ARTIST RECITAL

YEFIM BRONFMAN, piano

Sonata in C Major, Hob. XVI/50 Joseph HaydnAllegro (1732 – 1809)AdagioAllegro molto

Humoreske in B-flat Major, Op. 20 Robert SchumannEinfach (1810 – 1856)

HastigEinfach und zartSehr lebhaft

Intermission

Twelve Études, Op. 10 Frédéric ChopinEtude No. 1 in C Major (1810 – 1849)

Etude No. 2 in A MinorEtude No. 3 in E MajorEtude No. 4 in C-sharp MinorEtude No. 5 in G-flat Major, “Black Keys”Etude No. 6 in E-flat MinorEtude No. 7 in G-sharp Minor, “Double Thirds”Etude No. 8 in F MajorEtude No. 9 in F MinorEtude No. 10 in A-flat MajorEtude No. 11 in E-flat MajorEtude No. 12 in C Minor, "Revolutionary"

Mr. Bronfman is a Steinway Artist. He has recorded for Sony Classical, Deutsche Grammophon, BMG/Arte nova, EMI and Canary Classics.

Exclusive Management:Opus 3 Artists

470 Park Avenue South, 9th Floor NorthNew York, NY 10016www.opus3artists.com

Please silence all cell phones, pagers and watch alarms. Thank you.

FINNEY MEMORIAL CHAPEL SATURDAY, MARCH 5, 2011 8:00 P.M.

Biography

Yefim Bronfman is widely regarded as one of the most talented virtuoso pianists performing today. His commanding technique and exceptional lyrical gifts have won him consistent critical acclaim and enthusiastic audiences worldwide, whether for his solo recitals, his prestigious orchestral engagements or his rapidly growing catalogue of recordings.

Mr. Bronfman’s 2010/11 US season highlights include recitals in Los Angeles, San Francisco and Carnegie Hall as well as performances of Tchaikovsky’s first piano concerto with the orchestras of Houston, Cincinnati and Saint Louis and Brahms’ second with the orchestras of Atlanta, New York and Los Angeles. He will also make return concerto appearances in Seattle, New Jersey, Pittsburgh, San Francisco, Toronto, Montreal and Washington. With long-time friend and collaborator Pinchas Zukerman, he will appear in duo recital in Princeton, Kansas City, Chicago, Boston and Carnegie Hall.

In Europe he will tour with the Vienna Philharmonic playing the concerto written for him by Esa-Pekka Salonen who will also conduct and with the Philharmonia Orchestra of London, also with maestro Salonen, he will begin a two-season project of the three Bartók concerti in London and on tour in Europe. In partnership with Berlin’s Staatskapelle and Daniel Barenboim all three Bartók concerti will again be featured in programs in Berlin, Vienna and Paris. Return engagements in Europe include the Berlin Philharmonic, Royal Concertgebouw, Israel Philharmonic, London Symphony, Frankfurt Radio, Santa Cecilia Rome and Munich Philharmonic.

Orchestral highlights of the 2009/10 season included two performances at the Tanglewood Festival with the Boston Symphony Orchestra under James Levine and Michael Tilson Thomas and the New York Philharmonic’s first European tour with Music Director Alan Gilbert. As “Artiste Etoile” in residence at the Lucerne Festival he appeared with a wide range of repertoire in recital, chamber music and with the London Philharmonia under Esa-Pekka Salonen, the Lucerne Academy Orchestra and Pierre Boulez and the Vienna Philharmonic conducted by Zubin Mehta. In summer 2009, he was the featured soloist at the Berlin Philharmonic’s annual Waldbühne concert conducted by Sir Simon Rattle and televised live throughout Europe. Similarly, in summer 2010, he soloed with the Vienna Philharmonic conducted by Franz Welser-Möst at their televised outdoor concert from Schönbrunn Palace. Both performances are now available on commercial DVDs.

