| WASHINGTON ISLAND MUSIC FESTIVAL August 2-13, 2010 |
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| WASHINGTON ISLAND MUSIC FESTIVAL August 2-13, 2010 |
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The Washington Island Observer has kindly and graciously given us permission to reprint all of their articles pertaining to the Music Festival. We would like to express our gratitude for this opportunity.
Please enjoy the many fine articles.
Musician in our Midst Visit to Washington Island Elementary School, February 18, 2010
Used by permission from the Washington Island Observer
Doug Ehlert, a musician from the Milwaukee area, joined me at the Washington Island School on the afternoon of February 5th as part of the "Musicians in Our Midst" series of the Music in the School curriculum.
Every month or so, I make arrangements to bring a musician into the school who enriches
the regular music program. Doug Ehlert has a degree in music from the University of Wisconsin-Milwaukee and is an established and versatile performer and teacher. On Friday, Doug added his trumpet to my piano accompaniment as our staff and students from kindergarten through 8th grade sang along.
The songs were mainly from "Get America Singing - Again: Volumes I & II," songbooks from the Music Educators National Conference. Goals of the songbook project are to establish a common song repertoire that Americans of all ages know
and can sing and to promote community singing.
Songs ranged from "Do-Re-Mi" by Rodgers and Hammerstein, to "This Land
Is Your Land" by Woody Guthrie, to a rousing "Take Me Out to the Ball Game."
The students like the songs that they helped choose for our "Sing/Jam." They sang very well and it was really fun to have a room of 55 people making music together. Doug did some solo improvisations while students listened and then joined in on a repeat of the song or a final chorus with coda; all terms and symbols they are learning to see, name and follow on the "map of music."
Doug and I were assisted by two of my three independent study-in-music high school students, singers: Maren Schutz and Trisha Hansen.
In December, I received funds to assist in the purchase of a computer outfitted with
recording and notation software. The students and I have been writing songs through the years and soon we will be able to notate songs and instrumental pieces with the new MacBook Pro.
My teaching position and the "Music in the School" program are funded by the Washington Island Music Festival through the Art and Nature Center.
Island School Receives Award, February 18, 2010
Used by permission from the Washington Island Observer
Education Through the Arts
Washington Island School has been selected to receive a Standing Up for Rural Schools, Libraries, and Communities award. This is a tremendous honor, one that recognizes our collaborative efforts with partners in the community.
There are three school - community partnerships that enrich and enhance education at Washington Island School:
o Dramatic Arts in Education sponsored by Island Players, a community theater organization;
o Music in the Schools - sponsored by the Music Festival Committee; and
o The Miller Art Museum Master Artists Picture Program - presented by community volunteers.
Dramatic Arts in Education teaches the students in grades K - 6 the fundamentals of theater using developmentally appropriate activities that are coordinated with grade level curriculum. The focus is on imagination, improvisation, puppetry, and acting. Students in grades 7 - 12 may join the Drama Club where they have an opportunity to learn many aspects of theater including acting, lighting, props and sounds. The club has put on plays for both the school and community. Carissa Mann is our current teacher for Dramatic Arts in Education.
Our partnership with the Music Festival Committee sponsors Music in our Schools and has given our students the benefit of working with Dan Hansen, a talented teacher, composer and performer. Dan, a DPI licensed Music teacher, presents weekly lessons for students in grades K - 8, as well as arranging for local and off-Island musicians to perform for and teach the Island students through a program called Musicians in our Midst. He has also put elementary and high school students' poetry to music.
The Miller Art Museum Master Artists Picture Program is run by volunteer presenters from the community and stresses art appreciation and art history, exposing students to artists and their cultures from all time periods in a variety of genres. This program connects students with caring and talented community members who share their love, understanding, and appreciation of the visual arts. Jane Bulmahn has recruited the volunteers for this program since its inception in 2006. This year our volunteers are:
o Peggy Nikolai - first and second graders;
o Joan Blair - third and fourth graders;
o Sandy Green - fifth and sixth graders;
o Martha Wagner - seventh and eighth graders; and
o John Davies - high school students.
In previous years, Pat Clarke, Judie Yamamoto, Lu Beekman, Ruth Moeller, Paula McDonald, Daryl Johnson, Marsha Meyers, and Bunny Buxton have also volunteered in this program.
