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HomeMy WebLinkAboutMinutes_ARTAB_10.15.2019Minutes of the Meeting of the Arts and Culture Board City of Georgetown, Texas October 15, 2019 The Arts and Culture Board met on Tuesday, October 15, 2019 at 4:30 p.m. in the Small Conference Room of the Georgetown Public Library, 402 W. 8th Street. Present: Jane Estes, Susie Flatau, Carol Watson, Laura Sewell, and Tim Fleming. Absent: Sharon Snuffer and Linda Wilde Staff present: Amanda Still — Arts and Culture Coordinator and Eric P. Lashley — Library Director. Members of the public: Angela Morin — GISD Art Teacher Chair Estes called the meeting to order at 4:30 P.M. Regular Agenda A. Citizens wishing to address the Board. — Jane Estes, Board Chair. As of the deadline, no persons were signed up to speak on items other than what was posted on the agenda. No action taken. B. Announcements regarding arts and culture_. — Janes Estes, Chair. Estes announced an author event at Lark and Owl. Watson announced the music enrichment program for 411 and 5th graders on October 17 at the Klett Performing Art Center. She also noted the UIL Marching Band Contest on October 19 for both GHS and EVHS. Sewell made announcements for Southwestern University and Flatau made announcements about the Engage series by the Artists at 816 for November 2. The new Art Center exhibit will be Mosaics during November and there will be a Boutique Market on November 9 at the Art Center. Fleming passed out information from the Texans for the Arts organization. No action taken. C. Consideration and possible action to approve minutes from the September 17 2019 Arts and Culture Board meeting. — Jane Estes, Chair. Motion by Fleming; second by Flatau to approve the September 17, 2019 Arts and Culture Board meeting minutes. Approved 5-0 (Snuffer and Wilde absent). D. Consideration_ and possible action to ap rove minutes from the September 13 2019 Arts and Culture Board meeting. — Jane Estes, Chair. Motion by Flatau; second by Sewell to approve the September 13, 2109 Arts and Culture Board meeting minutes. Approved 5-0 (Snuffer and Wilde absent). E. Considerations and possible action to ar)prove GHS mural design, located at 308 W. 8"1 Street. — Amanda Still, Arts and Culture Coordinator. Still announced there was a legal issue concerning liens with the proposed location of the GHS student mural. After consulting with art teacher Angela Morin, the board decided to move forward with a selection. The board reviewed the rankings and discussed proposed murals with Morin. Motion by Sewell; second by Watson to select Everyone Deserves Kindness as the first choice and Purple Heart as the second choice. Approved 5-0 (Snuffer and Wilde absent). F. Consideration and possible action to approve the "Preserving History" mural design, to be located at 808 Martin Luther King Jr. Street. — Amanda Still, Arts and Culture Coordinator. Still presented the final sketches for Devon Clarkson and Norma Clark's "Preserving History" murals. Still announced there will be opportunities for the public to help paint the mural. Motion by Sewell; second by Watson to approve the design of the "Preserving History" murals presented by Still. Approved 5-0 (Snuffer and Wilde absent). G. Consideration and possible action to accept the resignation of Tim Fleming from Texans for the Arts and appoint Amanda Still to fill the vacanc . — Eric Lashley, Library Director. Motion by Sewell; second by Flatau to accept the resignation of Tim Fleming from Texans for the Arts and appoint Amanda Still to fill the vacancy. Approved 5-0 (Snuffer and Wilde absent). H. Consideration and possible action to review latest draft of the 2020-2025 Arts and Culture Strategic Plan. — Amanda Still, Arts and Culture Coordinator. Still asked if there needed to be any changes to the Strategic Plan draft. Board members asked to remove wording concerning the Art Center agreement and offered a wording change - "Establish a permanent line item in annual budget for select arts and culture programming." Overall the board was pleased with the document. No action taken. Consideration and possible action to prioritize Arts and Culture projects within the bud et for fiscal year 2019-2020. — Amanda Still, Arts and Culture Coordinator. Still presented a ranking of priorities by board members. Board members discussed the rankings and made the following recommendations to prioritize projects for fiscal year 2019-20: 1. Grants 2. Texas Society of Sculptors' Annual Show 3. Art Hop 4. City Hall exhibits 5. Sculpture garden 6. Training/Travel and Marketing 7. Utility Box Art 8. Mural projects 9. Brown Bag luncheons J. Consideration of Arts and Culture Coordinator's re ort. — Amanda Still. Arts and Culture Coordinator. Still reviewed her monthly report. The report included an update on the mural projects, communication and promotion, the sculpture tour, City Hall gallery, future art projects, future commercial murals, and a timeline for future decisions to be made by the board. No action required. K. Consideration and Possible action reg ardin g future meet in q dates. — Jane Estes Chair. There next meeting will occur as regularly scheduled on November 19, 2019 at 4:30 p.m. No action taken. L. Recognition of GISD student Kayla Moore for "Cloud Day" utilily box at the corner of 8th St. and Austin Ave. — Amanda Still, Arts and Culture Coordinator. Moore was unavailable to attend meet the board at the utility box therefore, this item will be moved to the November agenda. Chair Estes adjourned the meeting at 6:53 P.M. Respectfully submitted, Caro Watson Board Secretary Jane Estes Board Chair V G E O R G E T O W N Festival of the Arts September 19, 2019 Georgetown Arts and Culture Board Report: 2018-2019 Grant of $2,890 for Georgetown Festival of the Arts