CORNWALL — A local family’s effort to maintain their outdoor wood-burning furnace (OWF) has met with legal resistance. Their proposal to make prescribed modifications, and limit use to the heating season, was denied by the Department of Environmental Protection (DEP) after it was discovered it violates local zoning laws. The furnace is shut down.Donna and Ted Larson thought they were doing something good for their family and the environment when they installed the furnace in 2005 at their Jewell Street home. It provided heat, as an alternative to an oil furnace and indoor woodstove. It affordably met hot water needs for the family of five. Most importantly, it was a way to burn a renewable resource without exacerbating their daughter’s asthma.Their clapboard-sided home, built in the 1800s, is not likely to resist infiltration. Their daughter, whose asthma is provoked by a variety of causes, has not been affected.“We knew we needed to use dry wood and carefully manage the furnace to minimize emissions, and we have been very careful about that,” Donna Larson said. “We went to all our neighbors, who supported us, because of our daughter and the environment. Those people are the same ones who wrote letters of support now.”An anonymous complaint of excessive smoke was filed with the DEP this past winter. The agency has been investigating since January. While initial observations showed that excess smoke was not a problem, it was discovered the furnace wasn’t set back quite far enough from neighboring homes.Ted Larson sought help from the Board of Selectmen and his state legislators. He confirmed that he was issued a building permit by the town building official on Sept. 5, 2005. On Sept. 23, with the furnace already installed, the town received a letter advising of new legislation, enacted the previous July 1, that addresses setbacks from neighboring homes and stack heights. The selectmen and state Sen. Andrew Roraback (R-30) agreed with Larson’s assertion that his furnace should be exempt because he was given a permit before the town was notified of the statutory change. The town would not typically revoke a permit, because existing land uses made nonconforming by new law are usually exempt, or “grandfathered.”Why the permit was issuedLand Use Administrator Karen Nelson was not in office when the permitting occurred, but has researched the matter, and was able to offer a perspective. She said there are five outdoor wood-burning furnaces in Cornwall, and there has always been a jurisdictional issue.“It’s never been clear who was obligated to enforce the DEP’s regulations,” Nelson said. “The town doesn’t address them in zoning regulations, but someone has to issue a permit. Since the DEP won’t, we have been issuing permits as if they were an accessory building, so only setback requirements apply.”Larson’s appeal to the selectmen brought a complaint to the DEP by neighbor Laurie Simmons, who was taken aback by the board’s support, in light of concerns she had brought earlier to the land use office. She said she was waiting for the end of the heating season to press the issue. The Planning and Zoning Commission was apprised last December, but did not address it because it does not regulate furnaces. Simmons, and her husband, Carroll Dunham, work in their artists’ studio that sits as close as 30 feet from the furnace. Both are asthmatics, and contend that smoke, which contains fine particulate matter, gets into the studio.While the law addresses furnace setbacks from residences not served by the furnace, it was discovered that in 2008 a change of use was approved to designate the studio a residence. The proximity between the two was where the matter ended for the DEP. There is no grandfathering of nonconforming outdoor wood-burning furnaces.Nelson said one of the furnaces in town was built so close to adjoining vacant land that if a home were built on that property, the furnace would have to be shut down.The state’s point of viewAt the DEP, Robert Girard, assistant director of the Air Enforcement Program, said the Larson case was closed by the zoning issue.“There was no issue of emissions violations,” Girard said. “Visual inspections were done twice. Further testing would have been done if the zoning issue had not been insurmountable. There was no place on the property that furnace could be situated to be in compliance with either town or state regulations. “But it did appear the Larsons were managing the furnace efficiently.”Girard said it’s up to local building officials to stay on top of new legislation; and that this one was heavily debated and advertised. The law enacted in 2005 also allows for municipalities to enforce the DEP regulations on the furnaces. It makes sense, he said, because local officials are closer to the situations, and know which of their own regulations might apply. That kind of delegating also takes an increasing burden off the state agency.