USD Music Department Rawlins Guest Artists Micheal Baron and Priscilla Navarro, featuring the NMM's Mason & Hamlin grand piano (NMM 15722).

USD Music Department Cello and Bass Studios will be joined by world-renowned cellists Prof. Emilio Colón and Cara Colón. This performance will feature instruments from the Cancelosi Collection at the NMM.

An Evening at Home: Music on the Octave Virginal Experience the delicate, sparkling sound of the National Music Museum’s rare 1694 Guarracino octave virginal as harpsichordist Faythe Vollrath transports audiences to the intimate musical salons of 17th-century Italy. Featuring the NMM’s Guarracino virginal (NMM06041) and Ridolfi harpsichord (NMM04657). Recorded September 26, 2025, in the Janet Lucille Wanzek Performance Hall at the National Music Museum, Vermillion, South Dakota. Performers | Faythe Vollrath Immerse yourself in the sounds of 17th-century Italy with An Evening at Home: Music on the Octave Virginal, performed by acclaimed harpsichordist Faythe Vollrath. This special program offers the rare chance to hear the NMM’s 1694 Guarracino octave virginal, a small keyboard instrument once favored for practice, song accompaniment, and private entertainment in the Italian home. Its delicate voice—sounding an octave higher than a standard keyboard—brings a light, crystalline quality to Baroque repertoire that is seldom experienced in modern concerts. Praised by The Wall Street Journal for her “subtly varied tempo and rhythm that sounds like breathing,” Faythe Vollrath is an active soloist and chamber musician whose artistry has been heard in distinguished venues across the United States and internationally. She is equally at home in historically informed performance and in interpreting contemporary works for historic instruments, bringing a fresh vitality to every program. Her creative approach has led to distinctive performances, from pairing Japanese harpsichord works with Japanese art to playing in unconventional spaces such as a columbarium during Oakland’s Garden of Memory event. An Evening at Home promises an evocative journey into the elegance, intimacy, and charm of music as it might have been heard in an Italian home over 300 years ago. This program is funded by the Clayton & Odessa Lang Ofstad Foundation, Bank of America N. A., Co-Trustee. NMM Live! is made possible by the USD Student Government Association and the South Dakota Arts Council through the Department of Tourism, and the National Endowment for the Arts. About the instruments featured in this program: Octave Virginal by Onofrio Guarracino (1694) – Naples, Italy Built by Naples’ most notable 17th-century harpsichord maker, this octave virginal exemplifies the Neapolitan school’s distinctive style with its rectangular maple case, dovetailed corners, and finely crafted parchment rose. Tuned an octave above normal pitch, it produces a light, sparkling tone once favored for practice, song accompaniment, and private music-making in the home. (NMM06041) Harpsichord attributed to Giacomo Ridolfi (ca. 1660–1690) – Rome, Italy This Roman harpsichord features a single manual with two sets of 8' strings, housed in an original outer case with delicate moldings and fine boxwood and cypress keys accented by ivory studs. Though later converted to a piano in the 18th century, it retains much of its original craftsmanship and elegance, offering insight into the refined artistry of Italian keyboard building in the late Baroque. (NMM04657)

Cancelosi Chamber Music Series  Step back in time as world-class early music specialists Cléa Galhano (recorder), Elisabeth Wright (harpsichord), and Tulio Rondón (baroque cello) bring the elegance and drama of 17th-century Italy and French Baroque to life on the NMM’s historic Neapolitan and 1785 Germain harpsichords and1683 Ruggeri cello. Recorded September 14, 2025, in the Janet Lucille Wanzek Performance Hall at the National Music Museum, Vermillion, South Dakota Performers | Cléa Galhano, Elisabeth Wright, & Tulio Rondón Immerse yourself in the expressive beauty of Early Italian XVII and French Baroque music. This exquisite program, performed on period instruments by three internationally celebrated early music artists—recorder virtuoso Cléa Galhano, harpsichordist Elisabeth Wright, and baroque cellist Tulio Rondón—explores works by Domenico Gabrielli, Bartolomé de Selma y Salaverde, Ercole Pasquini, Girolamo Frescobaldi, Giovanni Battista Fontana, Dario Castello, François Couperin, Jean Barrière, and Joseph Bodin de Boismortier. The performance will feature the National Music Museum’s historic 1530 Neapolitan harpsichord (NMM 14408), 1785 Germain harpsichord (NMM 03327), and 1683 Ruggeri cello, offering audiences an authentic listening experience that connects directly to the sound world of the Baroque era. Brazilian recorder player Cléa Galhano has graced stages from Carnegie Hall to Wigmore Hall and has been featured at major international early music festivals. Her artistry and scholarship have made her a sought-after soloist and collaborator worldwide. Joining her is Elisabeth Wright, a leading figure in historical performance and 2024 recipient of Early Music America’s Howard Mayer Brown Award for lifetime achievement, whose career as both performer and educator has shaped generations of early music specialists. Completing the ensemble is Venezuelan-born baroque cellist Tulio Rondón, known for his vivid, passionate performances and deep expertise in historical performance practice, honed through studies at The Royal Conservatory in The Hague. Together, these three acclaimed musicians will transport listeners through a rich tapestry of baroque sonorities—delicate ornamentation, intricate counterpoint, and expressive phrasing—revealing the elegance and vitality of music from Italy and France’s golden ages. Whether you are a dedicated early music aficionado or new to the genre, this concert offers a rare opportunity to experience historically informed performance on treasured instruments from the National Music Museum’s world-class collection, all in the intimate, rich acoustic setting of the museum. This program is funded by the Clayton & Odessa Lang Ofstad Foundation, Bank of America N. A., Co-Trustee. The NMM Live! Series is made possible by the USD Student Government Association and the South Dakota Arts Council through the Department of Tourism, and the National Endowment for the Arts. About the Instruments featured in this concert: Germain Harpsichord (1785) – Paris, France Crafted by master maker Jacques Germain, this late-18th-century French harpsichord features a luxurious two-manual design with a variety of tonal colors, including the distinctive peau de buffle stop. Despite a mid-20th-century rebuild, its original soundboard and refined, resonant tone remain remarkably well-preserved, showcasing the elegance and craftsmanship of the French harpsichord tradition. (NMM14408) Neapolitan Harpsichord (ca. 1530) – Naples, Italy One of the world’s oldest playable harpsichords, this Renaissance-era treasure offers a rare sonic link to musical life 500 years ago. Lightly built with a single set of strings per note, it is adorned with carved cornucopias and an original decorative rose, preserving the beauty and intimacy of early Italian keyboard design. (NMM03327) Violoncello by Francesco Ruggeri (1683) – Cremona, Italy The oldest cello in the NMM’s Cancelosi Collection, this 17th-century Cremonese masterpiece is celebrated for its dark, rich, and powerful tone. Ruggeri’s craftsmanship and materials give the instrument a depth of sound that continues to inspire performers more than three centuries after its creation.

