0SaltBayChamberFest - Program18 FINAL PDF

AUGUST 6–18, 2018

Troubadours
&Tangos
Proud to
support the
Salt Bay
Chamberfest

New Harbor • Damariscotta

Warren • Union • Belfast
www.damariscottabank.com
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FDIC
Dear Friends,
Welcome to the 24th season of Salt Bay Chamberfest: Troubadours & Tangos.
The strumming of the guitar has captured the imaginations of poets and
musicians for centuries, inspiring ballads, laments, and even tangos. The
ancestors of the modern guitar—lute, oud, and lyre—were known to exist
thousands of years ago, and can be seen in early paintings and archeological
artifacts and sculptures from ancient times. Though we have no way of
hearing music from so long ago, we will begin this guitar-inspired festival
with some of the first music notated, by Troubadour Bernart de Ventadorn
in the 12th century. Arab oud music, Spanish guitar, and Argentinian tango
reveal the versatility of the original stringed instrument, culminating in our
season finale with electric guitar.
In the spirit of the troubadours whose lives were made up of composing

and performing music, wandering from place to place, I am delighted to
present some very special musicians who have traveled here to share their
virtuosic performing talent as well as their compositional gifts. A world
premiere and SBC-commissioned work by Steven Mackey, pieces by
Conrad Tao and Julien Labro, and original improvisations by Syrian oudist
Issam Rafea promise to be musical highlights.
It is my great privilege to share the stage with such talented and probing
artists, and I hope you will join me in welcoming them all to Maine. I am
grateful to them and to all of you who work, contribute, and support Salt
Bay Chamberfest during the festival and throughout the year to ensure our
success.
With gratitude,
Wilhelmina Smith
Founder, Artistic & Executive Director
Many Thanks to Our Sponsors
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2018 Salt Bay Chamberfest Events
Monday, August 6
3:00 PM OffTopic! Talk/Demonstration by Julien Labro: “An Exploration
of the Accordion, Bandoneon, and Accordina” (Lincoln Home)
Tuesday, August 7
10:00 AM Open Rehearsal (Darrows Barn)
6:00 PM Picnic with food by Damariscotta River Grill (Darrows Barn)
6:30 PM Pre-Concert Talk (Darrows Barn)
7:30 PM Concert (Darrows Barn)
Thursday, August 9
12:00 PM Thursdays @ Noon Recital: Jason Vieaux, acoustic guitar
(Lincoln Theater)
Friday, August 10
Monday, August 13
3:00 PM OffTopic! Talk/Demonstration by Thomas Sauer: “Hiding in
Plain Sight: Beethoven’s Hammerklavier Sonata” (Lincoln Home)
Tuesday, August 14
Thursday, August 16
12:00 PM Thursdays @ Noon Recital: Steven Mackey, electric guitar
(Lincoln Theater)
5:00 PM Musical Lobster Bake (Darrows Barn)
Friday, August 17
1:00 PM Master Class (Schooner Cove)
Saturday, August 18
10:30 AM Family Concert (Skidompha Public Library)
For more information or to purchase tickets to any of these events,

visit www.saltbaychamberfest.org, call 207-522-3749,
or stop by Darrows Barn during the festival.
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Event Locations
DARROWS BARN at Round Top Farm
3 Round Top Lane (off Business Route 1), Damariscotta, ME 04543
Round Top Farm is a community facility owned and managed by the
Damariscotta River Association.
LINCOLN HOME
22 River Road, Newcastle, ME 04553
LINCOLN THEATER
2 Theater Street, Damariscotta, ME 04543
SCHOONER COVE
35 Schooner Street, Damariscotta, ME 04543
SKIDOMPHA PUBLIC LIBRARY

184 Main Street, Damariscotta, ME 04543
Retirement Living At Its Finest.

Resident-Owned Independent Apartments
35 Schooner Street
Featuring One and Two-Bedroom Floor Plans
Damariscotta, ME 04543 and Glorious Riverfront Views.
Call Bruce Hardina at - Scenic Riverfront Location

- Maintenance-Free Living
563-4631 Today - Fine Dining & Activities
for a Private Tour! - Friendly Neighbors, with
You may also enjoy our Outings and Gatherings
- Pets Accepted on Approval
3D virtual tour online - Unique Access to LincolnHealth
at schoonercove.com Miles Campus & Services
4
2018 Performers
VIOLIN GUITAR
Serena Canin Steven Mackey
Stefan Jackiw Jason Vieaux
Mark Steinberg
OUD
VIOLA Issam Rafea
Misha Amory
ACCORDION, BANDONEON,
CELLO ACCORDINA
Edward Arron Julien Labro
Nina Lee
Wilhelmina Smith TENOR
John Bellemer
PIANO
Thomas Sauer ENSEMBLE
Conrad Tao Brentano String Quartet
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Program
Tuesday, August 7, 2018 at 7:30 pm Dedicated to Mary Fiore
Bernart de Ventadorn (c. 1135–1195)

“Can vei la lauzeta mover” (When I see the lark spread its wings) (c. 1150)
John Bellemer, tenor ; Wilhelmina Smith, cello
John Dowland (1563–1626)

“Come, Heavy Sleep” (1597)
John Bellemer, tenor ; Jason Vieaux, guitar
Benjamin Britten (1913–1976)

Passacaglia from Nocturnal after John Dowland, Op. 70 (1963)
Jason Vieaux, guitar
John Dowland
“Come Again, Sweet Love Doth Now Invite” (1597)
Julien Labro (b. 1980)

Dowland’s Lament (2018)
Julien Labro, accordion
Carlos Gardel (1890–1935)

(Arr. Labro)
“Mi Buenos Aires querido” (My Beloved Buenos Aires) (1934)
Wilhelmina Smith, cello; John Bellemer, tenor ; Jason Vieaux, guitar;
Julien Labro, bandoneon
Osvaldo Golijov (b. 1960)

Omaramor (1991)
Wilhelmina Smith, cello
Astor Piazzolla (1921–1992)

(Arr. Labro)
Libertango (1974)
Wilhelmina Smith, cello; Jason Vieaux, guitar; Julien Labro, bandoneon
INTERMISSION
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8/7
Franz Schubert (1797–1828)

Harfenspieler (1815, 1816)
I. “Wer sich der Einsamkeit ergibt”
(He who gives himself over to solitude)
II. “Wer nie sein Brot mit Tränen aß”
(He who never ate his bread with tears)
III. “An die Türen will ich schleichen”
(I will creep from door to door)
Pat Metheny (b. 1954)

(Arr. Vieaux)
“Antonia” (1992)
Jason Vieaux, guitar; Julien Labro, accordina
Astor Piazzolla
(Arr. Labro)
Escualo (1979)
Jason Vieaux, guitar ; Julien Labro, bandoneon
This concert is sponsored by Pamela Daley & Randy Phelps.

The corporate sponsor for this concert is Damariscotta Bank & Trust.
John Bellemer’s performance is sponsored by Paul & Judy Weislogel.

Julien Labro’s performance is sponsored by Sarah Peskin & Bill Kelley.
Jason Vieaux’s performance is sponsored by Diana Morris & Peter Shiras.
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S trumming and plucking strings to accompany a recitation of poetry is
one of the oldest forms of art in existence. To this day, we call a text to be
sung the “lyrics,” a word derived from “lyre,” the original strummed
instrument that dates back (at least) to ancient Greece and which
accompanied the recitations of such early works as Homer’s Iliad and
Odyssey. Through the ages, although the shapes and timbres of the
strummed instruments have changed—evolving from lutes and ouds to
banjos and guitars—the basic concept of a performer accompanying
words, whether they be personal words of love, pain, or joy, or national
words of historic significance, has remained the same. Tonight’s program
traverses the ages from the earliest known notation of music for lute to new
works that continue this grand tradition.
The songs of troubadours originated in the south of France in the early

1100s, and the subject matter was love—of a particular kind. Both lover
and beloved were noble; she was married and thus, unavailable, serving as
an object of veneration, an unattainable chaste ideal. Pain was caused by
distance and the impossibility of a union, but pleasure was gained in the
slightest glance, the briefest word. The carnal was ruled out. Among the
most famous of the earliest extant examples is by Bernart de Ventadorn,
“Can vei la lauzeta mover” (When I see the lark spread its wings), which
develops the theme in a style that, nine centuries later, has lost little of its
appeal. Over several verses it movingly describes a lark pursuing its mate,
which is contrasted with the troubadour’s unfulfilled passion: “All my heart,
and all herself / and all my own self and all I have / she has taken from me,
and leaves me nothing / but longing and a seeking heart.” In the finale, the
singer professes a belief that he would prefer to die, which at this time,
would be accomplished by going off to fight in the Crusades.
By the time we reach the music of John Dowland (1563–1626), the lyrics
become much more direct, especially in “Come Again, Sweet Love Doth
Now Invite” (1597), where a charming, racy sequence of rising phrases
conveys the arousal of intimacy. Julien Labro has composed a fantasy
inspired by this song, Dowland’s Lament:
While some of the fragments of the original melody are preserved,
harmonically and rhythmically, it reflects and reinforces the tensions
within the text, which are marked by the emotional roller coaster of
love, pining, frustration, bitter-sweet melancholy. In the midst of this
push and pull motion, the famous striking repetition of the rising
fourths found in the original melody are unveiled.
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The brief song, “Come, Heavy Sleep,” calls out to Sleep as the shadow of its
close relative, Death, for relief from the strife of wakefulness. Dowland’s
song serves as the basis for a set of variations by Benjamin Britten for solo
guitar, Nocturnal, written for and premiered by the great English guitarist
Julian Bream. The final Passacaglia is the most elaborate section, with
fateful repetitions accumulating heavy meaning as the successive variants
process to the final part which, at long last, states the song plainly.
The image of the traveling minstrel continued to hold a fascination for the
Classical and Romantic imagination, as the bearer of an ancient tradition and
as a lone figure who remained apart from the everyday world, commenting
upon the state of humanity with sympathy and ruefulness alternatively. In
Goethe’s second novel, Wilhelm Meister’s Apprenticeship, the eponymous
character (clearly a stand-in for the author) undergoes early heartache and is
then exposed to influential new personalities as he moves about the world.
One character strikes the young man to his core, offering a form of solace and
understanding: an old harpist who, once seated, “gave some trills upon his
harp, and began his song [which] contained a eulogy on minstrelsy; described
the happiness of minstrels and reminded men to honor them.” The poet
within Wilhelm recognized the ancient connection between the modern poet
and the old singers of lore, immortalizers of past heroes and lovers. Thus,
through the poems that Wilhelm transcribed from the harpist, Goethe was
able to write in a continuing tradition. Schubert then joined this tradition by
taking the harpist’s/Wilhelm’s/Goethe’s words and setting them to music. “Wer
sich der Einsamkeit ergibt” evokes the opening prelude of the harpist,
strumming, tuning, seeking out the proper key (before settling into A minor, a
proper “bardic” key) in which to elaborate a poem that celebrates the artistic
identity—the torment of being an individual apart from society, feeling deeply
the separation, craving consolation only in the grave. In the second song, the
accompaniment depicts the slow, wandering tramp of the poor vagabond who
begs for crumbs. The third song rails threateningly against the gods who
forsake mankind to the confusion of sin and guilt. The music, reflecting this
abandonment, ends darkly without a true sense of resolution.
The tango is a dance that originated in the late 1800s in the region along
the Río de la Plata, mainly in Argentina. Though its exact origins are hard
to pinpoint because it developed from a blend of influences from Spain,
South America, Africa, and elsewhere, a certain combination of folk
rhythms and popular dance styles combined over time to be consolidated
in a particular strutting rhythm with a prominent syncopated accent. The
instrumentation can vary from solo instruments such as the guitar to a
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large group called an orquesta típica, which includes the bandoneons
(similar to an accordion). In the early decades of the 1900s, Carlos Gardel
came to prominence in Argentinian culture, described by Osvaldo Golijov
as “the near-mythical tango singer [who] was young, handsome, and at the
pinnacle of his popularity” when his plane crashed, killing him in 1935.
One of his greatest hits, “Mi Buenos Aires querido” (My Beloved Buenos
Aires), receives an hommage from Golijov in Omaramor for solo cello,
which breaks down and then reconstructs the melody of the song “as if the
chords were the streets of the city.”
A generation later, Astor Piazzolla modernized the classical tango with a

