July 4, 2016, Festival Focus

FESTIVALFOCUS YOUR WEEKLY CLASSICAL MUSIC GUIDE

SUPPLEMENT TO THE ASPEN TIMES

July 11: Campus Dedication Join us from 10 am to noon on Monday, July 11, for the free grand opening of the Aspen Music Festival and School’s fully redeveloped Matthew and Carolyn Bucksbaum Campus.

Refreshments begin at 10 am prior to a short dedication ceremony on the Reagan Athletic Field at 10:30 am. Following the dedication, guests may take a tour of the new buildings with Aspen Music Festival and School President and CEO Alan Fletcher, architect Harry Teague, and other project leaders.

With special thanks to Karen White Interior Design and The Aspen Times

MONDAY, JULY 4, 2016

VOL 27, NO. 3

Violinist Hadelich to perform solo and with AFO es with a recital on July 7. The program is set to include selections from Telemann When star violinist Augustin Hadelich and Paganini, in addition to David Lang’s won his first Grammy Award earlier this “mystery sonatas,” which Hadelich first year, he earned it through a collaboration performed in 2014 for the piece’s world with Ludovic Morlot, conductor of the premiere.

Seattle Symphony. The two will reunite “It’s 40 minutes, which is very large,” this week for a performance of Dvořák’s Hadelich says of the Lang piece. “But Violin Concerto it’s written in such a with the Aspen Fesway that you can play tival Orchestra on selections from the “He’s naturally very Sunday. movements. It’s really “It’s great for us to beautiful music; it’s friendly and sees the be together again,” almost meditative.”

Hadelich says, notworld almost through Asadour Santouing he’s particularly rian, vice president Peter Pan’s eyes. He’s looking forward to for artistic adminisplaying the Dvořák tration and artistic full of wonderment under Morlot’s baadvisor of the Aspen ton. “In terms of Music Festival and of everything from difficulty, there are School (AMFS), says nature to man and a couple places [in Hadelich has an inthe piece] that go nate ability to experimusic.” beyond most of the ence and communiconcertos of the cate the composer’s Asadour Santourian time. It’s very excitwishes, while also AMFS Vice President for Artistic ing, very passionate leaving his own mark Administration and Artistic Advisor music that comes as a musician. out of the folk tradi“He’s naturally very tion.” friendly and sees the He also says it’s not a piece he hears world almost through Peter Pan’s eyes,” performed very often, which makes it Santourian says. “He’s full of wonderespecially gratifying to interpret for audi- ment of everything from nature to man ences. and music.”

In addition to his performance with the See Hadelich, Festival Focus page 3 AFO, Hadelich will also delight audiencPAIGE COOPERSTEIN

Festival Focus Writer

COURTESY PHOTO

Star violinist Augustin Hadelich will perform both a recital and as a guest artist with the Aspen Festival Orchestra.

Pahud, Porter, McGegan highlight Friday orchestra concert CHRIS AND KAREN MOHR

Festival Focus Writers

Emmanuel Pahud, who at twenty-two years old became the youngest principal flutist of the Berlin Philharmonic; nineteen-year-old violinist Simone Porter, an Aspen alumna who played the Bruch Concerto during an earthquake in Los Angeles without missing a note; and conductor Nicholas McGegan, the irrepressible maestro who last year told the Aspen Chamber Symphony (ACS) to play “like a caffeinated bear”: these three great artists will ignite the stage on Friday when they join the ACS for what promises to be a high-octane concert.

“Emmanuel is definitely a leading flute soloist in the world,” says AMFS President and CEO Alan Fletcher.

“Simone Porter, whom we have seen grow up with us in COURTESY PHOTO; JEFF FASANO Aspen, is now taking the world by storm. With both of Flutist Emmanuel Pahud and violinist Simone Porter join conductor Nicholas them, it’s extraordinarily beautiful and sensitive playing.

McGegan for an electrifying concert with the Aspen Chamber Symphony.

Pairing them with Nic McGegan, who is one of the most ebullient, fun musicians that we see every summer, is going to make for a very sparkling program.”

Porter, who will play Bruch’s Violin Concerto No. 1 in G minor, has already performed with many of the world’s most renowned orchestras. She debuted with the Los Angeles Philharmonic, led by Gustavo Dudamel, last October. After the performance, music critic Mark Swed of the Los Angeles Times wrote that “she is on the cusp of a major career.”

As for that earthquake, Porter recalls, “I heard this rumbling and saw everybody looking around. I was thinking, ‘OK, no shaky bow, no shaky bow.’”

Porter “held her ground,” while her teacher Robert Lipsett thought that concertgoers would bolt. “The audience was somewhat startled that she continued to play,” See Porter, Festival Focus page 3

BUY TICKETS NOW! 970 925 9042 or WWW.ASPENMUSICFESTIVAL.COM

2

MONDAY, JULY 4, 2016

FESTIVALFOCUS | YOUR WEEKLY CLASSICAL MUSIC GUIDE

Supplement to The Aspen Times

Takács Quartet’s Edward Dusinberre ponders Beethoven CHRIS AND KAREN MOHR

Festival Focus Writers

As an Aspen Music Fesival and School (AMFS) student in the 1990s, Edward Dusinberre was encouraged by Dorothy DeLay to audition for the Takács Quartet. It was daunting. He was an Englishman in his mid-twenties; the other three were Hungarians in their forties—and they were looking for a lead violinist.

