Courtney Bryan (b. 1982)

Requiem

for treble vocal quartet, clarinet, trumpet, trombone, tuba and percussion

I. All go to the same place; all come from dust, and to dust all return.

II. Listen, I will tell you a mystery! We will not all die, but we will all be changed… 

III. The Lord is my shepherd, I shall not want…

Pie Jesu Domine, dona eis requiem. Dona eis requiem sempiternam.

Kyrie eleison. Christe eleison. Kyrie eleison.

IV. [no text]

V. See, the home of God is among mortals…

Intermission

César Fanck (1822-1890)

Sonata for Violin and Piano in A Major (1868)

I. Allegretto ben moderato

II. Allegro

III. Recitativo-Fantasia. Ben moderato — Molto lento

IV. Allegretto poco mosso

Artists: Winston Choi, piano; James Doyle, percussion; Billy Ray Hunter, trumpet; Paul Mergen, tuba; Quince Vocal Ensemble; Maria Sampen, violin; Kevin Schempf, clarinet; Weston Sprott, trombone

Quince Vocal Ensemble: Amanda DeBoer Bartlett, soprano; Liz Pearse, soprano; Carrie Henneman Shaw, soprano; Elisa Sutherland, mezzo-soprano

It began as a wedding present, but would prove to be a gift to the music world that keeps on giving. The Franck Sonata, as it is known, defies categorization. Yes, it is 100% and inalienably a piece for violin and piano. Let’s be clear about that from the get-go. But there is something so universal in its DNA that every instrument wants a crack at it.

The number of arrangements is staggering. There are versions for: flute, cello, viola, double bass, oboe, clarinet, alto saxophone, tuba, violin and string orchestra, violin and full orchestra, two pianos and believe it or not, choir and organ. Of those myriad incarnations, the only extra version sanctioned by the composer is the one for cello and piano.

About that wedding. Franck composed the work for the young virtuoso Eugène Ysaÿe and his bride Louise Bourdeau de Courtrai. Ysaÿe played the sonata that very day for his guests. He would give the public premiere of the work a couple of months later, and it has taken on a life of its own ever since.

César Franck (1822-1890)

Sonata for Violin and Piano in A Major (1868)

I. Allegretto ben moderato

II. Allegro

III. Recitativo-Fantasia. Ben moderato — Molto lento

IV. Allegretto poco mosso

Artists: Winston Choi, piano; Maria Sampen, violin

Tubist Paul Mergen served a distinguished career in the United States Marine Band, “The President’s Own,” in Washington, DC. He played for State dinners at the White House, memorial services and funerals at Arlington National Cemetery and numerous tours to every corner of our vast nation. Paul is part of a more than two-century tradition that began with an act of Congress establishing the band in 1798, thus making it the oldest professional musical organization in the US. Paul has seen some things… but they’re mostly all classified. So, we’ll content ourselves with the parts he can share, which is plenty!

You might wonder how many times Paul has played our national anthem, The Stars and Stripes Forever or The Washington Post March. We’ll find out! And you might wonder what a tuba is doing all by itself, center stage at a chamber music festival. Of that, I am certain you will find with great pleasure exactly why. His repertoire spans devotional early music to modern experimental music. Paul is a musician of the highest order. And he outranks me. And he was my college roommate and best man. You’re in for a treat!

All selections will be announced from the stage.

Artists: Winston Choi, piano; Paul Mergen, tuba

PROJECT Trio makes a triumphant return to WWCMF, and a maiden voyage into the acoustically magnificent barrel room at Echolands Winery.

Boasting a new look since their last visit to Walla Walla, we welcome saxophonist Daniel Berkey to the group. The barrel room will be rocking with a staggering array of hard-to-categorize music from many genres from hip-hop to jazz to classical, always with style and panache.

Actually, it’s easy to categorize their music: it all falls under the category of Awesome.

