Bravo! Vail Music Festival 2022 Program Book by Bravo! Vail

J U N E 23–AU G US T 4, 2022

354 Beaver Dam Road S | Vail Village 6 BD | 8 BA | 5,919 SF | $23,900,000 Paul Gotthelf | 970.376.1775 | pgotthelf@slifer.net

ARCHITECTURAL RENDERING

AT HOME

Slifer Smith & Frampton is proud to be the Vail Valley’s top-producing, locally-owned, locally-operated, locally-focused real estate agency. This focus has allowed us to remain industry leaders in Vail real estate since opening in 1962.

Stop by any of our 17 conveniently located sales offices from Vail Village to Eagle and see the difference that true local experience can provide.

Lodge at Vail Chalets 2 | Vail Village 4 BD | 5.5 BA | 4,698 SF | $16,900,000 Dana Correia | 970.390.3141 | dcorreia@slifer.net

805 Potato Patch Drive

IN VAIL

| Vail

4 BD | 4.5 BA | 5,219 SF | $7,500,000 Paul Gotthelf | 970.376.1775 | pgotthelf@slifer.net Kathleen Eck | 970.376.4516 | keck@slifer.net

4340 June Point | Wildridge 4 BD | 4.5 BA | 4,218 SF | $4,600,000 Carroll Tyler | 970.390.0934 | ctyler@slifer.net John Tyler | 970.904.0355 | jtyler@slifer.net

View all of our available properties at:

VailRealEstate.com

66 Gilder Way Phase III

| Gypsum

Warehouse Suites | Starting at $395,000 The McSpadden Team | 970.390.8808 | mcspadden@slifer.net

TABLE OF CONTENTS 26

Board of Trustees & Advisory Council

The Philadelphia Orchestra

Season At a Glance

Immersive Experiences

New Works Symphonic Commissioning Project

108

New York Philharmonic

134

Classically Uncorked

149

Artists & Ensembles

160

Ways to Give

161

Donors & Sponsors

174

Staff

175

Guild & Special Notes

Education & Engagement Programs

The Saint Paul Chamber Orchestra

Linda & Mitch Hart Soirée Series

Free Concerts

Chamber Music Series

Dallas Symphony Orchestra

4 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

WELCOME TO THE 2022 SEASON

e are so happy to have you with us for Bravo! Vail’s 35th season, featuring more than 60 live music performances and events bringing audiences and artists together in the backdrop of the magnificent Rocky Mountains. As full orchestras return to the stage this summer, we are endlessly grateful to have your support in fulfilling our mission: to enrich people’s lives through the power of music. We are thrilled to welcome our internationally acclaimed resident orchestras—the New York Philharmonic, The Philadelphia Orchestra, the Dallas Symphony Orchestra, and The Saint Paul Chamber Orchestra—with 20 inspiring programs led by seven prominent conductors, including Jaap van Zweden, Fabio Luisi, and Nathalie Stutzmann. This season, we enthusiastically invite our community to 30+ free concerts and programs, including our Community Concerts Series, Little Listeners @ the Library, and Family Concerts. From Vail to Gypsum, we are ecstatic to bring live music to Eagle County and beyond. Keep an eye out for the Bravo! Vail Music Box, our custom-designed mobile stage that transports musicians to neighborhoods throughout the Vail Valley. The powerful intimacy of chamber music has been at the heart of Bravo! Vail since our beginning. Our renowned Chamber Music Series celebrates the genre’s iconic works with recitals by Artists in Residence Hélène Grimaud and Nikolaj Szeps-Znaider, as well as the Verona Quartet and Danish String Quartet, and Immersive Experiences examines the intense, intimate relationships between composers Robert Schumann, Clara Schumann, and Johannes Brahms. Bravo! Vail’s popular Classically Uncorked returns with three bold chamber music programs co-curated by the Dover Quartet, joined by illustrious artists Davóne Tines, Edgar Meyer, and Anne-Marie McDermott. Among many season highlights are three world premieres of new works (part of the New Works Symphonic Commissioning Project) by Chris Rogerson, Katherine Balch, and Carlos Simon; alongside eight Bravo! Vail premieres of works by Mason Bates, Xavier Foley, Stacy Garrop, Edgar Meyer, Caroline Shaw, Chris Rogerson, Nina Shekhar, and Bent Sørensen. We extend our deepest gratitude to our musicians, community leaders, music teachers, donors, sponsors, volunteers, and music lovers who contribute to Bravo! Vail’s impact every year. We hope you enjoy every moment of this season’s phenomenal live music schedule and look forward to seeing you throughout the valley.

PHOTOS BY TOMAS COHEN PHOTOGRAPHY U N L E S S O T H E R W I S E N O T E D ALL PROGRAM NOTES ©JAMES M. KELLER

ANNE-MARIE McDERMOTT Artistic Director

CAITLIN MURRAY Executive Director

HANK GUTMAN Board Chair

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

1451 Buffehr Creek | Vail 4 bedrooms | 5 bathrooms | 5,292 sqft $9,875,000 Jenifer Shay | 970.376.2752 jenifer.shay@evrealestate.com

1881 Lionsridge Loop #28 | Vail 4 bedrooms | 3 bathrooms | 2,042 sqft $2,050,000 Jenifer Shay | 970.376.2752 jenifer.shay@evrealestate.com

The Sebastian Vail Village Luxury Fractional Ownership! 2 & 3 bedrooms | Winter & Summer weeks $175,000 - $585,000 Karin Millette | 970.376.0691 karin.millette@evrealestate.com

Park Plaza | Beaver Creek 2-3 bedrooms | Interval Ownership Starting from $35,000 Matt Szmyd | 970.366.1933 matt.szmyd@evrealestate.com

VAIL VILLAGE | BEAVER CREEK 970.477.5300 • VAIL.EVREALESTATE.COM • 970.763.5800 ©2022 Engel & Völkers. All rights reserved. Each brokerage independently owned and operated. All information provided is deemed reliable but is not guaranteed and should be independently verified. Engel & Völkers and its independent License Partners are Equal Opportunity Employers and fully support the principles of the Fair Housing Act.

bear essentials

every home is a building block.