Mr. Bronfman works regularly with an illustrious group of conductors, including Daniel Barenboim, Herbert Blomstedt, Christoph von Dohnányi, Charles Dutoit, Christoph Eschenbach, Valery Gergiev, Mariss Jansons, Lorin Maazel, Kurt Masur, Zubin Mehta, Esa-Pekka Salonen, Yuri Temirkanov, Franz Welser-Möst, and David Zinman. Summer engagements have regularly taken him to the major festivals of Europe and the US.

He has also given numerous solo recitals in the leading halls of North America, Europe and the Far East, including acclaimed debuts at Carnegie Hall in 1989 and Avery Fisher Hall in 1993. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Mr. Bronfman’s first public performances there since his emigration to Israel at age 15. That same year he

was awarded the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists. In 2010 he was honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University.

Widely praised for his solo, chamber and orchestral recordings he was awarded a GRAMMY® in 1997 for his recording of the three Bartók Piano Concerti with Esa-Pekka Salonen and the Los Angeles Philharmonic. His discography also includes the complete Prokofiev Piano Sonatas; all five of the Prokofiev Piano Concerti, nominated for both GRAMMY® and Gramophone Awards; and Rachmaninoff’s Piano Concertos Nos. 2 and 3. His most recent releases are Tchaikovsky’s Piano Concerto No.1 with Mariss Jansons and the Symphonieorchester des Bayerischen Rundfunks, a recital disc, ‘Perspectives’, to complement Mr. Bronfman’s designation as a Carnegie Hall ‘Perspectives’ artist for the 2007-08 season, and recordings of all the Beethoven piano concerti as well as the Triple Concerto together with violinist Gil Shaham, cellist Truls Mørk, and the Tönhalle Orchestra Zürich under David Zinman for the Arte Nova/BMG label.

His recordings with Isaac Stern include the Brahms Violin Sonatas from their aforementioned Russian tour, a cycle of the Mozart Sonatas for Violin and Piano, and the Bartók Violin Sonatas. Coinciding with the release of the “Fantasia 2000” soundtrack, Mr. Bronfman was featured on his own Shostakovich album, performing the two Piano Concerti with the Los Angeles Philharmonic and Esa-Pekka Salonen conducting and the Piano Quintet. In 2002, Sony Classical released his two-piano recital (with Emanuel Ax) of works by Rachmaninoff, which was followed in March 2005 by their second recording of works by Brahms. 2008 saw the release of the Tchaikovsky Trio in A minor with partners Gil Shaham and Truls Mørk and a Schubert/ Mozart disc with the Zukerman Chamber Players

A devoted chamber music performer, Mr. Bronfman has collaborated with the Emerson, Cleveland, Guarneri and Juilliard quartets, as well as the Chamber Music Society of Lincoln Center. He has also played chamber music with Yo-Yo Ma, Joshua Bell, Lynn Harrell, Shlomo Mintz, Jean-Pierre Rampal, Pinchas Zukerman and tours regularly in duo with Emanuel Ax.

Yefim Bronfman immigrated to Israel with his family in 1973, and made his international debut two years later with Zubin Mehta and the Montreal Symphony. He made his New York Philharmonic debut in May l978, his Washington recital debut in March l98l at the Kennedy Center and his New York recital debut in January 1982 at the 92nd Street Y.

Mr. Bronfman was born in Tashkent, in the Soviet Union, on April 10, 1958. In Israel he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro, and the Curtis Institute, and with Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin.

Yefim Bronfman became an American citizen in July 1989.

Program Notes

Sonata in C major, Hob. XVI:50 (1794-95)by Joseph Haydn (Rohrau, Upper Austria, 1732 - Vienna, 1809)

Joseph Haydn in his sixties was more youthful in spirit than many artists half his age. Stimulated by the city of London that was then, as it is now, one of the great musical centers of the world, he reached the summit of a lifetime of creative work. His most significant achievements from this period include, next to a magnificent set of twelve symphonies, three piano sonatas written for Therese Jansen, a young German-born pianist who had studied with the famous Muzio Clementi and later enjoyed a successful career in England. Just as Haydn wrote no more symphonies after the London set, the sonatas written for Jansen also remained the last ones he ever composed.

