2013 Program Book by Bravo! Vail

Dear Friends: Welcome to the 26th Season of Bravo! Vail, the only festival in North America to host three of the world’s finest orchestras in a single season. The Dallas Symphony Orchestra, The Philadelphia Orchestra, and New York Philharmonic take up residence in Vail every summer, featured in programs of the great classics, plus jazz and pops. Extraordinary chamber music artists, including members of all three resident orchestras, come together with the Jasper and Calder String Quartets and Cantus, America’s premier male vocal ensemble, in a diverse and eclectic chamber music series. This stellar line-up of world renowned orchestral and chamber music performances comprise Bravo! Vail 2013, planned just for you. The musicianship is unsurpassed. The setting varies from the grandeur of the Gore Range embracing the Gerald R. Ford Amphitheater to intimate spaces throughout the Vail Valley. Best of all is sharing this incredible experience with friends, old and new. After such an auspicious 25th Anniversary in 2012, we decided to launch our next 25 years with a few exciting changes. Offstage we’ve adopted a whole new, fresh look. Our new ‘brand’ was launched in March: “Bravo! Vail - The Sound of Extraordinary.” This look will permeate the 2013 Season and beyond, and we hope you like the changes, including this reformatted program book. We think the 26th Season is the perfect time to re-imagine what we can be, as Bravo! Vail moves into the next great era of its storied history. Thanks to all of you - audience patrons, donors, volunteers, artists and music lovers - for your belief in and support of Bravo! Vail. Without you, this celebration of life and the love of music in the Rocky Mountains would not be possible. Sincerely,

Argie Tang Board Chair

Anne-Marie McDermott Artistic Director

James W. Palermo Executive Director

BOARD OF TRUSTEES Argie Tang, Chair Russell Molina, Vice Chair Dan Godec, Treasurer Vicki Logan, Secretary Ronald P. Baker Barry Beracha Jenn Bruno Bill Burns Timothy G. Dalton Jr Glenn Davis Marijke de Vink Cookie Flaum

Harry H. Frampton Joan Francis Mark Gordon Seeme Hasan Martha Head Karen Herman Ida Kavafian Jeremy L. Krieg Mervyn Lapin Patricia Lynch William I. Morton Laurie Mullen Sarah Nash

Craig J. Foley Ceil Folz Vicki V. Garza-Mohajer Jeanne Gustafson Linda W. Hart Alan Kosloff Robert LeVine Laura Marx John A. Mayer Jr. Shirley C. McIntyre Matt Morgan Michele Resnick Margaret Rogers Byron Rose Carole Segal Rachel Smiley Frank Strauss Susan Suggs Douglas Tansill Steven Virostek Betsy Wiegers

Vicki Rippeto David Salvin L.W. Stolzer Carole A. Watters

ADVISORY COUNCIL Adam Aron Paul Becker Dani Bedoni Michael Byram Kay Chester William L. Clinkenbeard Brian Doyle Thomas Edwards Gary Edwards Sallie Fawcett

CHAIRMEN EMERITUS Donna Meyer Pat Herrington Kay Chester Mark Smith Dick Swank Kathleen Eck Karin Weber Doug Tansill Steve Pope Alan Kosloff EXECUTIVE DIRECTOR EMERITUS John W. Giovando ARTISTIC DIRECTORS EMERITUS Ida Kavafian Eugenia Zukerman EMERITUS Marge Burdick, In loving memory Ann Sansbury Phil Smiley Thomas Steinberg Luanne C. Wells

COMMUNITY ENGAGEMENT Sun, July 14 - The Pan Association 11:00 AM-12:00 PM and 1:00-2:00PM, Vail Village Sat, July 20 - Confluence Sax Quartet 10:00 AM-12:00 PM, Lionshead 1:30-2:30 PM, Beaver Creek Sun, July 21 - Confluence Sax Quartet 11:00 AM-12:00 PM and 1:00-2:00PM Vail Village Sat, July 27 - Doug Reichlin, Bagpipes 10:00 AM-12:00 PM, Lionshead 1:30-2:30 PM, Beaver Creek LITTLE LISTENERS @ THE LIBRARY Tues, July 2 at 2:00 PM - Vail Public Library Wed, July 3 at 1:00 PM - Gypsum Public Library Tues, July 9 at 11:00 PM - Eagle Public Library Fri, July 12 at 2:00 PM - Avon Public Library Tues, July 16 at 2:00 PM - Vail Public Library Wed, July 17 at 1:00 PM - Gypsum Public Library Fri, July 19 at 2:00 PM - Avon Public Library Tues, July 23 at 11:00 AM - Eagle Public Library

Sun, July 28 - Doug Reichlin, Bagpiper 11:00 AM-12:00 PM and 1:00-2:00PM Vail Village INSTRUMENT PETTING ZOO Sat, June 29 at 1:00 PM – Eagle Flight Days Sun, July 14 at 10:00 AM – Vail, Gerald R. Ford Amphitheater (before Free Family Concert) Wed, July 17 at 11:00 AM – Gypsum Public Library BEFORE THE MUSIC: Pre-Concert Lecture Series, 5:00 PM, Betty Ford Alpine Gardens Wed, July 3 – Of Fauns, Pines, Love, and Death Keith Waters, Professor of Music at the University of Colorado-Boulder Fri, July 12 – Mahler’s 4th: A Child’s View of Heaven Jack Sheinbaum, Associate Professor of Musicology and Associate Director for Academic Affairs at the University of Denver’s Lamont School of Music Sat, July 13 – Verdi’s Requiem: An Opera in Disguise? Antonia L. Banducci, Associate Professor of Musicology and Chair of the Department of Musicology at the University of Denver’s Lamont School of Music

MUSIC ON THE MOVE S at, July 6 – The Bluegrass String Band 10:00 AM-12:00 PM, Lionshead 1:30-2:30 PM, Beaver Creek

Sat, July 20 – Berlioz’s Symphonie Fantastique: Obsession, Horror, and Hallucination, Jonathan Bellman, Head of Academic Studies in Music at the University of Northern Colorado

Sun, July 7 - The Bluegrass String Band 11:00 AM-12:00 PM and 1:00-2:00PM Vail Village

Fri, July 26 – Holst’s The Planets: A Symphonic Space Odyssey Marc Shulgold, music journalist, lecturer and teacher

Sat, July 13 - The Pan Association 10:00 AM-12:00 PM, Lionshead 1:30-2:30 PM, Beaver Creek

EDUCATION YOUNG PROFESSIONALS-IN-RESIDENCE Every summer, two talented, emerging chamber music ensembles in the early stages of major careers are chosen to perform, teach, and learn across the varied spectrum of Bravo! Vail concerts and educational activities. In 2013, Bravo! Vail’s two Young Professionalsin-Residence groups are the “sonically delightful and expressively compelling” (The Strad) Jasper String Quartet, winner of the 2012 Cleveland Quartet Award, and Cantus, described by Fanfare magazine as “the premier men’s vocal ensemble in the United States.”

Vail Village, Beaver Creek Village as well as other public spaces throughout Eagle County. On tap this year are The Bluegrass String Band, bagpiper Doug Reichlin, the Confluence Sax Quartet and The Pan Association, a steel drum ensemble.

FREE CONCERTS This summer Bravo! Vail offers an expanded series of 14 different free, hour-long chamber music concerts in venues throughout the Vail Valley. A favorite is sure to be the weekly free concert series at the Vail Interfaith Chapel. Ten times over five weeks on consecutive Tuesdays and Thursdays at 1:00 PM, audiences will be treated to some of the greatest chamber musicians in the world performing a wide variety of exciting programs. Other performance facilities include the Beaver Creek Chapel, the Edwards Interfaith Chapel, and locations in Gypsum, Eagle, Cordillera and elsewhere throughout the Vail Valley.

LITTLE LISTENERS @ THE LIBRARY Children ages 3 through 7, as well as the young-at-heart, enjoy fun and engaging musical performances in area libraries. Renowned musicians from resident orchestras introduce their instruments and talk about the history and importance of the music. All Little Listeners @ the Library performances are free.

INSTRUMENT PETTING ZOO Children experiment with real orchestral instruments - woodwinds, percussion, brass and strings. You’ll find Bravo! Vail’s Instrument Petting Zoo traveling to various events in the Vail Valley throughout the summer.

AFTER-SCHOOL PIANO PROGRAM Children in grades 2 through 7 receive half-hour group lessons after school each week during the academic year. The cost for each student’s lesson is only $2 and fees are waived for 40% of students based on need. Instructors introduce fundamental musical concepts and basic note reading skills.

FREE FAMILY CONCERT by National Repertory Orchestra Even the youngest members of the family can be exposed to the sounds of a live symphony orchestra in Bravo! Vail’s annual appearance by the National Repertory Orchestra on July 14 at 11:00 AM. This free concert is fun for the whole family and will be hosted by famed musical personality Bruce Adolphe. Seating is on a first-come, first-serve basis. Gates open at 10:00 AM. with fun family activities including Bravo! Vail’s Instrument Petting Zoo.

SUMMER INTERNSHIPS Each summer, college interns gain first-hand experience in arts management as integral members of the Bravo! Vail staff. Interns participate in various operational areas, helping to present the music you know and love, while earning credit toward their collegiate degrees.

BEFORE THE MUSIC: Pre-Concert Lecture Series This series of late afternoon pre-concert talks is led by some of Colorado’s most prominent musicologists. The pre-concert talks provide insight into the composers’ lives and the repertory on the evenings’ concert programs. All five talks begin at 5:00 PM in the Betty Ford Alpine Gardens just prior to the 6:00 PM concerts at the Gerald R. Ford Amphitheater. MUSIC ON THE MOVE Music on the Move features ensembles designed to stroll from location to location throughout Lionshead, 29

DVOŘÁK IMMERSION

“ I chose Dvořák not only for the wide variety of his genres, but more importantly because my musician colleagues and I adore the melodies, rhythms, and life-affirming character of his excellently constructed scores.”

- IN ANNE-MARIE McDERMOTT’S OWN WORDS As I work on a Bravo! Vail season, I am keenly aware of one of the Festival’s greatest hallmarks – the diversity of Ann-Marie McDermott the music we present. With three of the greatest symphony orchestras in the world, as well as internationally renowned soloists and chamber musicians in residence, we are ideally suited to bring audiences the widest possible range of extraordinary music. In just six weeks, one can hear music from the golden era of Broadway and beloved 19th and 20th century symphonic masterpieces by American and European composers, to the brand new works of Americans hailing from Puerto Rico, Cuba, and Mexico. At the heart of every Festival, however, I love to create what I call a “mini-immersion” into the world of a single composer. My choice for 2013 is the Czech composer, Antonin Dvořák, who in just 63 years produced symphonies, songs, concertos, choral scores, and more than 40 pieces of chamber music. I chose Dvořák not only for the wide variety of his genres, but more importantly because my musician colleagues and I adore the melodies, rhythms, and life-affirming character of his excellently constructed scores. The other aspect of his work (and that of Janáček and Bartók whose music I have programmed alongside it) is his fascination with native folk music. From the Wind Serenade, the earliest of the works to be performed in the Bravo! Vail season, to his Symphony From the New

World, listeners can experience the wide variety of genres and sounds that reveal the authentic and highly personal sonic world of Antonin Dvořák. As the composer himself said, “All the great musicians have borrowed from the songs of the people.” The son of a butcher, Dvořák was raised and lived among “the people” and his residency in the United States is rich with stories of his communing with people at favorite watering holes on Manhattan’s Lower East Side to visits to Buffalo Bill’s Wild West Show. Yet Dvořák’s music is never merely a pastiche of well-known songs and dances, nor does he directly quote known folk melodies. The driving Piano Quintet, the more elusive Piano Quartet and the pastoral String Quintet (all scheduled this summer) reveal a Calder Quartet unique compositional style. Members of the Philadelphia Orchestra, the Calder Quartet, and the violist Paul Neubauer all will recreate the lyrical lines, the surprising “dumkas” (Slavic epic ballads), the fiery scherzos and the symphonic sized sounds of this amazing chamber music. Choral music and songs featuring the world-class all male vocal ensemble Cantus round out the programs. Jaap van Zweden and the Dallas Symphony will open our exploration with their Cantus magical rendition of the popular “New World” Symphony. Near the end of the Bravo! Vail season we hear one of Dvořák’s last works written in America, the masterful Cello Concerto in B minor. The incomparable New York Philharmonic and its star principal cellist, Carter Brey, will do the honors. Along the way, we will have engaging talks, interesting articles and a lot of fun.

Carter Brey

DALLAS SYMPHONY ORCHESTRA

- UNCOMPROMISING EXCELLENCE Since 1900, the Dallas Symphony Orchestra has grown from a 40-person ensemble to a worldclass orchestra performing in one of the world’s finest concert halls. The Orchestra’s beginnings can be traced to May 22, 1900, when a small group of musicians performed under the direction of German-born conductor Hans Kreissig. In ensuing years, the Orchestra grew in stature and size until 1945, when it took great strides under the direction of conductor Antal Dorati. Dorati transformed the ensemble into a fully professional, first-rate orchestra that won national attention through a series of RCA recordings and several national network radio broadcasts. Dorati was succeeded by Walter Hendl, Paul Kletzki, Sir Georg Solti, Donald Johanos, Anshel Brusilow, Max Rudolf and Louis Lane. In 1977, Mexican-born Eduardo Mata was appointed music director and under his guidance, the Orchestra enjoyed recording contracts with RCA and Dorian, two Carnegie Hall performances, a performance at the Kennedy Center, a 15-concert European tour, three concerts in Mexico City and three concerts in Singapore. During Mata’s tenure, the Dallas Symphony Orchestra saw the dedication of its permanent home, the Morton H. Meyerson Symphony Center. In December of 1992, the Dallas Symphony Association named Andrew Litton to succeed Mata as music director and conductor. Litton launched the Dallas Symphony’s first television venture, the Amazing Music family concert series, made numerous recordings with the Orchestra, conducted several performances at Carnegie Hall, three European tours and inaugurated their summer residency here at Bravo! Vail.

Following Litton’s departure, the Dallas Symphony Orchestra named Jaap van Zweden as its new music director in February 2007. Amsterdam-born van Zweden has risen rapidly in little more than a decade to become one of today’s most soughtafter conductors. Appointed at nineteen as the youngest concertmaster ever of the Royal Concertgebouw Orchestra, he began his conducting career in 1995 and has held prestigious positions throughout Europe. Maestro van Zweden is also Music Director of the Hong Kong Philharmonic, and remains Honorary Chief Conductor of the Netherlands Radio Philharmonic Orchestra and Conductor Emeritus of the Netherlands Radio Chamber Orchestra. Jaap van Zweden was named Musical America’s 2012 Conductor of the Year in recognition of his critically acclaimed work as Music Director of the Dallas Symphony Orchestra and as a guest conductor with the most prestigious U.S. orchestras. A prolific recording artist, van Zweden has released the symphonies of Tchaikovsky (Nos. 4 and 5) and Beethoven (Nos. 5 and 7) with the Dallas Symphony Orchestra on its own record label.

FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA Bravo! Vail gratefully acknowledges the support of these patrons PLATINUM ($20,000 and above)

BRONZE ($5,000 and above)

Hill Foundation Shirley and William S. McIntyre, IV

Anonymous Alice and Dick Bass Peggy and Gary Edwards Cindy Engles Amy and Vernon Faulconer Rebecca and Ron Gafford Carol and Ronnie Goldman Carol and Jeff Heller Bobbi and Richard Massman Brenda and Joe McHugh Jane and Howard Parker The Rosewood Foundation Marcie and Stephen Sands Debbie and Ric Scripps Jere Thompson Melinda and Steve Winn

GOLD ($15,000 and above) Anonymous Marilyn Augur Arlene and John Dayton Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above) Diane and Hal Brierley Sammye and Mike Myers

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden Music Director The Louise W. and Edmund J. Kahn Music Directorship Thomas Hong Associate Conductor In Memoriam: Marvin Hamlisch (1944 - 2012) Principal Pops Conductor The Dot and Paul Mason Principal Pops Conductor’s Podium Joshua Habermann Chorus Director

Alexander Kerr, Concertmaster Michael L. Rosenberg Chair Nathan Olson, Co-Concertmaster Fanchon and Howard Hallam Chair Gary Levinson, Senior Principal Associate Concertmaster Emmanuelle Boisvert, Associate Concertmaster Motoi Takeda, Associate Concertmaster Robert E. and Jean Ann Titus Family Chair Diane Kitzman, Principal Violin Filip Fenrych Maria Schleuning Jan Mark Sloman, Principal Associate Concertmaster Emeritus Susan Ager-Breitbarth Lucas Aleman Arkady Fomin Mary Reynolds Andrew Schast Daphne Volle Bruce Wittrig Kaori Yoshida

SECOND VIOLIN

Angela Fuller, Principal Barbara K. and Seymour R. Thum Chair Alexandra Adkins, Associate Principal

BASS

Nicolas Tsolainos, Principal Anonymously Endowed Chair Tom Lederer, Co-Principal Roger Fratena, Associate Principal Paula Holmes Fleming Dwight Shambley Clifford Spohr, Principal Emeritus Alan Yanofsky

FLUTE

Richard Kaufman Pops Conductor Laureate FIRST VIOLIN

Michael Coren Jeffrey Hood John Myers Kari Nostbakken Peter Steffens Nan Zhang

Sho-mei Pelletier, Associate Principal Bing Wang Bruce Patti Lauren Charbonneau Lilit Danielyan Miika Gregg Heidi Itashiki Andrzej Kapica Eunice Keem Shu Lee Aleksandr Snytkin Kaori Yoshida

VIOLA

Jean Larson Garver, Principal Joy and Ronald Mankoff Chair Deborah Baron, Associate Principal Kara Kirkendoll Welch

PICCOLO

Deborah Baron

OBOE

Erin Hannigan, Principal Nancy P. and John G. Penson Chair Willa Henigman, Associate Principal Brent Ross David Matthews

ENGLISH HORN

CONTRABASSOON Peter Grenier

FRENCH HORNS

Principal, Vacant Howard E. Rachofsky Chair David Heyde, Associate Principal Linda VanSickle Chair Haley Hoops David Cooper Paul Capehart Gregory Hustis, Principal Horn Emeritus

TRUMPET

Ryan Anthony, Principal Diane and Hal Brierley Chair Russell Campbell, Associate Principal Kevin Finamore Thomas Booth, Assistant Principal

TROMBONE

John Kitzman, Principal Chris Oliver Darren McHenry

BASS TROMBONE Darren McHenry

TUBA

Matthew Good, Principal Dot and Paul Mason Chair

TIMPANI

Brian Jones, Principal Dr. Eugene and Charlotte Bonelli Chair Doug Howard, Assistant Principal

Ellen Rose, Principal Hortense and Lawrence S. Pollock Chair Barbara Sudweeks, Associate Principal Ann Marie Hudson, Associate Principal Mitta Angell Pamela Askew Thomas Demer Valerie Dimond John Geisel Christine Hwang David Sywak

David Matthews

Christopher Runk

Susan Dederich-Pejovich, Principal

CELLO

BASSOON

RESIDENT ORGANIST

Christopher Adkins, Principal Fannie and Stephen S. Kahn Chair Yuri Anshelevich, Associate Principal Jolyon Pegis, Associate Principal Theodore Harvey

CLARINET

Gregory Raden, Principal Mr. and Mrs. C. Thomas May Jr. Chair Paul Garner, Associate Principal and E-flat Stephen Ahearn Christopher Runk

BASS CLARINET

Wilfred Roberts, Principal Irene H. Wadel and Robert I. Atha Chair Scott Walzel, Associate Principal Peter Grenier

PERCUSSION

Doug Howard, Principal Margie and William H. Seay Chair Ronald Snider, Assistant Principal Daniel Florio

HARP

Mary Preston Lay Family Chair

STAFF KEYBOARD

Anastasia Markina - Classical Gabriel Sanchez - Classical Steven Harlos - Pops DSO League, Élan Circle and Innovators Chair

PERSONNEL MANAGER Scott Walzel

PERSONNEL ASSISTANT Tom Brekhus

LIBRARIANS

Karen Schnackenberg, Principal Mark Wilson, Associate Principal Melissa Robason, Assistant Melanie Gilmore, Choral Librarian

STAGE MANAGER Andrew Linhart

ASSISTANT STAGE MANAGER Marc Dunkelberg

ELECTRICIAN Franklin Horvath

Rotating String Players are listed alphabetically

DALLAS SYMPHONY ORCHESTRA | FRI, JUNE 28, 6:00PM

HITS FROM THE GOLDEN AGE OF JAZZ

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: PAT AND PETE FRECHETTE VAIL JAZZ FOUNDATION Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Argie Tang Artistic Director Chair

Sponsored By: Charles P. Steinmetz Joanne and Steve Virostek

Soloist Underwriters: Wycliffe Gordon, trombone, and Byron Stripling, trumpet, underwritten by Christine and John Bakalar

HITS FROM THE GOLDEN AGE OF JAZZ “Classic Hits from the Golden Age of Jazz,” a celebration of America’s quintessential musical expression, opens with a tribute to Louis Armstrong, trumpeter, singer, international celebrity and a seminal figure in the history of jazz. Armstrong began establishing his reputation by playing in clubs in his native New Orleans and on riverboats before joining King Oliver’s Creole Jazz Band in Chicago in 1922; he made his recording debut with Oliver the following year. In 1924, Armstrong married Lilian Hardin, Oliver’s pianist and arranger, and later that year went with her to New York to play in Fletcher Henderson’s big band at the Roseland Ballroom. Louis and Lil soon cut a deal to record traditional New Orleans jazz for Okeh Records, and Armstrong assembled “The Hot Five” from three colleagues in Oliver’s band — clarinetist Johnny Dodds, Johnny St. Cyr on banjo, and, of course, Lil — and trombonist Kid Ory. They made their first record on November 12, 1925, beginning a series of recordings that has been called the most influential in the history of jazz. The inimitable versions of King Oliver’s West End Blues, Lil Armstrong’s Struttin’ with Some Barbeque, Basin Street Blues by New Orleans pianist and composer Spencer Williams and St. James Infirmary Blues (to which the music publisher Irving Mills attached his pseudonym “Joe Primrose,” though the tune is of uncertain, perhaps English folk, origin) that the Hot Five set down in 1928 helped make “Satchmo” the first jazz superstar. Cab Calloway, one of America’s most popular entertainers during the 1930s, was known for his mock-elegant “zoot suits,” nonsense-word “scat” singing and leading the band that made Harlem’s Cotton Club a synonym for Prohibition-era America. Calloway’s 1931 Minnie the Moocher, with its call-and-response “Hi De Hi De Hi” refrain, became his musical trademark. (Calloway’s 1939 Hepster’s Dictionary: Language of Jive, incidentally, defines “barbeque” in the title of Lil Armstrong’s Struttin’ with Some Barbeque as “a girl friend, a beauty,” though the implication is of a somewhat less seemly female companion.) 36

DID YOU KNOW? One man is almost singularly responsible for chronicling the greatest musicians of The Golden Age of Jazz – William Gottlieb. Gottlieb’s career began with The Washington Post where he volunteered to write a weekly jazz column for the Sunday edition. When his editors cut the budget that assigned a photographer for his gigs, Gottlieb checked out a camera and did the job himself. Through alchemy or just plain love for the art form, Gottlieb, who by the age of twenty-two was known as “Mr. Jazz,” perfectly captured the essence of his subjects. His images of Louis Armstrong, Duke Ellington, Billie Holiday, Ella Fitzgerald, and many others are indelibly burned into our collective consciousness. To learn more about William Gottlieb, visit the Library of Congress Performing Arts Encyclopedia, Gottlieb Collection. In accordance with Gottlieb’s wishes, many of his photographs entered into the public domain in February 2010.

FRI, JUNE 28, 6:00PM The blues was one of the historical foundations of jazz and it has remained a continuing source of inspiration for jazz artists. In 1947 pianist Peter Chapman, better known as Memphis Slim, recorded his Every Day I Have the Blues, whose text distills the form’s essential melancholy: Nobody loves me, nobody seems to care, Speakin’ of bad luck people, you know I had my share. His recording was not released for two years and did not become a hit, but when blues guitarist B.B. King and singer Joe Williams with Count Basie’s Band both recorded the tune in 1955, their versions made Every Day I Have the Blues into a jazz standard; both recordings have received Grammy Hall of Fame Awards. The continuing vitality of the blues is confirmed by Somebody New, composed in 2004 by contemporary trombone great Wycliffe Gordon as what he calls “a lowdown dirty blues.” Gordon published the score for big band and he has appeared in it as soloist with orchestras across the country.

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Wycliffe Gordon, trombone Byron Stripling, trumpet Jeff Clayton, sax Kenny Walker, bass Steve Harlos, piano Dave Mancini, drums

As jazz evolved it took on both a more sophisticated style and a wider cultural outlook. Both trends were exemplified by the pioneering A Night in Tunisia, composed in 1942 by trumpeter Dizzy Gillespie and pianist Frank Paparelli while they were playing

OLIVER/ARR. TYZIK

Continued on page 170

CALLOWAY/ARR. TYZIK

“ I don’t need words it’s all in the phrasing.”

WILLIAMS/ARR. GORDON/ ORCH. TYZIK

West End Blues

ARMSTRONG/ARR. TYZIK Struttin’ with Some Barbeque

Minnie the Moocher

Basin Street Blues

Louis Armstrong

DESMOND/ARR. TYZIK Take Five

ATTR. CARPENTER/ARR. TYZIK Walkin’

CHATMAN/ARR. TYZIK Every Day I Have the Blues

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ($20,000 and above)

BRONZE ($5,000 and above)

Hill Foundation Shirley and William S. McIntyre, IV

GOLD ($15,000 and above) Anonymous Marilyn Augur Arlene and John Dayton Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above) Diane and Hal Brierley Sammye and Mike Myers

This project funded in part by generous grants from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Vail Valley Foundation. The Sebastian-Vail and Antlers at Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

— INTERMISSION — ZAWINAL/ARR. TYZIK Birdland

ATTR. PRIMROSE/ARR. MACKREL/ ORCH. TYZIK St. James Infirmary Blues

GILLESPIE & PAPARELLI/ARR. TYZIK A Night in Tunisia

GORDON/ORCH. TYZIK Somebody New

BRUBECK/ARR. DELANEY Blue Mambo à la Turk

ZAWINAL/ARR. TYZIK Mercy, Mercy, Mercy

DALLAS SYMPHONY ORCHESTRA | SAT, JUNE 29, 6:00PM

MUSIC AT THE MOVIES: A TRIBUTE TO JOHN WILLIAMS & ARTHUR FIEDLER

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: HILL FOUNDATION Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

Town of Vail Night Sponsored By: Sandy and John Black Susan and Harry Frampton

Soloist Underwriters: Conductor Jeff Tyzik underwritten by Valerie and Robert Gwyn

MUSIC AT THE MOVIES: A TRIBUTE TO JOHN WILLIAMS AND ARTHUR FIEDLER John Philip Sousa [1854-1932] composed the Washington Post March in 1889 to promote an essay contest sponsored by that newspaper. The work created a sensation when it was premiered on June 15th, and it was directly responsible for inspiring the composer’s famous nickname — “The March King.” George M. Cohan [1878-1942] broke into show business by touring with his vaudevillian parents and in the decades around World War I dominated the Broadway musical theater, writing some forty shows, collaborating on another forty, and producing over a hundred more. His more than 500 songs reflect the bursting patriotic spirit of those years. Franz von Suppé [1819-1895] wrote nearly 200 operettas and other pieces for the Viennese stage, but he is best remembered for his atmospheric overtures. Morning, Noon and Night in Vienna, Suppé’s tribute to his adopted home, grew from a “play with songs” that he composed for the Josefstadt Theater in 1844. Leroy Anderson [1908-1975] served as chief arranger and pianist for the Boston Pops for a quarter-century, providing that ensemble with a steady stream of delightful “concert music with a pop quality,” as he called it. The wistful The First Day of Spring was written for a recording project in 1954 for Decca. Bugler’s Holiday was composed in 1954 to show off the orchestra’s trumpet section. Walter Damrosch, conductor of the New York Symphony, was among the Aeolian Hall audience when Rhapsody in Blue by George Gershwin (1898-1937) exploded above the musical world on February 12, 1924. He recognized Gershwin’s genius (and, no doubt, the opportunity for wide publicity), and commissioned him to compose a concerto for piano and also to be the soloist at its premiere. “The final 40

DID YOU KNOW? What do Arthur Fiedler and John Williams have in common? Both were principal conductors of the Boston Pops. What many people don’t know is that the Boston Pops has been led by twenty conductors in its 128-year history. Pops concerts in this country began, in effect, with the Boston Pops as a way to entice audiences by re-creating the ambience of summer evenings in the concert gardens of Vienna. The concerts also provided summer employment for the members of the Boston Symphony, who at that point had to search for other work six months out of the year. The chance to relax in a fantasy of European pleasures did the trick for Bostonians and a tradition was born, one that quickly spread nationwide. Fiedler expanded the Boston Pops repertory, initiating recordings and radio broadcasts and showcasing the work of young American composers, arrangers and soloists.

SAT, JUNE 29, 6:00PM movement,” Gershwin wrote, “is an orgy of rhythms, starting violently and keeping the same pace throughout.” The greatest disappointment during the career of Sergei Rachmaninoff (1873-1943) was the total failure of his Symphony No. 1 at its premiere in 1897, a traumatic event that thrust him into such a mental depression that he suffered a complete nervous collapse. His family arranged for him to be treated by a certain Dr. Nicholas Dahl, a Moscow physician who was familiar with the latest psychiatric discoveries in France and Vienna. He began his daily sessions in January 1900. “Dahl had inquired what kind of composition was desired of me, and he was informed ‘a concerto for piano.’ In consequence, I heard repeated, day after day, the same hypnotic formula: ‘You will start to compose a concerto — You will work with the greatest of ease.’ Always it was the same, without interruption... Although it may seem impossible to believe, this treatment really helped me. I started to compose again at the beginning of the summer.” In gratitude, he dedicated the new Concerto No. 2 to Dr. Dahl. The introduction and main theme of the finale are bold and strongly rhythmic, while the second theme provides lyrical contrast. These two themes, the martial and the romantic, alternate for the remainder of the movement. Harry Potter and the Sorcerer’s Stone scored a phenomenal success upon its release in November 2001. Williams’ opening sequence for the film, Harry’s Wondrous World, provides the musical gateway to the marvelous tale that follows.

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

DALLAS SYMPHONY ORCHESTRA Bob Bernhardt, conductor Michael Chertok, piano

SOUSA Washington Post March

COHAN/ARR. GORDON Star-Spangled Spectacular

SUPPÉ Overture to Morning, Noon and Night in Vienna

ANDERSON The First Day of Spring Bugler’s Holiday

GERSHWIN Movement III (Allegro agitato) from the Piano Concerto in F

RACHMANINOFF

Continued on page 170

Movement III (Allegro scherzando) from the Piano Concerto No. 2 in C minor, Op. 18

— INTERMISSION — WILLIAMS BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ($20,000 and above)

BRONZE ($5,000 and above)

Hill Foundation Shirley and William S. McIntyre, IV

GOLD ($15,000 and above) Anonymous Marilyn Augur Arlene and John Dayton Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above) Diane and Hal Brierley Sammye and Mike Myers

Harry’s Wondrous World from Harry Potter and the Sorcerer’s Stone Anakin’s Theme from The Phantom Menace Imperial March from The Empire Strikes Back Sayuri’s Theme from Memoirs of a Geisha March from Superman Theme from Schindler’s List The Flight to Neverland from Hook

JAZZ AFTER: THE DALLAS JAM Please join members of the The Dallas Symphony Orchestra at Jazz After: The Dallas Jam, a presentation of the Vail Jazz Foundation, following tonight’s concert in The Great Room at Larkspur Restaurant. Ticket information available at www.vailjazz.org

DALLAS SYMPHONY ORCHESTRA | SUN, JUNE 30, 6:00PM

DVOŘÁK’S NEW WORLD SYMPHONY

This Evening’s Performance Presented By: MARY LYNN AND WARREN STALEY Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Diane and Hal Brierley Susan and Van Campbell Lyn Goldstein Vicki Rippeto Carole A. Watters

Soloist Underwriters: Garrick Ohlsson, piano, underwritten by Lorraine and Harley Higbie

DVOŘÁK’S NEW WORLD SYMPHONY ALEXANDER BORODIN [1833-1887] Overture to Prince Igor (1886-1887) In Borodin’s opera, based on what he thought to be a 12thcentury description of the conflict between the Russians and the Tartars but was later shown to be an 18th-century fraud, Prince Igor is captured while trying to rid Russia of the Polovtsi, an invading Tartar race from Central Asia. The leader of the Polovtsi, Khan Kontchak, treats Igor as a guest rather than a prisoner, and entertains him lavishly. Khan offers him his freedom if he will promise to leave the Polovtsi in peace, but Igor refuses. Igor nevertheless effects his escape and returns triumphantly to his people. Borodin wrote that Prince Igor is “essentially a national opera, interesting only to us Russians, who love to steep our patriotism in the sources of our history, and to see the origins of our nationality again on the stage.” To make his opera as authentic as possible, he studied the music, history and lore of Central Asia, where the opera is set, and sought out travelers with first-hand knowledge of the region. Several of the opera’s most attractive and colorful themes are woven into a sonata-form structure to create its overture.

FRÉDÉRIC CHOPIN [1810-1849] Piano Concerto No. 2 in F minor, Op. 21 (1829) During his student days at the Warsaw Conservatory in the late 1829s, Chopin met a comely young singer named Constantia Gladowska and for the first time in his life, fell in love. In his biography of the composer, Casimir Wierzynski wrote, “She was considered one of the school’s best pupils, and also said to be one of the prettiest. Her regular, full face, framed in blond hair, was an epitome of youth, health and vigor, and her beauty was conspicuous in the Conservatory chorus. The young lady, conscious of her charms, was distinguished by ambition and diligence in her studies. She dreamed of becoming an opera singer....” Chopin followed Constantia to her performances, and caught glimpses of her when she appeared at the theater 44

DID YOU KNOW? Those who love the art of the spiritual surely know the name Harry T. Burleigh. Born one year after the Civil War ended, Burleigh was later accepted into the National Conservatory of Music in New York. He met Antonín Dvořák in 1893 when as a student he assisted the Czech composer as a copyist, preparing the orchestral parts for the New York Philharmonic’s premier performances of the New World Symphony. According to lore, Burleigh would sing spirituals while earning money cleaning the halls of the Conservatory, eventually attracting the attention of Dvořák, who invited Burleigh to sing for him. Allegedly this interaction inspired Dvořák to transcribe the spirituals, later incorporating them into his New World Symphony, although contemporary historians doubt that account. Burleigh went on to become one of this country’s first professional African American classical singers and the composer and arranger of many spirituals that are still performed today.

SUN, JUNE 30, 6:00PM or in church, but he never approached her. His love manifested itself in giddily immature ways. He raved about Constantia’s virtues to his friends. He invited one Mrs. Beyer to dinner simply because her given name was the same as that of his beloved. He reported “tingling with pleasure” whenever he saw a handkerchief embroidered with her name. He broke off one of his letters abruptly with the syllable “Con — ,” explaining, “No, I cannot complete her name, my hand is too unworthy.” After yet another half year of such maudlin goings-on, Chopin finally met — actually talked with — Constantia in April 1830. She was pleasant to him, and they became friends, but he was never convinced that she fully returned his love. She took part in his farewell concert in Warsaw on October 11th before he headed west to seek his fame and fortune (he settled in Paris and never returned to Poland), and he kept up a correspondence with her for a while through an intermediary. (He felt it improper to write directly to a young woman without her parents’ permission.) Her marriage to a Warsaw merchant in 1832 caused him intense but impermanent grief, which soon evaporated in the glittering social whirl of Paris. The emotional rush of young love Chopin experienced over Constantia played a seminal role in the two piano concertos he wrote in 1829 and 1830, works full of melody and ardent emotionalism that he based on the Romantic piano style of Hummel, Kalkbrenner, Field and Ries rather than on the weightier abstract forms of Beethoven. Continued on page 171

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden, conductor Garrick Ohlsson, piano

BORODIN Overture to Prince Igor

CHOPIN Piano Concerto No. 2 in F minor, Op. 21 Maestoso Larghetto Allegro vivace

— INTERMISSION — DVOŘÁK Symphony No. 9 in E minor, Op. 95, “From the New World” Adagio — Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ($20,000 and above)

BRONZE ($5,000 and above)

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SILVER ($10,000 and above) Diane and Hal Brierley Sammye and Mike Myers

Garrick Ohlsson

DALLAS SYMPHONY ORCHESTRA | MON, JULY 1, 6:00PM

BEETHOVEN’S 5TH

This Evening’s Performance Presented By: ANGELA AND PETER DAL PEZZO SHIRLEY AND WILLIAM S. McINTYRE, IV Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Pamela and David Anderson Dierdre and Ronnie Baker Sallie and Robert Fawcett

Holly and Ben Gill John McDonald and Rob Wright

Soloist Underwriters: Alessio Bax, piano, underwritten by Sally and Wil Hergenrader Anne-Marie McDermott, piano, underwritten by Jane and Howard Parker Jaap van Zweden, conductor, underwritten by Martha Rehm and Cherryl Hobart

BEETHOVEN’S 5TH WOLFGANG AMADEUS MOZART [1756-1791] Overture to Idomeneo, King of Crete, K. 366 (1780) In the story of Mozart’s opera, the fleet of King Idomeneo of Crete is ravaged by a storm, and he vows to sacrifice the first person he meets on shore if the gods allow him to reach safety. That person turns out to be his son, Idamante. Idomeneo tries to send Idamante away in an attempt to save him, but a fearsome tempest erupts and a terrible sea monster rises from the depths as the ship is about to embark. Idomeneo recognizes these signs as punishment by the gods, and confides everything to the High Priest. Idamante declares himself ready to be sacrificed, but his beloved, Ilia, offers herself in his place. The High Priest announces that Idomeneo will be forgiven everything if he abdicates in favor of Idamante and if Ilia marries the new king. This being done, the opera comes to a happy conclusion. The richly textured sonata-form Overture, as befits this story of gods and heroes, is grand in conception and serious in expression, and is a worthy counterpart to the wondrous operatic creations Mozart was to create in Vienna during the ensuing decade.

WOLFGANG AMADEUS MOZART Concerto for Two Pianos in E-flat major, K. 365 (K. 316a) (1779 or 1780) In September 1777, Mozart set out on what proved to be a seventeen-month tour to Munich, Mannheim and Paris that he hoped would secure him a position in one of those great European capitals of music. Despite numerous commissions, the composition of several fine works, and the forging of many new friendships, the trip proved to be both a disappointment and a sorrow: he not only failed to land a suitable job, but his mother, his chaperon on the journey, died in Paris on July 3rd. It is with understandable relief that Mozart returned to his family in Salzburg in January 1779. It was probably his sister, Maria Anna — “Nannerl” — he was most glad to see on his homecoming. His relationship with her was one of love, playfulness, candor and genuine respect for 48

DID YOU KNOW? Ludwig van Beethoven started going deaf in 1798, probably the result of typhus meningitis that attacked his inner ear. By 1818, he had begun to carry small blank books with him so friends could write what they wished to say instead of yelling in his ear, which would have attracted unwanted attention. Beethoven also wrote in these “conversation” books, leaving a remarkable account of his later years, including reminders about impending purchases, the need for household items, newly published books, and even a few notes about potential compositions. After Beethoven’s death, his sometime secretary and questionable biographer Anton Schindler sold the conversation books. In the 1970s, it was revealed that Schindler had falsified these documents by inserting bogus entries after Beethoven’s death and exaggerated his period of close association with the composer. Tragically, he may also have destroyed more than half of the conversation books.

