The Sembrich, Bolton Landing’s historical museum and music venue, announced their mid-August event schedule. Featuring violin guitar duo ArcoStrum, a James Joyce inspired opera, and an acclaimed Polish violinist, the Sembrich has an exciting month ahead.
The Sembrich boasts a variety of musical events, a museum with a rich history, and indescribable natural beauty. Whether it’s a new museum exhibition or their annual music festival, The Sembrich always offers something to look forward to.
On August 17, acclaimed Polish violinist Kinga Augustyn will perform at The Sembrich. Augustyn will perform a program of Polish masterworks, including Saint-Saëns’ “Introduction and Rondo Capriccioso,” Op. 28, Kreisler’s “Three Old Viennese Dances” and Polish masterworks by Henryk Wieniawski and Grażyna Bacewicz, accompanied by Alla Milchtein.
Richard Wargo, The Sembrich’s artistic director, said, “Kinga was a part of our 2021 festival ‘Nature and Music,’ when she delighted listeners with nature-inspired violin melodies… This year’s performance promises an elegant evening with the celebrated musician and renderings of several rarely performed violin masterworks here in the Adirondacks.” Tickets are available at the following link.
Award winning instrumental duo ArcoStrum will bring their exhilarating mix of music from around the world to The Sembrich on August 21. Guitarist TY Zhang and Violinist Strauss Shi met at Julliard, and discovered a personal and musical chemistry that would enhance their charismatic stage performances and immense technical proficiency. Committed to pushing boundaries, ArcoStrum creates a one of a kind performance by combining personal compositions with traditional Chinese instrumental music and 21st Century rock. Tickets are available here.
Karina Rodriguez
The James Joyce inspired musical At That Hour, Act One will be performed on August 24. Composed by Richard Wargo, the opera draws inspiration from Joyce’s poetry and prose. Wargo is an experienced composer who has drawn from literature before, namely when composed an opera inspired by classic Anton Chekov. Wargo has also served as the Sembrich’s Artistic Director and Composer-In-Residence since 1991, and write the opera as part of The Sembrich’s centennial anniversary. Tickets are available here.
A video about The Sembrich’s centennial celebration is available below.
On a picture-perfect summer evening in Schenectady, the vibrant atmosphere of Frog Alley Brewing was electrified by a magnificent performance from Andrew Bird. An artist whose unique blend of folk, indie rock, and classical music has earned him a devoted following over the years, this stop marked his first time playing in the Electric City. Packing the place from the ground on up to the balcony, it was a testament to Bird’s enduring artistry and widespread appeal. Playing a diverse setlist that spanned his rich discography and showcased his eclectic musical talents, his dynamic and colorful debut was nothing short of delightful.
Andrew Bird performing in Schenectady, NY on 8/13/2024.
Opening for Andrew Bird was the legendary Malian duo Amadou & Mariam. The Grammy nominated couple, both of whom are legally blind, have been making music together since the 1970s, blending traditional Malian sounds with rock, blues, and pop influences. Their music is joyful and rhythmic, often addressing social and political themes with a fun touch. Amadou & Mariam’s performance was a perfect complement to Bird’s, offering a lively, soulful, and fun introduction to the evening. Despite obvious cultural barriers, the Frog Alley crowd was fully engaged from the start, and by the end of the hour long set, the entire audience was up on their feet and dancing like they were having the time of their lives, further proof that music truly is a universal language. After a brief intermission, it was finally time to take flight with Andrew Bird.
Amadou & Mariam, known as “the blind couple from Mali,” opened for Andrew Bird at Frog Alley Brewing on 8/13/24.
Andrew Bird’s musical journey has been nothing short of fascinating. A classically trained violinist, Bird has released 16 studio albums, with his music evolving from swing jazz and traditional folk to more intricate and experimental sounds. What sets Bird apart is not just his prolific output but also his innovative approach to music-making. His violin often serves as a multifaceted instrument—strummed like a guitar, plucked like a mandolin, and bowed in traditional and unorthodox ways. Bird’s performances are also characterized by his whistling, which is as nuanced and expressive as any instrument. Fans are also quick to notice his specially-designed spinning speaker known as the Janus Horn that sits center stage during every show. Featuring a two-mouthed horn that spins at various speeds during operation, it gives music played through it a whirling Doppler effect that is truly original and unquestionably psychedelic.
Andrew Bird performing in Schenectady, NY on 8/13/2024.
Opening the show with a pair of songs from his brand new album Sunday Morning Put-On, the easy lounge swing of “Softly, as in a Morning Sunrise” set the mood, while Bird’s buttery smooth voice had the crowd hanging on every delicate word in “I Fall in Love Too Easily.” Performing one of his oldest Bowl of Fire-era numbers next, Bird’s spoken word delivery and theatrical gestures during “Why?” simultaneously had the crowd amused and impressed, just as it has since being released in 2001.
It’s not a spell or a curse you put on me Or the way you make me smile so tenderly But how I wish it was your temper you were throwing Damn you for being so easygoing
Lyrics from “Why?”