Artists: PROJECT Trio: Daniel Berkey, saxophone; Greg Patillo, flute; Peter Seymour, double bass

Samuel Barber (1910-1981)

Summer Music, Op. 31 (1956)

for woodwind quintet

György Ligeti (1923-2006)

Six Bagatelles (1953)

for woodwind quintet

I. Allegro con spirito

II. Rubato. Lamentoso

III. Allegro grazioso

IV. Presto ruvido

V. Adagio. Mesto (Béla Bartók in memoriam)

VI. Molto vivace. Capriccioso

Richard Strauss (1864-1949), arr. Franz Hasenöhrl (1885-1970)

Till Eulenspiegel— einmal anders! (Grotesque musicale), Op. 28/(1954)

Till Eulenspiegel— another way! (Musical Grotesque), Op. 28/(1954)

for violin, clarinet, horn, bassoon and double bass

Intermission

Arnold Schoenberg (1874-1951)

Verklärte Nacht (Transfigured Night), Op. 4

for string sextet

Artists: Timothy Christie, viola; Tracy Doyle, flute; Mara Gearman, viola; Cara Kizer, horn; Paul Rafanelli, bassoon; David Requiro, cello; Svend Rønning, violin; Maria Sampen, violin; Kevin Schempf, clarinet; Joshua Skinner, double bass; Meta Weiss, cello; Dan Williams, oboe

A man and a woman walk side by side in a cold, moonlit forest. There are no clouds to obscure the light above. After a time, the woman speaks, telling her companion that she is pregnant, and not by him.

Is this a trailer for the latest gripping, prestige TV drama on your favorite streaming service? No. It is the subject of Arnold Schoenberg’s chamber tone poem Verklärte Nacht. This sonic journey ravishes, transforming player and listener alike, even as the characters walking through the cold forest are transformed. In Verklärte Nacht, we encounter the apex of post-Romantic expression, fittingly penned at the dawn of a new century.

(Note to self… develop TV show based on Dehmel/Schoenberg’s Transfigured Night.)

Arnold Schoenberg (1874-1951)

Verklärte Nacht (Transfigured Night), Op. 4 (1899)

For string sextet

Artists: Timothy Christie, viola; Mara Gearman, viola; David Requiro, cello; Svend Rønning, violin; Maria Sampen, violin; Meta Weiss, cello

Violinist Svend Rønning has been a musical force (for good!) in the PNW for many, many years. In addition to his position as Artistic Director of the Second City Chamber Series in Tacoma, WA, Svend is also the concertmaster of Symphony Tacoma and is Professor of Violin at Pacific Lutheran University.

Tonight he makes his long overdue WWCMF debut in a program of contrasts highlighting an unexpected connection between that most musical of cities, Vienna, Austria and the city of tinsel, Hollywood, California.

All selections will be announced from the stage.

Artists: Ronaldo Rolim, piano; Svend Rønning, violin

An All-Star Cast of WWCMF musicians return to the idyllic setting of Abeja Winery for our annual Collage performances. The performance unfolds in two Acts set astride our beloved Sunset Intermission. The grounds of Abeja open at 5:30 PM. Come early, enjoy the scenery and have dinner before enjoying the performance.

Collage is a style of performing where the end of one piece dovetails with the beginning of the next to create a continuous flow of musical experiences. The musicians are in front of you, beside you, behind you, above you and even… among you. The experience is so immersive, you’ll think you’re dreaming.

Note: There is no late seating for either Act 1 or Act 2. Once the doors close, there is no entry.

Artists: Timothy Christie, viola; Mara Gearman, viola; Norbert Lewandowski, cello; Paul Rafanelli, bassoon; David Requiro, cello; Ronaldo Rolim, piano; Svend Rønning, violin; Maria Sampen, violin; Kevin Schempf, clarinet; Joshua Skinner, double bass; Meta Weiss, cello; Dan Williams, oboe; Xiaohui Yang, piano

An All-Star Cast of WWCMF musicians return to the idyllic setting of Abeja Winery for our annual Collage performances. The performance unfolds in two Acts set astride our beloved Sunset Intermission. The grounds of Abeja open at 5:30 PM. Come early, enjoy the scenery and have dinner before enjoying the performance.

Collage is a style of performing where the end of one piece dovetails with the beginning of the next to create a continuous flow of musical experiences. The musicians are in front of you, beside you, behind you, above you and even… among you. The experience is so immersive, you’ll think you’re dreaming.

Note: There is no late seating for either Act 1 or Act 2. Once the doors close, there is no entry.

