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Season Sponsor


Concert Sponsor

Charles & Gerry Jennings

2022 - 2023

Chamber Music Series

 FRIDAY May 5 7pm
SUNDAY May 7 2pm

In a concert that’s not just for the young or young at heart, this performance centers around the concept of youth. Schumann’s Kinderszenen reflects imagined scenes from a childhood, both naive and sentimental.. 


The Newberry

420 Central Avenue


First Congregational Church 

2900 9th Ave S

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Chinook Winds

Guest clarinetist Christopher Kirkpatrick joins the group on Janácek’s "Mládí" (Youth) sextet.

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Antonio Jarvey, a young saxophonist originally from Great Falls, features on Milhaud’s "Scaramouche."

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Robert Schumann
1810 – 1856

arr. Abrahamsen

Of Foreign Lands and Peoples

A Curious Story

Blind Man’s Bluff

Pleading Child

Happy Enough

An Important Event


At the Fireside

Knight of the Hobby Horse

Almost Too Serious


Child Falling Asleep 

The Poet Speaks

Words came easily to Schumann. In his youth he produced unpublished plays and poems and was as well known in his day as an essayist and journalist as he was for his musical compositions. He is still famous for his review of Chopin’s early Variations on ‘La, ci darem la mano’, which contained the often quoted phrase “Hat’s off, gentlemen, a genius.” (As a side note, both composer and reviewer were only just entering their twenties, and Chopin was at the time already famous as a performer, so the conventional understanding that Schumann introduced Chopin to the musical public is inaccurate.)

Given Schumann’s sensitivity to verbal matters, we should pay close attention to the evocative titles Schumann attributed to his compositions. He wrote:

“Titles for pieces of music, since they again have come into favor in our day, have been censured here and there, and it has been said that ‘good music needs no signpost.’ Certainly not, but neither does a title rob it of its value; and the composer, in adding one, at least prevents a complete misunderstanding of the character of his music. If the poet is licensed to explain the whole meaning of his poem by its title, why may not the composer do likewise? What is important is that such a verbal heading should be significant and apt.”

Kinderszenen, or as it is usually translated, Scenes from Childhood, was the product of a troubled time in the composer’s life. Schumann’s marriage to his beloved Clara would not take place for more than a year and the couple was busy petitioning the courts for permission to marry, over Clara’s father’s objection to the union. Robert had been courting Clara since 1835 and by the time of their eventual marriage in 1840 (the day before the bride’s 21st birthday), the couple had known each other for more than 10 years.

During this time of courtship, Schumann’s compositions had become more experimental and complex. Their overt emotionalism and unconventional structures were baffling to the average audiences and even controversial to experts. The C-major Fantasy, the Third Sonata (known as the “Concerto without Orchestra”), and Kreisleriana were all products of this fertile period. One composition, Kinderszenen, bucked the trend and was a popular best-seller. It remains today an audience favorite.

But we shouldn’t fall under the mistaken impression that this is music for children to play or intended for an audience of children. This is music of emotional maturity and sophistication evoking the emotional world of children. One is reminded of the famous poem of e.e. cummings which begins:

      in Just-

      spring      when the world is mud-

      luscious the little

      lame balloonman

      whistles      far      and wee

An adult looks back upon, but does not inhabit, a past. The vocabulary may be simple, but what is conveyed is not. Please read over the translations of the titles of the individual movements in the program listing, Schumann’s “significant and apt” signposts. And take particular note of the two most obvious intrusions of an adult sensibility into the cycle. The first comes at the emotional and literal heart of the 13 pieces, the seventh and best known, Träumerei, or reverie. And the second comes at the end, when a remarkable shift in tone takes place and the voice of the poet is heard in conclusion, suspended in nostalgia.

