HOW TO ENJOY THE CONCERT EXPERIENCE ENJOY Bravo! Vail is an extremely communal experience. In fact, people often say that the social component is what sets Bravo! Vail apart from other classical music organizations. People coming together to enjoy great music in a casual atmosphere in one of the most glorious settings in the world – that’s what makes Bravo! Vail so special.
them. Today, we’ve manufactured lots of rules around applause. If you’re a free spirit, applaud when you feel like it, although someone may give you a stern look. If not, watch for when the conductor drops his or her arms and turns around - or just take a cue from those around you. BE ON TIME Try to arrive in plenty of time to park, visit the concessions, find your seat, and read about the concert in the program book. A lot of people time it so closely that they either don’t make it to their seat in time or are so rushed they cannot enjoy the beginning of the concert. Remember, parking in Vail can be challenging and time consuming. MANNERS LIKE YOUR ELDERS TAUGHT YOU Cell phones, watch alarms, cameras, and other electronic devices are designed to make noise, but the only noise people around you want to hear is that of Beethoven, Mozart, and Bach. Please turn off all these devices prior to performances, as they’ll disrupt the concentration of musicians and other patrons. If you forget, your neighbor will certainly be tempted to remind you.
RELAX Bravo! Vail doesn’t want to legislate anyone’s concert experience. Browse the Internet to see hundreds of “Concert Etiquette” entries if you are interested, but we like to use good old common sense. Be comfortable, be courteous of those around you, and have a good time. DRESS Those who don’t often go to classical music concerts might completely stress out about what to wear. Don’t worry, because Vail is an extremely casual place and Bravo! Vail is the same. There is no set dress for concerts. You can dress formally, if you wish, or opt for jeans and t-shirts. Wear what makes you feel comfortable. But, don’t forget that Vail at nighttime can get very cold and damp. Come prepared.
TALKING Your quiet whisper is as loud as a freight train to someone intently trying to listen to glorious sounds at Bravo! Vail, so be kind to your neighbors by keeping any unnecessary conversation to a minimum until the intermission or after the concert.
APPLAUSE Ditto on what was said above about dress. In 19th century Italy, audiences would spontaneously erupt in applause at a great rendition of an operatic aria, or when the spirit moved 1
WHAT IS SYMPHONIC MUSIC? The word “symphonic” is an adjective now referring to a musical composition scored for a symphony orchestra. Symphonic music doesn’t necessarily refer just to symphonies, but works of all lengths and styles that require larger orchestral forces. The modern symphonic form was devised by the Austrian composer Franz Joseph Haydn in the 18th century, and continues to be developed by presentday composers. “Symphonic” does not imply a specific form. The word’s root derives from the Greek word συμφωνiα, meaning “agreement or concord of sound.” Over the centuries the word evolved widely and with differing meanings. In Germany, “Symphonie” was a generic term for spinets and virginals (early keyboards) from the late 16th to the 18th centuries. In the sense of “sounding together” the word begins to appear in the titles of some works by 16th and 17th century composers including Giovanni Gabrieli and Heinrich Schütz. In the 17th century and for most of the Baroque period, the terms “symphony” and “sinfonia” were used for a range of different compositions, including instrumental pieces used in operas, sonatas, and concertos – usually part of a larger work. The opera sinfonia, or Italian overture had, by the 18th century, a standard structure of three contrasting movements: fast, slow, fast and dance-like. It is this form that is often considered to be the direct forerunner of the orchestral symphony.
WHAT IS CHAMBER MUSIC? Called “the music of friends,” this form of music began to flourish at a time when economic prosperity allowed amateur musicians with ample free time to gather with friends in their homes to entertain one another. This is music written to be performed in “chambers,” or rooms in palaces or stately homes. Chamber music is composed for smaller groups of instruments and performers, with one performer to a part. The real excitement of chamber music comes from being in close proximity to the music and the musicians, and the incredibly intimate, direct, and personal nature of the music making. Playing chamber music requires special skills, both musical and social, that differ from those required for playing solo or symphonic works. A sense of teamwork, compromise, and respect for everyone’s input is required to be a successful chamber musician. 2
THE ROOTS OF CLASSICAL MUSIC Classical music is rooted in Western European liturgical and secular music, beginning in the 11th century and continuing today. The music gradually became codified between 1550 and 1900, when much of the repertory we perform today was written. During this time the system of staff notation was developed to prescribe the pitch, speed, meter, individual rhythms, and exact execution of a piece of music. The term “classical music” didn’t appear until the early 19th century when an attempt was made to describe the period from Johann Sebastian Bach to Beethoven as music’s “golden age”. The earliest reference to “classical music” recorded by the Oxford English Dictionary is from 1836. In order to understand the timeline for Western classical music, one must accept the fact that, first and foremost, musical periods were not “cut and dry,” nor were they necessarily linear. Styles and periods have always overlapped, but musical innovations in every era have led to exciting and influential new soundscapes that have come to define every period.
BRIEF DESCRIPTIONS OF CLASSICAL MUSIC PERIODS ANTIQUITY We really have no idea what this music sounded like, but do know that the Greeks in particular used three primary instruments: the lyre (harp), kithara (primitive guitar), and the aulos (reed instrument). Instruments were used to accompany stories, dancing, and poems that were tied to Greek dramas. Music would accompany speech and dialogue on stage; later, competitions were held as instrumental music grew popular and more complex. MEDIEVAL Music written during the Middle Ages traces its beginnings to the fall of the Roman Empire. This era concludes sometime in the early 15th century. Beginning in the 12th century, Europe had begun to recover economically and stabilize after the fall of the Roman Empire and the Dark Ages that followed. We see the rise of Gregorian chant and stringed instruments like the lute and dulcimer, as well as instruments from places like Byzantium.
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Visit YouTube or search the web for the sacred and secular music of one of the first true geniuses of Western music, 14th century composer Guillaume de Machaut. The Agnus Dei from his La Messe de Nostre Dame is an example of the Ars nova (New Art), when composers created music of increased rhythmic complexity.
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RENAISSANCE Starting around 1400 and ending with the Baroque era around 1600, the music of this period was significantly influenced by the rise of humanistic thought and the rediscovery of the literary and artistic heritage of ancient Greece and Rome. The period is characterized by increased innovation and discovery, the growth of commercial enterprise, the rise of the middle class, and the Protestant Reformation. From this changing society emerged a common, unifying musical language. The development of printing made distribution of music possible on a wide scale. Demand for music as entertainment and as an activity for educated amateurs increased with the emergence of the middle class. The flourishing system of music education in the many churches and cathedrals allowed the training of hundreds of singers and composers, who were then hired as composers and teachers by churches and aristocratic courts.
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Visit YouTube or search the web for a musical example of music from this era: the Kyrie from Johannes Ockeghem’s Missa prolationum, in which all the parts are derived canonically from one musical line. BAROQUE Describing music that flourished from approximately 1600 to 1750, the word “baroque” comes from the Portuguese word barroco, meaning “misshapen pearl.” This connotation refers to the highly florid and heavily ornamented music of this period that combined with the art of improvisation to become the hallmark of the era. Baroque music’s most famous composers include Johann Sebastian Bach, George Frideric Antonio Vivaldi Handel, Domenico Scarlatti, and Antonio Vivaldi. During the Baroque period, composers and performers made changes in musical notation and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance. Opera as a musical genre, as well as many musical terms and concepts still used today, were established during the Baroque era.