Artists: Timothy Christie, viola; Mara Gearman, viola; Norbert Lewandowski, cello; Paul Rafanelli, bassoon; David Requiro, cello; Ronaldo Rolim, piano; Svend Rønning, violin; Maria Sampen, violin; Kevin Schempf, clarinet; Joshua Skinner, double bass; Meta Weiss, cello; Dan Williams, oboe; Xiaohui Yang, piano

A violin sold at auction recently for $11.25M. It wasn’t even a record price. That distinction belongs to a violin sold back in 2011 for $15.9M. Those are some impressive numbers. But I am more impressed by the fact that the violins in question were made in 1714 and 1721 respectively. They were made more than 300 years ago and they work as well today as they did back then— some say better! Those two fiddles, and about 950 like them, were made by the same guy. You know his name: Antonio Stradivari.

What is it about these little machines that makes them so resilient? Very few pieces of equipment that worked 300 years ago still work today, and though Strads can take up a lot of oxygen courtesy of dizzying auction prices, there are actually quite a number of Old Italians (as they are called) still in use today. In fact, you’ve already heard a couple on the Festival this season, and dozens of them over the years!

To unpack all the fuss and guide us in a deep dive into all things fiddle, we welcome violin-maker Jackson Maberry. No stranger to Walla Walla or WWCMF audiences, Jackson graduated from Whitman College and supported himself, at least seasonally, working for WWCMF along the way. He went from Whitman to Cambridge University and from Cambridge to Indiana University Jacobs School of Music where he completed the prestigious String Instrument Technology program. He hung out his shingle as a violin maker in 2021. Tonight, we’ll hear performances of music for strings, violin in particular, while also exploring the technology behind the music. What makes these things tick? And how do you make one? Jackson has the answers.

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Jackson Maberry, violin-maker; Maria Sampen, violin

Robert Schumann (1810-1856)

Märchenbilder (Fairy Tale Pictures), Op. 113 (1851)

for viola and piano

I. Nicht schnell

II. Lebhaft

III. Rasch

IV. Langsam, mit melancholischem Ausdruck

Maurice Ravel (1875-1937)

Ma Mère L’Oye (Mother Goose), M. 60 (1910)

for piano 4-hands

I. Pavane de la Belle au bois dormant. Lent

II. Petit Poucet. Très modéré

III. Laideronnette, Impératrice des pagodes. Mouvement de marche

IV. Les entretiens de la Belle et de la Bête. Mouvement de valse modéré

V. Le jardin féerique. Lent et grave

Intermission

Wolfgang Amadeus Mozart (1756-1791)

Piano Quartet in G minor, K. 478 (1785)

I. Allegro

II. Andante

III. Rondo

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Ronaldo Rolim, piano; Maria Sampen, violin; Xiaohui Yang, piano

Survey the entire catalog of Mozart’s music (side note: that ‘K’ you always see after the title of a piece by Mozart refers to the catalog) and you will find very few pieces designated in a minor key. Therefore, the music by Mozart framed in a minor key takes on special meaning by dint of its relative scarcity. And when it comes to minor keys, G minor makes a strong case for Mozart’s favorite. Think of the stormy beginning of his Symphony No. 25, which opens the film Amadeus. The first few measures of his Symphony No. 40 have disrupted concerts innumerable as a cellphone ringtone. And in his chamber output, the late String Quintet in G minor spins to epic proportions.

Here, Mozart begins with a forceful rhythmic unison one would be forgiven for attributing to Beethoven. Perhaps young Beethoven was listening. Yet, as forceful as the opening motif is, you know Mozart liked a good party. And the clouds rarely hang about Mozart very long. We’ll chase them away together at Pepper Bridge Winery.

Wolfgang Amadeus Mozart (1756-1791)

Piano Quartet in G minor, K. 478 (1785)

I. Allegro

II. Andante

III. Rondo

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Ronaldo Rolim, piano; Maria Sampen, violin

WWCMF audiences have thrilled to high-flying performances of pianist Xiaohui Yang these past few seasons. In fact, in her debut season of 2022, she earned a coveted WWCMF MVP award for outstanding artistry, fortitude and positive attitude amid circumstances that would have wilted a lesser musician. I think she was in something like 10 consecutive hours of rehearsal on her first day, capped by a Portrait performance with cellist Meta Weiss. Her only break that day was when we brought her a sandwich from Graze (solid sandwich!), which she ate sitting at her piano bench between pieces.