“Our primary job is to check large factories for compliance. We are spending more and more time investigating furnace complaints. It’s a hot button issue right now, and we are required to follow up on every complaint.”Girard said enforcement is complaint driven. They do not inspect residential outdoor wood-burning furnaces. Opposition to the technologyLaws now require catalytic converters to be installed on furnace stacks. Girard said it is “very new technology that remains in its proving stages.”Since outdoor wood-burning furnaces began cropping up across the state, the DEP’s goal has been a statewide ban, according to Girard. “We have pursued an overall ban, but it has never been supported by the Legislature,” he said. “Every legislative session we have proposed bills toward better regulation of furnaces. This year, the chairman of the environmental committee offered a bill that would ban them, except for agricultural uses. We asked for a requirement for future installations to be cleaner burning units that are now available.”The committee-raised bill, SB-830, has seen a dozen amendments and remains on the Senate calendar, along with the DEP proposal.Outdoor wood-burning furnaces could be a good alternative to oil-fired burners, which release sulfur dioxide into the air. But Girard believes most outdoor wood-burning furnaces are not managed properly, making the fine particulate matter a significant issue. He noted the emissions are very different from those from wood stoves.An outdoor wood-burning furnace is controlled by a thermostat.“When the demand for heat is met, a damper closes and the fire dies out, with the heat held in by a water jacket. When the damper opens again, the fire has to reignite from a relatively cold environment, and that causes lots of emissions.”The catalytic converters, which burn emissions a second time and made such a dramatic difference on automotive vehicle exhaust, may well be the solution, Girard said.He referred to research by Nancy Alderman, president of Environment and Human Health Inc. in North Haven, Conn.“She is correct that the furnaces are much worse than other heating sources when it comes to impacts on people.”More information can be found at www.ehhijournal.org.As for the Larsons, they will have to buy a water heater, and they plan to go back to using an indoor woodstove, as long as their daughter can tolerate it.First Selectman Gordon Ridgway and Planning and Zoning Chairman Pat Hare both said there are no plans to write local outdoor wood-burning furnace regulations. “We can’t be any more restrictive than the state is,” Ridgway said, “and now that we know about the latest regulations, we can make sure our permitting is appropriate.”But there is an option to supersede the state, and 21 of 169 Connecticut towns have done so. Sixteen of them simply prohibit use or new installations of outdoor wood-burning furnaces. Two have moratoriums on new installations and two limit use to the heating season. In this area, Salisbury has regulations that require a special permit and Norfolk prohibits use.
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Doug Tallamy’s work in progress: saving the planet one backyard at a time
Natalia Zukerman
Sep 30, 2026
Windacre, a 25-acre property in Millerton will be the site of “Work in Progress,” an afternoon with acclaimed entomologist, New York Times bestselling author and Homegrown National Park co-founder Doug Tallamy.
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For nearly three decades, Doug Tallamy, a professor at the University of Delaware and co-founder of Homegrown National Park, has studied the intricate relationships between native plants, insects, birds and the ecosystems that sustain them. His books, including “Bringing Nature Home” and “Nature’s Best Hope,” have helped shift the conversation about conservation from something that happens primarily in parks and preserves to something ordinary people can practice on the land around them.
On Sunday, Oct. 4, Tallamy will bring that conversation to Windacre in Millerton for “Work in Progress: Toward Native Fields,” an outdoor gathering exploring both the possibilities and the complications of restoring private land for biodiversity.
Over the past several years, Windacre owners Amy Chase Gulden and Randy Ramusack have been restoring their 25-acre property on Silver Mountain, confronting many of the questions familiar to anyone who has tried to turn good ecological intentions into reality: What should stay? What should go? Where should a meadow be? How much can one realistically manage? And how perfect does any of it need to be?
“We’re not gonna talk about perfection,” he said in a recent interview. “We do want the majority of the plant biomass on your property to be native. We want them to be the correct species of native.”
By “correct,” Tallamy means plants that are doing ecological work — particularly the “keystone” species that support disproportionate numbers of insects, pollinators and other wildlife.
“I could build a hundred percent native landscape that’s very unproductive just because not all species are productive,” he said. “You wanna favor the ones that are supporting the food web the best, supporting the pollinators the best.”
And then? “Observe,” he said.
“It’s very dynamic. It’s this constant dance,” Tallamy said.