And then there was Beethoven. Dusinberre auditioned with the third Razumovsky Quartet and “found the music overwhelming at times, hard to understand.” In his new book, Beethoven for a Later Age: Living with the String Quartets, Dusinberre explains that he wasn’t the first to be perplexed.

“It was very reassuring when I started reading about the reactions of the first performers, and the first audiences,” he says. “They, too, were in a state of shock.”

Dusinberre will discuss his book with AMFS President and CEO Alan Fletcher at the July 6 High Notes panel discussion, and the Takács Quartet will perform a recital featuring Beethoven, Shostakovich, and Brahms later that day.

The members of the Takács Quartet have lived with Beethoven for four decades. One would think by now they would have settled on an interpretation they “know.” But it’s quite the opposite. To outsiders, their rehearsals can seem chaotic. Discussions of tempo and phrasing are all over the map. Whenever one musician suggests a new way to play a passage, the other three oblige even if they don’t like the idea. They dive deeply into musical minutiae, but precision is

never allowed to trump spontaneity.

“The risk of losing control lies at the heart of any vivid encounter with one of the later Beethoven quartets,” says Dusinberre.

“They’ve lived with this music for a long time,” says Fletcher.

“One’s first performance of a Beethoven quartet is exciting and a great moment in your life. Your hundredth performance of that same quartet has a kind of depth and layers of meaning.”

Dusinberre’s book intersperses stories about Beethoven with tales of grueling rehearsal schedules and life on the road.

One senses that the violinist would have enjoyed working with the composer.

“Beethoven had a wonderful sense of humor,” says Dusinberre. “He was demanding, but when he was satisfied, he was very effusive in his praise. He allows the performers to say, ‘We are not servants, we’re virtuoso performers.’ There’s a strong element of danger, and we still feel that as performers.

“Over the forty-year career of the Takács, we’ve had ups and downs,” he continues. “Having to change first violinists is never an easy thing to do. Then we had the terrible situation of our violist dying of cancer in 1995. How you respond to traumatic life changes is something that Beethoven addresses very strongly in his music.”

So how does it feel to come back to a Beethoven quartet?

“It’s scary; it feels like a new piece again,” Dusinberre says.

“We have this expectation that we should understand it. If

ELLEN APPEL

On July 6, the Takács Quartet performs a recital, and first violinist Edward Dusinberre joins AMFS President and CEO Alan Fletcher in conversation at High Notes.

someone feels disoriented, maybe they feel it’s not for them.

But it’s those moments that are potentially the most interesting. It’s okay to have that feeling with passages from the Beethoven quartets. He does provide solace and comfort, if you persevere through those moments—and the clouds clear. He balances music that is almost sacramental with music that is so down to earth, rude, boisterous—and somehow holds it all together.” And ultimately, we are “taken far out of ourselves, liberated from the confines of individual personalities as we surrender to the music.”

BUY TICKETS NOW! 970 925 9042 or WWW.ASPENMUSICFESTIVAL.COM

Supplement to The Aspen Times

FESTIVALFOCUS | YOUR WEEKLY CLASSICAL MUSIC GUIDE

MONDAY, JULY 4, 2016 3

HADELICH: Violinist ‘mixes it up’ in Aspen Continued from Festival Focus page 1

COURTESY PHOTO

Violinist Augustin Hadelich strives to bring something different to his programs, especially in Aspen.

ASPEN MUSIC FESTIVAL AND SCHOOL BOX OFFICE HOURS

Hadelich’s youthfulness also translates into a high regard for social media. He has called YouTube crucial for musicians from rural areas without regular access to teachers or concerts. Born in Tuscany to German parents who owned a vineyard, Hadelich himself was largely self-taught. A mentor eventually encouraged him to apply to The Juilliard School, from which he graduated in 2007.

Since then, Hadelich has appeared with practically every major orchestra and chamber orchestra in the United States, including in debuts this season with the Chicago and Pittsburgh symphonies. And he is quickly becoming a regular at the AMFS, having performed at three previous Festivals.

AMFS President and CEO Alan Fletcher calls Hadelich “one of the leading violinists in his generation,” and notes how special it is to have Hadelich return to Aspen season after season.

“Violinists who are regulars over the years—Joshua Bell, Gil Shaham, Sarah Chang, Midori—we love hearing them year after year and hearing them grow and change in the standard repertoire,” Fletcher says. “So

I think we’re going to have a chance to hear that in Augustin, too; he’s an adventuresome player, and he does all kinds of unique exploration in repertoire and style.”

Indeed, Hadelich says one of the ideas behind constructing his solo repertoire for this summer’s Festival was to “mix it up.” He wants to offer his audiences an exciting musical adventure with contrasts in style and movement—and believes Aspen is an ideal place to do just that.

