2021 MUSICONTHEHILL PG 1 - MUSIC ON THE HILL
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2021 Music On The Hill Pg 1
2021 Music On The Hill Pg 1
MAYOR FRANK J. PICOZZI
VISITWARWICKRI.COM
2021 Music On The Hill Pg 1
Welcome to Music on the Hill’s 13th Festival
After the long pandemic “pause”, Music on the Hill is
eager to safely gather this spring and summer. Our musi-
cians missed playing in Rhode Island in 2020. We look
forward to saying “welcome back!” to both our artists and
our audiences.
Our 2021 festival offers six different concerts in East
Greenwich, Westerly, Cranston, Warwick, and online!
Many of the selections postponed in 2020 are offered this
year, in one-hour concerts presented without intermission.
Our return to St. Luke’s Episcopal Church, Music on the
Hill’s birthplace, is a special treat. The church’s new cli-
mate control system provides comfort for all.
Table of Contents
Thanks to the Aaron Roitman Fund for Chamber Mu- Narragansett Brass Quintet........... p. 2
sic, violin virtuoso Evan Price -- “one of the world’s most
confident voices in extra-classical string playing” -- joins us Remembrance: John Pellegrino.. P. 5
for two concerts. Evan’s unique blend of jazz and classical
will wow you, I’m certain. The Miller-Porfiris Duo pairs
Movie Night........................................ p. 6
classic silent films with unique musical selections, stream-
ing live on Zoom. World-renowned piano virtuoso Joseph Glad to be Bach................................... p. 8
Kalichstein performs Beethoven’s Fourth Piano Concerto,
and Metropolitan Opera mezzo-soprano Mary Phillips sings List of Advertisers.............................. p. 11
in Westerly. Harpist Rachel Miller and cellist Trevor Handy
offer glorious Bach solos. In Mozart’s Footsteps..................... p. 12
Music on the Hill’s 2021 festival is dedicated to the
memory of my father, John Pellegrino, who passed away List of Donors................................. p. 15
in January. A trumpeter and lifelong music educator, he
helped to establish our annual music festival 14 years ago Beethoven and Brahms................. p. 16
and served as board president for many years. Music on the
Hill continues to offer free admission to students, so please Baroque and Beyond......................... p. 20
bring your young people to the festival! My deepest thanks
to our supporters, now more than ever. Music on the Hill Musicians & Board of Directors... p. 24
is deeply rooted in Rhode Island, and flourishes thanks to
you!
John M . Pellegrino Our festival is made possible in part by a
grant from the Rhode Island State Council
on the Arts, through an appropriation by the
Rhode Island General Assembly and a grant
from the National Endowment for the Arts;
The Carter Family Charitable Trust; The
Aaron Roitman Fund for Chamber Music.
We thank our many advertisers and donors that have supported us
for so many years. 2021 festival dates have shifted as the pandemic
Artistic Director eases, so that we can share the music safely.
Pg 2 Music On The Hill 2021
Narragansett Brass Quintet
Sunday, May 30, 2021 3:00 pm
Clouds Hill Victorian House Museum 4157 Post Rd., Warwick, RI
Narragansett Brass Quintet
Joseph Foley & Richard Kelley, trumpets Kevin Owen, French horn
Alexei Doohovskoy, trombone Thomas Gregory, tuba
Paul Dukas (1865-1935) Fanfare from La Peri
William Byrd (1543-1623) Ne Irascaris, Domine
Giovanni Gabrieli (1557-1612) Canzona per Sonare, No. 2
Samuel Scheidt (1587-1654) Canzona Bergamasca
Gustav Holst (1874-1934) Second Suite in F (arr. Foley)
I. March III. Song of the Blacksmith
II. Song without Words IV. Fantasia on the Dargason
Victor Ewald (1860-1935) Quintet No. 1
I. Moderato: Piu Mosso
II. Adagio ma non troppo
III. Allegro Moderato
Leonard Bernstein (1918-1990) West Side Story Suite
I. I Feel Pretty
II. Maria
III. Tonight
Program subject to change
Meet and Greet the Musicians following the Concert
2021 Music On The Hill Pg 3
Program Notes for “Narragansett Brass Quintet”
Paul Dukas (1865-1935) Fanfare from La Peri
French composer, critic and scholar and teacher Paul Dukas is best known for The Sorcerer’s Appren-
tice. His compositions were influenced by Beethoven, Berlioz, Franck and Debussy. Dukas wrote La
Peri in 1911 as a Poème dansé en un tableau (“dance poem in one scene”), his last published work.
Dukas was commissioned to write the music for the Ballets Russes; the production was cancelled when
Diaghilev found the prima ballerina an inadequate partner for Nijinsky. La Peri is one of his most
mature and skilled pieces, a mixture of Romantic tonal harmony with Impressionism, distinctly French.
The ballet’s brilliant brass fanfare is often performed on its own.
William Byrd (1539-1623) Ne Irascaris, Domine
William Byrd is considered the greatest composer of the English Renaissance. Byrd transformed many
of the main musical forms of his day and stamped them with his own identity. He assimilated and mas-
tered the Continental motet form of his day, in a synthesis of English and continental models. He cre-
ated the Tudor consort and keyboard fantasia, having only the most primitive models to follow. He also
raised the consort song, the church anthem and the Anglican service setting to new heights. Byrd’s rise
was aided by influential patrons, including Queen Elizabeth and the Earl of Oxford. He was a devout
Catholic, and was officially named as a “recusant” a number of times, but nonetheless he continually
escaped any serious consequences for openly professing his religion. Ne Irascaris, Domine is among
the best-known pieces in the 1589 collection of motets, Cantiones Sacrae.
Giovanni Gabrieli (1557-1612) Canzona per Sonare No. 2
One of the most influential musicians of his time, Gabrieli represents the culmination of Venetian
School style. He became St. Mark’s principal organist and composer after his uncle’s death, and added
a prestigious similar post at the Scuola Grande di San Rocco. His students included Hans Leo Hassler
and Heinrich Schutz, and his composition was influenced both by his uncle and Monteverdi. Canzona
per Sonare was published in 1608.
Samuel Scheidt (1587-1654) Canzona Bergamasca
Scheidt was the first major German composer for the organ, and represents the style that developed
with the Reformation. Cut off from Rome and Italian styles, musicians in the newly Protestant areas de-
veloped distinct styles. Scheidt’s instrumental music include sacred and secular vocal and instrumental
works, fugues, suites of dances, and fantasias.
Continued on the next page
Pg 4 Music On The Hill 2021
Gustav Holst (1874-1934), arr. Foley Second Suite in F
An English composer best known for his orchestral suite The Planets, Holst composed in a range of
genres. His distinctive compositional style was the product of many influences, including Richard
Wagner, Richard Strauss, Maurice Ravel and the English folksong revival of the early 20th century.