MON, JULY 1, 6:00PM her musical abilities. Mozart likely composed his Concerto for Two Pianos (K. 365) to perform with his sister, a sort of musical celebration of the resumption of his family ties after a difficult trip abroad. The exact occasion for which the work was written is uncertain, though Wolfgang and Nannerl may have played it together at an archiepiscopal concert in Salzburg on September 3, 1780. “This Concerto is a work of happiness, gaiety, overflowing richness of invention, and joy in itself,” Alfred Einstein wrote in his classic study of the composer. A bold, unison octave and a tiny mock fanfare for the full orchestra establish a martial mood for the Concerto’s opening measures, which, in the best Classical practice, is immediately balanced by a contrasting, tender strain for the strings. The orchestral introduction continues, presenting little thematic gems mined from Mozart’s inexhaustible supply of melodies. The soloists enter, and weave their delicious embroideries around the themes repeated from the introduction. The development section, dominated by the pianists, achieves a pleasing blend of free figuration and true thematic development. In the recapitulation, the main theme, which was so sunny and optimistic in the exposition, takes on a more somber cast through determined allusions to the minor mode, shedding a new emotional light on the movement. The expected, bright E-flat major tonality is achieved with the second theme and carried through the cadenza to the movement’s end. The graceful second movement is a simple song decorated with elaborate rococo Continued on page 171

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden, conductor Anne-Marie McDermott, piano Alessio Bax, piano

MOZART Overture to Idomeneo, King of Crete, K. 366

MOZART Concerto for Two Pianos in E-flat major, K. 365 (K. 316a) Allegro Andante Rondo: Allegro

— INTERMISSION —

BEETHOVEN Symphony No. 5 in C minor, Op. 67 Allegro con brio Andante con moto Scherzo: Allegro — Allegro

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ($20,000 and above)

BRONZE ($5,000 and above)

Hill Foundation Shirley and William S. McIntyre, IV

GOLD ($15,000 and above) Anonymous Marilyn Augur Arlene and John Dayton Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above) Diane and Hal Brierley Sammye and Mike Myers

Wolfgang Amadeus Mozart

TUES, JULY 2, 1:00PM VAIL INTERFAITH CHAPEL

FREE CONCERT SERIES

Members of the Dallas Symphony Orchestra Alexander Kerr, violin Nathan Olson, violin Ann-Marie Hudson Brink, viola Christine Hwang, viola Theodore Harvey, cello Jeff Hood, cello

TCHAIKOVSKY Sextet for Two Violins, Two Violas and Two Cellos, Op. 70, Souvenir de Florence Allegro con spirito Adagio cantabile e con moto — Moderato — Tempo I Allegro moderato Allegro vivace

TCHAIKOVSKY’S SOUVENIR DE FLORENCE Italy – Goethe’s “land where the lemon trees blossom” (Mignon’s poem from the novel Wilhelm Meisters Lehrjahre that was set by Schubert, Beethoven, Schumann, Wolf and dozens of others) — has inspired composers from frosty climes since the 15th century. Travels across the Alps provided life-long influences on Handel, J.C. Bach and Mozart. Haydn was thoroughly versed in Italian styles and longed his whole life to go there but never did, Brahms found inspiration for his Second Piano Concerto during a springtime visit in 1878 (“You can have no conception of how beautiful it is here,” he told friends), and one year earlier Tchaikovsky spent the winter in Florence to recover from the disastrous marriage he had undertaken earlier in 1877. “I have found here all I need for satisfactory work,” he wrote to his brother Modest, and then composed the lovely string sextet “Souvenir de Florence” as a musical souvenir of his stay.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM

Pyotr Ilyich Tchaikovsky

The Argie Tang Artistic Director Chair Sitzmark Lodge Town of Vail Vail’s Mountain Haus 50

TUES, JULY 2, 5:00PM THE CHAPEL AT BEAVER CREEK

FREE CONCERT SERIES

ALL HAYDN

Anne-Marie McDermott, piano

HAYDN

“I have always been fascinated and inspired by Franz Joseph Haydn. His inventiveness, humor, profundity, style, vitality and passion draw me to his music. Having read through the complete Haydn Piano Sonatas, it was very natural to want to explore these brilliant works in greater depth. I love to play single-composer recitals because they afford listeners the opportunity to develop a relationship with that individual’s sound world and place in history. In Haydn’s case the keyboard was central to his busy musical life, whether playing chamber music, conducting ensembles from the keyboard or composing for students, royalty or family. Imagine a time when your piano teacher actually wrote music for you as a way of teaching you to play! Haydn wrote more than 60 sonatas for keyboard and many are works of sheer genius. I chose these particular sonatas based on their key relationship, emotional contrast and diversity, length and my desire to present works from different periods in his life. This program is, for me and I hope the audience, a real journey.” – Anne-Marie McDermott

Sonata in G major, Hoboken XVI:40 Allegro innocente Presto

HAYDN Sonata in C minor, Hoboken XVI:20 Allegro moderato Andante con moto Allegro

HAYDN Sonata in F major, Hoboken XVI:23 Moderato Adagio Presto: Finale

HAYDN Sonata in E-flat major, Hoboken XVI:52 Allegro Adagio Finale: Presto

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING'S CONCERT FROM

The Christie Lodge

Anne-Marie McDermott 51

TUES, JULY 2, 6:00PM THE GROJEAN RESIDENCE BEAVER CREEK

LINDA & MITCH HART

SOIRÉE SERIES

Paquito D’Rivera, saxophone and clarinet Alex Brown, piano

LATINO SOIRÉE: AN EVENING WITH PAQUITO D’RIVERA Jazz legend Paquito D’Rivera shares the stage with his musical partner, pianist Alex Brown, in this rare, intimate gathering. Born in Cuba, the 11-time Grammy Award-winner has earned acclaim in nearly every musical arena. Says D’Rivera, “Jazz is a very open style that accepts ingredients from different cultures and this is because of the multi-national and multi-cultural character of its country of origin.” When asked about the honor of which he is most proud, D’Rivera says, “The National Medal of the Arts that I received along with Robert Duval, Wynton Marsalis, Ray Bradbury and Tina Ramirez.” All About Jazz wrote this about Alex Brown’s debut recording:

Paquito D’Rivera

“With a little help from Cuban-born saxophonist Paquito D’Rivera, the jazz world heralds the entrance of 22 year-old Alex Brown, capturing but a glimpse of his talents on a monster recording debut simply entitled Pianist. Taken with Brown’s skills on the instrument and his understanding of Latin music beyond AfroCuban rhythms, D’Rivera took him under his wing and presents the pianist’s solo flight with this album. D’Rivera and the pianist are simply superb...”

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING'S CONCERT FROM

Alex Brown

Terri and Tom Grojean The Argie Tang Artistic Director Chair Crazy Mountain Brewing Company Kent Pettit Photography Mirabelle at Beaver Creek Vintage Magnolia West Vail Liquor Mart 52

DALLAS SYMPHONY ORCHESTRA | WED, JULY 3, 6:00PM

PINES OF ROME

Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Marilyn Augur Irmgard and Charles Lipcon Sammye and Mike Myers Sally and Byron Rose Mary Sue and Mike Shannon

Soloist Underwriters: Matthias Goerne, vocalist, underwritten by Kathy and Roy Plum

PINES OF ROME FRANZ SCHUBERT [1797-1828] AND RICHARD STRAUSS [1864-1949] A selection of songs In June 1816, when he was nineteen, Schubert received his first fee for one of his compositions (a now-lost cantata for the name-day of his teacher, Heinrich Watteroth), and decided that he had sufficient reason to leave his irksome teaching post at his father’s school in order to live the life of an artist. Thus began the bohemian existence of his last dozen years — living by the gladly proffered aid of friends, daily climbing up to Grinzing to haunt the cafés, avoiding the higher levels of society for dislike of buying and wearing good clothes. And music, always music. He composed incessantly. Compositions filled his head constantly, sometimes scratched out on napkins or envelopes if they could not wait until the next morning. Evenings were spent making music with his devoted band of friends, who were delighted to sing and play what he wrote. These convivial meetings were often hosted by prominent members of society, including lawyers and government officials, and were regularly attended by both professional musicians and amateurs. The legacy they left is beyond price. The great tradition of the 19th-century German Lied came to its end with the songs of Richard Strauss. Though he wrote songs throughout his long life — his first piece, penned at age six, was a Christmas carol; his last was the magnificent Four Last Songs — he composed most of his Lieder before he turned from the orchestral genres to opera at the beginning of the 20th century. Much of the inspiration for song composition during his early years came from his wife, Pauline de Ahna, an excellent singer who had performed at Bayreuth and taken part shortly before they were married in the premiere of her fiancé’s first opera, Guntram. The best of Strauss’ songs are imbued with a soaring lyricism, a textural and harmonic richness, and a sensitivity to the text that place them among the most beautiful and enduring works of their type.

DID YOU KNOW? “Schubert’s pencil was dipped in moonbeams and in the flame of the sun,” said Robert Schumann. High praise for a shy, socially awkward composer who died at the age of thirty-one and lived in poverty and relative obscurity most of his life. An ardent admirer of Beethoven, Schubert was one of the torchbearers at the great master’s funeral. Less than two years later, Schubert took seriously ill, hallucinating that Beethoven was in his room. The last musical work he wished to hear was a Beethoven String Quartet, an experience about which his friend commented: “The King of Harmony has sent the King of Song a friendly bidding to the crossing.” By his own request, Schubert was buried next to Beethoven in the village cemetery of Währing. A composer of a staggering number of compositions of all genres, Schubert’s fame increased significantly in the decades following his death.

WED, JULY 3, 6:00PM CLAUDE DEBUSSY [1862-1918] Prélude à “L’Après-midi d’un faune” (Prelude to “The Afternoon of a Faun”) (1892-1894) When the symbolist poet Stéphane Mallarmé completed his L’Après-midi d’un faune in 1876 after several years of writing and revising, he envisioned that it would be used as the basis for a theatrical production. Claude Debussy was intrigued by this suggestion, and he set about planning to provide music to a choreographic version that would be devised in consultation with Mallarmé, but completed only the scenario’s first portion, perhaps realizing, as had others, that the poet’s misty symbolism and equivocal language were not innately suited to the theater. Mallarmé’s poem is deliberately ambiguous in its sensuous, symbolist language; its purpose is as much to suggest a halcyon, dream-like mood as to tell a story. Robert Lawrence described its slight plot, as realized by Debussy, in his Victor Books of Ballets: “Exotically spotted, a satyr is taking his rest on the top of a hillock. As he fondles a bunch of grapes, he sees a group of nymphs passing on the plain below. He wants to join them, but when he approaches, they flee. Only one of them, attracted by the faun, returns timidly. But the nymph changes her mind and runs away. For a moment he gazes after her. Then, snatching a scarf she has dropped in her flight, the faun climbs his hillock and resumes his drowsy position, astride the scarf.” Mallarmé’s poem is filled with the ambiguities symbolized by the faun: is this a man or a beast? is his love physical or fantasy? reality or dream? The delicate subtlety of the poem finds a perfect tonal equivalent in Debussy’s music.

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

BEFORE THE MUSIC: Pre-Concert Lecture Keith Walters Betty Ford Alpine Gardens, 5:00PM

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden, conductor Matthias Goerne, baritone

SCHUBERT An Silvia, D. 891

STRAUSS Traum durch die Dämmerung, Op. 29, No. 1

STRAUSS Das Rosenband, Op. 36, No. 1

STRAUSS Freundliche Vision, Op. 48, No. 1

SCHUBERT Greisengesang, D. 778

STRAUSS

Continued on page 171

Heimliche Aufforderung , Op. 27, No. 3

STRAUSS Ruhe, meine Seele, Op. 27, No. 1

SCHUBERT Im Abendrot, D. 799

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ($20,000 and above)

BRONZE ($5,000 and above)

Hill Foundation Shirley and William S. McIntyre, IV

GOLD ($15,000 and above) Anonymous Marilyn Augur Arlene and John Dayton Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above) Diane and Hal Brierley Sammye and Mike Myers

This project funded in part by a generous grant from the Vail Valley Foundation. The Sebastian-Vail and Antlers at Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

STRAUSS Allerseelen, Op. 10, No. 8

SCHUBERT Tränenregen, D. 795 from Die schöne Müllerin

STRAUSS Morgen, Op. 27, No. 4

– INTERMISSION – DEBUSSY Prelude to “The Afternoon of a Faun” Jean Larson Garver, solo flute

RESPIGHI Pines of Rome The Pines of the Villa Borghese Pines near a Catacomb The Pines of the Janiculum The Pines of the Appian Way Played without pause

THURS, JULY 4, 2:00PM GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

PATRIOTIC CONCERT

DALLAS SYMPHONY ORCHESTRA

“The Second Day of July 1776, will be the most memorable Epocha, in the History of America. I am apt to believe that it will be celebrated, by succeeding Generations, as the great anniversary Festival. It ought to be commemorated, as the Day of Deliverance by solemn Acts of Devotion to God Almighty. It ought to be solemnized with Pomp and Parade, with Shews, Games, Sports, Guns, Bells, Bonfires and Illuminations from one End of this Continent to the other from this Time forward forever more. You will think me transported with Enthusiasm but I am not. I am well aware of the Toil and Blood and Treasure, that it will cost Us to maintain this Declaration, and support and defend these States. Yet through all the Gloom I can see the Rays of ravishing Light and Glory. I can see that the End is more than worth all the Means. And that Posterity will tryumph in that Days Transaction, even altho We should rue it, which I trust in God We shall not.” – John Adams, letter to his wife Abigail, July 3, 1776

KEY/SMITH ARR. TYZIK

Jeff Tyzik, conductor Anne-Marie McDermott, piano

Star Spangled Banner

SOUSA Semper Fidelis

TYZIK Fantasy On American Themes

HANDY/ARR. TYZIK St. Louis Blues March

JOPLIN Two Rags The Entertainer Sunflower Slow Drag

GERSHWIN Rhapsody In Blue for Piano and Orchestra

– INTERMISSION – WILLIAMS Liberty Fanfare

SOUSA Liberty Bell March

BECKEL/ARR. TYZIK Gardens of Stone

ARR. TYZIK Armed Forces Song Medley

TCHAIKOVSKY 1812 Overture BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM

Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society Wells Fargo Bank This project funded in part by generous grants from the Lyn and Phillip Goldstein Piano Concerto Artist Project, the Vail Valley Foundation, and the Town of Vail. The Sebastian-Vail and Antlers at Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

SOUSA Stars and Stripes Forever

THE PHILADELPHIA ORCHESTRA

- THE FABULOUS PHILADELPHIANS Renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for an unrivaled legacy of “firsts” in musicmaking, The Philadelphia Orchestra remains to this day one of the preeminent orchestras in the world. While wholly committed to the exploration of classical music and repertoire, the Orchestra also continues to develop compelling programs that resonate with contemporary audiences. The Philadelphia Orchestra is focused on inspiring the future while transforming its rich tradition of achievement, and seeks to not simply sustain the highest level of artistic quality, but to challenge— and exceed—that level by creating powerful musical experiences for audiences around the world.

worlds of opera and choral music. He possesses a distinctive gift for reaching audiences, and arrives well-prepared to share his unmatched versatility and depth with Philadelphia, Vail and the world.

The Philadelphia Orchestra has cultivated an extraordinary history of artistic leaders in its 112 seasons, including music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, Christoph Eschenbach, and Charles Dutoit, who served as chief conductor from 2008 to 2012. Under such extraordinary guidance, The Philadelphia Orchestra has served as an unwavering standard of excellence in the world of classical music, and it continues to do so today.

The Philadelphia Orchestra has long pushed the boundaries of convention in the classical music realm. Signatures to this reputation are world and/or American premieres of such important works as Mahler’s Symphony No. 8, “Symphony of a Thousand”; Stravinsky’s The Rite of Spring; Schoenberg’s Gurrelieder; and Rachmaninoff’s Symphonic Dances.

Yannick Nézet-Séguin joined The Philadelphia Orchestra in the 2012-13 season as its eighth music director. An integral member of the Orchestra’s leadership team since 2010 when he assumed the title of music director designate, NézetSéguin brings a wealth of talent and vision that extends beyond symphonic music and into the vivid

The Philadelphia Orchestra’s educational programs date back to 1921 when Leopold Stokowski initiated concerts exclusively for children. Today the Orchestra reaches Philadelphia-area families, teachers, students, and children through a multitude of education and community partnership programs. Through concerts, tours, residencies, presentations, and recordings, The Philadelphia Orchestra touches the lives of countless music lovers around the globe. Touring began in the earliest days of The Philadelphia Orchestra, and in 1973 it was the first American orchestra to perform in the People’s Republic of China. In 2012 the Orchestra rekindled that relationship by launching a new partnership with the National Centre for the Performing Arts (NCPA) in Beijing, a pilot residency that unites the Orchestra with talented young Chinese musicians and composers and brings orchestral music to China’s major cities and further into the provinces. The Orchestra returned to China this past May for its 2013 Residency and 40th Anniversary Tour.

FRIENDS OF THE FABULOUS PHILADELPHIANS Bravo! Vail gratefully acknowledges the support of these patrons PREMIER BENEFACTOR

SILVER (continued)

($50,000 and above)

Cathy and Howard Stone Argie Tang Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers Town of Vail

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Cookie and Jim Flaum Laura and James Marx Carole and Peter Segal

BRONZE ($5,000 and above) Shannon and Todger Anderson Arlene and John Dayton Suzanne Helen Teri and Tony Perry Roberta and Ernest Scheller, Jr. Janis and Ronald Simon Susan and Steve Suggs Dhuanne and Doug Tansill

THE PHILADELPHIA ORCHESTRA Yannick Nﾃｩzet-Sﾃｩguin Music Director Walter and Leonore Annenberg Chair Wolfgang Sawallisch Conductor Laureate, 2003-2013 Charles Dutoit Conductor Laureate

BASSES

Cristian Mﾄツelaru Associate Conductor FIRST VIOLIN

David Kim, Concertmaster Dr. Benjamin Rush Chair Juliette Kang, First Associate Concertmaster Joseph and Marie Field Chair Marc Rovetti, Acting Associate Concertmaster Amy Oshiro-Morales, Acting Assistant Concertmaster Herbert Light Larry A. Grika Chair Barbara Govatos Wilson H. and Barbara B. Taylor Chair Jonathan Beiler Hirono Oka Richard Amoroso Robert and Lynne Pollack Chair Yayoi Numazawa Jason De Pue Lisa-Beth Lambert Jennifer Haas Miyo Curnow Elina Kalendareva Daniel Han Noah Geller*

SECOND VIOLINS

Kimberly Fisher, Principal Peter A. Benoliel Chair Paul Roby, Associate Principal Sandra and David Marshall Chair Dara Morales, Assistant Principal Anne M. Buxton Chair Philip Kates Mitchell and Hilarie Morgan Family Foundation Chair

Robert Cafaro Volunteer Committees Chair Ohad Bar-David Catherine R. and Anthony A. Clifton Chair Derek Barnes Mollie and Frank Slattery Chair Alex Veltman

Booker Rowe Davyd Booth Paul Arnold Lorraine and David Popowich Chair Yumi Ninomiya Scott Dmitri Levin Boris Balter William Polk

VIOLAS

Choong-Jin Chang, Principal Ruth and A. Morris Williams Chair Kirsten Johnson, Associate Principal Kerri Ryan, Assistant Principal Judy Geist Renard Edwards Anna Marie Ahn Petersen Piasecki Family Chair David Nicastro Burchard Tang Che-Hung Chen Rachel Ku Marvin Moon Jonathan Chu

CELLOS

Hai-Ye Ni, Principal Albert and Mildred Switky Chair Yumi Kendall, Acting Associate Principal Wendy and Derek Pew Foundation Chair John Koen, Acting Assistant Principal Richard Harlow Gloria de Pasquale Orton P. and Noﾃｫl S. Jackson Chair Kathryn Picht Read Winifred and Samuel Mayes Chair

Harold Robinson, Principal Carole and Emilio Gravagno Chair Michael Shahan, Associate Principal Joseph Conyers, Assistant Principal John Hood Henry G. Scott David Fay Duane Rosengard Robert Kesselman

FLUTES

Jeffrey Khaner, Principal Paul and Barbara Henkels Chair David Cramer, Associate Principal Rachelle and Ronald Kaiserman Chair Loren N. Lind Kazuo Tokito, Piccolo

Angela Anderson Holly Blake, Contrabassoon

HORNS

Jennifer Montone, Principal Gray Charitable Trust Chair Jeffrey Lang, Associate Principal Jeffry Kirschen Daniel Williams Denise Tryon Shelley Showers

TRUMPETS

David Bilger, Principal Marguerite and Gerry Lenfest Chair Jeffrey Curnow, Associate Principal Gary and Ruthanne Schlarbaum Chair Robert W. Earley

TROMBONES

Nitzan Haroz*, Principal Neubauer Family Foundation Chair Matthew Vaughn, Acting Principal Eric Carlson Blair Bollinger, Bass Trombone Drs. Bong and Mi Wha Lee Chair

TUBA

OBOES

Richard Woodhams, Principal Samuel S. Fels Chair Peter Smith, Associate Principal Jonathan Blumenfeld Edwin Tuttle Chair Elizabeth Starr Masoudnia, English Horn Joanne T. Greenspun Chair

CLARINETS

Ricardo Morales, Principal Leslie Miller and Richard Worley Chair Samuel Caviezel, Associate Principal Sarah and Frank Coulson Chair Raoul Querze* Peter M. Joseph and Susan Rittenhouse Joseph Chair Paul R. Demers, Bass Clarinet

BASSOONS

Daniel Matsukawa, Principal Richard M. Klein Chair Mark Gigliotti, Co-Principal

Carol Jantsch, Principal Lyn and George M. Ross Chair

TIMPANI

Don S. Liuzzi, Principal Dwight V. Dowley Chair Angela Zator Nelson, Associate Principal Patrick and Evelyn Gage Chair

PERCUSSION

Christopher Deviney, Principal Mrs. Francis W. De Serio Chair Anthony Orlando, Associate Principal Ann R. and Harold A. Sorgenti Chair Angela Zator Nelson

PIANO AND CELESTA Kiyoko Takeuti

KEYBOARDS

Davyd Booth Michael Stairs, Organ**

HARPS

Elizabeth Hainen, Principal Patricia and John Imbesi Chair Margarita Csonka Montanaro, Co-Principal

LIBRARIANS

Robert M. Grossman, Principal Steven K. Glanzmann

STAGE PERSONNEL

Edward Barnes, Manager James J. Sweeney, Jr. James P. Barnes *On leave ** Regularly engaged musician Some members of the string sections voluntarily rotate seating on a periodic basis.

THE PHILADELPHIA ORCHESTRA | FRI, JULY 5, 6:00PM

LATIN JAZZ NIGHT WITH PAQUITO D’RIVERA

This Evening’s Performance Presented By: BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT Special Challenge Grant Funding By:

Sponsored By:

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Vicky and Kam Mohajer Nancy and Ted Reynolds Barbara and Richard Wenninger

Special Gratitude To:

Soloist Underwriters:

Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Argie Tang Artistic Director Chair

Alex Brown, piano, underwritten by Barbara and Jack Woodhull Paquito D’Rivera underwritten by Sue and Marty Solomon

LATIN JAZZ NIGHT WITH PAQUITO D’RIVERA MANUEL DE FALLA [1876-1946] The Three-Cornered Hat (1919) The 1919 ballet The Three-Cornered Hat by Manuel de Falla (1876-1946) concerns a village miller and his pretty wife. The Corregidor (mayor) is attracted to the miller’s wife, and she tells her husband to watch as she spurns the old man’s attempts at love. That evening the village festivities are interrupted by the local constabulary, who have come to arrest the miller on a charge trumped up by the Corregidor to get him out of the way. The Corregidor appears as the miller is led away, but falls into the millstream as he pursues the girl. She runs off in search of her husband while the Corregidor removes his sodden clothes, including his three-cornered hat — symbol of his office — hangs them on a chair outside, and jumps into the absent girl’s bed to ward off a chill. Meanwhile, the miller has escaped and returned home. He sees the Corregidor’s discarded clothes and believes himself betrayed by his wife. Vowing to get even, he exchanges his garments for those of the official, scribbles on the wall “The wife of the Corregidor is also very pretty,” and runs off in search of his conquest. The Corregidor emerges to find only the miller’s clothes. He puts them on just in time for the police, hunting their escaped prisoner, to arrest him by mistake. The miller and his wife are happily reconciled. The Second Suite comprises The Neighbor’s Dance, The Miller’s Dance and the energetic Final Dance. Argentinean composer and bandoneónist Astor Piazzolla (19211992) fused the fire and passion of traditional tango with the expressive resources of modern harmony, texture and sonority in some 750 widely varied works. Revirado (1963) exhibits the counterpoint with which he enriched the dance. Among those who helped Paquito D’Rivera when he first arrived in America in 1980 was jazz trumpeter Dizzy Gillespie. The two worked together frequently thereafter and in 1988 d’Rivera became a founding member of Gillespie’s all-star United Nation Orchestra. Following Gillespie’s death, in 1993, D’Rivera composed the wistful I Remember Diz. 62

DID YOU KNOW? Although Afro-Cuban jazz as we know it didn’t come onto the scene until the mid-twentieth century, Cuban popular music was present at the birth of jazz. African Americans imported the Habanera from Cuba, which was rhythmically based on an African motif. Musicians from Havana and New Orleans would take the ferry back and forth to perform, and the Habanera reached the United States twenty years before the first rag was published. Afro-Cuban jazz grew out of Caribbean rhythms that melded with jazz harmonies and techniques of improvisation. “Tanga,” (1943) by Cubanborn Mario Bauza and recorded by Machito and his Afro-Cubans, is widely considered to be the first Afro-Cuban jazz work. In 1947 the collaboration of bebop innovator Dizzy Gillespie and Cuban percussionist Chano Pozo brought Afro-Cuban popular music into the jazz mainstream. What started as a spontaneous descarga (Cuban jam session) turned into a movement that continues even today.

FRI, JULY 5, 6:00PM Ernesto Lecuona (1896-1963) was the Cuban analog of George Gershwin — a composer of brilliant natural gifts whose works exemplified the popular music of his country who also broached the concert and operatic genres. Lecuona’s Ante el Escorial (1944, “Standing Before the Escorial”) suggests the feelings inspired in him by the grandeur and cultural significance of the monastery and historical residence of Spanish kings near Madrid that Philip II built during the 16th century. Andalucía was one of the six pieces evoking the places, ethos and varieties of indigenous Spanish music in Lecuona’s 1928 Suite Espagnole.

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

THE PHILADELPHIA ORCHESTRA

Spanish composer Jerónimo Giménez (1854-1923) is best remembered as a composer of zarzuela, the popular Spanish theatrical form combining music and spoken dialogue in a manner not unlike that familiar to English-speaking audiences from the works of Gilbert & Sullivan. Between 1887 and 1920, Giménez produced some 100 examples of the genre (an average of three per year!), alone and with collaborators. La Boda de Luis Alonso (“The Marriage of Luis Alonso”), a farce about a marriage interrupted by the running of the bulls in Cádiz, was premiered in Madrid in 1897.

Giancarlo Guerrero, conductor Paquito D’Rivera, saxophone & clarinet Alex Brown, piano Ricardo Morales, clarinet

Continued on page 172

D’RIVERA/ARR. MOSSMAN

FALLA Suite No. 2 from The Three-Cornered Hat The Neighbor’s Dance The Miller’s Dance Final Dance

PIAZZOLLA/ ARR. FRIEBERG Revirado

I Remember Diz

“ Cuban jazz legend Paquito D’Rivera is a Pan-American musical ambassador.”

LECUONA/ARR. D’RIVERA Ante el Escorial Andalucía from Suite Espagnole

— INTERMISSION — GIMÉNEZ Intermezzo to La Boda de Luis Alonso

D’RIVERA Contradanza and Vals Venezolano from Aires Tropicales

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THIELEMANS

PREMIER BENEFACTOR

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D’RIVERA

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers Town of Vail

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Cookie and Jim Flaum Laura and James Marx Carole and Peter Segal

This project funded in part by generous grants from the Lyn and Phillip Goldstein Piano Concerto Artist Project, the Vail Valley Foundation, and the Town of Vail. The Vail Cascade Resort & Spa and Antlers at Vail are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

Waltz for Sonny

To Brenda with Love

RIMSKY-KORSAKOV Capriccio Espagnol, Op. 34 Alborada: Vivo e strepitoso — Variations: Andante con moto — Alborada: Vivo e strepitoso — Scena e canto gitano: Allegretto Fandango asturiano

THE PHILADELPHIA ORCHESTRA | SAT, JULY 6, 6:00PM

CIRQUE DE LA SYMPHONIE

This Evening’s Performance Presented By: ANN SMEAD AND MICHAEL BYRAM Special Challenge Grant Funding By:

Sponsored By:

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Cookie and Jim Flaum Molly and Jay Precourt US Bank

Special Gratitude To:

Soloist Underwriter:

Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Conductor Cristian Măcelaru underwriten by Joyce and Paul Krasnow

Acknowledgement To:

Shannon and Todger Anderson Suzanne Helen Laura and Jim Marx

CIRQUE DE LA SYMPHONIE The seeds of the circus were planted in ancient Rome, where the Circus Maximus (“Great Circus” — the word, derived from the Greek, means “circle” or “circuit” in Latin) could accommodate 150,000 spectators along its oblong 2,000-foot length to see games, acrobats, chariot races, trained animals and other public entertainments. These spectacles vanished along with the empire, and Medieval Europe offered little more than a motley of itinerant strong men, acrobats, jesters and similar not-quiterespectable performers for similar diversion. The modern circus was the brainchild of the British cavalry officer Philip Astley, who evidenced remarkable skill as a horseman during the Seven Years War and established a riding school when he settled in London in 1768. Astley expanded his operation by commissioning an elaborate “Amphitheater of Equestrian Arts” built around a circular, 42-foot-diameter ring (the most compact dimension around which horses could gallop at full speed) to put on regular performances of his horsemanship, and supplemented his shows with tumblers, tightrope-walkers, performing dogs and a clown. Competitors appeared — when the “Royal Circus” opened in London in 1782, it became the first show to use the word in its name, apparently at the suggestion of composer Charles Dibdin, a partner in the venture — and circuses sprang up across Europe and, in 1793, in Philadelphia. The horseman John Bill Ricketts, an alumnus of the Royal Circus, arrived in Philadelphia, then the United States capital, in 1792, opened the country’s first circus building on April 3, 1793, and established his reputation so quickly that President George Washington stopped by to catch the show later that year; Gilbert Stuart painted Ricketts’ portrait three years later. Circuses in Europe and America were largely confined to specially constructed venues in large cities until Joshuah Purdy Brown made his show mobile in 1825 by performing under a tent in order to tap new audiences as the country expanded rapidly across the continent. Brown bought a young African elephant from a cattle dealer, convinced some 130 farmers around his rural New York home to invest in the venture, and established the first exotic animal menagerie as part of a circus. 66

DID YOU KNOW? The old circus calliope has been replaced with Cirque de la Symphonie, its dance-like elegance combining with world-renowned aerialists, acrobats, gymnasts, contortionists and jugglers, performing well-known pieces of classical and contemporary music. Synchronized to orchestral music with the athletic movements of its performers, Cirque shows are enhanced by beautiful costumes, silk fabrics and large hoops. Cirque de la Symphonie is the brainchild of entertainment producer and talent representative Bill Allen, who felt the circus should be recognized on the same level as other great art institutions like the Bolshoi Ballet. Swapping cotton candy for champagne, Allen moved the circus out of the big top and into the orchestra hall. For the performers, flying out over a sold-out concert hall with the power of a full symphony orchestra surging over them is a thrill unto itself. Cirque fuses two old art forms, held together by the power of the music.

SAT, JULY 6, 6:00PM By the 1830s, the circus — an itinerant troupe of acrobats, animals and clowns performing under a “Big Top” — had become the most popular entertainment in America. The circus was brought into the modern industrial age by one of the most extraordinary characters ever to stride across the American scene — Phineas Taylor Barnum. The Connecticut-born P.T. Barnum (1810-1891), showman and shyster, politician and philanthropist, businessman and blusterer, failed as a shopkeeper, book dealer and real estate speculator before buying and exhibiting a blind and nearly paralyzed slave woman named Joice Heth in 1835. After billing her as 135 years old and the nurse of George Washington — “The Most Astonishing and Interesting Curiosity in the World!” touted his handbills — he went on to assemble a catch-all exhibition hall in New York City combining zoo, museum, theater, freak show, wax museum, hoaxes (the “Feejee Mermaid,” with the head of a monkey stitched onto the tail of a fish was a big hit) and one of the first public aquariums anywhere that became America’s most popular attraction — 38 million customers paid 25¢ each to gawk at the exhibits between 1841 and 1865, more than the country’s total population in 1860. (Despite his first exhibit, Barnum was a ferocious abolitionist and an early member of the fledgling anti-slavery Republican Party.) After “Barnum’s American Museum” burned down in 1865, Phineas dabbled briefly in politics in Hartford before finding his ultimate calling in 1871 with “P. T. Barnum’s Grand Traveling Museum, Menagerie, Caravan & Hippodrome,” a traveling circus, performing zoo and exhibition of

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

THE PHILADELPHIA ORCHESTRA Cristian Măcelaru, conductor Cirque de la Symphonie

DUKAS The Sorcerer’s Apprentice

WILLIAMS Harry’s Wondrous World from Harry Potter and the Sorcerer’s Stone

RIMSKY-KORSAKOV Capriccio Espagnole Scena e Canto Gitano Fandango Asturiano

BERNSTEIN Candide Overture

ROSSINI/ARR. RESPIGHI Tarantella from La Boutique Fantasque

CHABRIER España

Continued on page 176

RAVEL Danse générale from Daphnis et Chloé

— INTERMISSION — PROKOFIEV BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR

SILVER (continued)

($50,000 and above)

Cathy and Howard Stone Argie Tang Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers Town of Vail

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Cookie and Jim Flaum Laura and James Marx Carole and Peter Segal

March from The Love for Three Oranges

KHACHATURIAN Variation of Aegina and Bacchanalia from Spartacus WILLIAMS Flight to Neverland from Hook KABALEVSKY Galop from The Comedians

DEBUSSY/ORCH. STOKOWSKI Claire de Lune from Suite Bergamasque

TCHAIKOVSKY Valse from Swan Lake

STRAVINSKY The Princesses’ Round Dance, from The Firebird

This project funded in part by generous grants from the Vail Valley Foundation and the Town of Vail. The Vail Cascade Resort & Spa and Antlers at Vail are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

STRAVINSKY The Infernal Dance of King Kastcheï, Berceuse, and Finale, from The Firebird

THE PHILADELPHIA ORCHESTRA | SUN, JULY 7, 6:00PM

NADJA AND APPALACHIAN SPRING

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: KAREN AND MICHAEL HERMAN KAY LAWRENCE Special Challenge Grant Funding By:

Sponsored By:

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Barbara and Barry Beracha Susan and John Dobbs George Family Foundation, Penny and Bill George Ann and David Hicks

Special Gratitude To: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Soloist Sponsors: Nadja Salerno-Sonnenberg, violin, underwritten by Norma Lee and Morton Funger

NADJA AND APPALACHIAN SPRING HECTOR BERLIOZ [1803-1869] Roman Carnival Overture, Op. 9 (1843) The failure of Berlioz’s opera Benvenuto Cellini at its premiere in September 1838 was nearly complete. Except for the original overture to the opera, everything else, Berlioz reported, “was hissed with admirable energy and unanimity.” Five years later, he mined the opera for thematic material for a new overture that could be used as an independent concert work or as the introduction to the second act of Benvenuto. With the opera’s setting and his own Italian travels as guides, he named it Roman Carnival.

MAURICE RAVEL [1875-1937] Tzigane, Rapsodie de Concert for Violin and Orchestra (1924) While in England in July 1922, Ravel was a guest at a soirée at which the Hungarian violinist Jelly d’Aranyi participated in a performance of his Sonata for Violin and Cello. When the formal part of the evening’s entertainment had been accomplished, Ravel asked Mlle. d’Aranyi to play some Gypsy melodies from her native land, and she filled the night until dawn with music that enthralled the composer. Ravel, though captivated by the passionate Hungarian music and determined to compose a new work of Gypsy cast for Mlle. d’Aranyi, had been mired in a fallow period since the end of World War I, and it was almost two years before he was able to compose Tzigane. Tzigane, which follows in the tradition of the Gypsy-inspired compositions of Liszt and Enesco, comprises several sections played without pause following an extended introduction for unaccompanied violin.

CAMILLE SAINT-SAËNS [1835-1921] Havanaise for Violin and Orchestra, Op. 83 (1887) Camille Saint-Saëns, himself a brilliant pianist, wrote ten concertos — five for his own instrument, three for violin and two for cello. In addition, there are several smaller concerted pieces, including 70

DID YOU KNOW? Camille Saint-Saëns became a friend to Tchaikovsky during the Frenchman’s Moscow concert tour in November 1875. Tchaikovsky admired Saint-Saëns’ “ability to combine the grace and elegance of the French school with the seriousness and depth of the great German composers.” Tchaikovsky’s brother Modest later recounted a comical story about their time together: “It turned out that the two new friends had many likes and dislikes in common…. In particular, not only had they both been enthusiastic about ballet in their youth, but they were also able to pull off splendid imitations of ballerinas. And so on one occasion at the [Moscow] Conservatory, seeking to flaunt their artistry before each other, they performed a whole short ballet on the stage of the Conservatory’s auditorium: Galatea and Pygmalion. N. G. Rubinstein stood in for the orchestra. Unfortunately, apart from the three performers no one else was present in the auditorium during this curious production.”

SUN, JULY 7, 6:00PM the Havanaise and Introduction and Rondo Capriccioso for violin. The Havanaise, one of the many compositions in which SaintSaëns appealed to the contemporary French taste for exoticism, traces its title, musical style and seductive nature to the traditional Cuban dance (named after the country’s capital city) that became popular in Europe in the mid-19th century: Bizet quoted a popular Habanera (the Spanish form of the word; Havanaise is French) in Carmen in 1875. Saint-Saëns’ Havanaise of 1887, composed for the Cuban-born violinist Raphael Diaz-Albertini, with whom SaintSaëns toured during those years, takes as its recurring theme an alluring melody that the composer said occurred to him while sitting one evening in front of a crackling fire at an inn in northern France. Several virtuoso passages provide contrast, but the work’s prevailing character is lyrical and slightly melancholy.

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

THE PHILADELPHIA ORCHESTRA Giancarlo Guerrero, conductor Nadja Salerno-Sonnenberg, violin

BERLIOZ Overture: Roman Carnival, Op. 9

RAVEL

AARON COPLAND [1900-1990] Suite from Appalachian Spring (1943-1944)

Tzigane, Rapsodie de Concert for Violin and Orchestra

Mrs. Elizabeth Sprague Coolidge, one of America’s greatest patrons of the arts, went to see a dance recital by Martha Graham in 1942. So taken with the genius of the dancer-choreographer was Mrs. Coolidge that she offered to have three ballets specially written for her. Miss Graham chose as composers of the music Darius Milhaud, Paul Hindemith and an American whose work she had admired for over a decade — Aaron Copland. Graham devised a scenario, titled Appalachian Spring, based on her memories of

SAINT-SAËNS Havanaise for Violin and Orchestra, Op. 83

– INTERMISSION – COPLAND Suite from Appalachian Spring

SIERRA Sinfonía No. 4 Moderadamente rápido Rápido Tiempo de bolero Muy rápido y rítmico

Continued on page 176

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR

SILVER (continued)

($50,000 and above)

Cathy and Howard Stone Argie Tang Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers Town of Vail

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Cookie and Jim Flaum Laura and James Marx Carole and Peter Segal

Aaron Copland 71

TUES, JULY 9, 1:00PM VAIL INTERFAITH CHAPEL

FREE CONCERT SERIES

Hai-Ye Ni, cello

J.S. BACH: SOLO CELLO SUITES The six suites for solo cello by J. S. Bach are among the most iconic works of music ever composed. Spiritual, emotional, and intellectual, they have been performed by the world’s greatest cellists at occasions like the fall of the Berlin Wall and at memorial services for the victims of 9/11. These beloved “desert island” works were almost unknown for one hundred and seventy years after their composition in 1720, until their rediscovery by the legendary Pablo Casals. Principal cellist of The Philadelphia Orchestra since 2006, Hai-Ye Ni was born in Shanghai, China in 1972, and began studies with her mother before attending the Shanghai Conservatory of Music. Says the New York Times about Hai-Ye Ni’s New York debut as the youngest winner of the Naumburg International Cello Competition:

Hai-Ye Ni

“In the performing world, great value is placed on interpretive freedom and the individuality it represents…These were among the qualities that distinguished Hai-Ye Ni’s cello playing.... The work’s demands gave Miss Ni an opportunity to display a stunning technique and, more crucially, to show that she regards technique as a means, not an end.” -- The New York Times

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM

The Lifthouse Condominiums Holiday Inn Apex Vail J.S. Bach

TUES, JULY 9, 6:00PM THE SHEEHY RESIDENCE BEAVER CREEK

LINDA & MITCH HART

SOIRÉE SERIES

FRENCH SOIRÉE: CHAUSSON’S ROMANTIC MASTERPIECE

CHAUSSON Concert for Piano, Violin and String Quartet in D major, Op. 21 Décidé — Calme — Animé Sicilienne: Pas vite Grave Très animé

Ernest Chausson was born into the family of a wealthy Parisian building contractor who made a fortune in Haussmann’s massive mid-19th-century renovations of the city, lived a cultured and privileged life, enjoyed a happy marriage and a wide circle of artistic and musical friends, and was one of the most gifted composers of fin-de-siècle Paris, but he contended with a persistent melancholy throughout his life. “Good heavens,” he said, “I know very well that I am what people call fortunate, almost frightfully so. And, doubtless, I would be too much so without this wretched, uneasy and violent brain of mine.” Chausson’s disposition is reflected in his “Concert” for Piano, Violin and String Quartet of 1889-1891 — part vestpocket double concerto for piano and violin, part chamber music — whose title seemingly derives from the French Baroque practice of calling some large chamber pieces “concerts,” in the sense of accord among the instruments.

Anne-Marie Mcdermott, piano Nadja Salerno-Sonnenberg, violin Members of The Philadelphia Orchestra David Kim, violin Marc Rovetti, violin Kerri Ryan, viola Yumi Kendall, cello

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING'S CONCERT FROM

Helen and Vincent Sheehy Crazy Mountain Brewing Company Foods of Vail Kent Pettit Photography Vintage Magnolia West Vail Liquor Mart

Nadja Salerno-Sonnenberg

THE PHILADELPHIA ORCHESTRA | WED, JULY 10, 6:00PM

YANNICK CONDUCTS RACHMANINOFF

Special Challenge Grant Funding By:

Sponsored By:

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Jacquie and Bennett Dorrance Craig J. Foley Sally and Tom Gleason Nancy and Richard Lubin Gene Mercy Pat Tierney

Special Gratitude To: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Soloist Sponsors: Alisa Weilerstein, cello, underwritten by Sidney E. Frank Foundation

YANNICK CONDUCTS RACHMANINOFF DMITRI SHOSTAKOVICH [1906-1975] Cello Concerto No. 1 in E-flat major, Op. 107 (1959) By the mid-1950s, Dmitri Shostakovich had developed a musical language of enormous subtlety, sophistication and range, able to encompass such pieces of “Socialist Realism” as the Second Piano Concerto, the Festive Overture, and the Symphonies No. 11 (“The Year 1905”) and No. 12 (“Lenin”), as well as the profound outpourings of the First Violin Concerto, the Tenth Symphony and the late string quartets. The First Cello Concerto was written during the summer of 1959 for Mstislav Rostropovich, who premiered the work in Leningrad on October 4th and gave its first America performance with The Philadelphia Orchestra and Eugene Ormandy on November 6th. The Concerto straddles both of Shostakovich’s expressive worlds, a quality exemplified by two anecdotes told by the great cellist himself. “Shostakovich gave me the manuscript of the First Cello Concerto on August 2, 1959. On August 6th I played it for him from memory, three times. After the first time he was so excited, and of course we drank a little bit of vodka. The second time I played it not so perfect, and afterwards we drank even more vodka. The third time I think I played the Saint-Saëns Concerto, but he still accompanied his Concerto. We were enormously happy....” “Shostakovich suffered for his whole country, for his persecuted colleagues, for the thousands of people who were hungry. After I played the Cello Concerto for him at his dacha in Leningrad, he accompanied me to the railway station to catch the overnight train to Moscow. In the big waiting room we found many people sleeping on the floor. I saw his face, and the great suffering in it brought tears to my eyes. I cried, not from seeing the poor people but from what I saw in the face of Shostakovich....” The opening movement of the Concerto may be heard as almost Classical in the clarity of its form and the conservatism of its harmony and themes, yet there is a sinister undercurrent coursing through this music, a bleakness of spirit not entirely 76

DID YOU KNOW? Rachmaninoff was a victim of the political and musical turbulence of a rapidly changing early 20th century. A torchbearer for the musical tradition embodied by Tchaikovsky, Rachmaninoff is revered today because at heart he was a melodist of extraordinary dimensions. His lush, late-Romantic works were appealing to audiences from the start. After the Russian Revolution of 1917, Rachmaninoff divided his time between Switzerland and the United States, although he never mastered the English language. The melancholy he felt over the helpless events of his life caused the alienated Russian genius to lose much of his prolific creative ability. While primarily known today as a composer, Rachmaninoff spent most of his latter years concertizing as a pianist in the United States and Europe, a field in which he had few peers. Rachmaninoff’s last major work, the Symphonic Dances of 1940, was premiered by Eugene Ormandy and The Philadelphia Orchestra.