The NMM welcomes Michele Benuzzi to play an unattributed Italian harpsichord, made about 1700, which is possibly the only surviving instrument of its kind in the United States. Built in the 3x8 configuration, this is the second time the instrument will be played publicly since its restoration by NMM graduate Susana Caldeira. Recorded October 3, 2025, in the Janet Lucille Wanzek Performance Hall at the National Music Museum, Vermillion, South Dakota. Performers | Michele Benuzzi Specializing in historic performance, Benuzzi will present a Musical Journey through 17th-Century Europe. The program offers a survey through the countries and national styles of various European nations. Starting point in Italy, with compositions by L. Luzzaschi and G. Frescobaldi, followed by Spain, France, and Germany, before crossing the English Channel to conclude with works from the refined Elizabethan literature. Michele Benuzzi studied the harpsichord with Ottavio Dantone and obtained a harpsichord Performing Diploma at the Royal College of Music, London. He also studied musicology at the University of Pavia. In 2003, he won third prize at the seventeenth Yamanashi International Harpsichord Competition in Japan. He regularly performs in major festivals in Europe, Australia and Asia. He promoted and played the opera omnia of Domenico Scarlatti's Sonatas, which were performed from 1995 to 2002 in France. He founded Arcomelo, a group performing seventeenth and eighteenth-century music, examining baroque music - especially problems concerning execution on historic instruments. With Arcomelo, he recorded the harpsichord concertos by C. Ph. E. Bach for “La Bottega Discantica,” receiving excellent reviews. In 2007, he recorded the harpsichord concertos and symphonias by W. F. Bach. In collaboration with Japanese recorder player Mitsuko Ota, he recorded all of Vivaldi’s Flautino and Flauto Concertos, receiving a nomination in the Japanese “The record Geijutsu magazine” (May 2013). As a soloist, he recorded Scarlatti's Sonatas using the 1764 Hass instrument in the Russell Collection in Edinburgh. For London Independent Records, he released "Hamburg 1705," featuring music by Händel, Graupner and Mattheson, using the 1730 Dulcken harpsichord in the Barnes Collection. For Brilliant Classics, he recorded works by J. W. Hässler on a 1773 Falkener harpsichord in the Russell Collection. All his solo recordings were acclaimed by international magazines, and the Hässler CD received 5 stars from “Musica” (July, August 2012). In 2011, he recorded with Arcomelo the chamber music and solo harpsichord music by J. A. Benda in a 6 CD box. In 2014, the complete Ch. Nichelmann Sonatas in a 2 CD set and in 2015 the Sonatas by J. Galles. He has begun recording the complete keyboard works of J. W. Hässler, the first volume of which received 5 stars from “Musica” (March 2018). For these recordings he used a harpsichord, Silbermann piano, clavichord and an original Broadwood square piano dated 1798. Recently he recorded the complete harpsichord music by J. L. Krebs in 5 CDs. Benuzzi's next project will be recording the six harpsichord sonatas by J. E. Altenburg, the complete Sonatas by Ch. S. Binder, and the “Certamen Musicum” by J. P. Kellner. The NMM Live! Series is made possible by the USD Student Government Association and the South Dakota Arts Council through the Department of Tourism, and the National Endowment for the Arts. In Collaboration with the Italian Cultural Institute, Chicago Featuring an Italian harpsichord from the NMM’s collection, made about 1700