A longtime fan of Andrew Bird’s music, I’ve seen him perform many times over the years. A unique thing about him though, is every single time has been with a different cast of supporting players. Opting to play this summer tour as a trio, Bird aligned himself with a pair of ultra-talented and distinguished musicians in New York-born drummer Ted Pool, and playing both standup bass, electric bass and acoustic guitars, was Alan Hampton. Each member bringing their unique flair, creating a dynamic interplay that amplified Bird’s intricate compositions, the chemistry between them was magnetic and hearing all three voices sing harmonies together was simply beautiful.
Andrew Bird, Alan Hampton and Ted Pool performing together in Schenectady on 8/13/24.
Bird’s lyrics have always been one of the most compelling aspects of his music. They are poetic, often cryptic, and rich with metaphor, exploring themes of existential dread, love, and the complexities of modern life. “Bloodless,” a personal favorite from 2019’s My Finest Work Yet always stands out for its layered momentum, deep groove and even deeper lyrical content that critiques the current political climate with a subtlety that leaves space for the listener to interpret the meaning. This song becomes more and more relevant every time I hear it.
“I’m keeping mine with the altruists I’m putting my weight behind the dancer I know it’s hard to be an optimist When you trust least the ones who claim to have the answers
It’s an uncivil war, bloodless for now”
-Lyrics from “Bloodless”
Another new song, “You’d be So Nice to Come Home To” felt perfect, as if were written for this exact kind of night, with Bird crooning out “Under an August moon burning above, you’d be so nice, you’d be paradise to come home to and love.” Following his hit single “Sisyphus,” we would enter the Inside Problems portion of the show. Written and recorded during the pandemic, “Atomized,” and “Underlands” further transported the Electric City to a surreal state, before Bird would pause to banter with the crowd for a bit. Switching over from violin to his vintage Gibson electric guitar, he would claim the next song was written for a friend that happens to have a birthday tomorrow. Then launching into one of loudest and most rocking songs of the evening, the vibe during “The Night Before Your Birthday” felt more like a celebration than a concert.
“You’d be So Nice to Come Home To” had all the feels on 8/13/24.
Bird’s use of language is masterful; his lyrics often juxtapose archaic phrases with contemporary issues, creating a timeless quality. This linguistic dexterity is part of what draws a diverse crowd to his shows—fans who appreciate music that challenges as much as it entertains. Setlist staple, “A Nervous Tic Motion of the Head to the Left” was a perfect example of this, while the lush and layered textures of “3 White Horses” delves into themes of mortality, using vivid imagery to create an atmosphere of eerie calm. “Give It Away” and “Orpheo Looks Back,” a pair of songs from 2012’s Break It Yourself, would feature Alan Hampton switching from bass to acoustic guitar and sharing vocal duties on the main microphone with Bird. The two of them clearly having a blast together, singing with smiles and passion. Bird would then tell the crowd he’s been working on some old classical jazz tunes with these fellas, and they’d like to try one for us called “Caravan,” by the legendary Duke Ellington. Finally, bringing the main portion of the show to a close was another personal favorite, “Tables and Chairs.” Offering a glimpse into a post-apocalyptic world, the song still manages to find hope in the idea of human connection, and if you’re asking, yes, there will be snacks!
Andrew Bird and Alan Hampton performing together on 8/13/2024.
Returning to the stage to a prolonged standing ovation, Andrew Bird would humbly thank the crowd at Frog Alley Brewing. Saying it was his first time playing in Schenectady and he didn’t really know what to expect, he seemed genuinely appreciative that people showed up and packed out the place. Rewarding them with perhaps his biggest song to date, Bird would paint a picture of “Pulaski at Night,” before the punchy, bittersweet Are You Serious anthem “Capsized” would send them home feeling inspired, fulfilled and maybe a little froggy, too.
Andrew Bird, Alan Hampton and Ted Pool performing together in Schenectady on 8/13/24.
Andrew Bird’s concert at Schenectady’s Frog Alley Brewing Summer Stage was a showcase of his exceptional talents as a musician and lyricist. A journey through his extensive catalog, the setlist was carefully curated, blending newer tracks with fan favorites. Supported by a stellar band and with an unforgettable opening act in Amadou & Mariam, the evening was a celebration of diverse musical traditions and innovative artistry. Bird’s ability to captivate an audience with his intricate melodies and thought-provoking lyrics is a rare gift, making this concert a highlight of the summer music season and further cements Bird’s growing reputation as one of the most important songwriters of our time.
Andrew Bird | August 13, 2024 | Frog Alley Brewing | Schenectady, NY
Setlist: Softly as in a Morning Sunrise, I Fall in Love Too Easily, Why?, Bloodless, You’d Be So Nice to Come Home To, Atomized, Sisyphus, Underlands, The Night Before Your Birthday, A Nervous Tic Motion of the Head to the Left,3 White Horses, Give It Away, Orpheo, Manifest, Caravan*, Tables and Chairs.
Encore: Pulaski at Night, Capsized.
*Duke Ellington and His Orchestra cover
Amadou & Mariam | August 13, 2024 | Frog Alley Brewing | Schenectady, NY
Following the resounding success of last year’s program, the Cooperstown Summer Music Festival has announced the return of “Bach Again,” an evening dedicated to the timeless works of Johann Sebastian Bach. This performance will take place on Tuesday, August 20 at Christ Episcopal Church in Cooperstown, NY, and concludes this summer’s Cooperstown Music Festival season.
