Calendar of Events

Dates: July 11 – 16, 2022
Application: Available now through MyBMC
Cost: A $600 fee covers all housing, meals, classes, materials, and concert tickets. Spots are limited and applications will be reviewed on a rolling basis.

Please note: Proof of COVID-19 vaccination is required for all students, faculty, and summer staff for the 2022 season. Please see our FAQ page for more information.

Program Summary

Brevard Music Center (BMC) presents The Brevard Project: Reimagining the Future of Orchestral Programming, a six-day intensive seminar and think-tank on orchestral programming intended for professionals and influencers in the orchestral field. Presented by Brevard Music Center in partnership with Bard College, the Blair School of Music at Vanderbilt University, the Chicago Sinfonietta, the South Dakota Symphony, the University of Michigan School of Music, and Project Director Joseph Horowitz, The Brevard Project takes place July 11-16, 2022. The central goals of The Brevard Project are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire.

Curriculum

The Brevard Project: Reimagining the Future of Orchestral Programing complements Brevard Music Center’s week-long “Dvořák’s Prophecy” festival from July 11-16 and is inspired by Joseph Horowitz’s acclaimed new book Dvořák’s Prophecy and the Vexed Fate of Black Classical Music. Part think-tank, part seminar, this inaugural Project gathering equips practitioners and scholars alike to begin to answer questions about the dense nexus of culture and race, of historical, political, and moral reckonings surrounding the story of American orchestral music. The central goals of this program are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire. The Brevard Project is designed for conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and engaged orchestra Board members.

Moving forward requires a fresh and closer look at our musical past – and to the lagging formation of an American symphonic canon. A new narrative of American classical music will be proposed that explores timely and topical issues that impact present and future orchestral programming. Why did our repertoire remain so stubbornly Eurocentric? What can we learn from this history? What can be mined from the treasure trove of long-hidden indigenous and Black music that can help to pave the future?

Classroom sessions will be highly interactive, drawing upon first-hand accounts of humanities-infused approaches to programming and community engagement. Topics of exploration include creating a “new paradigm” for American orchestral repertoire, rethinking the concert experience, and redefining the role of the music director. Participants will be challenged to envision programming and organizational initiatives to promote symphonic events grounded in the American experience, past and present.

The Faculty

A remarkable faculty has been assembled for this groundbreaking exercise.
*virtual participant

Joseph Horowitz, Project Director
Leon Botstein, President, Bard College; Music Director, American Symphony; Founder, Bard Festival and The Orchestra Now
Lorenzo Candelaria, Dean, Blair School of Music at Vanderbilt University
Mark Clague, Music Historian, University of Michigan
JoAnn Falletta*, Music Director, Buffalo Philharmonic Orchestra
Christopher Gibbs*, Music Historian, Bard Conservatory; Artistic Co-Director, Bard Festival
Delta David Gier, Music Director, South Dakota Symphony
Blake-Anthony Johnson, CEO, Chicago Sinfonietta
Keith Lockhart*, Artistic Director, Brevard Music Center
Douglas McLennan, Founder/Editor, ArtsJournal
Jason Posnock, Chief Artistic Officer, Brevard Music Center
Jesse Rosen, Former CEO, League of American Orchestras
Larry Tamburri, CEO, Newark School of the Arts (former CEO, Pittsburgh and New Jersey Symphonies)

The Performers

Lara Downes, Pianist, producer, arts advocate
Sidney Outlaw, Baritone/pedagogue, Ithaca College
George Shirley, Tenor/pedagogue, University of Michigan

Enrollment Information

Conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and Board members are all encouraged to apply for The Brevard Project.

Capacity is limited. A $600 fee covers all housing, meals, classes, materials, and concert tickets for the week. Applications will be reviewed on a rolling basis. Apply now through MyBMC.

Visiting Asheville soon and looking for a fun way to fill your Friday night? The Asheville Drum Circle is a tradition unique to the area. While locals usually begin the beating of drums, tourists are welcome to join, dance, or simply take in the incredible atmosphere at any point.

