolson's rendition of "Swanee" gave Gershwin a big hit song that brought him more than $10,000 in royalties in its first year alone. By the mid 1920s, teamed with Ira as lyricist, George was the most successful composer of musical scores for Broadway, with several long-running hits. The Gershwin brothers also scored big in London with such shows as Lady Be Good starring Fred and Adele Astaire. Altogether, they collaborated on 22 musical comedies. Their Of Thee I Sing was the first musical awarded a Pulitzer Prize. , ' r ;1;"II � roN 1111' IIIIIII 1 George's success was not confined to the boards of the musical w i � y �1 a theater stage. In 1924 he joined band leader Paul Whiteman l 1 t� {1 ;,,,ri ( ' '�' °= 1 in a program called An Experiment in Modern Music', aimed at ', ,11 0# ' legitimizing symphonic arran arrangements of jazz music as serious �G � i g. , g g 1 1 ) ��% ''' 10,, '1, concert entities. They introduced Gershwin's Rhapsody in Blue, { ,� : with the composer performing the demanding solo piano part. oroNNI0110,I; 1r,NIIIIIVAIP3 ', �� ` r 0 i, The work brought Gershwin added audience acclaim and critical � ' 1 , � ;` j notice, along with a boost to his already formidable finances. Over e ` "4 ' 1' s ; the next decade he realized more than $250,000 from recordings, 0 4e0,1 IN, ��� ,� performances, and rental fees for Rhapsody, which represented li '' 1 ,u��, �, ,,v only a small component of his total earnings. For the rest of his �� l; iii r 1,f, career, he divided time between composition for popular theater 1111,1;0,1s' 14,11 1 � and concert music, and continued to rack up major successes in ml1,le,y.1, 7. ti � both arenas.The two strains of his creativity united in the `American 1 ,a, I ' folk opera' Porgy and Bess. This work opened in a Broadway 00.1 �! e; theater in 1935 but today holds an important place in the opera I ��� , � , , world,although absent from some houses because of the Gershwin� , � D estate's stipulation that it be performed only by an all-black cast. 1 � �r�r� 0nyr��r Gershwin's potential for even greater creativity was cut short soon ` after by a fatal brain tumor, at age 39. In this he again resembled George Gershwin Self-Portrait in an Opera Hat Mendelssohn who died of a stroke at virtually the same age. DocuSign Envelope ID: D8671365-A26A-45AE-A1 BO-C9F674AC3364 After Rhapsody Gershwin returned to study of composition with several excellent teachers, notably Rubin Goldmark and Henry Cowell. The legend has grown that he continued to ask for lessons from virtually every famous composer he met, a list numbering Ravel, Schoenberg, Bloch, Toch, and Varese, among others. All reportedly turned him down. Another refusal came from Nadia Boulanger whose pupils included a Who's Who of American composers, most outstandingly Aaron Copland, that migrated to Paris to sit at her feet. In denying Gershwin's request Ravel was said to have asked, "Why should you be a second-rate Ravel when you can be a first-rate Gershwin?" Igor Stravinsky reputedly demanded to know how much money Gershwin was making. When given the answer, an astronomical (in those days) $100,000 or $200,000 annually, his flip response was, "Then I should take lessons with you." David Schiff, a professor at Reed College in an article for The Atlantic titled "Misunderstanding Gershwin," notes that these tales may be apocryphal. He shares a speculation "that the composer had floated them himself." Schiff detects patronization on both sides of the aisle — Gershwin flaunting his economic success, and famous, `serious' modern composers implying that"Gershwin's identity might not survive[rigorous musical training],"with the underlying assumption that he "was a freak of nature rather than a true artist." Schiff cites Copland's friend and protégé Leonard Bernstein, the musician who perhaps most resembled Gershwin as a dominant figure in both the Broadway theater and formal concert halls, as the source of"the most lethal anti-Gershwin brief." "I don't think," he quotes Bernstein, "there has been such an inspired melodist on this earth since Tchaikovsky....but if you want to speak of a composer, that's another matter." We should view the composition of An American in Paris, Gershwin's next concert hit after Rhapsody, against this backdrop.The story is often told that Gershwin went to Paris in March 1928 as something of a musical primitive, in search of more advanced training and armed with an introductory letter from Ravel to Boulanger. Somehow, despite being turned away from her studio, he absorbed enough from the city's rich culture to produce the sophisticated new, freely written "rhapsodic ballet." But perhaps Gershwin was seeking nothing more than a bit of authentic background color for an innovative form, extending his own fusion of jazz and classical music, of which he was intrinsically the best master. He stated the "purpose" of the new composition in an article in Musical America as simply "to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises and absorbs the French atmosphere." Gershwin even provided a narration for his work: "The opening gay section is followed by a rich blues with a strong rhythmic undercurrent. Our American friend, perhaps after strolling into a café and having a couple of drinks, has succumbed to a spasm of homesickness. The harmony here is both more intense and simpler than in the preceding pages. This blues rises to a climax followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris.Apparently the homesick American, having left the café and reached the open air, has disowned his spell of the blues and once again is an alert spectator of Parisian life.At the conclusion, the street noises and French atmosphere are triumphant." Program notes provided for the first performance with Gershwin's cooperation went further to hint, scandalously during the Prohibition era, that the "American friend" had consumed enough alcohol to get drunk, and that he quelled his homesickness by picking up an attractive female companion "for hire." But, be that as it may... So what did Gershwin really find on his travels to Paris?Atmosphere for sure...and a set of authentic Parisian taxi horns, carefully selected for various musical pitches, which he brought back and incorporated into the music... But he did not need to travel somewhere over the rainbow to find new musical answers. Schiff concludes, "Perhaps Stravinsky was right: instead of continuing to give Gershwin posthumous lessons in how to be a composer,we should let him teach us." And for this representative of the American melting pot, who managed to synthesize Yiddish theater, African-American jazz, and the great works of the European symphonic concert hall, Dorothy's words from the Wizard of Oz might well apply—"There's no place like home." — Program notes by Mark Furth ©2014 DocuS, n Envelope ID: D8671365-A26A-45AE-A1 BO-C9F674AC3364 e y� _ s � o \\\\\ \\� \\ ` y - v \ s a\ IMIM DO MEMO MCI 9 Jq ��