Music Festival Receives Grant, September 17, 2009
Used by permission from the Washington Island Observer
The Music Festival Committee of the Art and Nature Center is pleased to announce that it has received a matching grant of $3,889 from the Wisconsin Arts Board recently. This grant was awarded through the Creation and Presentation Program and will support the Music Festival programming, especially the Music in the School program. State grants are awarded through a competitive process. Of 81 applicants in this category the Washington Island Music Festival program ranked 24th with a score of 90.
The Wisconsin Arts Board is a state agency with a fiscal year 2009 budget of $2,470,000 appropriated by the state legislature and $791,800, from the National Endowment for the Arts. With this investment of public funds, the Arts Board helps Wisconsin's non-profit arts and culture sector generate over $418 million at the local level. It has been statistically shown that supporting the arts generates a 7:1 return on the public investment.
Music Festival Finance Update, September 10, 2009
Used by permission from the Washington Island Observer
The Washington Island Music Festival has developed into a significant financial benefit to the Island economy. With a budget of about $80,000 per year most of the money is either re-spent on the Island for rentals and to Island businesses or provides additional educational services to the school system and children.
A survey taken at the final concert this year indicated that 64% of the responders have been attending concerts for six years or more and that 100% planned to attend again next year. Seventy-nine percent have a home on the Island and 54% travelled more than 200 miles to get here. With an increasing number of persons now coming to the Island to attend concerts it provides significant additional revenue to Island business.
Although the musicians receive no salary or fee for their rehearsals and performances, the provision of housing and a small per diem is the major expense for the Music Festival. The Art and Nature Center's Music Festival Committee is encouraging the contribution of housing for musician's use during the Festival two weeks. On the average, housing contributions save the Music Festival Committee about $1,000 per week per unit. The contributions received this year were two weeks from Terry and Linda Henkel and one week from Steve and Betsy Wallman. In addition Stephen Colburn, artistic director and oboist, and Marlee Sabo, vocalist, provide their own housing through ownership. This was a total savings of about $5,000 that would otherwise have to be provided.
One additional house has been offered for next year's two week Festival for an additional $2,000 savings. Anyone that has a house available that would consider contributing it for musician's use during the Festival next year should contact Gordon Jaeger at 847-2739. Jaeger is serving as the Festival manager.
The Music in the School program is the primary beneficiary of funding from the ANC's Music Festival Committee. A successful Festival and fund raising efforts have permitted the continuance and development of this program led by Dan Hansen, music educator, musician and composer. Without this program there would be no music education in the school. Dan said that he is looking forward to conducting the program for another year. He will have a new Apple computer, provided by funds from the Committee, to assist in creating and orchestrating music as well as in performance. Other musicians and performers are invited to participate via the guest artist program throughout the school year.
During the annual fund raising campaign, donors may earmark all or a part of their contributions to this program. Probably due to the current economic situation some areas of income are down this year but there are a couple of bright spots. The ANC Festival Committee was the recipient of a $3,889 grant from the Wisconsin Arts Board, approximately $1,200 more than last year. The same amount is expected next year. The Memorial Day weekend concert, dinner and auction netted a little more than $16,000, a significant increase over the previous year. The "Under the Big Top" concert nets about $3,000 and includes a $1,000 supporting gift from Dierks Waukesha Food Service.
Other areas of anticipated income were down however. Primarily these were the annual fund raising campaign and funding from foundations, both affected by economy and, in the case of foundations, by their loss of revenue from investments.
Admissions were $15 to concerts for adults, about one-third the cost of similar events in major cities. Students under 18 years were $6 and those 12 and under were free. Attendance at the Children's Music Camp was also free this year.
"From Heav'n on High", September 3, 2009
by Lynn Shapiro
Used by permission from the Washington Island Observer
There are idyllic island communities dotting America's coasts, and a goodly number of summer music festivals across the land, but how many can boast an authentic classical-era re-enactment by candlelight of a Haydn's String Quartet? Well, battery-powered candlelight. It wasn't by design that "From Heav'n On High," the final concert in the two-week-long Washington Island Music Festival, took place without benefit of electricity. It was indeed from heaven on high that both the sublime music and the cataclysmic weather descended on the tiny island off the tip of Wisconsin's Door County Peninsula. The violent early-evening deluge downed power lines, flooded roads, and walloped citizens, rooftops, and cars with golf-ball-size hail in a torrent of gale-force wind, but that didn't stop this hardy community of die-hard music fans from turning out in record number at the Island's Trueblood Performing Arts Center. Sloshing across the flooded parking lot in a parade of multi-colored, wind-wracked umbrellas, concert-goers reached the door soaked to the bone but eager for music, nonetheless.
