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Auburn Cottle

AU Faculty Will Perform for A Little Lunch Music

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Museum Series Will Feature Brahms Chamber Music

On January 19, from noon to 1:00 pm, the series will present a free concert in the auditorium featuring pianist Jeremy Samolesky, baritone Matthew Hoch, soprano Anne Duraski, violinist Guy Harrison, and clarinetist David Odom. The program will feature chamber music by Johannes Brahms. Thanks to anonymous friends of the series for helping to make this performance possible.
Thursday’s program will include three pieces by Johannes Brahms, one of the defining composers of western music’s Romantic Period. Brahms lived from 1833 to 1897. Samolesky said he began playing Brahms’ music in undergraduate school. He said he was struck by the melodies, how expressive and singable they are.
“It’s incredibly satisfying to play, physically as well as emotionally,” said Samolesky. He said he has experienced everything from extreme fragile intimacy to full-blown passionate drama in Brahms’ music.
Samolesky has played all of Brahms’ solo piano music and much of his chamber music. Thursday’s program will highlight the composer’s chamber music. Featured will be a set of vocal duets, a violin sonata and a clarinet sonata.
“All of these pieces are extremely difficult,” said Samolesky, adding that everyone’s part is equally hard to perform. He said this is true not only in a technical sense, but also in communicating the musical essence. But he said with Brahms, the virtuosity always serves a musical purpose, and doesn’t exist only to show off a performer’s talent.

Pictured: Jeremy Samolesky

“All of his chamber music is musical conversations between all the instruments,” said Samolesky. He contrasted this with earlier works by Wolfgang Amadeus Mozart, whose trios are melodically dominated by the piano and whose string quartets showcase the first violin. In Brahms’ music, Samolesky said each voice carries the same importance.
The conversational aspect of the music is most evident in Brahms’ “Vier Duette (Four Duets), Op. 28,” for soprano, baritone and piano. In this set of four pieces, each scene is a conversation between two characters. And Samolesky said even in this relatively short piece, the emotions range from bright and joyful to tragic despair.
Samolesky said Brahms wrote three very different violin sonatas and two very different clarinet sonatas. But he said the violin and clarinet sonatas they will perform Thursday happen to be very similar. He said that in a way, they represent Brahms’ later style of writing, which was more subdued and reflective. He said they are not without passion, however, including long, rich melodies that are singing and beautiful.
Samolesky said Brahms’ chamber music has left an indelible impression on him, and colleagues have expressed the same. “I do remember every single time I played Brahms chamber music,” he said. “I remember where I was and who I played it with.”

“A Little Lunch Music” Returns for Spring 2017

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Museum Series Opens with American Opera and Art Song, Jazz Returns After Hours