Tallamy knows something about the long game. He and his wife, Cindy, have spent 26 years restoring ecological function to their own 10-acre property in Oxford, Pennsylvania. When they arrived, the land had been mowed for hay and was heavily invaded by nonnative plants.
Today, he can look out his window and see something very different. But he is quick to dispel the idea that restoration eventually reaches a state of completion.
“Our challenge to maintain the ecological productivity that we now have is constant management,” he said. “If we were to go away for five years and come back, it would not look like this.”
That reality is particularly relevant at Windacre, where Tallamy expects invasive plants to be part of the conversation. Bittersweet, for example, might grow among milkweed on a property, creating the kind of dilemma that makes ecological restoration more complicated than simply pulling everything unwanted.
“Timing of the management is really important,” Tallamy said. Milkweed dies back in winter while bittersweet remains, creating an opportunity to target the invasive vine with less risk to the native plants growing alongside it.
Tallamy will be seeing Windacre for the first time at the event, and that, too, is part of the point. Rather than presenting a finished landscape as a model to reproduce, “Work in Progress” offers the property as a living question.
“How much is mowed? I don’t know,” Tallamy said. “Everybody wants to maintain their viewscape. They don’t wanna block anything. But there are ways to do that. You know, where should a meadow be? Where should the forest be?”
He will also look for some of the ecological clues already present: milkweed, fall asters, goldenrods and, especially, oaks.
“Oaks are the most productive woody plant that we have,” he said.
For migrating birds, even one well-chosen tree can matter.
“Even if you have one tree in your yard, migrating birds will stop there if it’s the right tree,” Tallamy said. “It’s the diner. It’s where they stop to eat when they’re migrating.”
That image gets to the heart of Homegrown National Park. The organization asks people to imagine millions of privately controlled pieces of land not as isolated yards, gardens and properties, but as potential pieces of a connected ecological network.
Every restored property, he said, can help fill a blank space between larger parks and preserves. Even isolated efforts can have remarkable results. Before a neighbor joined their efforts, Tallamy and his wife were essentially an ecological island. Yet they documented 62 species of birds breeding on their 10 acres. Tallamy has also photographed 1,388 species of moths there.
“We’re trying to change the culture so that this is not the odd way of landscaping,” Tallamy said. “We want this to become the dominant, the default landscape.”
Right now, he argues, the default is essentially reversed.
“Everybody starts with a dead landscape, and then you have to work hard to change it,” he said. “That’s just backwards.”
Tallamy’s sense of urgency comes from his life as an entomologist. The disappearance of insects and birds is not, in his telling, simply a sad loss of nature around us. Biodiversity is part of the machinery that makes human life possible.
“We’re losing our birds. We’re losing our insects. We’re losing everything,” he said. “And if we do, we’re gonna lose humans too, because those are the organisms that run the ecosystems that generate our life support.”
He offers a deliberately stark analogy.
“If I said we had an oxygen crisis, we were losing oxygen on the planet, people would listen,” he said. “Well, biodiversity is the oxygen of our ecosystems. That’s what keeps us going.”
Yet Tallamy’s prescription is strikingly accessible. A landscape, he said, has four basic ecological jobs: support pollinators, support a food web, sequester carbon and manage the watershed in which it lies.
“You can look at those four things and look at your property and say, ‘What can I do to my property this year to improve each one of those functions?’” he said.
“Even if it’s just one little thing.”
And if that one little thing fails?
Tallamy has a story for that, too. Years ago, he planted an ash tree in the wrong soil. It survived but sat there for 20 years without growing an inch.
“So, I did that wrong. So what?” he said. “I learned that wasn’t the right place to put it, so next time you put it someplace else.”
“Work in Progress: Toward Native Fields” will be held Sunday, Oct. 4, from 11:30 a.m. to 1:30 p.m. at Windacre, 133 Morrison Road in Millerton. The event includes a seasonal brunch and an opportunity to explore the property; walking shoes are encouraged. For information and registration, visit bit.ly/4yYkzAP.
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Celebrating Dick Hermans’ life built around community
Natalia Zukerman
Sep 30, 2026
Dick Hermans in the Oblong Bookstore on Millerton\u2019s Main Street in 1985.
Provided
No matter what I’ve done, I’m trying to be useful to the communities I’m associated with.