Cheerful volunteer ushers with flashlights guided soggy patrons to their seats in the pitch-dark hall, where, at the appointed time, Festival music director and Milwaukee Symphony principal oboist Stephen Colburn, groped his way on stage. "Hello out there, wherever you are," he joked, to much laughter from the house. "We won't state the obvious. We're hoping power will be restored, but in case it isn't, we've sent out for the flashlight brigade and plan to give you a concert one way or another, so please bear with us while we try to do our best." When the electric company determined there was no likelihood of power being restored any time soon, that's just what they did, and what a concert it was!
Better than best, the unflagging determination of Colburn and his transplanted gang of urban musicians unleashed the community's ready enthusiasm, which in turn bolstered the musicians' spirits. Dubbed by Colburn "The Little Festival That Could," the concert got underway after a half-hour delay, opening with the Haydn Quartet (Op. 76, No. 3), now an octet, with four flashlight-wielding doppelgangers, as essential to the music-making as the instrumental quartet, all Milwaukee Symphony musicians.
Music worked its magic on the already-charmed audience, which awaited each segment of the program with a degree of trepidation, having been warned by festival manager Gordon Jaeger that the battery-powered Exit signs were fast losing power, and if they went out, the concert would have to be stopped and the audience evacuated. In the interest of conserving precious time, intermission would be scuttled. With the prospects of an unlit exit into the night, Mr. Jaeger graciously offered ticket refunds to anyone who felt too uncomfortable to stay. Not a soul stirred.
A dance of flashlights scurried across the dark expanse as chairs and music stands repositioned themselves for the next piece, "Sull' Aria," from Mozart's "The Marriage of Figaro," richly sung by Marlee Sabo, opera soloist and co-founder of the festival, and Sara Colburn of the San Francisco Opera Chorus. In the shadowy flashlight ambience we could just make out the playful interchange between the Countess (Sabo) and Susannah (Colburn) as the sopranos conspired, to exquisite vocal harmony, the undoing of the Count.
Albert Roussel's lighthearted "Divertissement for Piano and Winds, Op. 6," rallied the audience to hopeful expectations that maybe the concert program would play out to completion. Tension mounted throughout Moravec's "Mood Swings," trio for piano, violin, and cello, which kept the audience on the edge of its seats and holding its breath as musical drama accompanied a harrowing Exit light drama of flickering, dimming, and final silent last gasp into profound darkness.
Jaeger reappeared to confirm our worst fears - The Mendelssohn Cantata, "Vom Himmel Hoch," (From Heav'n On High), the highlight and title work of the evening which would feature Sara Colburn, Baritone Douglas Anderson of Chicago's Music of the Baroque, Island Festival Chorus, and full ensemble would not be performed. As the painful reality landed on the audience, a collective moan cut through the darkness. But before the evacuation could get underway, Colburn rushed on stage with some good news--the musicians had offered to perform the Mendelssohn in a special command performance at 10 a.m. the following day, weather permitting. Raucous applause and cheers burst through the gloom and sustained the crowd with the prospect of more music.
Saturday morning saw "Festival Music Event Today!" signs posted along Main Street and a steady stream of cars pulling into the TPAC parking lot just before 10 am. Both patrons and musicians rose to the occasion as Colburn invited the sizable audience to join in the chorus's vocal warm-up, and "From Heav'n On High" soared to the heavens with the magnificence of voices that seemed to fill the entire island with joy. The heavens, for their part, responded with the gift of glorious sunshine.
Lynn Shapiro, freelance writer and Chicago correspondent for DANCE MAGAZINE, was vacationing on Washington Island this past week.
Notes on a dark and stormy night, August 14, 2009
by Gail larson Toerpe
Used by permission from the Washington Island Observer
The "notes" mentioned above, were the notes played by our Island Music Fest folks. They played to thunder and lightning: the thunder of applause and the lightning of, well, flashlights.
