Ines Irawati, piano
Today’s Program
Domenico Scarlatti (1685 – 1757)
Sonata In D Major, K. 96
Robert Schumann (1810-1856)
Faschingsschwank aus Wien (Carnival Jest from Vienna)
- Allegro
- Romanze
- Scherzino
- Intermezzo
- Finale
INTERMISSION
Franz Liszt (1811 – 1886)
Sonetto 104 del Petrarca
Aprés une lecture du Dante: Fantasia quasi Sonata
Indonesian-born pianist, Ines Irawati is in demand as a solo recitalist, a chamber musician, and a vocal coach. At a young age, she was accepted to the Junior Original Concert, a prestigious music program where young musicians compose original works and perform them around the world. She was invited to the International UNICEF Benefit in Japan, where she performed her concerto with the NHK Symphony Orchestra. Her work for solo flute, “Flirting Belugas”, was published by the Manduca Music Publication.
Her engagements include performances for TEDxSan Diego at Copley Symphony Hall, the Art of Élan, Musikamar chamber concerts, concerts in Centro Cultural Tijuana, and performances all over Southern California. Ms. Irawati has served as the musical and artistic director of San Diego Opera Young Artist Training Program, where she directed the company’s outreach concert series, Opera Exposed!, and its production of Little Red Riding Hood, a children’s opera by Seymour Barab. She was the vocal coach and collaborative piano faculty at Point Loma Nazarene University as well as for the prestigious Institute for Young Dramatic Voices. With singers Josh Arky and Alex Rodrick, Ms. Irawati is involved in La Cena è Pronta, a project which explores the nourishing ways of food and music enrich our lives through intimate vocal performances.
With cellist Sophie Webber, Ms. Irawati released their debut duo album,”Roots: Transcription of Romantic Works for Cello and Piano.” She is a member of the Hidden Valley Virtuosi, the resident chamber music group of Hidden Valley Music Seminars in Monterey, and the Aviara Trio, a piano trio described as the “highest level of instrumental perfection, intensity, passion and expression.” She has collaborated with many esteemed musicians such as violinist Tien-Hsin Cindy Wu, cellist Tanya Tomkins, violinist Jeff Thayer and double-bassist Jeremy Kurtz-Harris.
Volunteer as an usher at the Old Town Temecula Community Theater
Sunday, March 19, 2023, 2:30 p.m.
Gershwin Performing Arts Center | Murrieta Mesa High School
Today’s Program
Scott Joplin (1868 – 1917)
Overture to Treemonisha
George Gershwin (1898 – 1937)
Lullaby for Strings
Aaron Copland (1900 – 1990)
Music for Theatre
- Prologue
- Dance
- Interlude
- Burlesque
- Epilogure
INTERMISSION
Sherry Williams, voice
John Rodby, piano
Jazz arrangements for chamber orchestra by John L. Rodby (b . 1944)
Bart Howard (1915 – 2004)
Fly Me to the Moon
Robert Wells (1922 – 1998) and Jack Segal (1918 – 2005)
What Are You Afraid Of?
John Klenner (1899 – 1955) and Sam Lewis (1885 – 1959)
Just Friends
Edward Kennedy “Duke” Ellington (1899 – 1974), Irving Mills (1894 – 1985), and Mann Curtis (1911 – 1984)
In a Sentimental Mood
Aloysio De Oliveira (1914 – 1955), Antonio Jobim (1927 – 1994), and Ray Gilbert (1912 – 1976)
If You Never Came to Me
Irving Berlin (1888 – 1989)
Blue Skies
Thanks to the Murrieta Valley Unified School District for their support of this concert.
Concession sales benefit the Murrieta Educational Foundation for the Arts.
Dana Zimbric is marking her 13th season as Artistic Director and Conductor of the California Chamber Orchestra.
In addition to her work with us, she is Music Director of the Classics Philharmonic Orchestra, which performs educational programs for San Diego area students, and recently made her conducting debut with the San Diego Symphony.
Dana’s past conducting experience includes positions with the San Diego Youth Symphony, Avante Chamber Orchestra, Orchestra Nova San Diego, and the University of Wisconsin Chamber and Symphony Orchestras.
An accomplished clarinetist, Dana holds a Bachelor of Music in Clarinet Performance and a Master of Music in Orchestral Conducting from the University of Wisconsin. She lives in San Diego with her husband and two young daughters.