— Dick Hermans
When Dick Hermans receives the Estabrook Community Leadership Award on Oct. 11, he will accept it for a lifetime of work that has taken many forms: bookseller, radio host, school board member, advocate for the Harlem Valley Rail Trail, business owner, volunteer and, perhaps most importantly, a person who has consistently looked for ways to be useful to the communities around him.
The Lakeville Journal and The Millerton News will present Hermans with the 2026 award at the annual Jubilee celebration at the Sharon Playhouse. The award honors outstanding leadership in community service and was inspired by Mary Lou and Robert Estabrook, former owners of the newspapers who believed that strengthening a community extended well beyond the work of publishing a newspaper.
For Hermans, the award has prompted some reflection about why he has spent so much of his life involved in community projects.
“I was thinking about it this morning: Why do I do what I do?” he said. “And I think no matter what I’ve done, whether it’s been school board or rail trail, I’m trying to be useful to the communities I’m associated with.”
Hermans is perhaps best known as the longtime co-founder and steward of Oblong Books in Millerton, a business that began almost by accident. He and his first wife, Holly Nelson, were living in Millerton and looking for something to do during the winter. They had been painting houses, including the Grange Hall in Millerton, a job Hermans got through his aunt, who belonged to the Grange.
At the time, Hermans was also working in insurance for his father, doing collections.
“It was fine except I was doing collections, and it really kind of left me cold,” he said.
He and Nelson began thinking about what they might do together. Nelson was an avid reader, while Hermans had studied journalism and had worked in a record store. They noticed a chain of book and record stores operating elsewhere in the Hudson Valley and decided to follow that model.
And so Oblong was born.

“We really learned it by the seat of our pants,” Hermans said.
The business would eventually become a beloved and integral part of Millerton’s commercial life. But although Hermans may have learned the book business as he went, his affinity for retail — and for the connections that happen across a counter — had begun much earlier.
As a child, his second-grade teacher operated a little cardboard pencil shop in the classroom, and Hermans still remembers the satisfaction of selling a pencil for a nickel.
“I really liked selling somebody a pencil for a nickel,” he recalled. “I can remember that experience, and it was so pleasant.”
Later, while living in Arizona, he helped establish a food co-op and worked at the counter.
“I kind of knew that I liked doing that kind of thing,” he said. “It’s a nice way to be pleasant with people, but without making too much commitment to them.”
His relationship with Millerton also predates Oblong. His grandparents lived in the village, and he first came to Millerton as a baby. Over the years, he has watched the town change through several generations.
He remembers a Millerton with a much broader array of businesses, when stores such as Delson’s, the Main Street department store that stood for nearly 40 years in what is now Millerton’s Antiques Center, seemed to carry almost everything a resident might need.
“You could find everything from a set of dishes to a shotgun,” he recalled.
The rise of shopping malls changed that kind of downtown retail, he said, but Millerton has remained a lively commercial village.
“For us, it’s been a great place to have business,” Hermans said. “It’s a busy village.”
For Hermans, running a store was never simply about selling books and records. It was a way of being part of a place.
Music has remained another constant. Hermans continues to sell music at Oblong and hosts the radio program “New Harmony” on WKZE. The business of selling music has changed dramatically over the years, particularly with the rise of streaming, but Hermans has adapted.
He was initially reluctant to bring vinyl records back into the store because of their expense. But about four or five years ago, he began stocking LPs again, and they have become the main form of music the store sells.
He finds that many of the customers buying them are reconnecting with music they loved years ago.
“I do best with classic albums that people may have had when they were young,” he said. “And now that they’re retired, they want to hear it again.”
Hermans still reviews between 700 and 1,200 new music releases each week through the store’s distributor, Alliance Entertainment, carefully deciding what belongs on Oblong’s shelves.
That same commitment to place has led Hermans into a wide range of community projects. His work with the Harlem Valley Rail Trail is among the efforts he mentions when reflecting on his years of civic involvement. He has also served on the school board and has been involved with the Millerton Business Alliance and the Irondale Schoolhouse. He is now involved with The New Pine Plains Herald, which he sees as complementary to the work of The Millerton News and The Lakeville Journal.
