W E E K L Y G U I D E T O A R T S , I D E A S , A N D E V E N T S I N C E N T R A L V E R M O N T

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Riff on Red Note, by Lois Eby.

by Tracy Martin

Aselection of Wolcott artist Lois Eby’s abstractand improvisational works on paper and can-vas will be featured at the Supreme Court in

Montpelier from July 2 to August 28.The show will include works created in 2003 as a stage

backdrop for a jazz and poetry event, two works createdin 2006 before a live audience in Amherst, Massachusetts,to accompany a jazz performance, and work created inher studio from 2005 to 2009.

Eby cites Asian ink painting as an influence on herwork. Her eye was drawn to the rhythmic vitality of thecalligraphic line, the open space, and the spontaneous en-ergy of Zen ink painting. She also admires the free formimprovisational approach to composition of avant-garde

jazz and its multiple rhythms. She writes of her work,“When I paint, I pursue energy, a rhythmic vitality thatmoves through space and into and out of forms.” In addi-tion, she describes herself as a nature painter, thinking ofnature as the boundless universe in which forms emergeand disappear in space.

In her artist’s statement, Eby elaborates on thosesources and how they inform and inspire her work as oftoday.

I started with intense study of Cezanne, in particular ofCezanne’s watercolors. He has been called the greatestWestern Chinese master, so perhaps there was a clue thereto my later interests. I was drawn to his use of space, colorand line in his watercolors, and still often think of him today

when I work on a piece, interweaving these three elements. Then I studied Kandinsky, and in particular his water-

color and ink works from 1910–1913. He had many of thesame elements as Cezanne in his use of space, color and line,but he had abstracted these elements from the landscape andmade them a subject in themselves.

After painting landscapes and still lifes in my early daysas a painter, I felt an inner drive to try abstract painting. Ifelt that, following the Western approach to landscape, Iwas on the outside, observing nature. I wanted a relation-ship to nature that came from within. It was around thistime that I began studying Asian painting. The relationshipbetween the subject and the space in which it appears fasci-nated me, and seemed to offer an alternative to the filled

Paper & CanvasLOIS EBY AT THE SUPREME COURT

continued on page H.2

by Nancy Taube

The fourth annual Middlesex summerconcert series begins next Thursdayevening. This popular series offers the

weekly opportunity to picnic on the lawnadjacent to the Rumney School, listen to thespirited music of some of Vermont’s mosttalented musicians, and watch the sunsetlight up the verdant details of DumplingHill behind the Martha Pellerin and AndyShapiro Memorial Bandstand where themusic is performed.

Free and open to the public, the six-weekseries presents a diverse sequence of musi-cians beginning on July 9 with the lively im-provisations of Evan Crandall and Too Hotto Handle. Their youthful, cool funk-jazz,portrayed through the skillful use of key-board, electric guitar, electric bass, saxo-phone, and drums, will no doubt create anupbeat atmosphere—promoting good diges-tion. (Samples of their music are availableon YouTube.)

On July 16, Montpelier’s Sara Grace andThe Suits take the stage with their “originalacoustic-driven rock, stylized covers, andbluesy love songs.” Sara Grace sings leadvocals and provides soft acoustic guitar,tablas, and percussion; Andrew Suits playsdrums, conga, and sings additional vocals;Asa Brosious gives tasteful solos on lap steeland dobro guitars; Giovanni Rovetto playsbass; Tom Morse plays trumpet, flugelhorn,and percussion; and Andrew Moroz playstrombone. There’s plenty of funky rhythmin this acoustic ensemble to get your feettapping. (www.myspace.com/saragracethesuit)

On July 23, traditional Irish fiddler SarahBlair and singer, songwriter, and instrumen-talist Colin McCaffrey will be the featuredartists. Well known in the area, Fiddlermagazine took note of Blair, saying she “issimply a great fiddler. Her combination ofgrit and control makes for music with drive,lift and a compelling earthiness.” She will beperforming traditional Irish music—includ-ing tunes from her 2007 solo CD—with thedexterous accompaniment of Colin McCaf-frey. Collaborating on numerous projects,including McCaffrey’s 2004 CD created forMoving Light Dance Company’s produc-tion of The Fiddler and the Pookah, thiscomfortable duo will provide a pleasantevening’s entertainment. (www.sarahblair.us; www.colinmccaffrey.com)