In addition to her WWCMF MVP award, Xiaohui won the 2017 Naumburg International Piano Competition, and has been featured in performances throughout four continents, including in venues such as Carnegie Hall, Ozawa Hall, New Jersey Performing Arts Center, Tel Aviv Museum of Art and the Seoul Arts Center. And she has of course performed in the middle production room of Pepper Bridge Winery, site of that marathon first day a few years ago, and site of tonight’s performance.

All selections will be announced from the stage.

Artist: Xiaohui Yang, piano

Chamber Music Pops!

Featuring music by Borodin, naturally, but also gorgeous selections from pop, yacht, jazz and the baroque. Curated by Timothy, Philip, Stephen, Norbert and Josh.

All selections will be announced from the stage.

Intermission

Dmitri Shostakovich (1906-1975)

Piano Quintet in G minor, Op. 57

I. Prelude: Lento

II. Fugue: Adagio

III. Scherzo: Allegretto

IV. Intermezzo: Lento

V. Finale: Allegretto

Artists: Timothy Christie, viola; Conor Hanick, piano; Norbert Lewandowski, cello; Stephen Miahky, violin; Jennifer Northam, vocals; Philip Payton, violin; Joshua Skinner, double bass

Dmitri Shostakovich composed and performed music under an oppressive Soviet regime that demanded its artists toe the official party line under any and all circumstances. Artists who were perceived to stray from the party line tended to disappear. And it is well documented— including on Festivals such as this one— that the music of Shostakovich is invariably tied to the idea of dissent. He needled, parodied, advocated, wept and fake-laughed, all under the guise of doing his Soviet best. The Piano Quintet in G minor is no exception… except in the way that it is an exception. For this piece, Shostakovich won the inaugural Stalin Prize, First-Class, and was awarded 100,000 rubles cash money. Rubles-Schmoobles you say? In 1941, 100,000 RUB equaled 20,000 USD. $20,000 in 1941 equals about $427,557 today.

It goes without saying that you will want to join us at Foundry Vineyards to see and hear what all the fuss is about! And a ticket is just $25. That’s 2,100 RUB if you’re curious. And we do not accept them.

Dmitri Shostakovich (1906-1975)

Piano Quintet in G minor, Op. 57

I. Prelude: Lento

II. Fugue: Adagio

III. Scherzo: Allegretto

IV. Intermezzo: Lento

V. Finale: Allegretto

Artists: Timothy Christie, viola; Conor Hanick, piano; Norbert Lewandowski, cello; Stephen Miahky, violin; Philip Payton, violin

The Poiesis Quartet won the Grand Prize at the 2023 Fischoff National Chamber Music Competition and, in  2024, joined the North American roster of the Concert Artist Guild by winning the Louis & Susan Meisel Competition. Recent graduates of the Oberlin Conservatory, Poiesis are now the Graduate String Quartet in Residence at the Cincinnati College-Conservatory of Music, studying under the Ariel Quartet.

More important to you, dear audience, is that Poiesis is the 2025 WWCMF Emerging Artist Quartet, following in the footsteps of Ivalas Quartet, masso and Cerus Quartet as the fourth group to undertake this position. During their Walla Walla residency, they will play for nearly 2,000 youngsters in the Walla Walla Public Schools, presenting in both English and Spanish.

The word Poiesis comes from the Ancient Greek verb, “to make” or “create,” which in turn shares a root with the modern English word, “poetry.” As a string quartet made up of inter- and multi-disciplinary young artists, the Poiesis Quartet seeks to program music of all styles and genres and expand the traditional quartet setting with an emphasis on platforming works by emerging and underrepresented composers. Poiesis strives to create unique moments of synchronicity, sensitivity, and verve in each performance.

And according to the Oxford English Dictionary, the word “Poiesis” occurs about 0.08 times per million words in modern written English. So, one in a million doesn’t begin to describe tonight’s performance!

All selections will be announced from the stage.