We shall hear the first of the three sonatas. It is a work brimming with innovative ideas, both in terms of musical construction and pianistic technique. The first theme of its opening ‟Allegro” is exceedingly simple and has only the sparsest of accompaniments, yet Haydn built an extraordinarily varied movement with this unassuming raw material. He introduced the melody in many different guises, transposing it to different keys and registers. The most unusual of these is a moment when the theme appears in a distant tonality, in the bass region of the keyboard, with the mysterious instruction ‟open pedal” added. This is the only pedal instruction in all of Haydn’s music, and its precise meaning has long been debated by scholars. According to the late H.C. Robbins Landon, the dean of 20th-century Haydn scholars, Haydn meant the left pedal, the so-called una corda (which shifts the keyboard in such as way that the hammer strikes only one string per note instead of the usual three). Another great Haydn specialist, László Somfai, thinks that both pedals—the una corda and the damper—should be used simultaneously. On pianos of Haydn’s time, holding down the damper pedal did not blur the sound as strongly as is the case on modern instruments.

The second movement is a lavishly ornamented, songful Adagio, while the finale is one of the wittiest creations of this composer who had always been a master of musical humor. It is a scherzo whose melody is constantly ‟derailed” into unexpected new keys from where it can come back only after long moments of hesitation. Also, in this movement Haydn took advantage of the fact that the newest English keyboards had a range of a full six octaves, and near the end he used a climactic high ‟A” that would have been impossible back home in Vienna.

Humoreske, Op. 20 (1839)by Robert Schumann (Zwickau, Saxony, 1810 - Endenich, 1856)

The word ‟humor” is one whose meaning has changed repeatedly over the centuries. Nowadays, it stands for language or behavior that inspires laughter. Originally, however, the four ‟humors” of the human body were the four fluids (black bile, yellow bile, phlegm, and blood) whose balance

was believed to be responsible for our health. Later on, ‟humor” became a synonym of ‟mood,” as in being in good or bad humor. Then, in a laudable example of positive thinking, ‟good humor” was shortened simply to ‟humor,” and since there is nothing like a joke to put you in a good mood, the word became more specifically assocated with hilarity.

When Schumann wrote his Humoreske for piano (he actually called it Grosse Humoreske, ‟great humoresque”), he still had the earlier, broader meaning of the word in mind. To be sure, the work has its share of funny moments: for instance, the first fast section of the work always makes me want to ‟LOL” for the way it repeats fragments of its melody at the most unexpected times. But this is only one of this work’s many moods, and the title refers precisely to the utterly capricious alternation of those moods. And ‟humor,” in this instance, was a very serious matter indeed: Schumann got the idea for the piece from a philosophical treatise called Vorschule der Ästhetik (School for Aesthetics) by his favorite writer, Jean Paul (1763-1825), a master of humor in every sense of the word. In his great Schumann monograph, the late John Daverio identified the passages from Jean Paul that are most directly applicable to Humoreske: an ‟infinity of contrast” and a ‟setting of the small world beside the great,” resulting in ‟a kind of laughter...which contains pain and greatness.” In other words, the sharp contrasts may have a comical effect in themselves, but that takes nothing away from the poignancy of the melancholy (the word means ‟black bile”) episodes.