Multi-instrumentalist and composer WillPatton and his quartet will be featured onJuly 30. Playing such diverse genres asCeltic, jazz, rock, bluegrass, and Brazilianchoro, “variety” is the key word for theevening’s music. Patton is described by con-cert series organizers as performing “in theBrazilian and Paris inspired gypsy swingjazz vein. Patton is an extraordinary com-poser and mandolin player who has traveledthe world, performing and delighting audi-ences everywhere. He has opened for thelikes of Van Morrison, Ray Charles andBonnie Raitt.” (www.wpatton.com)

Adding further musical diversity to thefeatured artists in the series, the barbershopquartet High Voltage comes to the band-stand on August 5. The a capella quartet

has been marveling audiences throughoutthe Northeast and Quebec for 23 years withtheir high-energy comedy and tight har-monies. “We’re here to entertain you in thebarbershop style,” goes the lyric in theiroriginal, introductory song, “High Volt-age.” Comprised of lead vocalist Eric Obergof Calais, tenor Charlie Church fromColchester, baritone Greg Morrill of Stowe,and bass Don Pierce from Colchester,you’re guaranteed to smile over your potatosalad when this plucky fraternity walksonto the bandstand. (Samples of High Volt-age recordings can be heard at www.harmonize.com/highvoltage)

Soulful contemporary folk with a bluesstreak is the feature on the final night of theconcert series, August 13. Rebecca Pedulaand her band offer a new voice to centralVermont audiences. A rising star, “Re-becca’s smoldering alto voice and guitarmix of folk, bluegrass and blues create anintimate and varied show and is guaranteedto satisfy.” (www.rebeccapadula.com)

The summer series thrives based on solidcommunity support from local businesssponsors. This year Gold sponsors include:Guitar Sam, MadTech Sound & LovetownRecording, Montpelier Construction, andthe Red Hen Bakery Co. Other sponsors in-clude Bear Swamp Veterinary, Black RiverDesign, Brian P. Graphic Arts, CapitolCopy, Capitol Video, Highland Gardens,HyLine Painting, Man with the Funny Hat,Noyle W. Johnson, Pease Farm, RootedWisdom, Splash Naturals, Sticks & Stuff,and Vermont Trading Company.

All concerts are free and open to the pub-lic and begin at 6:30 p.m. each Thursdayevening at the bandstand next to the Rum-ney School on Shady Rill Road in Middle-sex. For more information, call 229–0881 or223-7275. Rain venue: the Rumney School.

Nancy Taube is a composer, musician,piano teacher, piano tuner, and writer livingin Montpelier. Her first novel, Rustle MeUp Some Texas, is due out in July. Com-ments are welcome at NRTaube@gmail.com or 802-659-4552.

Page H.2 • July 2, 2009 H O R I Z O N S The Bridge

Much Anticipated Music in Middlesex

Two audience members at a Middlesex summer concert. Photos courtesy concert series organizers.

space of the Western rectangle. It seemedmore in keeping with 20th century experi-ence of nature, in which the observed is onlya small part of what we know. Our experi-ence of nature has expanded from what wecan observe to the vast universe made up of

quarks and vibrating strings of energy, orsomething like them.

Of Asian masters, I could cite my earlystudy, for example, of Fan K’uan of theearly Sung dynasty. Bada Shanren (1626 –1705) is another artist whose work I love.But the Zen ink painters have been thegreatest influence on my work. Artists likeGesshu Soko (1618–1696) who can give somuch life and strength to a single brush-stroke, placing it perfectly in a space to en-ergize the space and give joy to the eye . . . Ireturn to these artists over and over for in-spiration.

African American improvised music has

also been a strong influence on my work.Since coming to know the work of WilliamParker, Hamid Drake, and other avantgarde musicians, I have learned to work im-provisationally to create pieces, rather thanusing the planned methods of the Westernpainting tradition epitomized by the grid.These musicians are able to achieve anamazingly high level of invention and energyin their works through their knowledge oftheir instruments combined with their abil-ity to improvise. They too are a constant in-spiration and an admonition to study my“instruments,” to take more risks, and toput my whole self into what I paint.