We are part of the solution.

Habitat for Humanity Vail Valley is proud to be the only organization in Eagle County that builds permanently affordable homes in partnership with local families. Since 1995, we have created housing stability for 377 children, started on our 100th home and plan to break ground on 16 more homes, ensuring families can thrive here at home. After all, the local workforce builds the fabric of our community. JOIN US TO BE PART OF THE SOLUTION. 970.748.6718

S E RV I C E | T R U ST | CO M M I T M E N T | E XC E P T I O N A L R E S U LTS

Patrice Ringler & Tina Vardaman Top 10 Producers, Slifer Smith & Frampton VardamanRinglerRealEstate.com Patrice 970.376.7986 | pringler@slifer.net Tina 970.390.7286 | tvardaman@slifer.net

Deeply rooted in the Vail Valley community, our commitment to helping clients achieve their real estate goals is our top priority. More than ever, our homes reflect what is most important to us—connection to family and the mountain lifestyle.

Let our experience and unparalleled level of service connect you with your dream.

Solaris Penthouse H East | Vail Village 4 BD | 6 BA | 4,170 SF | $12,500,000 Pinnacle of modern luxury living

787 Potato Patch Drive | Vail 5 BD | 6 BA | 4,570 SF | $6,250,000 Sweeping vistas of Vail Mountain

2824-A Snowberry Drive | West Vail 4 BD | 6 BA | 3,317 SF | $3,100,000 Charming chalet adjacent to National Forest

One Vail Place 4 | Vail Village 3 BD | 4 BA | 2,077 SF | $7,300,000 Legacy location at the base of Gondola One

EVERY DAY MADE BETTER 970.949.6339 | MCPSVAIL.COM EAGLE VAIL BUSINESS CENTER

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Casteel Creek $42,000,000 | 250 ACRES 30,350 SF MAIN RESIDENCE | ENTERTAINMENT & RECREATIONAL COMPOUND | GUEST HOMES | WESTERN THEMED TOWN CENTER

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2965 & 2967 Manns Ranch Road, Vail 2965: 5 Beds | 7 Baths | 5,671 SF | $7,950,000 2967: 4 Beds | 6 Baths | 4,284 SF | $6,500,000

312 Bearden Meadows, Cordillera 5 Beds | 7 Baths | 6,341 SF | $5,700,000 CORDILLERALUXURYRESIDENCE.COM

N E W M O U N TA I N C O N T E M P O R A R Y. C O M

Malia Cox Nobrega 970.977.1041 malia@vailluxurygroup.com VA I L L U X U R Y G R O U P. C O M

Barbara Scrivens 970.471.1223 bscrivens@livsir.com BARBARASCRIVENS.COM

LIONSHEAD $6,995,000 to $14,900,000 ELEVATION Residences | 3 Residences Remaining | 3 & 4 Bedrooms | Penthouse

SWEETWATER | $5,499,000 3412 County Road 151 | 11 Bedroom | 8 Full/2 Half Bath | 7,150 sq. ft. Extraordinary 218 Acre Ranch surrounded by White River National Forest

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EAGLE RANCH | $2,375,000

145 Gore Trail | 4 Bedroom | 5.5 Bath | 5,696 sq. ft. Mountain contemporary with expansive views

Connecting mountain lovers with mountain homes since 1971 bhhscoloradoproperties.com | 970.329.2482

ARROWHEAD | $6,399,000 38 Riverbend Drive | 4 Bedroom | 4 Full/2 Half Bath | 5,654 sq. ft. Spectacular golf course and Game Creek Bowl views

LIONSHEAD | $2,060,000 Landmark Vail 406 | 2 Bedroom | 2 Bath | 1,145 sq. ft. Mountain modern ski condo just steps to world class skiing

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288 Travis Road | 5 Bedroom | 6 Full/2 Half Bath | 7,213 sq. ft. Pristine custom-built mountain home with privacy and views

2924 Snowberry Drive B | 4 Bedroom | 4.5 Bath | 3,185 sq. ft. Mountain modern home with expansive views

Aligning with one of the most powerful names in business can make all the difference when presenting your home to a network of buyers.

REPUTATION MATTERS

Developed by English & Associates Inc.

Principal Architects: Hans Berglund, Stephanie Lord-Johnson & Adam Gilmer Congratulations, Adam Gilmer, on receiving Colorado Homes and Lifestyle’s Five Under Forty Award!

Providing Architectural & Interior Design Services throughout the U.S. & Internationally Vail, Colorado | 970 926 4301 |

www.berglundarchitects.com

A 2021 TOP PRODUCER IN EAGLE COUNTY

805 Potato Patch Drive Representing Seller

VAIL | $7,500,000

“Integrity, market knowledge, legal skills, professionalism, patience; there aren’t enough descriptors to credit Kathleen Eck.” — Buyer and Seller, Vail Village + East Vail

754 Potato Patch Drive Represented Seller + Buyer VAIL | $3,000,000

1275 Pilgrim Drive Represented Seller LAKE CREEK VALLEY | $3,750,000

89 Hummingbird Represented Buyer BACHELOR GULCH | $6,575,000

304 Meadow Road Represented Seller LAKE CREEK VALLEY | $4,500,000

Kathleen Eck 4191 E Lake Creek Represented Seller LAKE CREEK VALLEY | $4,000,000

M | 970.376.4516 O | 970.479.5766 keck@slifer.net KathleenEck.com

AP RÈ

S H NE W IK ! EP AR

SEPTEMBER 18, 2022 PURCHASE TICKETS OR DONATE

HIKEWINEDINE.COM | (970) 569-7766

The 14th annual Hike, Wine & Dine includes a fun, family-friendly 5-mile hike that meanders through golden aspens and is highlighted with tastings from several of the Vail Valley’s finest restaurants.