The Humoreske, which is nearly half an hour long, is one of several extended cyclic works Schumann wrote in the 1830s, from Davidsbündlertänze to Carnaval to Kreisleriana. It is probably the most complex and ambitious of them all, because of the subtle interplays of the constituent segments, with many internal motivic recalls. It is not even easy to say how many such segments the work contains: Daverio counted fifteen, but different CD recordings often divide the piece into a different number of tracks. Some of the mood changes are arranged in recurrent A-B-A forms, but the overall shape of the work remains entirely unpredictable. Still, the work is unified by its main tonality (B-flat major), and with hindsight, one may reconstruct its overall trajectory from a dreamy-lyrical opening to a similarly wistful epilog (though with a surprisingly tempestuous final gesture tacked on at the very end). In between, it is a kaleidoscope of ever-changing musical images. Those studying the score will find some highly revealing indications. At one point, one finds as an explicit direction for tempo rubato (the left and right hands being slightly out of sync, indicated as ‟in tempo” and ‟out of tempo”). Another time Schumann notates an ‟inner voice” on a third staff; this line, which is not played, shows the melody emerging from the figurations. For the listener, it is another fascinating dialog between the two aspects of Schumann’s persona: the gentle Eusebius and the fiery Florestan, each expressing himself with greater eloquence and sophistication than ever before.

Twelve Etudes, Op. 10 (1829-1833)by Frédéric Chopin (Żelazowa Wola, 1810 - Paris, 1849)

In the year 1826, the 15-year-old Franz Liszt brought out in Paris his Etudes en 12 exercices, his first published work, and the first set of concert etudes in the modern sense. The same year, 16-year-old Fryderyk Chopin (to use the Polish spelling of his first name) was also busy composing at home in Warsaw. He probably didn’t know Liszt’s etudes at that time, but the formidable reputation of his Hungarian colleague couldn’t have failed to reach him. By the time his twelve etudes were published in 1833, Chopin, too, was a Parisian and was able to dedicate the etudes ‟to his friend, F. Liszt.” (In 1834-36, he would write another dozen etudes, the Op. 25 set, dedicated to Countess Marie d’Agoult, Liszt’s companion and the mother of his three children.)

For both Liszt and Chopin, an etude (the word is French for ‟study”) was a piano piece highlighting a technical problem such as scales, arpeggios, chords, etc.; however, it was intended for performance rather than instruction. It is characteristic for Chopin that the ‟technical problems” he tackled included not only studies in velocity but the slow ‟cantabile” found in the E-major and E-flat minor etudes (long singing phrases are real technical problems, as every pianist knows!).

Etude No. 1 (C major) has arpeggios with an unusually wide span in the right hand, over a continuously unfolding harmonic progression that makes it sound like a Romantically expanded re-creation of the first prelude from Bach’s Well-tempered Keyboard, a great inspiration for Chopin.

Of No. 2 (A minor), Herbert Weinstock writes in his still-valuable 1949 study of Chopin’s music: [It is] ‟an essay on how to produce a perfectly even, graduated scale with the third, fourth, and fifth fingers of the right hand.” Chopin indicated the required fingering in the score.

The slow No. 3 (E major) is one of the most famous pieces in the set. Chopin himself said to his pupil Adolf Gutmann that he had never in his life written another melody as beautiful as this. The difficulty of the piece lies (aside from the ‟con bravura” middle section) in balancing this beautiful melody against the rich accompanying voices. In the original manuscript, Chopin added the words ‟attacca il presto con fuoco” at the end—in other words, he wanted the next etude to follow without a break. No. 4 (C-sharp minor) is another exercise in agility, characterized in addition by a dramatic passion of rare intensity and some fascinating harmonies.

In No. 5 (G-flat major), the right hand’s rapid figurations use the black keys only. No. 6 (E-flat minor) is another slow piece with a rustling inner-voice accompaniment. In No. 7 (C major), the right hand plays a double line of sixteenth-notes that has to be absolutely even to produce the desired effect.

No. 8 (F major) is a fast-moving arpeggio etude like No. 1, but more dramatic in tone, owing to strong accents and staccato figures in the left hand. One of the longest pieces in the set, it contains a middle section in

which both hands play rapid sixteenth-note passages over ever-changing chromatic harmonies. The etude ends with an extended, brilliant coda.

In No. 9 (F minor), the challenge lies in the unusually wide span of the left-hand accompanying figure. The melody (‟molto agitato”) is characterized by great passion; forte and pianissimo alternate quite abruptly, and there is a particular progression (in measures 25-28) that directly anticipates 20th-century compositional practices.