WED, JULY 10, 6:00PM masked by its ceaseless activity. The following Moderato grows from sad melodies of folkish character, piquantly harmonized, which are gathered into a huge welling up of emotion before subsiding to close the movement. The extended solo cadenza that follows without pause is an entire movement in itself. Thematically, it springs from the preceding slow movement, and reaches an almost Bachian depth of feeling. The cadenza leads directly to the finale, one of Shostakovich’s most witty and sardonic musical essays. With disarming ease, the main theme of the first movement is recalled in the closing section of the finale to round out the Concerto’s form.

GERALD R. FORD AMPHITHEATER VAIL

SERGEI RACHMANINOFF [1873-1943] Symphony No. 2 in E minor, Op. 27 (1906-1907)

SHOSTAKOVICH

Early in 1906, Rachmaninoff decided to sweep away the rapidly accumulating obligations of conducting, concertizing and socializing that cluttered his life in Moscow in order to find some quiet place in which to devote himself to composition. His determination may have been strengthened by the political unrest beginning to rumble under the foundations of the aristocratic Russian political system. The uprising of 1905 was among the first signs of trouble for those of his noble class (his eventual move to the United States was a direct result of the swallowing of his family’s estate and resources by the 1917 Revolution), and he probably thought it a good time to start looking for a quiet haven.

SYMPHONY SERIES

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Alisa Weilerstein, cello

Cello Concerto No. 1 in E-flat major, Op. 107 Allegretto Moderato — Cadenza — Allegro con moto

– INTERMISSION – RACHMANINOFF Symphony No. 2 in E minor, Op. 27 Largo — Allegro moderato Allegro molto Adagio Allegro vivace

JAZZ AFTER: THE PHILLY JAM

Continued on page 177

Please join members of the The Philadelphia Orchestra at Jazz After: The Philly Jam, a presentation of the Vail Jazz Foundation, following tonight’s concert in The Great Room at Larkspur Restaurant. Ticket information available at www.vailjazz.org

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR

SILVER (continued)

($50,000 and above)

Cathy and Howard Stone Argie Tang Dr. Agnes Hsu-Tang and Oscar Tang

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Cookie and Jim Flaum Laura and James Marx Carole and Peter Segal

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers Town of Vail

Dmitri Shostakovich 77

THURS, JULY 11, 1:00PM VAIL INTERFAITH CHAPEL

FREE CONCERT SERIES

Members of The Philadelphia Orchestra Kazuo Tokito, flute Jeffrey Lang, horn Hirono Oka, violin Kathryn Picht Read, cello Works By Debussy, Joplin, Ravel, Stamitz And Telemann

Claude Debussy

CHAMBER MUSIC: MEMBERS OF THE PHILADELPHIA ORCHESTRA Star players from The Philadelphia Orchestra come together in this colorful program of works spanning several centuries. Telemann was actually more famous than Bach in his time, although someone told his mother he would turn out no better than “a clown, a tightrope walker or a marmot-trainer.” Stamitz never attained fame or general success and died in total poverty. People assume that Ravel and Debussy share the same style, but the sensibility and skills required to perform each are quite different. Ravel was precise and meticulous. When we think of Debussy, blurred, hazy images come to mind, as though bar lines and time signatures have lost their way. Last, but certainly not least, we have Scott Joplin, son of a freed slave, an American original whose stamp on our national music is permanent. Almost forgotten at the time of his death, Joplin’s music continues to resonate, having influenced generations of jazz and popular musicians. His own prophecy did come to pass when he said, “When I’m dead twenty-five years, people are going to begin to recognize me.”

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Evergreen Lodge Manor Vail Lodge Scott Joplin

THURS, JULY 11, 6:00PM CONCERT HALL VAIL MOUNTAIN SCHOOL

CHAMBER MUSIC SERIES

DVOŘÁK WORKS FOR WINDS, STRINGS AND PIANO ANTONÍN DVOŘÁK [1841-1904] Serenade for Winds, Cello and Bass in D minor, Op. 44 (1878) In his biography of Dvořák, John Clapham titled the chapter concerning 1878, the time of the D minor Serenade, “A Genius Emerges.” Only four years before, Dvořák’s income from his compositions and as organist at St. Adalbert’s Church in Prague had been so meager that the city officials certified his poverty, thus making him eligible to submit his work for consideration to a committee in Vienna awarding grants to struggling artists. The members of the selection committee were a distinguished lot — Johann Herbeck, Director of the Court Opera, the renowned critic Eduard Hanslick, and that titan of Viennese music himself, Johannes Brahms. They deemed his work worthy of encouragement, and, on their recommendation, the Minister of Culture, Karl Stremayer, awarded the young musician 400 gulden, the highest stipend bestowed under the program. It represented Dvořák’s first recognition outside his homeland and his initial contact with Brahms and Hanslick, both of whom proved to Continued on page 190

Anne Marie McDermott, piano Calder Quartet Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello Members of The Philadelphia Orchestra Richard Woodhams, oboe Jonathan Blumenfeld, oboe Ricardo Morales, clarinet Paul Demers, clarinet Daniel Matsukawa, bassoon Angela Anderson, bassoon Jeffry Kirschen, horn Daniel Williams, horn Denise Tryon, horn Hai-Ye Ni, cello John Hood, bass

DVOŘÁK Serenade for Two Oboes, Two Clarinets, Two Bassoons, Contrabassoon, Three Horns, Cello and Bass in D minor, Op. 44 Moderato quasi Marcia Menuetto: Tempo di Menuetto — Presto — Tempo di Menuetto Andante con moto Finale: Allegro molto — Moderato, quasi Tempo di Marcia — Allegro molto

– INTERMISSION – DVOŘÁK Quintet for Piano and String Quartet in A major, Op. 81 Allegro, ma non troppo Dumka: Andante con moto — Vivace — Tempo I Scherzo (Furiant): Molto vivace Finale: Allegro

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Antlers at Vail The Argie Tang Artistic Director Chair

THE PHILADELPHIA ORCHESTRA | FRI, JULY 12, 6:00PM

MOZART’S PIANO CONCERTO AND MAHLER’S 4TH

This Evening’s Performance Presented By: THE FRANCIS FAMILY BETSY AND GEORGE WIEGERS Special Challenge Grant Funding By:

Sponsored By:

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Terri and Tom Grojean Betsy and Mark Kogan Carole and Peter Segal The Stolzer Family Foundation, In Memory of Eleanor Griffith Stolzer

Special Gratitude To: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Soloist Sponsors: Jan Lisiecki, piano, underwritten by Rose and Howard Marcus

MOZART’S PIANO CONCERTO AND MAHLER’S 4TH WOLFGANG AMADEUS MOZART [1756-1791] Piano Concerto No. 20 in D minor, K. 466 (1785) The year 1785 marked a turning point in Mozart’s attitude toward his work and his public, a change in which this D minor Concerto was central. When he tossed over his secure but hated position with the Archbishop Colloredo in his native Salzburg, he determined that, at age 25, he would go to Vienna to seek his fame and fortune as a piano virtuoso. He found both, at least for the first few years, during which he gave a large number of concerts during the Lenten seasons, when regular theatrical and operatic activities were prohibited. His concertos for these programs winningly satisfied the Viennese requirement for pleasantly diverting entertainment, and they were among the most eagerly awaited of his new music. His success in 1784 may be gauged by the length of the subscription list for his concerts, which included more than 150 names representing the cream of the local nobility: eight princes, one duke, two counts, one countess, one baroness and many others of similar pedigree. The D minor Concerto of 1785 must have puzzled the concert habitués of Vienna. This new and disturbing work, from a composer who had previously offered such ingratiating pieces, did not conform to their standard for a pleasant evening’s diversion. Instead, it demanded greater attention and a deeper emotional involvement than they were prepared to expend. Mozart’s tendency in his later years toward a more subtle and more profound expression was gained at the expense of alienating his listeners. His aristocratic patrons were not quite ready for such revolutionary ideas, and it is little surprise that when he circulated a subscription list for his 1789 Academies, it was returned with only one signature. The first movement follows the concerto-sonata form that Mozart had perfected in his earlier works for piano and orchestra, and is filled with conflict between soloist and tutti that is heightened by enormous harmonic, dynamic and rhythmic tensions. The Romanza moves to a brighter key to provide a contrast 82

DID YOU KNOW? Mozart and Mahler. One might have a difficult time finding two composers whose music seems so different. Mozart was prodigious and worked at breakneck speed, with compositions seemingly pouring from his soul, fully formed. Albert Einstein once remarked that Mozart’s music “was so pure that it seemed to have been ever-present in the universe, waiting to be discovered by the master.” Gustav Mahler, on the other hand, wrote a relatively small number of works, as composing was a part-time job for him. He earned a living as a famous conductor, even having led the Metropolitan Opera and New York Philharmonic near the end of his life. Though his compositions were often considered controversial in his day, Mahler’s work as an operatic conductor was generally well regarded. Insisting on high performance standards, Mahler excelled as an interpreter of the stage works of Wagner and Mozart.

to the stormy opening Allegro, but even this lovely music summons a dark, minor-mode intensity for one of its episodes. The finale is a complex sonata-rondo form with developmental episodes. The D major coda provides less a lighthearted, happy conclusion than a sense of catharsis capping the cumulative drama of this noble masterwork.

GUSTAV MAHLER [1860-1911] Symphony No. 4 in G major for Soprano and Orchestra (1899-1900) In 1892, Mahler set to music Der Himmel hängt voll Geigen (“Heaven is chock full of violins”), a poem from an early-19thcentury anthology of folk poems titled Des Knaben Wunderhorn (“The Youth’s Magic Horn”). He completed the song, which he named after its first line, Wir geniessen die himmlischen Freuden (“We revel in heavenly pleasures”), in February 1892, and made an orchestral arrangement of it the following month. When he set to work on his Third Symphony in 1895, he intended to include this song as the finale. The vast musical panorama of the Third Symphony, perhaps the best example of Mahler’s philosophy that sought to embody “the world in a symphony,” was conceived to address individual movements to such matters as “What the flowers tell me,” “What the forest creatures tell me,” and so forth for “the night,” “the angels” and “love.” The finale was to have included Wir geniessen die himmlischen Freuden to Continued on page 177

FRI, JULY 12, 6:00PM GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

BEFORE THE MUSIC: Pre-Concert Lecture Jack Sheinbaum Betty Ford Alpine Gardens, 5:00PM

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Jan Lisiecki, piano Susanna Phillips, soprano

MOZART Piano Concerto No. 20 in D minor, K. 466 Allegro Romanza Rondo: Allegro assai

— INTERMISSION — MAHLER Symphony No. 4 in G major for Soprano and Orchestra Bedächtig In gemächlicher Bewegung. Ohne Hast Ruhevoll Sehr behaglich

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SILVER (continued)

($50,000 and above)

Cathy and Howard Stone Argie Tang Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers Town of Vail

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Cookie and Jim Flaum Laura and James Marx Carole and Peter Segal

Jan Lisiecki 83

THE PHILADELPHIA ORCHESTRA | SAT, JULY 13, 6:00PM

VERDI’S REQUIEM

This Evening’s Performance Presented By: PEGGY FOSSETT THE BETSY WIEGERS CHORAL FUND IN HONOR OF JOHN W. GIOVANDO Sponsored By: Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Debbie and Jim Donahugh Roberta and Ernest Scheller, Jr. Cathy and Howard Stone Dr. Agnes Hsu-Tang and Oscar Tang

Special Gratitude To:

Soloist Sponsors:

Special Challenge Grant Funding By:

Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Karen Cargill, vocalist, underwritten by June and Peter Kalkus John Mac Master, tenor, underwritten by Liz and Tommy Farnsworth Angela Meade, vocalist, underwritten by Susan and Richard Rogel

VERDI’S REQUIEM GIUSEPPE VERDI [1813-1901] Requiem Mass, in Memory of Alessandro Manzoni (1873-1874) Verdi was, above all, a patriot. From his earliest years, he was an ardent supporter of the Risorgimento — the “resurgence” of ancient national pride — to free Italy from foreign domination and unify it under a single, native rule. Though he never manned the barricades, he became, through his music, one of the most illustrious embodiments of the Italian national spirit. Almost all of Verdi’s early operas ran afoul of the censors because of the political implications of their plots. In 19th-century Europe, no one doubted that music and drama could inspire strong emotions and, perhaps, even action. The political arbiters were ever wary about allowing ideas of insurrection or royal fallibility to escape from the stage into the public consciousness. One such idea that did slip past their suspicious examination, however, was contained in Verdi’s Nabucco of 1842. The chorus of longing for their lost homeland sung by the Israelites captive in Babylon, Va, pensiero (“Fly, thoughts”), was adopted by the Risorgimento as an anthem of struggle for Italy’s freedom. So enduring was the fame of this music that it was sung by the crowds that lined the streets for Verdi’s funeral procession almost six decades later. During the insurrections of 1848, the name VERDI became a rallying cry for the nationalists, and was scrawled across walls and carried on signs. Beside being a tribute to their beloved composer, the letters of his name were also an acrostic for “Vittorio Emanuele, Re d’Italia,” the Duke of Savoy whom the nationalists were fighting to bring to power as “King of Italy.” When Cavour called the first parliamentary session of the newly united Italy in 1859, Verdi was elected to represent Busseto. Though reluctant to enter the political arena, he was sufficiently patriotic and aware of his standing with his countrymen that he accepted the nomination. With his love of country and constant efforts to promote Italian culture, Verdi viewed the death of Rossini in Paris on November 13, 1868 as a national tragedy. He felt that a musical memorial should be erected to Rossini — not as a religious expedient to usher his soul into heaven, or as an expression of personal grief (the two were never close friends), but as an act of patriotism. One of the 86

DID YOU KNOW? As Italy’s unrivaled opera composer in the 1870s, Verdi understood how to create dramatic effect like no other. His Requiem Mass never was intended to be performed as a stage work or at a church service, but rather as a concert work. The Requiem has great melodies, blaring brass and ‘heart on your sleeve’ emotional content – and the Dies Irae alone will blow you out of your seat. The work’s second performance at the La Scala Opera House three days after its premiere was a huge hit with the Italian audience because of its intensely operatic nature. In fact, the work is often called “an opera in disguise.” Writing at the time, the eminent conductor and pianist Hans von Bülow aptly described the work as “Verdi’s latest opera, in church vestments.” Unabashedly theatrical, with contrasting passages of vocal simplicity and orchestral bombast, Verdi poured operatic drama into his Requiem Mass.

great Italians was gone, and Verdi believed the nation should properly mourn his passing. Verdi proposed the composition of a composite Requiem Mass for Rossini to which the leading Italian composers would contribute. (“No foreign hands!” he insisted.) The performance was to take place on the first anniversary of Rossini’s death. Following Verdi’s instructions, the composers were chosen by lot by the publisher Giulio Ricordi, and each was assigned a section of the work. The closing Libera me fell to Verdi. However, preparations for the Rossini Mass foundered on Verdi’s proposal that all those involved offer their services free of charge. The twelve other composers agreed to this plan, and the Mass was actually written, but the performers could not be secured. The project was cancelled, and the manuscripts were returned to their composers, whose reputations faded along with the prospects for the memorial Mass — Platania, Mabellini and Cagnoni, for example, are unknown today even in Italy. Verdi’s Libera me was filed away and forgotten, as were the plans for the Rossini Requiem. In 1871, Alberto Mazzucato, a friend of Verdi and a composition teacher at the Milan Conservatory, discovered the Libera me manuscript in Ricordi’s vaults. He was enraptured with its beauty, and wrote to its creator urging him to complete the entire work. Verdi responded, “Your words nearly prompted me to compose the whole Mass at some later date.... Think what a disastrous result your praise could have had!” He continued that to add yet Continued on page 178

SAT, JULY 13, 6:00PM GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

BEFORE THE MUSIC: Pre-Concert Lecture Antonia L. Banducci Betty Ford Alpine Gardens, 5:00PM

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Angela Meade, soprano Karen Cargill, mezzo-soprano John Mac Master, tenor John Relyea, bass-baritone Colorado Symphony Orchestra Chorus, Duain Wolfe, director

GIUSEPPE VERDI Requiem Mass, in Memory of Alessandro Manzoni for Soprano, Mezzo-Soprano, Tenor and Bass Soloists, Mixed Chorus and Orchestra I. Requiem II. Dies Irae III. Offertorio IV. Sanctus V. Agnus Dei VI. Lux Aeterna VII. Libera Me

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SILVER (continued)

($50,000 and above)

Cathy and Howard Stone Argie Tang Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers Town of Vail

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Cookie and Jim Flaum Laura and James Marx Carole and Peter Segal

Giuseppe Verdi 87

SUN, JULY 14, 11:00AM GERALD R. FORD AMPHITHEATER VAIL

FREE CONCERT SERIES

FREE FAMILY CONCERT

GATES OPEN 10:00 AM Instrument Petting Zoo and other activities for the whole family

“There have been celebrations of mammals and birds, with musical tributes and poetic words; animals marching while cymbals crash bring to mind Saint-Saëns and Ogden Nash. But there are many fine creatures who have not been cheered; perhaps they are strange, or creepy or feared; perhaps they are slimy or seem quite malicious; or maybe they’re too small or simply fictitious.”

NATIONAL REPERTORY ORCHESTRA Carl Topilow, conductor Bruce Adolphe, concert host

JOHN WILLIAMS Summon the Heroes

So begins the introduction to “Carnival of the Creatures” by Bruce Adolphe, one of this country’s most engaging composers and musical personalities. This work is the main attraction at Bravo! Vail’s eagerly anticipated annual free family concert by the National Repertory Orchestra (NRO). Host Bruce Adolphe takes us through this wacky, charming, absurd and moving piece with fun creatures like the spider, shrimp, virus, owl and unicorn.

BRUCE ADOLPHE Selections from Carnival of the Creatures Pterosaur Iguana Shrimp Spider Shark Mudskipper Virus Unicorn

The NRO and its affable conductor Carl Topilow also perform popular selections by movie composer great John Williams and Mexican contemporary composer Arturo Márquez.

ARTURO MÁRQUEZ Conga del Fuego Nuevo

“So now we present a piece long overdue, to celebrate, not all, but just a few of nature’s not-so ‘first-run’ features; a carnival, then, of overlooked creatures.” – Bruce Adolphe

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Bruce Adolphe

Penny Bank and Family Herbert Bank and Family The Lyn and Phillip Goldstein Maestro Society The Molina Family This project funded in part by generous grants from the Vail Valley Foundation and the Town of Vail.

SUN, JULY 14, 4:00PM THE LODGE AND SPA AT CORDILLERA DR. MALIK AND SEEME HASAN SERIES

FREE CONCERT SERIES

WHEN TWILIGHT FALLS There is an hour each day when daytime transforms into night, a time that is both beginning and ending, when rest beckons and we ponder what is next. “When Twilight Falls” considers many of the transitions in our own lives through the trademark Cantus mix of sacred, classical and folk music, and features “Song of Sky and Sea” by Cantus tenor Paul J. Rudoi. Gregorian Chant, AfricanAmerican spirituals, European folk songs, and works from the Yankee tunesmiths add to this emotionally and musically rich program.

Cantus Aaron Humble, Paul Rudoi, Gary Ruschman, Shahzore Shah, David Walton, tenors Adam Reinwald and Matthew Tintes, baritones Chris Foss and Timothy Takach, basses TRADITIONAL Agincourt Carol TRADITIONAL Babylon has Fallen DONKIN In Flanders Fields

The care with which Cantus prepares their programs is unlike almost any other ensemble. They create many of their own arrangements, imparting a distinct personality on their music making. While the theatricality of their performances is striking, audiences respond instinctually to their sincerity and integrity. Cantus adds great variety to their performances, engaging and enthralling their audiences.

BILLINGS Lamentation over Boston

“…the ensemble sculpts its harmonies so well and delivers each work with such warm and open hearts that the concert can transport you to a better place.” – Pioneer Press

ADAMS An Irish Airman Forsees his Death

TRADITIONAL/ ARR. HANAWALT Loch Lomond RUDOI The Song of Sky and Sea

JOHNSON Ain’t Got Time to Die THOMASON-REEDUS In Paradisum DALGLISH Paradise DVOŘÁK /ARR. LOOMER Goin’ Home

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The Lodge and Spa at Cordillera

SUN, JULY 14, 5:30PM RITZ-CARLTON BACHELOR GULCH

THE 26TH ANNUAL

BRAVO! VAIL GALA Dinner, Dance and Auction

HONORING BETSY WIEGERS 5:30PM Cocktail Reception and Silent Auction

7:00PM Dinner, Live Auction and Dancing

ENTERTAINMENT BY TUNISIA THANK YOU TO OUR GALA CO-CHAIRS Laura and Jim Marx Susan and Steven Suggs

FOR MORE INFORMATION & TO PURCHASE TICKETS Contact Caitlin Murray at 970-827-4305 or cmurray@bravovail.org Raising funds to support Bravo! Vailâ&#x20AC;&#x2122;s Education and Community Engagement Programs.

Join us as we elevate the sound!

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Ritz-Carlton Bachelor Gulch

Alpine Bank Chubb and Wall Street Insurance, Inc. Crazy Mountain Brewing Company Ritz-Carlton, Bachelor Gulch Vintage Magnolia West Vail Liquor Mart 90

MON, JULY 15, 6:00PM CONCERT HALL VAIL MOUNTAIN SCHOOL

CHAMBER MUSIC SERIES

MOZART CONCERTOS FOR PIANO AND STRING QUARTET WOLFGANG AMADEUS MOZART [1756-1791] Piano Concerto No. 12 in A major, K. 414 (K. 385p) (1782) Mozart’s first years after moving to Vienna in 1781 from his native Salzburg were good. He was happy with his marriage. He was in demand as a pianist and composer, with a reputation that extended through much of Europe. He was invited to perform at the houses of important members of the Viennese aristocracy. Publishers and music dealers vied for his works. The concerts he produced were well attended. Everyone, it seemed, talked of him. In autumn 1782, he began planning his concerts for the following Lenten season. (Opera was forbidden in Catholic Austria during Lent, and early spring was the only time of the year when auditoriums were free for instrumental concerts.) By December, he was at work on a series of three new concertos (K. 413, 414, 415), the first he composed after moving to Vienna. There is evidence that he took care to please a wide audience with the works: in addition to their easily accessible musical style, their orchestration was devised so that the wind parts were expendable, thereby making them performable by as small an ensemble as a string quartet.

BEFORE THE MUSIC: Pre-Concert Lecture Bruce Adolphe Vail Mountain School, 5:00PM

Anne-Marie McDermott, piano Calder Quartet Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello

MOZART Piano Concerto No. 12 in A major, K. 414 (K. 385p) Allegro Andante Allegretto

MOZART Piano Concerto No. 13 in C major, K. 415 (K. 387b) Allegro Andante Allegro — Adagio — Allegro — Adagio — Allegro

– INTERMISSION – MOZART Piano Concerto No. 14 in E-flat major, K. 449 Allegro vivace Andantino Allegro ma non troppo

Continued on page 190

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Colorado Mountain Express Lodge at Vail Annie-Marie McDermott and Calder Quartet 91

MON, JULY 15, 7:30PM GYPSUM TOWN HALL HASAN FAMILY FOUNDATION SERIES

FREE CONCERT SERIES

Cantus Aaron Humble, Paul Rudoi, Gary Ruschman, Shahzore Shah, David Walton, tenors Adam Reinwald and Matthew Tintes, baritones Chris Foss and Timothy Takach, basses

ARR. CANTUS Morning Has Broken

PLAINCHANT Vox Nostra Resonet

TRADITIONAL/ARR. RUDOI Yonder Come Day

LARSEN Shall I Compare Thee

TAKACH Things I Didn’t Know I Loved

TRADITIONAL/ ADAPTED CANTUS Now the Green Blade Rises

TRADITIONAL/ ADAPTED CANTUS Sumer is Icumen In/Ce Fut en Mai

BERKELEY

SUMER IS ICUMIN IN: EARLY MUSIC FOR SPRING AND SUMMER Cantus anticipates the coming of spring and summer with this all-embracing program celebrating rebirth, renewal and transformation. Diverse and eclectic, the works Cantus offers range from plainchant and early polyphony to folksongs from the Georgia Sea Islands. Heralding the arrival of spring and summer all over the world, Cantus explores a variety of eras and styles with their own unique approach. Stylistically and technically assured, the nine members of Cantus sing with passion and exuberance. But what makes them so special is how they pair works spanning many centuries. A lovely new arrangement of a classic Japanese folksong; Medieval and Renaissance European motets; and two new stunning American works all seem worlds apart but somehow belong together. Cantus examines the magic found in the break of day in the hymn tune turned pop hit, “Morning Has Broken.” And in the Medieval 13th-century English round “Sumer is Icumen in,” Cantus hails the arrival of the world’s favorite season. This concert is a joy to the ear – and the spirit.

Fair Daffodils

TRADITIONAL/ARR. MATSUSHITA Sakura

FUGELSETH Springdans Fra Vestfold

OLDROYD Spring, the Sweet Spring

DES PREZ El Grillo

MORLEY Now is the Month of Maying

TRADITIONAL Mu Süda Ärka Üles (Estonian Folksong, Huimaa Province)

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Eagle County Town of Gypsum

TUES, JULY 16, 1:00PM VAIL INTERFAITH CHAPEL

FREE CONCERT SERIES

ALL STRINGS Thirteen year-old violinist, Oliver Neubauer, and his sister, eleven year-old violinist, Clara Neubauer, join their parents, Paul Neubauer and Kerry McDermott, long time performers in the Vail Valley, for a fun-filled family concert with strings attached. Kerry is a regular participant at Bravo! Vail as a member of the New York Philharmonic, and Paul has performed as soloist with the Dallas and Detroit symphonies during their visits to Bravo! Vail. Both have both appeared as chamber musicians here in Vail and across the world. Last summer, audiences heard Oliver and Clara perform Bach’s Double Concerto with the National Repertory Orchestra. This afternoon they will perform a varied program including the great B-flat duo of Mozart as well as the irresistible “Zowie! Goes the Weasel.”

Kerry McDermott, violin Oliver Neubauer, violin Clara Neubauer, violin Paul Neubauer, viola

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The Sebastian-Vail

Oliver and Clara Neubauer 93

TUES, JULY 16, 6:00PM CONCERT HALL VAIL MOUNTAIN SCHOOL

CHAMBER MUSIC SERIES

BEFORE THE MUSIC: Pre-Concert Lecture Bruce Adolphe Vail Mountain School, 5:00PM

Cantus Aaron Humble, Paul Rudoi, Gary Ruschman, Shahzore Shah, David Walton, tenors Adam Reinwald and Matthew Tintes, baritones Chris Foss and Timothy Takach, basses Calder Quartet Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello Anne-Marie McDermott, piano

DVOŘÁK Selections from Moravian Duets for Chorus and Piano, Op. 20 and Op. 32 Proměny (“Destined”), Op. 20, No. 1 Rozloučení (“The Parting”), Op. 20, No. 2 Chudoba (“The Silken Band”), Op. 20, No. 3 Zajatá (“The Maid Imprisoned”), Op. 32, No. 6 Holub na javoře (“Forsaken”), Op. 32, No. 2 Skromná (“The Modest Maid”), Op. 32, No. 3 Prsten (“The Ring”), Op. 32, No. 4

DVOŘÁK From the Bouquet of Slavonic Folk Songs for Chorus and Piano, Op. 43 Žal (“Sorrow”) Divná voda (“Miraculous Water”) Děvče v háji (“The Maiden in the Woods”)

BOHEMIAN WORKS BY JANÁČEK & DVOŘÁK ANTONÍN DVOŘÁK [1841-1904] Selections from Moravian Duets for Chorus and Piano, Op. 32 (1875-1876) Dvořák composed the Moravian Duets in 1875 and 1876 on texts taken from Frantisek Susil’s 1835 Moravian National Songs for the family of Jan Neff, a prosperous Prague merchant for whom he was then working as a part-time teacher and accompanist. Though the melodies of the Moravian Duets were original with Dvořák, he modeled them on the spirit and idioms of folksong. With their infectious melodiousness, their sunny disposition and their lack of technical complication, the Moravian Duets were ideally suited to the home music-making of a more tender-hearted age. From the Bouquet of Slavonic Folk Songs for Chorus and Piano, Op. 43 (1877-1878) Among Dvořák’s works imbued with the spirit and style of traditional Czech music were the settings of three Slavonic folk songs he made for men’s chorus and piano during the two weeks around New Year 1878. From the Bouquet of Slavonic Folk Songs is based on three traditional love songs that are treated with charm, tenderness and occasional wistfulness. Continued on page 191

JANÁČEK String Quartet No. 2, “Intimate Letters” Andante Adagio Moderato Allegro

— INTERMISSION — DVOŘÁK Quartet for Piano, Violin, Viola and Cello in E-flat major, Op. 87 Allegro con fuoco Lento Allegro moderato, grazioso Finale: Allegro, ma non troppo

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Destination Resorts

WED, JULY 17, 6:00PM CONCERT HALL VAIL MOUNTAIN SCHOOL

CHAMBER MUSIC SERIES

SLAVIC DANCES & RHYMES LEOŠ JANÁČEK (1854-1928) Ave Maria, JW IV/16 (1883) Ave Maria, JW IV/16 (1883) Leoš Janáček (1854-1928) In February 1883, the Czech philosopher and literary critic Josef Dirdík (18371902) delivered a lecture in Prague titled About the Modern Philosophy of Our Era in which he quoted his translation of a prayerlike passage from Lord Byron’s “epic satire” Don Juan. Dirdík’s talk was published and came to the attention of Janáček, who set the Byron quote for men’s chorus that summer: Ave Maria! blessed be the hour! The time, the clime, the spot, where I so oft Have felt that moment in its fullest power Sink o’er the earth so beautiful and soft While swung the deep bell in the distant tower.

BEFORE THE MUSIC: Pre-Concert Lecture Bruce Adolphe Vail Mountain School, 5:00PM

Cantus Calder Quartet Paul Neubauer, viola Anne-Marie McDermott, piano

JANÁČEK Ave Maria

DVOŘÁK “The Fiddler” from Choral Songs for Male Voices, B. 66

JANÁČEK

In January 1877, Dvořák made arrangements of two Bohemian folk songs for men’s chorus and rounded out the set with an original piece based on Huslař (“The Fiddler”), a poem in folk style by the Prague writer and teacher Adolf Heyduk (1835-1923); the new pieces were first performed on March 4th. The Fiddler, with its uneven

Selections from Ríkadla for Chorus and Chamber Ensemble Introduction Nothing’s Nicer than Early Spring Mole Is Crawling Around His Patch Franta from the Knacker Family Plays the Bass I’m Preaching a Sermon Ho, Ho, the Cows Are Coming My Tiny Little Wife The White Goat’s Picking Pears The Surly German Banged the Pots Frantik, Frantik Bear Was Sitting on the Tree Trunk

Continued on page 192

BARTÓK

ANTONÍN DVOŘÁK [1841-1904] Huslař (“The Fiddler”) from Choral Songs for Male Voices, B. 66, No. 3 (1877)

String Quartet No. 4 Allegro Prestissimo con sordino Non troppo lento Allegretto pizzicato Allegro molto

— INTERMISSION — DVOŘÁK Quintet for Two Violins, Two Violas and Cello in E-flat major, Op. 97 Allegro non tanto Allegro vivo — Un poco meno mosso — Tempo I Larghetto Finale: Allegro giusto

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THURS, JULY 18, 1:00PM VAIL INTERFAITH CHAPEL

FREE CONCERT SERIES

Cantus Aaron Humble, Paul Rudoi, Gary Ruschman, Shahzore Shah, David Walton, tenors Adam Reinwald and Matthew Tintes, baritones Chris Foss and Timothy Takach, basses

MALE CHORAL MUSIC OF DVOŘÁK & JANÁČEK

DVOŘÁK

Contemporaries Antonín Dvořák and Leoš Janáček shared a brotherhood of heritage, mutual respect and friendship. Cantus has prepared this extraordinary program of rarely heard choral selections for male voices just for Bravo! Vail. In an era dominated by German art, these two giants turned to their native folk songs, traditional melodies, dance rhythms, and speech-derived melodic figures to fashion a new style of music that focused inward, toward their own homeland. Dvořák was a deeply religious man, although his works chosen for this program are distinctly secular in nature. Slightly younger, Janáček evolved to create a highly original, more modern musical style. His “Four Male-Voice Choruses” (1886), presented this evening, is dedicated to Dvořák. While audiences have come to expect beautiful, lyrical melodies from Dvořák and angular rhythms from Janáček, the latter’s languid setting of Ave Maria sculpts a melody that seems to bridge the divide between East and West. Bravo! Vail celebrates the authentic and highly personal sonic worlds of these two great Bohemian composers and the heritage of a noble people.

Two Irish Songs, B. 601

JANÁČEK Veni Sancte Spiritus

JANÁČEK Orani (Ploughing)

DVOŘÁK Choral Songs for Male Voice, B. 66

JANÁČEK Four Male Partsongs

DVOŘÁK Bouquet of Czeck Folksongs, B. 66

DVOŘÁK Song of a Czech, B. 73

JANÁČEK Ave Maria

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Cantus

THURS, JULY 18, 6:00PM EDWARDS INTERFAITH CHAPEL DR. MALIK AND SEEME HASAN SERIES

FREE CONCERT SERIES

MASTERWORKS FOR MALE VOICES – “ON THE SHOULDERS OF GIANTS” Sir Isaac Newton famously said, “If I have seen further, it is by standing on the shoulders of giants.” There are artists who have left an indelible mark on music with works that are both timeless and instantly recognizable. “On the Shoulders of Giants,” celebrates the influence and inspiration of composers who have come long before us – and who live on today through their music. Including repertoire that spans nearly a thousand years from “Sederunt”—one of the first known works of polyphony — to works by Perotin, Tallis, Schuman, Schubert, Grieg, and Strauss, Cantus offers a performance with its trademark warmth and blend. But “On the Shoulders of Giants” goes a step further by offering new compositions from A. R. Rahman and the Beatles to U2’s “MLK.” This evening Cantus surveys centuries of composers who are responsible for writing pieces that we consider undisputed masterpieces. But they also offer musical possibilities that may someday find their own place in our treasured repertory of western music.

Cantus Aaron Humble, Paul Rudoi, Gary Ruschman, Shahzore Shah, David Walton, tenors Adam Reinwald and Matthew Tintes, baritones Chris Foss and Timothy Takach, basses

PEROTIN Sederunt

TALLIS If Ye Love Me

THOMPSON Alleluia

GRIEG Badn Lat

SCHUBERT Die Nacht

SCHUMANN Die Rose Stand im Tau

BIEBL Ave Maria

R. STRAUSS Fröhlich im Maien

MENDELSSOHN Lift Thine Eyes

SAMETZ We Two

TRADITIONAL/ARR. RAHMAN Zikr

LENNON/MCCARTNEY/ARR. FOSS I Wanna Hold Your Hand

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING'S CONCERT FROM

Eagle County Edwards Interfaith Chapel & Community Center

NEW YORK PHILHARMONIC

- PRECISION, POWER & SOUL Founded in 1842, the New York Philharmonic is the oldest symphony orchestra in the United States and one of the oldest in the world; on May 5, 2010, it performed its 15,000th concert — a milestone unmatched by any other symphony orchestra in the world. Alan Gilbert became Music Director in September 2009, succeeding Lorin Maazel in a distinguished line of 20th-century musical giants that includes Gustav Mahler, Arturo Toscanini and Leonard Bernstein. Since its inception, the Orchestra has championed the new music of its time, commissioning or premiering many important works, such as Dvořák’s Symphony No. 9, “From the New World;” Rachmaninoff’s Piano Concerto No. 3; Gershwin’s Concerto in F; and Copland’s Connotations, in addition to the U.S. premieres of works such as Beethoven’s Symphonies Nos. 8 and 9, and Brahms’s Symphony No. 4. This tradition continues to the present day, with works of major contemporary composers regularly scheduled each season, including John Adams, Melinda Wagner, Wynton Marsalis, Christopher Rouse, John Corigliano, and Magnus Lindberg. A combined total of 17 New York, U.S. and World Premieres have been presented at Contact!, the Philharmonic’s new-music series. The roster of composers and conductors who have led the Philharmonic includes such historic figures as Theodore Thomas, Antonín Dvořák, Gustav Mahler (Music Director, 1909–11), Otto Klemperer, Richard Strauss, Willem Mengelberg (Music Director, 1922–30), Wilhelm Furtwängler, Arturo Toscanini (Music Director, 1928–36), Igor Stravinsky, Aaron Copland, Bruno Walter (Music Advisor, 1947–49), Dimitri

Mitropoulos (Music Director, 1949–58), Klaus Tennstedt, George Szell (Music advisor, 1969–70), and Erich Leinsdorf. The Orchestra has always played a leading role in American musical life, and is renowned around the globe, having appeared in 432 cities in 63 countries — including its October 2009 debut in Vietnam and its February 2008 historic visit to Pyongyang, DPRK, earning the 2008 Common Ground Award for Cultural Diplomacy. The Philharmonic’s concerts are broadcast on the weekly syndicated radio program The New York Philharmonic This Week, streamed on nyphil.org, and have been telecast annually on Live From Lincoln Center on U.S. public television since the series’ premiere in 1976. The Philharmonic has made almost 2,000 recordings since 1917, with more than 500 currently available. The first major American orchestra to offer downloadable concerts, recorded live, the Philharmonic released the first-ever classical iTunes Pass for the 2009-10 season; self-produced recordings continue with Alan Gilbert and the New York Philharmonic: 2012–13 Season. The Orchestra has built on the long-running Young People’s Concerts to develop a wide range of educational programs, including the School Partnership Program, which enriches music education in New York City, and Learning Overtures, which fosters international musical exchange. Credit Suisse is the New York Philharmonic’s exclusive Global Partner.