Founded in 1999 by flutist Linda Chesis, the Cooperstown Summer Music Festival has been bringing world-class chamber music performances to the Cooperstown area for over 25 years. The festival has featured performances by the American, Juilliard, St. Lawrence, Jupiter, and Jasper String Quartets, Stefon Harris, Bill Charlap, Kurt Elling, Simone Dinnerstein, Mark O’Connor, John Pizzarelli, the Sonia Olla Flamenco Dance Company, and many more. Concerts are held in venues across Cooperstown, including the grand Otesaga Hotel, The Farmers’ Museum, and Christ Church (the church of author James Fenimore Cooper).
What is “Bach Again?”
To cap off this summer’s successful series, “Bach Again,” an evening dedicated to the timeless works of Johann Sebastian Bach, will be making its return on August 20 at 7 p.m. Violinist Rachell Ellen Wong, a rising star in the world of Baroque music and winner of a prestigious Avery Fisher Grant, will join an equally illustrious ensemble of musicians, including cellist Wolfram Koessel, harpsichordist Bradley Brookshire, and flutist Linda Chesis, Festival Founder and Artistic Director, for a concert exploring Bach’s rich body of work.
Described by the legendary pianist Glenn Gould as “the greatest architect of sound who ever lived,” J. S. Bach is arguably the most influential and most beloved composer in the history of Western classical music. Intensely personal yet profoundly universal, his music has inspired devotion in countless generations of musicians and listeners alike.
The concert on August 20th offers audiences an opportunity to sample a cross-section of the composer’s varied instrumental sonatas, including the monumental Chaconne in D minor and the Trio Sonata from The Musical Offering. The performance will also feature Glimmerglass Festival Young Artist Winona Martin, mezzo-soprano, who will offer renditions of Bach’s beloved arias.
Theories abound as to why Bach’s music remains so compelling to audiences throughout the ages, but perhaps the answer is simple. “Bach’s music speaks to that part of us all that yearns for beauty and goodness,” says Festival Artistic Director Linda Chesis. “Every time we encounter his music, we experience that yearning anew.”
How To Purchase
Don’t miss this opportunity to experience the enduring beauty of Bach’s compositions in the intimate setting of Christ Episcopal Church. Tickets are $30 for adults and $15 for students and children. Tickets can be purchased in advance, either online or over the phone, by calling 800-316-8559 and selecting option 1. Please note that there is a $2 service fee per phone order. Tickets will also be available for purchase at the door if any remain.
The University of Albany Department of Music and Theatre has announced the lineup for their 2024-25 season. Performances for this season will begin on September 22 and the final show of the season is on Monday, May 5. All performances take place at the UAlbany Performing Arts Center on the main University of Albany campus at 1400 Washington Avenue.
This season’s repertoire consists of dozens of professional and student musicians with a variety of mediums. Choirs, student ensembles, professional duos, and more all come together on the UAlbany stage this season for a spectacular display of their talent. The UAlbany Theatre Department will be presenting three full student productions and offering five to six performances of each show, as well as its annual festival of new plays. Student productions include Machinal by Sophie Treadwell, Mary Shelley Meets Frankenstein by Kate Alice Walat, and Richard O’Brien’s The Rocky Horror Show.
In total, UAlbany offers 27 incredibly diverse shows throughout the upcoming season. Multiple guest performers are included in the season, as well, including GRAMMY-award-winning Imani Winds and the Ulysses Quartet.
The full schedule of events is listed below. All tickets are available on the Department’s website, linked here. Further details on all performances can be found on the UAlbany Performing Arts Center website.
The Department of Music and Theatre’s 2024-25 Season
Sunday, September 22, 2024, at 3pm – The Capital Trio
The Capital Trio performs music by Beethoven and Rebecca Clarke.
Tuesday, September 22, 2024, at 4pm – Lifchitz Plays Lifchitz: 60 Years of Piano Music
Max Lifchitz performs his own piano compositions written over the last 60 years.
Thursday, October 3, 2024, at 7:30pm – SUNY Oneonta Duo
As part of our yearly Ensemble in Residence exchange, a duo from SUNY Oneonta comes to perform new works.
Sunday, October 13, 2024, at 3pm – Imani Winds: The French Connection
2024 Grammy Winner IMANI WINDS visit UAlbany to present a program of French music.
Free to Students, $35 general public
Machinal by Sophie Treadwell
Wednesday, October 23, 2024, at 8pm
Thursday, October 24, 2024, at 8pm
Friday, October 25, 2024, at 3pm
Saturday, October 26, 2024, at 2pm & 8pm
Sunday, October 27, 2024, at 2pm
Saturday, October 26, 2024, at 1pm – Fall Choral Hour
The Fall Choral Hour showcases the University Chamber Singers and University Community Chorale as well as selected student soloists from the Department of Music and Theatre in a performance of music from a wide array of style and culture.
Sunday, October 27, 2024, at 3pm – Shared Band & Orchestra Concert
Sunday, November 3, 2024, at 3pm – The Ulysses Quartet in Concert
The Ulysses String Quartet will present a program of music by Mendelssohn, Mozart, Britten, and a world premiere by Christina Bovey.
Saturday, November 9, 2024, 3pm – More Than You Know (Melanie Shank & Joshua Tanis)
UAlbany Music program alumni Melanie Shank (’12, ’22) and Joshua Tanis (’13) reminisce about their undergraduate musical experiences and how they have shaped their current careers. With music from Mozart to Gershwin, this recital features years-old favorites and new adventures from over a decade of collaboration.