“I really think that the important thing about this award is that people understand what a newspaper does to connect them to their community,” he said. “And if that means anything to their lives, they gotta support it.”
Hermans knew Mary Lou and Robert Estabrook and remembers them as people who were deeply conscious of their responsibilities to the community.
“They were really nice folks,” he said. “They were very conscious of what their role in the community was.”
There is, in fact, still plenty on his plate. Hermans admits he needs to scale back because he has taken on more than his current abilities can comfortably accommodate.
“To be given this award is very special,” he added. “But I don’t feel like I’m done.”
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Tending the Fire: Homelands PowWow brings Mohican culture home to the Berkshires
Natalia Zukerman
Sep 30, 2026
Members of the Stockbridge-Munsee tribe at Homelands PowWow in 2025.
Joeseph Plante New Media Storytellers
Our goal is to continue building an annual gathering that honors the history, culture and traditions of the Stockbridge-Munsee Band of Mohicans in their original Homelands.
For the Stockbridge-Munsee Mohican people, the Berkshires are not simply a place to visit. They are ancestral homelands.
On Saturday and Sunday, Oct. 3 and 4, the Homelands PowWow returns to Shakespeare & Company in Lenox, Massachusetts for its second year, bringing members of the Stockbridge-Munsee community together with neighbors and visitors for two days of traditional dance, drumming, food, art and cultural sharing.
The Homelands PowWow was founded by enrolled Stockbridge-Munsee tribal members and Massachusetts-based allies to strengthen connections between Mohican people and their ancestral lands in the region. Proceeds from the gathering help cover travel and lodging expenses for tribal members making the journey from Wisconsin.
That distance is the result of generations of displacement. The Stockbridge Mohicans were forced from Massachusetts to New York in the mid-1780s amid mounting pressure on their land. Their displacement continued in stages westward, including to Indiana, before the tribe settled in Wisconsin in the 1820s and 1830s. Today, the Stockbridge-Munsee Community, Band of Mohican Indians, is a federally recognized tribal nation based in Wisconsin.
Its connection to this region, however, has never disappeared. Mohican ancestral homelands encompass the Hudson River Valley and surrounding areas, including what is now western Massachusetts. The Homelands PowWow creates an opportunity for tribal members to gather on those lands again while sharing traditions with the wider community.
In 2025, the inaugural Homelands PowWow brought Mohican community members back to the Berkshires for a gathering organizers described as the first of its kind in the region in centuries.
This year’s theme, “Tending the Fire,” reflects an intention to make that return an enduring tradition.
“Our goal is to continue building an annual gathering that honors the history, culture and traditions of the Stockbridge-Munsee Band of Mohicans in their original Homelands,” organizers state on the event website.
The weekend is open to the public and will feature traditional dancing and live drumming, as well as Indigenous artists, makers and food vendors. Grand Entry, the ceremonial opening of the powwow, takes place at noon both days.
Among those helping organize the gathering is Shawn Stevens, an enrolled member of the Stockbridge-Munsee Band of Mohicans and a Mohican language scholar who has served on the Tribal Language and Culture Committee and Historic Preservation Committee. Stockbridge-Munsee elder Ginger Stevens, a traditional dancer and longtime advocate for cultural preservation, serves as the organization’s Mohican travel coordinator.
Organizers are also careful to distinguish the nonprofit behind the powwow from the tribal government: Homelands PowWow does not officially represent or speak for the Stockbridge-Munsee Tribal Council. Instead, its work is centered on creating opportunities for connection and helping Stockbridge-Munsee people return to their ancestral homelands.
For tickets, a complete schedule and more information, visit homelandspowwow.org.
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Ancram Center’s “A Number” doubles questions of identity
D.H. Callahan
Sep 30, 2026
Ledbetter (left) and Wojda (right) on the set of “A Number” at Ancram Center for the Arts.
Jeff Mousseau
How would you feel if you found out you weren’t the only you — if there was an exact replica of you? What if you found out that you’d been cloned? Would you believe that you’re the real you? Would you suspect you might be a copy of the original? How could you be sure anything about your life was real? These are some of the questions posed in Caryl Churchill’s play “A Number,” opening at the Ancram Center for the Artson Oct. 1.