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Visit YouTube or search the web for excerpts from Bach’s Concerto in D Minor for Keyboard and Strings, which will be performed by Anne-Marie McDermott and members of The Philadelphia Orchestra on the July 8th Chamber Music Series concert. CLASSICAL This term refers to music written after the death of J.S. Bach in 1750 until about 1820. A reaction to the “excesses” of Baroque music, music of this period mirrors the move toward a new style in architecture, literature, and the arts, generally known as Classicism, which sought to emulate the ideals of Classical antiquity, especially those of Classical Greece. While still tightly linked to the royal court culture with its formality and
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emphasis on order and hierarchy, the new aesthetic emphasized a cleaner style— one that favored clearer divisions between parts, brighter contrasts and colors, and simplicity rather than complexity. The typical orchestra size increased with the legendary composers of this era: Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven.
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Visit YouTube or search the web for Mozart’s Eine Kleine Nachtmusik, to be performed by members of The Philadelphia Orchestra as part of Bravo! Vail’s annual Family Concert on July 10th at 11:30AM. ROMANTIC Music that is the heart and soul of the modern symphony orchestra was written roughly between the 1820s and 1910. Influenced by Beethoven, composers of this era exploited the full spectrum of emotional expression in their music. This unleashing of emotion was the focus of all the arts of the self-described Romantic movement. The nineteenth century saw the creation and evolution of new genres such as symphonies that followed explicit story lines, the symphonic poem, the concert overture, and short, expressive piano pieces written for the salons of Europe by Robert Schumann and Frédéric Chopin. The Italian bel canto (beautiful singing) tradition of Rossini, Donizetti, and Bellini led directly to the later operatic masterworks of Giuseppe Verdi. North of Italy, music developed along a different path, with the new idea of the German music drama as established by Richard Wagner. His operas were organized around the leitmotif, a short, constantly recurring phrase associated with a particular person, place, or idea. Romantic composers turned to the visual arts, poetry, drama, literature, and nature while further developing the older musical forms and making them serve their heightened emotional artistic ideals.
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Visit YouTube or search the web for Tchaikovsky’s romantic Romeo and Juliet Fantasy Overture, scheduled for a performance by the New York Philharmonic and Alan Gilbert on Sunday, July 20th. 20TH CENTURY/MODERN Arising out of the social advances of the 19th century and associated political tumult, music of this era is diverse, disparate, and developed in many different directions at the same time. Composers such as Gustav Mahler, Richard Strauss, and Jean Sibelius were pushing the boundaries of Post-Romantic symphonic writing at the same time that the Impressionist movement took hold in France, spearheaded by George Gershwin Claude Debussy. Reactions to Post-Romantic and Impressionist styles in turn were widespread: Arnold Schoenberg developed atonality out of the expressionism that arose in the early part of the 20th century, Stravinsky explored neoclassicism, and Italian composers dabbled with the “Futurist” context. Concert music moved into the university setting after World War II, and its popularity with
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audiences was sometimes challenged as highly experimental styles became the norm. Some composers in the United States responded by creating an American vernacular style of music, evidenced by the works of Aaron Copland and George Gershwin. In the latter part of the 20th century, minimalism ascended through the works of Phillip Glass, Steve Reich, and John Adams, as did other significant movements. The term “postmodern music” is often applied to music that “reacts” to Modernism. Experimentation and open mindedness are the hallmarks of the music with which we currently live.
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Visit YouTube or search the web for Copland’s Symphony No. 3, offered by Jaap van Zweden and the Dallas Symphony Orchestra on June 30th. Copland’s symphony receives its first performance at Bravo! Vail, and includes the majestic Fanfare for the Common Man.
MODERN ORCHESTRA SET-UP TIMPANI N
SIO
S CU
TROM
BON
S ET
ETS
IN
AR CL VIOLINS II
FLUTES
TUBA
BAS
SO
ON
OBOES
VIOLINS I
ES
TR
PIANO
ES
HORNS
SS
P UM
BA
R PE
S VIOLAS
CELLOS
Please note this is the standard orchestra set-up. Individual orchestra set-ups may vary.
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BRAVO! VAIL’S 2014 SEASON The only Festival in North America to host three of the world’s finest orchestras in a single season, Bravo! Vail celebrates its 27th Season June 27th through August 2nd, 2014, under the direction of Artistic Director Anne-Marie McDermott and President James W. Palermo. The 2014 Season features residencies by the Dallas Symphony Orchestra, The Philadelphia Orchestra, and the New York Philharmonic, with popular concerto artists plus a wide array of stellar chamber music performances.
World Renowned Soloists Featured concerto artists this summer include violinists Joshua Bell (July 5th), Midori (July 18th in her Bravo! Vail debut), and pianist Yefim Bronfman (July 19th), headlining a roster of the classical music world’s most respected performers.
Joshua Bell
New Faces at Bravo! Vail Many new faces will grace Bravo! Vail stages in 2014, including jazz guitarist and singer John Pizzarelli (June 27th), British pianist Stephen Hough (June 29th), Scottish conductor Donald Runnicles (July 6th and 7th), French pianist Hélène Grimaud (July 12th), Third Coast Percussion (July 14th – 22nd), New York Philharmonic principal oboe Liang Wang (July 20th), Dover Quartet (July 22nd – 27th), pianist Gilles Vonsattel (July 22nd), the ensemble Le Train Bleu with their conductor Ransom Wilson (July 29th – August 2nd), guitarist James Moore (July 30th – August 2nd), and soprano Mary Mackenzie (July 31st).
Orchestral Highlights The Dallas Symphony Orchestra opens the season on Friday, June 27th with jazz guitar great John Pizzarelli, in a program of American popular standards by Richard Rodgers, George Gershwin, Harold Arlen, and Duke Ellington. Then, music director Jaap van Zweden returns Saturday, June 28th to lead Beethoven’s Symphony No. 9, Choral. On Sunday, June 29th, van Zweden offers Ravel’s most famous work, Boléro, and on June 30th he joins his orchestra to welcome violinist James Ehnes in a program of works by Bernstein, Barber, and Copland. Next is a
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© Marco Borggreve
concert of Hollywood film classics on July 2nd, and the residency ends with the ever-popular Patriotic Concert on July 4th, one of Vail’s most revered events.
© Marco Borggreve
Jaap van Zweden
© Chris Lee
Yannick Nézet-Séguin
Alan Gilbert
The Philadelphia Orchestra opens on July 5th with superstar violinist Joshua Bell. Conductor Donald Runnicles makes his Bravo! Vail debut leading The Philadelphia Orchestra in two programs on July 6th and 7th, featuring works by Mozart, Mahler, Britten, and Brahms. Artistic Director Anne-Marie McDermott plays Mozart’s Piano Concerto No. 27 on July 7th. On July 9th Bravo! Vail then presents its first-ever screening of a film with live orchestra accompaniment, Disney’s cinematic masterpiece, Fantasia. Music Director Yannick Nézet-Séguin returns on July 11th and 12th with Beethoven’s Symphony No. 3, Eroica, with the sensational French pianist Hélène Grimaud performing Brahms. The New York Philharmonic opens Friday, July 18th with music director Alan Gilbert leading violinist Midori playing Tchaikovsky’s Violin Concerto. On Saturday, July 19th, Yefim Bronfman headlines an all-Beethoven program of the composer’s most popular works – his concertos numbers 1 and 5. On Sunday, July 20th the New York Philharmonic offers works by Strauss, Rouse, and Tchaikovsky. Bramwell Tovey returns on Wednesday, July 23rd in an all-American program of works by Copland, Gershwin, and Grofé, and on July 24th veteran Broadway conductor Ted Sperling offers music by Frank Loesser, including hits from Guys and Dolls and The Most Happy Fella. The New York Philharmonic’s 2014 residency closes on July 25th with Russian Classics, featuring local favorite Joyce Yang in Rachmaninoff’s Piano Concerto No. 1.