On January 12, from noon to 1:00 pm, A Little Lunch Music will present a free concert in the auditorium featuring soprano Stephanie Tingler with pianist Martha Thomas. The duo will present vocal music by 20th-century American composers including Florence Price, Richard Hageman, and Lori Laitman.
The concert is made possible by a grant from the SEC Academic Initiative.
In 2013, Tingler and Thomas put together a program of American vocal music to take to Kenya and then later Brazil. Tingler said the project was extremely well received, and not only by their audiences. She also discovered in herself a strong connection to American poetry, which is often the text American composers choose to set to music.
For centuries, the bulk of classical repertoire for singers, American or otherwise, has been from other countries. It is expected for performers to learn standard pieces in non-native languages. Only in recent decades has the United States established itself as a serious source for vocal repertoire. Tingler said it has now become a focus of her career.
“American music has become a big part of my life,” said Tingler. She said as an American, she is able to understand the subtle cultural references and idioms found in American opera and art song. “There are so many things at work in American music that make it more interesting,” she said. “As I’ve gotten older, I’ve found that the poetry that composers are setting has gotten more rich and full.”
Composer Libby Larsen’s piece, “Margaret Songs,” sets to music poems of Willa Cather, an American writer who lived at the turn of the 20th century. Though the text is from an earlier time, Tingler said she loves how Larsen uses her music to bring Cather’s ideas into the present.
“I’m a preacher’s kid,” said Tingler, adding that she always learned that the word was most important. “In the beginning was the Word,” she said, quoting the first verse from the Book of John in the New Testament. She said the verse was also one of the first things spoken to her by a vocal teacher in graduate school.
Tingler noted that the importance of text has been a theme of her life. She said what connects her most strongly to a piece of music is how the lyrics apply to life now.
“Beyond all price” by composer Lori Laitman is another example of that. The song is from Latiman’s opera, “The Scarlet Letter,” based on the 19th-century novel by Nathaniel Hawthorne. David Mason wrote the text. “He understands the woman’s point of view,” said Tingler, explaining he was able to bring ideas of women’s struggle for equality effectively into the 21st century.
Tingler has appeared in leading roles with opera companies throughout the US and in Brazil. She has been honored by her selection into top art song festivals and series, and has collaborated in chamber music with notable instrumental and vocal performers. She has won honors and awards at national and international performance competitions and has received grants and recognition as a teacher, scholar and author. She holds undergraduate degrees from East Carolina University and from Northern Kentucky University and graduate degrees from the Cleveland Institute of Music and Ohio State University. She was appointed to the School of Music faculty at the University of Georgia in 1992, where she is currently Associate Professor of Voice.
Thomas maintains an active career as recitalist and collaborative artist, giving concerts and appearing at festivals and conferences across the United States and in Canada, Australia, Europe, and Africa. She is now featured on eight compact disc recordings on the ACA Digital, Centaur, and Albany labels. Her CD of the solo piano music of George Rochberg garnered excellent reviews and a citation in the New York Times. A native Texan, she holds degrees through the doctoral level from the Universities of Texas and Wisconsin. She is currently the Despy Karlas Professor of Piano and Associate Director for Academic Programs at the Hugh Hodgson School of Music at the University of Georgia.
The duo has recorded a CD and has created a second program of American music, which is what they will perform in Auburn this week. In addition to Thursday’s noon concert at the museum, on Friday they will present a masterclass at Goodwin Recital Hall at 11:00 a.m. and a lecture recital at 3:00 p.m. All events are open to the public.
JCSM After Hours
On Thursday night from 5-8 p.m., the museum will be open for its weekly JCSM After Hours. The exhibitions are free to the public and the cafe and gift shop are open. Music is featured in the relaxed, club-like atmosphere. This week the house band Cullars Improvisational Rotation will return. It is a jazz trio made up of Dan Mackowski on guitar, Patrick McCurry on saxophone, and Jason DeBlanc on bass.

Museum to Host Violin and Piano Music for Final 2016 Noon Concert

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Museum to Host Violin and Piano Music for Final 2016 Noon Concert

On December 15, from noon to 1:00 pm, A Little Lunch Music will present a free concert in the auditorium featuring violinist Elzbieta Tokarska with pianist Ksenia Kurenysheva. The duo will present music by Francis Poulenc, César Franck, and Pyotr Ilyich Tchaikovsky.

A gift from Jim & Sue Haygood is helping to make the concert possible.

Thursday’s concert will mark Kurenysheva’s fifth performance at the museum. Her first was in 2012, her first year in the United States. Appearing in the series, She has performed as a soloist and with Auburn violinist Lorna Wood.

The Russian Kurenysheva and the Polish Tokarska are both winners of top prizes in international festivals. They met at Columbus State University’s Schwob school of music. They started out with a lot of classes together and soon began working on chamber music. Now, Kurenysheva is working on a doctorate at the University of Georgia in Athens, and Tokarska is doing graduate work at CSU. Making music together is still very important to them.

The duo will perform a violin sonata by Poulenc, a French composer. Kurenysheva compares his music to that of the Russian Sergei Prokofiev. She said as 20th-century music, it is adventurous in its harmonic structure, but never moves into serial music, using certain patterns and techniques that ignore traditional harmony and melody.

As an example of French music, she said Poulenc’s music is not as romantic or melodic as Claude Debussy’s or Maurice Ravel’s, but it is still entertaining. As an example of neoclassical music, it is well-organized, like Prokofiev. “You will understand themes and how they develop throughout the piece,” she added.

Though Kurenysheva said the Belgian composer Franck would perhaps not have appreciated the complement, she believes that his Sonata for Violin and Piano is a great example of typical French music. “Franck is very open and expressive,” she said.

Like many pieces, the violin part of the Franck sonata has been transcribed for other instruments. As a collaborative pianist, Kurenysheva has played it many times. “Everybody wants to play this piece,” she said, adding that no matter what the arrangement, the piece never suffers. She said this is not true of all music.