Since she began singing as a professional, Sherry Williams has had the good fortune to rarely be out of work. When she was a high school student in San Bernardino (California), she sang and toured with The Young Americans. At UCLA, she joined the acapella choir and worked with the famous Roger Wagner and the UCLA Choir, both in Los Angeles and Europe. She has also toured with Debbie Reynolds, Andy Gibb, and the legendary Johnnie Ray, to name a few.
In 1976, Sherry left The Eddie Kendricks tour and struck out on her own, touring Indonesia, Singapore, Hong Kong and Bangkok. Since returning to the United States after her last Asian tour in 1980, Sherry has acted in films and on television, has worked extensively in and around the Los Angeles and Denver areas in important jazz venues, nightclubs and festivals, and has recorded three solo CDs and two ensemble CDs. In 1997, she released her first CD, “The Way You Love Me”, to rave reviews. Her second release, “A Taste Of Sherry”, was on the 2003 Grammy ballot and one of the songs was used in the soundtrack of the film THE CORE. After that came “You Must Believe In Spring”, again to rave reviews.
During 2010-2013, Sherry toured Germany and Italy with Markus Burger and Jim Linahon, again working in important concert halls and jazz clubs, including the famed Birdland in Hamburg. These tours have yielded one acclaimed ensemble CD, and two big band CDs, recorded with the Café Nerly Big Band. Sherry has worked with a multitude of jazz greats… Buddy Collette, Herbie Mann, Plas Johnson, “Sweets” Edison, Ann Patterson, Gerald “Wig” Wiggins, Al Viola, Herman Riley, Dave Pike, Eddie Cano, Lanny Morgan, Ross Tompkins, Earl Palmer, Bill Cunliffe, Andy Simpkins, Roy McCurdy, John Leitham, Jennifer Leitham, Ray Pizzi, Jim DeJulio, Paul Smith, Art Hillery, Terry Harrington, John Hammond, Roger Kellaway, Dave Benoit, Llew Matthews, John B. Williams, Tom Ranier, Patrice Rushen, Ralph Penland, Bob Magnusson, Joe LaBarbera….(& many more) SHERRY WILLIAMS is first and foremost a singer – the 14-karat variety.
JOHN RODBY is a commercial musician by vocation and a composer of classical music by avocation. Born in Wahiawa, Oahu, Hawaii, September 14th, 1944, he moved with his family to the Los Angeles area at an early age. Formally educated at Cal State Northridge (1966) and Cal State Long Beach (1968) he did further independent study in composition from Leonard Berkowitz, Donal Michalsky and Albert Harris as well as independent study in piano with Sam Saxe, Ralph Pierce, Peter Hewitt and Julian Musafia. His ‘Concerto for Saxophone and Orchestra’ previously released on Crystal Records was described by Hewell Turcuit in the San Francisco Examiner as ‘casually masterful. Packed with keen notions of sonority’.
Most of Mr. Rodby’s career has been in TV and Film. He was musical director for Dinah Shore for 26 years, Musical Director of the CTW TV show ‘Square I TV’ as well as musical director for two Shari Lewis TV projects; The Shari Lewis TV Show, ‘Lamb Chop’s Sing Along, Play Along’ and ‘Charlie Horse’s Music Pizza’.. He worked further as a keyboardist-arranger for Frank Sinatra, Liza Minelli, Rita Moreno, Tiny Tim and Connie Francis. He also did work on TV shows such as Mitzi Gaynor, Dallas, Bob Newhart, Hart to Hart, Quincy, The Gong Show and X Files. He is currently musical director for Al Martino and arranger- producer- keyboardist for a series of CD’s for Robert Clary and others.
He lives in Woodland Hills with his wife, singer/actress Talya Ferro and continues to compose classical music.