smaller ensemble and radical changes to the sound and form, a move that
was controversial inside a country where powerful forces strove to conserve
traditions. Outside of Argentina, however, as well as within the progressive
factions of his country, Piazzolla became synonymous with nuevo tango, an
exciting contemporary approach that appealed to an audience worldwide.
Libertango (a fusion of “libertad” [freedom] and “tango”) from 1974
underlines in its title as well as its form a break from restrictive traditions.
Jazz fusion guitarist Pat Metheny also used his instrument to update
tradition and to bridge the distance between styles such as folk, rock, jazz,
and classical in such pieces as “Antonia.”
By Mark Mandarano
M I S S I O N S T A T E M E N T
Photographer: Darren Setlow
Salt Bay Chamberfest enriches the cultural life of Midcoast Maine and advances the vitality of chamber
music by producing musical concerts of the highest artistic level, featuring standard chamber music
literature as well as new and existing works of living composers performed by today’s finest musicians.
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Program
Friday, August 10, 2018 at 7:30 pm Dedicated to Paul Lustig Dunkel
8/10
Taqsim (improvisation) on Hijaz Maqam
Issam Rafea, oud
Francisco Tárrega (1852–1909)
Capricho árabe (1892)
Jason Vieaux, guitar
Issam Rafea (b. 1971)
Al Jamal (2010)
Ala Ajaleh (2008)
Edward Arron, cello; Jason Vieaux, guitar; Issam Rafea, oud
Maurice Ravel (1875–1937)
Alborada del gracioso (1905)
Conrad Tao (b. 1994)
Duo (2018)
Conrad Tao, piano
Fritz Kreisler (1875–1962)
La Gitana (1917)
Stefan Jackiw, violin; Conrad Tao, piano
INTERMISSION
Maurice Ravel
Piano Trio in A minor (1914)
I. Modéré
II. Pantoum. Assez vif
III. Passacaille. Très large
IV. Final. Animé
Stefan Jackiw, violin; Edward Arron, cello; Conrad Tao, piano
This concert is sponsored by Marc H. and Vivian S. Brodsky.
Stefan Jackiw’s performance is sponsored by Peter Felsenthal & Jennifer Litchfield.

Issam Rafea’s performance is sponsored by Sarah L. Fisher & Derek Webber.
Conrad Tao’s performance is sponsored by Ronald J. Schiller & Alan Fletcher.
11
While the political and ethnic histories may be impossible to accurately
summarize, the cultural effects of the Arab, Islamic, North African presence
in the Iberian Peninsula over many centuries can be represented through
music. For example, the oud originated in the Arabian Peninsula and
traveled to Spain in the baggage of the conquering forces, along with an
improvisatory, highly expressive style of performance. This style and
technique was gradually adapted to a new instrument, the guitar, evolving
into flamenco, one of the most characteristic forms of Spanish music. This
cross-pollination of culture nourished the imaginations of musicians
throughout the 19th and 20th centuries and continues to flower to this day.
We can hear a short summary of this history in the first four pieces of
music on the program. About the music he will improvise on the oud,
Issam Rafea has written:
Ala Ajaleh, which means in Arabic “in a hurry” uses chromatic notes
to the open solo part “rhythmic improvisation” on Hijaz Maqam [a
sequence of notes akin to the “gypsy scale”]. Al Jamal [which] means
in Arabic “The Beauty”…was written for a Syrian series dating back to
2010 using Bayati Maqam [a sequence of notes including “quarter-
tones” or notes between the keys of the piano].
Capricho árabe is by Francisco Tárrega, who composed in the late 19th

century. Tom Poore, classical guitarist and pedagogue, wrote:
Convinced the guitar was unsuitable for classical music, Tárrega
studied piano and composition at the Madrid Conservatory. But his
composition teacher Emilio Arrieta, on hearing Tárrega play a guitar
recital, embraced him and exclaimed: “The guitar needs you, and you
were born for her!” Capricho árabe is a tribute to Moorish history,
with echoes of the Arabic lute and guitar harmonies.
Particularly in the 19th and early 20th centuries, the gypsy style of violin
playing came to mean an emotionally robust and highly ornamented,
quasi-improvisational type of performance. Melody is prominent, the
accompaniment is simple, and the harmony often features an affecting
switch between minor and major, with occasional foreign intervals. Gitanos
are a Romany people from Punjab or Hindustan regions and may have
migrated to Spain through northern Africa. La Gitana by violinist Fritz
Kreisler provides an idea of the popular, urban conception of gypsy music:
sentimental, assertive, and self-consciously “exotic.”
12
In the figure of Maurice Ravel, we see united in one place many of the
crosscurrents affecting music in this quarter of Europe. Ravel was born in
the Pyrenees Mountains just a few miles from the Spanish border to a
mother who was Basque and born in Madrid. His father was Swiss and
bequeathed to his son a love of jewel-like precision that we see in Ravel’s
meticulously planned scores, as well as a love of the mechanical and the
artificial. When Ravel was very young, the family moved to Paris where he
was immersed in the artistic developments that valued complex blends of
color and sonority. All of these strains come together in the piano work
Alborada del gracioso. Strictly speaking, the alba is simply the dawn.
However, to the troubadour, the sunrise signaled the end of the evening’s
illicit tryst and his friend, acting as a sentinel, would sing the alborada to
awaken the lovers, letting them know that it was time to escape before the
return of a husband or rival. In this case, however, it is the alba of the
gracioso—the clown. This added element, stemming from the love of
artificiality, interpolates a layer of removal from anything exaggeratedly
romantic. Ravel’s work is lively and playful, punctuated by humorously
awkward outbursts, as though the amorous clown is diving headfirst
through a window or gallantly receiving a thrashing à la Don Quixote. In
the beginning, the piano clearly invokes the plucking and strumming of a
guitar using the rhythm of “3-against-2” so typical of classic Spanish music.
Snatches of ornamented melody glide through the air. There is a more
tranquil, recitative-like declaration of affection in the middle which is
interrupted by a galloping energy, as though the rivals were approaching,
heralded by a fanfare of rapid-fire repeating notes—a show of pianistic
technical prowess that continues to dazzle to this day. The declaration of love,
the guitar rhythm, and the galloping music combine into a raucous finish.
One of the truly monumental works in the genre, Ravel’s Piano Trio from
1914 may well stand alone as the most technically demanding trio in the
standard repertory. Each instrument is called upon to shine through a
kaleidoscopic range of techniques. The part for piano is virtually a
concerto—no coincidence, since at the time Ravel was also contemplating a
piano concerto about Spain. With the outbreak of World War I, Ravel was
evidently determined to make a nationalistic statement about the vitality of
French music and culture by writing an unexampled, expansive chamber
work.
The piece commences with a reconciliation of apparent contradictions:

The underlying rhythm has a traditional four-beat pattern while the
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rhythm above repeats consistent eighth-note groupings of 3+2+3. The
result is a serene swaying motion derived from the traditional dance music
of Ravel’s Basque heritage. The scherzo bears the title Pantoum, a form of
poetry from Malaysia then in vogue with French poets. Mimicking the
structure of alternating rhymes in the poetic form, Ravel rotates two
distinct themes, one that taps out a charming, unpredictable staccato
motive and another that features a surging legato idea. In the center, a
graceful, lyric melody arches over the accompaniment, which continues in
stuttering, waltz-like fragments. The main section returns with a thrilling
climactic summation. The Passacaille has an archaic quality conveyed
through its pentatonic character, an emphasis on open fifths and the
sepulchral low range of the piano, as though it possesses venerable tribal
wisdom. Passacaille (the French equivalent of the Italian passacaglia)
indicates that the movement features counterpoint over a repeated pattern
in the bass. Nevertheless, the ceremonial seriousness and shattering central
climax make this movement the gravitational center of the work. The finale
blazes forth with themes that are propulsive and metrically irregular. The
strings provide a sparkling backdrop for the pianist with extended trills and
arpeggios of harmonics; in turn the pianist plays cascades of notes while
the strings carry the tunes. Nearly every technical possibility is exploited for
maximum brilliance.
Building on the idea of the traveling minstrel as a performer-composer

who creates an individual artistry on top of existing traditions, pianist
Conrad Tao offers a new work for piano called simply Duo. He writes:
In Duo, two hands are in relation to one another and each hand
carries possibilities of further dualities that materialize, come apart,
and fuse together. “Melody” over “accompaniment,” a traditionally
legible arrangement, is compelled to undergo a shift. Intimacy
manifests as performance, and the hands pass through various states
of porousness.
By Mark Mandarano
KING EIDER’S PUB

Celebrating 22 years of everything a pub should be!
2 Elm St., Damariscotta, ME 04543. 207-563-6008; kingeiderspub.com
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Program
Tuesday, August 14, 2018 at 7:30 pm
8/14
Henry Purcell (1659–1695)
“Dido’s Lament” from Dido and Aeneas (1689)
Franz Joseph Haydn (1732–1809)

“Eli, Eli” from Seven Last Words of Christ, Op. 51 (1787)
Dmitri Shostakovich (1906–1975)

Elegy (1931)
Carlo Gesualdo (1566–1613)

“Mercè! grido piangendo” (1611)
“Moro, lasso” (1611)
Franz Joseph Haydn
“Consummatum est” from Seven Last Words of Christ, Op. 51
Elliott Carter (1908–2012)

Elegy (1943)
Guillaume Lekeu (1870–1894)

Molto Adagio (1888)
Brentano String Quartet: Mark Steinberg, violin; Serena Canin, violin;
Misha Amory, viola; Nina Lee, cello
INTERMISSION
César Franck (1822–1890)

Piano Quintet in F minor (1879)
I. Molto moderato quasi lento—Allegro
II. Lento, con molto sentimento
III. Allegro non troppo ma con fuoco
Brentano String Quartet; Thomas Sauer, piano
This concert is sponsored by Judith & David Falk,

in honor of their 60th Anniversary.
Misha Amory’s performance is sponsored by Penelope A. Mardoian.