Friday, November 15, 2024, at 7:30pm – Bach to Broadway
Mary Shelley Meets Frankenstein by Kate Alice Walat
Wednesday, November 20, 2024, at 8pm
Thursday, November 21, 2024, at 8pm
Friday, November 22, 2024, at 3pm
Saturday, November 23, 2024, at 2pm & 8pm
Sunday, November 24, 2024, at 2pm
Wednesday, December 4, 2024, at 6pm – Student Recital
Sunday, December 8, 2024, at 3pm – Holiday Concert
Music Program ensembles (Chorale, Chamber Singers, Concert Band, Jazz Band, Symphony Orchestra, Spirit Band) are joined by student groups (Serendipity, Pitch Please) for a concert celebrating the season.
Monday, December 9, 2024, at 7pm, UAlbany Jazz Ensemble and Percussion Ensemble Concert
Sunday, December 15, 2024, at 3pm – The Catalyst Quartet with Stewart Goodyear
Sunday, January 12, 2025, 3pm – The Food of Love: Songs, Dances and Fancies for Shakespeare
Early Music Ensemble presents music from, for & referenced in the works of Shakespeare.
Friday, February 7, 2025, 3pm – Violin and Piano Duo
The Capital Duo will perform works for violin and piano.
Richard O’Brien’s The Rocky Horror Show
Wednesday, March 5, 2025, at 8pm
Thursday, March 6, 2025, at 8pm
Friday, March 7, 2025, at 8pm
Saturday, March 8, 2025, at 8pm
Sunday, March 9, 2025, at 2pm
Wednesday, March 12, 2025, at 7:30pm – Shared Band & Orchestra Concert
Wednesday, March 26, 2025, at 7pm – The Tetzlaff Quartet in Concert
Youth Movement
Saturday, April 5, 2025, at 7pm
Sunday, April 6, 2025, at 3pm
April 5th, Community members of all ages will perform piano music and chamber music. April 6th, the school of the Albany Berkshire Ballet joins us for the fifth time as a Youth Movements special guest.
Fresh Acts: A Festival of New Plays
Wednesday, April 23, 2025, at 8pm
Thursday, April 23, 2025, at 8pm
Friday, April 23, 2025, at 3pm
Saturday, April 23, 2025, at 2pm & 8pm
Our spring festival of staged readings of new plays written, directed, and performed by students. Now in its seventh year, this year’s festival will also feature a showcase of solo performances on Friday afternoon. This is the future of the American theatre! Come be a part of theatre being made.
Advance tickets: $10 general public/$7 students, seniors, & UAlbany faculty-staff
Day-of-show tickets: $15 general public/$12 students, seniors, & UAlbany faculty-staff
Wednesday, April 23, 2025, at 6pm – Student Recital
Saturday, April 26, 2025, at 3pm – Spring Choral Hour
The Spring Choral Hour showcases the University Chamber Singers and University Community Chorale as well as selected student soloists from the Department of Music and Theatre.
Monday, April 28, 2025, at 7pm – UAlbany Jazz Ensemble
Sunday, May 4, 2025, 3pm – University Symphony Orchestra Concert
With Conductor Christopher David Neubert, this large ensemble performs works representing outstanding repertoire from the Baroque, Classical, and Romantic periods of the 20th and 21st centuries.
Monday, May 5, 2025, at 7pm – Sound of the Trumpets, Roar of the Drums
The Orchestra of The Southern Finger Lakes ended July with a big announcement of their 24-25 season tickets.
Their 30th season in history also celebrates another important anniversary. This is the 15th season with Maestro Toshiyuki Shimada leading the group of musicians. The performances of the season include the Orchestra Series and the Musicians Choice Chamber Music Series.
This fall, on Oct 12, the orchestra will start the season with “Oktoberfest at the Symphony,” a celebration of German composers like Beethoven and Brahms. Korean violinist, Jinyoung Yoon will perform the Brahms Violin Concerto. To end the Orchestra Series, on May 4, 2025 pianist Svetlana Smolina will perform Rachmaninoff’s Piano Concerto No. 2. The “May The Fourth Be With You” performance will also include the classic cinematic Star Wars theme.
For fans of smaller ensembles’, on Nov 1, principal flute Jeanne Sperber and pianist Michael Salmirs will perform lyrical repertoire from composers such as Arthur Foote and Charles Griffes. Next year on Feb. 11, a trio of wind instrumentalists, Lesley McClelland, David Resig and Claire Tuxill McKenney, will perform pieces both with and without narration.
The Orchestra Series is conducted by director Toshiyuki Shimada. Shimada studied under highly esteemed conductors such as Leonard Bernstein, Herbert von Karajan, Herbert Blomstedt and more. From 2005 to 2019 he was the director of the Yale Symphony Orchestra of Yale University. He also directed the Portland Symphony Orchestra in Portland, ME from 1986 to 2006. Not only does he conduct in the U.S. but he’s made guest appearances at international orchestras like Royal Scottish National Orchestra; L’Orchestre National de Lille in France, Istanbul State Symphony Orchestra, the Prague Chamber Orchestra and a seemingly endless list of others.