FRIENDS OF THE NEW YORK PHILHARMONIC Bravo! Vail gratefully acknowledges the support of these patrons PLATINUM ($30,000)

GOLD (continued)

Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Vera and John Hathaway Cynnie and Peter Kellogg Honey Kurtz Vicki and Kent Logan Leni and Peter May Amy and James Regan Helen and Vincent Sheehy Argie Tang Dr. Agnes Hsu-Tang and Oscar Tang Town of Vail Carol and Pat Welsh Betsy and George Wiegers

Barbie and Tony Mayer Marcy and Gerry Spector Didi and Oscar Schafer Cathy and Howard Stone Dhuanne and Doug Tansill

GOLD ($20,000) Jayne and Paul Becker Amy and Steve Coyer Mr. and Mrs. Claudio Gonzalez Judy and Alan Kosloff

SILVER ($15,000) Judy and Howard Berkowitz Marlene and John A. Boll, Sr. Lisa Tannebaum and Don Brownstein Jeri and Charlie Campisi Stephanie and Larry Flinn Georgia and Don Gogel Martha Head and John Feagin, M.D. Dick Liebhaber Karen and Walter Loewenstern Gene Mercy Ann and Alan Mintz Kay and Bill Morton Margaret and Alex Palmer Terie and Gary Roubos Slifer, Smith and Frampton Real Estate Sarah Nash and Michael Sylvester

NEW YORK PHILHARMONIC Alan Gilbert Music Director

Elizabeth Dyson The Mr. and Mrs. James E. Buckman Chair Alexei Yupanqui Gonzales Patrick Jee Sumire Kudo Qiang Tu Ru-Pei Yeh The Credit Suisse Chair in honor of Paul Calello Wei Yu Joel Noyes++

Case Scaglione Assistant Conductor Joshua Weilerstein Assistant Conductor Leonard Bernstein Laureate Conductor, 1943–1990 Kurt Masur Music Director Emeritus

FIRST VIOLINS

Glenn Dicterow, Concertmaster The Charles E. Culpeper Chair Sheryl Staples, Principal Associate Concertmaster The Elizabeth G. Beinecke Chair Michelle Kim, Assistant Concertmaster The William Petschek Family Chair Enrico Di Cecco Carol Webb Yoko Takebe Quan Ge The Gary W. Parr Chair Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair Lisa GiHae Kim Kuan Cheng Lu Newton Mansfield+ The Edward and Priscilla Pilcher Chair Kerry McDermott Anna Rabinova Charles Rex The Shirley Bacot Shamel Chair Fiona Simon Sharon Yamada Elizabeth Zeltser The William and Elfriede Ulrich Chair Yulia Ziskel+

SECOND VIOLINS

Marc Ginsberg Principal Lisa Kim* In Memory of Laura Mitchell Soohyun Kwon The Joan and Joel I. Picket Chair

Eileen Moon* The Paul and Diane Guenther Chair Eric Bartlett The Shirley and Jon Brodsky Foundation Chair Maria Kitsopoulos

Duoming Ba Marilyn Dubow The Sue and Eugene Mercy, Jr. Chair Martin Eshelman+ Judith Ginsberg Kyu-Young Kim Hyunju Lee Joo Young Oh Daniel Reed Mark Schmoockler+ Na Sun Vladimir Tsypin Peter Bahng++ Marta Krechkovsky++ Shan Jiang++ Yevgenia Strenger++ Krystof Kuznik++ Jungsun Yoo++

VIOLAS

Cynthia Phelps, Principal The Mr. and Mrs. Frederick P. Rose Chair Rebecca Young* The Joan and Joel Smilow Chair Irene Breslaw** The Norma and Lloyd Chazen Chair Dorian Rence Katherine Greene The Mr. and Mrs. William J. McDonough Chair Dawn Hannay Vivek Kamath Peter Kenote Kenneth Mirkin Judith Nelson Rémi Pelletier Robert Rinehart The Mr. and Mrs. G. Chris Andersen Chair

CELLOS

Carter Brey, Principal The Fan Fox and Leslie R. Samuels Chair

BASSES

Fora Baltacigil, Principal The Redfield D. Beckwith Chair Satoshi Okamoto* Acting Associate Principal The Herbert M. Citrin Chair Orin O’Brien William Blossom The Ludmila S. and Carl B. Hess Chair Randall Butler David J. Grossman Blake Hinson Max Zeugner Rex Surany++

FLUTES

Robert Langevin, Principal The Lila Acheson Wallace Chair Sandra Church* Yoobin Son Mindy Kaufman Sandy Hughes++

PICCOLO

BASS CLARINET Amy Zoloto++

BASSOONS

CONTRABASSOON

Kent Tritle

Arlen Fast

HORNS

Philip Myers, Principal The Ruth F. and Alan J. Broder Chair R. Allen Spanjer The Rosalind Miranda Chair Howard Wall Richard Deane++ Leelanee Sterrett++ Audrey Flores++ David Smith++

TRUMPETS

Stephen Williamson, Principal The Edna and W. Van Alan Clark Chair Mark Nuccio, Associate Principal The Honey M. Kurtz Family Chair Pascual Martínez Forteza*, Acting Associate Principal Alucia Scalzo++ Amy Zoloto++

E-FLAT CLARINET

Pascual Martínez Forteza

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ORGAN

LIBRARIANS

Lawrence Tarlow, Principal Sandra Pearson** Sara Griffin**+

ORCHESTRA PERSONNEL MANAGER

Carl R. Schiebler

STAGE REPRESENTATIVE Joseph Faretta

AUDIO DIRECTOR

TROMBONES

Emanuel Ax Pierre Boulez Stanley Drucker Lorin Maazel Zubin Mehta The late Carlos Moseley

Joseph Alessi, Principal The Gurnee F. and Marjorie L. Hart Chair David Finlayson The Donna and Benjamin M. Rosen Chair Colin Williams++

BASS TROMBONE The Daria L. and William C. Foster Chair George Curran++

TUBA

TIMPANI

CLARINETS

PIANO

Eric Huebner

Philip Smith, Principal The Paula Levin Chair Matthew Muckey* Ethan Bensdorf Thomas V. Smith

OBOES

Keisuke Ikuma++

HARPSICHORD

Paolo Bordignon+

Alan Baer, Principal Morris Kainuma++

ENGLISH HORN

In Memory of Paul Jacobs

Judith LeClair, Principal The Pels Family Chair Kim Laskowski* Roger Nye Arlen Fast

Mindy Kaufman Liang Wang, Principal The Alice Tully Chair Sherry Sylar* Robert Botti The Lizabeth and Frank Newman Chair Keisuke Ikuma++ Ryan Walsh++

KEYBOARD

Markus Rhoten, Principal The Carlos Moseley Chair Kyle Zerna**

PERCUSSION

Christopher S. Lamb, Principal The Constance R. Hoguet Friends of the Philharmonic Chair Daniel Druckman* The Mr. and Mrs. Ronald J. Ulrich Chair Kyle Zerna David DePeters++ Sean Ritenauer++ Joe Tompkins++

HARP

Nancy Allen, Principal The Mr. and Mrs. William T. Knight III Chair Allegra Lilly++ June Han++

Lawrence Rock

HONORARY MEMBERS OF THE SOCIETY

NEW YORK PHILHARMONIC

Gary W. Parr, Chairman Matthew VanBesien, Executive Director Miki Takebe, Vice President, Operations Edward Yim, Vice President, Artistic Planning Nishi Badhwar, Orchestra Personnel Assistant / Auditions Coordinator James Eng, Operations Assistant Katherine E. Johnson, Director, Public and Media Relations Brendan Timins, Director, Touring and Operations Pamela Walsh, Artistic Administrator

STAGE CREW

Robert W. Pierpont Michael Pupello * Associate Principal ** Assistant Principal + On Leave ++ Replacement/Extra The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster.

NEW YORK PHILHARMONIC | FRI, JULY 19, 6:00PM

TCHAIKOVSKY’S 5TH

This Evening’s Performance Presented By: LENI AND PETER MAY Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society Friends of the New York Philharmonic The Argie Tang Artistic Director Chair

Sponsored By: Marijke and Lodewijk de Vink Didi and Oscar Schafer

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TCHAIKOVSKY’S 5TH ANTONÍN DVOŘÁK [1841-1904] Cello Concerto in B minor, Op. 104 (1894-1895) During the three years that Dvořák was teaching and composing in New York City, he was subject to the same emotions as most other travelers away from home for a long time: invigoration and homesickness. America served to stir his creative energies, and during his stay from 1892 to 1895 he composed some of his greatest scores: the “New World” Symphony, Op. 96 Quartet (“American”) and Cello Concerto. He was keenly aware of the new musical experiences to be discovered in the land far from his beloved Bohemia when he wrote, “The musician must prick up his ears for music. When he walks he should listen to every whistling boy, every street singer or organ grinder. I myself am often so fascinated by these people that I can scarcely tear myself away.” But he missed his home and looked eagerly forward to returning. He opened his heart in a letter to a friend in Prague: “Now I am finishing the Cello Concerto. If I could work as free from cares as at Vysoká [site of his country home], it would have been finished long ago. Oh, if only I were in Vysoká again!” The Concerto’s opening movement is in sonata form, with both themes presented by the orchestra before the entry of the soloist. The first theme is heard immediately in the clarinets. “One of the most beautiful melodies ever composed for the horn” is how Sir Donald Tovey described the second theme. Otakar Sourek, the composer’s biographer, called the second movement a “hymn of deepest spirituality and amazing beauty.” It is in three-part (A–B–A) form. The finale is a rondo of dance-like nature. Following the second reprise of the theme, a slow section recalls both the first theme of the opening movement and a melody from the Adagio.

PYOTR ILYICH TCHAIKOVSKY [1840-1893] Symphony No. 5 in E minor, Op. 64 (1888) Tchaikovsky was never able to maintain his self-confidence for long. More than once, his opinion of a work fluctuated between the extremes of satisfaction and denigration. The unjustly neglected Manfred Symphony of 1885, for example, left his pen as “the best I have ever written,” but the work failed to make a 102

DID YOU KNOW? Who or what killed Tchaikovsky? There are several theories on the subject. While the official story remains that the Russian composer died of cholera, rumors have circulated since 1893 that he committed suicide. Today most scholars agree that Tchaikovsky probably killed himself not strictly out of despondency. Plagued by various neuroses and depression all his life, Tchaikovsky eventually married to hide from rumors of his homosexuality and earn social respectability. The marriage was a disaster and led to an unsuccessful suicide attempt. A week after the premiere of his Symphony No. 6, Pathétique, Tchaikovsky was dead. The death was attributed to cholera from drinking contaminated water, but scholars now think Tchaikovsky was coerced into an “honor” suicide by peers after it was discovered that he was having an affair with an 18-year old nobleman. A senseless tragedy, Tchaikovsky’s death was a major loss to the music world.

FRI, JULY 19, 6:00PM good impression at its premiere and Tchaikovsky’s estimation of it tumbled. The lack of success of Manfred was particularly painful, because he had not produced a major orchestral work since the Violin Concerto of 1878, and the score’s failure left him with the gnawing worry that he might be “written out.” The three years after Manfred were devoid of creative work. It was not until May 1888 that Tchaikovsky again took up the challenge of the blank page, collecting “little by little, material for a symphony,” he wrote to his brother Modeste. Tchaikovsky worked doggedly on the new symphony, ignoring illness, the premature encroachment of old age (he was only 48, but suffered from continual exhaustion and loss of vision), and his doubts about himself. He pressed on, and when the Fifth Symphony was completed, at the end of August, he said, “I have not blundered; it has turned out well.” Tchaikovsky never gave any indication that the Symphony No. 5, unlike the Fourth Symphony, had a program, though he may well have had one in mind. In their biography of the composer, Lawrence and Elisabeth Hanson reckoned Tchaikovsky’s view of fate as the motivating force in the Symphony No. 5, though they distinguished its interpretation from that in the Fourth Symphony. Continued on page 178

“Inspiration is a guest that does not willingly visit the lazy.”

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

NEW YORK PHILHARMONIC Alan Gilbert, conductor Carter Brey, cello

DVOŘÁK Cello Concerto in B minor, Op. 104 Allegro Adagio ma non troppo Finale: Allegro moderato

– INTERMISSION – TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64 Andante — Allegro con anima Andante cantabile, con alcuna licenza Allegro moderato Finale: Andante maestoso — Allegro vivace

Pyotr Ilyich Tchaikovsky

PLATINUM ($30,000)

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SILVER (continued)

Jayne and Paul Becker Amy and Steve Coyer Mr. and Mrs. Claudio Gonzalez Judy and Alan Kosloff Barbie and Tony Mayer Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

Martha Head and John Feagin, M.D. Dick Liebhaber Karen and Walter Loewenstern Gene Mercy Ann and Alan Mintz Kay and Bill Morton Margaret and Alex Palmer Terie and Gary Roubos Slifer, Smith and Frampton Real Estate Sarah Nash and Michael Sylvester

SILVER ($15,000) Judy and Howard Berkowitz Marlene and John A. Boll, Sr. Lisa Tannebaum and Don Brownstein Jeri and Charlie Campisi Stephanie and Larry Flinn Georgia and Don Gogel

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC

This project is funded in part by generous grants from the Vail Valley Foundation and the Town of Vail. Credit Suisse is the Global Sponsor of the New York Philharmonic. The Vail Marriott Mountain Resort and Spa and Antlers at Vail are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

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Carter Brey

NEW YORK PHILHARMONIC | SAT, JULY 20, 6:00PM

SYMPHONIE FANTASTIQUE

This Evening’s Performance Presented By: FRIENDS OF THE NEW YORK PHILHARMONIC Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

105

SYMPHONIE FANTASTIQUE EDOUARD LALO [1823-1892] Symphonie Espagnole for Violin and Orchestra, Op. 21 (1873) Edouard Lalo’s early musical training was at the conservatory in Lille, where he was born in 1823; he later transferred to the Paris Conservatoire to study composition and violin. He started composing in the 1840s, but, discouraged by the lack of performances and publications of his music, he abandoned his creative work for almost a decade to play viola (and later second violin) in the Armingaud-Jacquard Quartet. His muse was rekindled in 1865 upon his marriage to Bernier de Maligny, a gifted contralto who performed many of his songs in recital and who also inspired his first opera, Fiesque. The Divertissement for orchestra (1872), based on ballet music from Fiesque, was his first important success as a composer. Encouraged by the formation of the Société Nationale de Musique in 1871 and the support of such conductors as Pasdeloup, Lamoureux and Colonne, Lalo produced a succession of instrumental works that brought him to the forefront of French music, including the Violin Concerto (1874) and Symphonie Espagnole (1875), both premiered by the celebrated Spanish virtuoso Pablo de Sarasate. His eminent position in French music was confirmed when he was awarded the Legion of Honor in 1888. The Symphonie Espagnole, despite its name, is a true concerto in which the soloist is called upon to display significant feats of violinistic prowess. The five movements individually follow symphonic structures, which led Lalo to write about the title, “It conveyed my thought — a violin soaring above the rigid form of an old symphony.” The first movement is cast in sonata form, with a main theme employing bold upward leaps and a legato second theme in a contrasting major tonality. The nimble, dancelike Scherzando, in three-part form (A–B–A), calls for both lyricism and flexibility from the soloist. The next movement is characterized by the extensive use of the Spanish rhythmic device of alternating groups of two and three notes. In the fourth movement, a three-part structure (A–B–A), a somber introduction leads to the melancholy main theme for the soloist. The finale, begun by the sound of distant peeling bells, is a bubbling rondo in the style of the saltarello. 106

DID YOU KNOW? Long before he turned his attentions to Harriet Smithson, Berlioz experienced his first passion for a woman, a next-door neighbor named Estelle Fornier. This teenage crush set the stage for the obsessions that inspired Berlioz for the rest of his life. The composer recounted, “…Her sight gave me an electric shock; in a word, I was in love with her. I lived in a trance. I hoped for nothing…I knew nothing…but I felt a deep anguish in my heart. Entire nights I would spend in despair. During the days I would hide in the maize fields, in the secret corners of my grandfather’s orchard, like a wounded bird, suffering in silence.” Berlioz would continue to see Estelle periodically throughout his life, but his love remained unrequited. Later he would use an old song he composed about Estelle as the main theme in the nostalgic first movement of his Symphonie Fantastique.

SAT, JULY 20, 6:00PM GERALD R. FORD AMPHITHEATER VAIL

HECTOR BERLIOZ [1803-1869] Symphonie Fantastique, Op. 14a (1830) By 1830, when he turned 27, Hector Berlioz had won the Prix de Rome and gained a certain notoriety among the fickle Parisian public for his perplexingly original compositions. Hector Berlioz was also madly in love. The object of his amorous passion was an English actress of middling ability, one Harriet Smithson, whom the composer first saw when a touring English theatrical company performed Shakespeare in Paris in 1827. During the ensuing three years, this romance was entirely one-sided, since the young composer never met Harriet, but only knew her across the footlights as Juliet and Ophelia. He sent her such frantic love letters that she never responded to any of them, fearful of encouraging a madman. Berlioz was still nursing his unrequited love for Harriet in 1830 when, full-blown Romantic that he was, his emotional state served as the germ for a composition based on this “Episode from the Life of an Artist,” as he subtitled the Symphonie Fantastique. In this work, the artist visualizes his beloved through an opium-induced trance, first in his dreams, then at a ball, in the country, at his execution and, finally, as a participant in a witches’ sabbath. She is represented by a musical theme that appears in each of the five movements, an idée fixe (a term that Berlioz borrowed from the just-emerging field of psychology to denote an unhealthy

SYMPHONY SERIES

BEFORE THE MUSIC: Pre-Concert Lecture Jonathan Bellman Betty Ford Alpine Gardens, 5:00PM

NEW YORK PHILHARMONIC Rafael Frühbeck de Burgos, conductor Augustin Hadelich, violin

LALO Symphonie Espagnole for Violin and Orchestra, Op. 21 Allegro non troppo Scherzando: Allegro molto Intermezzo: Allegretto non troppo Andante Rondo: Allegro

– INTERMISSION – Continued on page 178

BERLIOZ

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SILVER (continued)

SILVER ($15,000) Judy and Howard Berkowitz Marlene and John A. Boll, Sr. Lisa Tannebaum and Don Brownstein Jeri and Charlie Campisi Stephanie and Larry Flinn Georgia and Don Gogel

Symphonie Fantastique, Op. 14a Reveries and Passions: Largo — Allegro agitato e appassionato assai A Ball. Valse: Allegro non troppo Scene in the Country: Adagio March to the Scaffold: Allegretto non troppo Dream of a Witches’ Sabbath: Larghetto — Allegro

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Augustin Hadelich

NEW YORK PHILHARMONIC | SUN, JULY 21, 6:00PM

SCHEHERAZADE

This Evening’s Performance Presented By: FRIENDS OF THE NEW YORK PHILHARMONIC Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

109

SCHEHERAZADE MAURICE RAVEL [1875-1937] Alborada del Gracioso (1905, 1918) The alba, or “song at dawn,” is one of music’s most ancient forms — the earliest extant example, from the repertory of the troubadours of Provence in southern France, dates from the 11th century. These poems dealt with a lover’s departure in the early morning after a night spent with his beloved, and are often cast in the form of a dialogue between the lover and a watchman who warns of approaching danger. (Wagner revived the form in the second act of Tristan und Isolde, during which Brangäne alerts the fated couple of King Marke’s return.) As the alborada, it was later taken over by the musicians of Galicia in northern Spain, who made of it a type of dance played on a rustic oboe accompanied by a small drum. Ravel, a native of the Basque region of southern France that shares many aspects of its cultural heritage with its Spanish neighbors, knew the alborada and other Spanish music, and he incorporated its spirit and style into several of his important works, including the Alborada del Gracioso, the fourth of five pieces written in 1905 for the piano suite Miroirs. In 1918, he made a glittering orchestral transcription of the piece. The outer sections of Alborada del Gracioso evoke thrumming guitars ringing across a sun-baked landscape, while the soulful bassoon solo of the central section calls forth another image — the gracioso, the Spanish “clown” or “comedian,” perhaps evoking a fool in love.

FRANZ LISZT [1811-1886] Totentanz (Danse macabre), Paraphrase on the Dies Irae for Piano and Orchestra (1839-1840, 1849-1850, 1859) Liszt’s Totentanz (“Dance of Death”) was said to have been inspired by either Hans Holbein’s series of woodcuts of the same name or Francesco Traini’s mid-14th century painting The Triumph of Death, depending on which biographer is consulted — Traini seems to have garnered the most votes. Liszt saw Traini’s dramatic fresco (earlier attributed to both Andrea Orcagna and the Lorenzettis) when he visited the Camposanto (cemetery building) next to the Pisa Cathedral in 1839 during his first stay in 110

DID YOU KNOW? One hundred years before Beatlemania, there was Lisztomania. The classical pianist was the world’s first rock star. In mid-19th century Europe, Franz Liszt was the toast of the continent due to his virtuoso performances and good looks, causing audiences to be transported into a state of musical ecstasy. Fans would fight over his handkerchiefs and gloves, wear his portrait on brooches and cameos and even try to steal locks of his hair. Observed the German poet Heinrich Heine, who dubbed the term “Lisztomania:” “[…] how convulsively his mere appearance affected [his audience]! How boisterous was the applause which rang to meet him!...What acclaim it was! A veritable insanity, one unheard of in the annals of furore!” Lisztomania began to be seen as a real medical condition that was contagious. After a series of personal tragedies, Liszt joined the Franciscan order in 1857 and retreated to a solitary life.

SUN, JULY 21, 6:00PM Italy. The painting is a vivid depiction of heaven and hell, showing mortal man in varying conditions of pleasure and pain. The righteous are escorted by angels into the sweet after-life while the horrified damned are bound by devils to a flaming mountain. Death is shown as a bat-like, female figure with claws, leveling king and beggar alike beneath the swing of her scythe. Here, indeed, was the stuff of ripest Romantic fantasy. The Totentanz, described by Abraham Veinus as “perhaps the most astounding combination of diabolism and virtuosity in the history of piano writing,” is a series of free variations on the Dies Irae from the Roman Catholic Requiem depicting different characters caught in the whirling Dance of Death.

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

NEW YORK PHILHARMONIC Alan Gilbert, conductor Jean-Yves Thibaudet, piano

RAVEL NIKOLAI RIMSKY-KORSAKOV [1844-1908] Scheherazade, Op. 35 (1888)

Alborada del Gracioso

“In the middle of the winter [of 1888], engrossed as I was in my work on Prince Igor and other things, I conceived the idea of writing an orchestral composition on the subject of certain episodes from Scheherazade.” Thus did Nikolai Rimsky-Korsakov give the curt explanation of the genesis of his most famous work in his autobiography, My Musical Life. His friend Alexander Borodin had died the year before, leaving his magnum opus, the opera Prince Igor, in a state of unfinished disarray. Rimsky-Korsakov had taken it upon himself to complete the piece, and may well have been inspired by its exotic setting among the Tartar tribes in 12th-

Totentanz (Danse macabre), Paraphrase on the Dies Irae for Piano and Orchestra

LISZT

– INTERMISSION – RIMSKY-KORSAKOV Scheherazade, Symphonic Suite, Op. 35 The Sea and Sinbad’s Ship The Story of the Kalandar Prince The Young Prince and the Young Princess Festival at Baghdad — The Sea — Shipwreck Glenn Dicterow, solo violin

Continued on page 182

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SILVER ($15,000) Judy and Howard Berkowitz Marlene and John A. Boll, Sr. Lisa Tannebaum and Don Brownstein Jeri and Charlie Campisi Stephanie and Larry Flinn Georgia and Don Gogel

This project is funded in part by generous grants from the Lyn and Phillip Goldstein Piano Concerto Artist Project, the Vail Valley Foundation and the Town of Vail. Credit Suisse is the Global Sponsor of the New York Philharmonic. The Vail Marriott Mountain Resort and Spa and Antlers at Vail are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

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Nikolai Rimsky-Korsakov

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Jasper String Quartet J Freivogel, violin Sae Chonabayashi, violin Sam Quintal, viola Rachel Henderson Freivogel, cello

DECODING WEBERN & BEETHOVEN

WEBERN

The great conductor and music director of the Cleveland Orchestra, George Szell, once referred to Vienna as “a beautiful and elaborate piece of candy filled with schmutz.” While the “City of Music” is also said to be “The City of Dreams” because it was home to the world’s first psychoanalyst - Sigmund Freud – Vienna is infamous for its stifling conservatism. This is the political and musical world into which Anton Webern was born in 1883. Webern’s earliest works are in a late Romantic style, including the Langsamer Satz (1905), inspired by his first romance. “The Five Movements” (1909) was one of a number of pieces shadowed by the death of Webern’s mother in 1906. Beethoven also called Vienna home. His C minor Quartet, Op. 18, No. 4 (1800) was one of the composer’s early works in which he began to reveal the unprecedented depths of feeling still possible in a genre that Haydn and Mozart were thought to have exhausted. Beethoven’s late compositions in this genre are considered among the towering masterpieces of Western civilization.

Langsamer Satz (1905)

WEBERN Five Movements for String Quartet, Op. 5 Heftig bewegt Tempo Sehr langsam Sehr bewegt Sehr langsam In zarter Bewegung

BEETHOVEN

Quartet in C minor, Op. 18, No. 4 Allegro ma non tanto Scherzo: Andante scherzoso quasi Allegretto Menuetto: Allegretto Allegro

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Anton Webern

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TUES, JULY 23, 1:00PM VAIL INTERFAITH CHAPEL

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Beethoven told Karl Holz, the second violinist in the work’s premiere, that he considered the Quartet in C-sharp minor, Op. 131 (1825-1826) his greatest achievement in the form, and it may well be his boldest piece of musical architecture — seven movements played without pause, six distinct key areas, 31 tempo changes, and a veritable encyclopedia of Classical formal principles. Though it passes beyond the Fifth Symphony, Fidelio and Egmont in its harmonic sophistication and structural audacity, this quartet shares with those earlier works the sense of struggle to victory, of subjecting the spirit to such states of emotional unrest as strengthen it for the winning of ultimate triumph. “Music should strike fire in the heart of man,” according to Beethoven. “There is no loftier mission than to approach the Divinity nearer than other men, and to disseminate the divine rays among mankind.” Op. 131 is music of such transcendent vision.

Jasper String Quartet J Freivogel, violin Sae Chonabayashi, violin Sam Quintal, viola Rachel Henderson Freivogel, cello

BEETHOVEN Quartet in C-sharp minor, Op. 131 Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato – Adagio Andante ma non troppo e molto cantabile – Più mosso – Andante moderato e lusinghiero – Adagio – Allegretto – Adagio ma non troppo e semplice – Allegretto Presto Adagio quasi un poco andante Allegro Played without pause

BEETHOVEN’S FINEST

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TUES, JULY 23, 6:00PM THE WASHING RESIDENCE MOUNTAIN STAR

LINDA & MITCH HART

SOIRÉE SERIES

BROADWAY SOIRÉE: MUSIC FROM THE GREAT WHITE WAY

Ted Sperling, piano and vocals

It is impossible to talk about musical theater today without hearing the name Ted Sperling, star of this special evening of musical surprises. He is a conductor, music director, arranger, singer, pianist and violinist who works with amazing talents like Audra McDonald, Victoria Clark, Patti LuPone, Kelli O’Hara, Nathan Gunn, Paulo Szot and Deborah Voigt. He was music director and conductor of the first Broadway revival of South Pacific, winning seven 2008 Tony Awards. In 2005 Mr. Sperling won Tony and Drama Desk Awards (with Adam Guettel and Bruce Coughlin) for his orchestrations of The Light in the Piazza, for which he was also music director. Mr. Sperling was music director and conductor of the 2009 Tony Award–nominated revival of Guys and Dolls. Other Broadway credits as music director/conductor/pianist include Dirty Rotten Scoundrels, The Full Monty, How to Succeed in Business Without Really Trying, Kiss of the Spider Woman, Angels in America, The Mystery of Edwin Drood, Les Misérables, Roza, and Sunday in the Park with George. Mr. Sperling was an original cast member of the Broadway musical Titanic.

Ted Sperling

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NEW YORK PHILHARMONIC | WED, JULY 24, 6:00PM

BROADWAY NIGHT WITH THE PHILHARMONIC

This Evening’s Performance Presented By: FRIENDS OF THE NEW YORK PHILHARMONIC Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

115

BROADWAY NIGHT WITH THE PHILHARMONIC A BROADWAY ROMANCE Romantic love is the heart of Broadway — rare is the show in which hearts do not entwine (including, hopefully, ours). A BROADWAY ROMANCE traces the course of love as illuminated under the lights of the Great White Way — hope, first encounter, courting, marriage, family and happy-ever-after… or not — through the wit and wisdom of the songs that reach across the footlights to enrich and enlighten our lives. The arc of this all-too-human romantic adventure is traced below in a few lines selected from the songs on this evening’s program. FIRST ENCOUNTER Something’s coming, I don’t know what it is, But it is Gonna be great! (West Side Story, lyrics by Stephen Sondheim) Will he like me? Will he like me when we meet? Will he like me? He’s just got to. (She Loves Me, lyrics by Sheldon Harnick) I’m a little bit in love Never felt this way before Just a little bit in love Or perhaps a little bit more. (Wonderful Town, lyrics by Betty Comden and Adolph Green) COURTING If I loved you, Time and again I would try to say All I’d want you to know. (Carousel, lyrics by Oscar Hammerstein II) I’ve never been in love before Now all at once it’s you 116

DID YOU KNOW? Popular theater in New York City began as early as 1750 when Thomas Kean and Walter Murray opened an establishment on Nassau Street catering to citizens who preferred Shakespeare plays. After the Revolutionary War, The Park Theater then the Bowery Theater opened, the latter featuring minstrel shows. By the early 20th century composers like Victor Herbert (a Metropolitan Opera Orchestra cellist) scored huge successes with musical plays and operettas like Babes in Toyland. The theatrical center of activity migrated north to the area between 42nd and 53rd Streets in Midtown and near Lincoln Center. For a performance to be classified as “Broadway,” it must be held in one of the 40 professional theaters found in this area with 500 seats or more. The use of electric lights became prevalent in the early 1900s, and since colored lights burned out quickly, theater owners switched to white lights, hence the nickname, The Great White Way.

WED, JULY 24, 6:00PM GERALD R. FORD AMPHITHEATER VAIL

It’s you forever more. (Guys and Dolls, lyrics by Frank Loesser) I’m gonna love you like nobody’s loved you come rain or come shine, High as a mountain and deep as a river come rain or come shine. (St. Louis Woman, lyrics by Johnny Mercer) MARRIAGE We’ll have an old fashioned wedding, A simple wedding for an Old-fashioned bride and groom. (Annie Get Your Gun, lyrics by Irving Berlin)

SYMPHONY SERIES

NEW YORK PHILHARMONIC Ted Sperling, conductor Betsy Wolfe, girl † Andrew Samonsky, guy * GERSHWIN Overture from Girl Crazy

Make of our hands one hand, Make of our hearts one heart, Make of our vows one last vow: Only death will part us now. (West Side Story, lyrics by Stephen Sondheim)

BERNSTEIN & SONDHEIM Something’s Coming from West Side Story * GERSHWIN & GERSHWIN The Man I Love from Lady, Be Good † BOCK & HARNICK Tonight at Eight from She Loves Me * Will He Like Me? from She Loves Me †

Continued on page 182

PASEK & PAUL First Date/Last Night from Dogfight *† BACHARACH & DAVID She Likes Basketball from Promises, Promises *

JAZZ AFTER: THE NEW YORK JAM Please join members of the New York Philharmonic Orchestra at Jazz After: The New York Jam, a presentation of the Vail Jazz Foundation, following tonight’s concert in The Great Room at Larkspur Restaurant. Ticket information available at www.vailjazz.org

BERNSTEIN & COMDEN & GREEN A Little Bit in Love from Wonderful Town † RODGERS & HAMMERSTEIN If I Loved You from Carousel *† BERLIN I Got Lost in His Arms from Annie Get Your Gun † LOESSER I’ve Never Been in Love Before from Guys & Dolls *† BERLIN An Old-Fashioned Wedding from Annie Get Your Gun†

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— INTERMISSION — SONDHEIM Getting Married Today from Company *† BERNSTEIN & SONDHEIM One Hand One Heart from West Side Story *† LANE & HARBURG The Begat from Finian’s Rainbow FLAHERTY & AHRENS Our Children from Ragtime *† GUETTEL Dividing Day from The Light in the Piazza† RODGERS & HART It Never Entered My Mind from Higher & Higher SONDHEIM Could I Leave You? from Follies

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LOEWE & LERNER How to Handle a Woman from Camelot ARLEN & MERCER Come Rain or Come Shine from St. Louis Woman BERNSTEIN & SONDHEIM Somewhere from West Side Story

THURS, JULY 25, 1:00PM VAIL INTERFAITH CHAPEL

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Jasper String Quartet J Freivogel, violin Sae Chonabayashi, violin Sam Quintal, viola Rachel Henderson Freivogel, cello

BARBER Adagio from String Quartet, Op. 11

BARTOK String Quartet No. 5 Allegro Adagio molto Scherzo: alla bulgarese Andante Finale: Allegro vivacez

20TH CENTURY MASTERS Two old but still-potent musical traditions lie behind Barber’s Adagio for Strings and Bartók’s String Quartet No. 5. The Adagio has become widely known in its version for string orchestra, but it originated as the slow movement of Barber’s String Quartet, composed when he was in Rome in 1936 and influenced by the austerity, modalism and introspection of the Renaissance sacred vocal music whose style and purpose emanated from St. Peter’s. (Barber said he never forgot standing just arm’s-length from the Sistine Chapel ceiling on a platform erected for restoration.) Bartók’s Fifth Quartet (1934), though newly composed, is rooted in the folk music of Eastern Europe — its phrases following elusive, non-traditional scale patterns and enlivened with tiny, florid ornaments; its rhythms propulsive, irregular, improvisatory; its themes fragmentary — but treated with a masterful thematic development, contrapuntal ingenuity and formal sophistication that rival Bach, Beethoven and the greatest masters of Western music.

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Béla Bartók

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NEW YORK PHILHARMONIC | THURS, JULY 25, 6:00PM

SUMMERTIME CLASSICS WITH BRAMWELL TOVEY

This Evening’s Performance Presented By: FRIENDS OF THE NEW YORK PHILHARMONIC Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

119

SUMMERTIME CLASSICS WITH BRAMWELL TOVEY AARON COPLAND [1900-1990] Four Dance Episodes from Rodeo (1942) The story of Copland’s ballet Rodeo is a simple one: a cowgirl, tough of hide but tender of heart, searches for — and finds — a man from the prairie whom she can invite to the Saturday night dance. Copland’s music reflects the plot’s folksiness and unaffected characters in its lean, uncluttered style, its quotations of American folk melodies, and its ebullient spirit. Buckaroo Holiday opens with a syncopated version of a descending scale punctuated by jazz-derived rhythms. Two folksongs, Sis Joe and If He’d Be a Buckaroo by Trade, provide the thematic material for the movement. Corral Nocturne is a modest, expressive song suffused with the moonlit stillness of the prairie. Saturday Night Waltz exudes an air of faded courtliness and manners-carefully-observed. For the Hoe-Down that closes the suite, Copland borrowed the traditional tunes Bonyparte and McLeod’s Reel to portray the foot-stomping, country fiddling, and swaggering bravado of this rousing Western square dance.

BRAMWELL TOVEY [BORN IN 1953] The Lincoln Tunnel Cabaret for Trombone and Orchestra (2006/ ORCH. 2013) The Lincoln Tunnel Cabaret (originally called Urban Cabaret) was written for [New York Philharmonic Principal Trombonist] Joseph Alessi’s appearance as guest soloist with the National Youth Brass Band of Great Britain in 2006. His virtuosity and wonderful personality endeared him enormously to the young musicians. The listener might imagine that Joe, who commutes daily from New Jersey to Manhattan in his stylish open-top sports car, gets stuck in traffic at the mouth of the Lincoln Tunnel and decides to get out his “horn” (as he calls it) and entertain the disgruntled crowd. In New York, anything can happen … Under a cocktail of jazz and minimalism, motives from the opening of the work provide the main musical 120

DID YOU KNOW? While in America, Dvořák learned about Spillville, an immigrant Czech-speaking farm community in northeastern Iowa. In May 1893, Dvořák packed up his family and set out by train to spend the summer in Spillville. Along the way the Dvořáks stopped in Chicago for The World’s Columbian Exhibition, where they marveled at the wonders of The White City, including new products introduced there like Cracker Jack, Juicy Fruit Gum and the Hamburger, as well as Ragtime music. The first electrically lit public streets, piped in fresh water from Wisconsin and the debut of the Ferris Wheel also must have been beyond comprehension. Sixty-eight years later, Dvořák’s son Otakar wrote a memoir about his boyhood trip to America, never forgetting the Iroquois “medicine men” he met in Spillville.“...My father was interested...in their songs and instruments...Father received photos from the Indians. These photos were among my father’s prize possessions.”

THURS, JULY 25, 6:00PM material. The soloist is put through many virtuosic hoops until a final cadenza brings the piece full circle. Like all traffic jams, this one seems to disperse quickly for no apparent reason.

ANTONÍN DVOŘÁK [1841-1904] Symphony No. 8 in G major, Op. 88 (1889)

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

You would probably have liked Dvořák. He was born a simple (in the best sense) man of the soil who retained a love of country, nature and peasant ways all his life. In his later years he wrote, “In spite of the fact that I have moved about in the great world of music, I shall remain what I have always been — a simple Czech musician.” Few passions ruffled his life — music, of course; the rustic pleasures of country life; the company of old friends; caring for his pigeons; and a child-like fascination with railroads. Milton Cross sketched him thus: “To the end of his days he remained shy, uncomfortable in the presence of those he regarded as his social superiors, and frequently remiss in his social behavior. He was never completely at ease in large cities, with the demands they made on him. He was happiest when he was close to the soil, raising pigeons, taking long, solitary walks in the hills and forests of the Bohemia he loved so deeply. Yet he was by no means a recluse. In the company of his intimate friends, particularly after a few beers, he was voluble, gregarious, expansive and good-humored.” His music reflected his salubrious nature, and the G major Symphony, in its warm emotionalism and pastoral contentment, mirrors its creator. It was composed during

NEW YORK PHILHARMONIC Bramwell Tovey, conductor Karen Herman, special guest conductor Joseph Alessi, trombone

SIBELIUS Finlandia, Op. 26 (excerpt) Karen Herman, special guest conductor

COPLAND Four Dance Episodes from Rodeo Buckaroo Holiday Corral Nocturne Saturday Night Waltz Hoe-Down

TOVEY The Lincoln Tunnel Cabaret for Trombone and Orchestra

– INTERMISSION – DVOŘÁK

Continued on page 183

Symphony No. 8 in G major, Op. 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo

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Jean Sibelius

NEW YORK PHILHARMONIC | FRI, JULY 26, 6:00PM

HOLST’S THE PLANETS

This Evening’s Performance Presented By: FRIENDS OF THE NEW YORK PHILHARMONIC Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

123

HOLST’S THE PLANETS JOHN ADAMS [BORN IN 1947] Short Ride in a Fast Machine (1986) John Adams is one of today’s most acclaimed composers. Audiences have responded enthusiastically to his music, and he enjoys a success not seen by an American composer since the zenith of Aaron Copland’s career: a recent survey of major orchestras conducted by the League of American Orchestras found John Adams to be the most frequently performed living American composer; he received the University of Louisville’s distinguished Grawemeyer Award in 1995 for his Violin Concerto; in 2003, he won the Pulitzer Prize for On the Transmigration of Souls, written for the New York Philharmonic in commemoration of the first anniversary of the World Trade Center attacks; from 2003 to 2007, Adams held the Debs Composer’s Chair at Carnegie Hall; in 2004, he was awarded the Centennial Medal of Harvard University’s Graduate School of Arts and Sciences “for contributions to society”; he was a 2009 recipient of the NEA Opera Award; he has been granted honorary doctorates from Cambridge, Harvard and Northwestern universities. Adams said of Short Ride in a Fast Machine “You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t?”

JEAN SIBELIUS [1865-1957] Violin Concerto in D minor, Op. 47 (1903, 1905) By 1903, when he was engaged on his Violin Concerto, Sibelius had already composed Finlandia, Kullervo, En Saga, Karelia Suite, The Swan of Tuonela and the first two symphonies, the works that established his international reputation. There were, however, some disturbing health worries threatening his musical fecundity. Just after the premiere of the Second Symphony in March 1902, Sibelius developed a painful ear infection that did not respond easily to treatment. Thoughts of the deafness of Beethoven and Smetana plagued him, and he feared he might be losing his hearing. (He was 37 at the time.) In June, he began having 124

DID YOU KNOW? Violinist Willy Burmester had the misfortune of not premiering the Sibelius Violin Concerto not just once, but twice. Sibelius originally dedicated his Violin Concerto to Burmester, who promised to play it in Berlin. The premiere was set for March of 1904 but financial woes pressed the composer toward an earlier performance date. The new premiere date necessitated a different soloist, and the first performance was considered a disaster because the work was rushed to completion and the substitute soloist wasn’t up to the task. The reworked Concerto was then set for its second premiere with Burmester in Berlin, but again he was unavailable. Again the performance went ahead without him, and Burmester was so offended that he refused ever to play the concerto. In the 1930s, the great Jascha Heifetz dusted off the neglected concerto and showed the world what it had been missing. The rest is history.

FRI, JULY 26, 6:00PM trouble with his throat, and he jumped to the conclusion that his health was about to give way. Though filled with fatalistic thoughts at that time, he put much energy into the Violin Concerto. The ear and throat ailments continued to plague him until 1908, when a benign tumor was discovered. It took a dozen operations until it was successfully removed, and the anxiety about its return stayed with him for years. (Sibelius, incidentally, enjoyed sterling health for the rest of his days and lived to the ripe age of 91, a testament to the efficacy of his treatment.) The Violin Concerto’s opening movement employs sonata form, modified in that a succinct cadenza for the soloist replaces the usual development section. The exposition consists of three theme groups — a doleful melody announced by the soloist over murmuring strings, a yearning theme initiated by bassoons and cellos with rich accompaniment, and a bold, propulsive strophe in march rhythm. The development-cadenza is built on the opening motive and leads directly into the recapitulation of the exposition themes. The second movement is among the most avowedly Romantic music in any of Sibelius’ works for orchestra. The finale launches into a robust dance whose theme the esteemed English musicologist Sir Donald Tovey thought could be “a polonaise for polar bears.” The form is sonatina, a sonata without development, here employing two large theme groups. Continued on page 183

GERALD R. FORD AMPHITHEATER VAIL

SYMPHONY SERIES

BEFORE THE MUSIC: Pre-Concert Lecture Marc Shulgold Betty Ford Alpine Gardens, 5:00PM

NEW YORK PHILHARMONIC Bramwell Tovey, conductor Gil Shaham, violin Women of the Evans Choir Catherine Sailer, director

ADAMS Short Ride in a Fast Machine

SIBELIUS Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro ma non tanto

– INTERMISSION – HOLST

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The Planets, Op. 32 Mars, the Bringer of War: Vivace Venus, the Bringer of Peace: Adagio Mercury, the Winged Messenger: Vivace Jupiter, the Bringer of Jollity: Allegro giocoso — Andante maestoso Saturn, the Bringer of Old Age: Adagio Uranus, the Magician: Allegro Neptune, the Mystic: Andante

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Gustav Holst

SUN, JULY 28, 6:00PM THE MAYER RESIDENCE CORDILLERA VALLEY

LINDA & MITCH HART

SOIRÉE SERIES

Jasper String Quartet J Freivogel, violin Sae Chonabayashi, violin Sam Quintal, viola Rachel Henderson Freivogel, cello Guest Members of the New York Phillharmonic Rémi Pelletier, viola Sumire Kudo, cello

BRAHMS Sextet for Two Violins, Two Violas and Two Cellos in B-flat major, Op. 18 Allegro ma non troppo Andante, ma moderato Scherzo: Allegro molto Rondo: Poco Allegretto e grazioso

STRINGS SOIRÉE: AN EVENING WITH THE JASPER STRING QUARTET The Principality of Lippe-Detmold, midway between Frankfurt and Hamburg, was a leading center of 19th-century German music. The reigning Prince, Leopold III, had a taste for music, which he was able to gratify by employing a permanent orchestra of 45 players that presented a broad spectrum of works from Mozart through Wagner. A great deal of chamber music was played by the principals of the orchestra, a choir was formed from members of the household and townsfolk, and guest artists were often asked to visit the court to perform with the resident forces. In 1857 the 24-year-old Johannes Brahms was appointed director of the chorus and orchestra at Lippe, and three years later he was inspired by the court’s dedicated music-making and bucolic surroundings to compose his String Sextet in B-flat major, a work of lyricism and sunny spirit that is one of the first evidences of his mature genius.