Holst studied under Charles Villiers Stanford. He played the trombone professionally and later became
a teacher—a great one, according to his colleague Ralph Vaughan Williams. He served as musical
director at Morley College, and pioneered music education for women at St. Paul’s Girls’ School. In
his later years his uncompromising, personal style struck many as too austere, but he was a significant
influence on younger English composers such as Michael Tippett and Benjamin Britten.
Victor Ewald (1860-1935) Quintet No.1
A Russian composer of primarily brass works, Victor Ewald was a professor of Civil Engineering in St.
Petersburg, and was the cellist with the Beliaeff Quartet, which introduced much of the standard quar-
tet literature to late 19th-century Russian concertgoers. He also collected and published Russian folk
songs. Ewald’s professional life, like that of many of his musical contemporaries, was in an entirely
different field; that of a civil engineer. An obituary declared “…an entire industry for the production of
brick and cement manufacturing is beholden to him”. Brass players are indebted to him for a series of
quintets which have become a staple of the repertoire, the most extended examples of original litera-
ture in the Romantic style, among the first pieces composed specifically for brass quintet. Ewald was
a member of a remarkable circle of amateur musicians, whose shared interest in indigenous folksong
shaped a distinctive Russian national musical style. Aside from the engineer Ewald, the group includ-
ed chemist Alexander Borodin, imperial guard officer Modest Mussorgsky and navy officer Nicolai
Rimsky-Korsakov.
Leonard Bernstein (1918-1990) West Side Story Suite
I. I Feel Pretty II. Maria III. Tonight
Bernstein’s iconic 1957 musical was created with Arthur Laurents (book), Stephen Sondheim (lyrics)
and Jerome Robbins (conception and choreography). The 1961 film is the musical film with the most
Academy Award wins (10 wins), including Best Picture. In 1961, Bernstein prepared a suite of orches-
tral music from the show, Symphonic Dances from West Side Story. Jerome Robbins created West Side
Story Suite as a 1995 ballet for New York City Ballet.
2021 Music On The Hill Pg 5
Music on the Hill’s 2021 festival
honors founder John Pellegrino
Music on the Hill dedicates our 2021 festival to John Pellegrino (1930-2021), to honor the man who helped
establish our music festival. A loving musician, teacher, brother, husband, father, friend, godfather and
grandfather, John Pellegrino died January 24th, 2021 at his home in Fort Myers, FL. Born March 23, 1930, to
Mary and Gerardo Pellegrino of Johnston, RI. John was the eldest of three children, with brothers Alfred R.
(Sandra) of Ft. Myers, and Gerard (Carol) of Warwick, RI. John married Alice Kays on November 23, 1961 and
they enjoyed a 56-year marriage until her death in 2017.
John graduated from Mt. Pleasant High School in Providence, Boston Conservatory of Music, and The
University of Miami at Coral Gables. He was a music educator in the Portland, ME, public schools and in
Coventry, RI, before becoming the trumpet professor at Rhode Island College in 1964 until his retirement
in 2003. John served as Principal Trumpet in the Rhode Island Philharmonic for more than two decades; he
joined the Philharmonic in the 1960’s as third trumpet and retired on third trumpet in the 1980’s. John was also
a featured soloist with numerous groups throughout New England, but he truly dedicated his life to educating
young trumpet players and raising his family, including his only grandson, Ian Conway. In retirement, John and
Alice enjoyed plenty of travel, time with family, gardening (not a summer would go by without his yard being
filled with fresh vegetables), attending concerts, and serving as president of the board for Music on the Hill.
After enjoying many winters in southwest Florida, John and Alice moved to Fort Myers. There, John enjoyed
an active social life, attended multiple concert series, joined the New Horizons Concert Band, built bocce courts
and started a bocce league, and loved attending services at the First Presbyterian Church in Bonita Springs.
John led Music on the Hill’s board of directors from 2008-2014. His commitment to presenting high quality
concerts, his warmth and kindness to those in attendance and to those on stage, as well as his dedication to
selling ads and fundraising for Music on the Hill, continues to inspire both musicians and board members today.
In lieu of flowers, we welcome donations in John Pellegrino’s memory to Music on the Hill, PO Box 633, East
Greenwich, RI 02818
Pg 6 Music On The Hill 2021
Movie Night
Wednesday, June 2, 2020 7:30 pm
Streaming live on ZOOM
The Miller-Porfiris Duo: Anton Miller, violin and Rita Porfiris, viola
The Violinmaker of Cremona (1909)
Music of Jeno Hubay Irving Berlin Reinhold Gliere and Victor Herbert
o Starring Mary Pickford, Owen Moore, Herbert Prior, David Miles, Marion Leonard and Harry Solter
Tango Tangles (1914)
Music of Leroy Anderson Carlos Gardel David Popper and Frederic Chopin
Starring Mary Pickford, Charlie Chaplin, Fatty Arbuckle, and Ford Sterling
The Great Train Robbery (1903)
Music of Aaron Copland Wilhelm Grosz Reinhardt Gliere and Ferde Grofe
Starring Bronco, Billy Anderson, Alfred Abbadi, Justice D. Barnes and Marie Murray
Out West (1918)
Music of Mark O’Connor
Starring Fatty Arbuckle, Al St. John, Buster Keaton, Alice Lake and Joe Keaton
Program subject to change2021 Music On The Hill Pg 7
Program Notes for “Movie Night”
Many of us grew up watching silent movies with soundtracks specifically written or arranged to fit each
scene. This ensures that all showings are exactly the same, to all audiences at different locations and different
times. Yet in the days of early silent film, music was not used in this way. Each theater had its own accom-
panist who played live music personally selected from big generic books that corresponded to different types
of actions: music for a “Chase Scene”, “Hurry Music-Party”, or “Hurry Music-Fire.” In some big cities you
might have been lucky enough to hear a film with an orchestra, but in most theaters this accompanist was a
single musician.
Showings of classic silent films are now often accompanied by modern compositions written to fit the old
films, performed by either a single keyboard or an orchestra. Although live music certainly enhances the expe-
rience, it is still contemporary music applied specifically and meaningfully to a film, one step removed from
recording a movie soundtrack. In our film concerts, we accompany the film with music that is period-appro-
priate – music that was written prior to, or around the time of the creation of the film – for a truly immersive
historical experience. We do not perform with monitors to line up our music with precise points in the film but
rather interact with the film ourselves, merging the chamber and cinematic experience for the enhancement of
both art forms.
Emigration due to a rapidly changing political landscape in Europe forever altered the American music scene
and influenced the entire Hollywood film industry. Austrian Robert Fuchs, friend of Johannes Brahms, was
notable for his influence on his students Korngold, Zemlinsky, and Steiner, composers that joined the ranks of
other recognizable names leaving their cultural heritage behind due to increasing persecution during Hitler’s
rise to power. They quickly found employment and a whole new way of expressing themselves in the newly
developing film industry in California. Their music, associated with some of the most iconic films of the era,
shaped not only future generations of movie composers, but all mainstream classical composers.