If you’re looking for things to do in the area during your stay, this is a must! Here’s everything you should know about the Drum Circle.

The Asheville Drum Circle is a free event that’s open to all.

Magenta Sunshine laces danceable rhythms, horn-driven soundscapes, and poetic lyricism into genre-defying arrangements. The sextet’s sound synthesizes well-crafted songwriting into a brass inspired, funky psychedelia suited for hip shakers and wallflowers alike.

Music on Main is the annual Friday evening summer concert series at the Hendersonville Visitor Center. Each week, bring a chair, sit back and enjoy free live music! Every concert showcases a different band performing diverse line-up ranging from pop, oldies, rock, to contemporary music. The family-friendly event offers concessions such as hot dogs, ice cream, pretzels and lemonade for sale. Every Friday evening, the Carolina Mountain Car Club hosts a classic car show in conjunction with Music on Main. The car shows are located in front of the Wells Fargo between Barnwell and Caswell Streets, which will be closed to traffic.

This week, enjoy the music of DeanO and The Dreamers, a dance party band that plays all of your favorite from the 50s, 60s, 70s, 80s & 90s.

In case of inclement weather, the concert will be postponed until 8pm. If the weather does not improve by 8 pm the performance will be canceled.

This Concert Series is sponsored by Burger King, Kathy Watkins of Preferred Realty, Firehouse Subs, Blue Ridge Hospitality and Mast General. This event is hosted by the Henderson County Tourism Development Authority.

While Barber’s style of American Romanticism is lyrical without restraint, Shostakovich’s Symphony No. 5 is complex and issues the perfect invitation to read between the notes of a composition written during an era of political strife and war. Kirill Gerstein brings his ferocious technique, discerning intelligence, and imaginative musical presence to Bartók’s lyrical 3rd Piano Concerto, one of the composer’s very last works.

PERFORMANCE & ARTIST DETAILS
Brevard Music Center Orchestra
Keith Lockhart, conductor
Kirill Gerstein, piano

SAMUEL BARBER Second Essay
BÉLA BARTÓK Piano Concerto No. 3
DMITRI SHOSTAKOVICH Symphony No. 5

Auditorium seating is reserved.  Lawn seating is general admission.

Proud Mary Theatre Company presents the Upstate premiere of the bold new musical comedy Head Over Heels by The Go-Go’s, the Musical Comedy of the Summer for seven performances only June 24-July 2, 2022.

This laugh-out-loud love story is set to the music of the iconic 1980’s all-female rock band The Go-Go’s (2021 Rock and Roll Hall of Fame Inductee), including the hit songs, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Head Over Heels,” and Belinda Carlisle’s “Heaven is a Place on Earth” and “Mad About You.”

Cool off in the Laurel River, get your feet wet, experienced swimmers

Drive time to the trailhead: 40-55 minutes

Distance: 7+- miles, Out and Back
Elevation Gain: 767 ft
Difficulty: Easy, moderate, some stream crossings
Time: on trail 3hrs
Pace: 2 mph
MEETUP LOCATION: Ingles Gas Express at Ingles Market, 863 Brevard Rd, across from the Asheville Outlets near I-25. Park near the Gas Station. Look for Blue CRV with Meetup sign. We’ll carpool to the trailhead. Suggested driver donation $7.

What to bring: swim wear? shoes/water shoes, hiking poles, (if you’re getting in the water, bring change of clothes), rain gear??, change of shoes.

Trail length is 7 miles. We may or may not do the entire length.

Described as mostly easy. This out and back trail follows the Laurel River outside of Marshall and Hot Springs with scenic views of many geological formations, rapids, and former railroad town life. Quoted from the HikeWNC website: ” This trail follows Big Laurel Creek through a scenic gorge to its junction with the French Broad River at the old logging ghost town of Runion.”

The trail is an old railroad bed which used to carry logs to the Runion sawmill in the 1920’s, and as such, is mostly level. However, it’s rocky and rooty in spots, so do bring the boots. Expect some muddy trail conditions.