“The thematic material is interesting, it’s so sincere,” said Kurenysheva. “Everything is absolutely perfect.”

About Tokarska’s playing, Kurenysheva said she is a leader whose strength is in the music’s drive. “Her sound is very expressive,” she said, adding, “Her lower range is really dense and singing like a human voice. I love to play with her.”

The program will close with Tchaikovsky’s “Waltz of the Flower” from his “The Nutcracker Suite.”

JCSM After Hours

On Thursday night from 5-8 p.m., the museum will be open for its weekly JCSM After Hours. The exhibitions are free to the public and the cafe and gift shop are open. This week will be Holiday Family Night with pianist Mary Slaton performing Christmas music. There will be an art activity for kids, snacks, and discounts in the shop.

Camera Lucida: Rick Silva

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Popular culture has been molded by television and electronic graphic information since the mid-20th century. Whether appearing on a TV console, computer monitor, or smart device, video has become a comfortable, accessible, and preferred medium for both consumption and creation, especially to those among us under 30. Many critics today consider it to be this generation’s quintessential format for expression. Camera Lucida features eight contemporary artists from around the world who work with video and digital moving imagery. Artists Jay Bolotin, Rob Carter, Joe Hamilton, Yeon Jin Kim, LigoranoReese, Jillian Mayer, Rosa Menkman, and Rick Silva offer fresh perspectives on enduring concerns and new issues, using a technology that is widely familiar through common exposure, if not as broadly known as an independent art form. Yet video has been used as an eloquent and powerful vehicle by artists for more than 50 years, ranging from early documentary formats and narrative expositions to digital abstraction and game-playing interaction. JCSM’s survey provides a compelling look at the state of the medium today, where age-old intentions find new purpose in new applications.

This exhibition has been made possible by grants from the Alabama State Council on the Arts and the National Endowment for the Arts.

Like Menkman, Rick Silva creates videos and other moving digital art using imaging software. Often, these are designed for a hosted existence on the web, where users may freely access them on personal devices. Some of his past works adopt the commonplace form of the animated GIF, those ubiquitous, looping graphic emblems that enliven websites and HTML emails, often to the irritation of the end user. In Silva’s handling, the result is much more sublime. His projects frequently examine aspects of the landscape and wilderness in the present day. The Silva Field Guide to Birds of a Parallel Future, installed in Camera Lucida on a grid of six wall-mounted monitors, displays looped animations of abstracted avian forms sequenced in eerily naturalistic dynamics of flight. Reminiscent of Leonardo da Vinci’s sketchbook studies of nature in motion, they also hint at a dystopian future in which those living forms have been supplanted by avatars.

This video contains an excerpt of the artist’s work.

Camera Lucida: Jay Bolotin

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Popular culture has been molded by television and electronic graphic information since the mid-20th century. Whether appearing on a TV console, computer monitor, or smart device, video has become a comfortable, accessible, and preferred medium for both consumption and creation, especially to those among us under 30. Many critics today consider it to be this generation’s quintessential format for expression. Camera Lucida features eight contemporary artists from around the world who work with video and digital moving imagery. Artists Jay Bolotin, Rob Carter, Joe Hamilton, Yeon Jin Kim, LigoranoReese, Jillian Mayer, Rosa Menkman, and Rick Silva offer fresh perspectives on enduring concerns and new issues, using a technology that is widely familiar through common exposure, if not as broadly known as an independent art form. Yet video has been used as an eloquent and powerful vehicle by artists for more than 50 years, ranging from early documentary formats and narrative expositions to digital abstraction and game-playing interaction. JCSM’s survey provides a compelling look at the state of the medium today, where age-old intentions find new purpose in new applications.

This exhibition has been made possible by grants from the Alabama State Council on the Arts and the National Endowment for the Arts.

Jay Bolotin turns to age-old forms of imaging technology in the creation of his richly layered, digital productions. Bolotin is a sculptor, printmaker, stage performer, and musician, in addition to being a maker of animated “motion pictures.” In all cases he remains at heart a storyteller. Bolotin Woodcut prints formed the basis for his epic “The Jackleg Testament, Part One: Jack and Eve,” screened in large format in Camera Lucida. This hour-long operatic tale was realized by scanning his prints for character and background elements, and animating them via computer. Bolotin’s original musical score and libretto combine with his expressionistic visual treatment in a reinterpretation of the Book of Genesis that channels the likes of Shakespeare, Blake, and Brecht. Bolotin’s most recent project, Kharmen, digitally brings to life his elaborate graphite drawings. Inspired in part by Georges Bizet’s 1875 opera Carmen, Bolotin credits as well the stories of Russian surrealist writer Daniil Kharms as source material for the 22-minute video.