This program offers a range of shorts, comedies, dramas, and westerns, from an early Mary Pickford appear-
ance in The Violinmaker of Cremona to Edison Films’s trailblazing The Great Train Robbery . One of the
first silent films in existence, The Great Train Robbery is known for innovative techniques and some of the
first on-location filming. “Out West” is a 1918 comedy-satire on then-contemporary westerns, starring “Fatty”
Arbuckle, Al St. John, Buster Keaton, and his father, Joe Keaton.
Notes by the Miller-Porfiris Duo, who curated and arranged the musical selections to accompany each short
film for this unique event.Pg 8 Music On The Hill 2021
Glad To Be BACH
Sunday, August 29, 2021 3:00 pm
St. Luke’s Episcopal Church 99 Peirce Street, East Greenwich, RI
J.S. Bach (1685-1750) arr. M. Grandjany Fugue from Violin Sonata No. 1 in G minor, BMV 1001
Rachel Miller, harp
David Walter (1913-2003) Prelude: Homage à Casals
John M. Pellegrino, bass
C.P.E. Bach (1714-1788) Sonata for Solo Harp in G Major, Wq 139
Rachel Miller, harp
J.S. Bach Cello Suite No. 6 in D Major, BWV 1012
I. Prélude IV. Sarabande
II. Allemande V. Gavottes I and II
III. Courante VI. Gigue
Trevor Handy, cello
Program subject to change
Meet and Greet the Musicians following the Concert2021 Music On The Hill Pg 9
Program Notes for “Glad To Be BACH”
J.S. Bach (1685-1750) arr. M. Grandjany Fugue from Violin Sonata No. 1 in G minor, BMV 1001
What an epic work! This piece of music was originally intended for solo violin, and is a staple in the violin
repertoire. It has become quite standard for other instruments to study and perform the works of Bach — in
fact, studying and playing J. S. Bach is a rite of passage for any musician, both technically and musically. With
its familiar theme, the fugue has become a popular work among other instrumentalists, including the harp. This
arrangement for solo harp is included in a book of technical studies and etudes written by harpist Marcel Grand-
jany. The fugue is harmonized tastefully to celebrate the range and resonance of the harp. Listen for the familiar
theme weaving in and out of the lower and upper parts of the instrument. The fugue is the thread that draws you
into this masterpiece. (Notes by Rachel Miller)
David Walter (1913-2003) Prelude: Homage à Casals
David Walter, born in Brooklyn, was one of America’s leading double bass teachers, having taught at Manhat-
tan School of Music and at the Juilliard School over five decades. Starting with the violin as a child, the young
prodigy gave a recital under Sol Hurok’s management at twelve years of age. In 1932, Walter graduated from
City College of New York with a BS in mathematics. Concurrently, he became a bass player and later attended
the Juilliard School, becoming a jazz musician while studying the orchestral and solo rep with Fred Zimmer-
man. In 1938, shortly after graduating Juilliard, Walter joined the Pittsburgh Symphony Orchestra as principal
bassist. After a successful audition in 1940, Toscanini invited Walter to join the NBC Symphony, where he spent
fifteen seasons. When the NBC Symphony disbanded, Walter took a leading role in organizing the Symphony
of the Air, serving as both its principal bass and board chairman. Walter’s career as a jazz bassist continued,
including a two-year stint on NBC’s Tonight Show. In 1956, he became a member of the New York City Ballet
Orchestra, retiring in 1997.
During his years as principal bass of the Casals Festival in Puerto Rico, Walter was enthralled with the pas-
sion that Pablo Casals brought to the stage. Casals’ love for Bach and all things Baroque moved and inspired
Walter. Many of my lessons with him during my undergraduate years at Manhattan School of Music focused
on this time period, and all involved references to Casals. By today’s standards of period practice for Baroque
music, Walter’s Homage à Casals would stand out as an absolutely shocking depiction. He composed the work
(at the piano!) out of love for his “maestro” after learning of his passing, and formulated the composition in a
Bach-like, solo cello, prelude form. His clear instructions during my lessons to liberally use portati, vibrato and
glissandi as well as encouraging me to stretch time, exaggerate moods and weep on the instrument would make
today’s Baroque specialist cringe! This Romantic approach to the Bach era was keenly intended by the compos-
er. Casals took the majority of his lifetime to bring the Bach cello suites from the practice room to the concert
stage, and his approach was born out of the Romantic era. I feel that this short, near-Bach composition suits
an all-Bach concert, because of its origins and as an homage not only to Pablo Casals (David Walter’s music
father) but also to my father, John Pellegrino. (Notes by John M. Pellegrino)
C.P.E. Bach (1714-1788) Sonata for Solo Harp in G Major, Wq 139
Like his father, Johann Sebastian, C.P.E. Bach was no stranger to the musical life. He was one of four siblings
who became professional composers following in their father’s legacy, holding prominent positions primarily in
Continued on the next pagePg 10 Music On The Hill 2021 Berlin and Hamburg. C.P.E. Bach’s Sonata for Harp is considered to be the first piece of music written for solo pedal harp, and is thus a part of the harpist’s standard repertoire. The single-action pedal harp made its debut in the mid-1700’s — this Sonata was written in 1762. The Sonata has three movements: Allegro, Adagio un poco, and a final Allegro. C.P. E. was known for writing in the style empfindsamer Stil — very sensitive and emotive, compared to his contemporaries. Listen for this expressive writing in the adagio un poco — a sweet, tender melody with so much to say. Of the three movements in the sonata, the adagio best exemplifies the style of writing for which C.P.E became well-known. The allegros are both joyful, playful movements. The third and final allegro is per- haps the most well-known movement, and has been widely recorded and performed on its own. Enjoy its care- free and bouncy energy! (Notes by Rachel Miller) J.S. Bach (1685-1750) Suite No. 6 for Solo Cello, BWV 1012 In 1717, J.S. Bach decided to leave his position under Duke Wilhelm of Weimar and to accept employment un- der Prince Leopold at Anhalt-Cothen. Bach’s duties in his new position would be to maintain the court orchestra and to be in charge of chamber music. Bach was assured that his work would be supported in his new position, for Prince Leopold was an able and committed player of the viola da gamba. Indeed, Leopold played regularly in Bach’s orchestra. Bach’s plans were delayed, however, as Duke Wilhelm of Weimar operated as a feudal lord and refused to allow Bach to leave. Bach was imprisoned for almost a month until Wilhelm changed his mind. Meanwhile, Bach was aided by a fortunate turn of events in Berlin, about seventy miles away. King Frederick I of Prussia had established an excellent orchestra in Berlin, and it functioned until his death in 1713. Frederick’s son Frederick Wilhelm then became king and decided that the money spent on the orchestra could be better used on the military. The orchestra was disbanded, and several of the musicians relocated to Cothen (sometimes spelled Kothen). So Bach’s musicians once he finally arrived in Cothen were among the best around. Among those who relocated was Ferdinand Christian Abel, a fine cellist and gambist. Bach became the godfather of Abel’s daughter Sophie-Charlotte, born in 1720. It is likely that Bach’s three sonatas for gamba and keyboard were written for Abel to teach Prince Leopold, and it is certainly likely that the six suites for cello were written for him. The original manuscript of the cello suites has disappeared, and so the dates are uncertain. However, the manuscript of the six works for unaccompanied violin is dated 1720, and most scholars believe that the cello suites are contemporaneous or slightly earlier. Bach himself was a respectable violinist and probably also played the cello. In these pieces Bach seems to be exploring possibilities previously not imagined. It is not known whether any of the unaccompanied violin or cello pieces were publicly performed during Bach’s lifetime. The violin works were first published in 1802 and the cello suites about 1824-26. But both were almost unknown until the 20th century. The cello suites were considered exercises until a young cellist named Pablo Casals chanced upon a used copy and had a huge success when he performed Suite #3 in London in 1909. Casals continued studying the suites and by 1939 had finally recorded all six. Yehudi Menuhin made the first recordings of the violin works between 1934 and 1936. All of Bach’s suites, no matter the medium, have four obligatory movements: allemande, cou- rante, sarabande, and gigue. Some suites, including all of those for cello, place a prelude before the allemande. When other movements are added, they are called gallantries and are placed between the sarabande and the gigue. In every suite, all movements are composed in the same key center. Cellists playing the 6th suite on a modern four-string cello encounter difficulties as they are forced to use very high positions to reach.