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Johannes Brahms

Barbie and Tony Mayer Crazy Mountain Brewing Company Kent Pettit Photography The Left Bank Restaurant Vintage Magnolia West Vail Liquor Mart 126

MON, JULY 29, 6:00PM THE CHAPEL AT BEAVER CREEK

FREE CONCERT SERIES

MUSIC OF BEETHOVEN, BARTÓK & KERNIS

Jasper String Quartet J Freivogel, violin Sae Chonabayashi, violin Sam Quintal, viola Rachel Henderson Freivogel, cello

“Our quartet’s love of Beethoven Op. 59 No. 3 began as students when we cooked dinner to a Cleveland Quartet LP of the piece. The music is so joyous that it inspired us to heartily clink our glasses together at the peaks of each climbing cascade in the first movement. We were giddy with excitement and we had not even reached the great fugue finale! This instant connection with a piece also arose in 2010 with Kernis’ Pulitzer Prize-winning String Quartet No. 2. It has a wonderful complexity that works much like a kaleidoscope - unveiling its beauty with each musical turn. Kernis took inspiration from the great finale of Beethoven’s Op. 59 No. 3, played on this program, and the two works are a natural pairing. The addition of Bartok’s Fifth String Quartet, in a program showing influences on Aaron Jay Kernis, was easy as well. Both begin with ‘overture-like’ driving movements…and feature mysterious and beautiful chorales at the heart of the slow movements. Kernis’ music pushes our art forward by drawing inspiration from the masterworks of previous centuries.” – J Freivogel

BARTOK String Quartet No. 5 I. Allegro

KERNIS String Quartet No. 2 “musica instrumentalis” I. Overture

BARTOK String Quartet No. 5 II. Adagio molto

KERNIS String Quartet No. 2 “musica instrumentalis” II. Sarabande Double, Sarabande Simple

BEETHOVEN String Quartet Op. 59 No. 3, in C major IV. Presto

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Aaron Jay Kernis 127

TUES, JULY 30, 1:00PM VAIL INTERFAITH CHAPEL

FREE CONCERT SERIES

JOYCE YANG PERFORMS RACHMANINOFF & SCHUMANN

Joyce Yang, piano

SCHUMANN Fantasiestücke (Fantasy Pieces), Op. 12

RACHMANINOFF Sonata No. 2 in B-flat minor, Op. 36 Allegro agitato Non allegro Allegro molto

Schumann’s 1837 Fantasiestücke were composed in Leipzig during the turbulent time when his heated passion for Clara Wieck, a brilliant piano prodigy, was being thwarted by the girl’s father, who shipped her off to Dresden and forbid her further personal contact with the aspiring musician of slim prospects and volatile personality. The Fantasiestücke suspended some of Schumann’s ardent feelings of that time between the expressive poles of his personal and creative nature — the impetuous and extroverted “Florestan” and the dreamy and intimate “Eusebius.” Rachmaninoff’s Second Piano Sonata, on the other hand, was the product of a well-established and almost too-successful musician who had to leave the commitments and distractions of Moscow in 1912 to find a secluded place to work. He rented an apartment on the Piazza di Spagna in Rome that Tchaikovsky had once made a similar creative retreat, and there completed one of his most ambitious piano compositions.

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Joyce Yang

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SILVER OAK & TWOMEY SERIES

- RESONANCES BETWEEN OLD & NEW “I was thrilled by the success of our first Silver Oak and Twomey Series at the Donovan Pavilion last summer. We set out to create a new atmosphere for listening – comfortable, elegant, intimate and enveloped in the beauty of the outdoors. Bringing the performers in close proximity with the audience and encouraging both to mingle over great food and wine creates a sense of openness, receptivity and good spirit. This is for me the very essence of performance, particularly in the magical realm of chamber music.

culminates with Bach’s iconic Goldberg Variations. The Goldbergs consist of an Aria and 30 variations – a format that Bach did not often employ. Glenn Gould’s 1955 debut recording of the work on Columbia Masterworks sparked the Goldbergs’ widespread fame. The final concert on August 1 pairs two major works of the chamber music repertoire that may seem worlds apart, yet dozens of concert programs share these two giants of music – Wolfgang Amadeus Mozart and Olivier Messiaen. We hope, by opening with the light-filled ebullience of Mozart’s cherished Clarinet Quintet and closing with the utterly profound and monumental Quartet for the End of Time, that the audience will experience humanity’s inner contrasts of light and dark, and perhaps take away another glimpse into music’s transcendent powers.” -- Anne-Marie McDermott

Musically my goal is to share with audiences the passion that my colleagues and I have for discovering the resonances and interplay between what is considered “new” in music to that which we now call “old” - that revered body of work that stretches back at least five centuries. I want our audiences to hear from the musicians, both in their playing and their own voices, why new and recent music is not separate for them from the past. I want to create an ongoing dialogue with our audiences to understand how great music from all eras connects with our present day experience. The Silver Oak and Twomey Series opening night performance on Tuesday, July 30, spotlights the Jasper String Quartet. In juxtaposing the passionate and deeply moving Second String Quartet of Pulitzer Prize winning American composer Aaron Jay Kernis with Beethoven’s Op. 59, No. 3, the Jasper will share with audiences the relationship between two vastly different sounding works written in 1806 and 1997. The second concert on Wednesday, July 31 is an all solo piano evening featuring Joyce Yang, Stephen Prutsman, and me. The program

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TUES, JULY 30, 7:30PM DONOVAN PAVILION VAIL

SILVER OAK & TWOMEY SERIES

Jasper String Quartet J Freivogel, violin Sae Chonabayashi, violin Sam Quintal, viola Rachel Henderson Freivogel, cello

BARBER’S ADAGIO, KERNIS & BEETHOVEN

BARBER

SAMUEL BARBER [1910-1981] Adagio from the Quartet, Op. 11 (1936)

Adagio from the Quartet, Op. 11

KERNIS Quartet No. 2, “musica instrumentalis” Overture: Prelude — Air — Corrente — Stretto — Canzonetta — Musette — Canzonetta Piccola — Ritornelli Diversi e con Variazioni Sarabande Double, Sarabande Simple Double Triple Gigue Fugue (after Beethoven)

– INTERMISSION – BEETHOVEN Quartet in C major, Op. 59, No. 3, “Razumovsky” Andante con moto — Allegro vivace Andante con moto quasi Allegretto Menuetto: Grazioso — Allegro molto

In 1936, Artur Rodzinski gave the American premiere of Samuel Barber’s Symphony in One Movement in Cleveland and played it the following year at the Salzburg Festival, making it the first American work to be heard at that prestigious event. The chief conductor of the Salzburg Festival at that time was Arturo Toscanini, who was to begin his tenure with the NBC Symphony later that year. Toscanini asked Rodzinski if he could suggest an American composer whose work he might program during the coming season, and Rodzinski advised that his Italian colleague investigate the music of the 27-year-old Barber. By October, Barber had completed and submitted to Toscanini the Essay No. 1 for Orchestra and an arrangement for string orchestra of the slow movement from the Quartet (Op. 11, in B minor) that he had written in Rome in 1936 — the Adagio for Strings. Toscanini accepted the pieces for performance, and broadcast them on November 5, 1938 with the NBC Symphony. The Adagio, with its plaintive melody, rich modalism, austere texture and mood of reflective introspection, was an instant success and remains among Barber’s greatest legacies.

Continued on page 193

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Samuel Barber This project funded in part by a generous grant from the Town of Vail.

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WED, JULY 31, 7:30PM DONOVAN PAVILION VAIL

SILVER OAK & TWOMEY SERIES

BACH’S GOLDBERG VARIATIONS BY CANDLELIGHT

Anne-Marie McDermott, piano Pedja Muzijevic, piano Stephen Prutsman, piano Joyce Yang, piano

D. SCARLATTI DOMENICO SCARLATTI [1685-1757] Two Sonatas

Sonata in D major, L. 14 Sonata in A minor, L. 429 Joyce Yang

Domenico Scarlatti, born in Naples in the same year as Handel and Bach, was the son of the celebrated Italian opera composer Alessandro Scarlatti. A pupil of his father, Domenico held important positions in Naples and Rome, including that of maestro di cappella at the Vatican. In addition to his sacred music, he was also known for his operas and his harpsichord playing. Around 1719, Scarlatti was engaged as music master by Princess Maria Barbara of Portugal and moved to Lisbon. When Maria Barbara married the heir to the Spanish throne in 1729, Scarlatti accompanied her to Madrid, where he spent the rest of his life, helping to found the Spanish school of instrumental composition. His works in Madrid were confined almost exclusively to instrumental music, notably some 600 sonatas composed for Maria Barbara.

CURRIER Scarlatti Cadences Brainstorm Joyce Yang

PRUTSMAN Dog Dark Pearl Stephen Prutsman

BEETHOVEN Sonata No. 14 in C-sharp minor (Sonata quasi una Fantasia), Op. 27, No. 2, “Moonlight” Adagio sostenuto — Allegretto — Presto agitato Stephen Prutsman

– INTERMISSION – J.S. BACH

SEBASTIAN CURRIER [born in 1959] Scarlatti Cadences (1977) and Brainstorm (1994) Grawemeyer Award-winning American composer Sebastian Currier wrote, “Scarlatti Cadences was written for Emma Tahmiziàn. The Continued on page 194

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Aria with Diverse Variations, BWV 988, “Goldberg Variations” Aria Variation 1, Variation 2, Variation 3: Canon at the Unison, Variation 4, Variation 5, Variation 6: Canon at the Second, Variation 7, Variation 8, Variation 9: Canon at the Third, Variation 10: Fughetta, Variation 11, Variation 12: Canon at the Fourth, Variation 13, Variation 14, Variation 15: Canon at the Fifth, Variation 16: Ouverture, Variation 17, Variation 18: Canon at the Sixth, Variation 19, Variation 20, Variation 21: Canon at the Seventh, Variation 22: Alla breve, Variation 23, Variation 24: Canon at the Octave, Variation 25, Variation 26, Variation 27: Canon at the Ninth, Variation 28, Variation 29, Variation 30: Quodlibet Aria Anne-Marie McDermott

THURS, AUGUST 1, 1:00PM VAIL INTERFAITH CHAPEL

FREE CONCERT SERIES

Pedja Muzijevic, piano

CHOPIN Twenty-four Preludes, Op. 28

Frédéric Chopin

SOLO PIANO MUSIC OF CHOPIN The essence of the musical art — the ineffable balance of head and heart, of intellect and emotion — is embodied in Chopin’s Preludes. Liszt said that these pieces “cradle the soul in golden dreams and elevate it to the regions of the ideal,” but undergirding their emotion is a rigorous organization of both atomistic detail and overall architecture. Each movement concerns itself with just a single musical idea, presenting it, varying it, seeking its multiplicity of expressive shadings by turning it this way and that, as a jeweler would hold a precious stone to the light to assess its many facets. American philosopher Susanne Langer posited that the artist’s principal job is “the search for significant form” in which to express emotion. There is no better example in all of music of Langer’s maxim than Chopin’s Preludes — tiny, perfect sketches of the heart’s infinite moods realized through Olympian purity of thought.

“ Sometimes I can only groan, suffer and pour out my despair at the piano.” Frédéric Chopin

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THURS, AUGUST 1, 7:30PM DONOVAN PAVILION VAIL

SILVER OAK & TWOMEY SERIES

MOZART & MESSIAEN’S QUARTET FOR THE END OF TIME

Anne-Marie McDermott, piano Jasper String Quartet J Freivogel, violin Sae Chonabayashi, violin Sam Quintal, viola Rachel Henderson Freivogel, cello Stephen Williamson, clarinet

WOLFGANG AMADEUS MOZART [1756-1791] Quintet for Clarinet, Two Violins, Viola and Cello in A major, K. 581 (1789)

MOZART

Mozart’s greatest compositions for clarinet were inspired by the technical accomplishment and expressive playing of Anton Stadler, principal clarinetist of the Imperial Court Orchestra in Vienna and fellow Mason, for whom he wrote not only this Quintet, but also the Trio for Piano, Clarinet and Viola (“Kegelstatt,” K. 498), the clarinet solos in the opera La Clemenza di Tito, the clarinets parts added to the second version of the G minor Symphony (K. 550), and the flawless Clarinet Concerto (K. 622), his last instrumental work, completed just two months before his death. The Quintet opens with a theme that is almost chaste in its purity and yet is, somehow, deeply introspective and immediately touching; the second theme is limpid and sweetly chromatic. The Larghetto achieves a state of exalted sublimity. The Menuetto has two trios: a somber, minor-mode essay for strings alone and lilting, Ländler-like strain. The variations-form finale is more subdued and pensive than virtuosic and flamboyant. Continued on page 195

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Quintet for Clarinet, Two Violins, Viola and Cello in A major, K. 581 Allegro Larghetto Menuetto Allegretto con Variazioni

– INTERMISSION – MESSIAEN Quartet for the End of Time for Violin, Clarinet, Cello and Piano Liturgy of the Crystal: Very moderate, in harmonious, sparkling clouds Vocalise, for the angel who announces the end of time: Robust, moderate Abyss of the birds: Very slow, expressive and sad Interlude: Determined, moderate, a little lively Praise to the eternity of Jesus: Infinitely slow, ecstatic Dance of fury, for seven trumpets: Deliberate, vigorous, granite-like, a little lively Jumble of the rainbow, for the angel who announces the end of time: Dreamy, almost slow Praise to the immortality of Jesus: Extremely slow and tender, ecstatic

SAT, AUGUST 3, 6:00PM CONCERT HALL VAIL MOUNTAIN SCHOOL

CHAMBER MUSIC SERIES

Anne-Marie McDermott, piano Pedja Muzijevic, piano Stephen Prutsman, piano Joyce Yang, piano

MOZART/ ARR. BUSONI Overture to The Magic Flute for Two Pianos, K. 620 Pedja Muzijevic and Stephen Prutsman

ARENSKY Suite No. 1 for Two Pianos, Op. 15 Romance, Waltz & Polonaise Anne-Marie McDermott & Joyce Yang

ZIMMERLI Crazy Quilt for Two Pianos Stephen Prutsman & Anne-Marie McDermott

SAINT-SAËNS/ ARR. GUIRAUD Danse Macabre for Two Pianos, Four Hands, Op. 40 Pedja Muzijevic and Joyce Yang

— INTERMISSION — J.S. BACH Concerto for Four Pianos in A minor, BWV 1065 Allegro Largo Allegro

FOUR PIANO BASH WOLFGANG AMADEUS MOZART [1756-1791] Arranged by Ferruccio Busoni (1866-1924) Overture to The Magic Flute for Two Pianos, K. 620 (1791) Early in 1791, Mozart was deeply in debt, troubled by the disinclination of the Viennese public to embrace his recent music and concert appearances, and suffering seriously from the kidney failure that would take his life before the year was out, so when Emanuel Schickaneder, a slightly shady actor and theater entrepreneur, suggested in May that they collaborate on a new opera that was sure to be a hit, the composer jumped at the chance. They chose to write a Singspiel called Die Zauberflöte — The Magic Flute — a comic musical with spoken dialogue based on a story from a 1786 collection of Oriental fairy-tales called Dschinnistan. The Overture to The Magic Flute, rich in sonority, concise in construction, profligate in melodic invention and masterful in harmonic surety, balances the seemingly polar opposites of the opera — profundity and comedy — with surpassing ease and conviction. Continued on page 196

CZERNY Quartet Concertant for Four Pianos, Op. 230 Introduction Il Pirata, Act II: Ma non fia sempre odiata (by V. Bellini) La Muette de Portici, Act II: Barcarolle: O seht, wie herrlich strahlt der Morgen (by D.F.E. Auber) La Muette de Portici, Act IV: Air and Cavatine: Du einz’ger Troster aller Armen (by D.F.E. Auber) Violin Concerto No. 2 in B minor, Op. 7: III. Rondo, La Campanella (by N. Paganini) La Muette de Portici, Act I: Aria: O Tag voll sel’ger Lust (by D.F.E. Auber) Arie von Giuditta Pasta (1797-1868) (by V. Bellini) Le Petit Tambour (by Anonymous) Othello, Act I: Mein Herz nun ergluhet von Mut und Verlangen (by G. Rossini) La Muette de Portici, Act IV: Geehrt, gepriesen sei der Held (by D.F.E. Auber) Finale

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NATIONAL REPERTORY ORCHESTRA

WOMEN OF THE EVANS CHOIR

Carl Topilow, Music Director Nicholas Hersh, Assistant Conductor VIOLIN

Hugh Palmer, co-concertmaster Jessica Ryou, co-concertmaster Kazato Inouye, assistant concertmaster Hanna Cooper, co-principal second Mary Edge, co-principal second Andrew Corral Kelsey Craggett Aniela Eddy Elizabeth Ehrlich Kyle Gilner Chang Ji Steffani Kitayama Natalie Koob Oliver Kot Sean Larkin Alexander Lee Marilyn Marks Nataliya Nizhalova Maria Orosco Chloe Park Hannah Reitz Joseph RousosHammond Helen Rowe Nicole Schroeder Danica Smith Paul Trapkus Dillon Welch Katherine Williamson

VIOLA

Evan Vicic, principal Hyojoo Uh, assistant principal Nicole Christian Michael Jones Bryan Lew Michael Sinni

Jordan Tarantino Ying-Chen Tu Jiawei Yan

CELLO

Sean Hawthorne, co-principal Sarah Markle, co-principal Nicholas Bollinger Drew Comstock Michael Frigo Rylie Harrod Catherine Lukits Zoë Moskalew Anna ThompsonDanilova

BASS

BASSOON

Emeline Chong Sean Gordon Brittany Harrington Danielle Osbun Philip Browne Joshua Horne Alex Laskey Drew Mangus Caitlyn Smith

TRUMPET

FLUTE

TUBA

Michael Avitabile Nave Graham Mary Kerr Elizabeth Lu

OBOE

David Barford Timothy Daniels Gina Ford Daniel Rios

CLARINET

Zack Gauvain Lin Ma Samuel Marques Andrew Sandwick

Gracie Carr Teresa Castillo Melissa Flail Danielle Gillespie Ellen Leslie Kelsey Popovich Jill Schroeder Ana Spadoni

MEZZO-SOPRANO

Breanne Cepeda Jennifer Ferguson JoAnn Gudvangen-Brown Kim Schultz Cassidy Smith Cara White Myranda Whitesides Donna Wickham

SUMMER STAFF

Nina Dvora Daniel Egan Mark Grisez Eriko Shibata

TROMBONE

SOPRANO

Douglas Adams, CEO/COO Cecile L. Forsberg, Artistic & Operations Director Julie Chandler, Director of Marketing & Development Kathleen Clabby, Development Associate Christina McNally, Office Manager

HORN

Luke Stence, principal Benjamin Crofut Joshua DePoint Taddes Korris Dario Olachea Russell Thompson

Catherine Sailer, Conductor

STAFF

Grace Haynes, Librarian Laurel Diskin, Assistant Librarian Johanna Groh, Library Intern Steve Giles, Production Manager Jonathan Cohen, Stage Manager Harrison Bryant, Production & Operations Intern Paul Miller, Orchestra Manager Emily Tuan, Personnel Intern Jeff Zahos, Recording Engineer John O’Conner, Video Production Manager Matthew Parr, Development Intern Amy Skjerseth, Marketing & PR Intern Emily Zacek, Artistic & Education Intern

Steven Holloway Ryan Miller

BASS TROMBONE Christopher Brown Joshua Devries

TIMPANI Elliot Beck

PERCUSSION

Gary Donald Pedro Fernandez Matthew Howard Robert Kistler

HARP

Shelly (Xiao) Du

PIANO

Yu (Dean) Zhang

COLORADO SYMPHONY ORCHESTRA CHORUS Duain Wolfe, Chorus Founder and Director Mary Louise Burke, Associate Chorus Director Eric Israelson, Chorus Manager SOPRANO I

René M. Atchison Jamie Brown Lindsay R. Campbell Denelda Causey LeEtta H. Choi Gretchen Colbert Kate A. Emerich Sydney B. Fisher Lisa A. Fultz Jenifer D. Gile Lori C. Gill Susan Graber Jennifer Harpel Lynnae C. Hinkley Katie Iverson Cathy Look Callista Medland Barbara A. Porter Lori A. Ropa Camille S. Smith Nicole J. Stegink Judy Tate Linda K. Wood

SOPRANO II

Claire E. Benson Jude Blum Margot L. Brauchli

Ruth A. Coberly Kerry H. Cote Claudia Dakkouri Sarah Dirksen Esther J. Gross Connie Hilgefort Shelley E. Joy Lisa D. Kraft Heidi S. Lynch Ilene L. Nova Christine M. Nyholm Jeannette R. O’Nan Donneve S. Rae Shirley J. Rider Lynne M. Snyer Leslie D. Ufford Susan K. Von Roedern Marcia L. Walker Sherry L. Weinstein

ALTO I

Priscilla P. Adams Kay A. Boothe Kimberly Brown Gwen P. Cavanaugh Jayne M. Conrad Jane A. Costain Aubri K. Dunkin Jamie L. Earhart

Barbara Porter, Assistant Chorus Manager Laurie Kahler, Principal Accompanist

Kirsten D. Franz Sharon R. Gayley Daniela Golden Elijia Gonzales Gabriella D. Groom Pat Guittar Melissa J. Holst Kaia M. Hoopes Carol E. Horle Amy Kurtzweil Melinda Mattingly Susan McWaters Ginny Passoth Elizabeth Surles Mary B. Thayer Heather Wood Judith M. Wyatt

Barbara J. Marchbank Beverly D. Mendicello Kelly T. Millar Jane B. Moore Leslie M. Nittoli Deborah R. Norris Carol Rust Pamela R. Scooros Ginny Trierweiler

TENOR I

Joel C. Gewecke Frank Gordon, Jr. Forrest E. Guittar, Jr. David K. Hodel Timothy W. Nicholas William J. O’Donnell William G. Reiley Joshua M. Smith John P. Van Milligan Ryan Waller Kenneth A. Zimmerman

ALTO II

Marilyn B. Adkins Martha E. Cox Sheri L. Daniel Barbara R. Deck Carol A. Eslick Olivia Isaac Brandy H. Jackson Ellen D. Janasko Carole A. London Joanna K. Maltzahn

TENOR II

Gary E. Babcock Mac Bradley Dusty R. Davies Stephen C. Dixon Ted Fiorino

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John H. Gale Tom P. Kampman Kenneth E. Kolm Brett A. Kostrzewski Christian J. Martinez Brandt J. Mason Tom A. Milligan James L. Pettigrew Ronald L. Ruth Jerry E. Sims Jeffrey Wolf Daniel L. Wyatt

BASS I

John G. Adams Grant H. Carlton George Cowen Robert E. Drickey Benjamin Eickhoff Jeremy Francisco Matthew P. Gray Douglas D. Hesse Donald Hume Thomas J. Jirak Daniel A. Luethke Michael D. Madsen Justin C. Mavity Frank Y. Parce Kenneth Quarles

Trevor B. Rutkowski Benjamin Schwartz Chad Thofson Brian W. Wood

BASS II

Dennis N. Bangtson Perry W.Bell Jonathan S. Fletcher Bob Friedlander John A. Gallagher Bob Ireland Eric W. Israelson Wendell Iverson Terry L. Jackson Roy A. Kent Andrey Korchevskiy Mike A. Kraft Robert F. Millar, Jr Kenneth Moncrieff Greg A. Morrison Chuck Nelson Eugene J. Nuccio John R. Phillips Russell R. Skillings Wil W. Swanson David F. Ufford Miles D. Williams

Bruce Adolphe (Composer/Speaker) Bruce Adolphe is a prolific composer, author of several books on music, innovative educator, and a versatile performer. He serves as resident lecturer and director of family concerts for the Chamber Music Society of Lincoln Center, founding creative director of The Learning Maestros, and comic keyboard quiz-master of Performance Today’s weekly public radio program Piano Puzzlers. In 2008 Adolphe was named composerin-residence at the Brain and Creativity Institute in Los Angeles, a neuroscience research center directed by Antonio and Hanna Damasio. (bruceadolphe.com)

Joseph Alessi (Trombone) Joseph Alessi, the New York Philharmonic’s Principal Trombone (The Gurnee F. and Marjorie L. Hart Chair), often performs as concerto soloist with the Orchestra. A graduate of The Curtis Institute of Music, he is an active soloist, recitalist, and chamber performer, appearing with ensembles and at festival from The Hague to Tokyo. Mr. Alessi has given master classes and recitals worldwide. He is the recipient of the 2002 International Trombone Association Award, and is a founding member of the Summit Brass ensemble at the Rafael Mendez Brass Institute in Tempe, Arizona.

Antonia L. Banducci (Speaker) Antonia L. Banducci, Associate Professor of Musicology and Chair of the Department of Musicology at the University of Denver’s Lamont School of Music, specializes in French Baroque opera. A Fulbright Scholar, Banducci continues her work, first presented in a national award-winning PhD dissertation from Washington University in St. Louis. She has published her work in national and international journals and has just completed a 3-year term as the Society for Seventeenth-Century Music’s Secretary. Banducci particularly enjoys teaching opera history courses, beginning with the earliest operas to the most contemporary. Alessio Bax (Piano) Alessio Bax won first prizes at the Leeds and Hamamatsu International Piano Competitions, and is a recipient of a 2009 Avery Fisher Career Grant. Mr. Bax’s recording, Rachmaninov: Preludes and Melodies, was named American Record Guide “2011 Critics’ Choice.” His discography also includes Bach Transcribed and Baroque Reflections (Gramophone “Editor’s Choice”). Bax graduated at the age of 14 with honors from the conservatory in his hometown, Bari, Italy. A Steinway artist, he moved to New York City in 1994 and currently resides there with his wife, pianist Lucille Chung. (alessiobax.com)

Jonathan Bellman (Speaker) Jonathan Bellman is Head of Academic Studies in Music at the University of Northern Colorado, where he has taught for twenty years. His main interest is music of the Romantic era, especially the piano repertoire; his books include Chopin’s Polish Ballade (2010), The Style Hongrois in the Music of Western Europe (1993), and an edited anthology, The Exotic in Western Music (1998). Bellman has also published articles in many different musicology journals, nationally and internationally, and occasionally still performs as a pianist.

Carter Brey (Cello) Carter Brey, the New York Philharmonic’s Principal Cello (The Fan Fox and Leslie R. Samuels Chair), has appeared with most of the major American orchestras, with the Tokyo and Emerson String Quartets and at festivals from Spoleto, Italy to Santa Fe. His honors include the Rostropovich International Cello Competition, Gregor Piatigorsky Memorial Prize, and Avery Fisher Career Grant. He has recorded with pianists Garrick Ohlsson and Christopher O’Riley. Mr. Brey was educated at the Peabody Institute and at Yale University. His cello is a 1754 J.B. Guadagnini made in Milan.

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Alex Brown (Piano) A member of Paquito D’Rivera’s ensemble since 2007, Alex Brown shared in the 2010 Grammy nomination for D’Rivera’s album, Jazz-Clazz. He graduated in 2009 with a Bachelor of Music from New England Conservatory, where he studied with Danilo Perez and Charlie Banacos. Brown is influenced by classical, rhythm & blues, hip-hop, AfroCaribbean and Brazilian styles, and has appeared at Jazz at Lincoln Center’s Rose Theater, Birdland, the Blue Note in New York (and Tokyo), Blues Alley in Washington DC, the Telluride Jazz Celebration and Israel’s Red Sea Jazz Festival. (alexbrownmusic.com)

Calder Quartet Comprised of Benjamin Jacobson, Violin; Andrew Bulbrook, Violin; Jonathan Moerschel, Viola; and Eric Byers, Cello, the Calder Quartet is known for its boundary-defying repertoire and collaborations. The Calder is at home playing the standard string quartet repertoire (from Mozart to Bartók and beyond), working on scores by composers such as Thomas Adès, Terry Riley and Christopher Rouse, appearing with indie rock bands, creating multi-media works, commissioning new music and recording. In spring of 2013 the group recorded Mozart Piano Concertos for string quartet and piano with Anne-Marie McDermott. (calderquartet.com)

Cantus Comprised of Aaron Humble, Paul Rudoi, Gary Ruschman, Shahzore Shah, David Walton, tenors; Adam Reinwald and Matthew Tintes, baritones; Chris Foss and Timothy Takach, basses, Cantus is recognized as one of America’s finest professional male vocal ensembles. The ensemble performs more than 70 concerts each year both in national and international touring, as well as at home in Minneapolis-St. Paul. Recently Cantus made its first trip to the Middle East with appearances in Muscat, Oman and Dubai. Bravo! Vail is delighted to have Cantus back after their 2012 debut. (cantussings.org)

Karen Cargill (Mezzo-soprano) Scottish mezzo-soprano Karen Cargill studied at the Royal Scottish Academy of Music and Drama, Glasgow; the University of Toronto and the National Opera Studio, London. She was a joint winner of the 2002 Kathleen Ferrier Award, and has appeared at London’s Wigmore Hall in recital. Future plans include a Carnegie Hall debut, and recitals with Sally Matthews at the Concertgebouw, Amsterdam and at Oper Stuttgart. In addition to concert work, Cargill’s calendar is filled with major opera house engagements including Covent Garden, the English National Opera and the MET.

Michael Chertock (Piano) Pianist Michael Chertock has fashioned a successful career as an orchestral soloist, collaborating with conductors such as James Conlon, Jaime Laredo, Keith Lockhart, Erich Kunzel and Andrew Litton. His many orchestral appearances include solo performances with the Philadelphia Orchestra, Orchestre Symphonique de Montréal, Toronto Symphony, Baltimore Symphony, Naples Philharmonic, Detroit Symphony, Chattanooga Symphony, Utah Symphony, Oregon Symphony, Indianapolis Symphony and the Dayton Philharmonic. (michaelchertock.net)

Cirque de la Symphonie Cirque de la Symphonie brings the magic of cirque to the music hall through a fusion of cirque and orchestra. It showcases aerial flyers, acrobats, contortionists, dancers, jugglers, balancers and strongmen. These accomplished veterans include world record holders, gold-medal winners and Olympians. Co-founders Alex Streltsov and Bill Allen created the concept of cirque paired with symphony in 1998 in a special PBS production with the Cincinnati Pops. Streltsov, a circus veteran from Moscow, is the only aerialist to have performed with the Bolshoi Ballet. (cirquedelasymphonie.com)

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Jeff Clayton (Saxophone) Jeff Clayton studied oboe at California State University and has toured with Stevie Wonder, and recorded with Gladys Knight, Kenny Rogers, Michael Jackson, Patti Labelle, and Madonna. With his brother John Clayton he founded The Clayton Brothers in 1977, later forming the Clayton-Hamilton Jazz Orchestra with Jeff Hamilton. He has worked with Frank Sinatra, Sammy Davis Jr., Ella Fitzgerald, Woody Herman, Lionel Hampton, Ethan Smith, and Lena Horne, and played in the Count Basie Orchestra under Thad Jones. His 2009 recording, Brother To Brother, received a Grammy nomination. (jefferyclaytonjazz.com)

Colorado Symphony Orchestra Chorus (CSOC) (Duain Wolfe, Director) Grammy Award winner Duain Wolfe is the founder-director of the Colorado Symphony Orchestra Chorus. He also serves as director of the Chicago Symphony Chorus, a post he was appointed in 1994 by Daniel Barenboim to succeed Margaret Hillis. He has developed the CSOC into a nationally respected ensemble. Comprised of over 200 volunteers, including some 20 charter members, the chorus and Duain Wolfe undertook a 25th anniversary tour to three countries presenting Verdi’s Requiem in Budapest, Vienna, Litomysl and Prague. (cso.org for Duain Wolfe) (coloradosymphony.org for Colorado Symphony Orchestra Chorus.) Paquito D’Rivera (Composer/Clarinet) Paquito D’Rivera is celebrated both for his artistry in Latin jazz and achievements as a classical composer. Winner of 11 Grammy awards with more than 30 solo albums, D’Rivera has performed with most of the world’s greatest orchestras and solo artists, including Yo-Yo Ma. An uncommonly versatile artist, he is also the author of two books: My Sax Life, published by Northwestern University Press, and a novel, Oh, La Habana, published by MTeditores, Barcelona. In addition, he is the winner of numerous awards and honors. (paquitodrivera.com)

Evans Choir (Catherine Sailer, Director) The Evans Choir is comprised of professional singers as well as students from the University of Denver Lamont School of Music. Under the direction of founder-conductor Catherine Sailer (the university’s Director of Choral Studies) the ensemble performs repertoire from the Renaissance to the avant-garde. Sailer conducts the Lamont Chorale, Lamont Women’s Chorus and is the Associate Conductor of the Colorado Ballet Orchestra. She is a past winner of Chorus America’s Robert Shaw Conducting Fellowship and the American Choral Director’s Association Conducting Competition.

Rafael Frühbeck de Burgos (Conductor) A regular guest with North America’s top orchestras, Rafael Frühbeck de Burgos conducted the New York, Boston, Los Angeles, Cincinnati, Pittsburgh, Detroit, and Toronto Symphony Orchestras in the 2012-13 season. He appears annually at the Tanglewood Music Festival and regularly with the Chicago, National, and Philadelphia orchestras. Born in Burgos, Spain, Maestro Frühbeck de Burgos studied violin, piano, music theory and composition at the conservatories in Bilbao and Madrid, and conducting at Munich’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. (cami.com) Alan Gilbert (Conductor) Music Director of the New York Philharmonic since 2009, Alan Gilbert has ushered in a new era through initiatives including Composer-in-Residence and Artist-inResidence positions and CONTACT!, the new-music series. He also holds positions at the Juilliard School, Royal Stockholm Philharmonic Orchestra, and Hamburg’s NDR Symphony Orchestra, and has guest conducted leading orchestras, including the Berlin Philharmonic and Boston Symphony Orchestra, as well as The Metropolitan Opera. His recordings have garnered accolades including two GRAMMY Awards. His honors include an Honorary Doctor of Music degree from Curtis and Columbia University’s Ditson Conductor’s Award. (alangilbert.com) 140

Matthias Goerne (Baritone) Matthias Goerne’s opera début was at the 1997 Salzburg Festival. In 2012/13 he sang Wolfram (Wagner’s Tannhäuser) at the Bavarian State Opera and Amfortas (Wagner’s Parsifal) with the Teatro Real in Madrid. Concerts included the Orchestre de Paris, Berlin Philharmonic, Leipzig Gewandhaus and San Francisco Symphony, as well as recitals with Pierre-Laurent Aimard and Schubert cycles with Christoph Eschenbach at the Vienna Musikverein. Goerne is currently recording an 11-CD series of Schubert songs for Harmonia Mundi. Born in Weimar, Goerne studied with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau, among others. (matthiasgoerne.com) Wycliffe Gordon (Trombone) Wycliffe Gordon has been named “Best in Trombone” by the Downbeat Critics Poll for 2012 and “Trombonist of the Year” numerous times by the Jazz Journalists Association. In addition to his solo career, Gordon is a composer, conductor, arranger and recording artist. He tours with the Wycliffe Gordon Quartet and is a former veteran member of the Wynton Marsalis Septet and Lincoln Center Jazz Orchestra. He has worked with jazz legends including Dizzy Gillespie, Lionel Hampton, Tommy Flanagan, Shirley Horn, Joe Henderson, Eric Reed, Randy Sandke and Branford Marsalis. (wycliffegordon.com)

Giancarlo Guerrero (Conductor) Giancarlo Guerrero is music director of the Nashville Symphony and principal guest conductor of The Cleveland Orchestra Miami Residency. He led Nashville to Grammy Awards for Joseph Schwantner’s Concerto for Percussion and Orchestra and Michael Daugherty’s Metropolis Symphony paired with Deux Ex Machina. This season Mr. Guerrero made debuts with the BBC Symphony Orchestra, Deutsches Symphonie Orchester Berlin, and Norwegian Radio Orchestra. He returns annually to Caracas, Venezuela to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the El Sistema music program. Augustin Hadelich (Violin) Augustin Hadelich, born in Italy to German parents in 1984, is the 2006 Gold medalist of the International Violin Competition of Indianapolis. This summer he appears with the Britt Festival Orchestra, Chautauqua Festival Orchestra and the Los Angeles Philharmonic at the Hollywood Bowl. Forthcoming concerts include the BBC Philharmonic, SWR Orchestra/Stuttgart and the Tampere Philharmonic. He plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison, through the support of the Stradivari Society. His recordings can be found on AVIE and Naxos. (augustinhadelich.com)

Steve Harlos (Piano) Steven Harlos made his debut at Lincoln Center in 1986, performing the Gershwin Concerto in F. He has worked with Marvin Gaye, Dionne Warwick, Chaka Khan, Maureen McGovern and Tommy Tune. As a jazz pianist, he assisted Dick Hyman in the first performances of his ballet Piano Man with the Cleveland Ballet. Active in the Dallas/Fort Worth area, Harlos serves as Staff Keyboardist for the Dallas Symphony Orchestra, and as Chair for the Division of Keyboard Studies at the University of North Texas in Denton.

Jasper String Quartet J Freivogel, violin; Sae Chonabayashi, violin; Sam Quintal, viola; Rachel Henderson Freivogel, cello are the Jasper String Quartet. Winner of the 2012 Cleveland Quartet Award, the Jasper has garnered many other top prizes in its brief career, including awards at the Plowman Chamber Music Competition, Coleman Competition, and the Silver Medal at both the 2008 and 2009 Fischoff Chamber Music Competitions. Originally formed at Oberlin Conservatory, the quartet was Rice University’s Graduate Quartet-in-Residence, and continued training with the Tokyo String Quartet as Yale University’s Graduate Quartetin-Residence. (jasperquartet.com) 141

Jan Lisiecki (Piano) The twenty-year-old Polish-Canadian Jan Lisiecki signed an exclusive agreement with Deutsche Grammophon in 2009. His debut recording features Mozart’s Piano Concertos under the direction of Christian Zacharias with the Symphonieorchester des Bayerischen Rundfunks. In 2012-13 he toured with the Rotterdam Philharmonic and Yannick Nézet-Séguin and made his debut with the Tokyo Metropolitan Symphony Orchestra at the Suntory Hall. A recital tour with the Radio Symphony Orchestra Stuttgart included Innsbruck, Vienna and Berlin. Lisiecki is currently studying at The Glenn Gould School of Music in Toronto. (janlisiecki.com) Cristian Măcelaru (Conductor) Assistant conductor of The Philadelphia Orchestra, Cristian Măcelaru received the 2012 Sir Georg Solti Emerging Conductor Award, given only once before in the foundation’s history. Măcelaru made his Chicago Symphony subscription debut in 2012 as a replacement for Pierre Boulez. A native of Romania, he served on the conducting staff of the Shepherd School of Music at Rice University, where he earned his master’s degree. Mr. Măcelaru was a conducting fellow at the Tanglewood Music Center and the Aspen Music Festival and served as assistant conductor at Dallas Opera. (macelaru.com)

John Mac Master (Tenor) John Mac Master recently appeared in Verdi’s Requiem with Orchestre Metropolitain du Grand Montreal (Nézet-Séguin), as Florestan in Fidelio for Michigan Opera Theater, the title role in Otello for Calgary Opera and as Tristan in Tristan und Isolde in Seoul, Korea. He has sung Florestan with Sir Colin Davis and Beethoven’s Symphony No. 9 with Sir Bernard Haitink (both with the London Symphony); Canio in Pagliacci for the Metropolitan Opera; and Janáček’s Glagolitic Mass in Atlanta and at Carnegie Hall. Future plans include Tristan und Isolde in Japan. (johnmacmaster.com)

Dave Mancini (Percussion) Dave Mancini has toured and performed for Doc Severinsen, Maynard Ferguson, Chuck Mangione, Eddie Daniels, Urbie Green, Marvin Stamm, Jeff Tyzik, Allen Vizzutti, the Toshiko Akiyoshi/Lew Tabackin Big Band, Bill Dobbins, Rosemary Clooney, Diahann Carroll, Joe Williams, Tony Bennett, Johnny Mathis, and Bob Hope. He has played with jazz greats at Eddie Condon’s in New York and performed at the Marlboro Music Festival. From 1971-1981 he was a member of the percussion section of the Rochester Philharmonic Orchestra and was xylophone soloist for the Eastman Marimba Band album, Nola.

Anne-Marie McDermott (Artistic Director and Piano) For over 25 years Anne-Marie McDermott has played concertos, recitals and chamber music in hundreds of cities throughout the world. She recently completed a well-received recital tour with violinist Nadja Salerno-Sonnenberg and in May made her debut recital tour in China. McDermott has been a member of the Chamber Music Society of Lincoln Center since 1996, and is an active recording artist. On July 15 she is performing Mozart’s Piano Concertos for Piano and String Quartet with the Calder String Quartet, just recorded for Bridge Records. (annemariemcdermott.net)

Kerry McDermott (Violin) Kerry McDermott joined the first violin section of the New York Philharmonic as its youngest member and has since appeared as soloist with them throughout North America. She has garnered prizes and awards, including the Montreal International Violin Competition and the International Tchaikovsky Competition in Moscow – where she also received a special award for “Best Artistic Interpretation.” This season, Ms. McDermott continued her collaboration with the Very Young People’s Concerts at the New York Philharmonic and appeared in concerts at Merkin Concert Hall in April, May and June.