Thomas Sauer’s performance is sponsored by Ben Harris & Rebecca Mitchell.
Mark Steinberg’s performance is sponsored by Priscilla R. Smith.
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A s an introduction to the Brentano String Quartet’s program
Lamentations, violinist Mark Steinberg has written, “There exists an old
tradition of professional lamenters, who, as a service to those who grieve,
digest and transfigure that grief in giving it voice. What greater faith in art
can be imagined?” The act of lamentation can be public, as at a ceremonial
funeral service or memorial; or it can be private, as a soliloquy of personal
angst. In both cases, music serves as consolation, heightening and soothing
the sense of loss. As Wynton Marsalis is wont to say, “You play the blues to
get rid of the blues.” This act of exorcising one’s grief through a lament is a
common thread throughout history and collapses time, unifying us with
our past.
In Virgil’s Aeneid, the lament of Dido, who sacrifices herself upon the
departure of her lover Aeneas, is one of the supreme moments in all of
world literature, set to music by multiple composers, including Berlioz in
his opera Les Troyens. The aria by Henry Purcell, however, represents the
ultimate example of the lament; it is the one Baroque aria every music
student is required to know, wherein the repeating descent of the ground
bass provides an example of the passacaglia form, and the prolonged
descending appoggiaturas give an example of the musical “affect” of
mourning. It is far more than an example of an existing tradition, however,
as musicologist Richard Taruskin writes:
Purcell ingeniously adds an extra measure to the bass, to increase its
length from a routine four to a haunting five bars, against which the
vocal line, with its despondent refrain (“Remember me!”), is deployed
with marked asymmetry. That, plus Purcell’s distinctively dissonant,
suspension-saturated harmony, enhanced by additional chromatic
descents during the final ritornello and by many deceptive cadences,
makes the little aria an unforgettably poignant embodiment of
heartache.
Franz Joseph Haydn almost single-handedly created the Classical Style, a

linchpin of which is the possibility for contrast between movements that
are fast and slow, dances, marches, songs, etc. When the composer was
confronted with a commission for music for a Good Friday ceremony at
Grotto Santa Cueva near Cádiz in Spain, he was at a loss as to how to
proceed, writing: “…it was no easy task to compose seven adagios lasting
ten minutes each, and to succeed one another without fatiguing the
listeners....” Haydn discovers new worlds in bountiful varieties of slowness
which indicate subtle shades of tragedy. Especially in the intimate version
16
for string quartet, the music reaches inward to the human voice—and through the
echo of the human, we hear a moving metaphor of our mortal condition, part
flesh, part spirit. When Christ beseeches, “Father, father, why have you abandoned
me?” it is the nadir of the work wherein the first violin has several whole measures
to itself, abandoned by the rest of the quartet. In the final word, “It is
accomplished,” the music moves beyond the physical world and no longer truly
represents Christ’s speech of the text, but rather represents what follows, a
glorious release from the burden and pain of earthly life.
Guillaume Lekeu is a name that most are unlikely to have heard before, but in
many ways it is he and his work that tie this program together. Born in Belgium in
1870, he eventually discovered the music of Beethoven (whose late style this Molto
Adagio closely follows) and Wagner and went to Paris to study with his
countryman, César Franck. Before his untimely death at the age of 24 from
typhoid, he had composed music in many genres and was in the process of
developing a potent romantic-modern voice. His Molto Adagio for string quartet
bears as an inscription a quotation from Christ’s words to his disciples in the
garden of Gethsemane: “My soul is overwhelmed with sorrow, to the point of
death.”
In the 1930s in the Soviet Union, one did not need to work very hard to find
reasons to compose a lament. Despite the propaganda, forced collectivization led
to the great famine of 1932–33 and the deaths of upward of three million.
Paranoia regarding potential dissent induced the party to begin the great purges of
the mid-30s. In the midst of these calamities, Dmitri Shostakovich set about
composing the controversial opera Lady Macbeth of Mtsensk, a story brimming
with brutal crime, intrigue, violence, lust, and murder. Upon its premiere, Stalin
himself penned a critical article portraying it as an example of the degeneracy that
should be avoided by true Soviet artists, and the bulk of the musical establishment
joined in the condemnation. The opera, which depicts with confrontational
realism the abject position of women in pre-Revolutionary society, nevertheless
retained a special place in the composer’s heart and was revised and rearranged on
several occasions. Among them is this movement for string quartet, Elegy, which
in the original context is an aria for the lead character who confesses her longing
for loving physical contact in suggestive images of caresses: “No one will put his
hand round my waist; no one will press his lips to mine. No one will stroke my
white breast; no one will exhaust with passionate embraces.”
Elliott Carter wrote music that dodged cliché and lived his life the same way, by
not succumbing to the fate of the neglected composer who died at an early age
only to be celebrated posthumously, or the aged eminence who rested on laurels
17
won in middle age. Carter, rather, remained cheerfully active through the
age of 103, by which time he was a revered figure, in attendance at
performances of his music around the globe. His Elegy (originally written
for cello and piano in 1939 and arranged for quartet a few years later) is a
pleasant, pastoral early work that rises to a climactic central threnody.
Unlike Carter’s later pointillistic counterpoint, this work exhibits a vintage
“mid-century American” sound that reflects the influence of Copland and
Hindemith.
The Piano Quintet of César Franck makes no secret of its desire to be

understood as massive in scale. The first movement opens with an extended
and varied slow introduction, marked “dramatico.” The tension only grows
with the Allegro, which is initiated by the piano’s agitated figuration. These
expressions of a dark fate are temporarily relieved by the plaintive, slightly
syncopated melody that serves as a secondary theme. The dark forces at
work are anything but placated, however, as we hear during the central
climax when the introductory music is restated with even greater force.
During the involved coda, hope surges upward repeatedly in the form of
the plaintive melody, but seems to be undermined by the dissonant
chromaticism until a brief mad, furious march breaks the spirit of the
movement. The closing bars, in which overlap many of the movement’s
main ideas, are ominously marked “estinto” (extinct). The lovely second
movement features many moments of chiaroscuro, where music in the
minor mode briefly brightens to major and vice/versa, giving the music its
bittersweet quality. For a piece that has been up until this point quite
expansive, Franck achieves an admirable act of compression by combining
what is in effect both a scherzo and a finale into one movement. Beginning
with tremolando string playing and low, obscure harmonies, the opening of
the final movement sounds like a threatening storm. Gradually, the
harmonies grow into a heroic motive that dominates the texture. In the
final chapter, the plaintive, hopeful melody from the first movement
reappears like a ray of light that gradually intensifies. But rather than
reversing the progress of the work and ending in a blaze of glory, the
mixture of major and minor remains right through to the end, the heroic
struggle won perhaps, but with the cost acknowledged.
By Mark Mandarano
18
Program
Friday, August 17, 2018 at 7:30 pm Dedicated to Harry Beskind
8/17
Steven Mackey (b. 1956)
Fusion Tune (1994)
Wilhelmina Smith, electric cello; Steven Mackey, electric guitar
Steven Mackey
Joy Rhythm Study (2018) – World Premiere
Brentano String Quartet (Mark Steinberg, violin;
Serena Canin, violin; Misha Amory, viola; Nina Lee, cello);
Wilhelmina Smith, cello
INTERMISSION
Franz Schubert (1797–1828)

String Quintet in C major, D. 956 (1828)
I. Allegro ma non troppo
II. Adagio
III. Scherzo: Presto
IV. Allegretto
Brentano String Quartet; Wilhelmina Smith, cello
The Mackey commission is made possible through a consortium of

commissioners, including Santa Fe Pro Musica through the generosity of
Bernie and Winky van der Hoeven, and the Aspen Music Festival.
Special thanks to NS Design and Ned Steinberger for the use of his
NS Electric Cello in this program.
Serena Canin’s performance is sponsored by Barrett & Barbara Silver.