Members of the California Chamber Orchestra
Violin I
Nicole Sauder (Concertmaster)
Ben Hoffman
Angela Xing
Tommy Dougherty
Violin II
Sarah Schwartz (Principal)
Margeaux Maloney
Anne Delgado
Steve Huber
Viola
Ethan Pernela (Principal)
Linda Piatt
Greg Perrin
Cello
Andrew Hayhurst (Principal)
Margaret Tait
Nathan Walhout
Bass
Sam Hagar (Principal)
Orchestra Personnel Manager and Music Librarian
Michael Molnau
Flute
Pam Martchev (Principal)
Oboe
Kathy Oh(Principal)
Ellen Hindson
Clarinet
Max Opferchuk (Principal)
Bassoon
David Savage (Principal)
Horn
Darby Hinshaw (Principal)
Trumpet
Jon Hoehne (Principal)
Rachel Allen
Trombone
Devin Burnworth
Tuba
Scott Sutherland
Percussion
Beverly Reese-Dorcy (Principal)
David Whitman
Piano
Sonya Schumann
California Chamber Orchestra musicians in this concert are members of
The American Federation of Musicians, Local 325
Program Notes
Our concert kicks off with a pre-jazz composition. American composer Scott Joplin (1868-1917) wrote multitudes of rag-times for piano, yet many are not aware that he also wrote and published an opera called Treemonisha in 1911. The original opera was scored for piano and singers and the composer wrote the original story and libretto. Ahead of its time, the message of Treemonisha is the transformational importance of education in a society. The opera was never performed during Mr. Joplin’s lifetime and received its premier in 1974. The California Chamber Orchestra will perform the Overture to Joplin’s opera arranged for orchestra by composer T.J. Anderson.
Composer George Gershwin (1898-1937) composed Lullaby in 1919 as a composition exercise for his then teacher Edward Kilenyi. The single movement work is built on a lazy syncopated repeated figure, and displays various string colors through pizzicato and high harmonics. Though not a landmark piece like his Rhapsody in Blue or Concerto in F, Lullaby’s delightful lilt is something special. Gershwin originally wrote the piece for string quartet, and then it was later arranged for string orchestra. The delightful piece was first performed publicly some thirty years after Gershwin’s death in 1967.
Aaron Copland (1900-1990) composed Music for the Theatre in 1925. According to music historian Vivian Perlis, Copland was “determined to find an American sound in music… Copland incorporated jazz idioms into his first orchestral pieces, causing scandal in concert halls in the twenties. Music for Theatre was written for small orchestra with no specific play in mind.” Copland described his piece by saying, “the music seemed to suggest a certain theatrical atmosphere, so after developing the idea into five short movements, I chose the title.” The work has five distinct movements: Prologue, Dance, Interlude, Burlesque, and Epilogue. Copland utilizes instrumental colors, jazzy rhythms, and rich harmonies in this challenging work for chamber orchestra.
Today’s concert finishes on a high note with a series of jazz tunes adeptly arranged for chamber orchestra by John L. Rodby. Acclaimed vocalist Sherry Williams and Mr. Rodby join the orchestra, and will share more about each of their selections during the live performance.
The California Chamber Orchestra is grateful to the National Endowment for the Arts and the California Arts Council for their support of this week’s performances for 4th grade students in the Murrieta Valley Unified School District.
— Dana Zimbric
Thank You to Our Sponsors and Donors
Society Sponsors
Judy Call
Prudhomme Associates, CPAs
City of Temecula
Leslie and Joseph Waters
Season Sponsors
Mark Margolin
Nicola Helm & Stephen Ryder
Education Sponsors
Craig Carper, LaPointe Wealth Management
Murrieta Rotary
Concert Sponsors
Susan & Ken Dickson
Walt Fidler
Conductor’s Circle
John Stubbs
Concertmaster’s Circle
Barry Weiss
Rudy Wokoek
Principal’s Circle
Kiyoe MacDonald
John Welniak
Musician’s Circle
Candace Flint
Susan Humphrey
Sarah Ivar
Martha Minkler
Join us at The Merc on the 2nd and 4th Sundays of each month for recitals by some of the region’s best musicians. These intimate performances include opportunities to hear from the musicians about their art, their careers, and the music being performed.
8 Plus 88
Alyze Dreiling, violin
Lorie Kirkell, cello
Steve Gray, piano
Today’s Program
Joaquin Turina 1882 – 1949
Circulo, Op. 91 I. Amanacer
- Mediodia
- Crepusculo
Frank Bridge 1879 – 1941
Phantasy in C minor ( 1907)
Astor Piazzolla 1921 – 1992
- Invierno (Winter) from Four Seasons
- Verano (Summer) from Four Seasons
Lorie Kirkell an original composition
“Inspired by A Hymn for the Hurting” poem by by Amanda Gorman
I N T E R M I S S I O N
Johannes Brahms 1833 – 1897
Hungarian Dances 1 and 6
Antonin Dvorak 1841 – 1904
Slavonic Dances 2 and 7
Frank Bridge
Saltarello
Leonard Bernstein 1918-1990 arr. by Ofer Shelley
Mambo from West Side Story
Arturo Marquez 1950 – arr. by 8 Plus 88
Danzon No. 2
Volunteer as an usher at the Old Town Temecula Community Theater
Saturday, December 3, 2022, 7:30 p.m.