The new Après Hike Party caps off the day with live music, dessert, and beverages — all to benefit Vail Health Shaw Cancer Center and Jack’s Place, a cancer caring house.

L MOUNTAIN AI

Since

1989

FEE & TEA C

It Takes A Valley: Transforming Behavioral Health aims to raise $100 million for Eagle Valley Behavioral Health and our community partners:

Together We Are Making A Difference

Bright Future Foundation

My Future Pathways

Early Childhood Partners

SpeakUp ReachOut

Habitat for Humanity Vail Valley

Vail Valley Mountain Trails Alliance

MIRA (Mobile Intercultural Resource Alliance)

Your Hope Center

Vail Health committed $60 million to behavioral health in 2019, which brings the organization's total investment to $160 million over 10 years. There are many opportunities for you to make a meaningful impact. Contributions provide critical funding for: • Olivia’s Fund • Crisis Services • Hispanic Programs

• Prevention & Education • School-Based Services • Area of Greatest Need

Join the campaign today or learn more at ItTakesAValley.org

Moving people worldwide to the mountains ALIDA ZWAAN REAL ESTATE Vail Valley’s premier luxury home specialist Providing customized solutions for your real estate needs Top producing agent for buyers and sellers

Alida Zwaan, CRS (970) 471-0291 alidaz@vail.net vailrealestatecolo.com SERVING THE VAIL VALLEY FOR OVER 30 YEARS

Celebrating 50 Years! Spacious studio suites to four bedroom condos located just 150 yards from the Lionshead Gondola. Enjoy full kitchens, private balconies, gas fireplaces, picturesque pool, underground parking and more.

Photo courtesy VLMDAC/ Jack Affleck.

Excellence Proud to support the Bravo! Vail Music Festival

Sanctuary Private Wealth salutes the Bravo! Vail Music Festival and all of the talented musicians who make it extraordinary.

Christopher Aitken Managing Director–Wealth Management Private Wealth Advisor 904-280-6020 christopher.aitken@ubs.com

Sanctuary Private Wealth UBS Financial Services Inc. Private Wealth Management 816 A1A North, Suite 300 Ponte Vedra Beach, FL 32082 Christopher Aitken is a recognized industry leader: – Barron’s Top 1,200 Financial Advisors, 2021 – Forbes Best-In-State Wealth Advisors, Florida, 2021 – Forbes Top 250 Wealth Advisors, 2021

Ken Tonning Vice President–Wealth Management Private Wealth Advisor 904-280-6021 ken.tonning@ubs.com advisors.ubs.com/sanctuary

Accolades are independently determined and awarded by their respective publications. Neither UBS Financial Services Inc. nor its employees pay a fee in exchange for these ratings. Past performance is no guarantee of future results. Private Wealth Management is a division within UBS Financial Services Inc., which is a subsidiary of UBS AG. © UBS 2022. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. CJ-UBS-1755687422 Exp.: 03/31/2023

Theresa W. Smith Bravo! Thank You to the multitude of clients and friends for your business and continued loyalty of my broker services to buy and sell Vail’s finest properties since 1990 970.904.0970

VailLuxuryRealEstate.com

Exquisite Vacation Rentals

TIMELESS. CONTEMPORARY. SUSTAINABLE.

1904/4852 SENDERO VERDE

EXCLUSIVE MOUNTAINTOP RETREAT

1904SenderoVerde.com

EDWARDS | $24,900,000

This is Vail’s ultimate mountaintop estate, situated on 145 acres with views of the Gore and Swatch mountain ranges. Only 12 minutes from shopping in Edwards or 20 minutes to Beaver Creek skiing. Amenities include a 14,419 sq ft, 6-bed, 7-bath, airconditioned, mountain-modern home, a 3-bedroom property manager’s home, 5 water wells, two 4-car garages, a private stocked pond, 10 miles of custom-built hiking or snowmobile trails, and access to all of the amenities in Cordillera. KATHY BELLAMY Broker Associate Park Hyatt Office 970.376.2863 kbellamy@slifer.net KathyBellamy.com

FirstBank Proudly Supports Bravo! Vail.

Visit us online or at any convenient location.

efirstbank.com

banking for good Member FDIC

ELIZABETH SULLIVAN ould

ou sh y f i g n i r e d n Wo

SELL OR BUY IN THE VAIL VALLEY? Discover how you can put more money in your pocket as a seller or find that mountain dream home as a buyer BEAVER CREEK | 63 AVONDALE LANE C5 303-596-0066 | ELIZABETH@BHHSVAIL.NET SULLYSELLSVAIL.COM

5 questions you should ask a Broker

Enriching lives, inspiring new possibilities. West Vail Branch 2161 N. Frontage Rd. Vail, CO 81657 970.476.2905

At U.S. Bank, we believe art enriches and inspires our community. That’s why we support the visual and performing arts organizations that push our creativity and passion to new levels. When we test the limits of possible, we find more ways to shine. usbank.com/communitypossible U.S. Bank is proud to support Bravo! Vail.

Top 2% In The Berkshire Hathaway HomeServices Network

SOLUTIONS-FOCUSED BROKER

JULY 3 - SEPT 5 Headliner Series Thursday Evenings Under the Jazz Tent in Lionshead Village

Vail Jazz Festival Events Throughout The Summer Including:

One Special Headliner Performance at the Donovan Pavilion

FREE Sunday Evening Performances on the Solaris Plaza

Five-Day Vail Jazz Party Over Labor Day Weekend

View Lineup and Get Tickets at VailJazz.org . 970.479.6146 Vail Jazz will meet or exceed any local mandates at the time of the events, which are subject to change. Please check VailJazz.org for most current information.

An Education

that cannot be found anywhere else in the world.

WWW.VMS.EDU INFO@VMS.EDU 970–477–7164

NO ONE SHOULD HAVE TO CHOOSE Many Eagle Valley residents cannot aﬀord to eat nutritious food and pay their bills. Help them to not have to choose.