Nina Lee’s performance is sponsored by Virginia Swain & Harry Beskind.
Steven Mackey’s performance is sponsored by Sandra Leonard &
Shawn Lewin.
19
S chubert’s String Quintet with two cellos in C major is universally
acknowledged to be one of the supreme masterpieces of all chamber music,
a work that Schubert completed near the end of his brief life. The choice of
instrumentation was, in its time, completely original, a few lighter pieces by
Boccherini aside. While quintets with two violas featured prominently in
the work of Mozart, a quintet with two cellos lay outside expected
categories. One can see the appeal, because of the cello’s range from robust
bass up through its singing tenorial top notes, while combinations of arco
and pizzicato playing or reinforcement in octaves enlarge the ensemble’s
expressive possibilities. Nevertheless, the decision to proceed with a work
on a grand scale for an unknown genre was a daring one and represents a
profound faith in one’s artistic intuition. That initial choice proceeded
from, and in turn caused, a comprehensive shake-up of expectations, as a
close look at the first few dozen measures will show, yielding valuable
insights into the rest of the work.
The prolonged opening sonority is indeed a C major chord, a key that has
traditionally represented majestic pomp and steadfastness. Yet the next
sound introduces notes, elongated and dissonant, that are, in a sense,
“borrowed” from other another key: the tragic key of G minor, a symbol of
deep personal loss. The consequences of this fusion of opposites radiate
through nearly every subsequent moment. Furthermore, in the opening
phrase, only four instruments play—the instruments of the traditional
string quartet, as if to say, “This may be what society expects of one, but we
artists can—must—bend these traditions to express a new truth.” The
answering phrase also includes only four instruments; this time however, it
is an upside down quartet, with two cellos, a viola and one violin (with the
first cello on the top line). This misfit quartet also trails off, leaving one in
suspense, wondering when the complete quintet will commence with a tutti
sound. At this juncture, Schubert again defies expectations: While all five
players do enter on a quasi-C major, the chord includes a clashing A-sharp
that leads the music to sink downward a half-step in resolution. The music
says, in effect, “The conventional expectations within this music cause
conflict (dissonance); comfort is only found outside the expected space.”
Indeed, throughout this movement and the entire work, the most
harmonically stable parts are the ones that move away from the routine
tonal centers; in this movement, the calmer second theme is stated in
remote A-flat major, for example. The half-step downward response to
conflict persists through the last measure of this movement (in an A-flat to
G resolution) and to the very last notes of the entire work (D-flat to C).
20
The second movement Adagio more widely separates the twin areas of
stability and conflict. The entire first section finds heavenly serenity and
calm in E major through a dialogue between sustained harmonies in the
middle instruments and fragments of melody and accompaniment in the
top and bottom voices. The central section of the movement is operatic in
its agitation and pathos (rather, many opera composers could envy its
stormy drama). The Scherzo has the energy and sonority of hunting horns
and galloping steeds, complete with prominent, dissonant ninths. The trio
is from another world of expression bordering on anguish that recalls the
opening movement.
In the Classical tradition, one would expect a finale to resolve the conflicts
of what had gone before, but here, the music begins immediately in C
minor with the kind of stout, dancing Hungarian/Gypsy style Brahms was
to employ so often in his chamber music. The theme is restated firmly in C
major, but immediately gives way to far-ranging detours into remote keys,
maintaining the desire to seek refuge outside of convention. The closing
sections excitedly increase the tempo and the feeling arises that both are
welcome, minor and major side-by-side, conflict and stability accepted as a
necessary part of the whole, no longer as intrusions, but rather as the grains
of grit that spur the formation of the pearl of art.
Steven Mackey has forged a uniquely personal path both as a composer

and a performer, writing music for the world’s great chamber ensembles
and orchestras, incorporating elements of rock, jazz, and electronic music
into an utterly original voice, often including his primary instrument, the
electric guitar. Interestingly, while during the course of the latter part of
the 20th century the electric guitar revolutionized the world’s popular
culture, outraging parents, quaking suburban basements, and overawing
tens of thousands via megawatt amplification in sports arenas, the
instrument has made only occasional guest appearances in the realm of
“classical” music. Mackey has almost single-handedly managed to turn this
around, bravely bringing the instrument from the masses to the esoteric
halls of chamber music series and festivals. About his work Fusion Time
for guitar and cello, the composer writes:
Fusion Tune was written as an homage to the so-called Jazz/Rock
Fusion bands of the 70s, 80s, and 90s such as Oregon and the Pat
Metheny Group and takes some aspects of the harmonic practices of
these bands as its point of departure.
21
The sibling combination of rippling guitar patterns and linear cantus
firmus by the cello spins out a revolving rainbow of sonorities that serve to
create an energetic yet contemplative atmosphere.
Mackey’s new work for cello quintet receives its world premiere
performance this evening:
Joy Rhythm Study written for Wilhelmina Smith and the Brentano
String Quartet and it was a pleasure to compose a new piece for old
friends. Unfortunately for them that familiarity emboldened me to
experiment with some challenging ideas, which I would describe
generally as an exaggerated polyphony. Polyphony, counterpoint, the
combination of multiple strands of music into a meaningful gestalt, is
arguably the greatest and most unique contribution of western
classical music to the rest of the world. Joy Rhythm Study has, at
times, an extreme sense of independence in its polyphony with the
various threads of the ensemble running catawampus instead of lying
neatly parallel, resulting in a fabric that is rough hewn with bumps
and loose threads. As the work unfurled I sensed something playful,
even joyous, buried in the freedom of the askew and heterogeneous
texture. I cultivated that sense of joy into something quite explicit by
the end. This material is challenging to perform because the players
are not actually free to be independent. In order to come together in
playful ways and improbable times they are connected in a complex
poly-rhythm/meter so, while it may sound like they are playing freely
in different tempos, they are in fact parsing a single tempo in complex
ways. At the moment I am writing this note I have not heard the piece
and don’t even know if it is playable so…fingers crossed.
By Mark Mandarano
22
Proudly Serving the Midcoast Community
for More Than 30 Years
Ames True Value Supply

447 Bath Road
Wiscasset, Maine 04578
207-882-7710
M-F 7-5:30 Sat 7-5 Closed Sun
Visual Art in the Barn
“To be swept away by this powerful
music, while gazing upon works of
color and texture, is a rare privilege
for a visual artist. My intent has
always been for the work to support;
never distract.”
—George Mason, 2018
Crossing to Avalon Group
George Mason and Wilhelmina Hydrocal plaster, casein paint, and encaustic.
Smith have been exploring the
interface of chamber music and visual art for the last six seasons in the
Darrows Barn at Round Top Farm. Salt Bay Chamberfest is delighted to have
Mr. Mason’s art enliven the barn and adorn the program cover.
This year’s installation is dedicated to Martha G. Mason and her support of

Salt Bay Chamberfest and all things beautiful.
About the Artist

George Mason has a background in ceramic
architectural tile and his work is steeped in
the exploration of materials and history.
Richly textured and saturated with color, the
largest of his “relief tapestries” are pieced-
together panels that occupy entire walls.
A recipient of three National Endowment for

the Arts awards, and a founder of Watershed
Center for Ceramic Arts in nearby Edgecomb,
Mr. Mason has taught at Cranbrook Academy of Art, College of Ceramics at
Alfred University, Ohio State University, University of Colorado Boulder,
Bezelel Academy of Arts and Design in Jerusalem, I.T.B. and I.K.S. Universities
in Java, Indonesia, and Haystack Mountain School of Crafts in Deer Isle.
In his home state of Maine, he has shown at the Portland Museum of Art,
Center for Maine Contemporary Art, and the Holocaust and Human Rights
Center, with solo shows at the Farnsworth Art Museum, Bowdoin College
Museum of Art, and the Caldbeck Gallery. Mason has completed 30 Percent
For Art architectural ceramic projects for schools in Maine and New York
City, as well as a commission for the Federal Reserve Bank of Atlanta.
24
Bowdoin International
Music Festival
2018 Concert Season | June 23 - August 4
David Ying & Phillip Ying, Artistic Directors

Tickets 207.725.3895 | bowdoinfestival.org
World-class chamber music in Brunswick, Maine
25
Thursdays @ Noon – New Series!
Program: Jason Vieaux, guitar

Thursday, August 9, 2018 • 12:00 – 1:00 pm
Lincoln Theater
Domenico Scarlatti (1685–1757)

Sonata in A major, K. 208 (1756)
Mauro Giuliani (1781–1829)

Variations on a Theme of Handel, Op. 107 (unknown)
Johann Sebastian Bach (1685–1750)

Violin Sonata No. 1 in G minor, BWV 1001 (1720)
I. Adagio
II. Fuga—Adagio
III. Siciliana
IV. Presto
Isaac Albéniz (1860–1909)

(arr. Vieaux)
“Asturias (Leyenda)” from Suite Española No. 1, Op. 47 (1886)
Antônio Carlos Jobim (1927–1994)

(arr. Dyens)
“A Felicidade” (1958)
Edward Kennedy “Duke” Ellington (1899–1974)

“In a Sentimental Mood” (1935)
Jason Vieaux uses Augustine strings and plays a guitar made in 2013 by Gernot Wagner, Frankfurt.
Mr. Vieaux is represented by Jonathan Wentworth Associates, Ltd. www.jwentworth.com
26
Thursdays @ Noon – New Series!
Program: Steven Mackey, electric guitar

Thursday, August 16, 2018 • 12:00 – 1:00 pm
Lincoln Theater 8/9
8/16
Steven Mackey (b. 1956)
Orpheus Unsung (2015)
Act 1: Super Terram

I. Orpheus Cowboy
II. The Wedding
III. Snakebite
IV. First Lament
V. Pursuit and Trespass
Act 2: Sub Terram

I. Down
II. ...and other strange things
III. Lyre Music
IV. Up
V. The Look
Act 3: Super Terram

I. Final Lament
II. Orpheus Redux
III. The Mob
IV. Orpheus Oracle (The Stream)
Originally directed by visionary film and stage director Mark DeChiazza,

and featuring three dancers along with guitar and percussion, Orpheus
Unsung is Mackey’s fresh 21st-century take on the Orpheus myth, with the
title character portrayed by the electric guitar. The world premiere of the
piece was in the spring of 2016 at the Guthrie Theater in Minneapolis, and
Mackey and Jason Treuting of Sō Percussion performed excerpts from the
work at National Sawdust this past spring as part of the “Alternative Guitar
Summit: Guitars of Heaven, Guitars of Hell.” For this concert, Mackey
performs the work in a one-man, multimedia version.
27
Community & Educational Events
NEW: Thursdays @ Noon