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Angela Meade (Soprano) Angela Meade’s 2012/13 season included debuts with the Vienna State Opera, Los Angeles Opera, and Washington National Opera. She also made her Kennedy Center debut with pianist Bradley Moore in a recital presented by Washington National Opera, and portrayed Giselda in Verdi’s I Lombardi at Avery Fisher Hall. Meade returned to the Metropolitan Opera for Verdi’s Il Trovatore, and to the Pittsburgh Symphony for Beethoven’s Symphony No. 9. Meade is the winner of the 2012 Beverly Sills Artist Award from the Metropolitan Opera and the 2011 Richard Tucker Award. (angelameade.com)

Ricardo Morales (Clarinet) Ricardo Morales was appointed principal clarinet of The Philadelphia Orchestra in 2002 and joined the Orchestra in 2003. He served as principal clarinet of the Metropolitan Opera Orchestra from the age of 21 and as principal clarinet of the Florida Symphony. A native of San Juan, Puerto Rico, Morales began his studies at the Escuela Libre de Musica along with his five siblings, all of whom are distinguished musicians. He continued his studies at the Cincinnati Conservatory of Music and Indiana University, where he received an Artist Diploma.

Pedja Muzijevic (Piano) Born in Bosnia, Pedja Muzijevic studied at the Academy of Music in Zagreb, the Curtis Institute of Music, and the Juilliard School. His teachers included pianists Joseph Kalichstein and Vladimir Krpan, violinist Robert Mann, and harpsichordist Albert Fuller. He is the director of music programming at the Baryshnikov Arts Center in New York City, where he has a reputation for innovative ideas. His recording, Sonatas and Other Interludes, juxtaposes music for prepared piano by John Cage with composers ranging from W. F. Bach and Scarlatti to Liszt and Schumann. (pedjamuzijevic.com)

Clara & Oliver Neubauer (Violins) Twelve-year-old Oliver and ten-year-old Clara Neubauer both began violin studies at the age of three. They have been featured soloists in performances at Kidzone, part of the New York Philharmonic’s Young People’s Concerts, the New York Piano Society, Brooklyn Chamber Music Society, OK Mozart Festival (OK), Chamber Music Northwest (OR), Music from Angel Fire (NM), and at Art in Avila in Curaçao, Netherland Antilles. They also have participated in the Fêtes Musicales de Savoie Festival in Valmorel, France, as junior members of the Jeunes Virtuoses de New York.

Paul Neubauer (Viola) Paul Neubauer is former principal violist of the New York Philharmonic, and currently teaches at the Juilliard School and Mannes College’s The New School for Music. He performs with the Chamber Music Society of Lincoln Center, and served as Music Director of the OK Mozart Festival. Neubauer has created his own edition of Bartók’s Viola Concerto and was a prizewinner at numerous competitions including First at the 1980 Lionel Tertis International Viola Competition. He has premiered works by Derek Bermel, Tobias Picker, Krzysztof Penderecki, Joan Tower and others.

Yannick Nézet-Séguin (Conductor) Yannick Nézet-Séguin triumphantly began his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. He is also music director of the Rotterdam Philharmonic, principal guest conductor of the London Philharmonic, and artistic director and principal conductor of Montreal’s Orchestre Métropolitain. He has appeared with the Vienna and Berlin philharmonics, the Boston Symphony, the Dresden Staatskapelle, the Chamber Orchestra of Europe, the major Canadian orchestras, and has appeared at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival. (yannicknezetseguin.com). 143

Garrick Ohlsson (Piano) Garrick Ohlsson was the first American to win first prize in the International Frédéric Chopin Piano Competition, in 1970. He also won first prize at the Busoni Competition in Italy, the Montreal Piano Competition in Canada and was awarded the Avery Fisher Prize in 1994. Ohlsson began his studies at the age of eight and at the age of 13 began studying at the Juilliard School. His musical development has been influenced by many distinguished teachers, most notably Claudio Arrau.

Susanna Phillips (Soprano) Alabama-born soprano Susanna Phillips is the recipient of the Metropolitan Opera’s 2010 Beverly Sills Artist Award. This season she appeared at the MET for the fifth consecutive season, performing Donna Anna in Mozart’s Don Giovanni, conducted by Edward Gardner. At Carnegie Hall she portrayed Stella in Previn’s A Streetcar Named Desire opposite Renée Fleming—a role she also performed at Lyric Opera of Chicago. Phillips also recently made her solo recital debut at Carnegie Hall this season, presenting a program with accompanist Myra Huang in Weill Recital Hall. (susannaphillips.com)

Stephen Prutsman (Piano) Born in Los Angeles, Stephen Prutsman was keyboard player for art rock ensembles in his early twenties and worked as a jazz pianist and music arranger for a nationally syndicated televangelist program. Moving easily from classical and jazz to world music as a pianist, composer, conductor and curator, Prutsman explores common ground in music of all cultures. He was a medal winner at the Tchaikovsky and Queen Elisabeth piano competitions, and has performed as soloist with leading orchestras. Other passions include helping children with autism and their families. (stephenprutsman.com)

John Relyea (Bass-baritone) John Relyea is winner of the 2003 Richard Tucker Award and the 2009 Beverly Sills Award. Born in Toronto to singer parents, he graduated from the Curtis Institute of Music in Philadelphia and now has an international career performing with major symphony orchestras and opera houses. He appears on the Metropolitan Opera’s DVD presentations of Don Giovanni and Die Meistersinger von Nürnberg, both on Deutsche Grammophon. Recently he returned to the Royal Opera House, the MET, and made his debut as Zaccaria in Nabucco at the Minnesota Opera.

Nadja Salerno-Sonnenberg (Violin) Nadja Salerno-Sonnenberg was born in Rome and emigrated to the United States at eight. In 1981, she became the youngest-ever prizewinner of the Walter W. Naumburg International Violin Competition, and in 1999 received the Avery Fisher Prize. In addition to concertizing, she is Music Director of the New Century Chamber Orchestra. Known for recordings on numerous labels, as well as appearances on PBS, Sesame Street, 60 Minutes, and the Tonight Show with Johnny Carson, SalernoSonnenberg is the subject of the 2000 Academy Award-nominated film Speaking In Strings. (nadjasalernosonnenberg.com) Andrew Samonsky (Singer/Actor) Samonsky played Lt. Joseph Cable in Lincoln Center’s Tony Award®-winning production of Rogers and Hammerstein’s South Pacific, broadcast on PBS. He received a Drama Desk nomination as Frank Russell in Michael John LaChiusa’s Queen of the Mist, originated roles in James Lapine and William Finn’s Little Miss Sunshine as Joshua Rose at The La Jolla Playhouse, and in the Scissor Sisters’ Tales of the City as Beauchamp Day. He is on the cast recordings of Queen of the Mist, Merrily We Roll Along and Disney’s On the Record.

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Marc Shulgold (Speaker) Marc Shulgold is a music journalist, lecturer and teacher. After graduating from UCLA, he worked at the Los Angeles Times with music critic Martin Bernheimer. In 1987, Shulgold was named music/dance writer at the Rocky Mountain News in Denver, covering the state’s cultural scene for 22 years. He’s written articles for numerous local, national and international publications and contributed to a book detailing music’s healing qualities. Shulgold has taught at the Arvada Center and the University of Denver and is a frequent lecturer with Denver’s Active Minds seniors program.

Gil Shaham (Violin) Internationally renowned violinist Gil Shaham has earned multiple Grammys, a Grand Prix du Disque, Diapason d’or and Gramophone Editor’s Choice. His recent recordings of Barber, Stravinsky and Berg Violin Concertos with conductor David Robertson were produced for his own label, Canary Classics. Born in ChampaignUrbana, Illinois, in 1971, Shaham moved to Israel at age seven and began violin studies with Samuel Bernstein. In 1981 he made his Israel Philharmonic debut, and went to on to attend Juilliard a year later. Shaham plays the 1699 “Countess Poligna” Stradivarius.

Jack Sheinbaum (Speaker) Jack Sheinbaum is Associate Professor of Musicology and Associate Director for Academic Affairs at the University of Denver’s Lamont School of Music. He guest curated this summer’s Before the Music pre-concert talks. He holds a BA from Brown University, and an MA and PhD from Cornell University, where he wrote a dissertation on the symphonies of Gustav Mahler. His research on Mahler has been published in national and international journals. Sheinbaum also has contributed essays to a number of scholarly books on popular music.

Ted Sperling (Conductor) Ted Sperling is a conductor, music director, arranger, singer, pianist, and violinist. He was music director and conductor of the first Broadway revival of South Pacific, which won seven 2008 Tony Awards and played to sold-out houses at Lincoln Center Theater. Mr. Sperling won Tony and Drama Desk Awards (with Adam Guettel and Bruce Coughlin) for his orchestrations of The Light in the Piazza, for which he also served as music director. Sperling was music director and conductor of the 2009 Tony Award– nominated revival of Guys and Dolls.

Byron Stripling (Trumpet) Byron Stripling is the Artistic Director of the Columbus Jazz Orchestra and leader of his own quartet. He performed with the Count Basie Orchestra, and recorded with Dizzy Gillespie, Dave Brubeck, and Lionel Hampton, in addition to the Lincoln Center Jazz Orchestra and the Carnegie Hall Jazz Band. Featured on PBS television with the Boston Pops, he debuted at Carnegie Hall with Skitch Henderson and the New York Pops. Also an actor and singer, Stripling starred as the lead in the musical, Satchmo. (byronstripling.com)

Jean-Yves Thibaudet (Piano) After appearing at the Hollywood Bowl, Tanglewood and Ravinia, Jean-Yves Thibaudet began the 2012-2013 season performing Gershwin with the New Jersey Symphony. He toured Europe with Kammerorchester Basel, followed by an all-Debussy recital tour in the U.S. Born in Lyon, France, he entered the Paris Conservatory at age twelve, and studied with Aldo Ciccolini and Lucette Descaves, the latter a friend and collaborator of Ravel. At age fifteen, he won the Premier Prix du Conservatoire and, three years later, won the Young Concert Artists Auditions in New York City. (jeanyvesthibaudet.com)

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Bramwell Tovey (Conductor) Grammy Award-winning conductor Bramwell Tovey is also a composer and pianist. His tenures as music director with the Vancouver Symphony, Luxembourg Philharmonic and Winnipeg Symphony have included operatic, choral, British and contemporary repertoire. He is closely associated with the Los Angeles Philharmonic at the Hollywood Bowl, and is founding host/conductor of the New York Philharmonic’s Summertime Classics. The first artist to win a Juno Award in both conducting and composing, Tovey received the M. Joan Chalmers National Award for Artistic Direction, for contributions to the arts in Canada. (bramwelltovey.com) Jeff Tyzik (Conductor) Grammy Award-winner Jeff Tyzik is Principal Pops Conductor of the Rochester Philharmonic Orchestra, and the Oregon and Vancouver Symphonies. A trumpeter, he studied classical and jazz music in high school and earned degrees from the Eastman School of Music, where he studied composition/arranging with Ray Wright and jazz studies with Chuck Mangione. He has written over 160 works for orchestra, and produced a Grammy Awardwinning album, The Tonight Show Band with Doc Severinsen, Vol. 1. His Gershwin recording with Jon Nakamatsu reached No. 3 on the Billboard classical chart. (jefftyzik.com)

Kenny Walker (Double Bass) In 1987 Kenny Walker began a 12-year tenure as the bassist in Denver’s jazz club, El Chapultepec. He teaches at University of Denver, and has played with leading jazz artists in Australia, Canada, Italy and the U.S. Terra Firma, his debut recording, was on the Jazz Week Radio charts for 17 weeks. His discography includes Phil Woods and Carl Saunders Play Henry Mancini, releases on Capri with Curtis Fuller, I Will Tell Her and Down Home. The latter finished at No. 5 on the charts for 2012.

Keith Waters (Speaker) Keith Waters is Professor of Music at the University of Colorado-Boulder. He is the co-author of Jazz: The First Hundred Years (now in its third edition) and author of the books Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger and The Studio Recordings of the Miles Davis Quintet 1965-68. The Miles Davis book has won awards from the Association for Recorded Sound Collections, Down Beat, Jazz Critics Association, and Jazz New York. As a jazz pianist, he has recorded and performed throughout the world.

Alisa Weilerstein (Cello) Alisa Weilerstein debuted with the Mahler Chamber Orchestra in June 2012 on a European tour with conductor Pablo Heras-Casado. In September 2011 she was named a MacArthur Foundation Fellow, and in 2010 she became an exclusive recording artist for Decca Classics, the first cellist to be signed by the label in over 30 years. Her debut album features the Elliott Carter and Elgar Cello Concertos with Daniel Barenboim and the Berlin Staatskapelle. She regularly appears with all of the major orchestras throughout the United States and Europe. (alisaweilerstein.com)

Stephen Williamson (Clarinet) On sabbatical from the Chicago Symphony Orchestra, Stephen Williamson is the new principal clarinetist of the New York Philharmonic. Prior to being appointed by Riccardo Muti to play in the CSO, Williamson served as principal clarinet of the Metropolitan Opera Orchestra from 2003 to 2011, and appeared with the Orchestra of Saint Luke’s, Orpheus Chamber Orchestra, American Symphony Orchestra, American Ballet Theater and New York City Opera. He also recently was appointed principal clarinet with the Saito Kinen Festival Orchestra in Japan under Seiji Ozawa.

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Betsy Wolfe (Vocalist) Betsy Wolfe recently starred in Jason Robert Brown’s The Last Five Years at Second Stage. She played Beth in Merrily We Roll and Mary Ann Singleton in ACT’s World Premiere of Tales of the City. At 23 she made her concert debut at Carnegie Hall with the Cincinnati Pops and has appeared with over twenty-five orchestras. Ms. Wolfe was a guest soloist for the New York City Ballet where she performed at Lincoln Center and at The Coliseum in London. She holds a BFA from Cincinnati Conservatory of Music.

Joyce Yang (Piano) Joyce Yang won the silver medal at the 12th Van Cliburn International Piano Competition in 2005. Her 2012-2013 season featured debuts with the Toronto and Detroit Symphonies, her German debut with the Deutsches Symphonie-Orchester Berlin, and the Sydney Symphony in Australia. Ms. Yang is featured in In the Heart of Music, a documentary film about the 2005 Van Cliburn International Piano Competition. Her recording on Harmonia Mundi USA includes live performances of works by Bach, Liszt, Scarlatti, and the Australian composer Carl Vine. (pianistjoyceyang.com)

Jaap van Zweden (Conductor) Amsterdam-born Jaap van Zweden has been Music Director of the Dallas Symphony Orchestra since 2008. Appointed at nineteen as the youngest concertmaster ever of the Royal Concertgebouw Orchestra, he began his conducting career in 1995 and has held several important positions in the Netherlands. In November 2011 van Zweden was named as the recipient of Musical America’s Conductor of the Year Award 2012 in recognition of his critically acclaimed work with the Dallas Symphony and as guest conductor with the most prestigious U.S. orchestras. For full biographies please visit bravovail.org

WAYS TO GIVE JOIN THE BRAVO! VAIL COMMUNITY Bravo! Vail relies on its loyal patrons to sustain and expand its legacy of musical excellence and community engagement. By supporting Bravo! Vail, donors ensure the continued success of the Festival and all it brings to both the local and global arts communities. We invite you to join the many music enthusiasts who support the performing arts by donating to Bravo! Vail. There are many ways to give, and unique benefits and rewards associated with each. Visit bravovail.org for details. UNDERWRITE AN ORCHESTRA The world comes to Vail each summer through the extraordinary music provided by our three resident orchestras: The Dallas Symphony Orchestra, The Philadelphia Orchestra and the New York Philharmonic. Become a Friend of Dallas, Philadelphia or New York by designating your gift to specifically underwrite a resident orchestra. INDIVIDUAL GIVING Your support is vital to Bravo! Vail’s success. By making a gift to Bravo! Vail you ensure that music continues to flourish in the Vail Valley. Join the many music enthusiasts who support the performing arts by becoming part of Bravo! Vail’s annual fund. Your contribution is a tangible affirmation of your support of the performing arts. PLANNED GIVING Be an integral part of Bravo! Vail’s future by including a charitable gift within your overall estate and financial plans. With a little planning, you can leave a legacy that will ensure that music is an accessible gift to future generations.

GIFTS TO THE ENDOWMENT Your support today plays a crucial role in sustaining the high level of artistry and innovative programming at Bravo! Vail as well as expanding its education and community engagement programs. You can also be an integral part of our future by including a charitable gift within your overall estate and financial plans. Contribute to the future of Bravo! Vail by planning for a special kind of gift. While cash contributions are always appreciated, there are other creative and flexible options that can benefit you and the music. TRIBUTE GIFTS Tribute gifts are the perfect way to honor a loved one’s legacy or give a meaningful gift to a music lover. Honor someone special with a gift that will touch their heart while sustaining Bravo! Vail into the future. EDUCATION AND COMMUNITY ENGAGEMENT Bravo! Vail’s Education and Community Engagement Programs provide access to music for children and adults in the Vail Valley and beyond. Through free concerts and a wide variety of programs, Bravo! Vail makes music and the arts accessible to children and adults in every walk of life. Bravo! Vail’s Education and Community Engagement programs include After School Piano Classes, Free Concert Series, Free Family Concert, Instrument Petting Zoos, Little Listeners @ the Library, Music on the Move, The Patriotic Concert, and the Before the Music preconcert lecture series. Gifts may be designated to underwrite any of these programs specifically.

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ÂŠ Zach Mahone

THE GOLDEN CIRCLE

The Golden Circle acknowledges annual cumulative gifts from generous donors. This support provides the vital funding required to operate the Festival. Each donor is gratefully and sincerely acknowledged for their generosity. GRAND BENEFACTOR ($100,000 and above) Linda and Mitch Hart*** Town of Vail***** Vail Valley Foundation***** Betsy and George Wiegers*** PREMIER BENEFACTOR ($50,000 and above) Ann Smead and Michael Byram*** Peggy Fossett* Argie Tang***** Dr. Agnes Hsu-Tang and Oscar Tang***** The Betsy Wiegers Choral Fund in Honor of John W. Giovando IMPRESARIO ($30,000 and above) Julie and Tim Dalton** Marijke and Lodewijk de Vink** Pat and Pete Frechette** Lyn Goldstein*** Jeanne and Jim Gustafson* Vera and John Hathaway Cynnie and Peter Kellogg*** Honey Kurtz** Kay Lawrence** Vicki and Kent Logan** Leni and Peter May*** Barbie and Tony Mayer*** Gene Mercy***

Amy and James Regan**** Didi and Oscar Schafer** Helen and Vincent Sheehy*** Cathy and Howard Stone*** Dhuanne and Doug Tansill** Carol and Pat Welsh*** VIRTUOSO ($20,000 and above) Jayne and Paul Becker**** Amy and Steve Coyer* Angela and Peter Dal Pezzo Arlene and John Dayton** Mr. and Mrs. Claudio Gonzalez** Karen and Michael Herman** Hill Foundation*** Judy and Alan Kosloff *** Shirley and William S. McIntyre, IV** Marcy and Gerry Spector* Mary Lynn and Warren Staley* OVATION ($15,000 and above) Anonymous Marilyn Augur** Dierdre and Ronnie Baker* Sandy and John Black** Marlene and John A. Boll, Sr.** Lisa Tannebaum and Don Brownstein Susan and Van Campbell** Jeri and Charlie Campisi*** Sallie and Robert Fawcett**** Stephanie and Larry Flinn*** Craig J. Foley Holly and Ben Gill** Georgia and Don Gogel Dr. Malik and Seeme Hasan, Hasan Family Foundation** Martha Head and John Feagin, M.D.*** Dick Liebhaber** Karen and Walter Loewenstern*** Mr. John McDonald and Mr. Rob Wright*** Ann and Alan Mintz** The Molina Family Kay and Bill Morton*** National Endowment for the Arts** Margaret and Alex Palmer Molly and Jay Precourt* Vicki Rippeto Terie and Gary Roubos** 149

Slifer, Smith and Frampton Real Estate** C.P. Steinmetz*** Sarah Nash and Michael Sylvester* Carole A. Watters* Barbara and Richard Wenninger Wells Fargo Bank** ALLEGRO ($10,000 and above) Anonymous Alpine Bank Pamela and David Anderson* Penny Bank and Family, Herbert Bank and Family** Barbara and Barry Beracha Judy and Howard Berkowitz*** Diane and Hal Brierley* Susan and John Dobbs*** Debbie and Jim Donahugh* Jacquie and Bennett Dorrance** Cookie and Jim Flaum** Susan and Harry Frampton**** George Family Foundation, Penny and Bill George*** Sally and Tom Gleason** Terri and Tom Grojean*** Ann and David Hicks**** Mark J. and Elizabeth L. Kogan Philanthropic Fund Jan and Lee Leaman Irmgard and Charles Lipcon* Nancy and Richard Lubin** Laura and James Marx* Jan Mayer** Vicky and Kam Mohajer Sammye and Mike Myers* Wendy and Paul Raether** Nancy and Ted Reynolds Sally and Byron Rose* Roberta and Ernest Scheller, Jr.** Carole and Peter Segal* Mary Sue and Mike Shannon Silver Oak and Twomey The Stolzer Family Foundation, in memory of Eleanor Griffith Stolzer*** Pat Tierney US Bank***** Joanne and Steve Virostek *Denotes 5 years of consecutive giving

ORCHESTRAL UNDERWRITING

Orchestral underwriting is designated to a specific orchestra and applied directly toward the fees of the orchestra’s residency. Bravo! Vail expresses its deep gratitude to the friends of each of its world-class orchestras.

FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ($20,000 and above) Hill Foundation** Shirley and William S. McIntyre, IV** GOLD ($15,000 and above) Anonymous Marilyn Augur** Arlene and John Dayton** Sallie and Robert Fawcett*** Linda and Mitch Hart*** Vicki Rippeto Carole A. Watters* SILVER ($10,000 and above) Diane and Hal Brierley* Sammye and Mike Myers*

BRONZE ($5,000 and above) Anonymous Alice and Dick Bass Peggy and Gary Edwards Cindy Engles* Amy and Vernon Faulconer Rebecca and Ron Gafford Carol and Ronnie Goldman Carol and Jeff Heller* Bobbi and Richard Massman* Brenda and Joe McHugh*** Jane and Howard Parker The Rosewood Foundation* Marcie and Stephen Sands* Debbie and Ric Scripps*

Jere Thompson* Melinda and Steve Winn PATRON ($3,000 and above) Edwina P. Carrington** Randi and Ed Halsell Sandy and Charles Lloyd*** Brenda and Joe McHugh*** CONTRIBUTOR ($1,200 and above) Clara Willoughby Cargile***** Karen and Steve Livingston** Al and Karen Meitz Patty and Denny Pearce* Margot and Ross Perot* Jan and Bob Pickens** 150

Anita and Merlyn Sampels Advised Fund of The Dallas Foundation Linda and Tom Smith Donna and Randy Smith** Dr. and Mrs. William Weaver FRIEND ($600 and above) Betty and Clint Josey** Ellen Key Carol and John MacLean Barbara and Robert Sypult Violet and Harry Wickes* Carolyn and Tom Wittenbraker PRELUDE ($25 and above) Virginia and Jayar Daily

ORCHESTRAL UNDERWRITING FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ($50,000 and above) Ann Smead and Michael Byram*** Peggy Fossett Betsy and George Wiegers**** Town of Vail***** GOLD ($25,000 and above) Karen and Michael Herman SILVER ($10,000 and above) Anonymous* Cookie and Jim Flaum*** Laura and James Marx* Carole and Peter Segal* Cathy and Howard Stone***** Argie Tang***** Dr. Agnes Hsu-Tang and Oscar Tang*****

BRONZE ($5,000 and above) Shannon and Todger Anderson Arlene and John Dayton** Suzanne Helen Teri and Tony Perry*** Roberta and Ernest Scheller, Jr.** Janis and Ronald Simon Susan and Steve Suggs* Dhuanne and Doug Tansill** PATRON ($3,000 and above) Barbara and Howard Rothenberg* Dokie CONTRIBUTOR ($1,200 and above) Anonymous Dierdre and Ronnie Baker* Elia Buck

Bill and Laura Buck Cathy and Graham Hollis Wendi and Brian Kushner Norman P. and Susanne S. Robinson Joanne and Steve Virostek FRIEND ($600 and above) Maryalice Cheney and Scott Goldman PRELUDE ($25 and above) Bernice Davie Mary Alice Malone Allison Wright

FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000) Julie and Tim Dalton* Marijke and Lodewijk de Vink* Lyn Goldstein** Jeanne and Jim Gustafson* Linda and Mitch Hart*** Vera and John Hathaway Cynnie and Peter Kellogg** Honey Kurtz** Vicki and Kent Logan** Leni and Peter May*** Amy and James Regan**** Helen and Vincent Sheehy*** Argie Tang***** Dr. Agnes Hsu-Tang and Oscar Tang*****

Town of Vail***** Carol and Pat Welsh** Betsy and George Wiegers**** GOLD ($20,000) Jayne and Paul Becker** Amy and Steve Coyer* Mr. and Mrs. Claudio Gonzalez** Judy and Alan Kosloff*** Barbie and Tony Mayer*** Didi and Oscar Schafer* Marcy and Gerry Spector Cathy and Howard Stone***** Dhuanne and Doug Tansill** SILVER ($15,000) Judy and Howard Berkowitz***** Marlene and John A. Boll, Sr.** 151

Lisa Tannebaum and Don Brownstein Jeri and Charlie Campisi** Stephanie and Larry Flinn*** Georgia and Don Gogel Martha Head and John Feagin, M.D.*** Dick Liebhaber** Karen and Walter Loewenstern** Gene Mercy** Ann and Alan Mintz* Kay and Bill Morton*** Margaret and Alex Palmer Terie and Gary Roubos** Slifer, Smith and Frampton Real Estate** Sarah Nash and Michael Sylvester*

FESTIVAL SUPPORT The gifts listed below represent charitable giving to Bravo! Vail by individuals and foundations from May 12, 2012 May 13, 2013. These gifts provide the funds to support Bravo! Vail in achieving artistic excellence and financial stability. The Board of Trustees expresses its sincere thanks to each supporter and is truly grateful to Bravo! Vailâ&#x20AC;&#x2122;s long-time supporters and first-time donors alike. PERMANENT RESTRICTED FUNDS The Lyn and Phillip Goldstein Maestro Society The Lyn and Phillip Goldstein Piano Concerto Artist Project The Argie Tang Artistic Director Chair The Betsy Wiegers Choral Fund in Honor of John W. Giovando GRAND BENEFACTOR ($100,000 and above) Linda and Mitch Hart*** Town of Vail***** Vail Valley Foundation***** Betsy and George Wiegers*** PREMIER BENEFACTOR ($50,000 and above) Ann Smead and Michael Byram*** Peggy Fossett* Argie Tang***** Dr. Agnes Hsu-Tang and Oscar Tang***** IMPRESARIO ($30,000 and above) Julie and Tim Dalton** Marijke and Lodewijk de Vink** The Francis Family***** Pat and Pete Frechette** Lyn Goldstein*** Jeanne and Jim Gustafson* Vera and John Hathaway Cynnie and Peter Kellogg** Honey Kurtz** Kay Lawrence** Vicki and Kent Logan** Barbie and Tony Mayer*** Gene Mercy*** Amy and James Regan**** Didi and Oscar Schafer** Helen and Vincent Sheehy***

Cathy and Howard Stone*** Dhuanne and Doug Tansill** Carol and Pat Welsh*** VIRTUOSO ($20,000 and above) Jayne and Paul Becker**** Amy and Steve Coyer* Angela and Peter Dal Pezzo Arlene and John Dayton** Mr. and Mrs. Claudio Gonzalez** Karen and Michael Herman** Hill Foundation*** Judy and Alan Kosloff *** Shirley and William S. McIntyre, IV** Marcy and Gerry Spector* Mary Lynn and Warren Staley* OVATION ($15,000 and above) Anonymous Marilyn Augur** Dierdre and Ronnie Baker* Sandy and John Black** Marlene and John A. Boll, Sr.** Lisa Tannebaum and Don Brownstein Susan and Van Campbell** Jeri and Charlie Campisi*** Sallie and Robert Fawcett**** Stephanie and Larry Flinn*** Craig J. Foley Holly and Ben Gill** Georgia and Don Gogel Dr. Malik and Seeme Hasan, Hasan Family Foundation** Martha Head and John Feagin, M.D.*** Dick Liebhaber** Karen and Walter Loewenstern*** Mr. John McDonald and Mr. Rob Wright*** Ann and Alan Mintz** The Molina Family 152

Kay and Bill Morton*** National Endowment for the Arts** Margaret and Alex Palmer Molly and Jay Precourt* Vicki Rippeto Terie and Gary Roubos** Slifer, Smith and Frampton Real Estate** C.P. Steinmetz*** Sarah Nash and Michael Sylvester* Carole A. Watters* Barbara and Richard Wenninger ALLEGRO ($10,000 and above) Anonymous* Pamela and David Anderson* Penny Bank and Family, Herbert Bank and Family** Barbara and Barry Beracha Judy and Howard Berkowitz*** Diane and Hal Brierley* Susan and John Dobbs*** Debbie and Jim Donahugh* Jacquie and Bennett Dorrance** Cookie and Jim Flaum** Susan and Harry Frampton**** George Family Foundation, Penny and Bill George*** Sally and Tom Gleason** Terri and Tom Grojean*** Ann and David Hicks**** Mark J. and Elizabeth L. Kogan Philanthropic Fund Jan and Lee Leaman Irmgard and Charles Lipcon* Nancy and Richard Lubin** Laura and James Marx* Jan Mayer** Vicky and Kam Mohajer Sammye and Mike Myers* Wendy and Paul Raether** Nancy and Ted Reynolds Sally and Byron Rose*

FESTIVAL SUPPORT Roberta and Ernest Scheller, Jr.** Carole and Peter Segal* Mary Sue and Mike Shannon The Stolzer Family Foundation, in memory of Eleanor Griffith Stolzer Pat Tierney Joanne and Steve Virostek SOLOIST ($7,000 and above) Christine and John Bakalar** Liz and Tommy Farnsworth** Norma Lee and Morton Funger**** Valerie and Robert Gwyn*** Sally and Wil Hergenrader*** Lorraine and Harley Higbie**** Martha D. Rehm and Cherryl Hobart** June and Peter Kalkus**** Joyce and Paul Krasnow** Rose and Howard Marcus*** Jane and Howard Parker**** Kathy and Roy Plum*** Susan and Richard Rogel*** Sue and Marty Solomon** Bea Taplin** Susan and Tom Washing** Barbara and Jack Woodhull**** BENEFACTOR ($5,000 and above) Anonymous Shannon and Todger Anderson Alice and Dick Bass Cheryl and Richard Bressler Kelly and Sam Bronfman II* Dorothy Browning* Carolyn and Gary Cage*** Kay Chester* William L. Clinkenbeard*** Anne and Art Collins* Nancy and Andy Cruce** Peggy and Gary Edwards* Cindy Engles* Amy and Vernon Faulconer* Laura and Bill Frick** The Henry F. Frigon Family Sidney E. Frank Foundation

Rebecca and Ron Gafford Linda and John Galvin**** Carol and Ronnie Goldman* The Gorsuch Family Gramm Family Foundation*** Sheika and Pepi Gramshammer*** Jane and Michael Griffinger*** Valerie and Noel Harris / Wall Street Insurance Suzanne Helen Carol and Jeff Heller* Karen and Jim Johnson Sherry and Rob Johnson*** Gail and Jay Mahoney*** Janet and T. Scott Martin* Bobbi and Richard Massman* The McDonnell Foundation, Inc.* Brenda and Joe McHugh*** Marjorie and Philip Odeen Teri and Tony Perry*** Linda and Kalmon Post** Heidi and Lee Rigney The Rosewood Foundation* Marcie and Stephen Sands* Maria Santos Debbie and Ric Scripps* Elaine and Steven Schwartzreich and Harvey Simpson Janis and Ronald Simon Jean Graham-Smith and Philip Smith*** Martin E., Jr. and Brooke Stein Fund*** Pat and Larry Stewart* Barbara and Carter Strauss* Sturm Family Foundation Susan and Steve Suggs* Jere Thompson* Michael Watters Melinda and Steve Winn

Edwina P. Carrington** Elizabeth G. Clark** Caryn Clayman* Kathy Cole Dokie Sharon and Bill Donovan*** Kathy and Brian Doyle Kathleen and Jack Eck** Helen and Robert Fritch**** Mikki and Morris Futernick**** Sue and Dan Godec* Debra and Norman Goldman Mr. and Mrs. Neal Groff*** Francie and Michael Gundzik** Randi and Ed Halsell Mr. and Mrs. Lee Klingenstein*** Gloria and Joel Koenig* Jeremy L. Kreig/New York Life Insurance* Jenelle Krissell Sandy and Charles Lloyd*** Chi and Ferrell McClean Carolyn and Rolland McGinnis Nancy and Mack Nichols Rosanne and Gary Oatey Renee Okubo, In Memory of T. Larry Okubo Sally and Dick Oâ&#x20AC;&#x2122;Loughlin* Marlys and Ralph Palumbo Mimi and Keith Pockross*** Jackie and James Power*** Carolyn and Bob Reintjes** Michele and Jeffrey Resnick Barbara and Howard Rothenberg* Dr. and Mrs. William T. Seed** Susan and Jeffrey Stern Sarah and Steve Stratton Deborah and Fred Tresca Paula and Will Verity Sharon and Marc Watson**

PATRON

CONTRIBUTOR

($3,000 and above) Bergman Family Trust Eleanor and Gus Bramante**** Barbara and Christopher Brody Jan Broman**** The Honorable and Mrs. Keith L. Brown****

($1,200 and above) Anonymous Letitia and Christopher Aitken* Marcy and Michael Balk Stephen and Sandy Bell Nancy and Peter Berkley Margo M. Boyle

153

FESTIVAL SUPPORT Mr. and Mrs. B. A. Bridgewater, Jr.* Sunny and Philip Brodsky* Linda and Joe Broughton* Bill and Laura Buck Joyce A. Mollerup and Robert H. Buckman*** Alison and Kurt Burghardt*** Jeanne and Harry Burn III Bette and Trent Campbell** Clara Willoughby Cargile***** April and Art Carroll Toko and Bill Chapin* Kokomo* Jan and Philip Coulson** Martinna and Charlie Dill Mary and Rodgers Dockstader* Julie and Bill Esrey*** Sara and Fred Ewald* Marla and Stewart Feldman Barbara and Paul Flowers** Vicky and John Garnsey* Donna Giordano*** Joan and Joseph Goltzman* Carol and Charles Goolsbee*** Anne and Don Graubart**** Alison and Michael Greene* Susan and Murray Haber Dr. and Mrs. Ralph Halbert* Gretchen and Morris Hatley Becky Hernreich Cathy and Graham Hollis Mrs. Polly Horger and Dr. Ed Horger Aubyn and Robert Howe Joan and Marvin Kaplan*** Kerma and John Karoly* Elaine and Art Kelton**** Bonnie and Larry Kivel** Rosalind and Marvin Kochman*** Wendi and Brian Kushner* Margie and Larry Kyte** Karen and Steve Livingston** Mr. and Mrs. J. Robert Love* Lynne and Peter Mackechnie* Marjorie Marks** Al and Karen Meitz J.F. Merz, Jr. Ellen and David Mitchell Jeanne and Dale Mosier Karen Nold and Robert Croteau

Norris Lamont Gallery Priscilla Oâ&#x20AC;&#x2122;Neil*** Nancy and Douglas Patton* Mr. and Mrs. Robert H. Paul III Mary Lou Paulsen and Randy Barnhart Patty and Denny Pearce* Pam and Ben Peternell Jan and Bob Pickens** Ronnie and William A. Potter*** Patti and Drew Rader* Nancy and Don Remey Norman P. and Susanne S. Robinson Gail Flesher and David Salvin Susanne and Bernard Scharf* Carole J. Schragen*** Peggy and Tony Sciotto* Maureen and Les Shapiro** Sally and William Slick Phoebe Anne Smedley** Linda and Tom Smith Donna and Randy Smith** Mrs. Deana E. and Dr. Gerald L. Stempler*** Madeline and Les Stern*** Mimi and Woody Stockwell** Judith and Mark Taylor* Nancy and Tom Traylor*** Linda and Stewart Turley*** John L. Tyler** Lois and John Van Deusen* Marjorie Vickers* Sally and Dennis Von Waaden** Kathy and George Vonder Linden** Dr. and Mrs. William Weaver Anne and Chris Wiedenmayer Ellen and Bruce Winston* Margaret and Glen Wood* Diane and Michael Ziering* FRIEND ($600 and above) Anonymous**(2) Karin and Ron Artinian Sheryl and Eliot Barnett Christina Bearman Von Wald* Dani Bedoni and Gonzalo Rodriguez 154

Jody and Arthur Bellows Betsy and Dr. Bruce T. Bowling* Joyce and Richard Brown Dr. and Mrs. William Brown Elia Buck Norma and Charlie Carter*** Patsy and Pedro Cerisola**** Maryalice Cheney and Scott Goldman Carolyn and Fred Coulson* Irene and Jared Drescher*** Margaret and Tom Edwards* Holly and Buck Elliott*** Jenny and Wendell Erwin**** Carole and Peter Feistmann* Susan and Bob Gadomski*** Tom and Margie Gart Family Fund Lindy and Gerald Gold* Linda and Michael Golub* Doris Dewton and Richard Gretz Beth and Tommy Holder Alexis and Thomas Jasper Mr. and Mrs. Calvin Johnson* Betty and Clint Josey** The Gary C. Klein Family* Tracy Lenehan Helena and Peter Leslie*** Ann and William Lieff** Deb and Dan Luginbuhl* Carol and John MacLean*** Jose Madariaga Ginny Mancini** Barry Mankowitz* Elaine and Carl Martin** The Mathilde U. and Albert C. Elser Foundation** Gail and Dennis Mathisen Dr. George L. Mizner and Carolyn D. Smith**** Hazel and Matthew Murray Mary Beth and Charlie Oâ&#x20AC;&#x2122;Reilly Margot and Ross Perot* Carolyn and Steve Pope** Eleanor Quick-Willock Arlene and Robert Rakich Ann and Ron Riley* Gary Ryan Anita and Merlyn Sampels Advised Fund of The Dallas Foundation

FESTIVAL SUPPORT Susan and Alberto Sanchez Sandra and Ken Seward Rupe and Lisa Sidhu B.J. and Garrett Smith* Pamela and Richard Smith Dr. and Mrs. C. John Snyder** Miriam and Arthur Spector Anne P. and Josef Staufer** Susan Stearns and Frank Oâ&#x20AC;&#x2122;Loughlin Jean and Dick Swank**** Barbara and Robert Sypult Sheila Wald Martin Waldbaum** Drs. Anne and Dennis Wentz**** Mindy and Gregory White* Joan Whittenberg*** Violet and Harry Wickes* Carolyn and Tom Wittenbraker Marcy and Dick Woodrow* Rosalie Wooten** DONOR ($300 and above) Abplanalp Law Office, LLC* Peter Abuisi** Arthur Adler Nancy Alexander and David Staat Sheila Amend Ellen Arnovitz Shirley and Jack Beal Pamela and Brooks Bock* Vicki and Jack Box Cindy and Dave Bright* Joan and Don Chambers Ingrid Chamberlain Francis Cloudman Donna and Ted Connolly Sam B. Cook Marilyn S. Cranin Jill Davies, MD and Tommy Svensson Sallie Dean and Larry Roush*** Fred Distelhorst Suzy and Jim Donohue** Loretta and Edward Downey Barbara and G. Lane Earnest Lee MacCormick Edwards, Ph.D. and Michael Crane* Barbara and Larry Field*** Regina and Kyle Fink*

Denise and Michael Finley** Marilyn and Richard Foster** Sally and Crosby Foster*** Catherine and Barry Gassman Wilma and Arthur Gelfand* Doris and Matthew Gobec* Helaine and Fred Gould** Becka and Stuart Green** Anne and Harry Gutman Patricia and Charles Hadley** Jo and David Hill Margot and Stephen Holland*** Jack Holt Nancy and Jack Horgan Gerry and Jay Karkowsky* Dr. Andrew and Lynn Kaufman* Ellen Key Tom Korchowsky Dr. and Mrs. Frederick Kushner Dr. and Mrs. Bob Landgren*** Evelyn and Fred Lang** Sue B. and Robert J. Latham Terry and John Leopold* Barbara and David LeVine** Pat and Warren Lieberman* Nancy and John Lindahl* Peter L. MacDonald*** Harrel Lawrence and Jerry McMahan* Liz and Luc Meyer Susan W. and William O. Morris* Mr. and Mrs. W. Peterson Nelson**** Jacque and Bill Oakes** Alice and Norman Patton Joyce and Robert Pegg* Beverly and Tim Roble Margaret and Rick Rogers Karen Rosenthal JoDean and Juris Sarins Linda and Shaun Scanlon* Arlene and John Schierholz** Harriett and Bernard Shavitz Raymond John Siegel Daniel Sloan, Jr.* Sam and Marty Sloven** Susan and Bruce Smathers* Linda and Richard Sommers**** Frankie and Bill Tutt* Amy Roth and John Van Valkenburg 155

Patty and Ed Wahtera* Karin and Bob Weber*** Jeanne and Craig White Jeff Wilcox Alyn Park and Jay Wissot PRELUDE ($25 and above) Anonymous (2)** Leslie and Phil Aaholm** Laila and Alejandro Aboumrad Sandi and Larry Agneberg** Margo and Roger Behler**** Flora Bell Sharon Bell* Kathryn Benysh Michele and Richard Bolduc Shirley and Jeff Bowen Patricia and Rex Brown Heather Campbell and Jerry Landeck* Charlyn Canada* Sue Cannon Karen and James Carr Bonnie Coffman Maureen and David Cross Nancy and Bill Current* Virginia and Jayar Daily Janet and Edward Davenport** Randi David Bernice Davie Nancy and Craig Denton* Abby Dixon Judy and James Donnalley Catherine and Ulf Edborg**** Emilie C. Egan*** Steve Ehrlich Valerie and Don Eicher Delight and John Eilering** Erika and Gerhard Endler Anne Lingle Esson*** Claire and Marshall Evans*** Carol Ebert and Jim Ferrell* Doris and Steven Field Diane Larsen and David Floyd Terry and John Forester Laura and Peter Frieder*** Carol and Marc Gordon Tracy and Mark Gordon