The 2018-2019 Festival was held in Georgetown on May 24-June 2, 2019. This year's Festival featured the music of Beethoven in a series of 7 concerts, 3 symposia, 1 film, a Masterclass, and a children's concert. Events were held around Georgetown at the Palace Theater, City Lights Theater, Southwestern University, Grace Episcopal Church, and the Georgetown Public Library. Attendance overall was estimated at 1820, but many of the same patrons attended several events. We do not know how many different attendees there actually were. The operating budget was over $94,000, only about one third of which typically is raised from ticket sales. The rest comes from grants and donations. Georgetown's Arts and Culture Board donated $2,890 this year in support of three free programs. These were a children's concert at the Public Library, held in the Hewlett Room May 3; a Mid -Week Concert held at the same location on May 28; and a showing of the film "Fidelio" May 21 at City Lights, which accompanied a free master class for aspiring musicians. The Children's Concert was an original adaptation of "Hansel and Gretel", with fantastic props loaned from the drama/music departments of Southwestern University and a script written by Lyle Raper. Children were introduced to the instruments played by musicians led by Ellsworth Peterson. Their musical scores accompanied the narrative done by Tom Swift. Approximately 130 young children and their parents attended. The Mid -Week Concert was truly outstanding. It featured instrumental and vocal pieces of Beethoven. Elizabeth Pitcairn and Toby Blumenthal performed The Violin Sonata No 5, Bruce Cain and others performed Irish Folksongs, and Pitcairn, Hai Zhen, and Toby Blumenthal returned to perform Beethoven's Piano Trio No. 7. Approximately 140 attended the mid -week concert. The final free offering was the film "Fidelio," Beethoven's famous opera. About 72 persons attended. The film followed a symposium about the film and opera given the previous day, as well as a masterclass for University students given by Bruce Cain of Southwestern's music department. Performers fees for the three events were $3,300; rental of City Lights was $600; Children' Concert costs for costumes, extra props, etc., were $300. Total expenses for the three events: $4,200. The Festival of the Arts is very grateful to the Georgetown Arts and Culture Board to its continued financial support of our free programming, which allowed the Festival to diversity its program. For an organization so dependent on grants and donations, it is a privilege to be able to include free programing. For more information on the Festival's free events, please see the accompanying attachments. Florence Gould ww� G E O R G E T O W N tival of the Arts ldwo: Q ChiLdren Craft an • snacks o alit ales f • o�cr �-MXdIlk, 6 v6Y&I TUESDAY MAY 28 2:00 PM Symposium III Caldwell-Carvey Foyer Musical Instruments in Beethoven's Time Lana Neal Beethoven's Folksong Settings Kirsten Peterson 7:00 PM Midweek Concert Hewlett Room Georgetown Public Library PROGRAM Violin Sonata No 5 in F Major, Op. 24 (Spring) Allegro Adagio molto espressivo Scherzo: Allegro nrolto Rondo: Allegro ma non troppo Elizabeth Pitcairn, violin Toby Blumenthal, piano Irish Folksong Settings The morning air plays on my face Sad and hickless was the season Since greybeards inform us Bruce Cain, baritone Elizabeth Pitcairn, violin Hai Zheng, cello Toby Blumenthal, piano Piano Trio No. 7 in B-flat Major, Op. 97 (Arcl:duke) Allegro Scherzo: Allegro Andante cantabile nie peso con moto. Poco pin adagio Allegro moderato Elizabeth Pitcairn, violin Hai Zheng, cello Toby Blumenthal, piano 37. THURSDAY, MAY 30 2:00 PM Symposium IV Caldwell-Carvey Foyer An Introduction to Fidelio Bill Nicholas A Masterclass on Fidelio: first act quartet Bruce Cain (Soloists and pianist TBA) FRIDAY, MAY 31 1:30 PM Film: Beethoven's opera Fidelio City Lights Theater 7:00 PM Chamber Concert Caldwell Carvey Foyer, Southwestern University PROGRAM Seven Variations on "Bei Mannern, welche Liebe fiihlen" from W. A. Mozart's The Magic Flute, Woo 46 Hai Zheng, cello Kiyoshi Tamagawa, piano Piano Sonata in D Minor, Op. 31 No. 2 (The Tempest) Largo —Allegro Adagio Allegretto Kiyoshi Tamagawa, piano INTERMISSION Three Songs Ruuf vom Beige Klage An die Hq f ring, Op. 94 Steven Brennfleck, tenor Kiyoshi Tamagawa, piano Grosse Fuge, Op 133 TT—Il n Ctrinn (1»artat • Arts and Culture DRAFT of Goals — 2020-2025 Strategic Plan Become a National Arts Destination by 2030 II. Establish and foster a vibrant Art Center as a major component of the Cultural District a. Restructure the current operating agreement with Georgetown Art Works by which the City will operate the Art Center and Georgetown Art Works will become a "Friends of the Art Center" organization III. Continue to develop and expand the Georgetown Public Art Program a. Develop Guidelines for Commercial Murals IV. Establish and foster a vibrant Performing Arts Center as a major component of the Cultural District • V. Establish and foster a vibrant Arts Incubator facility that includes an Artist in Residency Program VI. Encourage the development of a thriving Arts, Culture, and Entertainment District in the downtown a. Gateway signage b. Develop an Arts Marketing Plan c. Develop Guidelines for street performers d. Increase diversity VII. Provide grants to local arts organizations and arts non-profit organizations a. Update current grant guidelines to include a rubric for scoring VIII. Maintain Cultural District Designation IX. Elevate the Arts and Culture staff to include an Arts and Culture Director, a Coordinator of Activities, and Marketing Coordinator to coordinate the arts and cultural activities of the City and work with City Boards and local arts organizations • to improve the