Thursday, August 9 & 16 • 12:00 pm • Lincoln Theater • FREE
Please see previous two pages for the programs.
OffTopic!
Monday, August 6 • 3:00 pm • Lincoln Home • FREE
JULIEN LABRO:
AN EXPLORATION OF THE ACCORDION, BANDONEON, AND ACCORDINA
Accordion virtuoso Julien Labro, an engaging and renowned artist in both
the classical and jazz genres, speaks about the history of the three closely
related instruments, complete with demonstrations.
Monday, August 13 • 3:00 pm • Lincoln Home • FREE
THOMAS SAUER: HIDING IN PLAIN SIGHT
Pianist Thomas Sauer gives a lecture/demonstration exploring the slow
movement of the “Hammerklavier” Sonata, and how one of Beethoven’s
greatest pieces remains so little known to concertgoers.
Corporate sponsor of OffTopic! is Levis Fine Art.
Business partner of OffTopic! is Lincoln Home.
Master Class
Friday, August 17 • 1:00 pm • Schooner Cove • FREE
Young New England string students will be coached by Serena Canin,
violinist with the Brentano String Quartet. Enjoy a glimpse into what
makes great music making as a “master” musician imparts decades of
musical expertise in an informal, fun, and engaging public music lesson.
Sponsored by Sarah L. Fisher & Derek Webber.
Business partner of the Master Class is Schooner Cove.
28
Family Concert
Saturday, August 19 • 10:30 am • Skidompha Public Library • FREE
Hosted by educator and conductor Mark Mandarano, this concert is a
favorite for all ages, and introduces children and adults to great chamber
music in engaging and entertaining ways. Come sing, clap, dance, and enjoy
a musical morning with our wonderful musicians! Featuring the Brentano
String Quartet and cellist Wilhelmina Smith.
Corporate sponsor of the Family Concert is Tidewater Telecom.
Open Rehearsals
Tuesday, August 7; Friday, August 10; Tuesday, August 14;
and Friday, August 17 • 10:00 am • Darrows Barn • FREE
Held on concert mornings, open rehearsals give audience members an
insider’s view of the collaborative process of chamber music making.
Pre-Concert Talks
Tuesday, August 7; Friday, August 10; Tuesday, August 14; and Friday,
August 17 • 6:30 pm • Darrows Barn • Open to all ticket holders
Mark Mandarano, conductor and educator, gives an informal talk one
hour prior to each concert. These gatherings are fun and informative, and
help audiences gain a better understanding of a program’s musical and
historical context, as well as how each piece fits into the overall theme of
the festival. Audiences will hear musical excerpts as well as interviews with
musicians and composers.
Sponsored by Drs. Russ & Joan Zatjchuk.
Corporate sponsor of the Pre-Concert Talks is Allen Financial Insurance.
Musical Lobster Bake

Thursday, August 17 • 5:00 pm • Darrows Barn
For an extra special evening, come enjoy an
authentic Maine tradition alongside musical
treats from the Brentano String Quartet!
For more information, including ticket prices,
please visit us at the box office or at
ww.saltbaychamberfest.org.
Performers’ Biographies
MISHA AMORY, viola
Since winning the 1991 Naumburg Viola Award, Misha
Amory has been active as a soloist and chamber musician,
in addition to being violist of the Brentano String Quartet.
He has performed with orchestras in the United States and
Europe, and has been presented in recital at New York’s
Alice Tully Hall, Los Angeles’ Ambassador Series,
Philadelphia’s Mozart on the Square festival, Boston’s Isabella Stewart
Gardner Museum, Houston’s Da Camera series, and Washington’s Phillips
Collection. He has been invited to perform at the Marlboro Music Festival,
Seattle Chamber Music Society Festival, Vancouver Festival, Chamber
Music Society at Lincoln Center, and the Boston Chamber Music Society.
He has also released a recording of Hindemith sonatas on the Musical
Heritage Society label.
Mr. Amory holds degrees from Yale University and the Juilliard School, and
his principal teachers were Heidi Castleman, Caroline Levine, and Samuel
Rhodes. Himself a dedicated teacher, Mr. Amory serves on the faculties of
the Juilliard School in New York City and the Curtis Institute in
Philadelphia.
EDWARD ARRON, cello

Edward Arron has garnered recognition worldwide for his
elegant musicianship, impassioned performances, and
creative programming. A native of Cincinnati, Ohio, Mr.
Arron made his New York recital debut in 2000 at the
Metropolitan Museum of Art. Since that time, he has
appeared in recital, as a soloist with major orchestras, and
as a chamber musician throughout North America, Europe, and Asia.
In 2013, Mr. Arron completed a ten-year residency as the artistic director of

the critically acclaimed Metropolitan Museum Artists in Concert, a
chamber music series created in 2003 to celebrate the 50th anniversary of
the museum’s prestigious Concerts and Lectures series. Currently, he is the
artistic director, host, and resident performer of the Musical Masterworks
concert series in Old Lyme, Connecticut, as well as the Festival Series in
Beaufort, South Carolina, and Chamber Music on Main at the Columbia
Museum of Art in Columbia, South Carolina. Additionally, Mr. Arron
curates a series, Edward Arron and Friends, at the Caramoor International
Music Festival, and is the co-artistic director along with his wife, pianist
Jeewon Park, of the new Performing Artists in Residence series at the Clark
30
Art Institute in Williamstown, Massachusetts. With violinists James Ehnes
and Amy Schwartz Moretti, and violist Richard O’Neill, Mr. Arron tours as
a member of the internationally acclaimed Ehnes Quartet.
Mr. Arron began playing the cello at age seven in Cincinnati and continued
his studies in New York with Peter Wiley. He is a graduate of the Juilliard
School, where he was a student of Harvey Shapiro. In 2016, Mr. Arron
joined the faculty at University of Massachusetts Amherst, after having
served on the faculty of New York University from 2009 to 2016.
JOHN BELLEMER, tenor

With a voice the New York Times calls “clarion-toned,”
American tenor John Bellemer has gained a reputation for
his strong portrayals and continues to appear in leading
roles at opera houses across North America and Europe.
He is featured in the Academy Award-winning film
Lincoln as Gounod’s Faust. Upcoming performances in the
2018–19 season include soloist in Hours of Freedom: The Story of the
Terezín Composer, presented by The Defiant Requiem Foundation at New
York’s Zankel Hall. His recent engagements include the Duke in Rigoletto
with Michigan Opera Theatre, Verdi’s Requiem for his return to the
Berkshire Choral Festival, returns to Austin Opera as Der Steuermann in
Der fliegende Holländer and the Pacific Symphony as soloist in Messiah, as
well as his debut with North Carolina Opera as Nadir in Les pêcheurs de
perles.
Other recent engagements include Lysander in A Midsummer Night’s

Dream (Hawaii Opera Theatre), Sandy/Officer One in Davies’ The
Lighthouse and Don Ottavio in Don Giovanni (Boston Lyric Opera),
Gabriele in Foroni’s Cristina, regina di Svezia and Sali in Delius’ A Village
Romeo and Juliet (Wexford Festival Opera), Elgar’s The Dream of
Gerontius and Britten’s Spring Symphony (Berkshire Choral Festival), Toni
in Henze’s Elegy for Young Lovers (Teatro La Fenice), Male Chorus in The
Rape of Lucretia (Maggio Musicale Fiorentino), Alfredo in La traviata
(Florida Grand Opera), Nebuchadnezzar in Britten’s The Burning Fiery
Furnace, and Herold in Grassl’s Harisliz—Die Fahnenflucht Tassilos
(Festival Mattseer Diabelli Sommer); and works by Schubert, Schumann,
and Brahms (Chamber Music Society of Lincoln Center).
31
Performers’ Biographies (continued)
BRENTANO STRING QUARTET
Since its inception in 1992, the Brentano String Quartet
has appeared throughout the world to popular and critical
acclaim. Within a few years of its formation, the Quartet
garnered the first Cleveland Quartet Award, the
Naumburg Chamber Music Award, and Britain’s Royal
Philharmonic Award for Most Outstanding Debut. They
were also invited by the Chamber Music Society of Lincoln Center to be the
inaugural members of Chamber Music Society Two. The Quartet served as
Quartet-in-Residence at London’s Wigmore Hall, Princeton University’s
first Ensemble-in-Residence for 15 years, and is currently Yale School of
Music’s Resident String Quartet.
In recent seasons the Quartet has traveled widely, appearing all over the
United States and Canada, in Europe, Japan, and Australia. It has
performed in the world’s most prestigious venues, including Carnegie Hall
and Alice Tully Hall in New York; Library of Congress in Washington;
Concertgebouw in Amsterdam; Konzerthaus in Vienna; Suntory Hall in
Tokyo; and the Sydney Opera House. The Quartet has participated in
summer festivals such as the Aspen Music Festival, Music Academy of the
West, Edinburgh Festival, Kuhmo Festival in Finland, Taos School of
Music, and the Caramoor Festival.
In addition to performing the entire two-century range of the standard

quartet repertoire, the Brentano Quartet has a strong interest in both very
old and very new music. It has performed many musical works pre-dating
the string quartet as a medium, among them madrigals of Gesualdo,
fantasias of Purcell, and secular vocal works of Josquin. Also, the Quartet
has worked closely with some of the most important composers of our
time, among them Elliott Carter, Charles Wuorinen, Chou Wen-chung,
Steven Mackey, Bruce Adolphe, György Kurtág, David Horne, and
Gabriela Frank. The Quartet has been privileged to collaborate with such
artists as soprano Jessye Norman, mezzo-soprano Joyce DiDonato, pianist
Richard Goode, and pianist Mitsuko Uchida.
SERENA CANIN, violin

Serena Canin was born into a family of professional
musicians in New York City. She has been a member of the
Brentano String Quartet since its founding in 1992,
performing to critical acclaim across the world. Apart
from the Quartet, Serena was twice invited to the
Marlboro Music Festival and has toured with Music from
32
Marlboro, the Brandenburg Ensemble, and the Orchestra of St. Luke’s. She
has made appearances at El Paso Pro Musica, Chamber Music Quad Cities,
Salt Bay Chamberfest, and the Festival Internacional de Cartagena. She is
regularly invited to teach and perform at the Mannes Beethoven Institute.
Ms. Canin holds degrees from Swarthmore College and the Juilliard School,
where she studied with Robert Mann. She lives in New York with her
husband, pianist Thomas Sauer, and their two sons.
STEFAN JACKIW, violin

Stefan Jackiw is recognized as one of his generation’s most
significant artists. Hailed for playing of “uncommon
musical substance” that is “striking for its intelligence and
sensitivity” (Boston Globe), Jackiw has appeared as soloist
with the top orchestras and conductors around the globe.
In the United States, he has performed concertos with the New York
Philharmonic; the Boston, Chicago, Detroit, National, New Jersey,
Vancouver, St. Louis, Indianapolis, and Pittsburgh symphony orchestras;
Cleveland and Philadelphia orchestras; and the San Francisco, Kansas City,
Oregon, and Grand Rapids symphonies. Abroad, he has performed with
the Luxembourg, Royal Flemish, and Rotterdam philharmonics; Orchestre
national d’Île-de-France; Netherlands’ Residentie Orkest; Netherlands
Radio, Helsinki, and Seoul philharmonic orchestras; Philharmonia
Orchestra; RAI Turin Orchestra; Bournemouth, Bern, and Tokyo
symphony orchestras; Orquesta Sinfónica de Galicia; Russian National
Orchestra; and the Munich and Australian chamber orchestras.
Mr. Jackiw is also an active recitalist and chamber musician. He has

performed in numerous important festivals and concert series, including
the Aspen Music Festival, Ravinia Festival, and Caramoor Festival, Celebrity
Series of Boston, New York’s Mostly Mozart Festival, Metropolitan Museum
of Art, Washington Performing Arts, and the Louvre Recital Series in Paris.
As a chamber musician, Jackiw has collaborated with such artists as Jeremy
Denk, Steven Isserlis, Yo-Yo Ma, Gidon Kremer, and Gil Shaham, and
formed a trio with Jay Campbell and Conrad Tao.
Born in 1985 to physicist parents of Korean and German descent, Mr.