Artists: Poiesis Quartet: Max Ball, violin; Jasper de Boor, viola; Adalus Low-Manzini, cello; Sarah Ying Ma, violin

Antonio Vivaldi (1678-1741)

From 12 Trio Sonatas, Op. 1

Sonata No. 12 in D minor, RV 63, La Follia

André Caplet (1878-1925)

Conte Fantastique d’après La Masque de la Mort Rouge (1924)

For harp and string quartet

Intermission

Molly Herron (b. 1982)

Stellar Atmospheres (2015/2024)

For treble vocal quartet and string quartet

Co-commissioned by Quince Vocal Ensemble and WWCMF

With additional support from Bud & Phyllis Wulliman

Michael Miller

“Going down that road” from Guthrie Songs (2018)

Carrie Henneman Shaw

The Smallest Gap (2019)

Laura Steenberge

The Four Winds (2015)

V. Red Giant, White Dwarf

Artists: Stephanie Aston, voice; Timothy Christie, viola; Amanda DeBoer Bartlett, voice; Elizabeth Landis, harp; Vanessa Moss, violin; Liz Pearse, voice; Maria Sampen, violin; Carrie Henneman Shaw, voice; Sally Singer Tuttle, cello

André Caplet (1878-1925)

Conte Fantastique d’après La Masque de la Mort Rouge

For harp and string quartet

“Merci, Edgar!” said French composer, André Caplet, upon reading the words above from Poe’s Masque of the Red Death. Maybe he said that, maybe he didn’t. Doesn’t matter! These are the qualities Caplet brings to life in his work for harp and string quartet, Conte Fantastique d’après La Masque de la Mort Rouge (1924). Glare. Glitter. Piquancy. Phantasm.

A pandemic rages. An eccentric aristocrat invites hundreds of nobles to ride out the storm in his castle, enjoying opulent parties and masked balls. There are seven chambers, each decorated to the point of embodiment of a different color: Blue, Purple, Green, Orange, White, Violet and Black. In the outer rooms, the vibe is light and merry. As the action progresses deeper into the castle, things take a decidedly morbid turn. Vincent Price makes a cameo (I think). 

Are you intrigued? We visit Echolands Winery for this performance sure to echo in the annals of WWCMF lore for years to come.

Artists: Timothy Christie, viola; Elizabeth Landis, harp; Vanessa Moss, violin; Maria Sampen, violin; Sally Singer Tuttle, cello

Forbidden love. That’s the quickest synopsis of the Arthurian-era legend of Tristan and Isolde. Fleshing it out a bit, Tristan is charged with escorting Isolde, an Irish princess, from Ireland to Cornwall by boat so that she can marry King Mark of Cornwall. On the way the two somehow accidentally drink a love potion. It works. Tristan is doomed to suffer death at the hands of King Mark’s henchmen. Isolde follows suit, owing to the potency of her love for Tristan and her heartbreak upon his death.

The most famous retelling of the story is Richard Wagner’s 1865 opera, Tristan und Isolde. “Mild und leise…” For Wagner fans, these words are like a clubhouse secret password. Loosely translated, they mean “softly and gently.” But,what could that possibly mean? In the context of Wagner’s opera (music drama), they represent the commingling of love and death. It’s Act III. Isolde looks upon the dead body of her (illicit/accidental) true love, Tristan. She contemplates the tranquility of his state, savoring a new beauty even as she savors the pain of his loss. She proceeds to sing herself to an ecstatic death, overcome by his strange perfection — a Liebestod or ‘Love Death.’

Which brings us to tonight’s work, love fail, by David Lang. This masterpiece is a reexamining of the medieval romance of Tristan and Isolde from different sources. “Mild und Leise” becomes “mild, light” in movement 12 of Lang’s retelling. Scored for four treble voices and percussion, Quince Ensemble brings the work to life like no other group on the world stage today. And we have them all to ourselves. This is a special night in the now 18-year arc of WWCMF. We return to Foundry Vineyards, site of so many wonderful performances over the years.

All selections will be announced from the stage.