Gershwin Performing Arts Center | Murrieta Mesa High School
Tonight’s Program
Aaron Copland (1900 – 1990)
Music for Movies
- New England Countryside (from the documentary film The City, 1939)
- Barley Wagons (from the Hal Roach production of John Steinbeck’s Of Mice and Men, 1939)
- Sunday Traffic (from The City)
- Grover’s Corners (from the Sol Lesser production of Thornton Wilder’s Our Town, 1940)
- Threshing Machines (from Of Mice and Men)
Wolfgang Amadeus Mozart (1756 – 1791)
Concerto for Flute and Harp in C Major, K. 299
- Allegro
- Andantino
- Rondeau – Allegro
Elena Yarritu, flute
Elena Mashkovtseva, harp
INTERMISSION
Pietro Mascagni (1863 – 1945)
Intermezzo from Cavalleria Rusticana
Darius Milhaud (1892 – 1974)
Le Boeuf sur le toit
Thanks to the Murrieta Valley Unified School District for their support of this concert.
Concession sales this evening benefit the Murrieta Educational Foundation for the Arts.
Dana Zimbric is marking her 13th season as Artistic Director and Conductor of the California Chamber Orchestra.
In addition to her work with us, she is Music Director of the Classics Philharmonic Orchestra, which performs educational programs for San Diego area students, and recently made her conducting debut with the San Diego Symphony.
Dana’s past conducting experience includes positions with the San Diego Youth Symphony, Avante Chamber Orchestra, Orchestra Nova San Diego, and the University of Wisconsin Chamber and Symphony Orchestras.
An accomplished clarinetist, Dana holds a Bachelor of Music in Clarinet Performance and a Master of Music in Orchestral Conducting from the University of Wisconsin. She lives in San Diego with her husband and two young daughters.
Russian Harpist Elena Mashkovtseva is known for her impeccable technique, grace and elegance. She is a soloist, chamber musician and dedicated teacher. Ms. Mashkovtseva is a graduate of the Moscow Tchaikovsky Conservatory, where she studied with the celebrated harpist Vera Dulova.She was awarded First Prize at the International Competition in Moscow. After graduating, Ms. Mashkovtseva held the principal harp position with the Moscow Philharmonic Orchestra.
Since leaving Moscow, she has appeared with the Orquesta de Baja California, Orquesta de Bellas Artes, Orquesta Filarmónica de la UNAM, St. Petersburg Mariinsky Theater Orchestra under Valery Gergiev, and the Chamber Orchestra Kremlin under Misha Rachlevsky. Locally, Ms. Mashkovsteva has appeared with the San Diego Chamber Orchestra, Orchestra Nova, San Diego Symphony, San Diego Opera, and the Hutchins Consort. As a chamber musician, she appears regularly with Camarada, and DUO ELENA with flutist Elena Yarritu.
Ms. Mashkovtseva is Professor of Harp at San Diego State University, and has her own private studio in San Diego. Her students have won many local and national competitions, and have gone on to study at major colleges/conservatories here in the U.S. and abroad. Her debut CD Song of the Birds, named after the Catalan folk song performed by cellist Pablo Casals at his United Nations Peace Prize ceremony in 1971, highlights music by Tchaikowsky, Glinka, Prokofiev, Handel and Liszt. Ms. Mashkovtseva currently serves as Vice-President of the San Diego Harp Society and is a sought-after judge for national competitions.
Flutist Elena Yarritu enjoys an active career as a soloist, chamber musician, conductor, and teacher. She has earned a MM degree from Yale University School of Music, a DMA from Stony Brook University, and has studied with many distinguished flutists in the U.S. and abroad. She performs principal flute in the La Jolla Symphony & Chorus and records on the MSR Classics Label. Her performance with pianist Gabriel Sanchez on her debut CD Scree has been described as “fearsome and adventurous” by Fanfare Magazine while being “wholesome and jubilantly virtuosic” (American Record Guide). Her second CD, Emigrantes, released in 2015 features arrangements of music by Astor Piazzolla and original works of young Argentinian composer/pianist Exequiel Mantega and a special collaboration with flutist Paulina Fain.