To experience all The Orchestra of The Southern Finger Lakes has to offer, you can purchase season tickets on the website here.
Woodstock’s Maverick Concerts will host After Spring Sunset: A Tribute to Peter Schickele a tribute to renowned composer Peter Schickele on Saturday, Aug. 10. The day will include two main acts- a free morning concert showcasing some of Schickele’s folk tunes, and an evening show full of many talented musicians further expanding on Schickele’s works.
The tribute is honoring Peter Schickele, a composer, arranger, and multi-instrumentalist with decades of accomplishments under his belt. Schickele, who passed away this past January, is remembered through the character, P.D.Q. Bach, and his public radio program “Schickele Mix.”
Having won multiple Grammy Awards for his work, Schickele found fame writing for folk musicians, as well as ensembles and solo work. Most notably, he arranged music for folk musician Joan Baez across multiple bodies of music. Throughout his career, Schickele created over a hundred orchestrations.
Aug. 10 will be an undeniably full day of music and remembrance with the first set taking place from 11 AM-12 PM, and the second, at 6 PM. To begin the day, Grammy-nominated singer-songwriter, Elizabeth Mitchell will lead a series of folk tunes written by Schickele. She will be joined by M Shanghai String Band, pianist Ray Bailey, and Schickele’s daughter, musician Karla Schickele. Additionally, folk musician, Marc Black will come out and perform the song “Tyrannosaurus Rex,” which he made with Schickele. The morning performance is free to attend and welcomes families.
Peter Schickele at Maverick Concerts by John Kleinhans
The latter half of the day brings an extravagant slate of performers to exemplify Schickele’s vast repertoire. After Spring Sunset: A Tribute to Peter Schickele will exhibit performances from a variety of different artists. Firstly, the Callisto String Quartet will perform Schickele’s Fifth String Quartet, A Year in the Country. Following the quartet will be their rendition of his P.D.Q. Bach work, The Moose Quartet.
Next, the M Shanghai String Band and surprise guests will perform a piece from a Schickele bluegrass concerto. Elizabeth Mitchell also returns to perform a song Schickele wrote for Joan Baez. The show will turn particularly personal when Karla Schickele along with her cousin, Nighttrain Schickele, and son, Emmet Schickele, perform special and generally unknown, Peter Schickele family songs. Marc Black will also join the lineup to sing an additional slate of special songs.
Continuing to honor P.D.Q. Bach, Mezzo Michele Eaton, along with tenors Wesley Chinn and Greg Purnhagen, will perform some of his vocal works. Overall, the show will serve as a testament to how significant Schickele was to not only his family and friends but fans all over the world. Maverick Music Director Alexander Platt, Woodstock Chimes founder and percussionist Garry Kvistad, and Karla Schickele will host the event and guide the show in Schickele’s honor.
For more information or to purchase tickets for After Spring Sunset: A Tribute to Peter Schickele visit maverickconcerts.org
2024 marks the 150th anniversary of the Chautauqua Institution’s founding. The world-renowned institution has become famous for its annual summer programming.
This year is no different, with the 2024 Summer Season featuring a number of lectures, performances, and more to celebrate the anniversary.
The Chautauqua Institution traces its history back to 1874. In that year inventor Lewis Miller alongside Bishop John Heyl Vincent founded the institution. From its start, Chautauqua represented an experimental approach to traditional education. The institution – then known as the Chautauqua Lake Sunday School – sat on 750 acres of lakeside property. At its founding, Chautauqua was a pioneer in “vacation learning,” with people out of school traveling to the site for instruction.
Although it was originally dedicated to religious education, Chautauqua’s programming soon expanded into a number of other fields. In addition to religion, classes on arts, music, and other subjects were soon offered. In 1878, the institution founded the Chautauqua Literary and Scientific Circle. This program was intended to provide education to those not fortunate enough to attend university. In addition, Chautauqua used these programs to advocate for morality – which they defined as abstention from activities like drinking, gambling, and dancing. By 1880, Chautauqua hosted over 100 Summer lectures.
Due to the success of Chautauqua’s academic programming, the institution’s musical facilities evolved quickly. In 1875 – one year after its founding – the institution hosted the Fisk Jubilee Singers. The all-African American a capella group broke racial barriers with their performance at the height of the Reconstruction Era. Throughout the years, Chautauqua continued to highlight pioneering African American performers. Legendary singers like Marion Anderson and Paul Robeson performed at the institution in their heydays.
Marian Anderson performing at Chautauqua in 1957
The institution’s musical facilities increased with the installment of the Massey Memorial Organ in 1907. The high-precision organ now performs regular recitals during the summer season. By 1920, symphony orchestras regularly performed on the institution’s grounds. 1929 saw the official founding of the Chautauqua Symphony Orchestra. Since its founding almost 100 years ago, the orchestra has grown into one of the institution’s most recognizable features. Housed in the institution’s 4,400-person amphitheater, the orchestra now plays three weekly performances each season.
Marking this full adoption of music, a number of composers and performers began visiting Chautauqua in the 1920s. In 1925, George Gershwin made a Chautauqua practice shack his home while he composed his Concerto In F.
Chautauqua’s embrace of musical programming extended to dance and theater. In 1929, the Chautauqua Opera Company began alongside the orchestra, performing regularly in the art-deco Norton Hall. Nowadays, the aforementioned Amphitheater and Norton Hall, as well as the Bratton Theatre regularly host contemporary and ballet dance performances.