Chamber Music Series Bravo! Vail’s long-running Chamber Music Series offers concerts now on successive Tuesday nights at the Donovan Pavilion throughout the summer (with the exception of the opening concert at the Vail Mountain School, and the closing concert at the Vilar Performing Arts Center.) Midori
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Third Coast Percussion
© Saveraio Truglia
The 2014 Chamber Music Series opens on July 1st with a program created and led by Jeff Tyzik, featuring musicians of the Dallas Symphony Orchestra, called Gershwin and Joplin: Chamber Jazz. Presenting beloved works by two American masters, it’s a wonderful marriage of jazz and classical music. On July 8th, members of The Philadelphia Orchestra join Artistic Director and pianist Anne-Marie McDermott in a program whose centerpiece is Vivaldi’s iconic work, The Four Seasons. McDermott is then featured in Bach’s Concerto in D Minor for Keyboard and Strings, BWV 1052. Members of the New York Philharmonic join McDermott on July 15th in a concert of lovely piano trios, and July 22nd finds McDermott and pianist Gilles Vonsattel joined by Chicago’s Third Coast Percussion in a program that pairs Bartók’s Sonata for Two Pianos and Percussion with contemporary American composer Steve Reich’s Sextet. The Series concludes on August 2nd with Baroque Concertos and More, featuring the instrumental ensemble Le Train Bleu, direct from New York, with their esteemed director Ransom Wilson. John Adams’s Gnarly Buttons; J.S. Bach’s Concerto in C minor for Violin, Oboe, and Strings; Vivaldi’s Concerto in D major for Guitar and Strings; and Bach’s Brandenburg Concerto No. 5 in D Major round out the program.
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Dover Quartet
© Lisa-Marie Mazzucco
Silver Oak & Twomey Series The highly popular Silver Oak & Twomey Series is designed to create a new atmosphere for listening – relaxed, elegant, intimate, and enveloped by the beauty of the outdoors. Seating is cabaret style, with the performers in close proximity to the audience. This encourages patrons to mingle over great food and Silver Oak and Twomey wines, creating a sense of openness, receptivity, and good spirit – the essence of great chamber music performance.
Maurice Ravel
The July 29th concert features Le Train Bleu and the Calder Quartet in a thoughtful program that pairs works by the great French master Maurice Ravel with those of contemporary American composer Christopher Rouse. The next concert in the series on July 30th features solo works for piano and guitar. Artistic Director and pianist Anne-Marie McDermott shares the stage and the concert with guitarist James Moore in works by Franz Joseph Haydn, and contemporary American composers Charles Wuorinen, Lou Harrison, Eric Zorn, and Larry Polansky.
The final concert of this highly enjoyable and thought-provoking series on July 31st sees the return of Le Train Bleu, joined by soprano Mary Mackenzie and members of the Calder Quartet in a program of German romantic works and works inspired by German romanticism. Mackenzie opens the concert with various songs by Schubert and Schumann, after which is heard Schubert’s great Adagio and Rondo Concertante for string quartet and piano, featuring Artistic Director Anne-Marie McDermott as pianist with the Calder Quartet. After the intermission, Mackenzie is featured in a fascinating theatrical work by contemporary Dutch composer-conductor Reinbert de Leeuw, his Im Wunderschönen Monat Mai.
Free Concerts All Summer Long This summer Bravo! Vail offers nearly 25 different free, hour-long orchestral, chamber music, and community engagement concerts for people of all ages in venues throughout the Vail Valley, including the weekly free concert series at the Vail Interfaith Chapel. Other concert locations include the Edwards Interfaith Chapel and Community Center, and locations in Gypsum and elsewhere. Check the attached schedule at the end of this guide for details. 10
TOP 10 PIECES FROM THE 2014 SEASON YOU SHOULD KNOW – AND WHY
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1. LUDWIG VAN BEETHOVEN: Symphony No. 9, Op. 125, in D Minor, Choral • Beethoven’s last symphony is a musical testament to the Enlightenment. The composer set Friedrich Schiller’s “Ode to Joy” because of its themes of freedom and brotherhood. • The Symphony was completed in 1824 when Beethoven was almost completely deaf, and premiered on Friday, May 7th, 1824 in the Kärntnertortheater in Vienna. • Using a quartet of soloists and chorus in the final movement was considered revolutionary at the time, as symphonies prior to that were highly prescribed structurally and purely instrumental. • Beethoven insisted on conducting the premiere performance. The theater’s Kapellmeister instructed the singers and musicians to ignore the almost totally deaf Beethoven in order to keep the performance on track. • When the audience finally applauded, Beethoven was several measures behind and still conducting. The alto soloist had to walk over and turn the composer around to accept the cheers and adulation of the audience. According to one witness, “the public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creation with the most absorbed attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them.” • Although accounts reveal that the work was under-rehearsed and not performed well, it was an immediate success. Five standing ovations included handkerchiefs in the air, raised hands and hats, all so that Beethoven, who could not hear the applause, at least could see the appreciation of the musical miracle the audience had just witnessed. • Many critics rejected the work’s message of brotherhood, calling it “naïve.” Still, the 9th has taken its place in the pantheon of great classical music works, routinely performed at monumental occasions throughout history, like Olympic ceremonies, the fall of the Berlin Wall – a performance by Leonard Bernstein – and as the anthem of the European Union. • Music director Jaap van Zweden leads the Dallas Symphony Orchestra, a quartet of vocal soloists, and the Colorado Symphony Orchestra Chorus in a performance on Saturday, June 28th. 2. MAURICE RAVEL: Boléro •B oléro, premiered in 1928, is Ravel’s most famous work. • Originally composed as a ballet commissioned by Russian ballerina Ida Rubinstein, it is in effect a musical exercise in which Ravel restyled and reinvented the Spanish dance form, the bolero. Dance reinventions were a persistent lifetime preoccupation of the composer. • The work is one of the last the great French master composed before illness forced him into retirement. • While on vacation, Ravel was reputed to have gone to a piano, playing a melody with one finger and saying to a friend, “Don’t you think this theme has an insistent quality? I’m going to try and repeat it a number of times without any development, gradually increasing the orchestra as best I can.” 12