No. 10 (A-flat major) is a study in perpetual motion, with the added difficulty that the accents of the right and left hands do not necessarily coincide. The chromatic melody we hear at the beginning dominates the entire etude almost without interruption.

No. 11 (E-flat major) is special for having broken chords in both hands, moving in equal eighth-notes throughout the etude. The top notes of the chords form a graceful melody, and part of the technical challenge is to bring it out against the full harmonies of the accompaniment,

No. 12 (C minor) is the famous ‟Revolutionary” etude, supposedly written by Chopin upon learning that the Russians had taken Warsaw in 1831. Although it was not the last etude of Op. 10 to be composed, it seems to summarize the technical problems of the entire set, as it combines rapid passagework, powerful chords, stunning harmonic progressions, and highly expressive melodic writing. British musicologist Gerald Abraham was right when he said that this etude represented ‟Chopin’s supreme formal achievement up to the date (September 1831) at which it was written.”

THE FRIENDS OF THE ARTIST RECITAL SERIES

Our generous Friends take great pride in knowing that they play a part in bringing superb music to our community. Please join the Friends of the Artist Recital Series today and take advantage of the special benefits such as invitation to exclusive receptions, recognition in concert programs, discounted subscriptions, and a tax deduction. For more information on the Friends, please call the Conservatory of Music, (440) 775-8200.

The following list represents memberships in the Friends program as of February 1, 2011.

MAESTRO($500+)

George and Ruth BentDavid and Adelade DaviesVeronica DeverRichard and Louise Dunn

Daniel and Elizabeth Goulding Marvin Krislov and Amy Sheon

Jane B. NordRiverside CompanyDavid H. StullDon and Mary Louise VanDyke

ENCORE($250+)

Ellen AdamsBill and Inger BarlowRobert and Cynthia CoanRoger and Fran CooperEmiko H. CusterSean Decatur and Renee Romano David and Susan EgloffMary K. Gray and Jamey HaddadNancy J. Gray

John and Dian HaynesClyde and Maryann HohnDonald and Joy IlligAndrea KalynIrwin LewisThomas Lopez and Holly Handman-LopezJ. Duncan and Nina S. LoveJane Mathison and Peter Takács

Thomas and Mary Van NortwickTheodore Nowick and

Robert TaylorJames K. SunshinePang TsuiEtta Ruth WeiglCatherine WilberKeith and Torie Young

BRAVO($125+)

Helene and Ted AltfeldGeoffrey AndrewsMarc and Sharon BlecherRichard and Viola BlountDavid and Sigrid BoeClair and Janis BrewerJames David ChristieNancy Cooper – In Memory

of Walter AschaffenburgNorman and Ann CraigPhyllis CurrentHarold and Lois DaltonBernard and Sheila EcksteinCherie FabianDewey and Carol GanzelHarvey Gittler and Naomi Barnett

Marcia and Sam GoldbergMary Lynne Grove and Marian LottHerb and Sabra HenkeMaxine W. HouckWilliam and Janet HutchisonElizabeth JamesAdelbert and Betty JenkinsKathy LinehanRobert and Carol LongsworthJoseph and Dorothy

LucianoWilliam MasicaJocelyn M. MaurushatAlbert J. McQueenJeanne PeaseTerri and Charles Postel

Richard and Dina SchoonmakerWarren and Judy SheldonRobert and Judy SkillicornHarold and Linda SlocumMartha A. StacyKathryn Stuart and David BreitmanEllis and Beth TallmanJames and Andree UnderwoodEd and Anne WardwellElizabeth WeinstockHelen WheelerEleanor WhiteheadReid and Gail WoodJames and Janice Zinser

OVATION($75+)

Marci and Brian AlegantPaul and Sally ArnoldNancy BeauchampJane BlodgettCharlotte BoschJoanne and Walker BrockEdward and Sally BrownJohn and Julie BucherMarianna and Jim CarneyAlan CarrollCorning ChisholmBonnie L. Cook VillariBruce and Mary Ellen