286 Bridge Street, Vail, CO 81657 27 Main Street, Suite 107 Riverwalk, Edwards, CO 81632

Donate today at eaglevalleycf.org

BOARD OF TRUSTEES Hank Gutman, Chair Diane Loosbrock, Vice Chair Paul Rossetti, Treasurer Byron Rose, Secretary Charlie Allen Ronnie Baker Paul Becker Sarah Benjes Barry Beracha

Bill Burns Carol Cebron Marijke de Vink Kathleen Eck Julie Esrey Dan Godec Mark Gordon Ann Hicks Peter Kitchak Alan Kosloff

Fred Kushner John Magee Shirley McIntyre Sarah Millett Laurie Mullen Brian Nestor Margery Pabst Steinmetz Kalmon Post Drew Rader Tom Rader

Michele Resnick Jeris Romeo Beth Slifer Randy Smith Cathy Stone Doug Tansill Fred Tresca Greg Walton Michael Warren

Tony Mayer Matt Morgan Bill Morton Steve Pope Brad Quayle Michael Reyes Terie Roubos Adrienne Rowberry Lisa Schanzer Carole Segal Pete Seibert

Chris Silversmith Rod Slifer Marcy Spector Tye Stockton Susan Suggs Lisa Tannebaum Carole Watters Dr. Steve Yarberry

ADVISORY COUNCIL Marilyn Augur Kathleen Brendza Gina Browning Edwina Carrington Tim Dalton John Dayton Brian Doyle Leo Dunn Kabe ErkenBrack Carole Feistmann Cookie Flaum

Harry Frampton Joan Francis Michael Glass Kim Hackett Linda Hart Martha Head Becky Hernreich Fred Hessler Honey Kurtz Robert LeVine Vicki Logan

FROM THE FOUNDER To say that we are overjoyed to bring you the 35th season of Bravo! Vail Music Festival would be an understatement. This season is truly special— and a welcome reminder of the community we create when attending and supporting live music. This annual celebration would not happen without that community commitment and support, either. For that, I offer my heartfelt gratitude to each and every one of you for attending and supporting performances at the Gerald R. Ford Amphitheater and throughout the Eagle River Valley this summer. Enjoy!

John W. Giovando FOUNDER & EXECUTIVE DIRECTOR EMERITUS

26 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

THE DIFFERENCE MAKERS Vail Village | Solaris Residence 3F E 4 BD | 4.5 BA | 2,720 SF | $7,700,000 Unique Solaris 4-bedroom with a side entrance and private gated entrance for a townhome-like living experience in the heart of Vail Village. Two garden patios and ski slope views with the best amenities in Vail.

Vail | 2350 Sequoia Drive 5 BD | 7 BA | 6,378 SF | $8,000,000 One is immediately impressed with the pristine elegance of this refined contemporary home. Fabulous light fills the open floor plan with spectacular details you would expect to find at the finest resort. The home is private, at the end of a cul-de-sac, and has a three car garage.

Vail | 807 Potato Patch Drive .41 ACRE HOMESITE | $3,500,000

*Artist’s rendering

Rare opportunity to build on one of the last remaining homesites in Vail. Sweeping Vail Mountain South facing views. Preliminary plans available.

Find your luxury property today with the team that knows luxury best. Liz Leeds M | 970.331.1806 | lleeds@slifer.net | LizLeeds.com

Debbie Gibson Curtis

M | 970.470.3866 | dgibson@slifer.net | LiveInVail.com

SUNDAY

MONDAY

TUESDAY

BRAVO! VAIL 2022 SEASON June 23–August 4

TCBC: The Chapel at Beaver Creek

VNC: Vail Nature Center

New York Philharmonic 6:00PM | GRFA

Chamber Music 7:00PM | VPAC

New York Philharmonic 6:00PM | GRFA

1 AUGUST

Little Listeners 2:00PM | GPL Chamber Music 7:00PM | VPAC

Classically Uncorked 7:00PM | DP

COLOR KEY Orchestral Series

The Saint Paul Chamber Orchestra 6:00PM | GRFA

Community Concert 6:00PM | FPLB Soirée 6:00PM | Millett Residence

Community Concert 1:00PM | TCBC Chamber Music 7:00PM | VPAC

Chamber Music Series Classically Uncorked Community Events Linda & Mitch Hart Soirée Series

Dallas Symphony Orchestra 2:00PM | GRFA

Community Concert 1:00PM | TCBC Community Concert 6:00PM | SF

Immersive Experiences

LOCATION KEY APL: Avon Public Library

The Philadelphia Orchestra 7:30PM | GRFA

Little Listeners 2:00 PM | APL

BCP: Brush Creek Pavilion

Community Concert 1:00PM | TCBC Chamber Music 7:00PM | VPAC

DP: Donovan Pavilion FPLB: Ford Park Lower Bench EIC: Edwards Interfaith Chapel EPL: Eagle Public Library GPL: Gypsum Public Library GRFA: Gerald R. Ford Amphitheater LAG: Lundgren Amphitheater, Gypsum

Little Listeners 2:00PM | APL Immersive Experiences 7:00PM | DP

Community Concert 1:00PM | TCBC Immersive Experiences 7:00PM | DP

MA: Minturn Amphitheater SF: Stratton Flats, Gypsum

VPL: Vail Public Library

28 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

WEDNESDAY

THURSDAY 23 JUNE

FRIDAY 24

SATURDAY 25

The Saint Paul Chamber Orchestra 6:00PM | GRFA

1 JULY

New York Philharmonic 6:00PM | GRFA

Little Listeners 2:00PM | EPL Family Concert 5:30PM | LAG Soirée 6:00PM | Wheeler Residence