2021 Music On The Hill Pg 11
Music on the Hill thanks these businesses
for their advertising support in 2019 - 2020:
Artistic Contours, www.artisticcontourssurgery.com
Aspire Dermatology, www.aspiredermatology.com
Bald Hill Dodge, www.baldhill.com
Beekman Violin, www.beekmanviolin.com
Clouds Hill Museum, www.cloudshill.org
Coastal Medical, 1351 South County Trail, East Greenwich
The Crow’s Nest Restaurant, 285 Arnold’s Neck Rd, Warwick
Decisive Wealth Management, 91 Toll Gate Rd, Warwick
East Greenwich Dental Associates, 4575 Post Rd, East Greenwich
Christopher L. Franklin, CPA, 4060 Post Rd, Warwick
Greenwood Credit Union, www.greenwoodcu.org
Gulati Asset Management, www.gulatiassetmanagement.com
La Masseria, www.lamasseria.com
Mae’s Place, 8230 Post Rd., North Kingstown
Main Street Coffee, 137 Main St., East Greenwich
Erin Marsh, Realtor, www.mottandchace.com
Mutual Adjustments, Insurance Adjusters, 120 Preston Dr, Cranston
Pratt Family Dentistry, www.prattfamilydentistry.com
Robert’s Musical Instruments, www.robertsmusicRI.com
Saint Elizabeth Home, www.stelizabethcommunity.org
Smile Designers, Dentistry, www.smiledesignersRI.com
Thorpe’s Wines & Spirits, 609 Main St., East Greenwich
Tom’s Market, www.tomsmarketcatering.com
University Gastroenterology, www.universitygi.com
Warwick Department of Tourism, www.visitwarwickri.comPg 12 Music On The Hill 2021
In Mozart’s Footsteps
Monday, August 30, 2021 7:00 pm
Immaculate Conception Church 237 Garden Hills Drive, Cranston, RI
W. A. Mozart (1756-1791) (arr. Price) Concerto No. 3 for Violin and Strings in G major, K 216
I. Allegro
II. Adagio
III. Rondeau
Evan Price (b. 1971) Concerto for Jazz Violin, Strings, and Piano
I. Allegro Con Brio
II. Calme
III. Rondo
Evan Price, solo violin; Anton Miller, Katherine Winterstein, Deborah Tien Price, Liana Zaretsky, violins
Rita Porfiris & Stephen Goist, violas; Elisa Kohanski & Trevor Handy, cellos
Gregg August & John Pellegrino, bass; Bonnie Anderson, piano
Evan Price’s appearance is made possible
by the Aaron Roitman Fund for Chamber Music.
Program subject to change
Meet and Greet the Musicians following the Concert2021 Music On The Hill Pg 13
Program Notes for “In Mozart’s Footsteps”
Wolfgang Amadeus Mozart (1756-1791) Concerto No. 3 for Violin and Strings in G Major, K. 216
Born in Salzburg, Austria, in January of 1756, Mozart’s birth name was Johannes Chrysostomus Wolfgang Got-
tlieb Mozart, but he began calling himself Wolfgang Amadeo in 1770 and then changed to Wolfgang Amadè
Mozart in 1777. His short but very creative and busy life ended in 1791. He composed the last four of his five
violin concertos between April and December of 1775. The concerto that you will hear this evening was com-
pleted on September 12, 1775, and seems to have had its premiere in Salzburg shortly after its ink had dried.
The piece was written for solo violin, two oboes and two horns, as well as violins, violas, cellos and bass. To-
night’s arrangement is orchestrated by Evan Price and simply folds the 4 wind parts into the string parts. Evan
will perform original cadenzas.
Wolfgang’s father Leopold was himself a famous violinist and composer. One of his many contributions to the
violin culture was his violin method book, Versuch einer gründlichen Violinschule. This book was published in
1756, the year of his son’s birth. When Wolfgang’s musical talent became palpable, Leopold decided to devote
himself to training his son. Of course, this investment of Papa Mozart’s paid off to the highest measurable de-
gree. Wolfgang’s training included instruction on violin and harpsichord. Wolfgang was the rock star of his time
and starred on both instruments in addition to becoming one of the most successful composers of all time.
19-year-old Wolfgang was still very focused on string playing and composing in 1775, but once he moved to
Vienna, he switched his focus to the keyboard in both composing and performing. In October of 1777, his father
wrote, “You have no idea how well you play the violin, if you would only do yourself justice and play with
boldness, spirit, and fire, as if you were the first violinist in Europe.” But by then, Wolfgang had already started
to slide away from playing and writing for the violin/strings and headed straight for the keyboard. In Vienna,
Wolfgang preferred to play the viola in chamber music sessions, and his concert appearances were as a pianist.
This delightful concerto has three movements, with a brief pause between each movement. Each movement
seems written to show off the virtuosity and skill of the solo violinist. As an accomplished fiddle player, Mo-
zart’s attention to intricacy and his concern for the role of the orchestra are the most important features of the
work. In a large sense, the orchestra’s sound is light, while the soloist’s voice is very elaborate. Mozart smartly
composed this piece in this way to highlight the technical skill of the soloist.