—Notes by Grant Hiroshima

Darius Milhaud
1892 – 1974

arr. Stewart
FEAT. Antonio Jarvey SAXOPHONE

I. Vif

II. Modere

III. Brazileira

In 1936, the French composer Darius Milhaud (1892-1974) wrote incidental music for Le médécin volant (The Flying Doctor), a play by Charles Vildrac based on Molière’s play of the same name, which uses Italian commedia dell’arte characters. The title of the work comes from the business where the servant must be himself and at the same time his false doctor brother, who has to appear in different places just as the servant has vanished, aptly named Scaramouche, or “cowardly buffoon.” Originally written for two pianos, Milhaud later reorchestrated the work in various versions for saxophone or clarinet and piano, saxophone and orchestra, and even a version for saxophone quartet.

The first movement uses an old English children’s count-down tune known as ‘Ten green bottles hanging on a wall,’ a smaller version of ‘99 Bottles of Beer.’ The lively movement carries us immediately into the world of the flying servants, seemingly being everywhere at once. The second movement gives us time for a love story and provides a landscape of both youthful and everlasting romance. In the final movement, a samba, we journey to South America where Milhaud had served earlier in his life when he was secretary to Paul Claudel, the French Ambassador to Brazil. The melodies are contagious and conclude the work in a party-like fashion.


—Notes by Antonio Jarvey


Antonio Jarvey is a saxophonist from Great Falls, Montana. Through the years Antonio has studied with Dr. Johan Eriksson, Zach Shemon, Dr. Timothy McAllister, Dr. Andrew Bishop, Hal Hugg and Ron Coons. Antonio has performed with numerous groups including, the Montana All-State Honor Band, Montana All-State Jazz Band, All-Northwest Honor Band, Honor Band of America, NYO-USA and Interlochen’s World Youth Wind Symphony.


Antonio has garnered top prizes from regional, national and international woodwind competitions. These include the Medici, London, Paris, and Birmingham International Competitions. The 2020 and 2022 University of Montana Concerto/Aria Competitions. MTNA National Woodwind Competition, and the 2021 and 2023 Montana Association of Symphony Orchestras Young Artist Competition.

As a soloist Antonio has performed with such groups as the Great Falls Youth Orchestra, Great Falls Municipal Band, University of Montana Symphony Orchestra, University of Montana Concert Band, University of Montana Symphonic Wind Ensemble, Great Falls Symphony, Billings Symphony, Helena Symphony, and the Curtis Institute Symphony Orchestra. As an advocate of new music Antonio has commissioned works by Elise Arancio, Justin Zeitlinger, Bryan Kostors, Katie Jenkins, Karalyn Schubring, Isabelle Pearson, Sylvia Wood, Veronica Stimpfling and Owen Kirby.

Antonio received his Bachelor’s Degree in Music Performance at the University of Montana under the direction of Dr. Johan Eriksson. He will continue his studies at Northwestern University with Professor Taimur Sullivan.

Leoš Janáček
1854 – 1928
FEAT. Christopher Kirkpatrick CLARINET

I. Allegro

II. Andante sostenuto

III. Vivace

IV. Allegro animato

It is often that when we think of the great composers, we think of astonishing wunderkinds such as Mozart and Mendelssohn, or composers of vast quantities of oeuvre, such as Bach or Haydn. It is in fact rare to come across a composer such as Leoš Janáček, whose first true compositional success came in 1904 with the premiere of his opera Jenůfa, when the composer was already fifty years old. However, after his late success, his meteoric rise to international recognition and fame led to an outpouring of operas, chamber music and symphonic music until his death in 1928, and he remains a uniquely monolithic presence in Czech musical culture.