Family Concert 5:30PM | BCP

Family Concert 5:30PM | MA

Classically Uncorked 7:00PM | DP

Dallas Symphony Orchestra 6:00PM | GRFA

Inside the Music 1:00PM | TCBC

Community Concert 1:00 PM | TCBC Dallas Symphony Orchestra 6:00PM | GRFA

Community Concert 1:00PM | TCBC Little Listeners 2:00 PM | VPL Soirée 6:00PM | Zirkin Residence

Soirée Community Concert 6:00PM | Rotella Residence 1:00PM | TCBC Little Listeners 2:00PM | VPL The Philadelphia Orchestra 6:00PM | GRFA

Inside the Music 1:00PM | VPL Little Listeners 2:00PM | EPL New York Philharmonic 6:00PM | GRFA

Community Concert 1:00PM | TCBC Community Concert 6:00PM | EIC

Dallas Symphony Orchestra 6:00PM | GRFA

The Philadelphia Orchestra 6:00PM | GRFA

Little Listeners 2:00PM | GPL New York Philharmonic 6:00PM | GRFA

Dallas Symphony Orchestra 6:00PM | GRFA

The Philadelphia Orchestra 6:00PM | GRFA

Inside the Music 9:30AM, 11:00AM, 1:00PM | VNC New York Philharmonic 6:00PM | GRFA

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

NEW WORKS SYMPHONIC COMMISSIONING PROJECT Elevating New, Powerful Work Bravo! Vail elevates our commitment to supporting living composers and their work through the launch of the New Works Symphonic Commissioning Project.

s part of this bold initiative, Bravo! Vail will commission three new works each year for five years, engaging a wide representation of compositional voices. Premiere performances will take place during the Festival by Bravo! Vail’s resident orchestras and some commissioned composers will be onsite to engage with audiences and participate in educational activities. The 2022 Symphonic Commissioning Project includes world premieres of works by Chris Rogerson, Katherine Balch, and Carlos Simon, performed by The Saint Paul Chamber Orchestra, Dallas Symphony Orchestra, and New York Philharmonic.

World Premiere June 25: Samaa’ by Chris Rogerson, performed by Anne-Marie McDermott and The Saint Paul Chamber Orchestra. This concerto was commissioned by Bravo! Vail in honor of McDermott’s 10th anniversary as artistic director and is a Symphonic Commissioning Project work.

direction of Fabio Luisi, as part of the Symphonic Commissioning Project.

World Premiere July 22: Profiles, a co-commissioned work by Carlos Simon, performed by the New York Philharmonic under the direction of Jaap van Zweden, as part of the Symphonic Commissioning Project.

World Premiere June 30: a co-commissioned work by Katherine Balch entitled music for young water that danced beneath my feet, performed by the Dallas Symphony Orchestra under the

30 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Learn more about these programs within this program book online at BravoVail.org

THE RESORT COLLECTIVE SERVING VAIL & BEAVER CREEK Together we have over 60 years of combined service to our clients in the Vail Valley and over $1 billion in sales. With our deep knowledge of real estate in the Vail Valley, paired with Compass’ innovative technology and support, we are joining together to better serve our clients. Whether you have a specific goal in mind or simply want more information about the market, contact us today.

387 PILGRIM DRIVE | LAKE CREEK $8,349,000 6 Bed | 10 Bath | 12,818 SF

RESORTCOLLECTIVEVBC.COM

DAVID ADKINS 970.331.1590 david.adkins@compass.com

JILL MONEYPENNY 970.390.7643 jill.moneypenny@compass.com

JEN WANNER 970.376.6378 jen.wanner@compass.com

The Resort Collective is a team of real estate agents affiliated with Compass. Compass is a licensed real estate broker in Colorado and abides by Equal Housing Opportunity laws.

CREATING MEANINGFUL CONNECTIONS TO MUSIC

EDUCATION & ENGAGEMENT

Inspiring musical curiosity all year long Sharing the joy and power of music is at the heart of Bravo! Vail’s mission. These programs, along with collaborative partnerships with communityserving organizations, ensure that great music and opportunities for lifelong learning are available to diverse audiences of all ages and abilities.

32 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Instruction Music Makers Haciendo Música gives students a solid foundation in music by teaching them to play an instrument, read music, and understand musical concepts. Bravo! Vail is proud to partner with the Eagle County and Lake County School Districts in serving hundreds of students in grades 2-12, creating access for every child in the county. As a complement to after-school programming, the Summer Intensive offers both beginner and advanced violin and piano players the opportunity to continue their education during the summer. New this year: Young Musicians Day (June 30 with the Dallas Symphony Orchestra) expands to welcome students from Aspen Music Festival and School, El Sistema Colorado, and Summer Intensive participants to collaborate in a day of chamber music explorations culminating in attending the concert for Music Education Night. The evening welcomes students, families, and educators to an immersive and imaginative evening of live music.

Access & Enrichment Community Concerts Hour-long chamber music concerts and solo recitals in relaxed, accessible settings, including the Music Box, Bravo! Vail’s mobile performance stage. Little Listeners @ the Library 30-minute programs that introduce music and instruments in an approachable, accessible way, featuring age-appropriate activities developed in coordination with local libraries. Family Concerts Fun for music-lovers of all ages, and the perfect way to introduce children to the joy of music, this season expanding to serve Minturn as well as Gypsum and Eagle.

Inside the Music Intriguing knowledge is shared and unique perspectives abound at these in-depth discussions, presentations, artist talks, and master classes. Community Collaborations Through partnerships with Vail Health, Roundup River Ranch, Habitat for Humanity, Walking Mountains Science Center, Arrowhead Community, and Castle Peak Senior Care, Bravo! Vail uses the arts to strengthen community, enhance understanding, and make music accessible to audiences outside the concert hall.

