MUSIC IN THE MOUNTAINS 40Years

MUSIC IN THE MOUNTAINS

Celebrating 40 Years

OF CLASSICAL MUSIC IN OUR COMMUNITY

SummerFest June 11-july 9

For tickets and information, visit

musicinthemountains.org or call (530) 265-6124

6

Music in the Mountains SummerFest Program 2021 1

131 S. Auburn Street Grass Valley, CA 95945

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MISSION STATEMENT

Music in the Mountains (MIM) is a nonprofit organization whose mission is to inspire and connect people of all ages through extraordinary classical musical performances, conmmunity engagement, and music education.

Table of Contents Welcome . . . . . . . . . . . . . . . . . . . . . . .1

MIM Board & Staff . . . . . . . . . . . . . . .3

Awards & In Memoriam . . . . . . . . . . .5

40th Anniversary . . . . . . . . . . . . . . . . .7

Opening Night in the Garden . . . . . .8-9

Serenaded by Strings . . . . . . . . . .10-11

Moonlight & Melodies . . . . . . . . .12-13

Strings in the Summertime . . . . .14-15

Happy Birthday USA . . . . . . . . . . . . .16

July 4th Archive Concert & Virtual Concerts . . . . . . . . . . . . . . . . .17

MIM Chorus . . . . . . . . . . . . . . . . . . . .18

Volunteers . . . . . . . . . . . . . . . . . . . . .19

Education . . . . . . . . . . . . . . . . . . .20-21

Donors . . . . . . . . . . . . . . . . . . . . . . . .22

We are so excited to welcome you back to live concerts. This moment would not be possible without supporters like you! So we would like to thank everyone who donated the past year, watched a virtual concert, joined a virtual or live music education program, or donated their time to help keep the music playing. Live music would not be back without you.

This summer marks an important milestone for Music in the Mountains: it is our 40th summer festival. It's amazing to think that a conversation around Al and Bev Ericksons’ coffee table in January of 1981 would lead to a lasting legacy of our families and community enjoying world-class classical music.

This year we will be honoring the gift of music so many musicians, donors, staff and volunteers have given us over the years. Starting with a 40th Anniversary slideshow that will play before our concerts on June 18th, June 25th, and July 1st. There will also 40th Anniversary merchandise for sale at those concerts. In the fall, we will have an anniversary gala at the Miners Foundry, so please save September 30th to share with us. Lastly, we will be celebrating our chorus at two concerts in the Fall. On November 6th, we will present a special concert with our chorus and chamber orchestra, and our annual holiday concerts will be December 11th and 12th.

We are especially honored by all of you choosing to join us this summer. After a year and a half, we have planned 4 beautiful intimate concerts, and a fantastic patriotic blowout at Western Gateway Park. We also realize that not everyone can join us live, so we will meet those of you joining us for our virtual encores on YouTube.

WELCOME

Live Music is Back!

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MIM BOARD & STAFF

MIM STAFF Ryan Murray, Artistic Director & Conductor Jenny Darlington-Person, Executive Director Linda DeMartini, Choral Accompanist and Music Librarian Shannon Devir, Education Grants Coordinator Marge Shasberger, Education Programs Manager Nancy Donahue, Patron Services Manager Kay Drake, Production Manager Hilary Hodge, Marketing & Donor Services Manager Cynthia Nulph, Bookkeeper

MIMYO STAFF Richard Altenbach, Director Shannon Devir, Assistant Director

SUMMERFEST CREW Greg van der Veen, Stage Manager Hindi Greenberg, Head Usher June 11-July 1 Kevin Ross. Head Usher July 3 Al Shafer, Head Parking Attendant Desmond Galla gher, Barbara Hampton and Sherry Wray, Hospitality for June 11 Barbara & Al Hampton, Bravo Lounge Coordinators

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Barbara Hampton, Goodie Patrol Coordinator Justus Brooks, Terry Brown, Nathan Campbell, Joe D’Andrea, Bruce Marlow, Taylor Person, Kevin Ross, Mike Ross, Mark Strate, Production Crew

MIM BOARD Terry Brown, President George Rebane, Vice President Tim Geckle, Treasurer Cara Jones, Secretary and Orchestra Representative Julia Amaral Andy Bernadette Patty Biasca Judith Ciphers Jennifer Dahlgren Linda DeMartini, Chorus President & Representative Barbara Hampton, MIM Co-president & Representative Nancy Kendrick Ginny Riffey Mark Strate Sherry Wray, MIM Co-president


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AWARDS IN MEMORIAM

2020 Maestro Award Ginny Riffey Ginny Riffey has been Maestro Award for the second time. She is

the first person to be honored for volun-teering in the staff position of Finance Manager from November 2018-January 2021, and for volunteering six months as the Executive Director before Jenny Darlington-Person was hired for the position. As an active board member, Ginny has chaired the Board Development Committee for numer-ous years and can be counted on to partici- pate in an MIM event. Ginny, and her husband Kent, open their home for events, and regularly house musicians. They support the programs of MIM, and attend as many concerts as they can, including MIMYO and other education concerts.

Carol Hamilton Carol Hamilton, along with husband Robert, was

a major donor of MIM that included 17 years as sponsor of the MIM Chorus. Carol and Robert were honored for their generosity and support with the Maestro Award in 2009 and the Golden Baton in 2017. They opened their beautiful gardens in Lake Wildwood from 2006-2018 for the annual Maestro

Awards Party and hosted chorus parties on several occasions. After earning her BS in Nursing in 1956 in San Francisco, Carol began her nursing career as a public health nurse then did general duty nursing before returning to public health nursing in 2 different school districts. She also served as Captain in the US Air Force Reserve Air Evacuation Unit. Carol had a long time passion for animal rescue and always had numerous animals under her care. Her caring nature, friendly smile and generosity will be greatly missed by her many friends and animals alike. Carol passed away on April 13, 2021.

Tim Alsup

Tim Alsup was a 22-year member of MIM chorus singing in the Bass I section. He loved singing and considered the chorus his family. Born in Illinois, Tim moved to Grass valley as a boy where he attended Lyman Gilmore Middle School and Nevada Union High School before earning a degree from California State University, Chico. Tim was a

licensed acupuncturist, fireworks specialist and a mechanic. Tim passed away November 9, 2020.

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MUSIC IN THE MOUNTAINS TURNS 40!

THANKS TO OUR SPONSORS

A Lasting Legacy This summer audiences will be graced by our wonderfully talented musicians, including seven players who have been coming to SummerFest since 1982. Originally, hired by Maestro Emeritus Paul Perry, these players have been committed to Music in the Mountains and our community for four decades. Two of them also have children who have worked and played for Music in the Mountains at past festivals. Please applaud extra for these great artists.