Artists: Stephanie Aston, voice; Amanda DeBoer Bartlett, voice; Liz Pearse, voice; Carrie Henneman Shaw, voice

The harp is associated with many things, all of them good: heaven, cupid, Ireland and in particular, Irish beer. And the harp is one of the most ancient instruments with many appearances in classical Greek history and mythology. But in modern Western culture, perhaps the readiest association with the harp is the wedding ceremony. Our featured Artist, Elizabeth Landis, played her first wedding at the age of twelve. I wonder if the happy couple is still together. I bet they are! Because Liz is an artist of the highest pedigree.

From early studies at the Interlochen Arts Academy to the University of Toronto, Temple University, Cincinnati College Conservatory of Music and the Aspen Music Festival, Liz has traveled extensively in the music world. But she also brings a love of traveling in the wider world, and is a respected travel and food blogger. Epicure, traveler and purveyor of 47 strings and seven pedals, Liz approaches music in much the same way as she looks at the world — her oyster!

All selections will be announced from the stage.

Artists: Elizabeth Landis, harp

Tonight’s performance has been made possible by the generosity of Susan Monahan and Mark Brucks.

David Glenn (b. 1951)

Sculpture Garden (2009) For piano quintet

I. Styx

II. Three Stories

III. Carnival

IV. Pirouette

V. Soaring Stones

Fanny Mendelssohn (1805-1847)

String Quartet in E flat (1834)

I. Adagio ma non troppo

II. Allegreto

III. Romanze

IV. Allegro molto vivace

Intermission

Amy Beach (1867-1944)

Piano Quintet in F# minor, Op. 67 (1907)

I. Adagio - Allegro moderato

II. Adagio espressivo

III. Allegro agitato - Adagio come prima - Presto

Artists: Winston Choi, piano; Timothy Christie, viola, Norbert Lewandowski, cello; Maria Sampen, violin; MingHuan Xu, violin

Tonight’s performance has been made possible by the generosity of Michael Haight and Cathy Lee-Haight.

Born in New Hampshire in 1867, Amy Marcy Cheney, displayed musical gifts almost from the start. She first studied piano with her mother, then with two prominent German expats in Boston, eventually adding courses in counterpoint with a German-trained Bostonian. She established herself as a concert soloist, performing with the most esteemed arts organizations in the US, notably the Boston Symphony.

At the age of 18, Amy married Dr. Henry Harris Aubrey Beach, a 42-year old surgeon. Much about this union seems strange to our modern sensibilities, perhaps nowhere more so than in the prenuptial agreement curtailing Amy’s musical activities, limiting her public piano performances to two per year, and then only for charity. But composition was deemed a suitable pursuit for a married woman, and Mrs. Henry Harris Aubrey Beach would compose and publish musical works throughout her self-reported happy marriage, and continue to do so under the same name long after Henry’s passing in 1910.

And yet, and I say this objectively, Amy was a far superior musician than Henry was a surgeon! While he poked about with blunt instruments of the Civil War era, she performed Chopin, Liszt, Beethoven and Bach to international acclaim, and became the first American woman to compose and publish a symphony (E minor, The Gaelic, Op. 32), a work which received rave reviews in the US and Europe, a coup for any American composer, let alone a woman. Henry may still have been using leeches.

Tonight, we perform the lyrical masterpiece, the Piano Quintet in F# minor, Op. 67, by Amy Beach, as she is now known.

Amy Beach (1867-1944)

Piano Quintet in F# minor, Op. 67 (1907)

I. Adagio - Allegro moderato

II. Adagio espressivo

III. Allegro agitato - Adagio come prima - Presto

Artists: Winston Choi, piano; Timothy Christie, viola; Norbert Lewandowski, cello; Maria Sampen, violin; MingHuan Xu, violin

Tonight’s performance is made possible by the generosity of Kris and Tim Barry.

At first, you think you’re in for a wonderful recital by an extremely talented violinist. (Don’t worry. You are!) Then the question is posed to said violinist, in this case MingHuan Xu, “Have you ever been part of a sting operation?” And things shift a bit. What lurks beneath MingHuan’s polished exterior? Pure intrigue. She’s tough on crime by night, a virtuoso violinist by day.

Sounds more like a movie than a Portrait recital, right? And that’s fitting. Joined by pianist Winston Choi, MingHuan has a program of music featured on the big screen by composers John Corigliano, Dmitri Shostakovich, Carlos Gardel and more.

All works will be announced from the stage.