Jackiw began playing the violin at the age of four. His teachers have
included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. Jackiw is
the recipient of a prestigious Avery Fisher Career Grant. He lives in New
York City. For more information, please visit www.stefanjackiw.com.
33
JULIEN LABRO, accordion, bandoneon, accordina
Heralded as “the next accordion star” by Howard Reich of
the Chicago Tribune, French-born Julien Labro has
established himself as one of the foremost accordion and
bandoneon players in the classical and jazz genres.
Deemed to be “a triple threat: brilliant technician, poetic
melodist, and cunning arranger,” his artistry, virtuosity,
and creativity as a musician, composer, and arranger have earned him
international acclaim and continue to astonish audiences worldwide.
His latest recordings, From this Point Forward (2014), Infusion (2016), and
Rise and Grind (2017) all feature original compositions and arrangements
by Mr. Labro, and have been lauded by critics as innovative and genre-
bending. Mr. Labro has released more than ten albums under projects that
he has led, and guested on recordings for artists such as Cassandra Wilson,
Frank Vignola, and more.
His musical journey has taken him all across North America, Europe, the
Middle East, and South America. His long list of classical collaborations
includes A Far Cry, Spektral Quartet, Detroit Symphony Orchestra,
Orchestra of St. Luke’s, Qatar Philharmonic Orchestra, Pulitzer prize-
winning composer Du Yun, and many more. Labro’s jazz projects include
the Julien Labro Quartet, Hot Club of Detroit, and collaborations with
Grammy award-winning composer Maria Schneider, Brazilian pianist João
Donato, Argentinean Grammy-winning composer and pianist Fernando
Otero, clarinetist Anat Cohen, Lebanese oud master Marcel Khalife,
saxophonists Paquito D’Rivera, Miguel Zenón, James Carter, and Jon
Irabagon, and guitarists Larry Coryell, Tommy Emmanuel, and John and
Bucky Pizzarelli.
Mr. Labro opened the 2017–18 season with a tour through Finland. Other
highlights include performances at the Newport Jazz Festival and Detroit
Jazz Festival, a debut at the prestigious Gilmore Keyboard Festival for
classical and jazz concerts with the Julien Labro Quartet, and a
performance with the San Angelo Symphony. In his free time, Mr. Labro is
working on composing a new bandoneon concerto that will be a sequel to
his accordion concerto Apricity. For more information visit
www.julienlabro.com.
34
NINA LEE, cello
An active chamber musician and cellist with the Brentano
String Quartet, Nina Lee has collaborated with many
artists such as Felix Galimir, Jaime Laredo, David Soyer,
Nobuko Imai, Isidore Cohen, and Mitsuko Uchida, and
has performed at the Marlboro and Tanglewood music
festivals. She has toured with Musicians from Marlboro
and has participated in the El Paso International Chamber Music Festival.
She is the recipient of a Music Certificate from the Curtis Institute of
Music, and Bachelor’s and Master’s degrees in music from the Juilliard
School, where her teacher was Joel Krosnick. Ms. Lee teaches at Princeton
University and Columbia University.
STEVEN MACKEY, electric guitar

Steven Mackey was born in 1956 to American parents
stationed in Frankfurt, Germany. He is regarded as one of
the leading composers of his generation and has
composed for orchestra, chamber ensembles, dance, and
opera.
His first musical passion was playing the electric guitar in rock bands based
in northern California. He blazed a trail in the 1980s and 90s by including
the electric guitar and vernacular music influence in his concert music and
he regularly performs his own work, including two electric guitar concertos
and numerous solo and chamber works.
He has received numerous awards from institutions such as the

Guggenheim Foundation, Kennedy Center, and Lincoln Center, and in
2012 he won a Grammy. His work has been performed by many of the
world’s leading orchestras, from Tokyo to Frankfurt and Los Angeles to
New York; ensembles including the Kronos, Arditti, and Brentano string
quartets, Psappha, London Sinfonietta, and Eighth Blackbird; and soloists
such as Leila Josefowicz, Alisa Weilerstein, Orli Shaham, Anthony
Marwood, and Fred Sherry.
There are a dozen CDs devoted to Mr. Mackey’s music available, and his
music is published by Boosey and Hawkes. He is currently the William S.
Conant Professor of Music at Princeton University, where he has been on
the faculty since 1985. More information is available at
www.stevenmackey.com.
35
MARK MANDARANO, lecturer, Family Concert host,
and program annotator
Mark Mandarano enjoys an international career as a
conductor. He conducted two new works with the New
York City Opera in 2009 and has served as principal guest
conductor of the Moscow Chamber Orchestra. He has
conducted performances at Carnegie Hall, Lincoln Center,
and other important venues in the U.S. and abroad. Staff positions include
those with the Pacific Symphony, American Symphony Orchestra, and the
Bard Music Festival. He has led performances with the Los Angeles
Philharmonic, Houston Symphony, New Jersey Symphony, Rochester
Philharmonic, Nürnberger Symphoniker, and the Ural Philharmonic. He
has worked with conductors such as Esa-Pekka Salonen, Christoph von
Dohnányi, Mstislav Rostropovich, Sir Roger Norrington, Valery Gergiev,
Leon Botstein, Osmo Vänskä, and Leonard Slatkin. An advocate of the
music of living composers, he has conducted world premieres and
performances of works by Karel Husa, Esa-Pekka Salonen, Steven Stucky,
John Corigliano, Ellen Taaffe Zwilich, Melinda Wagner, Libby Larsen, David
Bruce, Nico Muhly, and others. His association with Slatkin led to Maestro
Mandarano’s conducting the National Symphony Orchestra at the Kennedy
Center. He holds degrees from Cornell University and the Peabody
Conservatory of Music, and he is the Director of Instrumental Music at
Macalester College.
ISSAM RAFEA, oud

Winner of the 2010 Best Composer Award in the Dubai
International Film Festival (Muhr Arab), Issam Rafea is
the Chair of the Arabic Music Department at High
Institute of Music in Damascus and was the Principal
Conductor of Syrian National Orchestra for Arabic Music
from 2003 to 2013. In Syria, Mr. Rafea has been an active
composer and arranger for TV and theater since the 1990s. In March 2013
he was invited to the United States to direct the Middle Eastern Music
Ensemble at Northern Illinois University School of Music.
In the spring of 2017 Mr. Rafea was an Artist-in-Residence at Carleton

College, Minnesota, where he met Gao Hong, a pipa master from China.
Together they formed the Issam Rafea and Gao Hong Duo. In May 2018
they released their debut CD, Life As Is: The Blending of Ancient Souls from
Syria and China. They have performed at Carleton College, Saint Paul
College, The Cedar Cultural Center, Inn-fest, and dozens of other venues
36
throughout Minnesota. They were interviewed and featured on the
MPR/NPR radio program All Things Considered, and on WCCO/CBS
Radio’s Steele Talkin’ with host Jearlyn Steele. This newly formed duo also
won a 2018 USArtists International Grant from the Mid Atlantic Arts
Foundation in the United States.
THOMAS SAUER, piano

Thomas Sauer is a highly sought-after soloist, chamber
musician, and teacher. Recent appearances include
concerto performances with the Quad City and
Tallahassee symphony orchestras, and the Greenwich
Village Orchestra; solo performances at Carnegie Hall
(Stern Auditorium), Merkin Concert Hall, Rockefeller
University, and St. John’s College, Oxford; appearances on Broadway as the
pianist in 33 Variations, a play about the composition of Beethoven’s
Diabelli Variations; and performances at the Chamber Music Society of
Lincoln Center and the Philadelphia Chamber Music Society. With his
long-time duo partner, cellist Colin Carr, Mr. Sauer has appeared at the
Wigmore Hall (London), Holywell Music Room (Oxford), Concertgebouw
and Muziekgebouw (Amsterdam), Bargemusic (New York City), the
Isabella Stewart Gardner Museum (Boston), and Princeton University,
among many other venues. Other appearances include recitals with Midori
at the Philharmonie in Berlin and the Palais des Beaux Arts in Brussels;
performances with members of the Juilliard String Quartet at the Library of
Congress; and numerous concerts with the Brentano String Quartet.
Mr. Sauer has performed at many of the leading festivals in the United
States and abroad, including Marlboro, Caramoor, Music@Menlo,
Chamber Music Northwest, El Paso Pro Musica, Aloha International Piano
Festival, and the chamber music festivals of Seattle, Taos, Four Seasons
(North Carolina), and Portland and Salt Bay Chamberfest (Maine); as well
as Lake District Summer Music (England), Agassiz Chamber Music Festival
(Canada), Festival des Consonances (France), and Esbjerg International
Chamber Music Festival (Denmark).
A member of the music faculty of Vassar College and the piano faculty of
the Mannes College, Mr. Sauer is the founder and director of the Mannes
Beethoven Institute, and co-founder of Chamber Music Quad Cities. A
graduate of the Curtis Institute, Mannes College of Music, and the
Graduate Center of the City University of New York, his major teachers
included Jorge Bolet, Edward Aldwell, and Carl Schachter.
37
WILHELMINA SMITH, cello
Wilhelmina Smith has been awarded a 2015–16
McKnight Artist Fellowship for Performing Musicians.
She made her solo debut with the Philadelphia Orchestra
while a student at the Curtis Institute of Music and in
1997 was a prizewinner in the Leonard Rose International
Cello Competition. She has gone on to solo with
orchestras including the Orquesta Millenium of Guatemala and the Ural
Philharmonic Orchestra of Russia and has performed recitals across the
U.S. and Japan. A strong supporter of new music, she has worked
frequently with composers such as Esa-Pekka Salonen, with whom she
collaborated to perform his cello concerto, Mania, and gave the American
premiere of his solo cello work, knock, breathe, shine. Her recording of
solo cello works by Salonen and Kaija Saariaho will be released in 2019
by Ondine.
As a chamber musician, Ms. Smith has performed with Paul Tortelier, Yo-
Yo Ma, Joshua Bell, Pamela Frank, Dawn Upshaw, and Benita Valente; and
members of the Guarneri, Juilliard, Brentano, Miami, Borromeo, and
Galimir string quartets in venues across the U.S. and Europe. She has been
a guest artist with the Chamber Music Society of Lincoln Center and the
Boston Chamber Music Society, and is a founding member of Music from
Copland House. In 2005, she formed the Variation String Trio with violinist
Jennifer Koh and violist Hsin-Yun Huang, a group that has performed
across the U.S. and Europe. She is founder, Artistic, and Executive Director
of Salt Bay Chamberfest.
Ms. Smith’s solo CD of sonatas by Britten and Schnittke with pianist

