David Perry first performed with Midsummer’s Music in 1999. It was a game changer. I had gotten to know David a few years prior to that when he started serving as the concertmaster with the Chicago Philharmonic. Not only did he perform in that role as leader of the violin section and the strings in general, he performed as the featured soloist many times. I can particularly remember his playing the violin concertos of Beethoven, Tchaikovsky, Mendelssohn, and Samuel Barber. His playing always seemed like the quintessential version of the work in question. He not only had such immaculate technique and gorgeous tone, it just always sounded so right—just how that piece seemed like it ought to sound.

I started talking with David about Midsummer’s Music. We had several conversations. It took a while, but he seemed interested in the idea the more he learned about it. Our season in 1999 was only a few weeks long. Even so, David agreed to play only the first part of it because he was Concertmaster at the Aspen Festival in Colorado whose season overlapped. However, the next year, he decided to tell them he couldn’t come to Aspen until he had done the whole Midsummer’s Music Festival. Then, a year or two later, he decided not to go to Aspen at all. What this meant for Midsummer’s Music can’t be overstated. As I said at the beginning, it was a game changer. As the first violinist in the renowned Pro Arte String Quartet at UW–Madison, he brought to us not only a virtuoso performer, but one who was steeped in the chamber music tradition and process. He also brought with him a hell of a work ethic. And his playing in the group quickly told listeners they weren’t going to hear that part played any better—anywhere.

It also had a not-so-subtle effect on the musicians around him. His playing suggested a level of excellence that they all wanted to be a part of. Furthermore, it made recruiting new players just a bit easier. Often, when I was speaking with a prospective player, they would ask who else played in the group. When I mentioned David’s name, their interest grew immediately keener.

So, as we approach the end of this season, we do so in celebration of 25 years of David’s remarkable contribution to Midsummer’s Music, and we do so with great gratitude and appreciation and a sense of awe in what we get to share. And, because of the unique way our season is arranged in this final week, you still have the opportunity to hear David in three different stirring programs. Top of the list would be to hear his rendition, along with pianist, Jeannie Yu, of the Chausson Concerto for Violin, Piano, and String Quartet. This is a stunningly beautiful and emotion laden work that David and Jeannie play to perfection. That program is featured on our Labor Day Gala at Björklunden and is not to be missed. David is also the star in another program that features the Beethoven Septet for Winds and Strings, a mini symphony of sorts with a virtuoso violin part. This program is scheduled for Aug. 29th, 30th, and Sept. 1st. Finally, David’s leadership as a consummate chamber musician in a program featuring exciting and varied works by Dohnányi, Mélanie Bonis, and Sakari Vanderveer can be heard on Aug. 28th and 31st. David will be back in October with the Pro Arte Quartet and then in a program with pianist Jeannie Yu as a part of our Autumn Music Fest. However, in the meantime, don’t miss these opportunities to experience the work of a real master in our midst. These experiences are rare and very memorable. Call (920) 854-7088 or visit www.midsummersmusic.com for tickets or more information. Those of you who know David, know he speaks softly and wields a big (metaphorically) violin.

Jim Berkenstock,
Artistic Director