A few small streams flow across the trail at various points, and bluffs tower over the river making the valley narrow and enclosed with precipitous slopes on either side. Huge boulders choke the gorge forming raging rapids in places, and a few deep holes. The trail nears its end at the former logging town of Runion. In its heyday, Runion was home to more than 1,000 people. Brick chimneys and crumbling foundations still remain – one of the few “ghost towns” in North Carolina.”

Well behaved dogs welcome.

Lunch after hike: [Spring Creek Tavern]((http://thespringcreektavern.com/) A group favorite.

Dates: July 11 – 16, 2022
Application: Available now through MyBMC
Cost: A $600 fee covers all housing, meals, classes, materials, and concert tickets. Spots are limited and applications will be reviewed on a rolling basis.

Please note: Proof of COVID-19 vaccination is required for all students, faculty, and summer staff for the 2022 season. Please see our FAQ page for more information.

Program Summary

Brevard Music Center (BMC) presents The Brevard Project: Reimagining the Future of Orchestral Programming, a six-day intensive seminar and think-tank on orchestral programming intended for professionals and influencers in the orchestral field. Presented by Brevard Music Center in partnership with Bard College, the Blair School of Music at Vanderbilt University, the Chicago Sinfonietta, the South Dakota Symphony, the University of Michigan School of Music, and Project Director Joseph Horowitz, The Brevard Project takes place July 11-16, 2022. The central goals of The Brevard Project are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire.

Curriculum

The Brevard Project: Reimagining the Future of Orchestral Programing complements Brevard Music Center’s week-long “Dvořák’s Prophecy” festival from July 11-16 and is inspired by Joseph Horowitz’s acclaimed new book Dvořák’s Prophecy and the Vexed Fate of Black Classical Music. Part think-tank, part seminar, this inaugural Project gathering equips practitioners and scholars alike to begin to answer questions about the dense nexus of culture and race, of historical, political, and moral reckonings surrounding the story of American orchestral music. The central goals of this program are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire. The Brevard Project is designed for conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and engaged orchestra Board members.

Moving forward requires a fresh and closer look at our musical past – and to the lagging formation of an American symphonic canon. A new narrative of American classical music will be proposed that explores timely and topical issues that impact present and future orchestral programming. Why did our repertoire remain so stubbornly Eurocentric? What can we learn from this history? What can be mined from the treasure trove of long-hidden indigenous and Black music that can help to pave the future?

Classroom sessions will be highly interactive, drawing upon first-hand accounts of humanities-infused approaches to programming and community engagement. Topics of exploration include creating a “new paradigm” for American orchestral repertoire, rethinking the concert experience, and redefining the role of the music director. Participants will be challenged to envision programming and organizational initiatives to promote symphonic events grounded in the American experience, past and present.

The Faculty

A remarkable faculty has been assembled for this groundbreaking exercise.
*virtual participant

Joseph Horowitz, Project Director
Leon Botstein, President, Bard College; Music Director, American Symphony; Founder, Bard Festival and The Orchestra Now
Lorenzo Candelaria, Dean, Blair School of Music at Vanderbilt University
Mark Clague, Music Historian, University of Michigan
JoAnn Falletta*, Music Director, Buffalo Philharmonic Orchestra
Christopher Gibbs*, Music Historian, Bard Conservatory; Artistic Co-Director, Bard Festival
Delta David Gier, Music Director, South Dakota Symphony
Blake-Anthony Johnson, CEO, Chicago Sinfonietta
Keith Lockhart*, Artistic Director, Brevard Music Center
Douglas McLennan, Founder/Editor, ArtsJournal
Jason Posnock, Chief Artistic Officer, Brevard Music Center
Jesse Rosen, Former CEO, League of American Orchestras
Larry Tamburri, CEO, Newark School of the Arts (former CEO, Pittsburgh and New Jersey Symphonies)

The Performers

Lara Downes, Pianist, producer, arts advocate
Sidney Outlaw, Baritone/pedagogue, Ithaca College
George Shirley, Tenor/pedagogue, University of Michigan

Enrollment Information

Conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and Board members are all encouraged to apply for The Brevard Project.

