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Unknown: Good evening, everyone. Hello. Nice to see you all. Every year, it's harder to corral you in. But that's a good sign means you're making friends. My pleasure to be here tonight. Nice to see you all. I think we have a great program.

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And many thanks to sessile for hosting us this evening once again, and and we have the dog Where did the dog go? So we're ready to start. As soon as the dog comes, we know we're ready. I want to

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thank very much our concert master this year, Stephanie irata, who put the program together. And I'll introduce her and Sarah, who's a wonderful harpist tonight and with the orchestra this year. And just to mention that I had the great

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pleasure of working with Stephanie, she was concert master of my orchestra in Denver for one year. And we couldn't force her into staying but I managed to coerce her into coming here and we're very happy to have her so I'm gonna turn

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the program over to her. So please welcome Stephanie and Sarah. Thank you very much. Um, it's really great to be here. You live in a beautiful place. This concert where I spend most of my

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time would be a little bit more difficult. I usually live in Minnesota, Minneapolis, so we would have a little bug spray sent in there if we were here in Minnesota. But it's great to be here. And we have a program for you. Which Yeah, diverges from

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the theme of Cumbria in that it's sort of all the big name composers from the heart of the literature. So it's a little it's a breath of fresh air for this festival. Anyway, um, it's a sort of a sampling we have movements from pieces, classic

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pieces that you probably aren't may have heard. Actually the first number though, I'm being joined by the harpist. They're going out. And actually it's as we have a heart sandwich for you because we started the problem with the heart and we end with

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the heart. This piece is written by Stan song who is French but he was very enamored of Spanish music culture, which I think was sort of fashionable for a while there and he's written many many wonderful violent works. So So pieces for the violin, I don't

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know if he's written very much for the heart. A little bit for the heart, but then a lot has been written for the violin over there. So here we go. We have it's called fantasy and it's, it's kind of a it's this is a good setting for it. I think it

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has a bit of Gypsy in it and we'll see just how much just see it happen. It tonight. Well the other cohorts have to get up here now many drugs

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can I was good many dogs don't listen on the outside sorry for those people sitting it's a good view

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they can move Yeah, I don't know. Yes if they want to move on no it's not the heart but they can't see through the heart balance right here on things I can give him first slab is the

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problem. Yeah, it's got to stay covered. So yeah, because of the temperature. Let me play with them once now they can't get rid of me. That's what's happening. So. So this is the first moment of as you could

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tell the cornet five quintet by Mozart. Did you want to say a couple words about you want to hear from the featured artists? Well, just that most of the major literature for the clarinet over the years has been written for specific people.

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Composers just didn't sit down and write works for the clarinet. As it turns out, if you heard Eddie Daniels last week, you know the concerto that he played was written, especially for him. And that's sort of been the tradition for

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200 years in Mozart's time, it was the same. So all of the wonderful pieces that Mozart wrote involving the clarinet as sort of a prominent instrument were written for one of the court musicians, instrument makers of that time. And that

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includes this piece, which is written in 1789. And as Marian said, it's in for moments and we'll play you the first movement. Just sampler.

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It's going to be long. I'm going out So what we're in the land of Mozart, you're going to do a movement from one of the Mozart flute quartets and Cheryl are

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wonderful principal bluetest will tell you a little bit about that. That's fine. I don't know as much as bill does about who this was written for. But what I do know is that it evidently it's written in one of his letters,

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Mozart's letters that he detested the flute. And of course, it's very hard to believe considering he wrote the Magic Flute, and he wrote so much beautiful music for the flute. But whoever he wrote it for, he wrote for quartets. The

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only indication to me that maybe Mozart didn't like the flute as well as other instruments is that several works that he wrote for the flute, he stole from other instruments. He transcribed other pieces that he wrote, he sort of recycled them

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for the flute. One of the other quartets not the one we're gonna play is actually from a wind serenade and one of his two concertos is a reworking of the oboe concerto. So who knows? We're gonna play the middle moment from the most famous

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quartet, I think the best one in D major, and it's Adagio. And we probably better tune because I've been getting very cool Shall we just go to

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the next music we're gonna play for you is by the youthful Beethoven. Beethoven wrote the Opus nine trios when he was 26 years old. And in the letter to his publisher, he described this music as absolutely his his finest music, his best music

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that he had ever written to that point. What is curious about these these models string trios is that Beethoven really never returned to this form ever again after the 1796 possibly captivated by the allure of the string quartet. But

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nevertheless, you'll hear very advanced but charming music of the young Beethoven. This is the presto movement. From his G major trio, Opus nine I'm setting up I thought you probably I think you all know

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Lee Douglass, it was a festival for a long time and Kelly shanafelt is new to the festival this year and we're very happy to have her so. So I'll say a few words about the revolt with my colleagues

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are standing up here. Actually, I don't know if you've noticed, but I've been doing a little tap dance downstairs in addition to, to playing with my fingers. That's because at the bottom of this instrument, there are paddles. There are seven pedals

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each pedal controls an accidental sharps, flats and naturals and actually seven pedals or seven notes of the scale. So this actually, this concert grand Park is also called the double action heart because that's exactly what it

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enabled us to do. We were able to modulate from one key to another, that's relatively new, in well, relatively speaking, invention, actually, a French guy by the name of Sebastian erhard in the late 19th century, wanted to play another keys. And

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so he invented this wonderful system. And so this this is, this piece actually was written for the brand new double action pedal harp that really just came out around 19 hundred's This piece was written in 1904.

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I just wanted to tell you that we play very well in tune indoors. The dogs are really working there you hear them they're going to town now we're really just killing time what you know, I think

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it was either a valley WC that that said that harp well we do have to tune each 47 strings independently. Of course, they all go out of tune at different times, particularly an orchestra when it just happens to be our show up. So I think it was

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actually it was WC who said that the harp harp is