Camera Lucida: Rosa Menkman

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Popular culture has been molded by television and electronic graphic information since the mid-20th century. Whether appearing on a TV console, computer monitor, or smart device, video has become a comfortable, accessible, and preferred medium for both consumption and creation, especially to those among us under 30. Many critics today consider it to be this generation’s quintessential format for expression. Camera Lucida features eight contemporary artists from around the world who work with video and digital moving imagery. Artists Jay Bolotin, Rob Carter, Joe Hamilton, Yeon Jin Kim, LigoranoReese, Jillian Mayer, Rosa Menkman, and Rick Silva offer fresh perspectives on enduring concerns and new issues, using a technology that is widely familiar through common exposure, if not as broadly known as an independent art form. Yet video has been used as an eloquent and powerful vehicle by artists for more than 50 years, ranging from early documentary formats and narrative expositions to digital abstraction and game-playing interaction. JCSM’s survey provides a compelling look at the state of the medium today, where age-old intentions find new purpose in new applications.

This exhibition has been made possible by grants from the Alabama State Council on the Arts and the National Endowment for the Arts.

Rosa Menkman makes art of a truly interactive nature by engaging her “audience” to become physical participants in completing the work. Xilitla is designed in a video game format. The viewer is transformed into a collaborator by way of a game controller to explore the malleable realms and conditions latent in the experience. However, this is not your normal role-playing game by any stretch of the imagination. Dead ends, unexpected or random consequences, and visual and auditory feedback artifacts, which were they to occur in a conventional game context would be considered negative glitches, are instead coded in and emphasized. Menkman’s work is centered in an aesthetic known as glitch art. Digital and analog errors—bugs in the system—are accepted and incorporated as intentional malfunctions. In Menkman’s work, the glitch disrupts one’s expectations and carries the user/viewer into a new moment or new momentum of understanding.

A Little Lunch Music Welcomes Andrew Wilder; AU Cultural Music Society Performs in Evening

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On December 1, from noon to 1:00 pm, the series will present a free concert featuring classical guitarist Andrew Wilder. Andrew will present music by Johann Sebastian Bach, Wolfgang Amadeus Mozart, and Juan Antonio Sanchez.

The concert will be in the Auditorium. Thanks to anonymous friends of the series for helping to make this performance possible.

Much of classical guitar’s repertoire is transcriptions. One of the two Mozart pieces Wilder will play was originally written for clavichord, a stringed keyboard instrument. Another was written for the glass harmonium which uses a series of spinning bowls and finger friction to make pitches.

Bach transcribed some of his own cello suites for a guitar-like instrument, but not Suite No. 3 which is on Thursday’s program. Even without an original version for guitar, Wilder said it works very well on the instrument.

Wilder said he is inspired by Bach’s devotion, not only to his faith, but also to  his attention to detail and his groundbreaking counterpoint style. Counterpoint is basically multiple independent melodies happening at the same time. “It’s amazing writing,” said Wilder, “I listen to Bach almost every day.” Wilder said Bach had a great ability to see his strength in writing this style, and didn’t stop writing it even after other Baroque composers had moved away from it.

A senior now at Columbus State University’s Schwob School of Music, Wilder said that as a freshman he met Chilean guitarist Jose Antonio Escobar when Escobar visited the school as a clinician. Through that contact, he became aware of the music of still-living Chilean composer Juan Antonio Sanchez. Sanchez wrote “Sonata Para Guitar” for Escobar.

Escobar is a virtuoso, and Wilder said Sanchez’s “Sonata” is extremely difficult. Wilder has wanted to perform it since he heard the piece. “I was obsessed with it,” he said. He would listen to it over and over again. Three years later, he has taken it on for himself, and has received good feedback from the composer who heard a recording online.

Wilder said “Sonata para Guitarra” is new, difficult, and obscure. Besides Escobar, Wilder said he is the only person playing it right now. But he hopes listeners won’t hear the difficulty. He said it is full of singable melodies, percussive Chilean rhythms and jazz influences.