Jane Lenoir Principal Flute Phil Richardson Principal Horn Tom Rose Principal Clarinet Neil Tatman Principal Oboe

Carla Wilson Principal Bassoon Janet Witharm Principal Cello Daniel Zuckerman Violin II

2014 Holiday Chorus & OrchestraSummerFest Orchestra

First Alegro Alliance Officers (MIMA)

Ushers in 1996

First Board Members

Paul Perry First Artistic

Director

Terry Brown, First Executive

Director & Current Board

President

Kathy Papola


Opening Night in the Garden Friday, June 11, 5:30 p.m. Julia Amaral & Mark Strate’s Garden

Canzona per Sonare no. 2 Giovanni Gabrieli arr. Robert King

Battle Suite, Samuel Scheidt I. Galliard Battaglia II. Courant Dolorosa III. Canzon Bergamasca

OPERA SELECTIONS

“Die Hölle Rache” from The Magic Flute W.A. Mozart arr. Bruce Chrisp

“O mio babbino caro” from Gianni Schicchi Giacomo Puccini arr. Bruce Chrisp

“Triumphal March” from Aida Giuseppe Verdi arr. Bill Holcombe

ROMANTIC LIEDER

Chorale Prelude no. 8 (Es ist Ein Ros’ Entsprungen) Johannes Brahms arr. Richard Fote

Ave Maria Franz Schubert arr. B. Scann

“But the Lord is Mindful of His Own” from St. Paul Felix Mendelssohn arr. Kirkland

DUKE ELLINGTON SELECTIONS ARR. JACK GALE

In a Sentimental Mood

Take the “A” Train

Satin Doll

JUNE 11 PROGRAM

PERFORMERS

Scott Macomber Trumpet

Kale Cumings Trumpet

Phil Richardson Horn

Wayne Solomon Trombone

Douglas Thorley Bass Trombone

This concert has been generously underwritten by George & Jo Ann Rebane

Thank you to our sponsors: Smarter Broadband Inc. Commonwealth Financial River Valley Community Bank


Tonight’s concert features highlights from the brass quintet repertoire and arrangements of classical, jazz and opera favorites. The brass quintet as an ensemble dates back to the mid 19th century and coincides with the evolution of brass instruments and their ability to play chromatically. In the United States the modern brass quintet dates back to about the 1950s with groups like the New York Brass Quintet, and the American Brass Quintet. The repertoire for this ensemble is incredibly diverse and the brass instruments themselves, with their flexibility, power and singing tone are able to tackle a great variety of pieces with a lot of success. The standard brass quintet is made up of two trumpets, horn, trombone and tuba. Our quintet tonight replaces the tuba with a bass trombone, a fairly standard substitution.

The program begins with the Canzona per sonare no. 2 of Giovanni Gabrieli (1557-1612). Gabrieli was a composer from the Renaissance period of music and was famous for using groups of instruments or choirs, spread out across a cathedral to create new and unique sonic effects. Gabrieli created echo effects of loud and soft by having one group of instruments near the audience and another much further away. In the Canzona you will hear tonight, listen for the interplay between the instruments, the trading off of the main theme, and the contrasts between loud and soft.

Next on the program is the Battle Suite of Samuel Scheidt (1587-1654). Scheidt was a German composer and was the first internationally significant German composer for organ. Scheidt represents what we might call the North German Style, which was influenced by the Protestant Reformation. As Germany was breaking political and religious ties

with the church in Rome, North German composers were looking to break away from the influence of Italian music. In the Battle Suite, we are immediately struck by the call and response of the trumpets. This back and forth and the driving rhythm helps to paint the picture of a battle. The middle movement, Courant Dolorosa, is a slow dance with a beautiful melody and the final movement is a joyful chorus showcasing the virtuosity of the brass quintet.

The next three pieces on this program all come from the operatic repertoire. These pieces, although not written for brass ensemble originally, showcase the versatility of the ensemble. From the clarion call of the Queen of the Night, to the heroic lyricism of “Triumphal March,” operatic music has some of the greatest melodies ever written. Each of these opera selections highlight different members of the ensemble and it is a great way to focus in on the unique tonal qualities of each of the brass instruments in their featured numbers.

Following our opera sections, are three pieces of romantic lieder or songs. These songs showcase the height of romanticism, with long spinning melodies and increased range of expression. The Chorale Prelude no. 8 by Johannes Brahms (1833-1897) is a great example of the ways that composers expanded melody, harmony, and music during the romantic period. Based on the original melody of “Lo How a Rose e’er Blooming,” Brahms expands the melody into an entirely new piece that just hints at the original theme. These choral preludes were the last pieces that Brahms wrote and showcase his gift for lyricism and harmony.

The Ave Maria of Franz Schubert (1797-1828) is perhaps the best-known melody in all of classical music. Interestingly it wasn’t

originally written as a piece for the church, but rather as the third song in a set of seven songs from Walter Scott’s poem The Lady of the Lake. Regardless, the melody was such a success it has become one of the most frequently performed pieces of music ever and is a great example of Schubert’s gift for melody.

Felix Mendelssohn (1809-1847) was a more conservative composer than his romantic colleagues and was wary of the radical musical developments of his contemporaries. His music features a wonderful classical clarity, and he was a prodigy like Mozart, writing down completed pieces he had composed only in his head, no need for a rough draft! Mendelssohn became interested in early music and was largely responsible for bringing the music of Bach back into the mainstream. He wanted to continue the tradition of the Oratorio made famous by Bach and Handel, and it is from one his oratorio’s, St. Paul, that we get the beautiful “But the Lord is Mindful.” Although Mendelssohn may have been wary of too much romanticism, there is no question that he could write a beautiful spinning melody.

The final set on tonight’s concert takes us the United States with three songs of Duke Ellington (1899-1974). Duke Ellington was one of the most influential American composers with a huge influence on jazz, classical and popular music. Like all of the composers above he had an incredible gift for melody. Ellington had incredibly high standards of rehearsal and performance and was able to raise the level and prominence of the big band. He also had a great gift for orchestration and came up with new and unique combinations of instruments to help create his unique sound. His tunes always have you leaving the concert humming along and the three on the program tonight are no exception.