Eby is represented by West BranchGallery and Sculpture Park in Stowe, Ver-mont. Her work can be seen online atwww.loiseby.com, at the West Branch web-site, and at The Painting Center of NewYork’s Juried Art File.

The public is invited to an opening recep-tion with the artist at the Supreme Court,111 State Street in Montpelier, on Wednes-day, July 8, from 5 to 7 p.m. The SupremeCourt is open Monday through Thursday, 8a.m. to 4:30 p.m., and Fridays 12:30 to4:30 p.m. (Closed July 3.) Call 828-0749for more information.

Paper and Canvascontinued from page 1

Performers at this summer’s Middlesex concert series. From left, Colin McCaffrey, Rebecca Pedula, and Will Patton. Photos courtesyartist websites.

The Bridge H O R I Z O N S July 2, 2009 • Page H.3

compiled by Tim Tavcar; photos courtesy Adamant Music School

Since 1942, the Adamant Music School has been hold-ing summer sessions on its campus in the tiny villageof Adamant, Vermont. The traditional session begins

in mid-July, while master classes are presented before andagain after the session.

Adamant is total piano with supportive peers and mag-nificent teachers in a beautiful, quiet village setting in scenicVermont. It is a special opportunity to join a community ofdedicated pianists of all ages and backgrounds for a re-markable two-week summer session.

With a world-class faculty, a beautiful 200-acre campus,and a longstanding commitment to total piano in an at-mosphere of collaboration and cooperation, it’s easy to seewhy the Adamant Music School is the premier piano facil-ity in New England.

The Adamant experience begins with the Behre MasterClass Series, held in the first two weeks of July and thenconcluding the season with a third in mid-August. Thisyear’s featured artist/pedagogues will be internationallyrenowned pianists André Laplante, John O’Conor, andMenachem Pressler, who will offer instruction, coaching,and their own unique musical insights to more than 30 ad-vanced students from all over the globe, who will then per-form in a series of concerts during each of their mentor’sresidencies.

André Laplante — July 3–7

Over the last decade, Canadian pianist André Laplantehas firmly established himself as one of the great romanticvirtuosos. He garnered international attention after winningprizes at the Geneva and Sydney International Piano Com-petitions, then capturing the silver medal at the Interna-tional Tchaikovsky Competition in Moscow. Critics havecompared him with Ashkenazi, Horowitz, and RudolphJerkin, placing him in the elite circle of virtuoso pianistswho do not hesitate to take risks.

In 2005, Laplante was honored to be named an Officerof the Order of Canada. His performance of Jacques Hetu’sPiano Concerto No. 2 for CBC Records won the 2004 Junoaward for orchestral recordings, as well as the WesternCanadian Music Award.

An active recording artist, Laplante’s releases on theAnalekta label include works by Liszt (Félix 1995), Raveland Rachmaninov, as well as an award-winning Brahmsalbum (Félix 1996). He has also recorded for CBC and

Melodia. His recording of Tchaikovsky’s No. 1 with JoavTalmi and l’Orchestre Symphonique de Québec was nomi-nated for the 2001 Felix Award.

In 1999, Laplante received two Opus Awards for live per-formances: “Best Concert in Montréal” and “Best Concertin Québec Province.”

André LaPlante’s five daily master classes will be heldfrom 2 to 5:30 p.m., July 3 to 7. The participant concertswill be held at the Waterside Recital Hall on Monday, July6, at 8 p.m. and Tuesday, July 7, at 8 p.m.

John O’Conor — July 11–13

Through his recitals, concerto appearances, and criticallyacclaimed recordings, Irish pianist John O’Conor hasearned a reputation as a masterful interpreter of the classicand early Romantic piano repertoires. He has been praisedfor his formidable technique, and through his eloquentphrasing, mastery of keyboard color, and his unique sound,he has been called a true poet of the piano.

O’Conor also continues to make significant contribu-tions to the arts in his native country through his numerousperformances of music from the traditional repertoire andhis championing of the works by Ireland’s leading 19th-cen-tury composer, John Field. He has become a key figure inthe development of young artists through his role as direc-tor of the Royal Irish Academy of Music and was a co-founder of the AXA Dublin International Piano Competi-tion, of which he is artistic director and chairman of thejury.