Father–Son Duo: Eric & Sasha Grossman – Acclaimed violinist Eric Grossman joins his award-winning son, pianist Sasha Grossman, for an unforgettable program of virtuosity and artistry. Sasha will perform on the National Music Museum’s historic 1901 Mason & Hamlin Grand piano (NMM15722). Recorded September 5, 2025, in the Janet Lucille Wanzek Performance Hall at the National Music Museum, Vermillion, South Dakota. Performers | Eric & Sasha Grossman Renowned violinist Eric Grossman—praised by The New York Times as a “brilliant soloist”—brings his virtuosic artistry and deep musical heritage to the NMM Live! stage, joined by his son, rising piano talent Alexander (Sasha) Grossman. A graduate of The Juilliard School and a student of the legendary Dorothy DeLay, Eric has captivated audiences worldwide, performing under renowned conductors such as Zubin Mehta and Stanislav Skrowaczewski, and premiering works dedicated to him by composers including Jorge Lopez Marin and James Cohn. His artistry spans solo, chamber, and orchestral work, with performances in prestigious venues from the Metropolitan Museum of Art to international festivals in France, Korea, and Cuba. As Artistic Director of the Cosmopolitan Chamber Players, he has collaborated with some of the most celebrated musicians of our time, building a career defined by versatility, superb musicianship, and a commitment to both tradition and innovation. Following in his father’s footsteps, Sasha Grossman is already an award-winning pianist with an impressive international résumé. Accepted at age five into New York’s Special Music School, he has performed at Carnegie Hall, Steinway Hall, Lincoln Center, and internationally at renowned venues in the UK and Italy. Sasha is currently a scholarship student at the Yehudi Menuhin School in England, studying under distinguished mentors while continuing to win top prizes in international competitions. His musical experiences extend beyond the concert stage, including roles with The Metropolitan Opera Children’s Chorus and composing his own music—completing his first fully orchestrated piano concerto at just eleven years old. For this performance, Sasha will perform on the National Music Museum’s 1901 Mason & Hamlin Grand piano (NMM15722). Together, this father-son duo creates an unforgettable musical partnership, blending Eric’s decades of experience and international acclaim with Sasha’s youthful brilliance and fresh artistry. Their performances, marked by dynamic interplay and emotional depth, celebrate not only exceptional musicianship but also the profound connection of family and shared passion for music. The NMM Live! Series is made possible by the USD Student Government Association and the South Dakota Arts Council through the Department of Tourism, and the National Endowment for the Arts.

Featuring the NMM’s Kyai Rengga Manis Everist gamelan made in Surakarta, Java, 1999-2000. Commissioned by the Museum, this lavishly decorated ensemble is the largest and most complete outside of Indonesia, its teakwood frames covered in goldleaf. Since arriving in Vermillion shortly after manufacture, it has been a mainstay of museum education, introducing thousands of students to Indonesian music and culture. What’s more, it is regularly used for rehearsal and performance by Tatag Gamelan, the campus and community ensemble. Recorded May 2, 2025, at the National Music Museum, Vermillion, South Dakota. A dedicated ensemble of volunteers was formed shortly after the arrival of the Kyai Rengga Manis Everist Gamelan. Eventually being given the name of Tatag, the group exemplifies the characteristics of what the name means: strong will, strong determination, showing compassion. Members of the group have ranged in age from 6 to 80, and members commute from as far away as Orange City. Membership is open to anyone who is interested - no prior music experience is necessary. They rehearse once a week for 60 minutes. Gamelan by Ud Soepoyo, 1999-2000.

Featuring the NMM’s Guatemalan marimbas made in San Pedro Carcha, 1989. The frames, resonators, and keys of these marimbas are made of Macacauba wood, known in Guatemala as palo de hormigo. Each resonator has a piece of pig intestine stretched over a small circular opening to produce its characteristic “buzzing” sound. Recorded April 11, 2025, in the Janet Lucille Wanzek Performance Hall at the National Music Museum, Vermillion, South Dakota. Performers | USD Percussion Ensemble Marimbas Cuache & Grande by Jagan and Toc Hermanos, 1989. (NMM 05772 and 05773) Students at the University of South Dakota can participate in several unique percussion experiences, including traditional percussion ensemble, marimba ensemble and the steel drum band. These auditioned ensembles bring together USD’s finest to connect with fellow musicians and showcase their talent. Directed by Dr. Darin Wadley, USD Director of Percussion Studies and Associate Professor of Music, the ensemble will perform on instruments from the NMM's collection. Commissioned in 1988 by former USD percussion instructor Skip Swenson, in collaboration with Dr. Vargas, a professor in the School of Business, the NMM's Guatemalan marimbas took a year to make. The name on the instruments, “Mariaminga,” is in honor of Dr. Vargas’ mother, Maria Dominga Carcamo de Vargas, a lifetime supporter of the arts in Guatemala.