OPENING NIGHT IN THE GARDEN PROGRAM NOTES


Serenaded by Strings Friday, June 18, 7 p.m. The Center for the Arts

Concerto for Two Violins in D minor, BWV 1043 J.S. Bach

I. Vivace II. Largo ma non tanto III. Allegro

La Oración del torero (The Bullfighter’s Prayer) Joaquín Turina

Danzas de Panama William Grant Still

I. Tamborito II. Mejorana y Socavon III. Punto IV. Cumbia y Congo

JUNE 18 PROGRAM

PERFORMERS

Robin Mayforth Violin

Rae Ann Goldberg Violin

Lynne Richburg Viola

Janet Witharm Cello

William Everett Bass


Thank you to our sponsors: Smarter Broadband Inc. Full Circle Financial Jeff Leiter


Tonight’s concert features some of the greatest and most interesting music written for string quintet. The program spans from 1731 to 1948 from Europe to the United States. The string quintet, as an ensemble, creates the opportunity to both hear each instrument individually in a soloistic quality, and the brilliant ways that these composers combine the instruments to create a great variety of sound qualities and colors.

The program begins with the Concerto for Two Violins, by Johann Sebastian Bach (1685-1750). Most musicians consider Bach to be one of the greatest composers to have ever lived. His music has lived on for centuries and has helped to shape and influence all the music that came after it. This was a particularly rare feat for this time period, where music was often only performed once for a patron or a church service and then thrown away. In fact, several of Bach’s sonatas were rescued shortly before being used to wrap fish or butter! Music from this time period, the Baroque period, is full of complexity and counterpoint. Counterpoint meaning, two, three or even four lines of music all played at the same time. Bach was the absolute master of this perhaps because of his skill as an organist. Bach was one of the world’s great organists and people traveled from all over to hear him play.

The Concerto for Two Violins is one of his most famous works, and it is built in a three-movement format. In the opening Vivace, you can hear Bach’s great counterpoint at work. Listen to how the two violins play the same melody but starting at different times, and how Bach is able to weave those two lines together to create new and interesting melodies and harmonies. After the energetic Vivace that starts the piece, we are introduced to the beautiful melody of the Largo. Again, counterpoint reigns supreme as the two violins weave in and out creating a great harmonic tension and an amazing texture. Finally, after the calm of the second movement the Allegro of the finale is full of fire and energy. A tour de force

for the two violins, this movement brings the work to its thrilling conclusion.

Joaquín Turina (1882-1949) was born in Seville, studied in Paris, and then taught music in Madrid. His music has a very interesting combination of Spanish and French influence and like many composers around the turn of the 20th century developed his own unique sound and compositional style. For young composers around this time, the Paris Conservatoire was the place you wanted to be. Here Turina got to know the music of Debussy and Ravel, and that impressionistic aesthetic would become an important part of his music. After studying, Turina went back to Spain to teach at the Madrid Royal Conservatory and to share the knowledge he learned with his home country. His music shows a strong influence of traditional Andalusian music combined with the harmonic language of the French impressionists.

La Oracion del Torero (1926) or the Bullfighter’s Prayer, was originally written for four lutes, and a year later for string ensemble by the composer. It is hard to imagine the piece that way, as it is so lush and rich when played by string ensemble. Turina was inspired by the scenes he viewed in Madrid and said the following about the creation of this piece:

“One afternoon of bullfighting in the Madrid arena...I saw my work. I was in the court of horses. Behind a small door, there was a chapel, filled with incense, where toreadors went right before facing death. It was then there appeared, in front of my eyes, in all its plenitude, this subjectively musical and expressive contrast between the hubbub of the arena, the public that awaited the fiesta, and the devotion of those who, in front of this poor altar, filled with touching poetry, prayed to God to protect their lives.”

In this piece listen for the beautiful melodies, the rich and shimmering colors and harmonies, and in particular to the cello who seems to represent our hero. Notice that overall, the mood of the piece is

reverential, but the drama builds as the bullfighter approaches the ring, and then finally to the quiet prayer that brings the piece to a close.

William Grant Still (1895-1978) was one of the great composers of the 20th century. He wrote nearly 200 works and is often referred to as the Dean of African American Composers. Still was born in Mississippi and grew up in Little Rock, Arkansas. He studied composition at Oberlin and the New England Conservatory. He was the first American composer to have an opera produced by New York City Opera, the first African American to conduct a major US orchestra, and the first African American to have his works performed by a major US orchestra, opera company, and television broadcast. His career was full of firsts and awards for his fantastic compositions, and he was able to create classical masterpieces that had a definite American character. His first symphony was the most often performed symphony by an American composer up until 1950.

Danzas de Panama (1948) is a four-movement work based on a collection of Panamanian folk tunes collected in the 1920s. Although the piece is based on these folk songs, there are also musical elements from African, Spanish and Indigenous American music. Although the work is in four main movements, each movement has at least two separate dances in it. In this piece, notice the driving rhythms, and the extended techniques, like the violins striking their instruments for a percussive effect. Still created something new with this piece, the attempt to recreate the sound of traditional instruments with the string quintet. His brilliant combinations of folk music, traditional sounds, and classical techniques make this a truly special and thrilling piece. Notice throughout the way that Still can combine the melodies of the different dances, seamlessly move from one to another, and to how he uses the combination of instruments to evoke the different moods and color of each dance.

SERENADED BY STRINGS PROGRAM NOTES


Moonlight & Melodies Friday, June 25, 7 p.m.

The Center for the Arts

Trois pièces brèves (Three short pieces) Jaques Ibert

Pastorale Amy Beach

Divertimento in B-flat major Franz Joseph Haydn

I. Allegro con spirito II. Chorale St. Antoni III. Menuet and Trio IV. Rondo: allegretto

Suite, Op. 57 Charles Lefebvre

I. Canon: moderato II. Allegretto scherzando III. Allegro leggiero The Party Line Mary D. Watkins

JUNE 25 PROGRAM

PERFORMERS

Jane Lenoir Flute

Neil Tatman Oboe

Tom Rose Clarinet

Cara Jones Horn

Carla Wilson Bassoon


Thank you to our sponsors: Smarter Broadband Inc. Commonwealth Financial Full Circle Financial

Mike Bratton State Farm


The woodwind quintet is most commonly made up of flute, oboe, clarinet, French horn and bassoon. You may be wondering why is the French horn, a brass instrument, part of the woodwind quintet. The modern woodwind quintet came out of the octet ensemble that was favored in the court of Joseph II in 18th century Vienna. This octet featured two oboes, two clarinets, two horns and two bassoons. Once composers like Haydn started writing small chamber works for winds, other composers followed, again looking to create smaller combinations. The makeup of the modern wind quintet was solidified in the early 1800s by composers like Anton Reicha and Franz Danzi. Unlike the string quartet where the instruments all produce sound in a similar way and have a blended sound, the woodwind quintet is made up of instruments that differ greatly in the way they produce sound and their tone quality. This makes for a nearly endless number of tonal possibilities and gives the woodwind quintet its unique and distinctive sound.

