Hanna Center Classical Concerts

Conversations with Kate van Orden Dvořák and Czech Nationalism In this lecture, Kate van Orden sets the stage for Dvořák’s travels by discussing his homeland. The nineteenth century was a time of great nationalism in many countries. But what did it mean to be Czech, and what made Dvořák’s “Czech” music sound distinctive? Free for concert ticket holders. Concert Tickets

Travel to 19th-century Prague , where the musical lives of Smetana and Dvořák intertwined amid the folk rhythms and cultural energy of Bohemia. This opening-night program explores the artistic world that shaped Dvořák’s early voice: the Classical legacy of Haydn to the bold, expressive chamber music of Smetana, one of Dvořák’s earliest champions. Featuring Smetana’s Piano Trio on VMMF’s 1841 Rausch fortepiano , this concert offers a richly textured portrait of Czech musical life at its source. Paired with wines from premier Sonoma vineyards, it’s a festive and inviting start to the Festival! • PROGRAM HAYDN Trio in A major for Piano, Violin, and Cello, Hob. XV:18 (1794) DVOŘÁK Select solo piano pieces DVOŘÁK Selections from Moravian Duets, B. 60 and B. 62 for Soprano, Alto, and Piano (1876) SMETANA Piano Trio in G minor, Op. 15 (1855) ARTISTS Jeff LaDeur, Eric Zivian, PIANO | Elizabeth Blumenstock, VIOLIN | Tanya Tomkins, Aaron Wolff, CELLO | Rachell Ellen Wong, VIOLIN | Nikki Einfeld,

Step into 19th-century Vienna , where Dvořák’s early career was transformed by the support of Johannes Brahms and the vibrant musical life of the Austro-German world. This program brings together the lyrical beauty of Mendelssohn , the depth and richness of Brahms, and music by Austrian Romantic composer Mathilde Kralik , whose voice emerged from the same cultural circles. With the addition of wistful Slavic dances by Chopin and Dvořák , the concert unfolds as a poetic afternoon of intimate chamber music. • Program DVOŘÁK Selected Slavonic Dances for Piano Four Hands, Opp. 46 and 72 (1878, 1886) DVOŘÁK and CHOPIN Selected Mazurkas for solo piano MENDELSSOHN Piano Trio No. 1 in D minor, Op. 49 (1839) KRÁLIK Selections from the Violin Sonata in D minor (1878) BRAHMS String Quintet No. 2 in G major, Op. 111 (1890) Artists Eric Zivian, Chris Goodpasture, PIANO | Liana Bérubé, SoYoung Choi, Rachell Ellen Wong, Juliette Greer, VIOLIN | Rosemary Nelis, Ramón Carrero-Martínez, VIOLA | Aaron Wo

In Translation: Dvořák and the British Isles, 1884-1904 Lecture Presented by Elaine Fitz Gibbon In the final decades of his life, Dvořák undertook extensive international travels, not just to the United States, where he famously lived and composed from 1882-1885, but also to England. Indeed, England was Dvořák’s first international destination, and the country to which, in the end, he owed his broad international success. In this lecture, Elaine will dive into this lesser-known yet transformative period in Dvořák’s life and professional career. Free for concert ticket holders. Concert Tickets

Let’s go to 19th-century England , where Dvořák’s music found eager audiences and his international reputation reached new heights. Echoing Haydn’s own celebrated success in London generations earlier, this program explores the artistic exchange between composers who drew inspiration from folk traditions and transformed them into deeply personal musical voices. Alongside Dvořák, the program features Vaughan Williams and Rebecca Clarke, later composers whose music reflects a similarly distinctive sense of place and expression. • Program HAYDN String Quartet in D minor, Op. 76, No. 2, Hob. III:76, “Fifths” (1797) VAUGHAN WILLIAMS Excerpts from Six Studies in English Folk Song for Cello and Piano (1926) DVOŘÁK Excerpts from Piano Trio No. 4 in E minor, Op. 90, B. 166, “Dumky” (1891) CLARKE Dumka for Violin, Viola, and Piano (ca. 1941) DVOŘÁK Piano Quartet No. 1 in D major, Op. 23, B. 53 (1875) Artists Amizia Quartet in Residence | Elizabeth Dorman, Eric Zivian, PIANO | Jennifer Frautschi,

Dedicated to family member and VMMF friend and supporter, Susan Shalit Dvořák’s journey to Russia at Tchaikovsky’s invitation opened a window onto the broader Slavic musical world. This program brings together deeply expressive songs and chamber works of lyrical beauty and dramatic intensity. Arensky’s elegiac Cello Quartet and Dvořák’s F minor Piano Trio anchor an afternoon shaped by longing and emotional depth, while songs by Dvořák, Mussorgsky, and Yuliya Weissberg offer compelling perspectives across time. • Program TCHAIKOVSKY “July: Song of the Reaper,” from The Seasons , Op. 37a, for solo piano (1876) MUSSORGSKY, WEISSBERG, and DVOŘÁK Selected Songs for Voice and Piano ARENSKY String Quartet No. 2 in A minor, Op. 35, for Violin, Viola, and Two Cellos (1894) DVOŘÁK Piano Trio No. 3 in F minor, Op. 65, B. 130 (1883) Artists Simon Barrad, BARITONE | Eric Zivian, PIANO | Jennifer Frautschi, Tsien-Hsin Cindy Wu, VIOLIN | Andrew Gonzalez, VIOLA | Tanya Tomkins, Julia Yang, CELLO Perfo

The VMMF Cremona Foundation Apprentices are exceptional emerging artists whose musicianship, intelligence, and expressive range mark them as talents to watch. Coming from leading conservatories and early professional careers alike, they arrive at the Festival ready to deepen their artistry through close mentorship with our world-class faculty and the transformative experience of performing on historical instruments. This concert offers the rare opportunity to hear these remarkable young musicians at a pivotal moment in their artistic journeys, and promises to be one of the season’s most exciting and memorable events. Complete details to be announced later in the spring Concert Tickets Ultimate Pass Festival Pass Weekend 3 Pass

Between America and Abstraction – Composers and local musical sources Lecture Presented by Michael Beckerman It seems to be a matter of faith that Dvořák, Burleigh, Ives and Florence Prince referenced American music in order to draw attention to the United States, but could it be, rather, that they chose musical “Americanism” to make distinctive statements that were essentially abstract? This talk looks at the possible motives composers had for choosing to associate their work, somehow, with local musical sources. Free for concert ticket holders. Concert Tickets