“I’m quite impressed with the audience in Aspen,” Hadelich says. “They’re very knowledgable. That’s not always the case for summer festivals, but the program in Aspen is quite sophisticated.”

Hadelich adds that time in Colorado is a nice reprieve from his daily life in New York. He enjoys the chance to meet other musicians in the mountains and appreciates the inspiration that the spectacular setting can provide.

“I love looking at the scenery,” he says. “There’s some repertoire that has a strong connection with nature. It’s a gorgeous place to spend a week and make music.”

Harris Concert Hall: 9 am through the intermission of the evening concert, daily.

Wheeler Opera House: 9 am–5 pm daily.

AMFS celebrates volunteers on Sunday PORTER: ing questions and meeting, greeting, and assisting concertgoers as they arrive at the Benedict Music Tent.

With more than 100 nonprofits operating from Aspen They also staff the Concierge information booth beto Basalt alone, the organizations of the Roaring Fork fore, during, and after concerts.

Valley offer a wide variety of services and experienc“I really like staffing the information kiosk because es, from art to education. But the one thing they have people walk right by it, so that’s generally the first in common is a strong corps of vital volunteers. place people are going to come when they have a The Aspen Music Festival and question,” says Gerdenich. “Plus, School (AMFS) alone welcomes we’re able to hand out information “We simply could more than 200 volunteers every about other arts organizations, and year, some of whom have helped that’s the beauty of Aspen: it has not do all we do for as many as forty years or more. phenomenal arts programming.” without our extremely To honor the contributions of time, Gerdenich also leads walking talent, care, and compassion given tours through the West End of Asdedicated group of by the volunteers throughout the pen and Bucksbaum Campus tours, valley, the AMFS hosts Volunteer volunteers. They truly which keeps the Music Festival Sunday every year, featuring free looking fresh to her as she gets to admission to an Aspen Festival Orhelp the Festival run see it through newcomers’ eyes. chestra (AFO) rehearsal, lemonade “To see people’s eyes light up ... and also do so with and cookies, and an opportunity for when they get out of their cars and volunteers from local nonprofits to they stand there looking at the reso much heart and mingle. This year, Volunteer Sunday flection of the buildings in the pond, lands on July 10 for the 9:30 am AFO it’s just amazing,” Gerdenich says of care.” rehearsal. the Bucksbaum Campus tours.

“We simply could not do all we do Another one of Gerdenich’s favorAlan Fletcher without our extremely dedicated ite parts of working as an AmbassaAMFS President and CEO group of volunteers,” says AMFS dor is hearing feedback from audience members about the students.

President and CEO Alan Fletcher.

“They truly help the Festival run on its basic, mechani- She says many people can’t believe they aren’t hearcal level, and also do so with so much heart and care. ing a professional orchestra or a professional group of Their warmth and spirit help make the Festival what it singers at Aspen Opera Center productions.

New volunteers join the ranks at the AMFS every is.”

One of those volunteers, Linda Gerdenich, began year, but many also stay for decades. It’s a privilege for her relationship with the AMFS almost twenty years the AMFS to be served by these generous individuals, ago. At the time, she was an ambassador for the As- but to hear Gerdenich tell it, the pleasure is all hers.

“We’re so fortunate to have the Aspen Music Festival pen Skiing Company, and then-AMFS Head of Communications Debra Ayers asked her to start a similar and School still in existence and still the way it started, with students playing alongside their teachers,” she program with the Festival.

And so the Music Ambassadors program was born. says. “It’s such a part of the Aspen cultural scene. Why These Ambassadors are on the front lines for answer- wouldn’t you want to be a part of it?”

JESSICA CABE

Festival Focus Writer

‘Sublime program’

Continued from Festival Focus page 1 says Lipsett. “And instead of running for the hills, they settled down. Her music calmed them.”

Porter is an avid reader and considers her general knowledge base essential to her playing. “All art should be connected,” she asserts. “I don’t believe in a musician who stays in a practice room all day, because you’re never going to have the memories and emotions necessary to do these compositions justice.” When she was in her early teens, she was faced with playing Ernest Bloch’s Nigun, which deals with deep loss, before having experienced such feelings. “I thought of an instance where Harry Potter loses his godfather and used those emotions to connect to the piece. I’ve kept up that tradition of looking to other forms of art for inspiration.”

Fletcher notes the Bruch is “tremendously romantic and expressive” and says “it is going to show a great side of Simone’s playing.” Indeed, the improvisationalstyle solo passages of the first movement, the lyrical rapture of the slow movement, and the sizzling, gypsytinged finale are perfect matches for Porter’s brilliant and wide-ranging artistic temperament.

Flutist Emmanuel Pahud has also had a meteoric career and performs 160 concerts a year all over the world in the jazz and classical genres. On the Friday concert, he’ll play the charming Andante for Flute by Mozart, and the C.P.E. Bach Flute Concerto in D minor, written in the sturm und drang style of the time.

“Emmanuel and Simone are both originals on their instruments,” says Asadour Santourian, vice president for artistic administration and artistic advisor. “Nicholas McGegan has fashioned a program that envelopes their unique aesthetics into one—a sublime program traversing from the Baroque through the Romantic period with great champions of this repertoire.”