quality of life in Georgetown • Proposed Objectives to Assign A. Increase budget to $250K by end of 2024 B. Purchase public art C. Increase HOT funding to Arts and Culture D. Art Fair or Art Festival (Lots of interest from my arts survey) E. Recurring meeting of Arts and Culture leaders and constituents (Brown Bag) F. Attract arts businesses such as galleries and co-ops G. Develop a sculpture garden H. Percent for art • I. Dedicated parkland for art is CITY OF HOUSTON ARTS AND CULTURAL PLAN • PRIORITIES AND RECOMMENDATIONS 1 PROMOT - - S4,PPORT SYSTEM QUALITYARTS AND •` FOR DEEP CULTURAL ASSETS Develop strategies to deliver arts and culture Elevate arts and culture as a priority in the _.. Nurture the development of artists and programs, arts education and public art into City structure and ensure the efficient and creative talent. neighborhoods. effective use of City resources. Update the Civic Art ordinance and include Join efforts to augment Hotel Occupancy Support and strengthen relationships with some aspects of horizontal construction to Tax fundingfor arts and culture with a new anchor arts and cultural institutions as key include more areas of the City for Civic Art. dedicated revenue source. economic and community drivers. Leverage Houston's "world city' image, Seek federal, state and other grants and fund- Highlight and develop cultural arts initiatives international arts venues and diverse cultural ing opportunities available to municipalities. that celebrate Houston's diverse artists, offerings in destination marketing with the cultures and communities. Greater Houston Convention and Visitors Bureau and other partners. • Develop a program of neighborhood -based cultural tourism with the Greater Houston Convention and Visitors Bureau and other partners. • Implement a comprehensive City Arts and Cultural Policy to provide guidance for City initiatives and departments. Assess options to expand awareness of cultural offerings via smart phones and by enhancing/replacing ArtsHound.com. Monitor Plan indicators, evaluate contract performance and review local research surveys and reports. Continue to convene the arts and cultural constituencies and other stakeholders around critical cultural policy issues. Centralize Civic Art oversight in the Office of Cultural Affairs. Provide increased oversight, transparency and accountability in the allocation of City arts and culture grants. Set goals for City arts and culture grants utilizing Hotel Occupancy Tax funds and ensure a fair and equitable process for applicants. Create a common process for application and reporting for all City arts and culture grants in consultation with stakeholders. Increase the funding available for small, emerging, culturally focused and ethnic orga- nizations and artists. Augment capacity building programs for Houston's arts and cultural organizations to reinforce sustainability. WWW.houstontx.gov/culturalaffairs Advocate for systemic access to quality arts and culture education in Houston's public schools. Encourage and partner with area universities, corporations, businesses and institutions to elevate and enhance arts and culture. Advance efforts for regional arts and cultural planning. Research creating a purchasing cooperative for goods and services needed by local artists and nonprofits. Support State funding for area Cultural Districts designated by the Texas Commission on the Arts. Develop a public art master plan to guide the future development of the Civic Art Program. Utilize Economic Development partnerships to implement existing and new tools for artists and creative consumers. Arts and Cultural Plan co-chairs: Philamena Baird and Rick Lowe El The Dallas Office of Cultural Affairs (OCA) has released the Dallas Cultural Plan, the result of a year -long process that has sought to: • Engage local artists, arts and cultural organizations, their leaders, and supporters as well as residents across all neighborhoods • Explore ways to strengthen and improve access to the City's tremendous cultural assets • Understand the aspirations and needs of artistic institutions and cultural organizations, artists and others within the cultural economy of all types and sizes • Suggest ways and incorporate tactics to merge the work needed in arts and culture into the work of other City departments • Provide the vision, implementation strategies, organizational structure, funding requirements and policy framework to achieve the goals and strategic objectives set forth in the cultural plan WHO Almost %000 Dallas residents have engaged with this cultural planning process. Six priorities are crucial for Dallas to realize its vision for arts and culture in Dallas: Support the broadest range of art forms and creative producers, considering inclusivity, diversity and neighborhood impact to direct resources equitably to artists and organizations. Celebrate and promote the diversity of Dallas, while striving to improve diversity of programming, staff and organizational leadership across the cultural sector. Provide, create and incentivize the creation of spaces and places to encourage and allow arts and culture in Dallas to thrive and grow citywide. Establish a supportive arts ecosystem that nourishes the creative and innovative energy of Dallas artists. Al __J I A� • Model sustainability to the arts and culture community through OCA's facilities and encourage and support the development of future sustainability in the broader arts and cultural sector. COMMUNICATION Promote culture as a fundamental driver of the city of Dallas. Ensure awareness at local, national and international levels of Dallas' cultural offerings through enhanced communication. 