Professional Development Bravo! Vail is proud to identify and showcase outstanding performers in the early stages of their careers. Piano Fellows and Chamber Musicians in Residence gain valuable opportunities to perform, teach, and learn side by side with renowned Festival musicians. Bravo! Vail’s Summer Internship Program is unsurpassed in its reputation of advancing participants into successful careers in arts administration and nonprofit management.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons FIRST CHAIR ($50,000+) Kathy and David Ferguson and The Ferguson Music Makers Haciendo Música Fund ENSEMBLE ($30,000+) Dierdre and Ronnie Baker Bravo! Vail Guild Marijke and Lodewijk de Vink IMPRESARIO ($25,000+) Anonymous Karen and Michael Herman VIRTUOSO ($20,000+) Virginia J. Browning The Sturm Family and ANB Bank OVATION ($15,000+) Sandi and Leo Dunn

ALLEGRO ($10,000+) Alpine Bank Carol and Harry Cebron Kathy Cole Cookie and Jim Flaum Helmut Fricker Scholarship Fund Diane and Lou Loosbrock Carole A. Watters SOLOIST ($7,500+) Anonymous Lynne Murray Sr. Educational Fund and Carolyn and Paul Landen Town of Gypsum CRESCENDO ($5,000+) Kimberly and David Bernstein Doe Browning Katherine Clayborne and Thomas Shoup

Dr. David Cohen Nancy and Andy Cruce Kathy and Brian Doyle Janet and Jim Dulin Michelle Fitzgerald and Jonathan Guyton Gallegos Corp. Sue and Dan Godec Neal Groff Patricia and Peter Kitchak Judy and Alan Kosloff Carolyn and Gene Mercy Kathie Mundy and Fred Hessler Drs. Rob and Julie Rifkin Beth and Rod Slifer Slifer Smith & Frampton Foundation Jackie and Norm Waite Martin Waldbaum

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

SCHEDULE AT A GLANCE JUN

Beethoven by The

23 Saint Paul Chamber Orchestra...................................... 36

JUN

An Evening of Piano:

25 Bach & Rogerson by

McDermott ................................ 38 JUN

Copland’s Appalachian

26 Spring.................................................40

DISTINCTIVE VERSATILITY

THE SAINT PAUL CHAMBER ORCHESTRA In residence June 23 – 26, 2022 Renowned for its artistic excellence, remarkable versatility, and adventurous programming, The Saint Paul Chamber Orchestra is widely regarded as one of the finest chamber orchestras in the world. Bravo! Vail celebrates its second residency with music by Beethoven, Bach, Copland, and more.

34 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

enowned for its artistic excellence, remarkable versatility of musical styles, and adventurous programming, The Saint Paul Chamber Orchestra is widely regarded as one of the finest chamber orchestras in the world. Now in its 63rd concert season, the SPCO has recently undergone transformational change with the opening of its new home, the Ordway Concert Hall, the addition of a new generation of players, and significant changes in its artistic vision. The SPCO is primarily an unconducted ensemble that performs a broad range of repertoire from Baroque to new music and works in close collaboration with a dynamic roster of Artistic Partners. The virtuoso musicians of the SPCO present more than 100 concerts and educational programs in the Twin Cities each year. The orchestra’s free online Concert Library receives more than 350,000 visits annually and offers both live and on-demand videos of concerts that can be viewed anytime, anywhere, completely free of charge. Through its partnership with Classical Minnesota Public Radio, the SPCO is regularly heard on public radio programs that reach nearly 850,000 listeners each week on over 250 stations. Additionally, the SPCO has released 68 recordings, including its recent critically-acclaimed recording of Wolfgang Amadeus Mozart Piano Concertos with Artistic Partner Jeremy Denk and the 2018 Grammy Award-winning recording of Franz Schubert’s Death and the Maiden with violinist and former Artistic Partner Patricia Kopatchinskaja. The SPCO has commissioned 162 new works and tours nationally and internationally, including recent engagements in

Europe and New York City, and a prestigious residency with violinist Joshua Bell at the 2021 Bravo! Vail Music Festival. The SPCO is nationally recognized for its commitment to broad community accessibility and its innovative audience engagement efforts. Regular subscription series are performed in a variety of different venues across the Twin Cities metropolitan area each season, a unique commitment to geographic accessibility for a major orchestra. The SPCO offers the most affordable ticket prices of any professional orchestra in the United States, with over 50 percent of tickets available for $15 or less, and has expanded accessibility even further by offering free tickets for

“Probably the leading ensemble of its kind in America.” — N E W YO R K TI M ES

children and students starting in the 2016/17 season as a part of the New Generation Initiative. The orchestra also offers an innovative ticket membership model in which members pay $9 per month to attend unlimited concerts. The SPCO’s award-winning CONNECT education program reaches over 3,000 students and teachers annually in 10 Minneapolis and Saint Paul public schools.

Bravo! Vail Gratefully Acknowledges Support from the Friends of The Saint Paul Chamber Orchestra MAESTRO ($100,000+) Berry Charitable Foundation

IMPRESARIO ($25,000+) Virginia J. Browning

FIRST CHAIR ($50,000+) Town of Vail

OVATION ($15,000+) Mrs. Jean Graham-Smith and Mr. Philip Smith

ENSEMBLE ($30,000+) Patricia and Peter Kitchak

CRESCENDO ($5,000+) Dr. David Cohen Shelby and Frederick Gans Ann and William Lieff Mr. John McDonald and Mr. Rob Wright Jann and John Wilcox

ALLEGRO ($10,000+) John Dayton Penny and Bill George

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

JUN

THURSDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE SAINT PAUL CHAMBER ORCHESTRA Stefan Jackiw, violin

BEETHOVEN

Violin Sonata No. 9 in A major, Op. 47, Kreutzer (arr. R. Tognetti) (34 minutes) Adagio sostenuto—Presto Andante con Variazioni (I-IV) Presto

— INTERMISSION — BEETHOVEN

Symphony No. 4 in B-flat major, Op. 60 (1806) (33 minutes) Adagio—Allegro vivace Adagio Allegro vivace Allegro ma non troppo

S TE FA N JAC K I W

BEETHOVEN BY THE SAINT PAUL CHAMBER ORCHESTRA THIS EVENING’S PERFORMANCE IS PRESENTED BY NORMA AND CHARLIE CARTER PATRICIA AND PETER KITCHAK SALLY AND BYRON ROSE SPECIAL GRATITUDE TO

Funded in part by a generous grant from the Town of Vail. The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of The Saint Paul Chamber Orchestra while in residence at Bravo! Vail.