Capacity is limited. A $600 fee covers all housing, meals, classes, materials, and concert tickets for the week. Applications will be reviewed on a rolling basis. Apply now through MyBMC.

3.6 mile out and back, ~700 ft elevation gain, to explore two falls in Pisgah. Bring lunch and a swimsuit – we’ll take time to rest and play in the water if folks want!

A later start (yay!) but Pisgah parking holiday weekend will be… challenging. Start time is when carpool leaves from The Hub at 276 and 280. We’ll be at trailhead (Cove Creek and Candy Bottom Parking off Fish Hatchery Road) ready to hike at 11:15.

For full trail description or directions to trailhead, see “Cove Creek Falls and Toms Spring Falls” on AllTrails
https://www.alltrails.com/trail/us/north-carolina/cove-creek-parking-lot-to-toms-spring-falls-daniel-ridge-parking-loop

Bizet’s smoldering drama Carmen is one of the most popular operas of all time. With some of opera’s most iconic melodies, this tale of seduction and obsession promises to thrill both the seasoned opera lover and the opera-curious!

PERFORMANCE & ARTIST DETAILS
Janiec Opera Company of the Brevard Music Center
Brevard Festival Orchestra
Conductor, Joseph Mechavich

GEORGES BIZET Carmen

Sung in French with English supertitles

Auditorium seating is reserved.

With each player having a unique approach to their instrument, the performances are nothing short of inspiring, if not mind-melting. For lovers of funky jazz and virtuosic musicianship, this group delivers on all fronts.

ADAM CHASE

https://adamchasemusic.com

Drummer, Adam Chase, is an acclaimed music director and drummer that has built a name for himself by putting together a variety of Funky and Jazzy All-Star projects. Adam’s unique approach to drum reflects his unique personality and his visionary approach to performance. Chase has worked with an uncanny amount of acclaimed musicians including Fred Wesley, Clyde Stubblefield, John Medeski, MonoNeon, George Porter Jr. (The Meters), Adam Deitch (Lettuce), Aron Magner (Disco Biscuits), Scott Metzger (JRad), Craig Robinson, Antwaun Stanley, Shaun Martin (Snarky Puppy), Domi Degalle, Dennis Chambers, Marcus King, Isaiah Sharkey (John Mayer), Robert Walter (Greyboy Allstars), Jeff Sipe, Claude Coleman Jr. (Ween) and many others.

FELIX PASTORIUS

https://felixpastorius.com

Bassist, Felix Pastorius bears the name of his father, whose reputation often proceeds him. While the lineage is intriguing for most, the dedication to the mastery of the bass guitar is more notable than his last name when it comes to the musician that is Felix Pastorius. Having toured with the YellowJackets as a teenager and traveling the world with groups including Jeff Coffin’s Mu’tet, Cindy Blackman Santana Group, Hipster Assassins and Aesop Rocky, Pastorius has continued to prove to be able to do anything imaginable on the bass guitar. From the most complex explorations to the tastiest pocket grooves. Pastorius alone is worth the cost of admission.

$10 tickets/$12 DOS

Proud Mary Theatre Company presents the Upstate premiere of the bold new musical comedy Head Over Heels by The Go-Go’s, the Musical Comedy of the Summer for seven performances only June 24-July 2, 2022.

This laugh-out-loud love story is set to the music of the iconic 1980’s all-female rock band The Go-Go’s (2021 Rock and Roll Hall of Fame Inductee), including the hit songs, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Head Over Heels,” and Belinda Carlisle’s “Heaven is a Place on Earth” and “Mad About You.”