Many readers now know that the Island weather made it to the major media stations since we had some 5 plus inches of rain in a very short time. As the rains came, the lights went. So, when Bob and I went to attend the grand finale concert at the TPAC, we were joined by a nearly full house of other music afficionados.
Various people came forth in a dark theater to keep us informed on the status of the concert. Artistic director Stephen Colburn told us that the concert would start at about 8 instead of 7:30 in hopes that the lights would again light the stage and the musicians.
Wait we did but were entertained by Samantha George who gave us some histories on the creators of the notes to be played. Although Samantha was in the dark too, she did help pass the time and was, indeed, entertaining. A flashlight from the back of the room was her only spotlight, but she had a small flashlight to shine on her notations.
Finally it was announced that the show must go on and, with the help of many borrowed flashlights, the musicians came and sat down, music balanced on their stands. "Helpers" let their lights be shone onto the sheets of music and the talented players did an exceptional job. No errors were in play, so to speak.
Other pieces were also performed intact, to the lights of the hand-held flashlights.
Even moving the chairs to appropriate positions between acts was a challenge but those helpers, too, did a great job.
No intermission was taken since it wasn't known how long the entertainment could last in the darkened room. One set, by composer Paul Moravec, gave me the image of "Phantom of the Opera." Shadows of musicians sat precariously on the backdrop. Couldn't I just see the phantom in his underground dungeon playing his stormy piano concerto with it echoing throughout the theater?
Since the "Exit" signs finally darkened, the audience had to leave or we'd be in violation of the law. So we did, without the real grand finale of Felix Mendelssohn being performed by the Festival Chorus and the instrumentalists.
Lest their many hours of rehearsal be for naught, the Chorus and instrumentalists performed Mendelssohn the next morning to a standing ovation.
This will be a finale not soon forgotten and will, undoubtedly be the source of many tales to grandchildren over the coming years.
As usual, all concerned shone a beautiful bright light in our lives and I send kudos to these extraordinary musicians. Well done, good and faithful folks.
[Of special delight was the performance of sopranos Marlee Sabo and, in her first appearance on the Island stage, Sara Colburn. An amazingly glorious presentation!]
Tackle & Toss or Vox and Viola? , August 13, 2009
by Gail larson Toerpe
Used by permission from the Washington Island Observer
Imagine this, you attend an event to see some guys running around tackling other guys and tossing an oval ball around. These guys learned to play in their yards or at their schools when they were young. Now, as professionals, they wear uniforms they're given as part of the benefit of being so talented. They don't even have to pay for their "instrument," that oval ball. Not only that, but folks hover around giving these guys the "googly eyes," in awe of them, hoping for an autograph. That, we learn, sometimes has a fee involved.
Imagine this, you pay an affordable amount of money to attend an event to see (and hear) guys and gals sitting on stage playing musical instruments they have to pay for themselves. They didn't learn by playing in their yards or at schools. They had to pay for lessons. Oh yes, and they have to buy their own "uniforms."
The tackle and toss guys you pay to see at a stadium make big bucks. One was signed up recently to a $97 million (that's MILLION) ten-year contract.
The music guys and gals have to hope that they get grants, hope folks donate enough money and attend their symphonies to give them a livable salary. So, who are the ones idolized? Yup, the tackle and toss guys who get the big bucks. And the ones the audience has to pay a pretty penny to see.
The ones we should honor and, yes, idolize, are those musicians who work and sweat on stage to entertain. They who work in the "uniforms" they pay for themselves: white jackets, black pants, tuxedos, glitzy gowns. The ones who pay for their instruments.
This comparison is done to show my wonderment at the inequity in life today. Our amazing musicians are incredible in what they do for us, an appreciative audience. I call them "ours" because I feel we're connected as family is connected. On their opening night at the TPAC last week, they showed us who should really get the big bucks, who should get the adulation, who have earned that status.
One Island resident who had been there said, "Ya know, I never much liked the oboe but after Stephen Colburn played on Monday, I changed my opinion. I really like it now."
Everything seems upside-down. Those who have practiced and paid to learn and often play for little or nothing, aren't the ones who get what they deserve. But, here on the Island at least, they find out how much they ARE appreciated. Various artists played from Telemann, Beethoven, a composer named Jongen, and, after the intermission, a septet performed from Alexander Fesca. Well, it was entertainment fit for royalty. The cheers, and standing "o" from the audience was spontaneous and called for more bows than were taken. One could easily see how surprised and pleased the musicians were at the love thrown at them from the Island audience.