Churchill was born in London in 1938 and has been hailed by the theaterl world as one of the strongest voices of her time to take on sexual politics and feminist themes. Her works garner pointedly considered analysis from the highest levels of theatrical intellectualism. Basically, it’s about as far from “The Lion King” as you can get. While she’s experimented with dance theater in the past, “A Number” is much more stripped down, highlighting Churchill’s chosen themes and the skills of both actors on stage.
In “A Number,” Churchill explores the existential ramifications for a man who discovers he’s been cloned. With only two actors — John Wojda playing the father and Drew Ledbetter as the son and his clones — the play play uses a spare, intimate structure to explore complex questions.. Premiering in 2002, “A Number” examines identity, individuality and the implications of human cloning.
Ledbetter, who takes on multiple versions of the same person, has performed in a variety of Off-Broadway and regional productions, including “Hamlet” and “King Lear.” He’s appeared in “The Blacklist” and HBO’s “Succession” and was featured in the WordPlay e-Book version of Shakespeare’s “Romeo and Juliet,” which pairs acted video scenes with the original written word.
Wojda, who’s appeared in several Broadway productions, also has extensive experience with Shakespeare, including “The Merchant of Venice” and “MacBeth.” He has toured nationally with “Spring Awakening” and internationally with “West Side Story,” itself an adaptation of “Romeo and Juliet.” Like Ledbetter, Wojda has also appeared in “The Blacklist” but boasts a robust list of other television productions, including “Blue Bloods,” “Mr. Robot,” “Madam Secretary” and iterations of “Law and Order.”
For tickets to “A Number,” visit www.ancramcenter.org.
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Dispatches from the Farm
Janna Siller
Sep 30, 2026
Adamah Farm crew members planning out the day’s tasks on a late September day.
Janna Siller
“Dispatches from the farm” is a new, periodic column offering a firsthand look at the rhythms, challenges and rewards of farming through the eyes of a local farmer.
The thing about plants is that they can’t get up and move. When a storm like last weekend’s nor’easter threatens to roll through, you can’t just round everybody up and settle them safely on the sofa for movie night.
Over my 15 years of growing vegetables in Falls Village, I’ve exerted my will over all kinds of conditions, from drought to humidity to crows with a taste for cantaloupe. That’s what farming is all about. You zip around the field, hopping on and off tractors, moving hoses and chasing weeds, all in an effort to arrange conditions in favor of your crops. It is the crops’ job to gulp up sunlight and move water through their stems, to transform solar energy into your next pesto or ratatouille or butternut squash soup. It is the job of the farmer to irrigate just enough but not too much, to slice dandelion leaves without damaging delicate cabbage roots, to pander and pamper and stay in tune with what plants need to thrive.
The easy part of farming is trusting plants’ resilience. I have seen bright green shoots barrel ahead out of a plant torn to shreds by hail. I’ve watched wilty, heat-stressed seedlings turn rigid overnight and greet the next morning with vigor. The hard part is letting go of what you can’t control. As our crops lapped up Friday’s gentle sunshine and I considered the weekend forecast, I imagined roots holding tight to wet earth and branches supporting each other in sideways, pelting rain. I made sure all of our storage crops were already harvested and tucked away. I battened down the sides of our greenhouses and wished the remaining field crops good luck.
The nor’easter didn’t materialize too dramatically in our corner of New England. A few broken branches and debris blown about, nothing like the July Fourth storm that sent half a tree crashing onto the deer fence and left crates of fresh veggies in coolers without power.

Farming is an exercise in acceptance. To do it well and return year after year, you have to balance hubris and humility. The prize can often be a certain equanimity, a training in the art of moving into the next day even when the last one scrambled all your plans.
Epic change is not always about the unexpected. It also comes like clockwork on the seasonal calendar. As I type, the last of summer’s watermelons wait naively on the vine for a few hot days to finish ripening. Broccoli are holding their leaves wide as they did in June and July, only to find that the hours of sunlight decrease with each earlier sunset. Plants can’t pick up and go south or call the manager to order a bonus round of sunshine. Their growth slows and they get a resigned look to the hue of their leaves, so different from the frenzied growth of summer.