Many of the great woodwind quintet pieces were written by French composers around the turn of the 20th century. The first piece on the program, Trois pièces brèves by Jaques Ibert (1890-1962) is on every woodwind player’s shortlist. Equally fun to play and to listen to, this piece has been a staple of the woodwind repertoire since it was written. Originally, Ibert composed this music for the play The Beaux’s Stratagem. The venue for this play had a very small stage which was why Ibert originally wrote the work for woodwind quintet. Ibert had a very unique compositional style. He studied at the Paris Conservatoire and won the Prix de Rome but didn’t really become a part of any of the prevailing genres of music, and his music can be described as eclectic. He is able to take very simple “popular” style melodies and weave them into larger classical works. The Three Short Pieces start with a

bouncing allegro, followed by a plaintive slow movement, and finally a scherzando that at times sounds like a serious classical sonata and other times like circus music.

As mentioned above we can trace the early origins of the woodwind quintet back to Franz Joseph Haydn’s (1732-1809) Vienna, and next on the program is one of these early Haydn Divertimentos arranged from the original octet down to a woodwind quintet. These divertimentos were originally written as a set of six field partitas to be played outdoors by the military band of Prince Esterhazy. The music is full of all the life and lightness that we expect from Haydn, and of particular note the Divertimento in B-flat major, features the famous St. Anthony Chorale in the second movement. This chorale theme would be important to many composers after Haydn, most notably Brahms, who would base one of his major orchestral works off of this theme. These four movements open with a bright allegro, followed by the famous St. Anthony chorale, a traditional minuet and trio, and finally a rondo which is also heavily influenced by the St. Anthony theme. In fact, you can hear fragments of that melody throughout the entire piece.

Many of the great woodwind quintet pieces were written by contemporary composers. Modern composers like the variety of tone colors available and the complexities of writing for this unique ensemble. The next piece on the program was written by Amy Beach (1867-1944), in 1942. Beach was a mostly self-taught American composer and pianist. She was the first successful American female composer of large-scale classical works, and also wrote the first published and performed symphony by an American woman. She was very fond of nature and the woods and her Pastorale captures the sound and feeling of nature. She uses the sonority of the lower wind instruments as well as a lilting sicilienne rhythm to bring out the rustic and pastorale feeling of this

beautiful short work. Like Ibert, Charles Lefebvre

(1843-1917) was another composer who studied at the Paris Conservatoire and won the Prix de Rome. Unlike Ibert, Lefebvre was a bit more traditional and took to heart the things he learned studying with Charles Gounod. Lefebvre was interested in rich sonorities and musical color and said that “he worked in pastels, rather than oils.” His piece Suite op. 57, was originally commissioned by the Chamber Music Society for Wind Instruments and went on to win many chamber music prizes. It uses the unique color combinations of the woodwind quintet to great effect and gives us lots of contrast in its three movements. Opening with a Canon, sort of like a musical round, or a melody that has several imitations being played one after another, this piece immediately shows us that Lefebvre had a particular sound world he wanted to create. Listen to the lovely interplay between instruments as they take turns carrying the melody. The second movement is a joyful scherzando with the French horn leading the call, and the final movement is a light allegro with the melody sparkling in the upper woodwinds. Each movement has its own unique qualities but the rich sonority of Lefebvre’s writing shines through the whole work.

The final piece of the program takes us back the modern era. Mary D. Watkins (b. 1939) is a composer, arranger and performer who currently resides in Oakland, California. She studied at Howard University and has written three operas, many symphonic and chamber works, and even for jazz ensemble, film, theater and dance groups and her works have been performed all over the world. Her woodwind quintet The Party Line, is a short woodwind quintet showpiece. It is both a fun and intricately complicated piece and she describes it as “harmonically free with a Latin dance rhythm.”

MOONLIGHT & MELODIES PROGRAM NOTES


Strings in the Summertime Thursday, July 1, 7 p.m. The Center for the Arts

Divertimento in F major, K. 138 W. A. Mozart

I. Allegro II. Andante III. Presto

Lyric for Strings George Walker

Serenade for Strings Edward Elgar

I. Allegro piacevole II. Larghetto III. Allegretto

Adoration Florence Price arr. Elaine Fine

Holberg Suite Edvard Grieg

I. Praeludium


Thank you to our sponsors: Smarter Broadband Inc. Full Circle Financial Jeff Leiter

PERFORMERS

VIOLIN 1

Robin Mayforth ConcertMaster Karen Shinozaki Sor Mutsuko Tatman Eline van Den Ende Matthew Oshida Sarah Woods

VIOLIN 2 Rae Ann Goldberg Principal Michelle Maruyama Sergi Goldman-Hull Eugenie Wie Brooke Aird

VIOLA

Lynne Richburg Principal Melinda Rayne David Thorp

CELLO

Adelle-Akiko Kearns Principal Noriko Kishi

BASS

Andrew Butler Principal

JULY 1 PROGRAM


Tonight’s program features some of the gems of the string orchestra repertoire. Many of our greatest composers wrote for string orchestra to take advantage of the wonderful sonorities that are created when combining string instruments. The string orchestra also has incredible flexibility when it comes to dynamics, articulation, and tone color. In addition to that, many of the great composers were also string players, so they had intimate knowledge of how to write for these instru-ments and how to bring out the best of the ensemble. Tonight’s program has a great variety of compositions from classical to contemporary and from fast and light music to heart wrenching romanticism.

We open the program with Wolfgang Amadeus Mozart (1756-1791). Mozart was probably the greatest child prodigy in music history. By the age of four he was playing songs on the harpsichord, by the age of five he was writing his own music, and by the age of seven was going on national and international performance tours. Mozart had one of the great musical memories and it is said that he wrote his entire pieces completely in his head, with all of the instrumental parts finished, all he then had to do was sit down and write them out.

The Divertimento K.138 in F, was written in Salzburg in 1772 after returning from a trip to Italy. Likely Mozart com-posed the piece on the journey back and then simply wrote it out when he arrived home. This divertimento is influenced by the Italian concerto or concerto grosso style; Where one instrument or group of instruments plays the majority of the soloistic music while the rest of the orchestra functions as accompaniment. In this work you can hear the first violins play a very soloistic role. The piece is in three movements and full of Italian grace and charm. It is a wonderfully exciting piece that shows off Mozart’s gift for melody, and keep in mind he would have been about 15 at the time he wrote it!