Dr. Yarritu has served as Artistic Director of the Carmel Valley Library Family Music Concert Series and performs with harpist Elena Mashkovtseva as DUO ELENA. Invested in teaching, she currently serves as president of the San Diego North Chapter CAPMT (Ca. Assoc. of Professional Music Teachers) and her pupils are top prize winners in local, regional, and national competitions including the Music Teachers’ Association of California, National Youth Orchestra, Helen B. Goodlin Scholarship, San Diego Musical Merit, San Diego Flute Guild, The National Flute Association High School Soloist Competition, Young Arts, and Spotlight, among others. In the Fall of 2021, she joined the music faculty at MiraCosta College in Oceanside.
Members of the California Chamber Orchestra
Violin I
Kathryn Hatmaker (Concertmaster)
Nicole Sauder
Jorge Soto
Tiffany Modell
Violin II
Missy Lukin (Principal)
Isaac Allen
Anne Delgado
Bram Goldstein
Viola
Annabelle Terbetski (Principal)
Rebecca Matayoshi
Greg Perrin
Cello
Chia-Ling Chien (Principal)
Margaret Tait
Elizabeth Brown
Bass
PJ Cinque (Principal)
Orchestra Personnel Manager and Music Librarian
Michael Molnau
Flute
Sarah Tuck (Principal)
Alexander Ishov
Oboe
Rodion Belousov (Principal)
Ellen Hindson
Clarinet
Max Opferchuk (Principal)
Peter Dayeh
Bassoon
Ryan Simmons (Principal)
Horn
Darby Hinshaw (Principal)
Tricia Skye
Trumpet
John Wilds (Principal)
Jon Hoehne
Trombone
Devin Burnworth
Timpani
Beverly Reese-Dorcy (Principal)
Andy Watkins
Harp
Elena Mashkovtseva
All musicians performing in this concert are members of
The American Federation of Musicians, Local 325
Program Notes
The earliest films, known as “silent films” were not actually silent. Theater audiences were entertained by live musicians on piano or organ to help set the mood, further the action, and be a part of the film’s storytelling. These musicians were often improvising, or “making-up,” the music. If you saw a silent film in two different theatres, the musical accompaniment would be different. Each organist and pianist had their own unique musical style.
When films moved into the “talkie” phase, around 1927, music was able to be included in the final product. “Talkie” films relied on actors delivering their lines, and the support of music specifically chosen for a scene. The birth of sound with films also produced a new job category called Film Composer.
Tonight’s concert takes us on a journey into famous classical pieces and their connections to 20th century films.
Aaron Copland (1900-1990) became one of those Film Composers. His parents were Lithuanian Jewish immigrants, and he grew up in a busy household with four siblings. His father was not musical, though his mother sang and played piano. The family lived in Brooklyn and owned a small grocery store.
Copland’s first piano teacher was his older sister. At age 15 Copland attended a concert featuring famous pianist Ignacy Paderewski. Copland was so moved by this concert, he decided to study music and become a composer. Just six years later, at age 21, Copland became the first American compositional pupil of Nadia Boulanger. His planned one-year European study became three as he enjoyed the lively Paris life of the early 1920’s.
Upon returning to America, the young composer’s Symphony for Organ and Orchestra was premiered with the Boston and New York Symphonies. This major early success launched Copland’s career as one of the most well-known 20th Century American composers.
Copland connected with Hollywood in the mid-1930’s, not long after “Talkies” started in theaters. He intended for film composing to be a new way to expand his musical reach. His first film score, written in 1939, accompanied Of Mice and Men.
The arrival of the Great Depression changed Copland’s view of American classical music and its role in society. According to The Copland You Know – And the Copland You Don’t by Canadian musicologist Colin Eatock, Copland believed in creating a new American music sound that would appeal to a broad audience. “I see no reason,” Copland wrote, “why composers any longer should write their music solely with the concert audience in mind. New listeners, such as radio provides, may not be cultivated listeners, but at least they have few of the prejudices of the typical concert-goer.”