5 DALLAS CULTURAL PLAN: SUMMARY BOOKLET ARTS & CULTURE BOARD MEETING OCTOBER 15, 2019 ARTS & CULTURE COORDINATOR REPORT OCTOBER 15, 2019 ► Website ► News posts — Completed public art projects — Updated Cultural District map — Calls — Arts orgs/Arts businesses/Artists ► Brown Bag Luncheon ► Great turn -out & helpful information ► 2020 schedule — January; April; July; October ► Newsletter- Monthly Calendar Events -Share FB Posts ► Need to send out a "Call" for good Instagram photos Public Art Projects In Pro ress ► Sculpture Tour 2019-2020 ► Installation schedule almost finalized - Nov 4t" & 5tn ► Award at November Board Meeting?? ► Rack card w/ professional photography & title plates w/ QR codes ► City Hall Gallery ► Oct -Dec - Norma Clark ►Jan -March 2020- GISD students ► April -June - ► Public Art Projects in Progress ► "Preserving History" Mural ► Pushing editorial opportunities to CVB PR firm ► October 21 sketch date - in the evening ► October 24 Community Painting Party; video by John Njagi ► Instructors from Mary Bailey Head Start, Administrators from Opps for WBC; City employees; Board members?? ► Paulette is helping and has people from her churches coming ► Mural dedication on February 15th at 2pm after Art Center workshop that morning - Chesley, Paulette, local pastor, maybe Mayor to speak; questions for artists ... Art Center reception that evening 0 ► Public Art Projects in Progress ► GHS Mural ► Future Public Art Projects ► Farmer's Market Stand/Recycled Street Sign Sculpture ► Parking Garage ► City Hall Reception Desk ► City Center Green Space #1/Sculpture Garden 0 ► Commercial Mi jrals ► Mural Guidelines ► Images indirectly related to the business may be included in mural as artistic expression; no logos, text, or established branding ► Mural lifespan - Must last 5 years w/ evaluations every 5 years; City to maintain ► If City and business are satisfied with condition of mural, Wall Easement renews for another 5 years ► If mural lifespan/condition has "expired", City will remove mural and Wall Easement will expire ► Goal - Goal for Board to adopt process and guidelines by end of year ► Gus's Drugs No. Selected Sarah Blankenship and will submit design to Board ► Wag Heaven; Golden Rule 0 L ► November Meeting ► Award Sculpture Prizes ► Discuss and adopt Grant guidelines for upcoming grants opening Dec 1 St ► Discuss Board recruitment strategies December Meeting ► Discuss and adopt Commercial Mural guidelines ► Discuss updated strategies in Strategic Plan 0 0 0 0 LEAD I GROW I SERVE o �oFNT sc"00V October 9, 2019 Georgetown Arts & Culture 402 West Eighth Street Georgetown, Texas 78626 To the City of Georgetown Arts and Culture Board, Thank you so much for choosing the Georgetown Independent School District's Theatre Department as a recipient of a grant to cover our travel costs to the 2019 Texas Thespians State Festival. We will depart on this venture after school on November 201h and, over the next three days, have the opportunity to participate in hundreds of theatre workshops, attend numerous plays, and network with college theatre programs across the country. Additionally, our senior students will have the opportunity to audition for dozens of colleges to gain entrance into their theatre programs, as well as for college scholarships and for the • opportunity to compete at the 2020 National Thespian Convention in Kansas. Your contribution to our programs' travel costs reduced our students' cost of attendance by twenty-five percent over last year's cost, which has resulted in almost double the attendance in comparison with previous years. We are excited to promote your contribution in the promotional materials for our upcoming shows, which will not begin to occur until the end of October. We look forward to documenting our experience at the festival and will send the City of Georgetown Arts and Culture Board pictures of each student who has benefitted from your generosity. Be on the lookout for those, as well as our first round of promotional materials, after the Thanksgiving Break! Our deepest gratitude and sincerest thanks, The Georgetown Independent School District Theatre Department Michelle Shanks, Forbes Middle School Kelley Poehls and Dean Baker, Georgetown High School Jon DeMitchell and Thomas DeLaurier, East New High School Kera Blay and Natasha White, Benold Middle School Kathy Hobbs, Tippit Middle School Jamielee Jakubowski and Travis Nance, Wagner Middle School Georgetown Independent School District • 507 E. University Dr. • Georgetown, Texas 78626 • (512) 943-5000 • wwwgeorgetownisd.org y/itutic t'f) lkctc1 Ellsworth Peterson, Artistic Director, is professor emeritus of music at Southwestern University. He holds an undergraduate degree from Southwestern University, a Master of Sacred Music from Union Theological Seminary, and a PhD from Harvard. He has been Artistic Director all of the past fourteen Festivals of the Arts. Festival composers have been Handel (2005); Haydn (2006); Schubert (2007); Mendelssohn (2008); Dvorak (2009); Copland,(2010); Brahms (2011); Debussy, Ravel and Poulenc (2012); Tchaikovsky, Arensky and Rachmaninov (2013); Albeniz, Granados, and Falla (2014); Robert and Clara Schumann (2015): Grieg, Sibelius and Ni!!lsen (2016); Elgar, Vaughan Williams and Britten (2017 ); and Chavez, Villa-Lobos and Ginastera (2018). Jan Swafford is the author of Beethoven: Anguish and Triumph. He has also written biographies of Johannes Brahms and Charles Ives and the Vintage Guide to Classical Music. He holds a BA from Harvard and MMA and DMA from Yale. His compositions have won awards including an NEA Composer Grant, two Massachusetts Artists Foundation Fellowships, and a Tanglewood Fellowship. His writing and commen­ tary on music have been featured on NPR and in Slate, the Guardian, Gramma­ phone, and elsewhere. He teaches music history, theory, and composition at the Boston Conservatory. Susan Youens