Evan Price (b. 1972) Concerto for Jazz Violin, Strings, and Piano
This concerto is being performed tonight in its chamber version. The original orchestration included flute, oboe,
bassoon, bass clarinet, French horn, trumpet, trombone, mallet percussion, and strings. I formulated the idea of
composing a concerto for myself several years before the opportunity to compose and perform one came along.
I was inspired by composers of the Classical era, who routinely performed their own works and were expected
to improvise their own cadenzas, and also by the realization that classical musicians today are largely bifurcated
into two groups: composers and performers. When I further realized that this situation seems to be unique in the
world of music, I heard the call to bring my contemporary improvisational skills to bear and, in a way, return to
the 18th Century tradition.
Continued on the next pagePg 14 Music On The Hill 2021
My piece follows the classical concerto form in many respects. It has three movements, arranged in the typical
fast-slow-fast sequence. The third movement is written in rondo form, which is also a typical formal structure
from the 18th Century. There are many variants of rondo form, but I chose to model mine on the final move-
ment of Mozart’s 3rd violin concerto (which also appears on tonight’s program). In essence, rondos are struc-
tured like multi-layered cakes or club sandwiches. They begin with a theme which is then followed by a second
theme. The first theme returns and then a third theme is heard. Then the first theme comes back, often with
slight variations but always easily recognizable for what it is. And the piece proceeds more or less in this fash-
ion, like thin layers of cake or bread interspersed with different fillings. They are usually quick, playful romps
that leave the audience with smiles on their faces and a tune in their hearts.
Aside from the obvious stylistic differences, my most notable departure from the classical form is the way I
employ improvisation. In addition to the customarily improvised solo cadenzas, approximately 30% of the solo
part is left blank, leaving room for me to improvise over the orchestral accompaniment in the manner of a jazz
soloist. I have also utilized a special technique which I call alla ghironda—in Italian, “like a hurdy-gurdy.” An
old but rarely seen party trick, it requires the violinist to wrap the bow hair over the strings of the violin, en-
abling him to play chords on 3 and 4 strings at once. (Notes by the composer)
We gratefully acknowledge our musicians'
many contributions. Their generosity and
love for the Music on the Hill
allow us to keep ticket prices low, and to
offer free admission to students.
Music on the Hill gratefully acknowledges the donors who have sustained our
organization with contributions between April 6, 2019 and May 13, 2021.
Grants Contributors
RI State Council on the Arts Judith Ablon
Carter Family Charitable Trust Thomas Ahern
Aaron Roitman Fund for Chamber Music Diana & Peter Almonte
Pawtucket Credit Union Michael & Susan Ambrosini
Boris Astafiev
Sponsors Michelle Baker
Anonymous Harold & Rose Marie Barker
Greenwood Credit Union Deborah Barrett Price
Sue & Ken Loiacono Cherie A. Beatty
Donald Rankin Henry Beckwith
Gerard & Carol Pellegrino Roberta Bianco
John Pellegrino Ida Bilodeau
Robert & Marie Petrarca Victoria Blaser
Renee Boblette
Nancy Borden
Maria & Graziano Bortot
Continued on the next page2021 Music On The Hill Pg 15 Eloise Boyer Maija Lutz Janet Chen & Rick Buchanan Charles & Anne Mansolillo David & Martha Capaldi Carolyn Marshall Constatin Carammiciu & Martha Rice Robert & Mary Lou Martin Robert & Marjorie Catanzaro Stephen & Cynthia Martorella Nat Chaikin M.L. Masse Betty Challgren Katherine McLin Srinivas Chitiveli Hubert & Ronelle Meunier Donna & Donald Cimini Victor & Anne Modugno Teri Coffee John Moran Robert Conte Mr. & Mrs. Powell Morin Judith DeBlois Ingrid M. Muller Katherine & Martin Denny-Brown Camille Nemanic Anthony & Sonya DeStefanis Nancy Nester Linda Diebold Carmen Oldmixon Linda DiPrete George O’Sullivan Jr. Evelyne & Martin Echt Andrew Pace Richard & Anne Egan Alfred Pellegrino Richard & Cheryl Ferris John M. Pellegrino Constance Flanagan Kristen Pellegrino Beatrice Flynn Lauren Pellegrino Loraine Forcier Martha Pellegrino Caryl & James Frink Rachel & Samuel Pierson Anne Marie Gabriele Rita Porfiris Stanley & Rose Galek Robert & Mary Raposa Frank DiZoglio Elizabeth Reardon Cheryl Gingerich Elaine Reuben John & Linda Golden Kathleen & Frank Romeo Sharon Greenwood Freya Samuels Mary Alice Grellner Robert & Joanne Schacht Trevor Handy Mona & Bill Scheraga Dr. Gabriel M. Hayek Bob & Betty Sepe Monique Hedegard Ruby Shalansky Marion Hill Audrey Shapiro Meg & Stephen Hoff Marc & Arla Silverstein David Hoffer Brian & Sau Ping Yu Skelly Anne Holst Thomas Spain Lynda Horenstein Dorothy & Dixon Stearns Vyra Imondi Bruce & Carol Stevens Dale & Linda Johnson Dr. M. Taylor Charles & Carol Kaufman Rex Tien Nancy Kays David Tognetti Virginia Kenny Flora Treger George E. & Evelyn L. Kent Dianne Trenchard Craig & Maria Kohanski Annette & Romeo Turo Linda Kupa Lee & Sue Vincent Barbara & Edmund Lamagna Alan & Marie Weiss Randi Laroche John & Carolyn Wheeler Peter & Karen Leger Birgitta Whited Bill Lindberg Rebecca Willie
Pg 16 Music On The Hill 2021
Beethoven and Brahms
Wednesday, September 1, 2021 7:00 pm
Dunn’s Corners Community Church 221 Post Rd, Westerly, RI
Giovanni Bottesini (1821-1889) Elegy
John M. Pellegrino bass and Bonnie Anderson, piano
Johannes Brahms (1833-1897) Two Songs for Contralto with Cello Obligato
I. Gestillte Sehnsucht
II. Geistliches Wiegenlied
Mary Phillips, mezzo-soprano; Elisa Kohanski, cello; Bonnie Anderson, piano
Ludwig van Beethoven (1770-1827) Concerto for Piano No. 4 in G major
I. Allegro moderato
II. Andante con moto
III. Rondo. Vivace
Joseph Kalichstein, piano; Anton Miller and Katherine Winterstein, violins
Rita Porfiris, viola; Trevor Handy, cello; John M. Pellegrino, bass
This concert is funded in part by Sue and Ken Loiacono
Program subject to change
Meet and Greet the Musicians following the Concert2021 Music On The Hill Pg 17
Program notes for “Beethoven and Brahms”
Giovanni Bottesini (1821-1889) Elegy
Born in Crema, Lombardy, on December 22, 1821, Bottesini was the leading bass virtuoso of his time. Often
hailed as the Paganini of the double bass, Bottesini was also very well-known as a conductor and a composer.