•B oléro was a sensational success when it was premiered at the Paris Opéra on November 22nd, 1928. • The work became Ravel’s most famous composition, much to the surprise of the composer, who had predicted that most orchestras would refuse to play it. • According to lore, in the mayhem that followed the premiere, a woman was heard shouting that Ravel was mad. When told about this, Ravel smiled and remarked that the woman had been the only one who had understood the piece. • Conductor Arturo Toscanini gave the U.S. premiere of Boléro with the New York Philharmonic on November 14th, 1929. Several arguments and a major falling out ensued between the composer and conductor about tempo and interpretation. •B oléro is written for a very large orchestra, including unusual instruments like the oboe d’amore, and two saxophones whose players double on sopranino, tenor, and soprano saxophones. A study in orchestration and orchestral color, the work is considered an essay on how to write effectively for a modern symphony. • Jaap van Zweden and the Dallas Symphony offer Boléro on Sunday, June 29th. 3. AARON COPLAND: Symphony No. 3 • Copland’s third and final symphony premiered on October 18th, 1946, with the Boston Symphony Orchestra under the baton of Serge Koussevitzky. • A nationalistic symphony, it fuses the composer’s “Americana” style with European symphonic forms. • The composer’s iconic Fanfare for the Common Man is used as a theme in the fourth movement. • Stirring and dignified, this post-World War II work is one of heroism and solemnity, perhaps soberly reflecting on the death and destruction America had just experienced, but boldly looking toward the future. • It is ironic that Copland chose to lead the London Symphony Orchestra himself in this American work’s first recorded performance on the CBS (now Sony) label. • On June 30th, Jaap van Zweden and the Dallas Symphony Orchestra present this evocative work, about which Leonard Bernstein said, “This symphony has become an American monument like the Washington Monument or the Lincoln Memorial.” 4. EDWARD BENJAMIN BRITTEN: Four Sea Interludes from Peter Grimes • Britten’s operatic masterpiece Peter Grimes was conceived in Los Angeles, far from the quintessentially English seaside landscape of Britten’s childhood. • Leaving war-torn England in 1941, and finding George Crabbe’s 18th century collection of poems The Borough in a second-hand bookshop in Los Angeles, Britten imagined its transformation into what would become his second opera. “In a flash I realised two things: that I must write an opera, and where I belonged,” said Britten, who returned to England the next year to write the opera, which premiered in 1945. • The story of the opera centers on a tragic, lonely fisherman, volatile and misunderstood. Britten, a native of Suffolk, strongly identified with the tragic story of the Aldeburgh fisherman Peter Grimes. • Often called “a powerful allegory of homosexual oppression”, the composer saw 13
it as a “struggle of the individual against the masses. The more vicious the society, the more vicious the individual.” • Britten’s Peter Grimes is far more nuanced a character than George Crabbe had envisioned in the 18th century. Britten treats Peter Grimes as a victim of both cruel fate and society, simultaneously retaining the sinister aspects of his character. The masterful composer leaves it to us to decide what we think of his title character. The intrinsic ambiguity of Peter Grimes’s character has captivated audiences since its premiere. • Four of the five orchestral interludes interspersed throughout the score were extracted and presented as an orchestral suite, the version which will be heard this season. The fifth ‘interlude’, Passacaglia, is often played alongside the standard suite. • Scottish conductor Donald Runnicles begins his concert with The Philadelphia Orchestra on July 7th with Britten’s Four Sea Interludes from Peter Grimes, a work that brilliantly modulates between outer landscape and inner psyche. 5. ANTONIO LUCIO VIVALDI: The Four Seasons • Vivaldi wrote over 500 concertos and was one of, if not the most prolific of all famous composers. • The world knows little about Vivaldi, except for his music. Only in 1962 was his actual birthdate of 1678 determined from baptismal records; prior writers had placed it as early as 1669. • Vivaldi learned the violin from his father, a Venetian barber who played in the orchestra of St. Mark’s Cathedral. The young composer was ordained a priest in 1703 and became known as the Red Priest because of his flaming red hair. • He became a violin teacher at the Ospedale della Pietà, an orphanage for girls, and became its music director in 1716. • The Italian composer enjoyed considerable freedom to compose, travel extensively, prepare commissions, and stage his operas, but died in poverty during a 1741 trip to Vienna, where he was given a pauper’s funeral. • Bach was an ardent admirer of Vivaldi, and modeled his own concerto style after that of Vivaldi. • For nearly 200 years, Vivaldi was a historical footnote, remaining obscure until 1926 when a monastery presented a massive collection of old scores to Turin University for appraisal prior to sale to fund repairs. Among them were a huge number of Vivaldi’s handwritten originals, including over 300 previously unknown works. Scholars were astounded by the unexpected diversity and range of the find. Since that time, an ever-increasing series of biographies, catalogues, analyses, performances, and recordings have increased Vivaldi’s significance and fame. •L e quattro stagioni (The Four Seasons) is a set of four violin concertos composed in 1723, part of a larger collection. Vivaldi’s best-known work, it is among the most popular works in the classical music repertoire. Infused with character, wit, charm, and deep musical thought, it includes a variety of coloristic and percussive effects that reveal the considerable genius of its composer. • Vivaldi’s concertos generally fall into a three-part pattern: declamatory
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openings and spitfire finales sandwiching slow, lyrical movements. • Each concerto movement is paired with a sonnet, expertly pairing the overall quality and balance of both. • Vivaldi’s The Four Seasons will be performed by members of The Philadelphia Orchestra on the Chamber Music Series concert of July 8th. 6. CHRISTOPHER ROUSE: Oboe Concerto • Rouse has written more than ten concertos since 1985, falling into one of two categories: “somber” or “genial”. The oboe concerto, commissioned by the Minnesota Orchestra and completed in 2004, is of the latter variety. • There is no overt program to this piece. It aims to explore the musical and physical capabilities of the oboe – lyrical, but also virtuosic. • The Oboe Concerto is cast in a traditional three-movement mold (fastslow-fast), and includes brief and rather static slow sections at the beginning and end, providing a framework for the piece. Much of the musical material in the concerto is derived from the five-note chord played by the strings at the opening. As the music progresses, this chord undergoes a variety of metamorphoses, being used to generate both melodic and further harmonic content. • Shimmering, lyrical lines float weightlessly and are contrasted with virtuosic sections that feature unusual meters, multiphonics, non-traditional rhythmical figures, and other unorthodox effects. • Alan Gilbert, the New York Philharmonic’s music director, has been a steadfast advocate of Mr. Rouse, who is the orchestra’s composer-in-residence. • Liang Wang, the New York Philharmonic’s principal oboe, takes center stage on July 20th to perform the concerto under the direction of Music Director Alan Gilbert. 7. MODEST PETROVICH MUSSORGSKY: Night on Bald Mountain •N ight on Bald Mountain is a single movement orchestral work by Modest Mussorgsky, inspired by Russian literary works and legends. • The witches’ Sabbath, occurring on St. John’s Eve, is the subject matter of this colorful, grotesque, and unique work that the composer completed that very night, June 23rd, 1867. • A youthful work, Night on Bald Mountain was shunned by Mussorgsky’s peers, after which the composer reworked the material several times without ever hearing it performed during his lifetime. • Rimsky-Korsakov took remnants of Mussorgsky’s unfinished material after the composer’s death in 1886, refashioning it into a work he described as a “fantasy for orchestra.” • Premiering in Saint Petersburg in 1886, the new work became an instant hit. It garnered great fame through Disney’s animated classic Fantasia (1940), in an arrangement by The Philadelphia Orchestra’s then Music Director Leopold Stokowski.