If you haven't attended these incredible concerts, you still have time. But, get there early so you can get a seat. There aren't many available. Even if you think you don't like classical music, you'll surprise yourself when you hear our talented musicians. It will take your breath away.
Under the Big Top, August 13, 2009
by Lori Goodman
Used by permission from the Washington Island Observer
After missing "Under the Big Top" for a couple years, I made it back to my favorite Island event this past week. It was well worth the wait, with a wide range of musical styles, lots of talent, and much laughter.
Tom Noonan and Steve Reiss set the mood and kept the audience entertained as they waited for the show to begin. Julian Hagen and Cindra Hokkanen are always such fun emcees, and do a fantastic job of orchestrating the evening and running with whatever glitches may arise.
A new performer this year was Emmy Tisdell, accompanied on the piano by her mother Stefanie Jacob (one of the Music Festival musicians). Emmy sang Taylor the Latte Boy and sang it with style! She has a beautiful voice, and lots of personality. More "coffee" was served up later when Wayne Wildman (also of the Music Festival) performed Triple Mocha Indulgence on the piano, accompanied by Bill Helmers on the clarinet.
Leila Nehlsen sang with her newly married daughter Marisa, or Mrs. Kehren. A small band of Irishmen (Mike O'Connell, Paddy O'Connell, John Yancey & Galen Ryan) sang Wandering and Oh, Mary, Don't You Weep. Sarah Witt and Kathi O'Connor did a piece freshly written within the previous 24 hours thanks to the songwriting workshop held at the Red Barn.
Torrey and Tim Lyons did a great job with a couple Bob Dylan pieces, and Elizabeth Hansen joined in on vocals for It Ain't Me, Babe.
Maren Schutz (piano) and Constance Schuchardt (violin) beautifully played Pachelbel's Canon in D. Always one of my personal favorites, Laura Sawosko accompanied herself on the guitar as she sang a newly written song about ties to the Island, followed by some improv on the piano. Beany Meadow gave an absolutely amazing vocal performance with her rendition of At Last. And this was just the first half of the show!
During the second half Doc Westring entertained with piano rag, accompanied by his grandson Alec Reiss on drums. The Schutz family (Bill, daughter Maren, and cousin Amanda Larson) performed a couple songs; I knew Bill and Maren could play and sing but hadn't heard Amanda before and loved her beautiful vocals. The ever-lovely voices of sisters Anne and Kerrie McDonald were accompanied by Tim Lyons, and I finally got to hear the Papa Bear and his Jango Band (Jens Hansen, Tim Lyons, Charlie Balestrieri and Alec Reiss). Constance and Mercer Schuchardt joined in for some fiddling, and I have to say that Constance's passion and skill brought the house down - she was amazing.
Joan Reynolds and Cindra Hokkanen delighted the audience with piano rag and How Could Red Riding Hood be Good? Who knew Joan could howl? And Cindra's sketch on the apparently newly created Lutheran Airlines, Inc., was hilarious.
As usual the evening ended with everyone joining in on Julian Hagen's Northern Lights. For those of you who have never attended, hopefully this gives you a taste of what you have to look forward to, and you'll check it out next year!
Music Festival Final Week, August 6, 2009
Used by permission from the Washington Island Observer
Classical concerts will continue to be highlighting the second and final week of the Washington Island Music Festival but will be augmented by other special activities. These include the annual Children's Music Camp, the Children's Concert, music appreciation and lecture sessions and, of course, the ever popular "Under the Big Top" featuring Island talent.
Special arrangements to bring visitors from the mainland to attend the Sunday afternoon 4:30 p.m. concert at the TPAC have been made this year. With the use of one of the school buses and an Island tour, concert attendance, and a light meal and reception with the musicians is being offered. Beverly Hudson, Island and County tour organizer and guide is contributing her services for this event. A $40 fee will be charged for the package. Visitors will arrive on the 1:15 p.m. ferry and return to the mainland on the 7:30 p.m. ferry. Islander Dan Hansen's "Scandinavian Fanfare" will lead of a program of works by Grieg, Nielsen, Larsson, and Sibelius.