Bottesini learned the rudiments of music from his father and then began violin study. When Bottesini was 14,
his father wanted to enter him in the Milan conservatory, but because of the family’s limited means, Giovanni
would have to have a scholarship. The only scholarships available were in double bass and bassoon. So Giovan-
ni auditioned successfully for the double bass scholarship and advanced so rapidly that he graduated in only
four years. He toured Europe, the United States, and Latin America. His virtuosity and musicality became a
phenomenon. Because of his complete musicianship, he also became a conductor and a composer. He wrote 13
operas and 11 string quartets, as well as a huge body of work for the solo double bass. He also toured the world
as a leading opera conductor; in fact, Giuseppe Verdi chose Bottesini to conduct the first performance of Aida,
which took place in Cairo on December 27, 1871. Interestingly, Bottesini wrote his Elegy one year before the
Aida premiere. During intermissions of operas that Bottesini conducted, he would often perform on the bass.
Sometimes he would even improvise fantasies on the opera themes from the pit or stage. His very romantic
and bel-canto style of writing is evident in all of his works. At the time of his passing, Giovanni Bottesini was
a Freemason and the director of the music conservatory in Parma. Many bass players believe that this Elegy is
Bottesini’s most perfectly crafted composition.
Johannes Brahms (1833-1897) Two Songs for Contralto with Cello Obligato
Brahms composed more than 200 Lieder for solo voice and piano, but only this set of two, originally composed
for contralto, piano and viola, include a second instrument. Both have longer introductions than most, allowing
the viola/cello to establish its dark and lyrical second voice. The songs were published in 1884, but may have
been sketched much earlier.
“Gestillte Sehnsucht” sets words of the German poet Friedrich Rueckert (1788-1866). The opening verse glori-
fies the peacefulness of nature. In the second stanza, the poet asks why he cannot still his desires and longing;
here, Brahms uses more chromaticism and a more agitated accompaniment. The mood and music of the opening
return for the final verse.
“Geistliches Wiegenlied” sets poetry of Emmanuel Geibel (1815-1884), based on work of the Spanish play-
wright and poet Lope de Vega (1562-1635). The cello begins by quoting a familiar German lullaby, “Joseph,
lieber Joseph mein”. Once again, the middle section becomes agitated as the mother explains that her child suf-
fers from the woes of the world.
Continued on the next pagePg 18 Music On The Hill 2021
“Gestillte Sehnsucht” by Friedrich Rückert (1788-1866) “Longing at Rest” translation by Richard Stokes
In goldnen Abendschein getauchet, wie feierlich die Wälder Bathed in golden evening light, how solemnly the forests
stehn! stand!
In leise Stimmen der Vöglein hauchet des Abendwindes The evening winds mingle softly with the soft voices of the
leises Wehn. birds.
Was lispeln die Winde, die Vögelein? Sie lispeln die Welt What do the winds, the birds whisper? They whisper the
in Schlummer ein. world to sleep.
Ihr Wünsche, die ihr stets euch reget im Herzen sonder Rast But you, my desires, ever stirring in my heart without re-
und Ruh! spite!
Du Sehnen, das die Brust beweget, Wann ruhest du, wann You, my longing, that agitates my breast – when will you
schlummerst du? rest, when will you sleep?
Beim Lispeln der Winde, der Vögelein, ihr sehnenden Wün- The winds and the birds whisper, but when will you, yearn-
sche, wann schlaft ihr ein? ing desires, slumber?
Ach, wenn nicht mehr in goldne Fernen mein Geist auf Ah! when my spirit no longer hastens on wings of dreams
Traumgefieder eilt, into golden distances,
Nicht mehr an ewig fernen Sternen mit sehnendem Blick When my eyes no longer dwell yearningly on eternally
mein Auge weilt; remote stars;
Dann lispeln die Winde, die Vögelein mit meinem Sehnen Then shall the winds, the birds whisper my life – and my
mein Leben ein. longing – to sleep.
“Geistliches Wiegenlied” by Emanuel Geibel (1815-1884) “Sacred Cradle-song” translation by Richard Stokes
Die ihr schwebet um diese Palmen in Nacht und Wind, ihr You who hover around these palms in night and wind, you
heil’gen Engel, holy angels,
Stillet die Wipfel! Es schlummert mein Kind. Silence the tree-tops! My child is sleeping.
Ihr Palmen von Bethlehem im Windesbrausen, You palms of Bethlehem in the raging wind,
Wie mögt ihr heute so zornig sausen! O rauscht nicht also! Why do you bluster so angrily today! O roar not so!
Schweiget, neiget euch leis’ und lind; Be still, lean calmly and gently over us;
Stillet die Wipfel! Es schlummert mein Kind. Silence the tree-tops! My child is sleeping.
Der Himmelsknabe duldet Beschwerde, The heavenly babe suffers distress,
Ach, wie so müd’ er ward vom Leid der Erde. Oh, how weary He has grown with the sorrows of this
Ach nun im Schlaf ihm leise gesänftigt die Qual zerrinnt, world.
Stillet die Wipfel! Es schlummert mein Kind. Ah, now that in sleep His pains are gently eased,
Grimmige Kälte sauset hernieder, Silence the treetops! My child is sleeping.
Womit nur deck’ ich des Kindleins Glieder? Fierce cold blows down on us,
O all ihr Engel, die ihr geflügelt wandelt im Wind, With what shall I cover my little child’s limbs?
Stillet die Wipfel! Es schlummert mein kind. O all you angels,who wing your way on the winds,
Silence the tree-tops! My child is sleeping.