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• The New York Philharmonic, under the baton of Bramwell Tovey, performs Night on Bald Mountain on their closing night concert, July 25th. 8. BÉLA BARTÓK: Sonata for Two Pianos and Percussion • Written by Bartók in 1937, the work was premiered with great success by the composer and his second wife, Ditta Pásztory-Bartók, with percussionists Saul Goodman and Henry Deneke, at the International Society for Contemporary Music (ISCM) anniversary concert on January 1st, 1938, in Basel, Switzerland. • The Sonata was written for four players – two pianists and two percussionists. The percussionists perform on a total of seven instruments: timpani, bass drum (gran cassa), cymbals, triangle, snare drum (both onand offsnares), tam-tam (gong), and xylophone. • Bartók provides highly detailed instructions for the percussionists, indicating what kinds of sticks to use for the suspended cymbal, as well as the platform layout of the four players and their instruments. • The work is in three movements, the middle employing Bartók’s trademark “night music,” characterized by “eerie dissonances providing a backdrop to sounds of nature and lonely melodies.” • Artistic Director and pianist Anne-Marie McDermott and pianist Gilles Vonsattel are joined by Chicago’s Third Coast Percussion on July 22nd in Bartók’s Sonata for Two Pianos and Percussion. The program also includes contemporary American composer Steve Reich’s Sextet. 9. CHARLES WUORINEN: Fourth Piano Sonata • Wuorinen’s Fourth Piano Sonata was composed in 2007 for Bravo! Vail’s Artistic Director Anne-Marie McDermott, who premiered it on May 31st, 2009, at Town Hall in New York City. • Wuorinen, who won the New York Philharmonic Young Composers’ Prize before he was out of high school, has served as Composer-in-Residence with the San Francisco Symphony, Berkshire Music Festival, American Academy in Rome, Santa Fe Chamber Music Festival, and other noted institutions. • One of his most recent and notable projects is an opera based on Annie Proulx’s 1997 novel Brokeback Mountain (whose 2005 film version won three Academy Awards), which was premiered this past January at Madrid’s Teatro Real. • Wuorinen’s music “is dauntingly virtuosic and unflinchingly modern, with its angular, wide-ranging lines, thorny harmony, rhythmic and metric ambiguity, and steely textures, yet it follows traditional overall form — fast opening movement, scherzo, slow movement, vigorous finale — as well as several conventions in building the individual movements,” said Bravo! Vail’s program note annotator, Dr. Richard Rodda. • The sonata is complex and thrilling, and demands the highest musical and technical prowess from its performer. Only someone of McDermott’s 16
prodigious skills could tackle a work of this magnitude with such finesse and expertise. • Hear McDermott perform this monumental work at the Silver Oak & Twomey Series concert of July 30th. 10. REINBERT DE LEEUW: Im Wunderschönen Monat Mai • Dutch composer and conductor Reinbert de Leeuw’s purpose in composing the work was to capture the sentiment that pervaded Europe in the early decades of the 19th century – the feel, texture, fashions, mores, and habits of speech. • He reimagined and orchestrated lieder by Schubert, Schumann, and his own original compositions in the style of early 20th century cabaret songs, and in doing so perfectly captured the cynical and decadent atmosphere that led to the collapse of the Weimar Republic. • De Leeuw patterned his cycle after Arnold Schoenberg’s theatrical melodrama, Pierrot Lunaire, using the same chamber music ensemble and 21-song format. • Each of the three sets of seven songs represents an act, focusing on love, rejection, or resignation. • The singer employs a half-spoken, half-sung hybrid technique that emphasizes expressivity over tonal purity. • The composer envisioned his new cycle as “liberating the truth of the texts from the prettiness of their accustomed singing and recital etiquette – with a singer’s folded hands and prim manner – and infusing them with more rawness and danger.” • Le Train Bleu is joined by soprano Mary Mackenzie to perform this haunting cabaret-like work on the final concert of the Silver Oak & Twomey Series on July 31st.
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COMPOSER QUOTES We usually think of great composers through their sounds, not their words. Here are some quotes by the very famous artists whose masterpieces comprise Bravo! Vail’s 2014 season. GERSHWIN “ True music must repeat the thought and inspirations of the people and the time. My people are Americans and my time is today.” BEETHOVEN “What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven.” MAHLER “Don’t bother looking at the view – I have already composed it.” WALT DISNEY ON FANTASIA “I was doing “The Sorcerer’s Apprentice” with Mickey Mouse and I happened to have dinner one night with Leopold Stokowski. And Stokowski said, ‘Oh, I’d love to conduct that for you.’... Well, that led to not only doing this one little short subject, but it got us involved to where I did all of Fantasia, and before I knew it I ended up spending four hundred-and-some thousand dollars getting music with Stokowski. But we were in then and it was the point of no return. We went ahead and made it.” TCHAIKOVSKY “I sit down to the piano regularly at nine o’clock in the morning and Mesdames les Muses have learned to be on time for that rendezvous.” RACHMANINOFF “Music is enough for a lifetime, but a lifetime is not enough for music.” BARTÓK “In art there are only fast or slow developments. Essentially it is a matter of evolution, not revolution.” SCHUMANN “Believe me, were I ever to accomplish anything, it would be in music, which has always attracted me; and, without overestimating myself, I am conscious of possessing a certain creative faculty.” LOU HARRISON “I don’t want to wear my compositional tools on my sleeve.”
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A
A SHORT GLOSSARY OF MUSICAL TERMS
a cappella (“in the church manner”) choral music without instrumental accompaniment. accelerando gradually speeding up. adagio slow tempo; a composition or movement in this tempo. allegro (“happy”) fast tempo; a composition or movement in this tempo. andante (“walking”) moderate tempo; a composition or movement in this tempo. aria a composition for solo voice and instrumental accompaniment, usually from an opera, oratorio or cantata. arpeggio (“in the manner of a harp”) the notes of a chord played in quick succession rather than simultaneously. atonal/atonality without tonality, i.e., the absence in a composition or passage of a harmonic tonal center avant garde: [Fr.]
(“ahead of the guard”), the most progressive style of its time.
B
bar a measure. baritone middle-range male voice, between tenor and bass; an instrument or melody in this range. Baroque the historical era extending from about 1600 (the invention of opera) to 1750 (the death of J.S. Bach), characterized by motoric rhythm, florid counterpoint, elaborate spun-out melody, continuously unfolding form, rich harmony, use of basso continuo and small orchestral ensembles, and strong emotional expression. bass lowest male voice; an instrument or melody in this range; the clef used for instruments in the low range. basso continuo the ubiquitous accompanimental instruments in Baroque music — an obligatory chordal instrument (harpsichord, organ, lute), usually doubled by a bass melody instrument (cello, double bass, bassoon) — which “realize” or fill out the continuous stream of harmonies from the composition’s single notated bass line. 19
bravura a virtuoso work, passage or performance. brio briskly, with vigor.
C
cadenza an unaccompanied passage for solo instrument. capriccio (“whim, caprice”) a musical work in free form, usually comprising several continuous sections. chromatic pitch alterations of diatonic scales and chords through the use of sharps, flats and/or naturals, usually to heighten the music’s expressive intensity. clef a notational sign indicating the pitch values of the lines and spaces of a staff. coda the concluding section of a movement or work. concertmaster the orchestra’s first-chair violinist (called “leader” in England). concerto a work for soloist (occasionally multiple soloists, as in the concerto grosso) and orchestra. counterpoint (from “punctus contra punctum,” i.e., “note against note”) two or more melodic lines sounding simultaneously. crescendo increasing in volume.
D
da capo (“the head”) return to the beginning of the work or movement. decrescendo decreasing in volume. Dies irae (“Day of Wrath”) a chant from the Roman Catholic Requiem Mass for the Dead, used by numerous composers (Berlioz, Liszt, Saint-Saëns, Rachmaninoff, etc.) in programmatic compositions associated with death or the supernatural. diminuendo decreasing in volume. dissonant the sounding together of two or more pitches in such a way as to produce an expressive state of tension or instability which, in traditional styles, leads to resolution in consonance. divertimento multi-movement instrumental composition for entertainment (“diversion”), usually for small ensemble or chamber orchestra. 20
double stops two or more pitches played simultaneously on a bowed string instrument. dynamics degrees of volume — piano (soft), mezzo-piano (medium soft), mezzo-forte (medium loud), forte (“strong,” i.e., loud), etc.
E
elegy a composition of mournful character. ensemble (“together”) a group of musicians performing together. entr’acte (“between acts”) an instrumental piece performed between the acts of a play or opera. epilogue the concluding section of a movement or work; a coda. episode a subsidiary passage in a musical form, usually leading to an important structural juncture. espressivo expressively. etude a “study,” usually intended to work on a single aspect of technique, therefore yielding a composition of unified character. exposition the opening section of a sonata form.