The "Children's Concert" on Wednesday at 11 a.m. at the TPAC will feature guest young artist pianist Walker Shadle playing three selections: J.S. Bach, Sinfonia in G Minor; Dimitri Shostakovich, "Three Fantastic Dances, Op. 5," and the "Little Concerto in C, K. 336" by W.A. Mozart. Other arrangements are by classical composers that will be enjoyed by both children and adults. This concert is free to all but contributions to the Music Festival are accepted. Profit from the Music Festival is used to support the Music in the School program.
Those interested in learning more about the clarinet should plan to attend William Helmer's program on Tuesday morning at 10 a.m. at the TPAC entitled "The Clarinet Revealed." Helmer is clarinetist and bass clarinetist with the Milwaukee Symphony orchestra. He will demonstrate his life-long involvement and mastery of the clarinet and is inviting discussion and questions from the audience. Admission is free.
Samantha George will present her third Festival "Music Appreciation" program at the Red Barn on Thursday at 10 a.m. Appreciative audiences have participated in and enjoyed these lively free sessions in the past. Refreshments will be available.
The finale of the classical chamber concerts is at 7:30 p.m. on Friday at the TPAC. The Festival chorus has been practicing for many hours and days to prepare for their role in Felix Mendelssohn's "Vom Himmel Hoch" (From Heaven on High). Kathi O'Connor is choir director. The 2009 Festival Chorus consists of Island and seasonal residents who enjoy singing. This has been an important part of the Music Festival since its inception. Sara Colburn is a member of the San Francisco Opera Chorus, and is the daughter of Stephen Colburn and Marlee Sabo. Sara will be soprano soloist in the Mendelssohn and will join Marlee in Mozart's Sull' Aria from "Figaro." Chicago baritone and Island favorite Douglas Anderson shares the solo honors in the Mendelssohn. Other composers' works on the final program are Joseph Haydn, Albert Roussel, and Paul Moravec.
Since its inception the "Under the Big Top" concert has been well received and attended. Cindra Hokkanen and Julian Hagen are again co-chairing and organizing the event and the performances. Cindra has served as emcee for many seasons. It takes place at 7:30 p.m. on Thursday in the Lions Club tent in front of the school. Dierk's Waukesha Food Service has been sponsor of the event since it started in 1996 which has helped to cover the cost of the performances. Admission is $15 per person. A family rate is offered for $30 to include parents and their children 12 and under.
Ham Rutledge is Festival chair-person. Other committee members are Stephen Colburn, Barbara Greenfeldt, Linda Henkel, Terry Henkel, Marlee Sabo, Connie Sena, Mary Lou Shadle and Judith Yamamoto. The committee meets monthly to plan and evaluate the Music Festival.
Music Lessons at the Red Barn, August 6, 2009
by Cailyn C. Finkel
Used by permission from the Washington Island Observer
Highly knowledgeable Samantha George related her thoughts, feelings and expertise on classical music Wednesday, August 5th at the Red Barn. Samantha lectured the crowd about composers, audience satisfaction and other issues regarding the genre of music such as funding and traditions changing because of a recent lack of interest in the music. She also spoke about "sound effects" and the difficulty of learning the stylings of different composers.
One thing Samantha stressed was the importance of how the audience reacts to the music of one artist compared to another. Of course she loves well known composers like Mozart, Bach, and Beethoven, but she informed the crowd that, "some of the best concerts can be of composers you've never heard of."
Samantha concluded the two-hour lecture with a brief description of the following day's concert, Czechs and Balances, at the TPAC. With my newly gained comprehension of classical music, I couldn't wait to hear, the art she discussed, live.
Czechs and Balances Impresses the Island
Part two of the Trueblood Performing Art Center's Music Festival was fantastic, to say the least. The show began at 7:30, with an introduction of the performers, and an opening of Corigliano's Flute and String Quartet: Andante Sostenuto, a charming, gleeful summer tune.
Mozart was the next composer to roll over the jam-packed TPAC. Because of the passion, emotion and drama, his music was easily identified. The way the crowd reacted after they finished was all-telling, overwhelming applause and smiles, obviously satisfied. They would've easily made Mozart himself proud.
Following Mozart was Bohuslav Matrinu, my favorite composer of the night. Martinu's music was excellently executed by the performers. His fast-paced, folk influenced music was clearly displayed by the enthusiastic musicians. I wanted to stand up and dance, but the concert being classical, I figured that would be a little inappropriate.