O’Conor has made more than 20 recordings for theTelarc label, including the complete Beethoven Bagatelles,which was cited by the New York Times as the best record-ing of these works. An avid proponent of the works of hisfellow countryman John Field, he has recorded most of thecomposer’s major works, including the complete concertos,sonatas and nocturnes. His recording of Field’s Nocturnesfeatured on Billboard’s classical charts for many weeks. Hehas also made a recording of his favorite Irish airs with theIrish Chamber Orchestra entitled My Ireland.

O’Conor is deeply committed to the development ofyoung pianists in Ireland and in other countries. As well asbeing professor of piano at the Royal Irish Academy ofMusic, he gives master classes and lectures in many of theplaces he performs.

His students have won many international prizes, includ-ing First Prize at the Clara Haskil Competition in 1999, Sec-ond Prize at the Olivier Messiaen Competition in Paris in2000, First Prize at the Cologne International Competitionin 2001, and First Prize at the Franz Liszt InternationalCompetition in Utrecht in 2002.

Since 1997 he has taken on the mantle of his revered Pro-fessor Wilhelm Kempff, and gives the Annual Beethoven In-terpretation Course in Kempff’s own villa in Positano, Italy,where Kempff gave the course from 1957.

John O’Conor’s five daily master classes will be heldfrom 9 a.m. to 1 p.m., July 11–15. The participant concertsfor this series of master classes are scheduled for Tuesday,July 14, at 8 p.m. and Wednesday, July 15, at 8 p.m.

Menahem Pressler — August 10–14

Menahem Pressler will return to the Adamant MusicSchool this year for the 20th season of his solo piano mas-ter class.

A brilliant soloist, ensemble player and professor at theIndiana University School of Music, Pressler first achievedinternational prominence at age seventeen, when he wonthe Claude Debussy Prize. On his first American tour,Pressler was soloist five times with the Philadelphia Or-chestra and was immediately awarded an unprecedentedthree-year contract with that orchestra.

He appears and records regularly with the leading or-chestras around the world. Pressler is a founding member ofthe world-renowned Beaux Arts Trio, recognized as one ofthe finest chamber music ensembles of our day.

The Beaux Arts Trio has recorded almost the entire pianotrio literature and has received many prestigious awards, in-cluding the Grand Prix Mondial du Disque in France. In cel-ebration of its 100th anniversary, Carnegie Hall commis-sioned a trio by Ned Rorem. The Beaux Arts Trioperformed the premiere. In addition to the 100 or so yearlyconcerts with the Beaux Arts Trio, Pressler also appearswith the Juilliard, Emerson, Guarneri and Fine Arts Quar-tets.

Menahem Pressler’s five daily master classes will be heldfrom 2 to 5:30 p.m., August 10–14. His participant con-certs are scheduled for Thursday, August 13 at 8 p.m. andFriday, August 14 at 8 p.m.

All master classes are open to Adamant Music Schoolmembers and the public at a cost of $40 per day. The par-ticipant concerts are free to members and are offered to thegeneral public for the modest price of $6 general admissionand $3 for students and seniors.

For further information about the Adamant masterclasses or the many other events and open classes through-out the entire season, please contact the school at 229-9297or visit www.adamant.org.

Total Piano Adamant Music School’s 2009 Master Classes

SUPPORT LOCAL ART

Page H.4 • July 2, 2009 H O R I Z O N S The Bridge

Deathtrappings

R E V I E W

by Mimi Clark

Deathtrap, a resurrected Broadwaythriller at Lost Nation Theater playingthrough July 12, has given the word a

new meaning. Thirty years ago, when IraLevin‘s play debuted, “deathtrap” was aword for affordable off-campus housing. Inthis work, the passive becomes active with afew twists.

Deathtrap is still the longest runningcomedy-thriller in Broadway history (howmany others are there?), according to LNT’sdirector Megan Callahan, who describesherself as “someone who shies away frommost horror movies.”

Combining yin and yang is quite an un-dertaking, as comedy and sadistic blood-spilling thrills are at emotional odds witheach other. As for triggering adrenaline, themurder scenes will take care of any addict’sneed. It is disturbing to watch at close rangea well-acted murder followed with curtrepartee.