F
fanfare a short musical piece, often for brass instruments, in the nature of a signal or alert; a musical style using principally the notes playable on the natural trumpet or horn, i.e., those of a common chord. fantasy a work, often free in form, in which the imagination of the composer takes precedence over conventional styles and forms. flat a notational symbol that lowers a pitch by a half-step. fortepiano (“loud-soft”) the wood-frame keyboard instrument of the late 18th-early 19th centuries whose name derives from its ability to play at different dynamic levels, unlike the earlier monodynamic harpsichord. fortissimo very loud.
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fugue a musical style in which thematic material is imitated by the individual voices in succession; the form of a complete fugue is based on the alternation of sections in which the principal theme occurs (“expositions”) and sections (“episodes”) in which other material, often simply figural, is heard. furiant a fiery Bohemian dance in quick triple meter with frequent shifting accents.
G
gavotte a French dance in moderate duple meter. genre a type of musical composition (e.g., symphony, concerto, tone poem, oratorio, etc.). German dance an Austrian folk dance (a “Ländler”) in moderate triple meter. gigue a French dance in quick compound meter. giocoso humorous. glissando a continuous slide connecting two notes. grace notes small ornamenting notes. Gregorian chant the monophonic liturgical music of the Roman Catholic Church; named in honor of Pope Gregory I (reigned 590-604), who is credited with initiating the systematic codification of the previously largely unorganized Church repertory into a settled musical liturgy. ground bass a short melodic pattern (“ground”), usually in the bass voice, that is repeated continuously while changing music is heard in the other voices.
H
habañera a Spanish and Cuban dance of seductive character in moderate duple meter. half-step the smallest traditional musical interval (i.e., “semi-tone”). harmonic a succession of chords. progression harmonics the constituent sounds of a musical tone, which include the notated pitch (“fundamental”) plus the resultant higher pitches of lesser intensity that are set in vibration 22
sympathetically by the fundamental (“overtones” or “harmonics”); the character and relative strengths of the constituent pitches determine the sonority of an instrument or voice. harmony the simultaneously sounding of multiple musical pitches.
I
imitation the statement in close succession of a melody in different voices. impetuoso impetuously. Impressionism an early 20th-century musical style, principally associated with Debussy, in which lush harmonies, subtle rhythms and opulent sonorities are used to evoke moods and impressions. impromptu (“unprepared, unpremeditated”) a brief work of improvisation-like spontaneity. improvisation spontaneous performance without the aid of notation or memory; spontaneous decoration of a notated work in performance. incidental music music to be used in conjunction with the performance of a play. interlude any kind of inserted music, often for church or theatrical use; an episode in a musical form. intermezzo an instrumental movement in an opera, often used as the introduction to an act. interval the distance between two musical pitches. irregular meters any succession of stressed and unstressed beats that does not consistently follow the same duple, triple or compound meter.
J
jig a lively English dance. jota a lively dance in rapid triple meter, accompanied by castanets, from Aragon (northeastern Spain). joyeux joyful.
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K
K. an entry in Ludwig Köchel’s chronological catalog of the works of Wolfgang Amadeus Mozart. Kammermusik chamber music. Kapellmeister (“chapel master”) a court or church music director. key a tonality. keyboard the set of keys in a piano, organ, harpsichord, clavichord, etc. used to activate the sound mechanism; by extension, any instrument with a keyboard. Konzertstück “concert piece” for solo instrument and orchestra. kraft strength.
L
lament a composition commemorating a death; a piece of mournful character. Ländler an Austrian folk dance in moderate triple meter, predecessor of the waltz. largo (“broad”) slow tempo; a composition or movement in this tempo. Late Romantic the historical era of the late 19th century, when the elements of Romanticism — strong emotional expression, chromatic harmony, long involved forms, large virtuoso orchestra, luxuriant texture, affective melody — were brought to their ripest state. legato the smooth connection of notes. lento very slow tempo; a composition or movement in this tempo. libretto (“little book”) the words of a vocal or music theater work. Lied song. lontano from a distance. lullaby a composition of gentle nature in swaying meter.
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M
measure a single grouping of beats (units of musical time.) medley a continuous succession of independent melodies. meter a continuously repeated pattern of uniformly stressed and unstressed beats. mezzo-forte medium loud. mezzo-piano medium soft. mezzo-soprano the middle-range woman’s voice, between soprano and alto. minimalism a style of modern music that utilizes repetitive melodic patterns, consonant harmonies. minor
one of the two principal scale forms (along with major) in traditional Western music, and the system of harmony founded upon that scale, whose tonal center is indicated by pitch name (e.g., F minor, B-flat minor); among the expressive attributes of minor tonalities are sadness, unease, foreboding, struggle, tragedy, etc.
minuet [menuet, menuetto, minuetto] a French dance in triple meter; a common internal movement (usually the third movement) in Classical-era symphonies, quartets, sonatas, etc., where it is paired with a complementary central section (trio) of similar form and style; a composition in this style and form. movement
one of the principal portions of a symphony, concerto, sonata, etc., usually complete within itself.
N
NachtstĂźck night piece. narrator the performer of the spoken text in a musical work. natural a musical pitch that is neither a sharp nor a flat; the notational sign that cancels an existing sharp or flat. Neo-Classicism a style of the early 20th-century that sought to revive the clear melody and harmony, balanced form, and expressive objectivity of late 18th-century music. Neo-Romantic a modern style that seeks to revive the extroverted expression, rich harmony, sweeping melody and opulent sonority of 19th-century music. 25
nocturne a composition suggesting the night or meditative in mood. note an individual musical sound, consisting of pitch, duration and sonority.
O
obbligato an ambiguous term, which literally means “obligatory” (i.e., must not be omitted) and is used in that sense in Baroque music, but subsequently came to indicate a secondary melody, which may be omitted at the discretion of the performer. octave a musical interval, heard in succession (i.e., melodically) or simultaneously (i.e., harmonically), from one pitch to another eight scale steps distant (e.g., C-d-e-f-g-a-b-C). off-beat the emphasis on a beat other than the one usually accented in a metric pattern. opus (“work”) a numerical designation applied by the composer or publisher to indicate the chronological placement of a work in a composer’s output. oratorio an extended musical setting of a sacred, usually nonliturgical, text that employs the forms and styles of opera but is performed without scenery, costumes or stage movement. orchestration the technique of assigning the content of a musical work to the ensemble’s various instruments. ostinato (“obstinate”) a persistently repeated musical phrase. overture an instrumental composition that precedes an opera, oratorio or play.
P
pastorale an instrumental piece of gentle character written in imitation of the music of shepherds, especially with reference to the shepherds who attended the birth of Christ. pentatonic a five-note scale, most commonly the one playable on the black keys of the piano, which is often used to evoke images of the Far East. phrase a division of a melody, comparable to a sentence in prose, that ends with a cadence, breath or pause. 26
piano soft. pitch a musical tone whose sound, high or low, is determined by speed of the vibrations which produce it. pizzicato a note produced by plucking a string of a violin, viola, cello or bass with the finger. poco little. polyphonic (“many sounds�) a musical texture made from the weaving together of two or more independent lines of equal importance. ponticello the bridge of a string instrument; bowing at the bridge to produce a glassy sound. presto very fast. programmatic music with an extra-musical reference. promenade a work or passage in the style of an informal procession.
Q
quarter note a rhythmic value of moderately short duration, between a half and an eighth note. quartet a work or passage for four voices or instruments. quasi almost, nearly, close to. quintet a work or passage for five voices or instruments.