Ludwig van Beethoven (1770-1827) Concerto for Piano No. 4 in G Major, Op. 58
Ludwig van Beethoven was born in the tiny town of Bonn, Germany, in December of 1770. He received his ear-
ly training from his dad and a few other local musicians. As a teenage boy, Beethoven became an assistant to his
teacher, Christian Gottlob Neefe, and was granted half of his father’s salary as court musician from the Elector-
ate of Cologne. (This allowed him to care for his two younger brothers, since his father had given in to alcohol-
ism.) Beethoven played viola in many orchestras, becoming friends with players and composers such as Antoine
Reicha, Nikolaus Simrock and Franz Ries. Soon after these friendships cemented, Beethoven began taking on
composition commissions himself. The composer’s youthful fame came not only from his compositions but
from his amazing keyboard skills. At the age of 22, Beethoven arrived in Vienna and aggressively bumped out
the leading virtuosi pianists within Vienna’s acclaimed musical society. Beethoven engaged in a famous piano
duel with one of the leading virtuoso pianists to determine who was the top improviser. Ludwig won without
much competition by cleverly weaving in the other pianist’s own compositional melodies as the main theme for
his own improvisations!2021 Music On The Hill Pg 19 Throughout the course of Beethoven’s life, the piano was the composer’s home base. Much to many string players’ ire, he composed all of his works at his keyboard, thus not always considering the struggles that his writing would cause for the wire-choir crowd! The Fourth Piano Concerto premiered in 1807 at the palace of Prince Lobkowitz, Beethoven’s patron. The public debut occurred during a five-hour concert on December 22, 1808, which also included the debuts of his Choral Fantasy, his Fifth and Sixth Symphonies, and his Mass in C. Surprisingly, this work was only performed twice during Beethoven’s lifetime. Thankfully, Felix Mendels- sohn brought this masterpiece back to the public in 1836. This concerto also made use of some innovations that were new developments for the piano at the time of the piece’s composition. At the time, three unison strings were provided for each note, and a new pedal system allowed the pianist to shift between all three strings. This gave the pianist new colors to explore. The then- modern instrument also had three additional keys at the top of the instrument’s range, which are employed by Beethoven in this concerto. In a note to his friend Ferdinand Ries on July 16, 1823, Beethoven stated, “Candid- ly I am not a friend of allegri di bravura since they do nothing but promote mechanism.” One of his students, Countess Babette von Keglevics, recalled after a lesson, “He was extraordinarily patient, but if I lacked expres- sion, he became very angry.” Expressive playing lies at the heart of the Fourth Piano Concerto, and its gentle triumph broke new ground for the concerto as a form.
Pg 20 Music On The Hill 2021
Baroque and Beyond
Friday, September 3, 2021 7:00 pm
St. Luke’s Episcopal Church 99 Peirce Street, East Greenwich, RI
Claude Debussy (1862-1918) (arr. E. Price) Clair de Lune
Evan Price, violin; Stephen Goist, viola; Elisa Kohanski, cello; Gregg August, bass
J. S. Bach (1685-1750) (arr. E. Price) Partita No. 2 for Violin and Bass in D Minor, BWV 1004
I. Allemanda II. Corrente III. Sarabanda
IV. Giga V. Ciaccona
Evan Price, violin; Gregg August, bass
Dave Anderson (b. 1949) Three Double Bass Duets
I. Parade of Politically Prudent Pigs
II. Blue Cheese
III. Rush Hour
Gregg August and John M. Pellegrino, bass
Maurice Ravel (1875-1937) Mother Goose Suite
I. Pavane of a Sleeping Beauty in the Forest
II. Tom Thumb
III. Homely Little Girl, Empress of the Chinese Dolls
IV. Conversations of the Beauty and the Beast
V. Fairy Garden
Evan Price, violin; Stephen Goist, viola; Trevor Handy, cello
John M. Pellegrino, bass; Bonnie Anderson, piano
Evan Price’s appearance is made possible by the Aaron Roitman Fund for Chamber Music.
This concert is funded in part by Robert and Marie Petrarca
Program subject to change
Meet and Greet the Musicians following the Concert2021 Music On The Hill Pg 21
Program Notes for “Baroque and Beyond”
Claude Debussy (1862-1918) (arr. E Price) Clair de Lune
Composed in 1890 when the composer was just 28 years old, Clair de Lune was revised prior to its publication
fifteen years later. As part of the four-part Suite Bergamasques, Clair de Lune (“Moonlight”) bears the title of
a poem by Paul Verlaine that served as inspiration for the entire suite. It has become one of Debussy’s most
beloved and recognizable works.
J.S. Bach (1685-1750) (arr. E. Price) Partita No. 2 for Violin and Bass in D Minor, BWV 1004
This partita was originally composed by J.S. Bach as part of a set of six sonatas and partitas for solo violin.
My interpretation differs from the typical in its addition of a part for contrabass and its liberal use of
improvisation. The five movements have been faithfully preserved in most other aspects; they have not been
altered in length or form, and their harmonies have been left intact. The choice to allow myself to replace
select melodic passages with improvisation stems in part from my perspective as a jazz musician and partly
from my knowledge that the practice of improvising was in wide use during Bach’s own time. In fact, it is
commonly believed that pieces like these - with elaborate ornamentation and variation written in the composer’s
hand – were much more the exception than the rule in the Baroque period. Rather, written music was typically
presented more simply with the understanding that the performer was expected to embellish according to his
own muse.
The opening Allemanda is a moderate and stately dance. My version differs from the printed music in that I
alternate between playing long sections of Bach’s melody with playing my own improvised melody based on
the same harmonic movement that underpins the original. The Corrente, a “running” movement loosely based
on the Allemanda, is through-composed and features only a few alterations to the original to make room for the
addition of the bass. I treat the Sarabanda like I do the Allemanda, first faithfully stating Bach’s melody and
then improvising a variation on it. The Giga, distantly related to a jig, is treated as a light-hearted romp before
we get down to the business of the Ciaccona. Considered a towering masterpiece for the violin, this 14-minute
saga is not only an exhaustive exploration of a 4-bar phrase but—for many listeners—an eloquent summation
of life itself. My version features a few moments for improvisation by both players as well as some interpolated
melodies for the bass and some melodic variations of my own. (Notes by Evan Price)
Dave Anderson (b. 1949) Three Double Bass Duets
Dave Anderson is the principal double bassist of the Louisiana Philharmonic in New Orleans and also of the
Britt Festival Orchestra in Oregon. He was drawn to composition originally because of the paucity of solo
repertoire for his instrument. He has since expanded to other solo instruments, chamber orchestras, and chamber
ensembles. Because his father is the former bass trombonist with the Cleveland Orchestra, he has also favored
writing for the trombone. Tonight you will hear three out of a collection of seven duos written for two double
basses. Both parts are of equal degrees of difficulty, so the two players often swap parts without the audience
aware of the change. Each of the movements that we’ve chosen tonight have titles that truly describe what Dave
intended. We’re sure you’ll hear the car horns in Rush Hour, the jazzy and corny sections in Blue Cheese, and
the fun poked at the politicians on the Parade of the Politically Prudent Pigs...but will you be able to find the 12-
tone row that Anderson cleverly snuck into one of these short movements?
Continued on the next pagePg 22 Music On The Hill 2021
Maurice Ravel (1875-1937) Mother Goose Suite
The Mother Goose Suite was inspired by the children’s stories of Charles Perrault and the Spanish and
Oriental tales of the Comtesse d’Aulnoy and Marie Leprince de Beaumont. This work was written in 1908
as a suite of five pieces for four-hand piano for Jean and Mimi Godebski, the children of a painter friend.