An intermission of mingling and relaxing quickly passed and it was back to the music. The closing composer was Antonin Dvorak, out of the six pieces, his Allegro con Fuoco, with its solid bass line and heavy, dramatic tune, was certainly most memorable among a show filled with jaunty numbers.
As expected, the musicians played flawlessly the entire evening. The show validated my new-found appreciation of classical music and, of course, all of the performers who played as if they could do it with their eyes closed.
18th Music Festival Begins, July 30, 2009
Used by permission from the Washington Island Observer
With classical concerts, lectures and discussions, an open rehearsal and the annual Children's Concert, the 18th annual Washington Island Music Festival begins its two weeks of activities on Monday, August 3, with all of the major concerts at the Trueblood Performing Arts Center on Main Road. Stephen Colburn, Artistic Director of the Festival and principal oboist with the Milwaukee Symphony orchestra, has compiled an array of classical music guaranteed to appeal to all tastes.
Julian Hagen and Cindra Hokkanen will again assemble primarily Island talent for the ever popular annual "Under the Big Top" concert under the Lions Club tent in front of the school on Thursday, August 13. Starting time of the four major concerts and the Big Top event is 7:30 p.m.
The initial concert on Monday evening, August 3, "Island Excursion," will feature music of George Philipp Telemann, Ludwig Van Beethoven and Joseph Jongen. After the intermission the major piece will be by composer Alexander Fesca. A reception with the musicians will follow the concert.
The second major concert of the week is entitled "Czechs and Balances" and will be held at 7:30 p.m. on Thursday, August 6 at the TPAC. It opens with contemporary composer John Corigliano's "Voyage for Flute and String Quintet" and concludes with Czech composer Antonin Dvorak's "Quintet for Strings in G, Op 77." Sandwiched in between are works by W. A. Mozart and Bohuslav Martinu.
Festival violinist and educator Samantha George will again offer three free Music Appreciation sessions at the Red Barn as well as pre-concert talks, including a question and answer session, 30 minutes prior to the start of the main concerts. Her first two appreciation programs are at 10 a.m. on Wednesday, August 5 and on Friday, August 7 at 2 p.m.
Kari Gordon will lead the Children's Music Camp. It will be held from August 10 through 14 at Bethel Church. Children aged 5 through 7 will attend from 9 to 11 a.m. and those 8 through 12 from 10:30 until 1 p.m. Children may attend free this year and reservations can be made by calling the Music Festival phone number, 847-3434.
The "Scandinavian Soiree" concert at 4:30 p.m. on Sunday, August 9 will lead off with "Scandinavian Fanfare," a featured work composed by Dan Hansen, Island composer, musician and music educator. All of the composers for this concert have a Scandinavian heritage. For this concert, for the first time, an Island tour and concert attendance is being offered as a package to Door County residents and visitors. Visitors will arrive on the 1:15 p.m. ferry and depart on the 7:30 p.m. A light evening meal and reception with the musicians is included.
Beverly Hudson will serve as tour guide. Walker Shadle will perform as a guest young artist at the Children's Concert on Wednesday, August 12 at 11 a.m. at the TPAC. As pianist, he will play a movement from W. A. Mozart's Little Concerto in C, K.336.
As usual, many of the musicians are returnees and some have appeared in most of the 18 years of concerts. Musicians are provided housing, bring their families and are an integral part of the Island during their two week tenure. Ham Rutledge is chairperson of the Music Festival this 18th year.
Love at First Sight for Stephen Colburn, July 30, 2009
by Gordon Jaeger
Used by permission from the Washington Island Observer
"The moment that I stepped on the ferry at Northport I thought that I had died and gone to heaven." Those were the initial thoughts of Stephen Colburn, Artistic Director of the Washington Island Music Festival and principal oboist of the Milwaukee Symphony orchestra, on his first visit to Washington Island in July, 1989. He and wife Marlee Sabo, renowned vocalist and vocal instructor, visited the Island for the first time as guests of one her voice students, the belated Nancy Gustafson. He thought that he was in "Brigadoon" and immediately started thinking on how to make the relationship permanent.