Bring your instruments, families, friends, lawn chairs and blankets and join us for good times at the Bascom Lamar Lunsford Stage. In 2022 Shindig on the Green, which features a stage show and informal jam sessions around the park, continues at its original location — formerly known as City County Plaza, now transformed into the new Pack Square Park. Locals and visitors alike come together downtown “along about sundown,” or at 7:00pm for those who wear a watch, until 10:00p.m. Concessions are available. Come experience the beautiful music and dance traditions of Southern Appalachia on a summer evening in the mountains.

Eats and Treats: Concessions are provided by The Hop Ice Cream Cafe, and there are plenty of other establishments nearby for food and drinks.

Parking: Parking is available in marked and metered spaces throughout downtown Asheville (free after 6pm) and the city’s municipal decks (evening rates vary). Very convenient to Shindig, Buncombe County’s Charlotte Street Parking Deck is directly across College Street from Pack Square Park and the Buncombe County Courthouse. Parking for buses is available at the Asheville Public Works Building parking lot at 161 S. Charlotte Street. This lot is vacant on Saturday nights. It is recommended that passengers unload at Pack Square Park before the bus is parked in the lot.

Dogs or Other Pets: Please leave your pets at home (unless it’s a service animal). The City of Asheville restricts pets from being present at outdoor special events. Pets, even the best behaved ones, are not allowed at Pack Square Park during Shindig.

Public Transit: There is a major transfer point on College St. for public transit. Check www.ridetheart.com for maps and schedules.. Route E1 provides Saturday evening service to and from the ART Station.

Proud Mary Theatre Company presents the Upstate premiere of the bold new musical comedy Head Over Heels by The Go-Go’s, the Musical Comedy of the Summer for seven performances only June 24-July 2, 2022.

This laugh-out-loud love story is set to the music of the iconic 1980’s all-female rock band The Go-Go’s (2021 Rock and Roll Hall of Fame Inductee), including the hit songs, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Head Over Heels,” and Belinda Carlisle’s “Heaven is a Place on Earth” and “Mad About You.”

THE MASKED SINGER ranks as this season’s #1 primetime entertainment series among Adults 18-49 and averages 7.9 million multi-platform viewers, marking a +74% lift from Live + Same Day.  In February 2020, its Season Three post-Super Bowl LIV premiere drew a massive audience of more than 27 million viewers.

THE MASKED SINGER National Tour live show will feature celebrity guest hosts from the TV show (to be announced at a later date), as well as one local celebrity at every show who will perform in a top-secret disguise. The audience will attempt to decipher the clues to guess the identity until the local celebrity is unmasked at the end of the night. The evening will feature fan-favorite masked characters from the TV show live on stage in an incredible production of song, dance and craziness that only THE MASKED SINGER could deliver.

The week that guitarists Grace Repasky and Maggie Geeslin turned old enough to drive, Lunar Vacation was officially formed.

Repasky and Geeslin met in the eighth grade and began exchanging musical efforts almost immediately, but that blessed autonomy of first cars meant they could conquer Atlanta’s sprawling suburbs and play to their adolescent hearts’ desire. The pair forged a cluster of demos — just enough to fill a set — and took to as many stages as Atlanta could offer them. Local momentum building, they added classmates Matteo DeLurgio on synth and Connor Dowd on drums to sonically match their songs’ increasingly rambunctious spirit.

Upon high school’s end, Lunar Vacation released a pair of well-received EPs, Swell and Artificial Flavors, and landed support runs for the likes of Remo Drive, Sidney Gish, and SALES. The band nabbed infatuated fans across the US while racking up millions of streams on their independently released music. In more than one sense, Lunar Vacation had graduated.

Back in Atlanta, Geeslin was working in a record store (Criminal Records) when Daniel Gleason of the band Grouplove came in. Following a quick connection and hours of conversation, the members of Lunar Vacation felt Gleason could be one to color in the sound they’d been honing live — melodious guitars swirling atop propulsive, often psychedelic rhythm — and capture it in the studio. The band recorded “Unlucky” with Gleason and released it in early 2020, the song drawing attention as “swoon-worthy” from The FADER, “shimmering … wistful, sun-kissed indie-pop” from American Songwriter, and “equal parts Mac DeMarco and Snail Mail” from Paste Magazine. Lunar Vacation continued recording with Gleason in the producer’s chair.