There’s more to explore in the Bravo! Vail Music Festival app.

Berry Charitable Foundation The Friends of The Saint Paul Chamber Orchestra The Judy and Alan Kosloff Artistic Director Chair SPONSORED BY Holly and Ben Gill Bea Taplin Jane and Thomas Wilner SOLOIST SPONSORS Stefan Jackiw, violin, sponsored by SHS Solutions and Simon Hamui

Violin Sonata No. 9 in A major, Op. 47, Kreutzer (1802-03; arr. Richard Tognetti) LU DW I G VA N B E E T H OV E N ( 1 7 70 -1 82 7 )

hen the 19th century rolled in, Ludwig van Beethoven was the brightest star on the rise in music-drenched Vienna. He had moved there in 1792, and in the course of that decade he made a mark with many works that remain firmly in the repertoire today. Within the next few years he did not merely make good on the promise he had shown; he surpassed it by a degree nobody could have conceived, charting new territory with pieces that broke one mold after another.

Beethoven was among the most acclaimed pianists of his day, but he was also a trained string player. He had worked as an orchestral violist in his native city of Bonn and continued his violin studies after he settled in Vienna. He published his first three violin sonatas as a set in 1799. More followed hot on their heels: the beloved Spring Sonata, in 1801, then another set of three in 1803. Then in 1802-03 he wrote his Violin Sonata in A major, the so-called Kreutzer Sonata, which was so extraordinary that it became the stuff of legend once it was published in 1805 as his Op. 47. The most adored of the violin sonatas, the Kreutzer would later play a pivotal role in Leo Tolstoy’s novella The Kreutzer Sonata, and that story would, in turn, inspire Leoš Janáček’s String Quartet No. 1, also subtitled (not unconfusingly) Kreutzer Sonata. The sonata’s nickname comes from its dedicatee, Rodolphe Kreutzer, whom Beethoven met in 1798 when Kreutzer traveled from his native Paris to concertize in Vienna. Beethoven wrote: “I prefer his unassuming and natural manner to that of most virtuosi who are all exterior, with no interior.” The feeling was not mutual. Kreutzer never played this piece, and, what’s worse, he condemned Beethoven’s music as being “outrageously unintelligible.” Beethoven had actually composed it not for him but rather for George Augustus Polgreen Bridgetower, a famous violinist born in Poland to a West Indian (or possibly African) father and a European mother. He was based in London, but he premiered this sonata together with Beethoven when he visited Vienna in 1803. It remains unclear why Beethoven ended up dedicating the piece to Kreutzer instead. The title page of the first edition described it as a “sonata written in a very concertante style, almost like a concerto.” Its imposing personality inspired several early appreciators to enlarge it from its original forces of violin plus piano. It was published in versions for string quintet in 1832 and for piano quartet in 1839; and in 1863 or 1864, while a conservatory student, Pyotr Ilyich Tchaikovsky made a full symphonic orchestration of its first 190 measures, though didn’t continue

beyond that. Richard Tognetti, a violin soloist as well as the director of the Australian Chamber Orchestra, created this version about two decades ago, maintaining Beethoven’s solo part while recasting the piano accompaniment for string orchestra.

Symphony No. 4 in B-flat major, Op. 60 (1806) We move ahead just a few years to Beethoven’s Fourth Symphony, written in the summer and early autumn of 1806 and premiered in March 1807, when the composer led a private performance in the Vienna home of his patron Prince Franz Joseph von Lobkowitz. Viewing this work in the context of the corpus of Beethoven’s nine symphonies, listeners may be tempted to focus on what the piece is not rather than on what it is. What it is not, most immediately, is Beethoven’s Third Symphony (the Eroica) or Beethoven’s Fifth Symphony, those two punchpacking exercises in superhuman grandeur and titanic power. Robert Schumann captured the Fourth’s relationship to its neighbors when he called it “a slender Grecian maiden between two Nordic giants.” Hector Berlioz viewed it as a return to an earlier sound world. “Here,” he wrote, “Beethoven entirely abandons ode and elegy, in order to return to the less elevated and less somber, but not less difficult, style of the Second Symphony. The general character of this score is either lively, alert, and gay or of a celestial sweetness.” This symphony, then, reflects the Apollonian side of a

composer whose Dionysian aspect may enjoy broader popularity. Even if a certain Classicism reigns over Beethoven’s Fourth, the work brims with athletic vigor and admits both contemplative rumination and puckish humor. It reveals itself as a descendent of Franz Joseph Haydn’s symphonies in certain respects, while at the same time it looks forward to the Fifth Symphony in some of its compact compositional processes. In fact, one should say that it looks sideways to the Fifth, since the Fifth was begun before the Fourth, though it was not completed until after. Beethoven launches his Fourth Symphony with a hushed introduction, harmonically evasive but emphasizing the minor mode. This leads to a rapidly ascending scale figure that cuts through the darkness and breaks apart into ever smaller fragments, not unlike a firework explosion disintegrating into sparkling shards— by which point the orchestra has embarked on a thoroughly playful fast movement. The second movement also recalls Haydn through a recurrent rhythmic pattern, along the lines of the accompanying figures that pop up in that composer’s Philosopher and Clock Symphonies. Though he titled his third movement Menuetto, Beethoven has already left the spirit of the Classical minuet in the dust, replacing it definitively with the high energy of a scherzo filled with crossrhythms. The Finale is a boisterous outpouring of good spirits that, in places, reaches a point of hilarity.