Artists: MingHuan Xu, violin; Winston Choi, piano

Tonight’s performance has been made possible by the generosity of Cecile and Rick Ervin.

We are delighted to welcome PUBLIQuartet in their WWCMF debut. This program features selections from the quartet's ongoing What Is American project, which inspired a GRAMMY®-nominated album of the same name. This wide-ranging set of works will explore the resonances between contemporary, blues, jazz, free and rock-inflected music — all of which trace their roots back to the Black and Native American music that inspired Antonin Dvorak’s “American” String Quartet.

The program will include re-imaginations of music by Ornette Coleman, Ida Cox, Alice Coltrane, Betty Davis, Duke Ellington, Tina Turner, and Fats Waller alongside recent works by Vijay Iyer and Henry Threadgill; also on the program is a new work by Jeff Scott, commissioned with the support of a 2024 Chamber Music America Artistic Projects grant. Interrogating these traditions of our nation’s complex history, PQ attempts to connect the dots, illuminating the past, present, and future of American concert music.

All works will be announced from the stage.

Artists: PUBLIQuartet: Hamilton Berry, cello; Rubén Rengel, violin; Nick Revel, viola; Curtis Stewart, violin

Tonight’s performance has been made possible by the generosity of Karl Eckhardt and Pamela Mittelstadt.

Schubert Fantasia in F minor, D. 940 (1828) For piano four hands

I. Allegro molto moderato

II. Largo

III. Scherzo. Allegro vivace

IV. Finale. Allegro molto moderato

John Mackey

Breakdown Tango (2000) For piano, clarinet, violin and cello

Intermission

Wolfgang Amadeus Mozart (1765-1791)

Quintet in A for Clarinet and Strings, K. 581

I. Allegro

II. Larghetto

III. Menuetto

IV. Allegretto con variazioni

Tonight’s performance is dedicated to Bryan Ford. We miss you, Bryan.

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Vanessa Moss, violin; Ronaldo Rolim, piano; Maria Sampen, violin; Kevin Schempf, clarinet; Xiaohui Yang, piano

Tonight’s performance has been made possible by the generosity of an anonymous donor in memory of Tim Brown — gentle soul, enquiring mind, devoted to chamber music.

Tonight’s Tasting Music performance features one of Mozart’s great chamber works. The legacy of this work is not just the invention of a musical form, the clarinet quintet, but perhaps the establishment of the clarinet itself as an indispensable part of the corps of classical instruments. The sonority of late Mozart leans into the clarinet, even displacing the more standard pair of oboes in the orchestra of the time. And behind this epiphany on Mozart’s part was one man, Anton Stadler. Stadler was a virtuoso of the instrument whose playing inspired Mozart to compose both this quintet and ultimately his final completed work, the Clarinet Concerto, K. 622. Oh, and that famous incomplete final piece? The Requiem is scored for two clarinets and no oboes. OK, ok… you know your history. Technically, the clarinets of the Concerto and the Requiem are basset horns, a variant of the clarinet with access to additional low notes. But it was Stadler who figured prominently in the invention and perfection of the basset horn, too. Tonight, our Stadler is named Schempf.

Wolfgang Amadeus Mozart (1765-1791)

Quintet in A for Clarinet and Strings, K. 581

I. Allegro

II. Larghetto

III. Menuetto

IV. Allegretto con variazioni

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Vanessa Moss, violin; Maria Sampen, violin; Kevin Schempf, clarinet

Tonight’s performance has been made possible by the generosity of Ron Van Yserloo, in honor of Barb, who loved playing the clarinet.

Kevin is not wrong in his musings about WWCMF and Brahms. So, it is only fitting that he brings us the first Festival performance of a Brahms clarinet sonata movement. What else might he have in mind for tonight’s Portrait recital? I went ahead and took a look through my extensive scrapbook of Kevin’s various musings to get a better idea.

“…a military march in reference to my military service.”

Sounds good. What’s next?

“…a reference to [the film] ‘Maestro.”

I’m intrigued. And?

“…a beautiful new piece, [then] one with a nice frilly fun ending.”

At WWCMF, we love nice fun frilly endings. Kevin makes his return to WWCMF after a season’s absence filled with solo sea voyages and much more. This evening’s performance provides a window into one of WWCMF’s most beloved performers.