Wilder was born into a musical family with 10 brothers and sisters who have all studied classical music extensively, and with parents who are both professional classical musicians. He has performed and studied throughout Europe, the United States, and South America.

As a soloist, Wilder has been the recipient of awards including first prizes in the Senior Guitar competition of the Society of American Musicians, the International Tennessee Guitar Competition, and the Art of Strings international competition.

He was a prizewinner in the East Carolina University Guitar competition and the Troy University Guitar competition and was a recipient of the Koch Cultural Trust grant.

JCSM After Hours

Separate from the noon series is another music offering at the museum. Each  Thursday night, the museum’s cafe, exhibitions, and gift shop are open from 5-8 pm for JCSM After Hours. Live music is featured each week, often with the house band being the jazz trio, Cullars improvisational Rotation.

This week instead of jazz, the Auburn University Cultural Music Society will perform a mix of music. In addition to traditional Indian music and Indian-Western fusion, the group will bring in American gospel, blues, and old-time folk. Its members will present some original songs and spoken word pieces.

The Society is an Auburn University student organization that was founded in spring 2014 with the mission of bringing awareness to the Auburn community about the importance of cultural diversity through music. It was formed with the understanding that each culture has a different perspective on the uses of music and the sounds produced by its instruments. Members are guided by the idea that music has a way of unifying people with different nationalities and ideologies.

Holidays at Auburn’s Art Museum

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Holiday Hours

Spend your holidays here at Auburn’s art museum for our extended holiday hours, where our galleries and gift shop will be open for you and your family to enjoy.

Closed November 23-24
November 25-26: 10-4:30 pm
November 27: 1-4 pm

Closed December 24-25
December 21-23: 1-4 pm
December 27-30: 1-4 pm
Closed December 31-January 1

Regular operations begin on January 3

Holiday Gift Shop Sales

Give the gift of art! The museum gift shop is taking a 20% off regularly priced merchandise for the holiday season. Museum members can enjoy this discount on December 1, and regular shoppers on December 15 from 10 am to 8 pm.

Family Fun Night

Join us December 15, from 5-8 pm, for some holiday family fun! We’ll be creating cards, wrapping paper and gifts for the holiday season.

Marc Karam

Vocalist Sets International Classics to Jazz

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On November 17, from noon to 1:00 pm, A Little Lunch Music will present a free concert featuring Marc Karam and Friends. Joined by a trio of jazz musicians, Marc will sing well-known standards from France, Italy, Spain, Lebanon, and Egypt. English versions of some of the songs, like “Les Feuilles Mortes” (“Autumn Leaves”) and “La Mer” (“Somewhere Beyond The Sea”), became hits in the United States.

The concert will be in the Auditorium. Thanks to Leslie Swartz for helping to make this performance possible.

The concert will be in the Auditorium. A gift from Leslie Swartz helped to make this performance possible.

Karam said he is a frequent performer in church settings. Twice a year, he likes to join with a group of friends to present a concert of sacred music. They perform traditional pieces, modern pop, and even Gregorian and Byzantine chant.

Marc Karam

Karam said he loves performing with these friends. “We have an amazing range of styles,” he said. “I always like to present a program of diversity,” he added, saying that diversity is something he has loved about American culture since he moved here to study 24 years ago.

That tendency toward diversity and trying new things carries over into his secular music as well. Thursday’s concert will be his first full concert with jazz musicians. It will include what Karam calls “international classics.” Many of these songs that originated in Europe, like “Les Feuilles Mortes” (“Autumn Leaves”) and “La Mer” (“Somewhere Beyond The Sea”), became English-language hits. Others, like “Save the Last Dance for Me,” were composed in the US and became translated hits in France.

Karam will sing in French, English, Italian, Spanish, and Arabic. He is from Lebanon which historically has had strong ties to France. He said he learned his love of the French classics from his uncle. He will also sing well-known songs from Lebanon and Egypt.

The trio of jazz musicians will be composed of guitarist Taylor Pierce, bassist Jason DeBlanc, and saxophonist Patrick McCurry, who also coordinates A Little Lunch Music.

Most of Karam’s performances, whether in church or on stage, have been as a soloist while he accompanies himself on piano, but said he doesn’t like to get in a rut. “I like not to always do the same thing over and over,” he said.