Is a schol·ar of the German Lied. Her publications include Schubert's Late Lieder: Beyond rhe Song Cycles; Schuberrs Poets and the Making of Lieder. and Hugo Wolf: The Vocal Music. She holds an undergraduate degree from Southwestern and her MA and PhD frof"('I Harvard. She is currently on the faculty of the Department of Music of Notre Dame University. Lynn Parr Mock. soprano. nolds a BMEfrom Southwestern, where she studied with Virginia Dupuy, and MM from the UT Austin. She balances performing commitments with service on the boards of many fine arts organizations and as a co-founder of Lone Spring Arts In Dallas. Shields-Collins Bray, piano, has been principal keyboardist of the Fort Worth S_vm­ phony Orchestra since 1986 and has hosted its Symphonic Insights discussions since 1993. He has appeared often as soloist with the orchestra. He is an artistic advisor at the van Cliburn Foundation, where his duties Include creation and performance of the programs of Musical Awakenings. the Cliburn's educational Initiative. He is also artistic director of Cliburn at the Modern, a series hosting the most distin­ guished of modern composers. Born in Louisiana, he studied piano with Steven De Groote at Arizona State University and at TCU. Hai Zheng, cello, is Artist in Residence at Southwestern University. She has appeared In recital at the Shanghai Conservatory and New York Clty/s Steinway Hall, in master classes and recitals at Gungzhou and Macau Conservatories, and at a special invi­ tation concert for the Hong Kong Asia Society, among many others. Kiyoshi Tamagawa, piano, is Professor of Music at Southwestern. He holds a BM us from Oberlin, MM us from Yale, and DMA from UT. He has performed as a soloist and collaborative pianist in North America, Europe, and Asia. Latest orchestra ap­ pearances have been with the ASO performing the Piano Concerto in C major. K. 503 by Mozart, with the Oahu Civic Orchestra, Honolulu, and with the Temple Symphony performing Mozart's Concerto in E-flat major, K. 482. In 2015 he made a tour of Asia and a CD recording with Southwestern University faculty cellist Hal Zheng. Virginia Dupuy, mezzo-soprano. is an alumna of Southwestern University and professor of music at Southern Methodist University. Her career in vocal p.erform­ ance and recording includes a Grammy nomination for her CO Voces Americanas with the Voices of Change ensemble. An Emily Dickinson scholar, she has recorded Dwell in Possibility: Emily Dickinson in Song. She has appeared with orchestras and opera companies across the US and been a performer in and supporter of the Festival of the Arts since its beginning. Ale�sandra Comini is University Distinguished Professor of Art History Emerita at SMU. She has a BA from Barnard College, MA from the Unlve.rsicy of California at Berkeley, and PhD "with distinction'' from Columbia University, where she taught for ten years. In 1996 she was Distinguished Visiting Lecturer at Oxford University's European Humanities Research Centre. For the 250th anniversary of Beethoven's birth, Viennese publisher Hollltzer Is publishing a Germari translation of her book The Changing Image of Beethoven, including a chapter on "Beethoven in the 21st century." Bruce Cain, baritone. ls Associate Professor of Music and director of the Opera Theatre at Southwestern University. He holds a BM us from McMurry University, MMus from Indiana Univer!'lty, and DMus from Northwestern University. He has performed concerts on five continents. He is conductor of the San Gabriel Chorale and has been a performer in and supporter of the Festival since its beginning. He is a member of the Festival steering committee. -----D...m<l.UJ._�_i.5._An __ ;'.l(tiv,e rollabor;itiw::r. ::,,nrl cnlo ohni..--t jp tho /\11ctin :,re::, --� --·---�- Toby Blumenthal, piano, has been a soloist with ensembles including the Chicago and Houston Symphony Orchestras. She has studied with Leonard Shure at the University of Texas and with Rudolf Serkin at the Marlboro Chamber Music Institute in Vermont. She ls Director of CHAMPS (Chamber Music in Public Schools) of Salon Concerts of Austin and is Artistic Director and pianist for Classic Chamber Concerts. She played in the San Antonio Mozart Festival with the Artisan String Quartet in 2016 and 2017 and in the Texas Bach Festival in Georgetown in 2018. She has played in the past eight Festivals of the Arts. The Round Rock Symphony has been under the leadership of Music Director Stefan Sanders since 2012. Its goal is to make the RRS a part of the cultural fabric of central Texas. expanding audiences through creative programming, appearances in many different venues, and a range of educational offerings. Stefan Sanders. conductor, is Music Director and Conductor of the Round Rock Symphony and of the Spartanburg Philharmonic (SC) and Music Director of the Fayetteville Symphony Orchestra (NC). He holds a bachelor's degree from the Jullliard School and MMA and DMA from UT Austin. He has been Resident Conductor for the Buffalo Philharmonic; guest-conducted ensembles including the Rochester Philharmonic, San Antonio and Austln Symphonies, Austin and Corpus Christi Ope1d orchest,as, Filharrnonia Warmi11sko MaLurska (Polar,d); and has served as a cover conductor for the New York Philharmonic. Lana Neal has MM and PhD degrees In Musicology frorn UT Austin and BA in Mathematics and Music from Southwestern. Her research areas include topics in music archaeology, Medieval music. and the structural principles in ihe music of Bela Bart6k. She has taught music at UT Austin and Franklin College in Switzerland. She is author of The Earliest Instrument: Ritual Power and Fertility Magic of the Flute in Upper Paleolithic Culture. Kirsten Peterson is adjunct instructor of music at the University of Connecticut­ Stamford and