All works will be announced from the stage.

Artists: Kevin Schempf, clarinet; Xiaohui Yang, piano

WWCMF’s Collage performances have been made possible by the generosity of Darcie Furlan.

It is the 17th Season of WWCMF. It’s only fitting that we have a cast of 17 musicians performing in our annual musical kaleidoscope. Darkness, Shadow, Light, Life. These are the musical themes that will surround you. From lush impressionistic harmonies to Lebanese folk music to a touch of Wham!, Collage keeps you guessing while keeping you delighted.

What’s more, the exquisite grounds of the Inn at Abeja will open 2.5hrs before showtime so you can come enjoy wood-fired pizzas, salads and an array of world-class wines before heading into the barn for the performance. No pre-order necessary for food or drink. Pre-order necessary for tickets… they go fast!

Artists: Garrett Arney, percussion; Charlotte Christie, soprano; Timothy Christie, viola; John Corkill, percussion; James Doyle, percussion; Tracy Doyle, flute; Katri Ervamaa, cello; Jennifer Goltz-Taylor, soprano; Sijia Huang, percussion; Norbert Lewandowski, cello; Patty Mathieu, lighting design; Nonoka Mizukami, percussion; Vanessa Moss, violin; Ronaldo Rolim, piano; Adam Rosenblatt, percussion; Maria Sampen, violin; Kevin Schempf, clarinet; Kurt Walls, lighting design; Xiaohui Yang, piano

WWCMF’s Collage performances have been made possible by the generosity of Darcie Furlan.

It is the 17th Season of WWCMF. It’s only fitting that we have a cast of 17 musicians performing in our annual musical kaleidoscope. Darkness, Shadow, Light, Life. These are the musical themes that will surround you. From lush impressionistic harmonies to Lebanese folk music to a touch of Wham!, Collage keeps you guessing while keeping you delighted.

What’s more, the exquisite grounds of the Inn at Abeja will open 2.5hrs before showtime so you can come enjoy wood-fired pizzas, salads and an array of world-class wines before heading into the barn for the performance. No pre-order necessary for food or drink. Pre-order necessary for tickets… they go fast!

Artists: Garrett Arney, percussion; Charlotte Christie, soprano; Timothy Christie, viola; John Corkill, percussion; James Doyle, percussion; Tracy Doyle, flute; Katri Ervamaa, cello; Jennifer Goltz-Taylor, soprano; Sijia Huang, percussion; Norbert Lewandowski, cello; Patty Mathieu, lighting design; Nonoka Mizukami, percussion; Vanessa Moss, violin; Ronaldo Rolim, piano; Adam Rosenblatt, percussion; Maria Sampen, violin; Kevin Schempf, clarinet; Kurt Walls, lighting design; Xiaohui Yang, piano

Tonight’s performance has been made possible by the generosity of Brad Anderson and Kay Mead.

WWCMF welcomes groundbreaking percussion ensemble, Beyond This Point, for an immersive Special Event. Timber by composer Michael Gordon, is a work for six pieces of wood. I suppose in a way, a string sextet by Brahms could also be considered a work for six pieces of wood. But Timber is more elemental.

What was the very first musical sound ever made intentionally by a human? My guess is that it was a percussion sound, probably produced by a concussion idiophone, fancy talk for clacking a pair of rocks together. Next, maybe, came the percussion idiophone, striking a log or a rock or a seashell with a stick of some kind. And here we are tonight, only two steps into the invention of music. And yet the ancient, futuristic and infinite become fused in this magnificent work. Add in a little tech in the form of some contact mics, an integrated light display and the magnificent acoustics of The Walls Winery production space and you have something deep, pulsing, meditative and beautiful.

Like the world’s first musicians, we looked around our immediate environs for something to hit with a stick. We came up with six staves from a decommissioned wine puncheon. Turns out there’s this whole wine industry around these parts. Enjoy a glass from The Walls Vineyards and settle in for an epic journey through time and space.

Artists: Garrett Arney, percussion; John Corkill, percussion; James Doyle, percussion; Sijia Huang, percussion; Nonoka Mizukami, percussion; Adam Rosenblatt, percussion