A Tent Chautauqua in Mechanic Falls, Maine
The success of the Chautauqua Institution’s programming led to a nationwide phenomenon. By the early 1900s, “Tent Chautauquas” traveled the country, bringing entertainment and education to places as far as South Carolina and Colorado. However, by the 1930s, these road shows grew out of fashion. As cinema and radio expanded, the need for the Tent Chautauqua exhibitions was seen less and less.
The 1930s also marked an era of hardship for the Western New York institution. Following the stock market crash of 1929, the United States entered the Great Depression. Countless businesses and organizations went bankrupt, putting much of the country out of work. The Chautauqua Institution was no exception to this. In 1933, it entered a period of receivership, unable to handle its debts. The Chautauquan community, however, remained dedicated to keeping the institution alive. They founded the Chautauqua Foundation to raise funds, successfully creating an endowment to fund the institution in 1937.
Since 1937, the institution has persevered as a staple of Western New York’s academic landscape. Throughout its history, Chautauqua has presented lectures and performances by countless famous artists. Legendary bandleaders like John Philip Sousa and Duke Ellington have led performances at the institution. On top of this, the institution has featured pop artists ranging from Toby Keith to Ben Folds. Additionally, six presidents have visited the institution in their lifetimes. Starting with Ulysses S. Grant in 1875, James Garfield, William Mckinley, Theodore Roosevelt, FDR, and Bill Clinton have all visited.
Theodore Roosevelt speaking at the Chautauqua Institution
During his visit to Chautauqua, Theodore Roosevelt described the institution, saying “it is a source of positive strength and refreshment of mind and body to come to meet a typical American gathering like this—a gathering that is typically American in that it is typical of America at its best.”
The government has recognized Chautauqua’s importance to education and performance since the 1970s. In 1973, the National Park Service recognized the institution’s campus as a National Historic Place. This was followed by a 1989 designation as a National Historic Landmark District.
As 2024 marks the 150th anniversary of the institution’s founding, it will feature a number of special events. Throughout August, the Chautauqua Symphony Orchestra will perform weekly performances. Each performance celebrates a different legendary composer, highlighting works by Brahms, Stravinsky, Shostakovich, and more. In addition to these performances, Chautauqua will host shows by Jazz at Lincoln Center and the Buffalo Philharmonic Orchestra in the amphitheater August 21-23rd. The institution’s Elizabeth S. Lenna Hall will also host weekly chamber performances each Monday and Saturday.
On top of these instrumental performances, a number of pop groups will perform at the institute’s famous amphitheater. Among these groups is the legendary Jamestown-based alternative group 10,000 Maniacs. The August 19th concert likewise celebrates the groups 40th anniversary that launched them to international stardom. In addition, Indigo Girls, Squonk, Twisted Pine, and more will perform throughout August.
On top of these musical performances, the Chautauqua Institute will host a number of other activities throughout August. These activities include daily interfaith lectures, theater performances, art exhibitions, and campus tours. For more information on the Chautauqua Institution’s upcoming events, visit its website here.
The historic Barton Opus 234 pipe organ will soon make a move from Detroit to Rochester. The nearly 100 year old instrument sat at the heart of Detroit’s silent movie industry for years before sitting in storage for over 40 years.
Now, following a restoration process, the Barton Opus will be the centerpiece of the Rochester Institute of Technology (RIT) new performing arts center.
Restorers Carlton Smith and Justin Nimmo with the Barton Opus 234, by Michael Conroy/AP
Built in 1927, the Barton Opus 234 is a timeless marvel of the instrument making industry. Oshkosh, Wisconsin’s Bartola Musical Instrument Co. manufactured the instrument. While many can imagine what an organ sounds like, the Bartola Opus 234 was so much more. Designed to be a jack of all trades needed to soundtrack silent movies, the organ could replicate a whole host of sounds. In addition to organ tones, its keys could mimic strings, flutes, and horns.
Additionally the Opus contains various percussion instruments including cymbals, drums, and a piano aiding in this versatility. On top of all of this were various sound effects: bird whistles, steamboat horns, and more. With its host of instrumentation, the Barton Opus 234 could replicate any musical note or sound effect an organist would ever possibly need to soundtrack a movie.
The history of the Barton Opus 234 begins with the opening of its manufacturer Bartola in 1918. In that year, Dean Barton founded the company to manufacture photoplayers for theaters across the Midwest. These photoplayers were almost like primordial versions of theater organs. Working off the base of an upright piano, Bartola tacked on organ pipes and percussion instruments to aid theater organists in achieving more diverse sounds.
An early Photoplayer organ
Throughout the 1920s, the Silent Movie industry boomed. Each year movies like Fred Niblo’s Ben Hur and the many comedies of Charlie Chaplin were released, raking in millions at the box office. While these movies were silent, music was a necessary part of the theater experience. Musical cues from live musicians built the atmosphere and told audiences how to react to scenes. In this way the silent movie experience was not silent at all.
As silent films grew in popularity, theater organs also grew – more literally. These organs soon began to take over the role of orchestra pits at theaters. They grew larger, sometimes being multiple stories high, and more elaborate with keys to replicate a host of instruments. What made Barton Organs so notably was their intricacy – not only musically, but visually. Organs like the Barton Opus featured exquisite decorated with multi-colored keys and complex wooden inlays.