Naugatuck Valley Community College. She holds a doctorate In Music History and Theory from the University of Connecticut. Her research interests include nationalism and folk music influence in nineteenth-and twentieth-century music. She has been a speaker for four earlier Georgetown Festivals of the Arts. She is principal bassoonist with the Waterbury Symphony Orchestra in Connecticut. William E. Nicholas is Professor Emeritus at Birmingham-Southern College in Birmingham. Alabama, where he taught for forty years before moving to George· town in 2013. His reaching fields included recent United States history and Latin American history. He has written many articles on American Civil Rights history. His latest book, from 2018. is Go and be Reconciled: Alabama Merhodlsts Confront Racial Injustice, 1954-1974. He is an amateur pianist and has been an avid opera goer since age twelve. He currently teaches an opera seminar in Sun City focusing on the Metropolitan Opera HD broadcasts. Steven Brennfleck, tenor, has been a soloist for organizations Including the Cara moor Festival. Glinimerglass Opera, New York Lyric Opera Theatre, Opera Piccola of San Antonio, Portland Opera, Spoleto Festival USA, The Tanglewood Festival, Theatre Nohgaku and the Westminster Opera Theatre. and With ensembles Including American Bach Solo!sts, Handel Choir of �ltimore. Austin Symphony, Princeton Baroque Orchestra, LA International New Music Festival, Westminster Festival Orchestra, and Princeton Pro Musica. His Carnegie Hall debut was In 2012. He lives in Austin, where he is conductor of the Ars Longa Ensemble and a certified teacher of the Alexander Technique. Thalea String Quartet (whose name is pronounced Ta' Ii a) was formed in 2014 at the Zephyr lnternatfonai Chamber Music Festival fn Courmayeur, Italy, The quartet has performed recitals in Europe, the US, and Canada, and has appeared at the Kennedy center. M.issey Hal!, 2nd Weill H2I!. It was the quartet in residence at the San Francisco Conservatory of Music from 2015-17 and is the Young Professional String Quartet at the Butler School of Music for 2018-19 and 2019-20. Jessica Mathaes, violin. is a soloist, recording artist, educator, and concertmaster. 5.be bas-aooeared as soloist in the J JC F11ronP :>pd /q;:i, :::>nri_h-:,c 1-;irl"'l,rlr.:,r.t-liw:, ance and recording includes a Grammy nomination for her CD Voces Americanas with the Voices of Change ensemble. An Emily Dickinson scholar, she has recorded Dwell in Possibility: Emily Dickinson in Song. She has appeared with orchestras and opera companies across the US and been a performer in and supporter of the Festival of the Arts since its beginning. Alessandra Comini is University Distinguished Professor of Art History Emerita at SMU. She has a BA from Barnard College, MA from the University of California at Berkeley, and PhD "with distinction" from Columbia University, where she taught for ten years. In 1996 she was Distinguished Visiting Lecturer at Oxford University's European Humanities Research Centre. For the 250th anniversary of Beethoven's birth, Viennese publisher Hollitzer is publishing a German translation of her book The Changing Image of Beethoven, including a chapter on "Beethoven in the 21st century." Bruce Cain, baritone, is Associate Professor of Music and director of the Opera Theatre at Southwestern University. He holds a BMus from McMurry University, /\!l.f\.t1us from !ncPaila University, and D!1Jius from r,Jort!:vvester:1 University. He hc!s performed concerts on five continents, He is conductor of the San Gabriel Chorale and has been a performer in and supporter of the Festival since its beginning. He is a member of the Festival steering committee. David Utterback is an active collaborative and solo pianist in the Austin area. Performing most often as a vocal accompanist, he is involved in a variety of musical endeavors, including chamber music, opera, cabaret, and musical theater. He is a member of the Austin Chamber Ensemble and is the accompanist for the choirs of Chorus Austin (Austin Civic Chorus and Austin Vocal Arts Ensemble). He has held his current appointment as a member of the piano faculty at Southwestern University since 1993. Elizabeth Pitcairn, violin, made her New York debut at Lincoln Center's Alice Tully Hall in 2000 with the New York String Orchestra. She has appeared as soloist with the Philadelphia Orchestra and the Marlboro Music Festival, where she played with members of the Juilliard and Guarneri String Quartets. She plays the "Red Mendelssohn" violin (Stradivarius, 1720), bought for her by her grandfather in 1990 at auction at Christie's London. It is said to have inspired the movie The Red Violin, which won a 1999 Academy Award for its musical score. She is President and Artistic Director of Luzerne Music Center and Chamber Music Festival in Lake Luzerne, NY. �1111.:..1: dQ-1: L\l'Vt:'Pli=. nic: 1..Uilt:"IILIJ LIC:'dLtn::i dll upt:ld '.:,iC"lllllldl ilt ..):UII Lil] 1u1...u:�o1115 UII the Metropolitan Opera HD broadcasts. Steven Brennfleck, tenor, has been a soloist for organizations including the Cara moor Festival, Glimmerglass Opera, New York Lyric Opera Theatre, Opera Piccola of San Antonio, Portland Opera, Spoleto Festival USA, The Tanglewood Festival, Theatre Nohgaku and the Westminster Opera Theatre, and with ensembles including American Bach Soloists, Handel Choir of Baltimore, Austin Symphony, Princeton Baroque Orchestra, LA International New Music Festival, Westminster Festival Orchestra, and Princeton Pro Musica. His Carnegie Hall debut was in 2012. He lives in Austin, where he is conductor of the Ars Longa Ensemble and a certified teacher of the Alexander Technique. Thalea String Quartet (whose name is pronounced Ta' Ii a) was formed in 2014 at the Zephyr International Chamber