FESTIVAL SUPPORT Mr. and Mrs. David Warren Grawemeyer Dianne Green Susan and Ron Gruber** Robin and Ken Guerry* Joyce Haime Coleen M. and David B. Hanson** Judy and Jim Heinze** Norman R. Helwig Dwight Henninger Cathey A. Herren**** Debra Herz Margie and Dave Hunter Vina Hyde Georgi and Ted Imbach Pattie Johnson Susan Jones Mr. and Mrs. Vincent K. Jones III* Floy Kaminski Agneta Kane Donald Kaufmann Joanne M. Kemp Edith and Matthew King Mr. and Mrs. Phillip J. Kulinski Dr. Abdullah Kutlar Monique and Peter Lathrop** Brooke Lee Evelyn Pinney and Rob LeVine*** Linda and Robert Llewellyn Elizabeth Lohman Marjorie Maagoe* Mary Alice Malone** Vicki and Roger Marce* Marilyn K. Martin* Marcia and Tom McCalden* Sharon E. McKay-Jewett BJ and Harold Meadows Mary Jane and Frank Miller* Leland V. Miller** Jill Moneypenny Belinda and Eric Monson Alice Fegelman and Leo Munick Leslie and Dr. Robert Nathan Elinor J. Newman* Sara Newsam* Nancy and Mauri Nottingham Tiffany and David Oestreicher Mauree Jane and Mark Perry

Martha and Kent Petrie* Carol and Michael Phillips* John Porter Cricket and Rick Pylman Eileen Rowe and Kenneth Stein Lynn and Rick Russell Jimmy Kay and Jack Sanders Bobbi and Jon Schwartz** Jerry Secor Family Ricki and Gabriel Shapiro Carol and Stanley Shapiro Ms. Anne Sheldon**** Litamae and David Sher Judy and Martin Shore Lisa Siegert-Free Pat and Ralph Silversmith*** Stephanie and Bernard Simon* Daphne and Jim Slevin** Marriott W. Smart Sarah and Norman Smith** Barbara and James Spiker** Karlene Spivak Drs. Arlene and Bob Stein* Judy and Robert Stiber Jenene and James Stookesberry David Supperstein Frances and Steve Susman** Susan Tjossem Carol and Albert Tucker Carroll Tyler* Mr. and Mrs. William Van Luven Trudy and Bob Walsh Deborah Webster and Stephen Blanchard*** Susan and Albert Weihl Judith and Steven Weingruber Gunnel and Hal Weiser Stephen Wenner Goldie and Kenneth Wetcher Sheila Whitman* Dr. John Willhardt** Jennifer Woolley Allison Wright Lynn Wruble and Sydney Wruble, M.D. Gerald Yallaly Dr. and Mrs. Allen Zagoren Fran and Allan Zalesky*

156

IN HONOR OF Bill Frick, For A Special Birthday Judy and Alan Kosloff John W. Giovando Susan and Bob Gadomski Martha Head and John Feagin, M.D Joan Francis Craig J. Foley Lyn Goldstein Shirley and William S. McIntyre, IV Jeanne and Craig White Julie and Marv Krueger Monica Wideman and Dephanie McGill Argie Tang Steve Horsch and Brian Allen Jacqueline Taylor Kathryn and Vincent Heintz IN MEMORY OF Dick Arenschield Donna Lang Arenscheild Shirley Laird Judy and Art Axelrod Thomas McDermott Bravo! Vail Board of Trustees Jim Palermo Jeanne and Craig White Lynn Steinmetz Ellen and Stephen Manshel

*Denotes 5 years of consecutive giving

EDUCATION & COMMUNITY ENGAGEMENT

MAKING A DIFFERENCE WITH MUSIC Bravo! Vail is proud to continue the tradition of providing the very best education and community engagement programs for youth and adults. Inspiring a music-loving community in which the finest performers, composers, instruments and instruction are accessible to everyone, is Bravo! Vailâ&#x20AC;&#x2122;s dream. The communityâ&#x20AC;&#x2122;s support of this important dream makes music a central part of the fabric of life in the Vail Valley. The Festival extends special gratitude to its donors who support Education and Community Engagement programs. Anonymous (2) Letitia and Christopher Aitken Barbara Allen Robert Allison Alpine Bank Anschutz Family Foundation Ann and Andy Arnold Dierdre and Ronnie Baker Beaver Creek Dani Bedoni and Gonzalo Rodriguez

Judy and Howard Berkowitz The Bravo! Vail Guild Mr. and Mrs. B.A. Bridgewater, Jr. Jan Broman Dorothy Browning Jenn and Luca Bruno Janie and Bill Burns Ann Smead and Michael Byram Kay Chester Nan and Conrad Christensen William Clinkenbeard Jane and James Comerford Silvia and Alan Danson Sandi and Leo Dunn Eagle Ranch Homeowners Association Andrea Eddy Peggy and Gary Edwards FirstBank Erika and Matt Fitzgerald Cookie and Jim Flaum Jillian Forbes Elli Gauthier Sue and Dan Godec The Grisham Family Terri and Tom Grojean Jeanne and Jim Gustafson Dr. Malik and Seeme Hasan, Hasan Family Foundation Vera and John Hathaway Patricia and Lawrence Herrington Mr. Richard Hinds, Esq. Jacqueline Hurlbutt and Norman Waite John Jaran Julie and Steve Johannes Karen and James Johnson Elaine and Art Kelton Judy and Alan Kosloff Joyce and Paul Krasnow Jenelle Krissell Honey Kurtz The Lodge and Spa at Cordillera Walter and Karen Loewenstern Henry Mader Laura and Jim Marx Barbie and Tony Mayer Anne-Marie McDermott and Michael Lubin Ann and Alan Mintz 157

The Molina Family Jana and Matt Morgan Laurie and Tom Mullen Marjorie and Philip Odeen Jim Palermo Marlys and Ralph Palumbo Carolyn and Steve Pope Amy and James Regan Martha Rehm and Cherryl Hobart Jeanne Reid White and Craig White Michele and Jeffrey Resnick Deborah Reynolds Frank Heidi and Lee Rigney Vicki Rippeto Susan and Rich Rogel Margaret and Rick Rogers Sally and Byron Rose Terie and Gary Roubos Carole and Peter Segal Verna Mae and C.P. Smiley Rachel and Dave Smiley Cathy and Howard Stone Susan and Steven Suggs Argie Tang Dr. Agnes Hsu-Tang and Oscar Tang Jacqui Taylor and Steven Sobol Patrick Tierney Joe H Tonahill, Jr. Town of Eagle Town of Gypsum Town of Vail Deborah and Fred Tresca United Way of Eagle River Valley US Bancorp Foundation Vail Resorts Vail Resorts Echo Program Rosslyn and Garrison Valentine Gloria M. Walker, II Sandi and Greg Walton Carole A. Watters LaDonna and Gary Wicklund Betsy and George Wiegers Alyn Park and Jay Wissot Pam and Joe Woods

GIFTS TO THE ENDOWMENT A strong endowment is an essential component of every successful nonprofit institution. The Bravo! Vail Endowment Fund ensures its long-term budget relief and financial security, as well as the continuance of the highest quality music for generations to come. Endeavoring to maintain the highest level of excellence that audiences have come to expect, Bravo! Vail commits itself with renewed vigor to the mission of enhancing the cultural life of the region through music and education for all. In moving forward, increased endowment contributions will be critical to achieving the financial flexibility required to make vital investments in Bravo! Vail, including: • Providing internationally renowned artists at the highest level of musical excellence • Enriching lives through music education curriculum and programs that continue to engage audiences today and into the future • Maintaining affordable ticket prices for residents and guests alike • Providing operating resources to maintain new and existing programs The perpetual earnings generated by endowment funds play a critical role in shaping the future of Bravo! Vail by supporting the programs that define and enhance the festival experience. Bravo! Vail is thankful for the community’s support it has received this far and looks forward to working with families and friends to continue to build this valuable resource. Endowment donors have the satisfaction of knowing that, through their gift, they are leaving a legacy

that provides the art of music for future generations. These endowed funds are professionally managed with oversight by the Bravo! Vail Investment Committee and are held in support of its mission. BENEFACTORS $1,000,000 and above Vicki and Kent Logan LEADERSHIP GIFT $100,000 and above Maryan and K Hurtt/ Lockheed Martin Corporation Directors Charitable Award Fund Leni and Peter May Betsy and George Wiegers MILLENNIUM GROUP $50,000 and above Judy and Alan Kosloff Jean and Dick Swank $40,000 and above Ralph and Roz Halbert Leni and Peter May Gilbert Reese Family Foundation BEST FRIENDS OF THE MILLENNIUM $20,000 and above Jayne and Paul Becker Jan Broman The Cordillera Group Linda and Mitch Hart Fran and Don Herdrich Sue and Gene Mercy Susan and Rich Rogel BEST FRIENDS OF THE ENDOWMENT $10,000 and above Mary Ellen and Jack Curley The Francis Family Merv Lapin Amy and Jay Regan Gilbert Reese Family Foundation $5,000 and above Mr. and Mrs. Elton G. Beebe, Sr. Margo and Roger Behler 158

Carolyn and Gary Cage Jeri and Charlie Campisi Kay and E.B. Chester In Memory of Louise and Don Hettermann Millie and Vic Dankis FirstBank of Vail Susan and Harry Frampton Linda and John Galvin Sheika and Pepi Gramshammer Nita and Bill Griffin Becky Hernreich Bob Hernreich Mary and Jim Hesburgh Gretchen and Jay Jordan Kensington Partners Alexandra and Robert Linn Gerard P. Lynch Sue and Gene Mercy Priscilla O’Neil Patricia O’Neill and John Moore Joan and Richard Ringoen Family Foundation, Inc. Terie and Gary Roubos Foundation Seevak Family Foundation Helen and Vincent Sheehy The Smiley Family Claudia Smith Mark Smith Cathy and Howard Stone Stewart Turley Foundation, Inc. TRUSTEES’ MILLENNIUM FUND $2,000 and above Sallie and Robert Fawcett Mr. and Mrs. Lawrence Flinn, Jr. June and Peter Kalkus Kalkus Foundation, Inc. Karen and Walter Loewenstern Merz Family Ron and Zoe Rozga Dr. and Mrs. William T. Seed Deb and Rob Shay Karin and Bob Weber Anne and Dennis Wentz Barbara and Jack Woodhull Bob Zinn For more information, please contact: Jeanne Reid White, Vice President-Development 970-827-5700 | jreid@bravovail.org

SPECIAL GIFTS THE LINDA AND MITCH HART SOIRÉE SERIES Linda and Mitch Hart provide unique and invaluable support to the Soirée Series, helping to underwrite the highest level of excellence of performing artists and programming. THE LYN AND PHILLIP GOLDSTEIN MAESTRO SOCIETY Lyn and Phillip Goldstein have provided a substantial gift to support the artistic expenses associated with Bravo! Vail’s resident conductors. This gift will be recognized in perpetuity. THE ARGIE TANG ARTISTIC DIRECTOR CHAIR Bravo! Vail gratefully acknowledges this gift which supports Artistic Director Anne-Marie McDermott in her vision of bringing exciting and innovative programming and performing artists to the Bravo! Vail Festival. Significant leaders and integral members of the community, the Tang Family has supported the Festival since its inception. TOWN OF VAIL Bravo! Vail wishes to acknowledge the vision of the Town of Vail and its Council Members for their most generous underwriting of the residencies of the New York Philharmonic, The Philadelphia Orchestra, and Bravo! Vail’s Music Education programs. Their support of Bravo! Vail since its inception has served to enhance and ensure the Festival’s continued success. THE LYN AND PHILLIP GOLDSTEIN PIANO CONCERTO ARTIST PROJECT The quality of individual performers sets Bravo! Vail apart from all others. This generous gift from Lyn and Phillip Goldstein supports artistic

expenses associated with the Festival’s piano concerto artists. This gift will be recognized in perpetuity. THE BETSY WIEGERS CHORAL FUND IN HONOR OF JOHN W. GIOVANDO Bravo! Vail wishes to acknowledge The Betsy Wiegers Choral Fund in Honor of John W. Giovando. Created by Betsy Wiegers, the Fund will underwrite the performance of a choral work each year for the next 10 years. The 2013 season features The Philadelphia Orchestra, Yannick Nézet-Séguin, conductor, in a performance of Verdi’s Requiem on July 13, 2013. THE PHILADELPHIA ORCHESTRA CHALLENGE GRANT The presentation of The Philadelphia Orchestra marked a milestone in the history of Bravo! Vail. In order to ensure its continuation as a resident orchestra, a Challenge Grant was initiated in 2013 by Ann Smead and Michael Byram, Peggy Fossett and Betsy Wiegers to encourage other donors to match their generous contributions. Thank you! 12TH ANNUAL PATRON SKI DAY Many thanks to Cookie and Jim Flaum, Jeremy L. Krieg of New York Life, and Elway’s Restaurant for underwriting the 12th Annual Patron Ski Day in March. BRAVO! VAIL GUIDE TO THE MUSIC The Festival is proud to present the Bravo! Vail Guide to the Music created by James W. Palermo as a guide to help inform and educate our audiences. The Guide has been underwritten through a generous gift from Linda and Mitch Hart of Beaver Creek. Linda and Mitch are dedicated to promoting music education on regional and national 159

levels, and this gift is sincerely appreciated. Thank you! REHEARSAL SPACE Cathy and Howard Stone, Vail Mountain School, Manor Vail, and the Vail Interfaith Chapel all provide invaluable rehearsal space. Thank you for this unique gift. ALPINE BANK RADIO AND MEDIA PROGRAM The Festival receives radio and television promotion through a unique program designed and funded by Alpine Bank. Their gracious support of music education programs is also greatly appreciated. LOCAL TRANSPORTATION The Festival acknowledges Colorado Mountain Express for their generous support in assisting Festival artists with local transportation to and from airports in both Denver and Eagle. MEDIA ACKNOWLEDGEMENTS The Festival is pleased to acknowledge support from CMNM, Colorado Printing Company, Colorado Public Radio, Denver Post, Hill Aevium, KZYR the Zephyr, National Public Radio, Radio Free Minturn, Tiga Advertising, Town of Vail, TV8, Vail Beaver Creek Magazine, Vail Daily, Vail Valley Foundation, Vail Valley Partnership, Vail Local Marketing District Advisory Committee, Vail Resorts, Vail Town Council. FESTIVAL PHYSICIAN The Festival extends sincere appreciation to Festival Physician Dr. Lisa L. Muncy-Pietrzak, MD, ABHM of Vibrant Health of Vail for her invaluable service to Festival musicians.

CORPORATE RECOGNITION Bravo! Vail is indebted to the Town of Vail, the Vail Town Council and its many corporate, foundation, government and community partners for their financial support. The Bravo! Vail Board of Trustees thanks these partners whose financial investments make the festival possible. GRAND BENEFACTOR ($100,000 and above) Town of Vail***** Vail Valley Foundation***** OVATION ($15,000 and above) National Endowment for the Arts** Slifer Smith & Frampton Real Estate** US Bancorp Foundation US Bank** Wells Fargo Bank** ALLEGRO ($10,000 and above) Alpine Bank** Ascent Sotheby’s International Realty* Beaver Creek Colorado Creative Industries Silver Oak and Twomey Triumph Mountain Properties* BENEFACTOR ($5,000 and above) Anschutz Family Foundation Chubb/Wall Street Insurance JP Morgan Town of Gypsum** Vail Jazz Foundation* PATRON ($3,000 and above) Alpine Party Rentals Eagle County** Exxon Mobile** FirstBank** Nina McLemore Jeremy Krieg of New York Life* CONTRIBUTOR ($1,200 and above) Eagle Ranch Homeowner’s Association* IBM Corporation The Lodge & Spa at Cordillera Rader Engineering* Town of Eagle** United Way of Eagle River Valley* Vail Summit Orthopaedics West Vail Liquor Mart* FRIEND ($600 and above) Cole Luxury Team The Mathilde U. and Albert C. Elser Foundation** Larkspur** Sprint Foundation Zehren and Associates PRELUDE ($300 and above) Abplanalp Law Office LLC* *Denotes 5 years of consecutive giving 160

IN-KIND GIFTS Bravo! Vail is grateful to all of its partners who provide gifts in kindness. These donations play a vital role in the success of the Festival and its ability to continue its legacy of artistic excellence. PREMIER BENEFACTOR ($50,000 and above) The Antlers at Vail RockResorts Town of Vail Vail Cascade Resort and Spa Vail Marriott Mountain Resort and Spa Vail Resorts Vail Resorts Echo Program Vail Resorts Development Company Vail Valley Foundation IMPRESARIO ($30,000 and above) Christopher Aitken/Merrill Lynch Bravo! Vail Board of Trustees and Advisory Council Bravo! Vail Development Committee Bravo! Vail Gala Committee Bravo! Vail Guild Evelyn Pinney and Rob LeVine Silver Oak and Twomey West Vail Liquor Mart VIRTUOSO ($20,000 and above) Del Mar Development Dr. Lisa Muncy-Pietrzak Neyzen Travel & Yachting The Sebastian Vail Argie Tang Dr. Agnes Hsu-Tang and Oscar Tang ALLEGRO ($10,000 and above) Ann Smead and Michael Byram The Christie Lodge Crazy Mountain Brewing Company Destination Resorts Foods of Vail Four Seasons Resort Vail Jeanne and Jim Gustafson Hill Aevium Judy and Alan Kosloff The Left Bank The Lifthouse Condominiums The Lodge at Vail Manor Vail Lodge Mirabelle at Beaver Creek Republic National Distributing Company Splendido at the Chateau Sweet Basil Vail Catering Concepts Vail Mountain Lodge and Spa Vail’s Mountain Haus Vintage Magnolia

David Walford Westin Riverfront Resort and Spa Betsy and George Wiegers SOLOIST ($7,000 and above) Alpine Bank Pan For Hire Taste 5 Catering BENEFACTOR ($5,000 and above) Dierdre and Ronnie Baker Colorado Mountain Express Elway’s Cookie and Jim Flaum Gorsuch Terri and Tom Grojean Elizabeth Keay Vicki and Kent Logan Laura and Jim Marx Barbie and Tony Mayer Olivia and Rod Miller Sally and Byron Rose Helen and Vincent Sheehy Sitzmark Lodge Sonnenalp Resort of Vail Cathy and Howard Stone Susan and Steven Suggs Tessitura Network Tivoli Lodge Vail Racquet Club Vail Resort Rentals Susan and Tom Washing Westwind Condos Yamaha PATRON ($3,000 and above) Alpine Party Rentals BBC Research Betty Ford Alpine Gardens The Bookworm of Edwards Evergreen Lodge The Fitz at Manor Vail Renate and Barry Florescue Joyce and Judson Green J. Scott Jewelers Larkspur Restaurant La Tour Maureen and Joseph Laurin Dr. Albert Lichtman Novosad, Lyle and Associates Kent Pettit Photography Barry Radell Ruggs Benedict Terra Bistro Tiga Advertising Vail Fine Art Gallery Vail’s Mountain Haus VIP Parking Vista at Arrowhead 161

CONTRIBUTOR ($1,200 and above) The Golden Bear Holiday Inn, Apex Vail Vail Mountain School Lou Wagner FRIEND ($600 and above) Bronze Sculpture by FELICIA City Market Vail Jazz Foundation Zip Adventures of Vail DONOR ($300 and above) Allegria Spa Bearcat Stables Colorado Symphony Orchestra Comedy Works The Cos Bar at Riverwalk Denver Film Society Disneyland Resort Jazz Aspen Snowmass Karats Up the Creek Bar and Grill YMCA of the Rockies PRELUDE ($25 and above) Avalanche Ranch Cabins and Hot Springs Big 5 Sporting Goods Boulder Philharmonic Orchestra Campo de Fiori Central City Opera Colorado Ballet Colorado Music Festival Columbine Bakery CrossFit Venture Denver Zoo Glenwood Caverns Adventure Park Green Mountain Coffee Grouse Mountain Grill Gypsum Creek Golf Course J. Cotter Gallery Kevin Taylor Restaurant Group Kitchen Collage Minturn Saloon Moe’s Original BBQ Nantahala Outdoor Center New Belgium Brewing Company NY Skyride Pier 39 Royal Gorge Bridge and Park SkyVenture Colorado Steammaster Tennessee Pass Sleep Yurts USA Pro Challenge

BRAVO! VAIL STAFF EXECUTIVE DIRECTOR James W. Palermo ARTISTIC DIRECTOR Anne-Marie McDermott ARTISTIC Director of Artistic Planning Jacqueline Taylor DEVELOPMENT Vice President of Development Jeanne Reid White Director of Development Caitlin Murray Corporate, Foundation & Government Relations Officer Amy Phillips Records Management & Donor Fulfillment Coordinator Beth Pantzer

Certified Public Accountant Stephanie Novosad Novosad, Lyle, Associates, P.C. OPERATIONS/EDUCATION Director of Operations Elli Gauthier Concert Production Manager Brett Logan Production Crew Arnold Bagwell Paul Casey Devin Klepper Rane Logan Zac Logan Kalen Martinez Brandon Reid Robert Pastore Jr. Steve Schrader Piano Technician Reid Schaefer

MARKETING & PUBLIC RELATIONS Vice President of Marketing, Interim Margaret Williams

Sound Engineering Mountainside Productions, Inc. THD Productions

Ticketing & Fulfillment Manager Nancy Stevens

Audio Recording Bruce Gigax David Wilson

Marketing & Public Relations Associate Carly Winn Ticketing & Fulfillment Associate Josh Ruark Box Office Assistants Jonny Stevens Gretchen Swanson ADMINISTRATION Chief Administrative and Financial Officer Julie Johannes Finance & Administrative Manager Irene Emma Office Manager Eden Badgett

SEASONAL STAFF Artist Liaison John Jungerberg, University of Wisconsin Madison FESTIVAL INTERNSHIP PROGRAM Development Interns Kathleen Jackson, Indiana University Annie Walters, Indiana University Marketing Interns Casey Davis, University of North Carolina Sabrina Green, Southern Utah University Operations and Education Interns Michelle Hennessy, Indiana University Jacob Thaler, Colorado State University 162

Resident Orchestra Physician Lisa Muncy, MD, ABHM GUILD Bravo! Vail extends a sincere thank you to the individuals who donate countless hours of volunteer time to the Bravo! Vail Guild. Proceeds from The Guild support Bravo! Vail’s Community Engagement and Education Programs. Please consider supporting the Guild’s efforts by purchasing commemorative Bravo! Vail merchandise next to the main concession stand. Mary Jo Allen Kay Ash Jennifer Berg Joan Berger Pat Blood Barbara Bower Jennette Brown Peggy Buchannan Althea & Cliff Callaway David & Judy Carson Paul Chapman Barbara Coffey Nancy Collins Jim & Pam Crine Doris Dewton Holly Eastman Eleanor Finlay Catherine Gant Greer & Jack Gardner Allan & Frances Goldman Dick Gretz Pam Hamilton Irene Hays Summer Holm Sharon Johnson Susan Kaemmerlen Jean Kearns Liz Keay Becky Kiser Milly Kohlman Phillis & Roy Lawler Pat Lehman

SPECIAL NOTES Ann Loper Hank Mader Melanna Marcellot Jennifer McCorkle Louise McGaughey Carole Ann McNeill Frank Miller Mary Jane Miller Paolo & Susan Narduzzi Chuck & Gail Nash Karen & Richard Nauman Kirky Nerheim Michael & Suzette Newman Nancy Nottingham Pauline Olives Don & Linda Orseck Jim Palermo Joanne Rock Tom Russo Ana Marie & Scott Schaefer Fred & Nancy Schmidt Carol Schimmer Andy Searls Charlie Sherwood Paige Sodergren Luisa Stafford Frank & Joanne Strauss Cynthia & Harold Turtletaub Judy & Michael Turtletaub Pamela Vonmende Christina Wilhelms Dianne & Leo Williams Dean & Linda Wolz Allison Wright Linda Zerangue PIANO TEACHERS Thank you to the following individuals for their dedicated work with the Bravo! Vail Piano Program: Bora Basyildlz Joel Blackmer Erica Broniac Woody Brook Zachary Brown Lynn Chapin Amy Cochran

Cookie Flaum Cal Grisham Jessica Hazzard Jenna Jay Patrick Padgett Camilla Petterson Alexis Richins Carol Schutte Michelle Shannon SPECIAL NOTES Disability access is available at all concert venues. Please call the Bravo! Vail offices at 970.827.4316 for further information. The use of cell phones and electronic devices is prohibited during concerts. Sound recording or photographing of concerts is strictly prohibited. Concerts start punctually at the time indicated. Latecomers may be admitted at the completion of the first movement or work. Please respect the volunteer ushers. We ask that adults accompany small children at all times. Artists are subject to change without prior notice and a change of artist is not cause for a refund. Program annotations by ©Richard Rodda. Please save your program book for the duration of the Festival and recycle unwanted materials. Bravo! Vail Program Book ©2013. MAIL/ADMINISTRATION 2271 N Frontage Rd W, Suite C Vail, CO 81657 970-827-5700 toll free 877-827-5700 fax 970-827-5707 TICKETS To order by phone, please call toll free 877-812-5700. Hours: 9:00AM – 4:00PM Monday through Friday,

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10:00AM – 3:00PM Saturday and Sunday (The box office will be closed after August 4, 2013) Walk up: The Gerald R. Ford Amphitheater and the Vail Mountain School are open one hour prior to concert time. E-mail: bravo@bravovail.org Web site/online tickets: www.bravovail.org All sales are final. There are no refunds or exchanges. Inclement weather is not a cause for refund unless a performance is actually cancelled. There is a $6 handling fee for all orders. If you are unable to attend a concert, please call the Bravo! Vail offices at 877-812-5700 prior to the concert to donate your tickets. A tax receipt will be issued to you for your ticket donation. The following are policies of the Gerald R. Ford Amphitheater Management and are not permitted in the facility: Audio and video recording devices; lawn chairs with more than 3 inches of clearance; cameras; cigarette and cigar smoking; skateboards; bicycles; scooters; in-line skates; pets and alcoholic beverages (only commercially sealed, non-alcoholic beverages are permitted). Alcoholic beverages may be purchased inside the Amphitheater at concession stands. Personnel directly associated with the Management of the Amphitheater will inspect all private refreshment coolers at the various entrance gates.

ORCHESTRA NOTES

Music at the Movies, Continued From Page 41

The essential conflict of the Star Wars epic is established in Episode I: The Phantom Menace: a group of dissident worlds has broken away from the Galactic Republic and allied themselves in an attempt to control the universe. Anakin’s Theme introduces the film’s central character. Episode V of Star Wars: The Empire Strikes Back, in which Luke Skywalker, Anakin’s son, now heads the rebellion against the Empire, includes the swaggering Imperial March.

Golden Age of Jazz, Continued From Page 37

with the Earl “Fatha” Hines Band, which not only evoked an exotic locale far from the roots of jazz and blues but also heralded the progressive “be-bop” style that flourished in the 1950s. Gillespie’s 1946 recording of A Night in Tunisia with his sextet has been inducted into the Grammy Hall of Fame. In 1954, trumpeter Miles Davis recorded the album Walkin’, which moved be-bop toward a more modern, driving style known as “hard bop.” The number may have originated with Davis or with tenor saxophonist Gene Ammons or with pianist Tadd Dameron, though it is often credited to Richard Carpenter, a shady Chicago publicist and agent who published it under his own name as Walkin’ after supposedly paying saxophonist and one-time Benny Goodman arranger Jimmy Mundy a few dollars for the rights to the tune, originally titled Gravey.

Memoirs of a Geisha (2005) recounts the fictional story of a young girl in mid-20th-century Japan who is sold into slavery by her poverty-stricken family and then sent by her new family to be trained as a geisha. Sayuri’s Theme, associated with the title character, suggests the mystery and exoticism of the film’s setting. Superman was director Richard Donner’s 1978 screen realization of America’s quintessential superhero, created in Cleveland in 1932 by writer Jerry Siegel and artist Joe Shuster. The March from Superman by John Williams (b. 1932) evokes the daring and bravery of the title character.

In 1957, composer and jazz historian Gunther Schuller coined the term “third stream” in a lecture at Brandeis University to describe a genre that fused jazz, classical and world music. Two years later Miles Davis began recording his epochal Sketches of Spain album, in which he and arranger Gil Evans interpreted classical compositions by Rodrigo and Falla, and Dave Brubeck and his quartet released Time Out, a bold experiment in unusual rhythmic patterns that they had encountered during a State Department-sponsored tour of Europe and Asia. Time Out is one of the bestknown of all jazz recordings, having sold more than a million copies (the first jazz album to go platinum) and been chosen by the Library of Congress for the National Recording Registry. Both Take Five, by Brubeck’s saxophonist, Paul Desmond, and Brubeck’s own Blue Rondo à la Turk were influenced by rhythms they heard played by Turkish street musicians. Jeff Tyzik’s Blue Mambo à la Turk gives the latter a Latin flavor.

Schindler’s List (1993) won for Williams an Oscar for his music and for Steven Spielberg his first Academy Award as director. The composer wrote, “The film’s ennobling story, set in the midst of the Holocaust, offered an opportunity to create not only dramatic music, but also themes that reflected the more tender and nostalgic aspects of Jewish life during those turbulent years,” qualities captured in the film’s Theme. “What if Peter Pan grew up?” asked the ads for Hook (1991), and the movie imagines Peter Banning (Robin Williams) as a very grown-up and ruthless business executive who has little time for his children. Though Hook generated little critical or box office enthusiasm, John Williams received an Oscar nomination for the film, which includes music to accompany The Flight to Neverland.

This jazz tour culminates with two selections by Austrian-born keyboardist Joe Zawinal, a pioneer in fusing jazz with rock and world music as a member of Weather Report. Birdland (1977) was Weather Report’s most successful number; Mercy, Mercy, Mercy was composed for Cannonball Adderley’s eponymous 1966 album.

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by tonality and style, as in the typical 18th-century example, but is rather a carefully devised whole in which each of the movements serves to carry the work inexorably toward its end. The progression from minor to major, from dark to light, from conflict to resolution is at the very heart of the “meaning” of this work. The triumphant nature of the final movement as the logical outcome of all that preceded it established a model for the symphonies of the Romantic era. The psychological progression toward the finale — the relentless movement toward a life-affirming close — is one of Beethoven’s most important technical and emotional legacies, and it established for following generations the concept of how such a creation could be structured, and in what manner it should engage the listener.

Dvořák’s New World, Continued From Page 45

ANTONÍN DVOŘÁK [1841-1904] Symphony No. 9 in E minor, Op. 95, “From the New World” (1892-1893) When Antonín Dvořák, aged 51, arrived in New York on September 27, 1892 to direct the new National Conservatory of Music, both he and the institution’s founder, Mrs. Jeanette Thurber, expected that he would help to foster an American school of composition. He was clear and specific in his assessment: “I am convinced that the future music of this country must be founded on what are called Negro melodies. They can be the foundation of a serious and original school of composition to be developed in the United States…. There is nothing in the whole range of composition that cannot find a thematic source here.” The “New World” Symphony was not only Dvořák’s way of pointing toward a truly American musical idiom but also a reflection of his own feelings about the country. “I should never have written the Symphony as I have,” he said, “if I hadn’t seen America.”

Concerning the effect of the “struggle to victory” that is symbolized by the structure of the Fifth Symphony, a quote that Beethoven scribbled in a notebook of the Archduke Rudolf, one of his aristocratic piano students, is pertinent. The composer wrote, “Many assert that every minor [tonality] piece must end in the minor. Nego! On the contrary, I find that ... the major [tonality] has a glorious effect. Joy follows sorrow, sunshine — rain. It affects me as if I were looking up to the silvery glistening of the evening star.”

The “New World” Symphony is unified by the use of a motto theme that occurs in all four movements. This bold, striding phrase, with its arching contour, is played by the horns as the main theme of the opening movement, having been foreshadowed in the slow introduction. Two other themes are used in the first movement: a sad melody for flute and oboe that exhibits folk characteristics, and a brighter tune with a striking resemblance to the spiritual Swing Low, Sweet Chariot for the solo flute. The second movement was inspired by the forest funeral of Minnehaha in Longfellow’s epic poem The Song of Hiawatha, and the third by the dance of the Indians at the feast. The finale employs a sturdy motive introduced by the horns and trumpets after a few introductory measures in the strings.

Pines of Rome, Continued From Page 55

OTTORINO RESPIGHI [1879-1936] Pines of Rome (1923-1924) Pines of Rome is the second work of Respighi’s trilogy on Roman subjects. The first was The Fountains of Rome of 1916; the last, Roman Festivals, dates from 1928. These compositions depict various aspects of the city through Respighi’s musical impressions. He wrote that Pines of Rome “uses nature as a point of departure, in order to recall memories and visions. The centuries-old trees which dominate so characteristically the Roman landscape become testimony for the principal events in Roman life. 1. The Pines of the Villa Borghese. Children are at play in the pine grove of the Villa Borghese, dancing the Italian equivalent of Ring around the Rosy; mimicking marching soldiers and battles; twittering and shrieking like swallows at evening; and they disappear. Suddenly the scene changes to ... 2. Pines near a Catacomb. We see the shadows of the pines, which overhang the entrance of a catacomb. From the depths rises a chant which re-echoes solemnly, like a hymn, and is then mysteriously silenced. 3. The Pines of the Janiculum.

Beethoven’s 5th, Continued From Page 49

ornamentation. The rondo-finale overflows with characteristic Mozartian touches: charm, taste, wit, beauty and the sense that it is, somehow, exactly right. LUDWIG VAN BEETHOVEN [1770-1827] Symphony No. 5 in C minor, Op. 67 (1804, 1808) Beethoven’s Fifth Symphony, more than any work in the musical repertory, is the archetypal example of the technique and content of the form. Its overall structure is not one of four independent essays linked simply 171

Pines of Rome, Continued From Page 171

There is a thrill in the air. The full moon reveals the profile of the pines of Gianicolo’s Hill. A nightingale sings. 4. The Pines of the Appian Way. Misty dawn on the Appian Way. The tragic country is guarded by solitary pines. Indistinctly, incessantly, the rhythm of innumerable steps. To the poet’s fantasy appears a vision of past glories; trumpets blare, and the army of the Consul advances brilliantly in the grandeur of a newly risen sun toward the Sacred Way, mounting in triumph the Capitoline Hill.”

Latin Jazz, Continued From Page 63

Vals Venezolano (“Venezuelan Waltz”) and Contradanza are from the suite of Aires Tropicales based on the musical styles of various Latin American countries that D’Rivera originally composed for the Aspen Wind Quintet in 1994. Brussels-born Jean-Baptiste Frédéric Isidor Thielemans — “Toots” Thielemans (b. 1922) — had already established a distinctive style as a jazz harmonica and guitar player before emigrating to the United States in 1952. He began his career in this country playing with Charlie Parker and George Shearing, and has since performed and recorded with many leading jazz and popular artists and appeared on numerous Hollywood soundtracks. He received the Jazz Master Award from the National Endowment for the Arts in 2008. Thielemans honored jazz sax great Sonny Rollins in 1985 with the swinging Waltz for Sonny. When D’Rivera defected to the United States in 1980 he had to leave behind his wife, Eneida, and fouryear-old son, Franco. Unable to return to Cuba, he fell in love with the Puerto Rican-born singer Brenda Feliciano but never stopped hoping to see his family again. In 1989, Cuban authorities agreed to release

ORCHESTRA NOTES

Montreal-based Cirque de Soleil, whose many shows have been seen by some 90 million spectators on five continents and now annually gross nearly a billion dollars.

Latin Jazz, Continued From Page 172

Eneida and Franco, but Paquito was fearful that he would not be allowed to leave the island if he returned there, so Brenda went in his place, not just cautious for herself but also aware that she would have to explain to Eneida that her marriage had been destroyed by the long separation. “She made me understand that I could leave my country and have Franco reunited with his father,” Eneida said. “If Paquito had not decided to leave,” she continued, apparently without regret, “we would all still be in Cuba, not having made any progress in our lives.” On January 30, 1989, father and son were re-united at the Miami airport. Out of affection and appreciation, D’Rivera wrote To Brenda with Love for the woman who became his second wife.

Other than a few grandiloquent announcements from a ringmaster, circus is a visual art form, and instrumental music has been an indispensible element of it since the days that trumpet players accompanied Philip Astley as he distributed handbills around London from horseback. The Philadelphia Orchestra renews that tradition with the cavalcade of symphonic highlights that accompanies this Cirque de la Symphonie. Nadja and Appalachian, Continued From Page 71

her grandmother’s farm in turn-of-the-20th-century Pennsylvania, which Edwin Denby described in his review of the New York premiere in May 1945: “[The ballet concerns] a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the 19th century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end, the couple are left quiet and strong in their new house.”

Nikolai Rimsky-Korsakov (1844-1908) visited Spain only once: while on a training cruise around the world as a naval cadet, he spent three days in the Mediterranean port of Cádiz in December 1864. The sun and sweet scents of Iberia left a lasting impression on him, however, and he translated them into the brilliant orchestral showpiece Capriccio Espagnol in 1887. Cirque de la Symphonie, Continued From Page 67

human and animal oddities. Ten years later he merged with veteran circus man James Bailey, and together they ran their show as a corporation — moving it swiftly around the country by train, building it for quick set-up virtually anywhere under their own vast tent (the public was invited to watch the erection of the temporary “circus city” and be enticed to buy a ticket for the show), using advertising (some of it true) to an unprecedented degree, and adding a second and then third ring to give everybody a good view of the show’s greatly expanded offerings. “Why send out a minnow,” Barnum said of his seemingly limitless ambition, “when a whale will do?” Barnum died during a performance in 1890 and the seven Ringling brothers purchased his circus in 1907, merging the shows twelve years later into the “Ringling Bros. and Barnum & Bailey Circus” that continues to tour the world as “The Greatest Show on Earth.”

ROBERTO SIERRA [BORN IN 1953] Sinfonía No. 4 (2008-2009) Roberto Sierra, born in Vega Baja, Puerto Rico in 1953, received degrees from the Conservatory of Music, University of Puerto Rico, Royal College of Music and University of London, and then pursued further study at the Institute for Sonology in Utrecht, Holland. From 1979 to 1982, he was a pupil of György Ligeti in Hamburg. Sierra returned to Puerto Rico in 1982, serving first as Director of the Cultural Activities Program at the University of Puerto Rico and later as Chancellor of the Puerto Rico Conservatory of Music. From 1989 to 1992, he was Composer-in-Residence with the Milwaukee Symphony; he has since held residencies with the orchestras of Philadelphia, New Mexico and Puerto Rico. In 1992, Sierra joined the composition faculty of Cornell University.

The circus was revitalized once again beginning in the 1970s, when troupes from Australia to Wales brought a new sophistication to the genre’s design and performance, often without animals. The most successful of these modern circus producers is the

Sierra wrote of his Sinfonía No. 4, “The first movement (Moderadamente rápido) introduces three different kinds of materials: melodic gestures centered around the tonality of A minor, chords with highly chromatic 176

content supporting contrasting motives, and a vibrant rhythmic figure. These elements are then developed, combined and presented in different guises. The first twelve notes form the basis for the whole second movement (Rápido). Instead of using the traditional scherzo–trio–scherzo structure, slow lyrical sections provide formal variety. The third movement (Tiempo de bolero) evokes the slow Latin ballads called boleros that became very popular in the 1950s. The last movement (Muy rápido y rítmico) ends where the Sinfonía began. The main idea of this finale is the vibrant Latin clave rhythm, which supports from beginning to end all the melodic and harmonic materials.”

forth in the whirling rhythm of an Italian tarantella. The propulsive urgency subsides to allow another of Rachmaninoff’s finest melodic inspirations to enter. A development of the tarantella motives follows, into which are embroidered thematic reminiscences from each of the three preceding movements. The several elements of the finale are gathered together in the closing pages. Mozart and Mahler, Continued From Page 83

elucidate “What the Child tells me.” Mahler, however, decided to drop this song from the Third Symphony, probably because it would have been an anticlimax after the stentorian ending of the preceding movement. Instead, he determined to explore the world of this “child of heaven” more extensively, in a separate work. Thus was born the Fourth Symphony of 1899-1900, whose formal progression and mood were determined by the child’s vision with which it closes.

Rachmaninoff, Continued From Page 77

A few years before, Rachmaninoff had been overwhelmed by an inspired performance of Die Meistersinger he heard at the Dresden Opera. The memory of that evening and the aura of dignity and repose exuded by the city had remained with him, and Dresden, at that time in his life, seemed like a good place to be. The atmosphere in Dresden was so conducive to composition that within a few months of his arrival he was working on the Second Symphony, the First Piano Sonata, the Op. 6 Russian folk songs and the symphonic poem The Isle of the Dead. The Second Symphony was unanimously cheered when it was premiered under the composer’s direction in St. Petersburg on January 26, 1908.

The Symphony opens with the distinctive sound of sleigh bells that recurs at important structural points throughout the movement. A number of melodic ideas are tossed out to comprise the main theme group before the presentation of the second theme, a sweet, Viennese melody high in the cellos. The sleigh bells mark the beginning of a lengthy development section. After one of the few large climaxes of the Symphony, the development quiets before it comes to an abrupt stop. The recapitulation begins in the sunny mood of the opening.

The majestic scale of the Symphony is established by a slow, brooding introduction. A smooth transition to a faster tempo signals the arrival of the main theme, an extended and quickened transformation of the basses’ opening motive. The expressive second theme enters in the woodwinds. The development deals with the vigorous main theme to such an extent that the beginning of the formal recapitulation is engulfed by its surging sweep. The second movement is the most nimble essay in Rachmaninoff’s orchestral works. After two preparatory measures, the horns hurl forth the main theme. Eventually, the rhythmic bustle is suppressed to make way for the movement’s central section, whose skipping lines embody some of Rachmaninoff’s best fugal writing.