During its heyday, Bartola made over 250 of these organs for theaters across the Midwest. Movie-goers everywhere from Saginaw, MI to Cedar Rapids, IA could hear their organs during film screenings. Possibly the most famous of their creations was the gargantuan organ that stood in Chicago Stadium – former home of the Blackhawks and Bulls.
Chicago Stadium’s Bartola Organ
The Bartola heyday could not last forever, with the company closing in 1931. As film made the transition into sound productions, the role of silent film organists slowly became obsolete. By the early 1950s, with the advent of television, which brought entertainment to the home, the medium was all but dead.
The individual story of the Barton Opus 234 very much mirrors these larger trends. After its construction, the organ found its home in Michigan, which had become a hub for silent film. Between 1925 and 1928 alone over half a dozen theaters had opened, housing over 23,000 seats. One such theater was the Hollywood Theatre, built in 1927, which went on to house the Barton Opus.
At its completion, the Hollywood Theatre was a sight like no other. Detroiters could see its massive 150 ft tall towers for miles across the city. The exterior of the building was finished with terracotta walls and red brick roofing, giving it the appearance of a Mediterranean castle. Its interior was likewise ornate. The first thing visitors would see was its 60 ft tall lobby, decorated with marble and gold, and featuring a large chandelier at the center of its ceiling.
At the center of the theater’s operations was the Barton Opus 234. At the time of its purchase, the organ was worth a whopping $75,000 – over $1 million today. Throughout its tenure, organist Bob Clarke operated the monstrous instrument, soundtracking the theater’s films and vaudeville performances. Clarke to many was better known as the organist at Olympia Stadium, home of the Detroit Red Wings.
Despite its grandeur, the Hollywood was always playing second-fiddle to other venues around Detroit. At its completion, the theater boasted a massive 3,436 person capacity – still dwarfed by the larger Michigan Theatre. Many even considered the Barton Opus only the second best sounding organ in the city. The Capitol Theatre – later renamed the Detroit Opera House – held that title.
By the 1950s, the Hollywood Theatre was in the throes of death. Its location – far from the residential hub of the city – spelled its doom. As local organist Roger Mumbrue remembered “No one lived down there. It was mostly abandoned freight yards and derelict buildings, so there was just no hope.” Not even special events, like boxing matches or new films could attract a crowd. In 1958 the theater closed for good, becoming a parking lot for Detroit’s school buses.
With the closure of The Hollywood, its assets were auctioned off to the public. Among these was the massive Barton Opus 234. In 1962, a local engineer and music enthusiast named Henry Przybylski placed a winning bid on the instrument for almost $3,500. Following this purchase, the two-story organ had to be disassembled and transported to Przybylski’s home in Dearborn Heights. For the next 40 years, the organ sat disassembled in his garage.
Fortunes changed in 2003, when Steven Ball – head of University of Michigan’s Organ Department – purchased the Barton Opus. Ball’s main goal was the safe storage and restoration of the instrument until it could find a suitable home – ideally a concert hall like it had originally stood. This came to fruition in 2019, when Ball agreed to donate the organ to RIT. It is currently undergoing restoration, with head restorer Carlton Smith estimating the process is about ⅔ complete. Upon completion, it will travel in pieces to Rochester, before reassembly in its new home at the university’s new performing arts center.
A rendering of the RIT Music Performance Theater rehearsal hall
Workers broke ground on RIT’s Music Performance Theater in September, 2023. This project marks the largest theater construction in Rochester’s recent history. Upon completion, the 40,000 square foot theater will boast three stories and 750 seats. At the center of the theater is a large rehearsal hall, with two large balconies overlooking the stage. The centerpiece of this hall will be the restored Barton Opus 234 in its original glory. Upon its completion, the theater will house RIT’s musical theater productions. Current estimates say the theater will to open in January 2026.
Beck’s deep decades-long catalog was on full display to a packed Koussevitzky Music Shed at Tanglewood on Tuesday, July 23.
With Edwin Outwater conducting another installment of Tanglewood’s Popular Artist Series, the Rock and Roll Hall of Famer performed songs from albums Sea Change and Morning Phase, two albums designed for performance with a full orchestra, having kicked off with shows in Washington state and California earlier in July.
The show featured not just songs from the two GRAMMY nominated albums – with Morning Phase winning Album of the Year in 2015 – but also deeper cuts from Mutations, Odelay, and more, with fan favorites mixed in, as Beck presented a well-rounded view of his three-decade spanning catalog.
Beginning at 7:21pm with Outwater walking out to join the Boston Pops, Beck followed behind as “Cycle” was played, moving into “Golden Age,” with Beck introducing his ‘new’ band to the crowd. Presenting his rock star cool – shades, an open-button white shirt with french cuffs, black blazer and pants, all despite having his luggage lost by an airline and even borrowing a pair of shoes – Beck strode about the stage, leading the show alongside Outwater’s conducting.
Beck recalled how he had visited Tanglewood once prior, just to see the place, and cited that he was jealous of the picknickers on the lawn. Cheers followed as he introduced “Wave,” off Morning Phase. Showing a versatility of songwriting influences, Beck shifted south to Brazil, playing “Tropicali,” suggesting that one day he might make a full album of Brazilian music.