The next piece on the program takes us to the contemporary period. The Lyric for Strings (1946) by George Walker (1922-2018) is one of the great American romantic masterpieces. George Walker was a composer, pianist and organist, and was the first African American to win the Pulitzer Prize for music in 1996 for his work Lilacs. Walker’s career was full of firsts, being the first African American to graduate from the Curtis Institute of Music in composition and piano, and the first African American to graduate with a doctorate from the Eastman School of

Music. Walker was also the first African American to perform as a soloist with the Philadelphia Orchestra and had a high-profile performance career touring the world and performing in nearly every major European capital.

Walker wrote the Lyric for Strings when he was 24 years old. It took inspiration from Samuel Barber’s Adagio for Strings; Walker and Barber were classmates at Curtis. It was originally titled Lament and was dedicated to his grandmother. The piece is full of lush and romantic harmonies, starting from a soft whisper and growing to a huge climax, and it showcases the range of possibilities of the string orchestra. Walker never played a string instrument but said “…strings have always fascinated me.” The Lyric for Strings is truly one of the great gems of the string orchestra repertoire.

Edward Elgar (1857-1934) was a bit of an outsider when it came to music. During the turn of the 20th century many composers were looking to folk music from their national homelands to inspire their new sounds and new ideas, but Elgar had little patience for English music. He was influenced by European romantic composers like Dvorak, Brahms, and Wagner, although he did enjoy some of the music of the English composers Purcell and Handel. His concept of sound and how to write for the orchestra was influenced by 19th century French composers like Delibes, Berlioz and Massenet. With Elgar, we get a very interesting combination of the French sound world, with German romanticism, and a bit of English sensibility. Elgar was basically a self-taught composer and did not really fit in with the more academic composers. He was also the first composer to really take the gramophone seriously and recorded most of his major works.

The Serenade for Strings (1892) was the first piece of Elgar’s that he was happy with. It is written in three movements and is very romantic in style and structure. The work uses a cyclical form, the melody and material from the opening of the piece comes back again at the end taking us full circle. This concept of taking a journey through music is a very romantic one, and harmonically the work takes us from an angst filled minor key at the start to a calm and soothing major key at the end. We can think of the music telling the story of the hero who goes on a journey of harmonic transformation from minor to major, sad to happy, and struggle to victory. The second movement of this work, the Larghetto, is the emotional

centerpiece and is the most mature writing of the piece, closest to what we would hear for Elgar in the decades to follow. The work remains one of the most frequently performed pieces of Elgar and is both an orchestra and audience favorite.

Heading back to the United States, the next piece on the program is by Florence Price (1887-1953). Price was a composer, pianist, organist and music teacher, and was the first African American woman to be recognized as a symphonic composer. She studied at the New England Conservatory and in 1932 won the Wanamaker prize for her first symphony. She had an amazing ability to weave together European Romanticism with blues and spirituals. Her work Adoration (1951) was originally written for organ and has a devotional quality that showcases her ability to spin a beautiful melody and write with harmonies that capture a truly American sound. The piece has been arranged for many different types of ensembles, but the string orchestra arrangement brings in some new colors and adds another layer of expression to this wonderful piece.

The final piece on the program takes us to Norway. Composer Edvard Grieg (1843-1907) was much more interested in creating a national style to his music compared to Edward Elgar. Grieg spent his early years studying music in Leipzig to learn the German romantic style. When he returned to Norway he became wrapped up in the Norwegian struggle for independence. He joined a group of politically oriented artists and swore off German influence in his music. He looked to Norwegian folk music to create his own unique musical sound and style. The Norwegian audiences loved his music and at the age of 29 he was given a pension for life from the Norwegian government. Many of his pieces have a happy character and a beautiful, almost classical, clarity to them that is uniquely Grieg.

The Holberg Suite (1884) was originally written for piano, but later arranged for string orchestra by the com-poser. The proper title is “from Holberg’s Time” and Grieg here was looking back at music from the 18th century. He tried to capture the 18th century dance forms and we could call this piece neo-classical, as it uses modern harmonies, but classical rhythms and forms. In the Praeludium listen for the amazing energetic drive, the simple and clear melodies and that happy and sparkling character that permeates Grieg’s works.

STRINGS IN THE SUMMER TIME PROGRAM NOTES


Happy Birthday USA! Saturday, July 3, 8 p.m. Western Gateway Park Star-Spangled Banner Francis Scott Key

Pledge of Allegiance Alfred Reed

Armed Forces Salute arr. Bob Mason

National Emblem March Edwin Bagley

Give me your tired your poor Irving Berlin arr. Brymer

Maple Leaf Rag Scott Joplin

“Sure on this Shining Night” Samuel Barber arr. Dick Averre

Blue Tango Leroy Anderson

The Thunderer John Phillip Sousa

INTERMISSION

Strike up the Band George Gershwin arr. Whitney

Liberty Bell March John Phillip Sousa

Irving Berlin’s America arr. Roger Emerson and Paul Murtha

Washington Post March John Phillip Sousa

America Mary McDonald

Stars and Stripes Forever John Phillip Sousa


Thank you to our sponsors: Smarter Broadband Inc. B & C Ace Hardware Commonwealth Financial Mike Bratton State Farm River Valley Community Bank Holiday Market Penn Valley Kathy Papola Network Real Estate

JULY 3 PROGRAM

VIOLIN 1 Karen Shinozaki Sor ConcertMaster Matthew Oshida Mutsuko Tatman Eline Van Den Ende Daniel Zuckerman

VIOLIN 2 Brooke Aird Principal Claudia Fountain Kristin Autry Michelle Maruyama

VIOLA Melinda Rayne Principal David Thorpe

CELLO Ellen Sanders Principal Dahna Rudin

BASS Richard Worn Principal

FLUTE/PICCOLO Carol Adee Principal

OBOE Neil Tatman Principal

CLARINET George Frazier Principal

BASSOON Dave Riddles Principal

HORN Cara Jones Principal Phil Richardson

PIANO John Hillebrandt Principal

TRUMPET Scott Macomber Principal Kale Cummings

TROMBONE Don Benham Principal

TUBA Tony Clements Principal

PERCUSSION/TIMPANI Matthew Darling Principal Tom Rance Dave Gabrielson


Archive Concert Sunday, July 4, All day from 10 a.m. Online at YouTube.com/musicinthemountains Starting in 1989 and originally called Picnic and Pops concert, MIM has a long tradition of celebrating the music of America. In 2020, MIM found a new way to share this music, and we intend to make it another long-standing tradition. This concert will feature the full or-chestra and chorus performing everyone’s favorite American hits. With recordings from 2008, 2012 & 2020, there will be a cornucopia of music celebrating the past 40 years of great music. Keep American music part of your holiday tradition and enjoy it at a time that’s convenient too. RSVP for a link.