CudneyFrances M. DeChantJoyce DuganJohn and Anne ElderJohn and Joanne ErwinDavid and Paulie EvansAnn L. Fuller Milton and Jane GarrettMeg Gold

Phyllis Gorfain and Bruce RichardsChris and Debra HarrisShirley HaywardJean HellerJames and Ann HelmAllen HusztiGloria S. KimCarol Lasser and Gary KornblithAllen and Sue KrugerFrank and Lenore LaycockShirley LuttsAlfred and Ann MackayDaune S. MahyRobert and Nancy McCluskyMarilyn McDonald Sue McFeeJeanne McKibbenNicki and John MemmottMarlene and Dan Merrill

Jane MooreThelma MorrisJean K. MulacMarilyn MyersonFerdinand ProtzmanFloyd and Marjorie RampCharles and Sharon RaquetRuth SearlesWilliam and Susan SkinnerDaniel R. StinebringRon and Toni SuselJune SwartwoutHelen TaylorHeidi Thomann Tewarson and Jack GlazierVirginia WaratinskyCarol WarrenR. Budd and Janet Kelsey WernerBetty WhitacreLee Wood

If your name is missing or incorrectly listed, please call (440) 775-8200 so that we may correct it in future programs.

Thank you.OBERLIN COLLEGE CONSERVATORY OF MUSIC2011 SPRING SEMESTER

MAJOR CONCERT EVENTS

Danenberg Honors RecitalSunday, March 6, 8:00 pm

Warner Concert Hall

Oberlin Chamber Orchestra Tuesday, March 8, 8:00 pm Saturday, April 16, 8:00 pm

Finney Chapel

Oberlin Wind EnsembleThursday, March 10, 8:00 pmSaturday, April 15, 8:00 pmTuesday, May 10, 8:00 pm

Warner Concert Hall

Contemporary Music Ensemble Friday, March 11, 8:00 pm, Warner Concert Hall

Saturday, May 7, 8:00 pm, Clonick Hall

Friday, May 13, 8:00 pm, Warner Concert Hall

Oberlin Jazz Ensemble Saturday, March 12, 8:00 pm Saturday, May 14, 8:00 pm

Finney Chapel

Guitar Ensemble Tuesday, March 22, 8:00 pmTuesday, April 19, 8:00 pm

Kulas Recital Hall

Oberlin Orchestra Wednesday, April 13, 8:00 pm Wednesday, May 11, 8:00 pm

Finney Chapel

Arthur Dann Piano CompetitionSunday, April 17, 1:00 pm

Finney Chapel

Oberlin College Choir Thursday, April 21, 8:00 pm

Finney Chapel

Oberlin Collegium Musicum Friday, April 29, 8:00 pm

Saturday, April 30, 8:00 pmFairchild Chapel

Women’s Chorale Wednesday, May 4, 8:00 pm

Warner Concert Hall

Oberlin College Community StringsThursday, May 5, 8:00 pm

Finney Chapel

Musical Union / Oberlin Chamber Orchestra Sunday, May 8, 8:00 pm

Finney Chapel

Oberlin College Community WindsThursday, May 12, 8:00 pm

Finney Chapel

Opera Scenes Part I & IIMonday, May 16, 4:00 & 8:00 pm

Finney Chapel

Piano Extravaganza* Friday, May 27, 8:00 pm

Warner Concert Hall*tickets available through the Alumni Office (440-775-8692)

Commencement Recitals I & IISaturday, May 28, 8:00 pmSunday, May 29, 8:00 pm

Finney Chapel

These events are free unless otherwise noted.Visit the Oberlin Conservatory on-line calendar at www.oberlin.edu for

additional concert listings and further information.