R
recapitulation the concluding section of a sonata-form movement or work. recitative a musical style in the manner of natural speech. Requiem the Roman Catholic Mass for the Dead. rhapsody a work of free form or unrestrained character. ritardando gradually slowing down. Rococo the light, diverting, elegant style of the late 18th century, as distinct from the more serious, emotionally charged styles of the previous Baroque era or the contemporary Empfindsamer or Sturm und Drang idioms. 27
rondo a form in which a recurring musical refrain is separated by episodes of contrasting character: A — B — A — C — A — etc. rubato (“robbed”) a flexible rather than strict tempo, which uses small accelerandos and ritardandos for expressive effect.
S
scale (“steps”) a sequence of adjacent ascending or descending pitches contained within the interval of an octave, arranged in traditional Western music into the major and minor modes. scherzo (“joke”) a common internal movement (usually the third movement) of vigorous character in fast triple meter in 19th and 20th-century symphonies, quartets, sonatas, etc., where it is paired with a complementary central section (trio) of similar form and style; a composition in this style and form. sharp a notational symbol that raises a pitch by a half-step. sonata a multi-movement work for soloist or small ensemble. sordino muted. spiccato (“detached”) quick notes played by bouncing the bow on the string. staccato (“detached”) separated notes. staff the five parallel lines that serve as the notational grid for indicating musical pitches. subito suddenly. suite a selection of excerpts from music for an opera, ballet or play; a Baroque composition comprising a series of dances, usually preceded by a movement in the style and form of a French overture. syncopated the disturbance of the normal accentuation of metric pulses.
T
tempo the speed of a composition or passage. tessitura the portion of the total range within which most of a musical line lies.
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theme a distinctive melodic idea upon which a movement or composition is based in whole or in part. third a musical interval, heard in succession (i.e., melodically) or simultaneously (i.e., harmonically), from one pitch to another three scale steps distant (e.g., C-d-E). tone poem a one-movement orchestral work with a narrative or illustrative association. transposition the placement of a work or passage in a tonality different from the original. treble the highest part in an ensemble, usually a choir; the clef sign used for instruments in the high range. tremolo (“trembling”) the quick reiteration of a single pitch on a string instrument by the rapid movement of the bow up and down. triad a chord of three notes. trill the rapid alternation of two adjacent pitches. trio a work or passage for three instruments or voices; the center section of a three-part form (i.e., “B” in an A–B–A form). triple meter rhythmic pattern with emphasis on every third beat (ONE-two-three, ONE-two-three), e.g., a waltz. tutti together, i.e., the entire ensemble.
U
Ungherese, all’ in Hungarian (i.e., Gypsy) style. unison all voices and/or instruments sounding the same pitches simultaneously.
V
valse waltz. variations a form in which successive statements of a theme are altered: A (= the theme) — A1 — A2 — A3 — A4 — etc. variazioni variations. vif lively. vigoroso vigorously.
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violento violently. virtuoso a performer or musical work of exceptional technical notoriety. vite fast. vivace lively tempo; a composition or movement in this tempo. vivacemente very lively tempo; a composition or movement in this tempo. vivo lively.
W
walking bass a bass line in even, steadily flowing rhythm. waltz an Austrian dance in moderate triple meter. walzer (�to rotate�) waltz. whole note a rhythmic value of long duration, twice the length of a half note. whole step a small musical interval, equal to two half-steps. wie as, like. wuchtig heavy, ponderous.
Z
zapateado a Spanish dance in strong triple meter marked by stomping the heels. zarzuela a Spanish theatrical genre in which musical numbers are mixed with spoken dialogue. zeitmass tempo. ziemlich rather, quite. zu to, at; too. zurĂźckhalten guarded, cautious.
Special thanks to Dr. Richard Rodda for supplying this glossary of Musical Terms
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BRAVO! VAIL CONCERT DETAILS
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BRAVO! VAIL CONCERT DETAILS
• Orchestra • Chamber Music • Linda and Mitch Hart Soirée Series • Free Event • Education and Community Engagement * Denotes pre-concert talk at 5:00PM, free to all concert goers
• J AZZ GUITAR WITH
JOHN PIZZARELLI Friday, June 27, 6:00PM Gerald R. Ford Amphitheater Dallas Symphony Orchestra
• B EETHOVEN’S 9th*
Saturday, June 28, 6:00PM Gerald R. Ford Amphitheater Dallas Symphony Orchestra
• H OLLYWOOD FILM SCORE CLASSICS Wednesday, July 2, 6:00PM Gerald R. Ford Amphitheater Dallas Symphony Orchestra
• F AURÉ’S REQUIEM
Thursday, July 3, 1:00PM Vail Interfaith Chapel
• P ATRIOTIC CONCERT
Friday, July 4, 2:00PM Gerald R. Ford Amphitheater Dallas Symphony Orchestra
• R AVEL’S BOLÉRO
Sunday, June 29, 6:00PM Gerald R. Ford Amphitheater Dallas Symphony Orchestra
• M USIC ON THE MOVE
Saturday, July 5, 10:00AM Lionshead & Beaver Creek
• C OPLAND AND BARBER
Monday, June 30, 6:00PM Gerald R. Ford Amphitheater Dallas Symphony Orchestra
• J OSHUA BELL RETURNS
Saturday, July 5, 6:00PM Gerald R. Ford Amphitheater The Philadelphia Orchestra
• C HAMBER DALLAS
Tuesday, July 1, 1:00PM Vail Interfaith Chapel
• M USIC ON THE MOVE
Sunday, July 6, 11:00AM Vail Village
• L ITTLE LISTENERS @ THE LIBRARY Tuesday, July 1, 2:00PM Town of Vail Library
• M AHLER’S 1st *
Sunday, July 6, 6:00PM Gerald R. Ford Amphitheater The Philadelphia Orchestra
• G ERSHWIN AND JOPLIN:
CHAMBER JAZZ Tuesday, July 1, 6:00PM Vail Mountain School Jeff Tyzik, conductor/arranger Members of the Dallas Symphony Orchestra
• L ITTLE LISTENERS @ THE LIBRARY
• L ITTLE LISTENERS @ THE LIBRARY Monday, July 7, 1:00PM Eagle Public Library
• B RAHMS SYMPHONY NO. 3
Monday, July 7, 6:00PM Gerald R. Ford Amphitheater The Philadelphia Orchestra
Wednesday, July 2, 1:00PM Gypsum Public Library
Please visit bravovail.org for full concert details. 32
BRAVO! VAIL CONCERT DETAILS
• Orchestra • Chamber Music • Linda and Mitch Hart Soirée Series • Free Event • Education and Community Engagement * Denotes pre-concert talk at 5:00PM, free to all concert goers