With an upgraded sound thanks to the 80 or so members of the Boston Pops (making for quite the tour bus, Beck later quipped), a fresh orchestra intro to “New Pollution” stood out in the first radio-friendly song of the night, with Beck’s band taking the lead on guitar and bass for the first time this evening.
Giving a shout out to his mom who was in attendance this evening, the mellow vibe of the show (save “New Pollution”) was discussed as he moved into “Missing” off Guero, with strings arranged by his father, David Chapman. This Mortal Coil’s “Tarantula” was dedicated to the goths in attendance this evening, with Beck saying “I know you’re out there, beyond the trees.”
Beck noted that he sought to perform music that inspired him, including that of Frank Sinatra and Scott Walker, the latter of whom two songs were performed this evening – “It’s Raining Today” and “Montague Terrace (in Blue)” – songs that Beck himself wanted to hear played by an orchestra.
“We Live Again” was dedicated to French singer Françoise Hardy, who passed away earlier this summer. “Phase,” “Morning” and “Waking Light,” rounded out the orchestral performances this evening, with one more surprise in store – Beck’s 1996 hit “Where It’s At” – played with depth and panache from all musicians on stage.
Beck took time to thank the Boston Pops, specifically thanking each individual section of the orchestra – strings, woodwinds, brass and the rest – before they slowly departed the stage.
With a core band remaining, each of whom had been on the recording of Sea Change and Morning Phase – Justin Meldal-Johnsen (bass), Roger Joseph Manning Jr. (keys), Jason Faulkner (guitar), and Joey Waronker (drums) – Beck playfully asked ‘Where’s my orchestra?,’ before wandering the stage to get a perspective from the musicians view, sitting in the harpist’s seat, playing the vibraphone and gong, and finally breaking out a harmonica for a solo number, “One Foot in the Grave,” off Stereopathetic Soulmanure (as well as the title of another Beck album).
The feedback friendly “Devil’s Haircut” followed as energetic as ever, with breakout single “Loser” – a song Beck has now been playing for more than 30 years – closing the night.
While you could look at the setlist and see that some hits (including all of 2017’s Colors) were left unplayed, there were no complaints to be heard as Beck’s catalog runs deep. Given his excitement over the show and praise for Tanglewood and the Boston Pops, it feels we might see him back soon in the future.
Beck with the Boston Pops – Tanglewood, Lenox, MA – Tuesday, July 23, 2024
Setlist: Cycle, The Golden Age, Everybody’s Got to Learn Sometime, Lonesome Tears, It’s Raining Today, Wave, Tropicalia, Blue Moon, Lost Cause, The New Pollution, Missing, Tarantula, Round the Bend, Paper Tiger, We Live Again, Montague Terrace (in Blue), Phase, Morning, Waking Light, Where It’s At
Encore (Beck and his band): One Foot in the Grave, Devils Haircut, Mixed Bizness, Loser
Beck 2024 Tour Dates: 7/25 – Philadelphia, PA – Mann Center (w/ The Philadelphia Orchestra) 7/27 – Vienna, VA – Wolftrap (w/ The National Symphony Orchestra) 7/29-30 – New York, NY – Perelman Stage at Carnegie Hall (w/ The Orchestra Of St. Luke’s) 9/19-22 – Louisville, KY – Bourbon & Beyond 9/28 – St. Louis, MO – Evolution Festival 9/29 – Huntsville, AL – South Star Music Festival
Saratoga Performing Arts Center (SPAC) has announced their partnership with Canadian classical music festival, The Festival de Lanaudière, for their mentorship program.
From July 25 to Aug 4, the mentorship program will travel with six talented Canadian musicians to Quebec and SPAC. The program pushes the musicians’ careers forward by allowing them to forge relationships with other musicians, conductors and teachers. These six young artists will spend the first six days of the program in Joliette, Quebec and for the first time in the program’s history, the last four days will be with The Philadelphia Orchestra at SPAC.
The Philadelphia Orchestra has a longstanding summer residency at SPAC and this year, their SPAC performances include 100 years of Rhapsody in Blue on Aug 1, an Evening with John Legend on Aug 7 and a performance with Yo-Yo Ma on Aug 16.
The entire Festival de Lanaudière goes from July 6 and ends with the mentorship program on Aug 4. The festival was founded in 1978 and the famous Amphithéâtre Fernand-Lindsay was constructed in 1988. Most of the performances take place outside in the Amphitheatre, but for some performances the festival moves to offsite venues like the ornate churches of Quebec as well as distilleries and cultural centers.
SPAC is also known for its beautiful open amphitheater where the Philadelphia orchestra shares the stage with other prestigious arts companies like New York City Ballet and Chamber Music Society of Lincoln Center. The town of Saratoga Springs is surrounded by hiking trails and geysers, drawing in summer tourists and music fans alike.
To find more information about The Festival de Lanaudière, you can visit their website here.
THE 2024 MENTEES
· Mehdi Ghazi, pianist
· Frédéric-Alexandre Michaud, conductor, violinist and radio cultural commentator
· Elizabeth Polese, soprano
· Antoine Rivard-Landry, pianist
· Catherine St-Arnaud, soprano
· Gabriel Trottier, solo, chamber and orchestral horn player