Thomas Sauer was released on the Arabesque label in 2006. Her recordings
of chamber music include the complete chamber works of Aaron Copland,
works by Sebastian Currier, John Musto, and Aaron Jay Kernis. She has
performed frequently with pop musician Sting and can be heard on recent
recordings for both Sting and Bruce Springsteen. She currently lives in
Saint Paul, Minnesota, with her husband Mark Mandarano and children
August and Giovanna.
38
MARK STEINBERG, violin
Mark Steinberg, first violinist with the Brentano String
Quartet, is an active chamber musician and recitalist.
Apart from the Quartet, he has been heard in chamber
music festivals in Holland, Germany, Austria, and France,
and participated for four summers in the Marlboro Music
Festival, with which he has toured extensively. He has also
appeared in the El Paso Festival, on the Bargemusic series in New York City,
at Chamber Music Northwest, with the Chamber Music Society of Lincoln
Center, and in trio and duo concerts with pianist Mitsuko Uchida, with
whom he presented the complete Mozart sonata cycle in London’s
Wigmore Hall in 2001, with additional recitals in other cities, a project that
continued over the course of a few years. Mr. Steinberg has been a soloist
with the Philharmonia Orchestra in London, Los Angeles Philharmonic,
Kansas City Camerata, Auckland Philharmonia Orchestra, and the
Philadelphia Concerto Soloists, with conductors such as Kurt Sanderling,
Esa-Pekka Salonen, and Miguel Harth-Bedoya. He holds degrees from
Indiana University and the Juilliard School, and has studied with Louise
Behrend, Josef Gingold, and Robert Mann. An advocate of contemporary
music, Mr. Steinberg has worked closely with many composers and has
performed with 20th-century music ensembles including the Guild of
Composers, Da Capo Chamber Players, Speculum Musicae, and
Continuum, with which he has recorded and toured extensively in the U.S.
and Europe. He has also performed and recorded chamber music on period
instruments with the Helicon Ensemble, Four Nations Ensemble, and the
Smithsonian Institute. Mr. Steinberg has taught at Juilliard’s Pre-College
division, Princeton University, and New York University, and is currently on
the violin faculty of the Mannes College of Music.
CONRAD TAO, piano

Conrad Tao has appeared worldwide as a pianist and
composer, performing to universal acclaim from critics
and audiences alike. His accolades and awards include
being a Presidential Scholar in the Arts, a YoungArts gold
medal-winner in music, a Gilmore Young Artist, and an
Avery Fisher Career Grant-winner.
Mr. Tao’s career as composer has garnered eight consecutive ASCAP

Morton Gould Young Composer Awards and the Carlos Surinach Prize
from BMI. In the 2013–14 season, while serving as the Dallas Symphony
Orchestra’s Artist-in-Residence, Mr. Tao premiered his orchestral
39
composition, The world is very different now, commissioned in observance
of the 50th anniversary of the assassination of President John F. Kennedy.
In September 2015, the Chamber Orchestra of Philadelphia premiered his
piano concerto An Adjustment, with Mr. Tao at the piano.
Mr. Tao’s 2017–18 season included his Lincoln Center debut with a solo
recital including a work by American composer Jason Eckardt, a residency
with the Utah Symphony performing both Bernstein’s Symphony No. 2
“Age of Anxiety” and Prokofiev’s Piano Concerto No. 2, and debut
engagements with the Atlanta Symphony Orchestra, New Jersey Symphony
Orchestra, and the Seattle Symphony. Mr. Tao performed in his own recital
and had a new work composed for Paul Huang and Orion Weiss performed
at the Washington Performing Arts Society; he also opened the ProMusica
Chamber Orchestra’s season with the world premiere of a new
commissioned work, Over. Additionally, a new multimedia work,
Ceremony, developed with vocalist Charmaine Lee, will receive its premiere
at Brooklyn’s Roulette.
Mr. Tao is a Warner Classics recording artist, and his first two albums,
Voyages and Pictures, have been praised by NPR, The New York Times, The
New Yorker’s Alex Ross, and many more.
JASON VIEAUX, guitar

Grammy-winner Jason Vieaux, “among the elite of today’s
classical guitarists” (Gramophone), is the guitarist that goes
beyond the classical. His most recent solo album, Play,
won the 2015 Grammy Award for Best Classical
Instrumental Solo.
Recent highlights include performances at Caramoor Festival as Artist-in-

Residence, Chamber Music Society of Lincoln Center, Philadelphia
Chamber Music Society, Buenos Aires’ Teatro Colón, Amsterdam’s
Concertgebouw, New York’s 92nd Street Y, Ravinia Festival, and many other
distinguished series. A first-rate chamber musician and programmer, he
frequently collaborates with artists such as the Escher Quartet, harpist
Yolanda Kondonassis, and accordion/bandoneon virtuoso Julien Labro. He
has performed as soloist with over 100 orchestras and his passion for new
music has fostered premieres by Avner Dorman, Dan Visconti, Vivian Fung,
José Luis Merlin, and more. Mr. Vieaux continues to bring important
repertoire alive in the recording studio as well. He has upcoming releases on
Azica, BIS, and Naxos, and recent recordings include Infusion (Azica) with
40
Julien Labro; Ginastera’s Guitar Sonata, which is featured on Ginastera:
One Hundred (Oberlin Music) produced by harpist Yolanda Kondonassis;
and Together (Azica), a duo album with Kondonassis.
In 2012, the Jason Vieaux School of Classical Guitar was launched with
ArtistWorks Inc., an interface that provides one-on-one online study with
Mr. Vieaux for guitar students around the world. In 2011, he co-founded
the guitar department at the Curtis Institute of Music, and in 2015 was
invited to inaugurate the guitar program at the Eastern Music Festival. Mr.
Vieaux has taught at the Cleveland Institute of Music since 1997, heading
the guitar department since 2001. He has received a Naumburg Foundation
top prize, a Cleveland Institute of Music Distinguished Alumni Award, GFA
International Guitar Competition First Prize, and a Salon de Virtuosi
Career Grant. Mr. Vieaux was the first classical musician to be featured on
NPR’s “Tiny Desk” series; he plays a 2013 Gernot Wagner guitar with
Augustine strings. For more information, visit www.jasonvieaux.com.
Proud to support Salt Bay Chamberfest.

Home | Auto | Life | Business | Health | Financial Planning*
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*Allen Insurance and Financial, 31 Chestnut St., Camden, ME 04843. Securities and Advisory Services offered through Commonwealth Financial Network®, Member FINRA, SIPC,
a Registered Investment Adviser. Fixed Insurance products and services offered through Allen Insurance and Financial, L.S. Robinson Co. or CES Insurance Agency.
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41
Donations made between July 1, 2017, and July 1, 2018.
Donors If your name is missing or listed incorrectly, please let us know.
Sostenuto Circle
Members of the Sostenuto Circle give $1,000 or more annually.
Benefactor Sarah Peskin & Bill Kelley
$10,000 or more Ronald J. Schiller & Alan Fletcher
The Acton Family Barrett & Barbara Silver in honor
of the Dyne & Subarsky Family
Sustainer
Priscilla R. Smith, in memory of
$5,000–$9,999
David E. Smith
The Anonimo Foundation Virginia Swain & Harry Beskind
Marc H. & Vivian S. Brodsky Paul & Judy Weislogel
Pamela Daley & Randy Phelps Drs. Russ & Joan Zajtchuk
Judith & David Falk, from a grant
from the Judith R. Falk Fund of the Patron
Maine Community Foundation $1,000–$1,999
Supporter Amy C. Gerson
$2,000–$4,999 Stephen Hammond, as an advised
grant from the Maine
Peter Felsenthal & Jennifer
Community Foundation
Litchfield
Jane & Phillip Johnston
Sarah L. Fisher and Derek Webber
Anton & Alison Lahnston
Ben Harris & Rebecca Mitchell
Elizabeth & Barry Lipton
Sandra Leonard & Shawn Lewin
Martha G. Mason
Penelope A. Mardoian
Kristin Sant
Diana Morris & Peter Shiras, from
Wilhelmina Smith &
the Diana Morris & Peter Shiras
Mark Mandarano
Family Fund of The Associated
Friend Stephen Stamas