JULY 4

VIRTUAL CONCERTS

These concerts will also be available to watch online at

YouTube.com/musicinthemountains

RSVP for a link.

Serenaded by Strings Saturday, June 19 Live concert: Friday, June 18 The Center for the Arts

Moonlight & Melodies Saturday, June 26 Live concert: Friday, June 25 The Center for the Arts

Strings in the Summertime Friday, July 9 Live concert: Thursday, July 1 The Center for the Arts

Archive Concert Sunday, July 4 All day from 10 a.m.


SOPRANO I Janet Bellavia† Amy Butler* Mary Crane Jennifer Dahlgren Yvonne Fuller Sally Humpherys Ginny Kaul Dorla Menmuir† Joy Perry-Thistle Lois Robinson† Judy van der Veen† Aurora Wilson

ALTO I Julia Amaral Patty Biasca Valarie Bush Hilda Chavez Katie Chilton Joan Clappier* Cathy Collings Jenny Darlington-Person Marilyn Darlington† Linda DeMartini** Nancy Moyer Jean Poff Joslin Quist Betsy Wagner Phyllis Wong†

TENOR I Karen Brown Alan Gaines Kevin Guerrero* Judy Kenney Lynn Mehren Costa Robbie Merchant

BARITONE John Darlington† Paul Faahs Jerry Grant Stan Thomas-Rose

SOPRANO II Julie Austin* Ruth Bertaccini* Pat Donnelly Beverly Erickson† Sue Flynn Ingrid Holman Kathryn Meincke Joan Mosley Martha O’Hehir Linda Randall Ginny Roberts Carin Telle Erin Thomas-Rose ALTO II Susan Chalpin Judith Ciphers Carla Cipollone Madeline D’Andrea* Nancy Donahue Marie Emerson Hilary Hodge Mary Frances Holdcroft Ann Johnson Nancy Kendrick Janie Kesselman Suzanne King Helen Lay* Rosalie Opperman Jane Primrose Ruth Ann Riese Kathleen Stradinger* TENOR II Aron Bors Terry Brown† John Simon Jeff Thomsen David Wallace Chris White Keith Wilson BASS Rick DeGruccio Rod Fivelstad Brian Fry Chris Kane Bill Lewis Clarence McProud† Dean Metzner David Moyer Tom Nigh Stephen Tassone† Bill Vicars Charles Zimmerman

SOPRANO Julie Austin Janet Bellavia Ruth Bertaccini Amy Butler Jennifer Dahlgren Beverly Erickson Yvonne Fuller Ingrid Holman Ginny Kaul Kathryn Meincke Dorla Menmuir Joan Mosley Joy Perry-Thistle Linda Randall Ginny Roberts Lois Robinson Molly Shine Erin Thomas-Rose Judy van der Veen TENOR Aron Bors Karen Brown Terry Brown Alan Gaines Kevin Guerrero Judy Kenney John Simon Jeff Thomsen David Wallace Chris White Keith Wilson

ALTO Julia Amaral Patty Biasca Valarie Bush Hilda Chavez Katie Chilton Judith Ciphers Joan Clappier Madeline D’Andrea Jenny Darlington-Person Marilyn Darlington Linda DeMartini Nancy Donahue Marie Emerson Cara Hirschberg-Zoff Hilary Hodge Nancy Kendrick Helen Lay Nancy Moyer Rosalie Opperman Jean Poff Jane Primrose Joslin Quist Ruth Ann Riese Betsy Wagner Gayle Wilhelm Phyllis Wong

BASS John Darlington Rick DeGruccio Rod Fivelstad Brian Fry Chris Kane Clarence McProud Dean Metzner Stephen Tassone Stan Thomas-Rose Bill Vicars

**Chorus President *Choral Committee† denotes members who performed in the first SummerFest in 1982 Linda DeMartini-Rehearsal Accompanist

MIM CHORUSMIM CHORUS VIRTUAL SUMMERFEST CHORUS


VOLUNTEERS

Wow! It has been a busy year.

There would be no SummerFest without a large team of dedicated volunteers to keep the music playing.

Are you a community-minded individual who would like to give back?

There are nearly endless opportunities to help by volunteering with us and you’ll meet a new group of caring fun people.

Just some of the ways you can contribute:

n Usher at a concert

n Help plan fundraising events

n Help Decorate

n Volunteer with the music education team

n Volunteer on our production crew

n Help at BrewFest or the 40th Anniversary Gala

n Join our mailing team

n House a musician

If you too have a heart for service, please let us know.

Despite not being able to have live concerts or events, our volunteers continued their 40-year history of serving our community and helping keep great music alive. In the past year, volunteers:

n Hand addressed and mailed approximately 10,000 pieces of mail to keep the MIM family connected during the pandemic; n Made picnic videos for our Virtual Happy Birthday USA concert;

n Sold-off and cleared out no longer used equipment from storage;

n Delivered thank you gifts to MIM sponsors and donors, including Emily’s cupcakes for Halloween; n Helped with our Maestro party where our first ever second-time recipient, Ginny Riffey, was announced; n Planned our first Virtual Fall Gala, which was our most successful gala in MIM history; n Planned a Secret Santa virtual gift exchange n Put up a tent and heaters at The Center for the Arts, so our youth could make live music together.

SummerFest is always a busy time for volunteers. They help with a variety of jobs both behind-the-scenes and in-person, like ushering, bartending, decorating, planning receptions and parties, addressing letters and postcard, and so much more.

Since we are on a roll trying new things, we are excited to add two more new experiences in 2021:

September 11, 2021 the 36th Annual Brewfest will include—for the first time— a rib cook-off. Local groups will compete for the title of Best Ribs in Nevada County. The event is the longest continuously operating Brewfest in California, and—due to the pandemic—will take place at Western Gateway Park in Penn Valley.

September 30, 2021, we will have our first hybrid Gala celebrating our 40th Anniversary. In-person, guests will enjoy the ambiance of the Great Stone Hall at the Miner’s Foundry with a fabulous auction, live entertainment, and a catered dinner. But that’s not all, guests will also have the option to enjoy the event and bid on auction items from anywhere in the world with internet service. That’s right, we’ll have a hybrid in-person/virtual auction, so everyone can help keep the music playing.