While putting the finishing touches on their highly anticipated debut album, the band are thrilled to share new song “Shrug” via Keeled Scales, their first offering on the critically acclaimed indie label.

The song follows Repasky through an anxious conversation with herself. The melody is buoyant though agitated, its guitars warbling like questions marks and lyrics ringing distinctly relatable. Lines like This isn’t how I want to be / I didn’t know I could care that much and Invited but I’ll never show / Sit at home playing too much Wilco cut into a listener’s mind and vibrate there, like thoughts of one’s own. There’s a carefree sense of triumph in Repasky’s refrain: Why don’t you just shrug it off?

In “Shrug” as well as the songs to come, Lunar Vacation boast a celebratory sound, a reckless sense of ecstasy specific to fluid youth and rock solid friendship. In spite of life’s bits that inspire these songs — some darker than others — Repasky, Geeslin, DeLurgio, and Dowd reliably find the light in the thing. Drawing from early influences like Rilo Kiley and Tame Impala, and landing a little closer to contemporary favorites like Alvvays and Slow Pulp, Lunar Vacation make bright music replete with bliss.

Repasky suggested the band name Lunar Vacation to Geeslin at a show, leaning over at a loud moment to say it. It’s easy to imagine others finding out about the band in this same way.

FUTURE CRIB

A five-piece band of creatives based in Nashville, TN, Future Crib delivers dynamic performances that bounce between poppy make-you-wanna-dance tunes and experimental yet engaging tracks that prod at life’s shared realities. There’s a clear preference for good songs and exciting sounds over genre bounds and expectations, and this is evident on their upcoming album, Full Time Smile, set for release in September 2021. Over all, Future Crib creates music for everyone, inviting all to a fun, welcoming show where you can feel free to get down.

Jazz Sunday at One World Brewing West is a modern jazz jam held every Sunday afternoon from 1-4pm. Previously known as Jazz Monday, the jam has been running non stop since July, 2018 at the West Asheville brewery and is hosted weekly by The Fully Vaccinated Jazz Trio, consisting of Ray Ring on guitar, Jason DeCristofaro on drums, piano and vibraphone, and Connor Law on bass. Jazz Sunday typically features a guest artist for a short set and then welcomes jazz musicians of all levels to sit in for the remainder of the afternoon on One World’s spacious outdoor stage.

Jack of the Wood : Sunday-Irish Session 

Sundays

1 till who knows when?

Traditional Irish music is kept alive at Jack of the Wood with our unplugged Sunday session.

Jack of the Wood

95 Patton ave

Asheville, NC 28801

(828) 252.5445

http://www.jackofthewood.com/

Tchaikovsky’s Piano Concerto No. 1 is one of the most popular and most recognized piano concertos of all time. This great work, plus one of Prokofiev’s most loved works, his “Classical” Symphony, are a fitting combination along with the intense and meaningful work Symbolon, commissioned by the New York Philharmonic and dedicated to Zubin Mehta.

PERFORMANCE & ARTIST DETAILS
Brevard Sinfonia
Ken Lam, conductor
Kirill Gerstein, piano

SERGEI PROKOFIEV Classical Symphony
ELLEN TAAFFE ZWILICH Symbolon
PYOTR ILYICH TCHAIKOVSKY Piano Concerto No. 1

Auditorium seating is reserved.  Lawn seating is general admission.

Celebrate Independence Day with Patriotic Pops at Brevard Music Center. Hear the BMC Orchestra and Concert Band perform inspirational American music, traditional Sousa marches, and Tchaikovsky’s 1812 Overture complete with the sounds of live cannon!

PERFORMANCE & ARTIST DETAILS
Brevard Symphonic Winds
Kraig Alan Williams, conductor

PIOTR ILYICH TCHAIKOVSKY 1812 Overture
Program to include traditional patriotic favorites

Auditorium seating is reserved.  Lawn seating is general admission.