He had been looking for a utopia like this his entire life and was able to make a second visit to the Island the following July and stayed at the Gustafson's home for three days. Before coming up with a plan to play classical music on the Island he needed feedback and made four visits on this trip. One was to the Baylake Bank manager, Robb Carr, who was very enthused about the idea. The second was to the Island newspaper where he met Carol Meyer whom he found running the press in the basement. She, too, was very encouraging. He had planned to speak to someone from the Chamber of Commerce but no one was available during the visit. Those that he talked to both suggested that he discuss it with Carolyn Nitz, then director of the Art and Nature Center.
After a three hour discussion, the idea was met with enthusiasm there as well, so eventually a meeting was held with the Art and Nature Center board where it was received with a mixed reaction. Some members were excited about the idea while others felt there may already have been enough activity on the Island to dampen its chances for success. After careful thought Steve came up with a trial offer that was accepted by the Board, one concert at the ANC in 1991.
If it turned out to be successful, plans would be made for the next two years. The crowd overflowed into the Nature Room and outside and hence the Music Festival got its start officially in 1992.
Going into its 18th season of performances, the Music Festival is still patterned after the Marlborough, Vermont Music Festival. This means that musicians receive no salary but are provided housing, per diem to cover food and living expenses on the Island, and transportation expenses. By following this pattern the Festival has remained successful, along with the ingredient of the talents and time contributed by many volunteers. In general, the money raised through contributions and admissions stays and is re-circulated on the Island, one of the best examples being the Music in the School program conducted by Dan Hansen. Steve likes the artistic format of the Festival where quality of music and performance comes first. He particularly likes the Island chorus involved annually and would like to see this aspect strengthened. He has always had an interest in an educational component, a mentoring of young student musicians, but this is difficult to offer because of the extra time and logistics that would be involved. He plans to remain as Artistic Director at least through the 20th Anniversary season.
Appreciate Music!, July 25, 2009
by Charlotte Manning
Used by permission from the Washington Island Observer
Samantha George, violinist, has been a member of the Washington Island Music Festival ensemble of musicians since 2000, and thousands of Island residents and visitors have been enthralled, yes - blown away! - by her virtuoso performances. In 2007, Samantha expanded our overall experience of music by initiating her "Appreciate Music" sessions in the Red Barn, meeting three times during the course of the two-week festival. There are many highlights during these two weeks, and Samantha's lecture/discussions have become one of the most enthusiastically and loyally attended of the offerings.
At these sessions, Samantha focuses on the composers and compositions being performed during the festival but enlarges the discussion to music in general. Often she invites other ensemble musicians to join her and remarked, "Many Islanders have now had a chance to try Mike Thornton's alpine horn, find out what the difference between Diana Haskell's A and B-flat clarinets is, and learn about life as a music student."
Last year, Samantha began giving pre-concert talks one/half hour before each of the four evening Festival concerts. This is something she did during her years as Assistant Concertmaster of the Colorado Symphony in Denver. She recalled, "The musicologist who was scheduled to host a pre-concert talk about Mahler fell ill, and the Stage Manager was wandering around backstage asking if anyone could talk about Mahler on the spur of the moment. I thought, 'Why not? I know a bit about Mahler' and wound up having a great time meeting our audience, talking about the composer and our performance of the composer's work, taking questions from the floor. After that, I became a regular host for such talks and stayed the same when I moved to Milwaukee and became the Associate Concertmaster of the Milwaukee Symphony Orchestra."
Samantha also hosted two radio shows while in Milwaukee. One was a weekly 30-minute show on WFMR, Milwaukee's former classical music station, the other a 15-minute show on WMSE, the unique and diverse radio station operated by the Milwaukee School of Engineering. She had opportunity to interview guest conductors, soloists, and composers, as well as to respond to listeners' questions and give away tickets to symphony concerts. She remarked, "I love having the opportunity to improve anyone's concert-going experience."
Samantha received her Bachelor and Master of Music degrees from Eastman School of Music and a Doctorate in Violin Performance and Theory from the University of Connecticut. She is currently Associate Professor of Violin and Chamber Music at Lawrence University.
In this, the 18th year of the Washington Island Music Festival, August 3-14, we look forward to Samantha George's pre-concert talks, to her violin performances, and to the "Appreciate Music" Red Barn lecture/discussions, August 5 and 13 at 10 am and August 7 at 2 pm.
See you at the Music Festival!