Mahler’s original designation for the second-movement scherzo was Freund Hein spielt auf (“Friend Hein plays”). “Hein” was the character of German legend who used his fiddle to lure reluctant travelers to the Great Beyond. This eerie movement, perhaps inspired by the not dissimilar visions of Liszt, Saint-Saëns and Berlioz, alternates a diabolical scherzo with brighter trios. The serene third movement is in the form of a variation on two themes, though it follows the formal outlines of each theme only tenuously. The first set of variations, dominated by the string choir founded upon a resonant pizzicato bass line, alternates with the second set of variations, given largely to the winds. The oboe introduces the second theme.

The rapturous Adagio is music of heightened passion that resembles nothing so much as an ecstatic operatic love scene. Alternating with the joyous principal melody is an important theme from the first movement, heard prominently in the central portion and the coda of this movement. The finale bursts

The vision of the finale is couched in the simplest of musical forms — the strophic song. Each verse of the text, filled with images of an idealized Medieval peasant life, ends with a chorale-like refrain borrowed from the music of the alto solo in the Third Symphony.

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process of “betterment.” It progresses from minor to major, from darkness to light, from melancholy to joy — or at least to acceptance and stoic resignation. The Symphony’s four movements are linked by a recurring “Fate” motto theme, given at the beginning by clarinets as the brooding introduction to the first movement. The sonata form starts with a melancholy melody intoned by bassoon and clarinet. A romantic tune for the strings, an aggressive strain given in dialogue between winds and strings, and a languorous string melody round out the exposition. All of the materials from the exposition are used in the development. The solo bassoon ushers in the recapitulation. The Andante calls to mind an operatic love scene. Twice, the imperious Fate motto intrudes upon the starlit mood of this romanza. A flowing waltz melody dominates much of the third movement; the central trio exhibits a scurrying figure in the strings. Quietly and briefly, the Fate motto returns in the movement’s closing pages. The finale begins with a long introduction based on the Fate theme cast in a heroic mood. A vigorous exposition, a concentrated development and an intense recapitulation follow. The long coda uses the motto theme in its major-key, victory-won setting.

Verdi’s Requiem, Continued From Page 87

another Requiem to the “many, many” that existed was “useless.” Soon, however, he was to find a use for such a work, and give in to the temptation to take up his Libera me once again. Alessandro Manzoni was one of the dominant figures of 19th-century Italy. His poems, plays and novels spoke directly to the Italian soul as it quested for freedom and national identity. His most famous work was the novel I promessi sposi (“The Betrothed”), the greatest Italian prose piece of the time, which accomplished for Italy what Luther’s translation of the Bible had done three centuries before for Germany — brought a standardized language to a country factionalized by innumerable dialects. Verdi venerated Manzoni, and, as he had been five years earlier with the passing of Rossini, he was again inspired to commemorate the death of a great Italian with a memorial Mass. Verdi scheduled the Requiem’s premiere for the first anniversary of Manzoni’s death, and began the score immediately. Remembering his earlier experience with the Rossini Requiem, however, he decided this time to control the entire project himself — composition, preparations and performance. He revived the Libera me for inclusion in the Manzoni Requiem, but newly composed the rest. The work was finished on April 10, 1874, and premiered six weeks later in Milan’s San Marco Cathedral with complete success.

Symphonie Fantastique, Continued From Page 107

obsession) which is transformed to suit its imaginary musical surroundings. Berlioz wrote of the Symphonie Fantastique, “PART I: Reveries and Passions. The young musician first recalls that uneasiness of soul he experienced before seeing her whom he loves; then the volcanic love with which she suddenly inspired him, his moments of anguish, his returns to loving tenderness, and his religious consolations. PART II: A Ball. He sees his beloved in the midst of the tumult of a brilliant fête. PART III: Scene in the Country. One summer evening in the country he hears two shepherds playing a ranz-des-vaches in alternate dialogue; this pastoral duet restores calm to his heart; but if she were to betray him! ... One of the shepherds resumes his artless melody, the other no longer answers him. The sun sets ... the sound of distant thunder ... solitude ... silence ... PART IV: March to the Scaffold. He dreams that he has killed his beloved, that he is condemned to death, and led to execution. The procession advances to a march that is now somber and wild, now brilliant and solemn. At the end, the idée fixe reappears for an instant, like a last love-thought before the fatal stroke. PART V: Dream of a Witches’ Sabbath. He sees himself at the Witches’ Sabbath, amid ghosts, magicians and monsters of all

Verdi’s Requiem is in seven large movements, based on the text. Throughout, the ancient words are illuminated and enriched by the composer’s broad strokes and subtle touches, which are best perceived by following the text as the piece unfolds around them. Tchaikovsky’s 5th, Continued From Page 103

“In the Fourth Symphony,” the Hansons wrote, “the Fate theme is earthy and militant, as if the composer visualizes the implacable enemy in the form, say, of a Greek god. In the Fifth, the majestic Fate theme has been elevated far above earth, and man is seen, not as fighting a force that thinks on its own terms, of revenge, hate, or spite, but a wholly spiritual power which subjects him to checks and agonies for the betterment of his soul.” The structure of the Fifth Symphony reflects this 178

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Broadway Night, Continued From Page 117

CHOIRGIRL: Bless this day, Pinnacle of life, Husband joined to wife. The heart leaps up to behold This golden day.

Symphonie Fantastique, Continued From Page 178

sorts, who have come together for his obsequies. He hears strange noises, groans, shrieks. The beloved melody reappears, but it has become a grotesque dance-tune — it is she who comes to the Witches’ Sabbath.... Funeral knells, burlesque parody on the Dies Irae [the ancient ‘Day of Wrath’ chant from the Roman Catholic Requiem Mass for the Dead]. Witches’ Dance. The Witches’ Dance and the Dies Irae together.”

AMY: Pardon me, is everybody here? Because if everybody’s here, I want to thank you all for coming to the wedding, I’d appreciate your going even more, I mean you must have lots of better things to do, and not a word of this to Paul, remember Paul, you know, the man I’m gonna marry, but I’m not, because I wouldn’t ruin anyone as wonderful as he is — Thank you all For the gifts and the flowers, Thank you all, Now it’s back to the showers, Don’t tell Paul, But I’m not getting married today. (Company, lyrics by Stephen Sondheim)

Scheherazade, Continued From Page 111

century central Asia to undertake his own embodiment of musical Orientalism. The stories on which he based his orchestral work were taken from The Thousand and One Nights, a collection of millennium-old fantasy tales from Egypt, Persia and India which had been gathered together, translated into French, and published in many installments by Antoine Galland beginning in 1704. To refresh the listener’s memory of the ancient legends, Rimsky-Korsakov prefaced the score with these words: “The sultan Shakriar, convinced of the falsehood and inconstancy of all women, had sworn an oath to put to death each of his wives after the first night. However, the sultana Scheherazade saved her life by arousing his interest in the tales she told him during 1,001 nights. Driven by curiosity, the sultan postponed her execution from day to day, and at last abandoned his sanguinary design.” To each of the four movements Rimsky gave a title: The Sea and Sinbad’s Ship, The Story of the Kalandar Prince, The Young Prince and the Young Princess and Festival at Baghdad–The Sea–Shipwreck. At first glance, these titles seem definite enough to lead the listener to specific nightly chapters of Scheherazade’s soap opera. On closer examination, however, they prove too vague to be of much help. The Kalandar Prince, for instance, could be any one of three noblemen who dress as members of the Kalandars, a sect of wandering dervishes, and tell three different tales. “I meant these hints,” advised the composer, “to direct but slightly the hearer’s fancy on the path which my own fancy had traveled, and leave more minute and particular conceptions to the will and mood of each listener. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders.”

Mark me well, I will tell you, sir: The way to handle a woman Is to love her ... simply love her ... Merely love her ... love her ... love her. (Camelot, lyrics by Alan Jay Lerner) FAMILY The Lord made Adam. The Lord made Eve. He made them both, A little bit naïve. They lived as free As the summer breeze, Without pajamas and without chemise, Until they stumbled on the apple trees. (Finian’s Rainbow, lyrics by E.Y. Harburg) Children run so fast Toward the future From the past. There they stand, Making footprints in the sand And forever, hand in hand Our children. (Ragtime, lyrics by Lynn Ahrens) HAPPILY-EVER-AFTER … OR NOT So when, when was this day? 182

Was it on the church step? Suddenly you’re out of love. Does it go creeping slowly? When was your Dividing Day? (The Light in the Piazza, lyrics by Adam Guettel) Could I leave you? Yes. Will I leave you? Will I leave you? Guess! (Company, lyrics by Stephen Sondheim)

its rhythm and cadence points are clear; its melody is a long, continuous span. These two antitheses alternate, and the form of the movement is created as much by texture and sonority as by the traditional means of melody and tonality. The third movement is a lilting essay in the style of the Austrian folk dance, the Ländler. The trumpets herald the start of the finale, a theme and variations with a central section resembling a development in character.

Once I laughed when I heard you saying that I’d be playing solitaire, uneasy in my easy chair. It never entered my mind. (Higher and Higher, lyrics by Lorenz Hart)

GUSTAV HOLST [1874-1934] The Planets, Op. 32 (1914-1917)

Holst’s The Planets, Continued From Page 125

Holst’s interest in writing a piece of music on the attributes of the astrological signs was apparently spurred by his visit in the spring of 1913 with the writer and avid star-gazer Clifford Bax, who noted that Holst was himself “a skilled reader of horoscopes.” Of the music’s inspiration, Holst noted, “As a rule I only study things that suggest music to me. That’s why one time I worried at Sanskrit. Then recently the character of each planet suggested lots to me, and I have been studying astrology fairly closely.” Despite his immediate attraction to the planets as the subject for a musical work, however, he took some time before beginning the composition. He once wrote to William Gillies Whittaker, “Never compose anything unless the not composing of it becomes a positive nuisance to you,” and it was not until the summer of 1914, more than a full year after he had conceived the piece, that he could no longer resist the lure of The Planets.

A PLACE FOR US There’s a place for us, Somewhere a place for us … Hold my hand and I’ll take you there Somehow, some day, somewhere! (West Side Story, lyrics by Stephen Sondheim) Summertime Classics, Continued From Page 121

Dvořák’s annual summer country retreat at Vysoká, and his happy contentment with his surroundings shines through the music. Dvořák was absolutely profligate with themes in the opening movement. The first theme is presented without preamble in the rich hues of trombones, low strings and low woodwinds in the dark coloring of G minor. This tonality soon yields to the chirruping G major of the flute melody, but much of the movement shifts effortlessly between major and minor keys, lending a certain air of nostalgia to the work. The opening melody is recalled to initiate both the development and the recapitulation. In the former, it reappears in its original guise and even, surprisingly, in its original key. The recapitulation begins as this theme is hurled forth by the trumpets in a stentorian setting greatly heightened in emotional weight from its former presentations. The coda is invested with the rhythm and high good spirits of an energetic country dance to bring the movement to its rousing ending.

Holst wrote of The Planets, “These pieces were suggested by the astrological significance of the planets. There is no program music in them, neither have they any connection with the deities of classical mythology bearing the same names. If any guide to the music is required, the subtitle to each piece will be found sufficient, especially if it is used in a broad sense.” The staggering hammerblows of Mars, the Bringer of War are followed by the sweet luminosity of Venus, the Bringer of Peace. Mercury, the Winged Messenger is a nimble scherzo. Within Jupiter, the Bringer of Jollity co-exist a boisterous Bacchanalian dance and a striding hymn tune to which Elgar stood godfather. Holst declared the lugubrious Saturn, the Bringer of Old Age to be his favorite movement in the suite. Uranus, the Magician is shown as a rather portly prestidigitator. Neptune, the Mystic is a disembodied siren song for the female chorus floating away to inaudibility among the spheres.

The second movement contains two kinds of music, one hesitant and somewhat lachrymose, the other stately and smoothly flowing. The first is indefinite in tonality, rhythm and cadence; its theme is a collection of fragments; its texture is sparse. The following section is greatly contrasted: its key is unambiguous; 183

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successful music publications of the 19th century, and the work’s publisher, Fritz Simrock of Berlin, convinced Dvořák to add a sequel to it in July 1886 with the Slavonic Dances, Op. 72. (Dvořák received almost ten times the payment for Op. 72 as he had for the earlier set.) Simrock also saw the possibility of financial gain on the chamber music front at that time, and he encouraged Dvořák to compose a piece for piano and strings. To meet Simrock’s request, in the spring of 1887 Dvořák dusted off a Piano Quintet in A major he had composed in 1872 but filed away after its premiere as a failure. His attempts at revision proved futile, however, so he decided to compose a completely new quintet in the same key, which he did between August 18th and October 8th at his recently acquired country summer home at Vysoká. The composition was enthusiastically received at its premiere, in Prague on January 6, 1888, and quickly became a favorite of chamber players throughout Europe and America.

Dvořák, Continued From Page 79

be powerful influences on his career through their example, artistic guidance, and professional help. An excited burst of compositional activity followed during the months after Dvořák learned of his award, in February 1875. Dvořák’s first composition of the new year of 1878 was the delightful Serenade for Winds, Cello and Bass, which he composed quickly between January 4th and 18th. The Serenade is evidence of a revival of interest during the late 19th century in the traditional forms and instrumental genres of the Classical era. Brahms wrote two such works between 1857 and 1860, Tchaikovsky completed his Serenade for Strings in 1880, and Dvořák himself composed a String Serenade in 1875. Dvořák also resurrected another Classical tradition in the D minor Serenade by having it begin and end with a march. The custom in Mozart’s time, when serenades were often played outdoors on a summer’s evening, was that the players processed to and from the performance site accompanying themselves with a march. (Mozart’s father, Leopold, lamented that he had to give up performing serenades in his old age because he could no longer memorize these marches.) The first movement of the Serenade, then, is an invigorating march with trio, which, despite its nominal minor key, seems more merry than morose. The following movement, though labeled Menuetto, is in the style of the Czech folk dance called the sousedská, while the trio resembles a furiant. The beautiful Andante con moto contains the deepest emotions of the Serenade. The finale is an ingenious formal hybrid that follows the progress of a sonata form until the recapitulation, where, instead of the recall of the finale’s main theme, the march that opened the work is brought back. A rousing coda is spun from the principal motives of the closing movement.

The cello presents the lovely main theme of the opening movement, almost folkish in its simple phrasing and touching directness. This motive progresses through a number of transformations before the viola introduces the subsidiary theme, a plaintive tune built from a succession of short, gently arching phrases. Both themes are treated in the expansive development section. A full recapitulation and a vigorous coda round out the movement. The Dumka was a traditional Slavic (especially Ukrainian) folk ballad of meditative character often describing heroic deeds. As was typical of the folk form, the Dumka that occupies the Quintet’s second movement uses the slow, thoughtful strain of the opening as a returning refrain to separate episodes of varying characters. Though the Scherzo bears the subtitle Furiant, the movement sounds more like a quick waltz than like the fiery, cross-rhythm dance of Bohemian origin; the central trio is occupied by a quiet, lilting metamorphosis of the Scherzo theme. The Finale, woven from formal elements of sonata and rondo, abounds with the high spirits and exuberant energy of a Czech folk dance.

Quintet for Piano and String Quartet in A major, Op. 81 (1887)

Mozart Concertos, Continued From Page 91

By the time Dvořák undertook his Piano Quintet in A major in 1887, when he was nearing the age of fifty, he had risen from his humble and nearly impoverished beginnings to become one of the most respected musicians in his native Bohemia and throughout Europe and America. His set of Slavonic Dances of 1878 (Op. 46) was one of the most financially

The melodies of the A Major Concerto’s opening movement are stated by the ensemble: an ingratiating main theme juxtaposing a sweet, rising motive and a skipping descent down the scale; a vigorous dialogue; a hesitant little tune given by the violins above a pizzicato bass line; and some compact cadential material. The pianist enters and weaves a brilliant 190

embroidery around the melodies, which are reiterated from the introduction. After a central section based on a new octave-leap motive, a short cadenza leads to the recapitulation of the themes. The Andante, whose principal theme Mozart borrowed from the overture to his friend Johann Christian Bach’s opera La calamitá dei cuori (1763), is one of the tenderest and most touching slow movements among his works. The Concerto’s finale is a sparkling rondo.

Therese von Trattner was a piano student of Mozart), on the last three Wednesdays of the season — March 17th, 24th, and 31st — and he was overjoyed to have as subscribers 174 of the most genteel representatives of the Austrian aristocracy and patrons of music. For this glittering assemblage, Mozart put forward his best effort, creating four new concertos (K. 449, 450, 451, 453) within just eight weeks. For a musical soirée at the home of his student Barbara (“Babette”) Ployer, Mozart allowed that the Concerto could be played a quattro, i.e., with the accompaniment of just a string quartet.

Piano Concerto No. 13 in C Major, K. 415 (K. 387b) (1783)

The Concerto’s opening gesture — two notes of ambiguous tonality in bold unison — create an aura that Mozart scholar Eric Blom described as “full of troubled beauty.” The main theme continues with a small clutch of more animated motives before the ensemble turns to the lyrical but chromatically tortuous second subject. The central development section is largely concerned with the discussion of a tiny trill figure snipped from the main theme. The recapitulation, a somewhat condensed version of the events of the opening section, culminates in a cadenza that Mozart wrote out for Babette. A vigorous coda draws the movement to a close. The Andantino is one of those sublime lyrical effusions that no one other than Mozart could have created. The finale, remarkable for the merry polyphony that unites soloist and orchestra throughout, is a formal hybrid of rondo and sonata, crowned by a galloping 6/8 dash through the coda.

The Concerto in C major, K. 415, opens with the ensemble pronouncement of a mock-military strain. A sweet, ingratiating melody is introduced by the violins before the martial mood returns to herald the entrance of the soloist. The pianist weaves a sparkling filigree around the themes reiterated from the introduction, which are embellished with surprisingly piquant dissonances resolved with astounding ease. A brief development, a recapitulation of the themes and a dashing coda complete the movement. The second movement, based on a lithe and long-limbed melody spread above a subtly rustling accompaniment, would be at home in a tender operatic love scene. The finale takes as its theme a bounding subject whose returns are separated by two sections in slow tempo and minor keys. Despite the emotional contrasts in the movement, however, its pervading character is one of rousing high spirits and good cheer.

Bohemian Works, Continued From Page 94

LEOŠ JANÁČEK [1854-1928] String Quartet No. 2, “Intimate Letters” (1928)

Piano Concerto No. 14 in E-flat major, K. 449 (1784) When Mozart returned to Vienna in November 1783 from his visit to Salzburg to try (vainly) to convince his father of the wisdom of his recent marriage and the suitably of his new wife, his head was full of plans for an opera buffa on a libretto by Abbé G.B. Varesco. However, Mozart sketched only eight numbers before abandoning L’oca del Cairo (“The Goose of Cairo”) because, he informed Papa Leopold in Salzburg, “I have works which at the moment are bringing in money.” The money was to come from a series of subscription concerts he had scheduled for the Lenten season, when the Church’s proscription of opera and theater performances made Vienna’s halls available for instrumental programs. Mozart arranged for his Lenten concerts of 1784 to be given at a salon in the residence of the court printer and publisher, Johann Thomas von Trattner (Frau

In the summer of 1917, when he was 63, Leoš Janáček fell in love with Kamila Stösslová, the 25-year-old wife of a Jewish antiques dealer from Písek. They first met in a town in central Moravia during World War I, but, as he lived in Brno with Zdenka, his wife of 37 years, and she lived with her husband in Písek, they saw each other only infrequently thereafter and remained in touch mostly by letter. The true passion seems to have been entirely on his side (“It is fortunate that only I am infatuated,” he once wrote to her), but Kamila did not reject his company, apparently feeling admiration rather than love for the man who, with the successful staging of his Jenufa in Prague in 1915 eleven years after its premiere in Brno, was at that time acquiring an international reputation as a master composer. Whatever the details of their relationship, Kamila’s role as an inspiring muse during the last decade of 191

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the age of fifty, he had risen from his humble and nearly impoverished beginnings to become one of the most respected musicians in his native Bohemia and throughout Europe and America. He was invited to become Professor of Composition at the Prague Conservatory at the beginning of the year, but refused the offer after much careful thought in order to continue devoting himself to creative work and touring as a conductor of his music. In February, his opera The Jacobin enjoyed a great success at its premiere in Prague, and the following month his orchestral concert in Dresden received splendid acclaim. In May, Emperor Franz Josef awarded him the distinguished Austrian Iron Cross, and a few months later he received an honorary doctorate from Cambridge University. Dvořák composed his Second Piano Quartet at his country home in Vysoká during the summer of 1889, the time between receiving these last two honors.

Bohemian Works, Continued From Page 191

Janáček’s life was indisputable and beneficent — under the sway of his feelings for her he wrote his greatest music, including the operas Katya Kabanova, The Cunning Little Vixen and The Makropoulos Affair, the song cycle The Diary of the Young Man Who Disappeared, the two String Quartets (the second of which he titled “Intimate Letters”), the Glagolitic Mass and the Sinfonietta for Orchestra. It seems fitting, perhaps inevitable, that Janáček’s last work — the Second String Quartet — was the one most closely bound to his love for Kamila. By the beginning of 1928, a decade after they first met, he had sent her over 500 letters which revealed his innermost thoughts and feelings; his most recent ones even referred to her as his “wife,” in quotation marks. He was then seriously considering ending his own long-time marriage, which had never been very happy and had turned absolutely icy after Zdenka came to realize the depth of her husband’s passion for Kamila the preceding spring. (Janáček even re-wrote his will to make Kamila his primary beneficiary; Zdenka had to go to court to get that provision overturned.) The domestic tensions between the Janáčeks flared into a nasty quarrel on New Years Day 1928, and Leoš determined to retreat to his cottage in his native village of Hukvaldy, but he was stuck in Brno for a week finishing the opera The House of the Dead. He visited Kamila for two days before arriving in Hukvaldy on January 10th, and saw her again at the performance of Katya Kabanova in Prague on the 21st. A week later, from Hukvaldy, he wrote to Kamila that he was beginning “a musical confession,” a new string quartet that he proposed titling “Love Letters,” and which would call for a viola d’amore — the “viol of love” — rather than the usual viola. “Our life is going to be in it,” he promised. The Quartet, ultimately subtitled “Intimate Letters” and scored for standard string quartet (the soft tones of the viola d’amore made it a poor partner for other strings), was finished in just three weeks.

Slavic Dances and Rhymes, Continued From Page 95

phrasing and quirky melodic leadings, seemed to offer little potential for further exploitation (the three songs were not published until 1921), but that summer a friend challenged Dvořák to write a set of orchestral variations on it, and in less than two months (August 6-September 28), he created the Symphonic Variations, his crowning achievement in the form and now one of the most popular such works in the orchestral literature.

LEOŠ JANÁČEK [1854-1928] Selections from Ríkadla (“Children’s Rhymes”) (1925, 1927) Janáček was a subscriber, regular reader and sometime contributor to Lidové Noviny (“The People’s Newspaper”), Brno’s morning daily — his 1923 opera The Cunning Little Vixen was inspired by one of the paper’s comic strips — and in the summer of 1925 he became intrigued with a series of anonymous folk verses that appeared in the children’s section, with drawings by the Czech artist Josef Lada. Drawn to their compact phrases, regular rhymes, rattling rhythms and varied subjects, which range from the fantastic (The beetroot got married, the celery whistled, the carrot danced, and the horseradish was behind all these nursery rhymes) and the grotesque (My tiny little wife, I’ll stand her in a pot; I’ll cover her with the lid! She’ll boil along with the soup!) to the surreal (The bear sat on a tree trunk, dangling his legs. The trunk has moved, he swears at it), Janáček set eight of

ANTONÍN DVOŘÁK Quartet No. 2 for Piano, Violin, Viola and Cello in E-flat major, Op. 87 (1889) By the time that Dvořák undertook his Piano Quartet No. 2 in E-flat major in 1889, when he was nearing

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these poems for three mezzo-soprano voices, clarinet and piano that summer; two years later he wrote ten more, added an introduction, and arranged the entire work for small chorus and chamber ensemble. These Ríkadla (“Nursery Rhymes”), among the last choral works imbued with the musical and linguistic idioms of his homeland that he composed before his death in 1928, match the music to the humor, acerbity and immediacy of the texts.

Though there was little musical stimulation for him there, Dvořák’s creativity blossomed in Spillville. Just three weeks after he arrived, he completed the F major String Quartet (Op. 96, “American”) and immediately began a string quintet that was completed on August 1st, just before he left for a week to participate in a “Czech Day” at the Chicago World’s Fair. The Quintet’s opening movement grows from a pentatonic theme previewed in a shimmering setting that serves as an introduction. The following Allegro, the Quintet’s Scherzo, begins with a mock drum-beat from the viola, and continues with another pentatonic melody of simple construction; the central section is given over to a long, minor-mode melody initiated by the viola. The third movement is a set of five variations on a two-part theme (minor, then major). The finale is an invigorating blend of rondo and sonata elements.

BÉLA BARTÓK (1881-1945) String Quartet No. 4 (1928) Bartók’s Fourth Quartet, according to the composer’s biographer Halsey Stevens, “comes close to being, if it does not actually represent, Bartók’s greatest and most profound achievement.” This work, written between July and September 1928, soon after Bartók’s first tour of America as composer and pianist, is at once one of the most challenging and yet most satisfying of all modern chamber compositions. The Quartet’s five movements are arranged around the slow central movement, which is itself organized symmetrically in three parts (A–B–A) around the twittering “night music” of its central section. The first and fifth movements are paired in their mood, tempo and thematic material, an association further enhanced by sharing the same music in their closing pages. The second and fourth movements, both scherzos, are related in their themes, their head-long rhythmic propulsion and their use of novel effects from the strings: the second movement is played throughout with mutes, while the fourth movement requires a continuous pizzicato, including a percussive snapping of the string against the fingerboard that Bartók was among the first to use.

Barber, Kermis, Beethoven, Continued From Page 132

AARON JAY KERNIS (born in 1960) Quartet No. 2, “Musica Instrumentalis” (1997) Aaron Jay Kernis was born in Philadelphia in 1960 and started teaching himself piano and violin at age twelve; he began composing soon thereafter. He took his professional training at the San Francisco Conservatory of Music, Manhattan School of Music, Yale and American Academy in Rome; he was appointed to the faculty of the Yale School of Music in 2003. In 1998, Kernis won the Pulitzer Prize for his String Quartet No. 2, “Musica Instrumentalis”; his other recognitions include the University of Louisville’s prestigious Grawemeyer Award, Stoeger Prize from the Chamber Music Society of Lincoln Center, a Guggenheim Fellowship, a Rome Prize, a grant from the NEA, and awards from BMI and ASCAP.

ANTONÍN DVOŘÁK Quintet for Two Violins, Two Violas and Cello in E-flat major, Op. 97 (1893)

Kernis composed his Quartet No. 2, “Musica Instrumentalis,” in 1997 for the Lark Quartet. The subtitle refers to the third of the three qualities by which the 6th-century Roman philosopher, scholar and statesman Boethius defined his concept of “music”: musica mundana (the “music of the spheres” — the all-pervading force of the universe that determines the course of planets, the seasons and the combinations of the elements); musica humana (the principle governing mankind that harmonizes body and soul, rational and emotional); and musica instrumentalis (instrumental music in the conventional sense).

On June 3, 1893, Antonín Dvořák left his apartment in New York City, and journeyed by train via Philadelphia, Pittsburgh and Chicago to Calmar, Iowa. An hour after arriving at Calmar, a carriage deposited him, his wife, their six children, a maid and the composer’s secretary at the doorstep of a two-story brick house in Spillville, a settlement of a few hundred souls founded some forty years before by a “Bavarian-German” named Spielmann. It was not the Germans, however, who followed Spielmann to the open spaces of Iowa, but the Czechs and the Bohemians, Dvořák’s countrymen.

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included in the first two quartets of the Op. 59 set traditional Russian themes.

The Razumovsky Quartet No. 3, in C major, opens with an almost motionless introduction. The mood brightens with the presentation of the main theme by the unaccompanied first violin, and there ensues a powerful movement in fully developed sonata form. Dark currents of feeling pulse beneath the rippling surface of the Andante. The third movement, nominally a Minuet, is of a Romantic sensibility that leaves far behind the elegance and simple grace of its model. The finale is a whirlwind blend of rondo, sonata and fugue.

Barber, Kermis, Beethoven, Continued From Page 193

Kernis wrote, “My Second String Quartet uses elements of Renaissance and Baroque dance music and dance forms as its basis and its inspiration. The first movement is a kaleidoscope, an overstuffed medley of many types of dances played separately and sometimes simultaneously. It is in three large sections. The first section is an exposition of many different strands of energetic music, while the second opposes two gentler dances, a Canzonetta and a Musette. The final section brings back most of the diverse elements of the opening in many varied guises and leads to a climactic uncovering of a simple, direct version of the main tune of the movement. The second movement alternates two different Sarabandes (a slow dance in triple time) with short bursts of frenetic, furious music. The finale is based in some fundamental ways on the last movement of Beethoven’s Op. 59, No. 3 String Quartet. It is a propulsive and energetic Double Fugue, Tarantella, Rondo, Gigue and eventually a Triple Fugue, all wrapped in an overarching sonata form.”

Bach by Candlelight, Continued From Page 133

outer sections take ‘Scarlatti-like’ cadential formulas and expand upon them, creating delicate, sonorous and ephemeral textures, while the middle section emulates the percussive drive of many Scarlatti sonatas. Brainstorm, written for John Kamitsuka, constantly interweaves tonally ambiguous chromaticism with simple diatonic progressions in a satirical and sometimes raucous manner. It is in this combining of diverse, even opposing harmonic materials that the two pieces, Scarlatti Cadences and Brainstorm, come together and share a common thread.”

LUDWIG VAN BEETHOVEN (1770-1827) Quartet in C major, Op. 59, No. 3, “Razumovsky” (1806)

STEPHEN PRUTSMAN Dog and Dark Pearl Dog was written in Mexico City a long time ago — about twenty years or so I believe. It is based on “funk” rhythms, intentionally insanely difficult, a bit of gospel, pentecostal stomp thrown in at the end. Dark Pearl, more tame with a ‘cooler’ feel was written about five years ago — a Bill Evans harmonic style, with much more contrapuntal (mostly left hand) writing. — Stephen Prutsman

Count Andreas Kyrillovitch Razumovsky was one of the most prominent figures in Viennese society, politics and art at the turn of the 19th century. Born in 1752 to a singer at the Russian court, he ingratiated himself with a number of women of lofty station and entered the diplomatic corps at the age of 25. He was assigned to several European capitals, in which he made his reputation, according to one contemporary account, “less through his skill at diplomacy than through his lavish expenditure and his love affairs with ladies of the highest standing, not excluding the Queen of Naples.” In 1788 in Vienna, Razumovsky married Elizabeth, Countess of Thun and sister of Prince Lichnowsky, one of Beethoven’s most devoted patrons. Four years later, Razumovsky was assigned as Russian ambassador to Vienna, whose sybaritic life style perfectly suited his personality. In the spring of 1806, he took over from Prince Lichnowsky the patronage of the string quartet headed by Ignaz Schuppanzigh, and commissioned Beethoven to write three new pieces that would be played in the grand palace he was building on the Danube Canal near the Prater. In honor of (or, perhaps, at the request of) his Russian patron, Beethoven

LUDWIG VAN BEETHOVEN [1770-1827] Sonata No. 14 in C-sharp minor (Sonata quasi una Fantasia), Op. 27, No. 2, “Moonlight” (1801) Beethoven fell in love many times, but never married. (The thought of Beethoven as a husband threatens the moorings of one’s presence of mind!) The source of his infatuation in 1801, when he was thirty and still in hope of finding a wife, was Countess Giulietta Guicciardi, thirteen years his junior, rather spoiled and reportedly something of a vixen. She seems to have been flattered by the attentions of the famous musician, but probably never seriously considered 194

his intimations of marriage; her social station would have made wedlock difficult with a commoner such as Beethoven. For his part, Beethoven was apparently thoroughly under her spell at the time, and he mentioned his love for her to a friend as late as 1823, though by then she had been married to Count Wenzel Robert Gallenberg, a prolific composer of ballet music, for two decades. A medallion portrait of her was found among Beethoven’s effects after his death. The C-sharp minor Sonata was contemporary with the love affair with Giulietta and dedicated to her upon its publication in 1802, but the precise relationship of the music’s nature and the state of Beethoven’s heart must remain unknown; he never indicated that the piece had any programmatic intent. It was not until five years after his death that the work’s passion and emotional intensity inspired the Romantic German poet and music critic Ludwig Rellstab to describe the Sonata in terms of “a vision of a boat on Lake Lucerne by moonlight,” a sobriquet that has since inextricably attached itself to the music.

Thereafter the Count always called them his variations. He never tired of them, and for a long time, sleepless nights meant: ‘Dear Goldberg, do play me one of my variations.’” Though the piece was known to Bach, and published by Balthasar Schmids in Nuremberg in 1742, as, simply, Aria with Diverse Variations for Harpsichord with Two Manuals, Forkel’s account has inscribed it forever into the musical consciousness as the Goldberg Variations. Mozart and Messiaen, Continued From Page 135

OLIVIER MESSIAEN [1908-1992] Quartet for the End of Time for Violin, Clarinet, Cello and Piano (1940) When World War II erupted across Europe in 1939, Messiaen, then organist at Trinity Cathedral, a teacher at the École Normale de Musique and the Schola Cantorum and a composer of rapidly growing reputation, was called up for service but deemed unfit for military duty because of his poor eyesight. He was instead first assigned as a furniture mover at Sarreguemines and then as a hospital attendant at Sarrabbe before ending up with a medical unit in Verdun, where he met Henri Akoka, a clarinetist with the Strasbourg Radio Orchestra, and Etienne Pasquier, cellist in an internationally renowned string trio with his brothers, violinist Jean and violist Pierre. Inspired by the dawn bird songs that marked the end of his night watch at Verdun, Messiaen composed the Abyss of the Birds for solo clarinet, but even before Akoka could try it out the Germans invaded France in May 1940 and all three musicians were captured the following month and sent to a prisoner-of-war camp — Stalag VIIIA — at Görlitz, Silesia (now in Poland). At Stalag VIIIA, they met the violinist Jean Le Boulaire, who had graduated from the Paris Conservatoire but spent much of his life in military service (and who would become a successful actor under the name Jean Lanier after the war).

JOHANN SEBASTIAN BACH [1685-1750] Aria with Diverse Variations, BWV 988, “Goldberg Variations” (1741) Johann Gottlieb Goldberg, born in Danzig in 1727, was a promising fourteen-year-old harpsichordist when his patron, Count Hermann Carl von Keyserling, the Russian ambassador to Saxony, asked Bach to take over his instruction. There are various theories concerning the origin of the transcendent set of variations that bears Goldberg’s name. The work was apparently composed in 1741, when Bach presented a manuscript copy to Keyserling at a dinner in Leipzig, perhaps in appreciation of the Count’s advocacy at the Dresden court, perhaps as a petition for further favors, perhaps as a commissioned piece for Goldberg. These practical — and highly likely — explanations, however, have always been overshadowed by the romantic one that Johann Nikolaus Forkel offered in his 1802 biography of Bach, the first full-length one ever written about the composer: “Count Keyserling was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. Once, the Count mentioned in Bach’s presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of variations.

Though Messiaen later recalled “the cruelty and horror of the camp,” conditions were not nearly as bad at Görlitz as in the Nazis’ desolate and deadly concentration camps: he and his musician friends were in no immediate mortal danger (except from lack of food), the camp had such amenities as a library and a theater, and the commander encouraged stage and musical performances to occupy the prisoners with preparations and entertainment. One of the German officers, a music-loving lawyer named Karl-Albert Brüll who was fluent in French, found a battered piano for the theater and instruments for Le Boulaire and Pasquier, and supplied Messiaen with manuscript paper, 195

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Four Piano Bash, Continued From Page 136

ANTON ARENSKY [1861-1906] Suite No. 1 for Two Pianos, Op. 15 (1889)

Mozart and Messiaen, Continued From Page 195

Anton Arensky, one of the many talented musical figures who came to prominence during the closing decades of Imperial Russia, was a student of Nikolai Rimsky-Korsakov, a teacher at the Moscow Conservatory (where his pupils included Rachmaninoff, Scriabin and Glière), and director of the Russian Choral Society and the Imperial Chapel in St. Petersburg. His four suites for two pianos comprise collections of character pieces that are as notable for their duovirtuosity as for their referential qualities. The Suite No. 1, Op. 15 of 1889 includes a wistful Romance, an infectious Waltz and a heroic Polonaise.

writing materials and a quiet place to work, where he composed a trio for his fellow prisoners that served as the seed for one of the most remarkable pieces in the chamber repertory — the Quartet for the End of Time. After they had read through this Intermède, Messiaen prefaced it with the Abyss of the Birds he had written for Akoka at Verdun and then revised a section from his Fêtes des belles eaux for six ondes Martenon (created in 1937 for a son et lumière show on the banks of the Seine) as Praise to the Eternity of Jesus for cello and piano (for Pasquier) and a 1930 organ piece titled Diptyque as Praise to the Immortality of Jesus for violin and piano (for Le Boulaire); the remaining four movements of the Quartet were completed by November 1940. The sympathetic German commandant scheduled the premiere for January 15, 1941, granted the musicians four hours a day to rehearse, and even ordered programs printed for the event. Though Messiaen claimed that “5,000” of their fellow inmates heard the concert, the camp theater could have held no more than about 400 (outside performance would have been impossible in Silesia’s frigid winter), but he was accurate in describing the heterogeneity of the audience, many of whom he thought may have been hearing chamber music for the first time: “The most diverse classes were mingled: farmers, factory workers, intellectuals, professional servicemen, doctors and priests…. Never was I listened to with such rapt attention and comprehension.” Messiaen’s incarceration ended the following month, and he joined the faculty of the Paris Conservatory in May 1941.

PATRICK ZIMMERLI [born in 1968] Crazy Quilt for Two Pianos (2010) Crazy Quilt was part of a large project on which composer and saxophonist Patrick Zimmerli collaborated with Brad Mehldau and Kevin Hays, jazz pianists and composers with strong classical sympathies. Hays and Mehldau recorded one each of their own selections as well as Crazy Quilt and other of Zimmerli’s compositions and his arrangements of music by Philip Glass, Ornette Coleman and Steve Reich for Nonesuch in October 2012 under the CD title Modern Music, and premiered them at Zankel Hall in New York’s Carnegie Hall on March 11, 2011. Crazy Quilt balances the incessant, almost hypnotic momentum of its outer sections with an extended central episode that invites the performers’ improvisation. CAMILLE SAINT-SAËNS [1835-1921] Arranged by Ernest Guiraud (1837-1892) Danse Macabre for Two Pianos, Four Hands, Op. 40 (1874)

Messiaen’s introduction to the score of the Quartet for the End of Time bespeaks the interpenetration of cosmology, religion and music in his visionary universe: “I saw a mighty angel descend from heaven, clad in mist; and a rainbow was upon his head. He set his right foot on the sea, his left foot on the earth, and standing thus on sea and earth, he lifted his hand to heaven and swore by Him who liveth for ever and ever, saying: There shall be time no longer; but on the day of the trumpet of the seventh angel, the mystery of God shall be finished.”

The catalyst for Saint-Saëns’ Danse Macabre was a verse by the French symbolist poet Jean Lahor (1840–1909). The setting is a graveyard at midnight: Zig, zig, zig, Death, in tempo/Kicks at the tombs with his heel/Death at midnight plays a dance tune/Zig, zig, zig, on his violin. Danse Macabre opens with the distant tolling of the midnight bell, the signal for the appearance of the demonic fiddler, whose mistuned instrument emphasizes weird, suggestive harmonies. The two main themes of the work are presented in quick succession: a mercurial, staccato melody and a 196

textures and converting the violinistic figuration into idiomatic writing for the keyboard.

close-interval, harmonically unsettled tune. These two motives are elaborated and juxtaposed, and entwined with a parody of the Dies Irae (“Day of Wrath”), the ancient chant from the Requiem Mass. The dance becomes more frenzied as its proceeds, until the unhallow ritual is halted abruptly by the breaking of dawn and the crowing of the cock. The diabolical fiddler, defeated, for the moment at least, by the coming of day, whispers his final sentiments, and steals away.

CARL CZERNY [1791-1857] Quartet Concertant for Four Pianos, Op. 230 (1830) The fantasy on popular and operatic themes, both for touring virtuosos and for amateur musicians, was one of the staples of early-19th-century musical life, and in 1830 pianist and pupil of Beethoven Carl Czerny created an ambitious Quartet Concertant for four pianos on well-known melodies (Op. 230) for a concert at Vienna’s Redoutensaal on April 4th to benefit victims of a recent flood. The work was dedicated to Empress Carolina Augusta, and a foursome of obviously skilled noblewomen — Countesses von Lebzeltern, von Taaffe, von Albrecht and von Dietrichstein — gave the premiere; Julie von Dietrichstein also underwrote the publication of the score. Czerny drew the thematic material for this showy work from a vernacular source (the anonymous French song Le Petit Tambour (“The Little Drummer Boy”) and a concerto (the finale of Paganini’s Violin Concerto No. 2, “La Campanella (“The Bell”), but mostly from three then-familiar, nowlargely-forgotten operas: Bellini’s Il Pirata (“The Pirate”), Rossini’s Otello and Auber’s La Muette de Portici (“The Mute Girl of Portici”).

JOHANN SEBASTIAN BACH (1685-1750) Concerto for Four Pianos in A minor, BWV 1065 (ca. 1730) Bach wrote his concertos for two, three and four keyboards for performance by himself and his oldest sons — Wilhelm Friedemann, Carl Philip Emanuel and Johann Gottfried Bernhard — who began leaving home in 1733 to start their own careers. Rather than compose completely original music for these works, however, Bach turned to earlier concerted pieces, especially those for violin, and reworked them for harpsichord. The Concerto for Four Pianos is based on Antonio Vivaldi’s Concerto in B minor for Four Violins, Op. 3, No. 10. Though Bach retained the core of Vivaldi’s work, he made it into something distinctively his own, and distinctively for the keyboard, by enriching the

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