Born to schoolteachers in Moravia, now modern era Czech Republic, Janáček’s obvious musical talent led him predominantly to the collection of musical folklore native to his home country. Influenced by the nationalistic style of composers such as Antonín Dvořák and Tchaikovsky whom he admired, Janáček developed his own idiosyncratic style steeped in the sounds, cadences and phonemes of the Czech language which he termed “nápěvky mluvy,” or speech-melodies, in an attempt to convey a music rooted in realism. This is characterized by short, pithy musical subjects which develop through rapid and seemingly jarring juxtaposition, quickly flitting between very different moods. In this way, seemingly unimportant motifs can become focal points of climaxes that appear as if in sudden epiphany, before receding into harmonically ambiguous textures. It is hard to imagine a more apt word to describe his music other than eccentric, which expresses both the peculiarities of his musical language and his literary subjects.

The Mládí or “Youth” sextet for woodwind quintet plus bass clarinet is a mature work that comes from 1924, inspired by the composer’s visit in 1923 to the International Society of Contemporary music in Salzburg, where he heard Albert Roussel’s Divertimento for piano and winds. Cast in four contrasting movements, the suite is a deeply nostalgic exploration of the composer's younger life as a chorister of the Abbey of St. Thomas in Brno, expressing everything from the joys of childhood to the loneliness he experienced after the death of his father. An example of Janáček’s speech-melody can be found in the opening oboe theme of the first movement, a recurring theme of the work, which supposedly sets the phrase 'Mládí, zlaté mládí!' ('Youth, golden youth!'). Janáček also includes a recalled melody in the third movement from the military bands which would play in Brno, recycled from an earlier work titled “March of the Blue Boys.” An exuberant work of particularly brilliant woodwind writing, the Mládí sextet’s ebullience belies a composer already well into his seventies.

—Notes by Nick Davies


Christopher Kirkpatrick is Professor of Clarinet at the University of Montana and has performed throughout North America, Europe and Asia.

He is principal clarinet of the Missoula Symphony and Big Sky Festival Orchestra and has performed with the Detroit Symphony, Lansing Symphony, West Michigan Symphony, Brevard Music Center Orchestra, New Mexico Symphony Orchestra and the Santa Fe Symphony.

Christopher has performed at numerous conferences including the International Clarinet Association’s Clarinetfest, the North American Saxophone Alliance Conference, the International Double Reed Society Conference, International Horn Symposium, the Brandon University Clarinet Festival, World Bass Clarinet Congress, and the Montana/Idaho Clarinet Festival. During the summers he is on the faculty of the International Music Camp. 

An avid enthusiast of new music, recent commissions include works by Christopher Stark, Emilie LeBel, James Stephenson, Evan Chambers and David Biedenbender.  He is proud to be a Buffet Crampon Artist and Silverstein Artist. He holds degrees from Michigan State University (DMA), the University of New Mexico (MM) and the University of Tennessee, Chattanooga (BM). His teachers have included Elsa Ludewig-Verdehr, Keith Lemmons, Steve Cohen, Ted Gurch, Nikolasa Tejero, and Peter Temko. 

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Akshaya Avril Tucker 
b. 1992

Hold Sacred

​The goal of Hold Sacred is to soothe. To hold something sacred to us is soothing; to remember it is soothing.
I mean to hold sacredness literally. Make “hold” a verb. Hold sacred, as you would a baby chick, a tiny plant, a memory, or someone’s hand.The gentleness comes from the desire to protect this dear object, to stay in this comfort for a while ...

​With the task of meditating on the concept of “sacredness,” for WindSync’s “Sacred and Profane” program, I had to ask what was sacred to me personally. The answer, during the COVID-19 pandemic, is “touch and feel” things. Repotting plants. Kneading bread dough. Giving a hug, when possible. Fewer think-y things. These sensations keep me going mentally. They heal anxiety, like a magical antidote, some special serotonin, while the memory of who and what I cannot physically hold is difficult.

We may only create a few moments of soothing sounds together, and then... we will go right back to the way things are. But maybe just for a moment, we can hold this feeling in our hands.

Hold Sacred features a blend of abstracted raga-inspired fragments that swirl through unusual harmonies and (hopefully) invite a meditation on whatever is most soothing to the listener.

—Notes by Akshaya Avril Tucker