• C HAMBER PHILADELPHIA
• M USIC ON THE MOVE
• V IVALDI’S FOUR SEASONS
• R ACHMANINOFF AND BRAHMS
Tuesday, July 8, 1:00PM Vail Interfaith Chapel
Saturday, July 12, 10:00AM Lionshead & Beaver Creek
Tuesday, July 8, 6:00PM Donovan Pavilion
Saturday, July 12, 6:00PM Gerald R. Ford Amphitheater The Philadelphia Orchestra
• D ISNEY’S FANTASIA: FILM WITH
• M USIC ON THE MOVE
LIVE ORCHESTRA Wednesday, July 9, 8:00PM Gerald R. Ford Amphitheater The Philadelphia Orchestra
Sunday, July 13, 11:00AM Vail Village
27th Annual Gala
• INSTRUMENT PETTING ZOO
Dinner, Dance, and Auction “All That Jazz” Sunday, July 13, 5:30PM The Ritz-Carlton, Bachelor Gulch
Thursday, July 10, 10:30AM Gerald R. Ford Amphitheater
• P ETER AND THE WOLF: THE
• R HYTHMS AND RESONANCES
PHILADELPHIA ORCHESTRA Thursday, July 10, 11:30AM Free Family Concert Gerald R. Ford Amphitheater
Monday, July 14, 7:30PM Edwards Interfaith Chapel & Community Center
• C HAMBER PHILADELPHIA II
• G RAVITY
ORLD MUSIC IN NOTTINGHAM •W
• L ITTLE LISTENERS @ THE LIBRARY
Thursday, July 10, 1:00PM Vail Interfaith Chapel
Tuesday, July 15, 1:00PM Vail Interfaith Chapel
PARK Thursday, July 10, 6:00PM Nottingham Park
Tuesday, July 15, 2:00PM Town of Vail Public Library
• M CDERMOTT AND MEMBERS
• L ITTLE LISTENERS @ THE LIBRARY
OF THE PHILHARMONIC Tuesday, July 15, 6:00PM Donovan Pavilion
Friday, July 11, 2:00PM Avon Public Library
• B EETHOVEN’S EROICA *
• L ITTLE LISTENERS @ THE LIBRARY
Friday, July 11, 6:00PM Gerald R. Ford Amphitheater The Philadelphia Orchestra
Wednesday, July 16, 1:00PM Gypsum Public Library
Please visit bravovail.org for full concert details. 33
BRAVO! VAIL CONCERT DETAILS
• Orchestra • Chamber Music • Linda and Mitch Hart Soirée Series • Free Event • Education and Community Engagement * Denotes pre-concert talk at 5:00PM, free to all concert goers
• T HE SCIENCE BEHIND: SOUND
Wednesday, July 16, 6:00PM Walking Mountains Science Center, Avon
• S TRING TRIO
• M USIC ON THE MOVE
Sunday, July 20, 11:00AM Vail Village
• T CHAIKOVSKY’S ROMEO AND JULIET Sunday, July 20, 6:00PM Gerald R. Ford Amphitheater New York Philharmonic
Wednesday, July 16, 6:00PM Martin Residence, Edwards
• A USTERITY MEASURES
• L ITTLE LISTENERS @ THE LIBRARY
ORLD MUSIC IN NOTTINGHAM •W
• A N EVENING WITH BRAMWELL
• L ITTLE LISTENERS @ THE LIBRARY
• M USIC BY MENDELSSOHN AND
Thursday, July 17, 1:00PM Vail Interfaith Chapel
PARK Thursday, July 17, 6:00PM Nottingham Park
Friday, July 18, 2:00PM Avon Public Library
• M IDORI PLAYS TCHAIKOVSKY Friday, July 18, 6:00PM Gerald R. Ford Amphitheater New York Philharmonic
Monday, July 21, 2:00PM Eagle Public Library
TOVEY Monday, July 21, 6:00PM Krasnow Residence, Cordillera
BEETHOVEN Monday, July 21, 7:30PM Brush Creek Pavilion, Eagle
• S TRING QUARTETS FROM AUSTRIA Tuesday, July 22, 1:00PM Vail Interfaith Chapel
• M USIC ON THE MOVE
• B ARTÓK AND REICH
• B RONFMAN PLAYS
• A MERICAN FAVORITES
Saturday, July 19, 10:00AM Lionshead & Beaver Creek
BEETHOVEN’S EMPEROR Saturday, July 19, 6:00PM * Gerald R. Ford Amphitheater New York Philharmonic
• B RAVO! VAIL AFTER DARK
Tuesday, July 22, 6:00PM Donovan Pavilion, Vail
Wednesday, July 23, 6:00PM Gerald R. Ford Amphitheater New York Philharmonic
• D OVER QUARTET IN GYPSUM Wednesday, July 23, 7:30PM Gypsum Town Hall
Saturday, July 19, 8:30PM Vail Ale House, Vail
Please visit bravovail.org for full concert details. 34
BRAVO! VAIL CONCERT DETAILS
• Orchestra • Chamber Music • Linda and Mitch Hart Soirée Series • Free Event • Education and Community Engagement * Denotes pre-concert talk at 5:00PM, free to all concert goers
• B EETHOVEN AND BEACH
• S ILVER OAK & TWOMEY SERIES: MUSIC OF RAVEL AND ROUSE Tuesday, July 29, 7:30PM Donovan Pavilion
Thursday, July 24, 1:00PM Vail Interfaith Chapel
• B ROADWAY NIGHT WITH
• S ILVER OAK & TWOMEY SERIES:
THE PHILHARMONIC Thursday, July 24, 6:00PM Gerald R. Ford Amphitheater New York Philharmonic
SOLO WORKS FOR PIANO AND GUITAR Wednesday, July 30, 7:30PM Donovan Pavilion
• R USSIAN CLASSICS *
• C ALDER QUARTET AT THE VAIL
Friday, July 25, 6:00PM Gerald R. Ford Amphitheater New York Philharmonic
INTERFAITH CHAPEL Thursday, July 31, 1:00PM Vail Interfaith Chapel Calder Quartet
• M USIC ON THE MOVE
Saturday, July 26, 10:00AM Lionshead & Beaver Creek
•
• S ILVER OAK & TWOMEY SERIES:
SCHUBERT SONGS AND ADAGIOS Thursday, July 31, 7:30PM Donovan Pavilion
H AYDN AND WEBER SOIRÉE Saturday, July 26, 6:00PM Precourt Residence, Lake Creek
• T HE FRENCH IMPRESSIONIST
• B RAVO! VAIL AFTER DARK
Friday, August 1, 6:00PM Brownstein and Tannebaum Residence, Buffehr Creek
Saturday, July 26, 8:30PM Crazy Mountain Brewing Company, Edwards
•
• B AROQUE CONCERTOS AND MORE Saturday, August 2, 6:00PM Vilar Performing Arts Center
M USIC ON THE MOVE Sunday, July 27, 11:00AM Vail Village
• J ANÁČEK AND SCHUBERT
Sunday, July 27, 4:00PM Lodge and Spa at Cordillera
• M CDERMOTT SOLO RECITAL Tuesday, July 29, 1:00PM Vail Interfaith Chapel
Please visit bravovail.org for full concert details. 35
INTERESTED IN FURTHER READING? Twenty Suggested Classical Music Books The Penguin Guide to the 1000 Finest Classical Recordings: The Must Have CDs and DVDs by Ivan March The Lives of the Great Composers by Harold C. Schonberg The NPR Guide to Building a Classical CD Collection by Ted Libbey A History of Western Music by J. Peter Burkholder, Donald Jay Grout, Claude V. Palisca Beethoven by Maynard Solomon The Insider’s Guide to Classical Recordings, From the Host of The Record Shelf, a Highly Opinionated, Irreverent, and Selective Guide to What’s Good and What’s Not by Jim Svejda American Music in the Twentieth Century by Kyle Gann Hallelujah Junction: Composing an American Life by John Adams Concerto Conversations: The Charles Eliot Norton Lectures, 1997-98 by Joseph Kerman The Classical Style: Haydn, Mozart, Beethoven by Charles Rosen The Rest Is Noise: Listening to the Twentieth Century by Alex Ross 1791: Mozart’s Last Year by Robbins H. C. Landon Minimalists (20th Century Composers) by K. Robert Schwartz Mahler: A Life by Jonathan Carr The Vintage Guide to Classical Music by Jan Swafford This Is Your Brain on Music: The Science of a Human Obsession by Daniel J. Levitin The Rough Guide to Classical Music by Joe Staines A Compendium of Essays: Purcell, Hogarth and Handel, Beethoven, Liszt, Debussy, and Andrew Lloyd Webber Lexicon of Music Invective: by Nicolas Slonimsky Death in Winterreise: Musico-Poetic Associations in Schubert’s Song Cycle by Lauri Suurpää
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