Music Festival in Courmayeur, Italy. The quartet has performed recitals in Europe, the US, and Canada, and has appeared at the Kennedy Center, M2ssey Hall, 2nd \Afeil.l H.a!L lt was the quartet in residence at the San Francisco Conservatory of Music from 2015-17 and is the Young Professional String Quartet at the Butler School of Music for 2018-19 and 2019-20. Jessica Mathaes, violin, is a soloist, recording artist, educator, and concertmaster. She has appeared as soloist in the US, Europe, and Asia and has broadcast live on Performance Today, Chicago Public Radio, and ARTE, the French-German cultural television channel. She has been featured with many orchestras in the United States. In 2005 she became the youngest and first female concertmaster in the history of the Austin Symphony Orchestra, a post she still holds. San Gabriel Chorale was founded in 1988 at Southwestern by Dr. Kenny Sheppard as a "town and gown" outreach to offer people a chance to sing works from the a cappella and oratorio choral traditions dating from the sixteenth century to the present. It has about 75 member singers. They are volunteers who pay annual dues and buy their own copies of the music. Most are from Georgetown, including Sun City, but some come to weekly rehearsals and concerts from anywhere from Austin to Killeen and Temple. Dr. Bruce Cain of Southwestern has been conductor since 1998. Kenny Sheppard, conductor, is Professor Emeritus of Music at Southwestern University, where he was conductor of the University Chorale. For many years he trained active choral conductors through the Conductor's Institute, providing instruction and experience in conducting a chorus with an orchestra. He has led the Festival Chorus and Orchestra for all of the Georgetown Festivals of the Arts. The Festival presentation of Missa Solemnis on June 2 is dedicated to him. 20(9 <itieclttf · 20(9 <itftetft�. • 20(9 <itftet!ztft • 20(9 <itftw,/e. Friday, May 24 1:00 pm Symposium I Palace Theatre Beethoven and the Enlightenment Jan Swafford Under Starry Skies: Beethoven's Songwriting Art Susan Youens 6:30 pmReception for Donors to Meet the Artists Parish Hall Grace Episcopal Church 8:oo pm Opening Concert Sanctuary, Grace Episcopal Church Lynn Parr Mock, soprano Shields-Collins Bray, piano Hai Zheng, cello Kiyoshi Tamagawa, piano Virginia Dupuy, mezzo-soprano Abendlied unter'm gestimten Himmel Cello Sonata in A Major, Op. 69 Songs of Love (and Lack Thereof) Piano Sonata in E Major, Op. 109 Saturday, May 25 10:00 am Symposium II Caldwell-Carvey Foyer, Southwestern The Long Road to the Missa Solemnis and the Ninth Symphony Jan Swafford Beethoven in the 21st Century Alessandra Comini 3:00 pmSongs and Sonatas Caldwell-Carvey Foyer Lynn Parr Mock, soprano Shields-Collins Bray, piano Bruce Cain, baritone David Utterback, piano Virginia Dupuy, mezzo-soprano Gellert Lieder, Op. 48 Piano Sonata in F-sharp Major, Op.78 An die feme Geliebte, Op. 98 Songs to Texts by Goethe Piano Sonata in F Major, Op.10, No.2 Sunday, May 26 3:15 pmPre-concert Lecture Caldwell-Carvey Foyer Ellsworth Peterson 4:00 pmOrchestra Concert Alma Thomas Theater, Southwestern Elizabeth Pitcairn, violin The Round Rock Symphony Stefan Sanders, conductor Violin Concerto in D Major, Op. 61 Symphony No. 3 in E-flat Major, Op. 55 ("Eroica") Tuesday, May 28 2:00 pm Symposium Ill Caldwell-Carvey Foyer Musical Instruments in Beethoven's Time Lana Neal Beethoven's Folksong Settings Kirsten Peterson 7:00 pm Mid-week Concert Hewlett Room, Georgetown Public Library Elizabeth Pitcairn, violin Hai Zheng, cello Toby Blumenthal, piano Bruce Cain, baritone Violin Sonata in F Major, Op. 24 ("Spring") Three Irish FolksongsPiano Trio in B-flat Major, Op. 97("Archduke") A Free Event, donation requested Thursday, May 30 2:00 pmSymposium IV Caldwell-Carvey Foyer An Introduction to Fidelio William Nicholas A Master Class on Fidelio: First Act Quartet Bruce Cain and student soloists Friday, May 31 1:30pm Film Showing City Lights Theater Beethoven's Opera Fidelio Showing of a DVD of Friday, May 31 7:00 pm Chamber Concert Caldwell-Carvey Foyer Hai Zheng, cello Kiyoshi Tamagawa, piano Steven Brennfleck, tenor Thalea String Quartet Variations on "Bei Mannem, wefche Liebe fOhlen" Piano Sonata in D Minor, Op. 31 No. 2 ("The Tempest") Three Songs Grosse Fuge, Op. 133 Saturday, June 12::00 pm Salon Concert First Presbyterian Church Jessica Mathaes, violin Toby Blumenthal, piano Bruce Cain, baritone Thalea String Quartet Violin Sonata in D Major, Op, 12 No.1 Adelaide 32 Variations in C Minor String Quartet in E Minor, Op.59 No.2 Sunday, June 2 3:15 pm Pre-concert Lecture Caldwell-Carvey Foyer Ellsworth Peterson 4:00 pm Choral Finale Alma Thomas Theater, Southwestern Soloists TBA The San Gabriel Chorale Kenny Sheppard, conductor Missa Solemnis Programs, artists and dates subject to change. a 2003 performance by the Metropolitan Opera of New York :s:: �r+ � � "' r+ :::· �::-! r+ n ::T "" t1) ::?. ► V, .... 0r+ -� �;-c, 09 rt)c,:, :::,0 0 X °;' 00 � .j:,,� 0\ C: -:::, Cl a..t1) 0 0 <:J" .... -(IQ "' t1) r+ 0 ::: _::::1 ;;! 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OJ C.J 0 n ::::, ::::, 9;0 n'<" 0 (1) 0 -----c (D -----c ::J 0... < ,-+ (D __ (D rl -0 � � � � � vi" � � V, V> cu V, 0., 3 "'a ro � V, 0::, 0 0 " � w � 0., � V) -��ri," :3 V> -0 rt 0 n· �7'C � :3 PROGRAM BOOK ($10.00) Includes program notes for all concerts, text and translations for all songs and choral works, and information about all performers and presenters. For each book you order, you will receive a "Book" ticket, redeemable at the door before any sympo­ sium or concert. One book will be included with the purchase of a series ticket. '9 EORGBTOWN Festival of·the Arts IN GEOR.GETOW. FESTIVAL TEE SHIRT ($20.00) Sorry, we cannot offer pre-orders on tee shirts. They will be available at our concerts and symposia, but don't wait too long. They have sold fast this year! Follow us on I) o·••= t O: 1 NMO.l:IS>ll03!) :lO A.LI:) .,., •.:a•::::,__ �ru.;"'":t/t"'· "'f'>'"'dNV""'""Cs.ui="'v �6 ON l!WJad Xl UMOja6JOa8 alVd aBeisod sn 01S HJSt:ld t·N GEORGETOW. � •f:f Q:■) NMOL�!)'tiO:IC,:JOA.l,:) foo·uMo,;iil1o;iil,1S!A'MMM ffi!VO\! nin.Lln:) ONY S.L't!V Al!Sl;)AlU.