Musicologist Vivian Perlis felt Copland’s Music for Movies suite demonstrated the composer’s love of film music. She wrote, “the challenge of enhancing a film with music was of great interest to Copland. He enjoyed the idea of adding to the dramatic action by creating an atmosphere unique to each production. He drew music from three films to make up a five-movement suite for small orchestra: The City, Our Town, and Of Mice and Men. Each movement bears a title linking it with the action of the movie. The Suite is dedicated to Darius Milhaud, whom Copland considered a pioneer in the field of film music.” Music for Movies premiered in New York on February 17, 1943.
Wolfgang Amadeus Mozart (1756-1791) was commissioned to write the Concerto for Flute and Harp by French diplomat and military officer Duc de Guines. The duke was a flutist, and his daughter a harpist. As part of the contract, Mozart composed the concerto for the father-daughter duo and also tutored the duke’s daughter in composition. Mozart wrote the piece in April of 1778.
Mozart lived long before films, but he was no stranger to another form of visual entertainment that relied on music to set the mood: Opera. Mozart wrote his first opera when he was 12 years old.
A general characteristic of Mozart’s music, and certainly this concerto, is the musical dialogue between solo instruments and the orchestra. Mozart’s concerto balances the brilliance of the flute with the heavenly sounds of the harp, creating different moods and colors through changes in dynamics, musical ranges, and modes.
In the famous 1984 film Amadeus, the second movement of this concerto plays prominently in a scene with Mozart’s wife, played by actress Elizabeth Berridge, and Antonio Salieri, played by F. Murray Abraham. In the scene, Constanze Mozart presents Salieri with a folio containing original musical scores by Mozart. Salieri is astonished as he looks at the handwritten pages, hearing the music in his head as he looks at the sheets. He remarks how there are “no mistakes or corrections” and it seems Mozart is writing down works already completed “in his head.” Salieri experiences a powerful “a-ha!” moment while seeing and hearing Mozart’s Concerto for Flute and Harp. Mozart’s moving music makes the scene.
Music also makes the opening credits of the film Raging Bull (1980). The scene juxtaposes soaring orchestral phrases with the visual of a boxer, in slow motion, alone in a boxing ring. The music comes from the opera Cavalleria Rusticana (Rustic Chivalry) written by Italian composer Pietro Mascagni (1863-1945). Before knowing anything more about the film, the music leads the viewer to understand that this character will experience a heroic, and likely tragic, journey.
Mascagni wrote the opera in 1890, and the Intermezzo is an instrumental interlude between scenes. Mascagni’s opera premiered in Rome, Italy to great success. So much success, in fact, that Mascagni was never able to write an opera that was more popular. He lamented that he found such success so early, stating, “I was crowned before I was King.”
Darius Milhaud (1892-1974) was one of Les Six (The Six), a group of young French composers who wanted to revolutionize French music. Le Boeuf sur le toit (The Bull on the Roof) was inspired by the composer’s two-year stay in Rio de Janeiro and is named after a popular Brazilian song. The piece is a rondo form of sorts, whereby Brazilian melodies, tangos, sambas, and other types of music are interjected between a recurring main theme.
Milhaud was fascinated by scoring for film and was considered one of the first true film composers. According to Masterworks of the Orchestral Repertoire: A Guide for Listeners by Donald Ferguson, Milhaud said he composed this piece as “fifteen minutes of music, rapid and gay, as a background to any Charlie Chaplin silent movie.”
Milhaud’s work premiered in another visual entertainment form, however, when the score was used as music for a ballet by Jean Cocteau in February, 1920.
— Dana Zimbric
Thank You to Our Sponsors and Donors
Society Sponsors
Judy Call
Prudhomme Associates, CPAs
City of Temecula
Leslie and Joseph Waters
Season Sponsors
Mark Margolin
Nicola Helm & Stephen Ryder
Education Sponsors
Craig Carper, LaPointe Wealth Management
Murrieta Rotary
Concert Sponsors
Susan & Ken Dickson
Walt Fidler
Conductor’s Circle
John Stubbs
Concertmaster’s Circle
Barry Weiss
Rudy Wokoek
Principal’s Circle
Kiyoe MacDonald
John Welniak
Musician’s Circle
Candace Flint
Susan Humphrey
Sarah Ivar
Martha Minkler
Join us at The Merc on the 2nd and 4th Sundays of each month for recitals by some of the region’s best musicians. These intimate performances include opportunities to hear from the musicians about their art, their careers, and the music being performed.