The first time Karam worked with a jazz trio was at his A Little Lunch Music concert in November 2015. It was only for a short part of the program, but was very well received. He wanted to explore the ensemble more deeply.

In May, he presented a concert at the Alabama Shakespeare Festival with Montgomery-based jazz musicians. Thursday’s concert will be with the original Auburn trio from last year. Performers will be Patrick McCurry on sax, Taylor Pierce on guitar, and Jason DeBlanc on bass.

“It helps me focus on the singing,” said Karam about performing with a trio like this. He said not playing the piano helps him to enjoy the singing more, but requires a different kind of coordination among the players. “In the end it is beautiful,” he said.

Karam doesn’t consider himself a jazz musician. But he enjoys combining his classic style of singing the melody with the improvisation brought by the others in the group. “I love the solos. That fascinates me,” he said.

Museum Series Will Feature Flutist Alina Windell

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On October 27 from noon to 1:00 pm, “A Little Lunch Music Series” will present a free concert by flutist Alina Windell with oboist Sue Tomkiewicz and pianist Jeremy Samolesky. The program will feature music by Sergei Prokofieff, and still-living composers Martin Kennedy, and Dana Wilson. Anonymous friends of the series have helped make this possible.

Anonymous friends of the series are helping to support the concert.

Composer Martin Kennedy is now Director of Theory and Composition at Central Washington University. He was a grad student at Indiana University when Windell was there earning her Bachelors Degree. At that time, she heard his piece, “Four Songs,” and said since then she’s been waiting for a chance to play it.

Now, two degrees later and teaching at Auburn and Southern Union, Windell has been able to program the piece for A Little Lunch Music.

A piece of music often ebbs and flows, offering its climax at or near its end. Windell said the four-movement Kennedy piece is different. “Everything just really calms down as the piece goes on,” she said.

Windell said the first movement, “Ferocious,” is the most intense. It is the most dissonant, is louder, and has really complex textures, she said. “The last piece is the most relaxed, kind of like a loose, free feeling,” she added.

In between, Windell said Kennedy’s second movement is fun and playful and reminds her of Aaron Copland’s music at times. She said the third is a sweet love song with hints of Disney music. She said the composer is a pianist, and the piano part to “Four Songs” is really virtuosic.

They will perform “Sonata” by the Russian composer Sergei Prokofiev (1891-1953). Though Windell said it is a staple of the flute’s repertoire, this will be the first time she’s had the chance to play all of its four movements together. Windell said that though Prokofieff’s music can be fairly adventurous, this is one of his more consonant sounding pieces.

“I just like it,” said Windell.

Thursday’s program will also feature a trio by still-living composer Dana Wilson, “Gold Mosaic.” Oboist Tomkiewicz was involved in its commission, and frequently plays with Windell for the Springer Theatre orchestra in Columbus.

Windell said they will repeat the program at Columbus State University on Nov. 10.

Windell has performed throughout the USA and abroad and is a member of the LaGrange Symphony. In the summer of 2016, she performed at the National Flute Association Convention in San Diego, CA; at the Orfeo Music Festival, in Vipiteno, Italy; and at the International Double Reed Society conference at Columbus State University. In 2015, she was a soloist in a concert tour of Malaysia.

Tomkiewicz is the Associate Professor of Oboe at Columbus State University’s Schwob School of Music and the Director of Honors on the school’s RiverPark campus. She has commissioned, premiered and recorded new works for oboe and English horn by such composers as Brian Cherney, Brooke Joyce, Bruce Pennycook and Nancy Galbraith. She is currently the English hornist with the Columbus Symphony.

Samolesky serves as Associate Professor of Piano and Piano Area Coordinator at Auburn University. Recent concert tours and performances include China, Hong Kong, Malaysia, Thailand, Colombia, and Ecuador, with regular appearances as performer and teacher throughout the US. His Kennedy Center recital was broadcast on National Public Radio’s “Performance Today.” Praised by critics as “brilliant,” “distinguished,” and “full of intensity and drama,” Samolesky’s debut solo CD was released by Centaur Records in 2015.

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Upcoming Events

Thu 30

FILM@JCSM: East Meets West

March 30 @ 5:00 pm - 7:30 pm
Thu 30

Museum After Hours

March 30 @ 5:00 pm - 8:00 pm
Apr 06

A Little Lunch Music

April 6 @ 12:00 pm - 1:00 pm