In 1911, the composer orchestrated the suite and then, at the insistence of Jacques Rouche, director of the
Paris Theatre des Arts, adapted the music as a ballet. Ravel once noted that: “the idea of conjuring up the
poetry of childhood in these pieces has naturally led me to simplify my style and clarify my writing.” With
this modest, subtle, painstakingly crafted music, Ravel the miniaturist displayed, as critic Paul Rosenfeld
wrote in 1920, “a pureness of feeling that we have lost.” My sources of reference for this transcription were
Ravel’s own versions for piano four hands, his orchestral suite, and also a version transcribed by Jacques
Charlot for piano two hands. I have tried to remain within Ravel’s aesthetic and have kept the arrangement
simple so the various musical lines clearly come to the fore. (Notes by Arranger Roland Kato)
Remembrance: Gregory Cardi (1991-2020)
Among so many we lost during this extraordinary year, we remember violinist Greg Cardi with great fondness.
A native of East Greenwich, Rhode Island, Greg inspired audiences and musicians alike, as a member of our
ensemble in 2018 and 2019. Artistic Director John M. Pellegrino wrote, “Greg quickly became a smiling
presence during multiple festivals. His wit, charm, ease and extraordinary violinistic skills quickly made Greg
part of our Music on the Hill family.”
Greg and Rachel Miller performed a thrilling Fantasie for Violin and Harp by Saint-Saens to open our 2019
“French Champagne” concert at East Greenwich’s First Baptist Church. We were sadly deprived of sharing his
music and friendship in 2020. “Seeing his joy bloom as he enjoyed my uncle’s culinary skills,” John recalled,
“watching him connect to the composer and other musicians in rehearsals, and seeing him rise to the occasion in
concerts made me love and really appreciate the young man. Greg will be missed for years to come.
Rest in peace.”2021 Music On The Hill Pg 23
About Music on the Hill
Music on the Hill was born in 1974 at St. Luke’s Episcopal Church, East Greenwich, when Music Director
Priscilla Rigg launched a series of traditional chamber music concerts at the church, featuring well-known artists
and ensembles. In 1981, Music on the Hill became incorporated, with elected officers and a board of directors.
In 2007, a group of native Rhode Island professional musicians—led by John M. Pellegrino, Principal Bass of
the Columbus Symphony Orchestra and graduate of Warwick’s Toll Gate High School, and now Artistic Di-
rector of Music on the Hill—proposed a new festival concept for Music on the Hill. John was inspired by the
fellow Rhode Islanders he’d met at festivals and concerts around the country, who lamented the fact that they
hadn’t played in the Ocean State since high school. Friends and family recruited volunteer administrators with
a range of expertise and connections. Priscilla Rigg and the board enthusiastically endorsed the new idea, and
rededicated the nonprofit organization to the new festival concept.
The new festival launched in 2008, and since then Music on the Hill has welcomed thousands of music lov-
ers to concerts in venues across the state, from our “hometown” of East Greenwich, to Providence, Jamestown,
Wickford, Cranston, Warwick, Westerly, North Kingstown, East Providence and North Providence. Our en-
semble includes musicians based in our region, musicians native to Rhode Island with successful careers across
the country and around the world, as well as friends and colleagues who have come to see Rhode Island as their
home away from home, with many returning to the Ocean State for the Music on the Hill Festival every year.
Unable to perform in 2020, we have shifted our festival timing for 2021 as the public health conditions have
improved. 2021 offers safer outdoor and online concerts at the beginning of the summer, and indoor concerts at
summer's end. We look forward to returning to our two-week June festival in 2022, with the possibility of other
concerts and events through the year.
Education is an important part of our mission. Students of all ages are welcomed with free admission to our
concerts. Each year, we offer a free concert for hundreds of elementary and middle school students. Our musi-
cians take a morning off from rehearsal to introduce the instruments, share selections from festival repertoire,
and answer children's questions about the life of a professional musician. While we are unable to offer a school
concert during our 2021 festival, we look forward to engaging with young listeners again in 2022.
There are many ways to support Music on the Hill. First and most importantly, come to our concerts! If you en-
joy what you see and hear, tell your friends! We love seeing familiar faces as well as new friends at each event,
and your attendance and spreading the word help us to continue to grow and reach new audience members
every year. Music on the Hill depends on the generosity of donors like you to present our annual chamber music
festival. We are a 501(c)3 organization and all contributions are tax-deductible. Checks may be made payable to
Music on the Hill and mailed to Music on the Hill, PO Box 633, East Greenwich, RI 02818, or visit http://musi-
conthehillRI.org/support to donate with a Paypal account or a debit/credit card. Thank you very much for your
support.
The Arts Create Jobs, And Not Just for Artists
The arts are an important part With all the economic
energy that comes from
of the Rhode Island economy. an active arts community,
Over 12,000 people work in our state’s arts sector, and according shouldn’t Rhode Islanders
to Americans for the Arts, RI is third in the nation in the number of build on its success?
arts related businesses per capita, exceeded only by CA and NY.
When the arts are thriving, RI businesses thrive as well. The arts
help keep our restaurants & parking garages full, and our retail
stores busy. Local businesses employ thousands of Rhode Islanders
whose livelihood depends, in large measure, on the arts.
The Steelyard, photo by Force 4 Photography
Support the Arts! www.arts.ri.govPg 24 Music On The Hill 2021
Music On The Hill
The mission of Music on the Hill is to present an annual nationally recognized concert
series. This music festival brings home professional musicians and their friends who are
eager to share their passion for music with a community they love. Music on the Hill
hopes to inspire future generations with exciting performances featuring chamber music
and innovative programming in both traditional and non-traditional settings.
Board of Directors
Gerard Pellegrino, President
Craig Kohanski, Vice President
Artistic Director
Nick Butziger, Treasurer
John M. Pellegrino
Diana Almonte
David Capaldi
Violin Anne Holst
Anton Miller Vyra Imondi
Deborah Tien Price Maria Kohanski
Evan Price Carol Pellegrino
Katherine Winterstein Marie Petrarca
Liana Zaretsky Bob Petrarca
Donald Rankin (honorary)
Viola Jeanne Spira
Stephen Goist Rex Tien
Rita Porfiris Lee Vincent
Cello Emily Atkinson, Exec. Director
Trevor Handy
Elisa Kohanski Advisory Board
Elisa Kohanski
Bass Kristen Pellegrino
Gregg August Kate Tracey
John M. Pellegrino
Voice
Mary Phillips
Miller-Porfiris Duo Narragansett Brass Quintet
Anton Miller, violin and Rita Porfiris, viola Joseph Foley, Trumpet
Harp Richard Kelley, Trumpet
Rachel Miller Kevin Owen, French Horn
Alexei Doohovskoy, Trombone
Piano Thomas Gregory, Tuba
Bonnie Anderson
Joseph KalichsteinYou can also read
