The 2017 SWANNANOA CHAMBER MUSIC FESTIVAL kicks off at Warren Wilson College on Saturday, July 1st! And the FINE ARTS CENTER is once again on the schedule!

In 2015, for the first time in 45 years, the Swannanoa Chamber Music Festival came to Greenville, choosing the Fine Arts Center as one of three performance sites for their concerts. It was such a success that the Festival is returning again this year. From July 3rd-31st, the Fine Arts Center will be hosting five spectacular concerts. All  performances begin at 7:30 p.m.

Founded in 1970, The Swannanoa Chamber Music Festival is the premier chamber music festival of The Carolinas. This year, SCMF will present over 15 events at 3 different venues during its five-week season.

The Swannanoa Chamber Music Festival is unique amongst classical music festivals for its approach to performance – which values the audience experience, and favors close, intimate interaction between listener and performer. All performance venues, artists, and ensembles that take part in SCMF share this common value.

PROGRAM I : TO RUTH, July 1-3 at Warren Wilson College, the Haywood Theater in Waynesville, NC & the Fine Arts Center

Guests: Inessa Zaretsky, piano; Jasper String Quartet

Felix Mendelssohn                 String Quartet in E minor Op. 44 No. 2

Giovanni Sollima                    Quintet for Percussion and string quartet

Donnacha Dennehy                Pushpulling (2007)

Dmitri Shostakovich               Piano Quintet Op. 57


PROGRAM II: BERCEUSE, July 8-10 at Warren Wilson College, the Haywood Theater in Waynesville, NC & the Fine Arts Center

Guests: Jasper String Quartet; Itamar Zorman, violin; Liza Stepanova, piano; Inessa Zaretsky, piano

Franz Josef Haydn        String Quartet in D minor Op. 76 No. 2

Ben-Haim                     Berceuse for violin and piano

Sergei Prokofiev           Sonata #1 in f minor for violin and piano

Ernest Chausson          Concerto for violin, piano and string quartet

PROGRAM III: SUMMERTIME, July 15-17 at Warren Wilson College, the Haywood Theater in Waynesville, NC & the Fine Arts Center

Guests: Members of the Enso String Quartet; Courtney Johnson, soprano; Inessa Zaretsky, piano

Ludwig van Beethoven       String trio in c minor Op.9 #3

Robert Schumann              Songs (selections)   


Johannes Brahms               Piano Quartet in c minor

Puccini and Gershwin        Selected arias

PROGRAM IV: IMAGE OF SOUND, July 22-24 at Warren Wilson College, the Haywood Theater in Waynesville, NC & the Fine Arts Center

Guests: Tesla String Quartet; Alexander Fiterstein, clarinet; Inessa Zaretsky, piano

Sergei Prokofiev                     Srting Quartet #1 in b minor

Sergei Prokofiev                     Overture on Hebrew Themes

“The Image of Sound”            Mixed media world premiere

Wolfgang Amadeus Mozart    Clarinet Quintet K.581

PROGRAM V: FINALE, July 29-31 at Warren Wilson College, the Haywood Theater in Waynesville, NC & the Fine Arts Center

Guests: Vadym Kholodenko, piano; Tesla String Quartet; Inessa Zaretsky, piano

Scriabin                                 Piano solos selections

Dvorak                                   Slavonic Dances for piano 4 hands

Erich Wolfgang Korngold       Piano Quintet Op.

  • NEW RELEASES 4/28: April is going out large as we get in new stuff from GORILLAZ, ROBERT CRAY, WILLIE NELSON, MARK LANEGAN, RON SEXSMITH, TROMBONE SHORTY & more!
    Robert Cray has been bridging the lines between blues, soul and R&B for the past four decades, with five Grammy wins and over 20 acclaimed albums. For his latest project, Robert Cray & Hi Rhythm, the Blues Hall of Famer traveled to Memphis with his friend, renowned Grammy Award winning producer Steve Jordan, to make a classic soul album with Hi Rhythm, the band that helped create that sound. Set inside an old theatre, the funky Royal Studios looks much as it did when Al Green was cutting those classics for Hi Records. Guitarist Teenie Hodges has passed away, but his brothers Rev. Charles Hodges (organ and piano) and Leroy "Flick" Hodges (bass), along with cousin Archie "Hubbie" Turner (keyboards), were still there.
  • NEW RELEASES, 4/14: YES, we do have the new KENDRICK LAMAR in-stock NOW, but that’s not all. We’ve got new STRING CHEESE INCIDENT, JOHN MAYER, and some jazz-classical love for Mr. Gene!
    Less obviously haunted by the influence of George Clinton than its predecessor, Damn still sounds rooted in early-70s soul. There are nods towards the luscious, harmony-laden mellowness of the Stylistics and the Chi-Lites (opener Blood even features a warped version of the kind of spoken-word monologue found on the latter’s single Have You Seen Her?), to the stentorian bellow that opens Curtis Mayfield’s If There’s a Hell Below We’re All Gonna Go and to the dense sound of psychedelic soul – by way of Outkast – on Pride. If it seems a more straightforward listen than To Pimp a Butterfly, there’s a cheering sense that this doesn’t equate to a lessening of musical ambition. There’s none of that album’s wilfully jarring quality – its sudden, anxious musical lurches and abrupt, short-circuiting leaps between genres – but the tracks on Damn still feel episodic and expansive: XXX alone goes from massed harmony vocals to a downbeat rap over glitching, stuttering samples, to a thrilling moment where it explodes in a mass of sirens, screeching tyres and heaving basslines, to a dramatic drop in tempo and an understated guest vocal from Bono in the space of four minutes. Rather than angsty disruptions, there’s a more subtle sense of disquiet here. The heavy-lidded drift of Yah would sound relaxed were it not for the presence of two grating bass notes that fit with the lyrics’ prickly unease, where images of contented family life rub up against “theories and suspicions”. Meanwhile, on the brilliant Pride, troubled lyrical shifts from modesty and confusion to self-belief – “I can’t fake humble because your ass is insecure” – are mirrored by a rap electronically treated so that its pitch gradually speeds up and slows down amid the woozy atmospherics and falsetto vocals. Elsewhere, there’s brilliant, dexterous storytelling on Duckworth – the saga of how Lamar’s father narrowly avoided being murdered by a criminal called Anthony, complete with an eye-popping, no-spoilers twist – and another demonstration of Lamar’s nonpareil ability to write songs about the pressures of wealth and success that somehow manage to elicit the listener’s sympathy rather than a roll of the eyes.