MIM ALLIANCE COUNCIL Barbara Hampton, Co-President Sherry Wray, Co-President Desmond Gallagher, Hospitality Chair Margaret Munson, Volunteer Coordinator Steve LeMarr, Bar/Beverage Chair Marge Shasberger, Membership Chair Debra Pohlson, Website Patricia Montijo, Past President Joan Mosely, Chorus Liaison Hindi Greenberg, Head of Ushers Ashley Lloyd, Bar Services Volunteer Coordinator Joe Lloyd, Bar Services Volunteer Coordinator Members at Large Dee Bulante Jeany Hamlin Jivat Mukhi Rita Toomey

Contact and let us know how you want to get involved by emailing: [email protected]


Music in the Mountains Youth Orchestra (MIMYO)

This past year has provided numerous opportunities for learning and growth for our youth orchestra students, mentors, and staff. Students worked on Zoom with group and personal coaching and then students submitted individual videos to make up three virtual concerts. The most recent of which featured works by Beethoven, Bizet, Bach and local high school composer Jamie Thomas-Rose. In March, MIMYO began meeting live again at the Center for the Arts. Thanks to a grant from the Nevada County Relief Fund, we were able to purchase a tent and heaters for outdoor rehearsals. They ended the year with a live invited rehearsal, so they could show friends and family the progress they made in a year.

Music for Young Minds In 2021, we started a new education

program for young music learners. Music for Young Minds is a world music program based on professional materials from the Carnegie Weil Music Institute. The program taught 4-10-year-olds about the music and culture of people all across the world. More than 100 students signed up for the program. This was offered to families for free thanks to a grant from the California Arts Council.

Making Music Now: Youth Music Workshops Thanks to a generous grant from the California Arts Council, MIM was able to facilitate 16 in person workshops to middle and high school students. Topics included were: Harp, Rhythm, Taiko Drumming, String Chamber Music, Free Improv, and West African Drumming. All classes were free.

WorldFest Children’s Choir MIM and the Center for the Arts collaborated on a world children's choir project. Kids met online and outside to produce a choir presenta-tion video which encompassed singing, rhythm, dance and visual art. This was a free program thanks to support from the California Arts Council.

Young Musicians Competition In 2021, MIM and Western Nevada County Rotary Clubs collaborated to offer our first virtual Young Musicians Competition. More than 20 contes-tants from Nevada and surrounding counties submitted video auditions to a panel of judges made up of profes[-sional musicians from our MIM orchestra. After finalists were chosen, we presented a virtual concert of their performances that was free on MIM’s YouTube channel. Egan Rogers, a local high school student, won the Rotary Prize and went on to compete at the Rotary District level.

EDUCATION

Music Education Programs offered in 2020-2021

Music in the Mountains Youth Orchestra

Music For Young Minds

Making Music Now Youth Workshops

WorldFest Children’s Choir

Young Musicians Competition

Dick Landis Making a Difference Scholarship

SummerFest Music Academy

Mondays with the Maestro


Jasmine Luh, a fantastic violinist, won the Paul Perry Award for the best overall performance. Thank you to Jennifer and Eric Dahlgren for sponsoring the Paul Perry Award.

Dick Landis Making a Difference Scholarship Every year the Penn Valley Rotary club awards a local graduating senior a scholarship in memory of long-time Rotary and MIM member, Dick Landis. A panel of MIM volunteers selects the winner based on academic achievement, musical aptitude, interest in a career in a STEM (Science, Technology, Engineering and Math) field, and financial need. This year Nevada Union senior, Adele Handman was selected.

SummerFest Music Academy In July 2020, the Second Annual SummerFest Music Academy was held. We had 83 attendees in 10 distinct virtual classes. Classes included: strings, wood-winds and brass, percussion, vocal, and music history and theory. Attendees ranged in age from 10 to 80.

Mondays with the Maestro In 2020, MIM started a new virtual adult education series. Maestro Ryan Murray led 9 discussions about classical music composers and pieces ranging from Beethoven to Puccini to Ravel. There were also two guest Maestros, Pete Nowlen and Debra Pittman. Thank you to our sponsor, Jeff Leiter for supporting this program.

Three-hour Instrumental Camp June 15-17 & 22-24 Two-hour Music for Young Minds Camp June 15-17 & 22-24 for TK-5th grade students Master Class for Strings Saturday, June 19. 10-noon with Janet Witharm. MIM Principal cellist Master Class for Woodwinds Saturday, June 26, 10-noon with Neil Tatman, MIM Principal oboist

ALL SESSIONS ARE FREE thanks to the California Arts Council and will be live at The Center for the Arts in Grass Valley

3RD ANNUAL SummerFest Music Academy

THANK YOU TO OUR SPONSORS:

The Community Players Trust Julia Amaral & Mark Strate Felix Bors & Tailan Izet Jennifer & Eric Dahlgren Jeff Leiter

EDUCATION


FOUNDERS CIRCLE $15,000+ Julia Amaral & Mark Strate; Karen & Terry Brown; Estate of Helen Conrey; Timothy Geckle & Martha O'Hehir; George & Jo Ann Rebane; Smarter Broadband, Inc.; Butch & Virginia Thresh

MAESTRO CIRCLE $10,000-$14,999 Sherry Bartolucci; Estate of Betty Hahn; Lynn & Camille Kerby; Kent & Ginny Riffey

VIRTUOSO $5000-$9,999 Jennifer & Eric Dahlgren; Randy & Blair Newsome; Rosalie Opperman

BRAVO 2500-$4,999 Anonymous; Bob Anderson & Patty Biasca; B&C Home & Garden Center; Felix Bors & Tailan Izet; Commonwealth Financial Network; Full Circle Financial; Dieter Juli; Jeff Leiter; Wendell & Sharon Meyer; Molly Shine; Mike Bratton-State Farm Insurance; Ann Wilder

ENCORE $1000-$2,499 Robin Attebury; Sandra Beach; Paul & Judy Booth; Scott Browne; Judith Ciphers; Merrill Clarke; John & Marilyn Darlington; Ersel & Claudia Edwards; William & Shirley Elliot; Dr Al & Beverly Erickson; Jerry Grant & Corinne Gelfan; Leo & Gayle Granucci; Michael, Judith & Teddy Hill-Weld; Hilary Hodge; Joan Hoss, Celia Hulett & Kirsten Mitchell; Julie Houser; Alfred & Sally Jones; G. Dennis Lance, M.D.; William Lewis; Richard & Nancy McRay; Nevada County Historical Society; Pacific Gas & Electric; Don & Dena Ringen; Robertson Family Foundation; Roger & Nancy Sanford; Frank & Vida Santos; Judy Seabridge; Marina Sloan; James & Mary Stradinger; Bill Vicars; Marilyn Whelan