New Yorker-turned-Vermonter JohnAlexander’s performance of Sidney is highlyconvincing as a man whose selfish indiffer-ence has gotten the best of him. Anyonewho gets in his way is disposable, and his orher demise is worth a jolly good laugh.Aside from his sensational haircut, his char-acter’s appearance is nondescript, makinghis behavior even more perplexing. Onedoesn’t expect such brutal envy from aclean-cut average-looking guy.

Sidney’s enabling wife Myra, played bylocal favorite Elizabeth Wilcox, was con-vincing as a pathetic woman married to acreep. Her outfit—capri leggings toppedwith a period powder blue polyester coatand dress, created by costumer Shawn Stur-devant (who also provided the spine-shillingsound design)—stands out a little too muchfrom the warm red “late dungeon” sets cre-ated by Donna Stafford, which was punctu-ated with a dozen or more death-generating

devices. And it was confusing to see herthrough a lit screen, one of many atmos-pheric lighting effects created by designerJohn Forbes behind stage in act two—aghostly vision one expected to be reintro-duced into the play.

Maura O’Brien plays a neighborly psy-chic whose gift centers on detecting murder.O’Brien is comical but very serious abouther business. She has no fear of being in thecenter of an arena where she anticipatesmore than one murder but feels compelledto warn the would-be victims. Hers is an-

other tricky character that combines an oc-cult presence with slapstick.

Perhaps the most “normal” but not inno-cent character is the secretary/lover/formerstudent Clifford, played by Chris Corpo-randy, who is looking out for his own inter-ests at all times while at the same time giv-ing the impression of being vulnerable andeasy. The power shifts back and forth be-tween him and Sydney in act two, with gunsbeing waved around and neither of themacting overly threatened. Sydney keeps hishands in the air for a long time and sits with

his legs crossed when he could have easilyput up some resistance.

No play in Montpelier would be com-plete without a lawyer. Porter, played byLarry Lambert, is funny and, like the others,not innocent. He contributes a respectableprofessional image, knowing more than heinitially reveals. “These days, who caresabout anything?”

More laughs laden with evil in Lost Na-tion Theater’s skillfully executed Deathtrap.

Myra (Elizabeth Wilcox), worries Sidney (John Alexander) is up to no good with Clifford (Chris Corporandy). Photo by Kim Bent.

by Tim Tavcar

On Saturday, July 11, the T.W. WoodGallery and Arts Center inauguratestheir first Midsummer Mini-Festival,

featuring three events to celebrate the sea-son!

The festivities kick off on the collegegreen at 9 a.m. with a yard sale under thetents they are calling the “Ten Dollars TopsTag Sale.”

An eclectic offering of fabulous items, in-cluding artwork, glassware, DVDs, books,CDs, household items, toys. and assortedtrash and treasures—everything you neverthought you’d need but just have to have—will be on display. Nothing will be pricedhigher than $10.

The sale will be held from 9 a.m. until 2p.m., rain or shine; organizers are requestingno early birds, please.

From 2 to 4 p.m. there will be Family FunTime on the college green, featuring lawngames—croquet, bocci, and ring tosses—face painting, balloons, and creative kids’

art activities. Be sure to check out the re-freshment stand, featuring an ice cream bar.

Finally, from 8 p.m. onward the music ofthe big band reigns supreme: the gallery in-vites you to dance the night away to the glo-rious sounds of the 17-piece Green Moun-tain Swing Band!

This romantic recreation of the swing erawill be held in Alumni Hall, at the intersec-tion of East State and College Streets on thecampus of the Vermont College of Fine Arts.

Don your fabulous 40s finery or just comeas you are and celebrate the decades of thegreat American music making. Admission is$10, and a cash bar will be provided byNECI. The adventurous can buy a chance ortwo on winning the gallery’s 50/50 raffle!

For information or swing dance reserva-tions, contact the gallery at 828-8743. Tick-ets will also be available at the door. TheT.W. Wood Gallery and Arts Center is opennoon to 4 p.m., Tuesdays through Sundays.You can also e-mail woodartgallery@vermontcollege.edu.

In the Good Old Summertime T.W. Wood Gallery and Arts Centerto Hold Benefit Festival

This could be you, dancing to the Green Mountain Swing Band on July 11. Image courtesyT.W. Wood Gallery.