OPERA, THEATER, AND DANCE PERFORMANCES AT OBERLIN COLLEGE

SPRING SEMESTER, 2011

OPERA La Clamenza di Tito by W.A. MozartAssociate Professor Jonathon Field, director

Wednesday, Friday, Saturday, March 16, 18, 19, 8:00 pmSunday, March 20, 2:00 pm

Hall Auditorium

Opera Scenes Part I & II*

Associate Professor Jonathan Field, directorMonday, May 16, 4:00 & 8:00 pm

Finney Chapel*Free admission

THEATERTWO ROOMS

By Lee BlessingDirected by Samantha Abrams ’12

March 17, 18, 19, 20, 8:00 pmLittle Theater

A BROKEN AND CONTRITE HEART & A FEW DAYS OF TROUBLE (ORIGINAL)Written and directed by Heather Harvey ’11

April 6, 7, 8, 9, 8:00 pmLittle Theater

AFTER ASHLEYBy Gina Gionfriddo

Directed by Jenny Gaeng ’11April 21, 22, 8:00 pm

April 23, 2:00 & 8:00 pmLittle Theater

FLORA THE RED MENACEBy John Kander ’51 and Fred Ebb

Directed by Matthew WrightChoreographed by Holly Handman-Lopez

May 5, 6, 8:00 pm, May 7, 2 & 8 pm, May 8, 2:00 pmCommencement Performances*

May 27, 8:30 pm, May 28, 2:00 & 8:00 pmHall Auditorium

*tickets available through the Alumni Office (440-775-8692)

DIRECTING SCENESDirected by Paul Moser

May 11, 12, 13, 14, 8:00 pmLittle Theater

PLAYWRIGHTING READINGSCurated by Caroline Jackson Smith

May 15, 16, 17, times TBALittle Theater

DANCEESSENCE SENIOR CONCERT

Haydee SouffrantMarch 11, 12, 8:00 pm

Warner Center, Main Space

SENIOR DANCE CONCERTKatherine Barkley and Modesto Acosta

March 18, 19, 8:00 pmWarner Center, Main Space

TIMARA/DANCE SENIOR CONCERTKatherine Buono

March 19, 7:00 & 9:00 pmWilder Main

WOMEN’S VOICESDirected by Chris Seibert, Education Director, Cleveland Public Theater

March 20, 7:00 pmWarner Center, Main SpaceReception follows in Studio 3

SPRING BACKStudent works and choreography by Nusha Martynuk

April 15, 16, 8:00 pmWarner Center, Main SpaceSENIOR DANCE CONCERT

Kai Evans and Helen Joyce

April 29, 30, 8:00 pmWarner Center, Main Space

AUTOBIOGRAPHY & PERFORMANCE CLASS PROJECTSOrganized by Ann Cooper Albright

May 1, Times TBAWarner Center

FLORA THE RED MENACEBy John Kander ’51 and Fred Ebb

Directed by Matthew WrightChoreographed by Holly Handman-Lopez

May 5, 6, 8:00 pm, May 7, 2 & 8 pm, May 8, 2:00 pmCommencement Performances*

May 27, 8:30 pm, May 28, 2:00 & 8:00 pmHall Auditorium

*tickets available through the Alumni Office (440-775-8692)

Tickets for these performances on sale atCENTRAL TICKET SERVICE

Located in the lobby of Hall AuditoriumMonday–Friday, 12–5pm • 440–775–8169

Group Discounts for 10 or More * Gift Certificates in Any DenominationAmerican Express, MasterCard & Visa accepted.

Oberlin College would like to acknowledge The Riverside Company for its support in underwriting all the Oberlin radiobroadcasts on 104.9 WCLV for the Artist Recital Series and the Oberlin Conservatory during the 2010-2011 season. As a private equity firm investing in small to medium sized businesses, the Riverside Company supports investors and business owners across the world with offices in New York, Cleveland, Dallas, San Francisco, and Europe, and we are grateful for their commitment to serious music in Northeast Ohio.

Terminal Tower50 Public Square, Suite 4000

Cleveland, Ohio 44113

Phone: (216) 706-3009Fax: (216) 344-1330

www.riversidecompany.com