FRIENDS $360-$999 Anonymous; James Bair & Cece Royal; Patricia Baker; Ron & Conni Barker; Bob & Judy Bee; Janet R Bellavia; Robert Berman; Jerry & Beth Biagini; Marlies Chalabi; Bill & Jacqueline Cowgill; David & Gayle Denney; Patricia Donnelly; Denis & Barbara Drew; Barbara Gable; Hindi Greenberg; Cathy & Mark Gunderson; Kathleen Hillis; Richard & Lois Johnson; Nancy Kendrick & R. John Jeffery; Bob & Jan Kline; Darleen Langguth; Dennis A. Lauderdale & LeRoy DeWitt; Binns & Michele Melander; Richard & Ann Mentzer; Drs. Bill & Christine Newsom; Cynthia Nulph; Kathy Paxton; Kent & Ginny Riffey; Robert A Saunders; Phyllis L. Sawvell; Charles & Janice Schretenthaler; Tom & Annabel Straus; Louise Taylor; Telestream, LLC; Ed & Barbara Thomas; Judy & John Van der Veen

APPLAUSE $120-$359 Anonymous; Kenneth & Barbara Anderson; Annette Aurrochea; David & Marguerite Baxley; Cheryl Belcher; Joseph J. Bell; Carol Berner; Ruth Bertaccini; Jill Blake; Stuart & Paula Campbell; Chris & Janette Carpenter, M.D.; Tom & Barbara Cross; Michael & Donna Dahle; Tim Person & Jenny Darlington-Person; John DeMartini; Frances di Cristina; Nancy Donahue; Barbara Donnelly; Charles Eldon; Bill Evans & Diana

Cushway; Dennis Fournier & Charles Grande; Verne & Kathe Freer; Brian & Donna Fry; John & Yvonne Fuller; George & Mary Grayeb; Ann Guerra; Elizabeth Hammond & Randall Strossen; Al & Barbara Hampton; Myrna Heppe; Duke & Mary Frances Holdcroft; John Jelavich; David Jones; Judy Kenney; Bill & Judy Kinney; Cathy Lee Knight; Joe & Ashley Lloyd; Michael Mauldin & Susan Smith; Robert & Lynda McDowell; Beate & John McGhee; Chuck & Mary McLean; Lynn Costa - Amah`s Heart Ministries; Dorla & Laurie Menmuir; Lester & Marjorie Milroy; Pete & Gloria Molin; Steve & Joan Mosley; Audrey Ohlson Smith; Roger & Jean Poff; Debra Pohlson; Marion Ratkovsky; Lombard & Malinda Rice; Tom Rose & Suzanne Knott; Allen & Linda Schafer; Jamar & Terry Schoessow; Margot Schulze; Stephanie Snyder; Orlo & Cathy Steele; Marilyn Streseman; Joel & Dylan Swift; Barbara Tanner; Norm & Jan Westmore; Russell & Deborah Wilder; Walt & Aurora Wilson; Sarah Woerner; George & Sandy Woods; Harry & Karen Wyeth; Pamela Yazell

TUTTI $60-$124 Anonymous; Richard & Linda Aeschliman; Christopher Allen; The Alonso Family; Lance Amaral; Marvin & Lynn Amaral; Richard Feather Anderson; Cathy Anderson-Meyers; James & Nicole Arbaugh; Jan Arbuckle; Craig & Jayna Ashcraft; Liz Asphodel; Mike & Julie Austin; Marcy Ayanian; Margaret & Micki Baldwin; Don & Peggy Baldwin; Michael Bankston; Bert & Julie Barker; Elizabeth Barnard; Carole Barnes; Gordon & Lindy Beatie; Julie Becker; Rita Behr; Sheila Berry; Victor Biasotti; Chris Bierwagen; Nancy Bleile; Michael & Margaret Bloebaum; Neil & Joann Bodine; Rosalyn & Chuck Bond; James Bond; Wayne L. Bradford; Tim & Charlene Bradley; Julie Olson Bramkamp; Randy Brown; Fred & Marguerite Buhler; John & Caroline Burnside; Dr. John & Valarie Bush; Dr John & Valarie Bush; Liz Caffey; Edwin Cambridge; Alice Carney; Michelle Carroll; Bonnie Chaix; Marlee Chamberlin; Marilyn Chambliss; Chevron Humankind; Randy & Katie Chilton; Ronald & Eleanor Cionco; Joan Clappier; Pat Cobler; Roxanna Cohen; Colantuono, Highsmith & Whatley, PC; David & Karen Colwell; Susan Cope; Judy Crowe; Nancy Daby; Joe & Madeline D'Andrea; Mary Anne Davis; Peggy Davis; Melanie Davis; Dale & Lauralie De Priest; Leah DeLira; Allen & Robin Denegri; Janis Desanti; Philip & Laurie DesJardins; Virginia Dethomas; Linda Dew-Hiersoux; Madelyn DiMugno; Rosalee Doherty; Paul & Kay Drake; Laurence Dulmage; Mary Dunant; Katharine Elliot; Sharon & James Ellisor; Anthony & Marie Emerson; Anthony & Marie Emerson; Lisa Ennis; Doug & Caryl Fairfull; Joseph Faulkner; Carol Fegte; David & Sandra Felthousen; Connie Ferrao; Jacqueline Finley & Richard Sciaroni; Randy Fisher; Rod & Susan Fivelstad; Brandy Fonseca; David & Linda Elliott; Anonymous; Alasdair Frasier & Sally Ashcraft; Robert Frederick; Karen Gale; Suzanne Gardner; Jerry Grant & Corinne Gelfan; Jim & Kay Gilbert; Carol Glad; Lillian Glaeser; Heather Goodman; Nicole Gordon; Ashley Gordon; Susan Graf; Michael Greene & Carol Haynes; James & Peggy Griffin; James Grismer; Mary Groesbeck; Lynda Guthrie; Rebecca Habegger; Heather Haddock; Holger Hahn; Sari & Kelly Hale-Alper; Sands Hall; Tom & Darlene Hall; Daniel & Toni Halloran; Barbara Harris; Renee

DONORSJUNE 11, 2020 - JUNE 10, 2021


DONORS continued

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MUSIC IN THE MOUNTAINS 40Years

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