[l m;rJS;)Ml(lTIOS t���(l� N<�T . tq p�lDWOdS jsn u1or aseaId /m�Jb SlJ\f ;:np JO I eAJlS;:J:J UMOla'arna9 41uaaj1J a41 �Jo·1eApsa:1uMOl!)"MMM 'arn·1eAJlS;:JJUMOl'a®OJU!. ttVO-6t9-ZLS LZ98L Xl 'UMOla'a1oa9 9tg xos 'O'd s:µv a4i Jo JDAqsa� NMOl '.3:0�0 '.3:06' �t'tl tfffl to, tlie CrHttllttlnttff One of our goals is to keep Georgetown an in tereWng and nourishing place to live and work. We appreciate the support of our community. and look for ways to return the favor. For 2018 and 2019, in addition to putting on the Festival, these are some of our "extra" activities. January 2018 Start of a six-week Senior Universit y course tau ght by Ellsworth Peterson on the music of the composers for the 2018 Festival of the Arts. February 2018 We presented a Chamber Concert in the Hewlett Room of the Georgetown Public Library, featuring music for oboe, viola, and piano. April 2018 We presented a Chamber Concert in the Hewlett Room of the Georgetown Public Library, featuring invoke, the Young String Quartet in Residence from UT. May 2018 We presented a Children's Concert and Play at the Georgetown Public Library for about 225 pre-school children and parents, co-sponsored by the Festival, the Children's Librarian, and the Friends of the Library. November 2018 We presented a Chamber Concert at Round Rock Art Space, a benefit for the CHAMPS {Chamber Music in Public Schools) program. We presented a Chamber Concert at Georgetown's San Gabriel Presbyterian church, featuring music for flute, viola, harp, and piano. January 2019 Start of a six-week Senior University course taught by Ellsworth Peterson on the music of Beethoven, our 2019 featured composer. We presented two performances of a Chamber Concert for violin, cello, and piano-one at Round Rock Presbyterian Church and one at Georgetown Public Library. Apri l 2019 We will present two Chamber Concerts. One will be at Round Rock Presbyterian church, music composed and performed by women. The other will be a free Live Music at the Library concert. We will present a Children's Concert and Play in the Hewlett Room of the Library, co-sponsored by the Friends of the Library and the Children's Librarian. Please continue your support of the Festival of the Arts. We cannot charge audiences enough to pay for our events, so we must rely on contributions from individuals and organizations. Please consider making a generous donation toward Festival 2019. Please come to the Festival, May 24 -June 2, 2019, and bring your friends. If you would like to be a Festival volunteer, please let us know. 'PM I More than any other composer, the Mm< of Lu d,rig van Beethoven (1770-1827) changed the shape and din,cdon l..r (,I� of Western classical music, and his music continues to inspire listeners throughout the world. Ludwig van Beethoven was born in Bonn, Germany. As a child he was in­structed in music by his father, and as a young man he studied wi th the local composer and conductor Christian Gottlieb Neefe. When he was 21 he left Bonn to go to Vienna to study with Franz Joseph Haydn; he lived in Vienna for the rest of his life. There he gained a reputation as a brilliant pianist, admired especially for his skill at improvising -making up music on the spot that was so beautiful it often brought his listeners to tears. His fame as a com­poser also grew. His early compositions {those written up until about 1802) were mostly piano sonatas and chamber music, but he also composed a few larger works, including two symphonies and two piano concertos. But even as his reputation grew, he realized that he was gradually losing his hearing. In 1802 he wrote a letter to his brothers (probably never sent) in which he tried to come to terms with it. In the letter, called the Heiligenstadt Testament, he says that in his despair he has considered suicide but has decided to continue living for and through his art. "It seemed impossible to leave the \<\!Orld until I had Portrait by Paloma M"yerga brought forth all that was within me." He never played the piano in public after 1811. His student Carl Czerny said that Beethoven could hear speech and music until about 1812, when he was 42. After that, he communicated through conversation books: his friends wrote, and he replied either orally or in writing. In Beethoven's middle period {about 1802 to 1812), many of his works were expressive of heroism and struggle. Among these are his third {"Eroica") and fifth symphonies, his fourth and fifth ("Emperor") piano concertos, his 21st ("Waldstein") and 23rd ("Appassionata") piano sonatas, his Op. 59 {"Rasumovsky") string quartets, and his opera Fidelio. In these works he "seized fate by the throat" and created music of overwhelming courage and beauty. Yet beside these powerful works stand such serene masterworks as his violin concerto and his Sixth ("Pastoral") Symphony. Beethoven's late works {from 1812 to his death in 1827) contain some of his most personal utterances. Marked by a strong interest in Renaissance and Baroque music, they explore the ancient church modes of Palestrina and the fugal counterpoint of Bach as they create new sound worlds in the late piano sonatas and string quartets. Included in his final period are two massive works for chorus and orchestra, his Ninth Symphony and his Missa Solemnis. We look forward to presenting a series of lectures about Beethoven and concerts of his music, May 24 through June 2, 2019. See you then!