$500–$999 Wendy Strothman and John Bishop
Anonymous, in honor of Bernie & Winky van der Hoeven
the Smiths
Gail P. Fels $100–$499
Joseph & Merna Guttentag, Anonymous
including a contribution from David & Louise Abbot
the Community Foundation for Bob & Judy Armstrong
the National Capital Region Rosie & Gary Bensen
William & Sarah Letsky, Luther Black & Christina Wright
in memory of David Smith Hank Booth
Alison M. Ryley, in honor of Mina, Thomas Brewer
Priscilla and all the Smiths Joan Campbell
Mike & Mical Schneider Martin & Fiorella Canin
42
Elizabeth & Gordon Davis Pam & John Van Siclen
Judy Donald Gerrit & Alana VanDerwerker
Daniel Druckman & Jamie Jordan Charles & Betsy Warner
Barbara Etzweiler Andrew, Nancy, Clare &
Mrs. Joy Frayer, in memory of Gigi Weislogel
Dr. William C. Frayer Elizabeth B. Welles
William L. Griffith Elizabeth Wheeler
Eric Grossman, MD Bonnie & Ed Wynne, in memory of
Peter & Margaret Hepler Leanne & John Smith
Camilla Hemingway
Elizabeth H. Heminway, Up to $99
in honor of David
Anonymous
Larry & Mary Hewes
Cally & Tom Aldrich
Brooke Higdon
Martha Barclay
Fred & Stefanie Hufangel,
Griff & Joy Braley
in Honor of Winky & Bernie
Brian Curran
van der Hoeven
Jane & Joe Dahmen
Caroline D. Janover,
Therese Brady Donohue,
in honor of Martha Mason
in honor of Wilhelmina Smith
Edward & Victoria Jaycox, in honor
Carolyn Knutson, in memory of
of Judith Falk
David & John Smith
Kristin L. Johnson
Mackevicius-Lambert Family
Coy & Patsy Johnson
Ken & Peggy McIntosh,
Fred Kaplan & Rhoda Weyr
in honor of Judy and David Falk
Amy Lalime & Sung Han
Greg Pahl & Joy Tucker Pile
Felicia Leibman
Christina Petra
Carolyn J. Lukensmeyer, Ph.D.
Marianne H. Pinkham
George Mason &
Bruce Posner & Sandra Radoff
Susan Weiser Mason
Ellen Shillinglaw & E. Jeffrey Stann
Alayne B. McLeod
Nancy & Gary Stadtlander
Morse Family Foundation, Inc.
Hester & Byron Stuhlman
Ted & Mary Gene Myer
Joy Vaughan
Kit Pfeiffer & David Elliott
William Wertheim
Philip Schuster & Margery Heins,
Michael Werner & Linda Radonsky
in memory of David Smith
Peter Wilson & Madelyn Harris
Herb & Ann Sears, in honor of
Rolf & Mary Winkes
Wilhelmina Smith
Joseph Shapiro
Ari & Natalie Solotoff
Denise M. Soucy & Ned Steinberger
Robert & Karen Sweet
43
Donors (continued)
Encore Society
Members have made legacy gifts and NEXT SEASON’S
have included Salt Bay Chamberfest
as a beneficiary in their wills.
SPONSORSHIP
Ben Harris OPPORTUNITIES
Peter Felsenthal & Jennifer
Litchfield Season Sponsor
Phillip & Jane Johnston $15,000
Anton & Allison Lahnston
Artistic Director Sponsor
Martha G. Mason
$10,000
Phoebe Nichols
Ronald J. Schiller & Alan Fletcher Concert Sponsor
$5,000
Foundation Support
New Commission Sponsor
The Anonimo Foundation
$5,000
Community Foundation for the
National Capital Region Pre-Concert Lecture Series
Maine Community Foundation Sponsor
Morse Family Foundation, Inc. $3,000
Matching Gifts Master Class Sponsor

$3,000
IBM International Foundation
Concert Co-Sponsor
In-Kind Support $2,500
Marc H. & Vivian S. Brodsky
Pamela Daley & Randy Phelps Artist Sponsor
Damariscotta River Grill $2,250
Peter Felsenthal Family Concert Sponsor
Sarah L. Fisher $1,500
Barbara & Alan Ikalainen
Caroline D. Janover
Jim Levis
Mark Mandarano
George Mason & Susan Weiser
Mason
Martha G. Mason
Jane & Roger Sandler
Stars Fine Jewelry Please contact us at
Mimi Steadman [email protected]
Bernie & Winky van der Hoeven or 207-522-3749 to learn more.
Paul & Judy Weislogel
44
Giving Opportunities
Since ticket revenue covers only a small percentage of our overall budget,
we rely on many generous friends to provide an essential source of
operating support for the Festival. These donations enable us to continue
presenting concerts of the highest artistic quality in the beautiful setting of
Midcoast Maine. At Salt Bay Chamberfest, your gift—of any amount—
makes a significant impact.
You can make a tax-deductible gift by:

• sending a check (payable to Salt Bay Chamberfest) to
Salt Bay Chamberfest, P.O. Box 1268, Damariscotta, ME 04543
• online at www.saltbaychamberfest.org/support-us/
• calling at 207-522-3749
We warmly welcome you into the Sostenuto Circle for an annual gift of
$1,000 or more. All members of the Sostenuto Circle receive a variety of
sponsorship opportunities that connect donors with our artists, concerts,
and education and community engagement programs; and are also invited
to a private event for musicians and donors hosted by the Salt Bay
Chamberfest board at a private home.
JOIN THE ENCORE SOCIETY

Gifts by bequest are easy to do and by doing so, you will ensure that
your support for the festival continues continues well into the future.
Salt Bay Chamberfest welcomes any donation by bequest, and one of
our many loyal Encore Society members will be happy to speak with
you about how to provide this very important sustaining gift.
Salt Bay Chamberfest welcomes gifts of cash, checks, and credit cards; gifts of
stock, bequests, and other planned gifts; and in-kind gifts such as providing
housing for musicians during the festival. We greatly appreciate all
contributions made to Salt Bay Chamberfest.
Please contact us at [email protected] or 207-522-3749

with any questions. You can also find more information about giving at
our website: www.saltbaychamberfest.org/support-us/
45
Salt Bay Chamberfest’s 25th Anniversary
is in 2019!
2019 FESTIVAL: MUSIC OF OUR COMMON EARTH

August 3–18, 2019
Our 25th anniversary season will celebrate the Maine landscape, cultural
heritage, and its connection to our larger world and shared humanity,
musically bridging the distance between local selves and global others.
Performances and events will emphasize interconnections between music,
its surrounding landscapes, and the communities that inhabit those
landscapes, transcending divisions between past and present, continents,
and cultures. We are excited to partner with a variety of organizations in
our Midcoast community in order to present an innovative indoor/outdoor
festival celebration featuring our internationally acclaimed musicians.
Ways to contribute:
• Make a leadership gift
• Donate to our capital campaign
• Donate housing for our visiting musicians
• Sponsor a concert, commission of a new work, or an artist
Ways to get involved:

• Join a planning committee
• Assist with mailings and other odd jobs
• Volunteer during the festival
Contact us at [email protected] or 207-522-3749.
46
47
Salt Bay Framers
!"#$%&' ()*$"+,' -+.&)/0' 1' -)/,' 2+$' !%/#,+3.$)%/
Board & Staff
4,'5%6'7.3,'2/$)8",'9.:#';< '=>,'2+,.
Founder, Artistic &
?@A'9.)/'B$+,,$C'9.)/'B$+,,$'!,/$,+
D.&.+)#*%$$.
Executive Director
E+)0>$'.*+%##'<+%&'7.//.<%+FG Wilhelmina Smith
H@IJKLMN
President
Paul Weislogel
Vice President
Sandra Leonard
Treasurer
Michael Acton
Secretary
Sarah L. Fisher
Board Members
Vivian S. Brodsky
Ben Harris
Elizabeth Lipton
Sarah Peskin
Ronald J. Schiller
Barrett Silver
Ari Solotoff
General Manager
Miriam Fogel
Production Manager
Katie Williams
To find out how you can
become more involved with Thank You
Salt Bay Chamberfest to Our Volunteers
please contact
SBC is extremely grateful for the
Miriam Fogel, General Manager, at many individuals who contribute
[email protected] or their time and services to make
207-522-3749. Visit us on the web at this Festival a success.
www.saltbaychamberfest.org.
48
“MUSIC” FOR YOUR EYES
Albert Wein, (1915-1991), Beethoven, 1982, 19”h, ed. 5/12
Elaine de Kooning, (1918-1989), Bison, 1958, oil on paper, 13.5 x 18”, slr
These and other fine modernist paintings and sculpture are

available for your consideration.
Contact: Jim Levis at 646-620-5000 or [email protected].
Visit www.levisfineart.com for more selections.

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AUGUST 6–18, 2018

New Harbor • Damariscotta

In the spirit of the troubadours whose lives were made up of composing

For more information or to purchase tickets to any of these events,

SKIDOMPHA PUBLIC LIBRARY

Retirement Living At Its Finest.

Call Bruce Hardina at - Scenic Riverfront Location

Bernart de Ventadorn (c. 1135–1195)

John Dowland (1563–1626)

Benjamin Britten (1913–1976)

Julien Labro (b. 1980)

Carlos Gardel (1890–1935)

Osvaldo Golijov (b. 1960)

Astor Piazzolla (1921–1992)

Franz Schubert (1797–1828)

Pat Metheny (b. 1954)

This concert is sponsored by Pamela Daley & Randy Phelps.

John Bellemer’s performance is sponsored by Paul & Judy Weislogel.

The songs of troubadours originated in the south of France in the early

A generation later, Astor Piazzolla modernized the classical tango with a

This concert is sponsored by Marc H. and Vivian S. Brodsky.

Stefan Jackiw’s performance is sponsored by Peter Felsenthal & Jennifer Litchfield.

Capricho árabe is by Francisco Tárrega, who composed in the late 19th

The piece commences with a reconciliation of apparent contradictions:

Building on the idea of the traveling minstrel as a performer-composer

KING EIDER’S PUB

Franz Joseph Haydn (1732–1809)

Dmitri Shostakovich (1906–1975)

Carlo Gesualdo (1566–1613)

Elliott Carter (1908–2012)

Guillaume Lekeu (1870–1894)

César Franck (1822–1890)

This concert is sponsored by Judith & David Falk,

Misha Amory’s performance is sponsored by Penelope A. Mardoian.

Franz Joseph Haydn almost single-handedly created the Classical Style, a

The Piano Quintet of César Franck makes no secret of its desire to be

Franz Schubert (1797–1828)

The Mackey commission is made possible through a consortium of

Serena Canin’s performance is sponsored by Barrett & Barbara Silver.

Steven Mackey has forged a uniquely personal path both as a composer

Ames True Value Supply

This year’s installation is dedicated to Martha G. Mason and her support of

About the Artist

A recipient of three National Endowment for

David Ying & Phillip Ying, Artistic Directors

World-class chamber music in Brunswick, Maine

Program: Jason Vieaux, guitar

Domenico Scarlatti (1685–1757)

Mauro Giuliani (1781–1829)

Johann Sebastian Bach (1685–1750)

Isaac Albéniz (1860–1909)

Antônio Carlos Jobim (1927–1994)

Edward Kennedy “Duke” Ellington (1899–1974)

Program: Steven Mackey, electric guitar

Act 1: Super Terram

Act 2: Sub Terram

Act 3: Super Terram

Originally directed by visionary film and stage director Mark DeChiazza,

NEW: Thursdays @ Noon