The release of fall is not tragic or gloomy. It is not an ending because so many fall tasks are about setting up for the new beginnings in spring.
We turn the vines that yielded thousands of pounds of fruit into the soil, where healthy microbes feast on their rotting stems. Then we plant cover crops — a mix of cereal grains like rye and oats and legumes like peas, vetch and clover. Cover crops hold the soil and its nutrients in place over winter, feeding the soil food web and adding organic matter that next season’s crops will need to grow.
We sort sprinklers and repair hoses. We inventory tarps. We take notes about which plants did well where and how we might try a new approach for this or that. We stack crates of cured garlic and onions and winter squash in a cool, dark room.
We save seeds from tomatoes and beans and lettuce, carefully labeling each variety for next season’s long, sunny days.
Janna Siller is the farm director at Adamah, a community farm in Falls Village offering CSA shares, educational programs and a food access program.
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Pinchas Zukerman brings an all-Beethoven program to Hotchkiss
Thomas Jensen
Sep 30, 2026
Pinchas Zukerman to perform at Hotchkiss Oct. 4
Cheryl Mazak
The passion, drama and energy of Beethoven will fill Katherine M. Elfers Hall at The Hotchkiss School on Oct. 4, when world-renowned violinist Pinchas Zukerman is joined by pianist Shai Wosner for a special recital.
The 4:30 p.m. program at the Esther Eastman Music Center will feature three of Beethoven’s celebrated violin sonatas: Violin Sonata No. 4 in A minor, Op. 23; Violin Sonata No. 5 in F major, Op. 24, “Spring”; and Violin Sonata No. 7 in C minor, Op. 30.
Beethoven’s Violin Sonata No. 4 in A minor, Op. 23, is a three-movement chamber work marked by stark emotional contrasts and dramatic energy. Its three movements take the listener on quite a journey.
The first, a Presto in A minor in an unusual 6/8 meter, is propelled by an urgent, relentless, tarantella-like rhythm. Intensely minor and austere, it creates tension and sets the mood for what follows.
Next, an Andante scherzoso, più allegretto in A major serves as both a slow movement and a playful, subtle scherzo. It features intricate, delicate fugal textures and a trilling second theme. The third movement is an Allegro molto, back in A minor. An anxious, turbulent rondo finale, it features middle sections in which Beethoven playfully misaligns the timing of the violin and piano, creating a tense, out-of-sync dialogue that eventually collapses into a quiet, gloomy conclusion.
Violin Sonata No. 5 in F major, Op. 24, “Spring,” was Beethoven’s first violin sonata to depart from the traditional three-movement Classical format by adding a brief scherzo. Its four distinct movements will give Zukerman and Wosner ample opportunity to display their technique and musical interplay.
Driven by a soaring, lyrical opening theme shared between violin and piano, the first movement is an Allegro in F major. Next comes an Adagio molto espressivo in B-flat major, a deeply sentimental, songlike dialogue that builds on gentle variations.
The third movement, Scherzo: Allegro molto, is a brief, comic interlude featuring rhythmic playfulness as the two instruments purposefully fall out of sync. The fourth movement, Rondo: Allegro ma non troppo, is a grand finale written in a pleasant, courtly style with contrasting dramatic shifts.
Beethoven’s Violin Sonata No. 7 in C minor, Op. 30, begins with an Allegro con brio featuring a dramatic and tense opening movement. It is the first of Beethoven’s sonata-allegro movements to break with tradition by omitting the exposition repeat.
Next comes an Adagio cantabile in A-flat major. Serene, deeply lyrical and comforting, it contrasts with the intensity of the first movement, flowing like an expressive song and offering a momentary emotional respite.
The third movement, Scherzo: Allegro, is short, playful and sharply rhythmic, contrasting with the overall somber gravity of the sonata. The finale, Allegro: Presto, returns to C minor. Restless, suspenseful and driving, it builds immense tension before exploding into a furious Presto coda. Beethoven ends the work with a sizzle.
Zukerman and Wosner perform Sunday, Oct. 4, at 4:30 p.m. at The Hotchkiss School in Lakeville. Admission is free and first-come, first-served.
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