Bravo! Vail Gratefully Acknowledges Support from the Friends of The Saint Paul Chamber Orchestra MAESTRO ($100,000+) Berry Charitable Foundation

IMPRESARIO ($25,000+) Virginia J. Browning

FIRST CHAIR ($50,000+) Town of Vail

OVATION ($15,000+) Mrs. Jean Graham-Smith and Mr. Philip Smith

ENSEMBLE ($30,000+) Patricia and Peter Kitchak

CRESCENDO ($5,000+) Dr. David Cohen Shelby and Frederick Gans Ann and William Lieff Mr. John McDonald and Mr. Rob Wright Jann and John Wilcox

ALLEGRO ($10,000+) John Dayton Penny and Bill George

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

JUN

SATURDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE SAINT PAUL CHAMBER ORCHESTRA Anne-Marie McDermott, piano

J.S. BACH

Keyboard Concerto No. 5 in F minor, BWV 1056 (11 minutes) [Allegro] Largo Presto

CHRIS ROGERSON

Samaa’, for solo piano, gongs, and strings (World premiere) (15 minutes) NEW WORKS SYMPHONIC COMMISSIONING PROJECT

— INTERMISSION — J.S. BACH

Goldberg Variations (arr. James Ferree) (51 minutes) Aria Var. 1 [Meet Your Lower Neighbor] Var. 2 [Leap Frog] Var. 3 Canon at the Unison [Bass Brook] Var. 4 [Brass Quartet. It’s a Brassoon.] Var. 5 [Dueling Fiddles] Var. 6 Canon at the Second [Game of Pairs] Var. 7 [The Merry Minstrels] Var. 8 [Dans le Style de Whack-a-mole] Var. 9 Canon at the Third [Ballet Recital] Var. 10 Fughetta [A great name for your baby girl] Var. 11 [Dance Break!] Var. 12 Canon at the Fourth [A Study in 18th Century German Disco] Var. 13 [“To Everything There is a Season”] Var. 14 [Runaway Horse] Var. 15 Canon at the Fifth [Mirror, Mirror on the Wall…] Var. 16 Overture [Freedom Overture] Var. 17 [The Singing Washing Machine] Var. 18 Canon at the Sixth [For Grandpa] Var. 19 [The Lumpy Wheel] Var. 20 [BachX Hocket Launch] Var. 21 Canon at the Seventh [Echoes from E. Lake Street] Var. 22 Alla Breve [Decorating the Tree] Var. 23 [Hey kids, don’t forget to practice your scales] Var. 24 Canon at the Octave [Sunny Day for Sailing] Var. 25 [“The Black Pearl”] Var. 26 [#toomanynotes] Var. 27 Canon at the Ninth [The Rooster and the Hen: A Love Story] Var. 28 [“It’s flutastic!” “It’s trillific!”] Var. 29 [Rocking the Boat] Var. 30 Quodlibet [Reunion: A Prayer and a Party] Aria da Capo [“There and Back Again”] Following the performance, join a brief talkback with composer Chris Rogerson and Bravo! Vail Artistic Director Anne-Marie McDermott.

ANNE-MARIE MCDERMOTT

AN EVENING OF PIANO: BACH & ROGERSON BY MCDERMOTT THIS EVENING’S PERFORMANCE IS PRESENTED BY BACCA FOUNDATION JANE AND GARY BOMBA THE STURM FAMILY AND ANB BANK SPECIAL GRATITUDE TO Berry Charitable Foundation Virginia J. Browning The Francis Family The Sidney E. Frank Foundation The Friends of The Saint Paul Chamber Orchestra The Judy and Alan Kosloff Artistic Director Chair National Endowment for the Arts The New Works Fund Town of Vail The Sturm Family and ANB Bank Yamaha SPONSORED BY Kiwi and Landon Hilliard Janet Pyle and Paul Repetto Debbie and Fred Tresca SOLOIST SPONSORS Anne-Marie McDermott, piano, sponsored by Barbara and Howard Rothenberg

Keyboard Concerto. No 5 in F minor, BWV 1056 (ca. 1737-39) JOHANN SEBASTIAN BACH ( 1 6 8 5 -1 75 0)

he principal source for Johann Sebastian Bach’s seven concertos for solo keyboard instrument—plus a fragment of an eighth—is a manuscript collection the composer copied out as a self-standing album, seemingly in the period 1737-39. He probably created these works to be played by the Collegium Musicum he directed in Leipzig from 1729 through 1741 except for a two-year absence in 1737-39. Since physical evidence suggests that the collection most likely dates from precisely the time when Bach was absent from the Collegium Musicum, he likely prepared it to use on his return. Most of those keyboard concertos appear to be transposed arrangements of concertos he had written earlier for other instruments, although in most cases we are left to speculate about what the original instrument may have been. The Keyboard Concerto No. 5 in F minor (BWV 1056) is a taut work,

the shortest in the entire bunch. Legend maintains that it is based on an original violin concerto in G minor, the manuscript of which belonged at one point to Bach’s eldest son, Wilhelm Friedemann. The manuscript of the opening movement lacks a tempo marking but was surely intended to be relatively quick, its spirit veering toward the nervous and edgy. The middle movement is a span of transcendent serenity, a placid Largo that also surfaces as a sinfonia in Bach’s Cantata No. 156 (Ich steh mit einem Fuss im Grabe) of 1729, where it is marked Adagio, spotlights a solo oboe, and involves a more skeletal version of the highly ornamented keyboard line he wrote out for the keyboard setting. In the concluding Presto, the soloist and the ensemble overlap and alternate tightly, yielding a sense of heightened drama that favors tense uneasiness over virtuosic luxury.

Samaa’, for solo piano, gongs, and strings (2022; World premiere of Bravo! Vail commission) CHRIS ROGERSON (B .1988)

In 2016, Chris Rogerson joined the Curtis Institute’s musical studies faculty, which teaches practical disciplines like ear-training and score-reading and relates them to composition and performance. His ever-expanding catalogue of works focuses especially on instrumental music (his piano quintet Dream Sequence will feature on our August 4 concert). He has written several pieces for solo instruments plus orchestra, but this summer he unveils his first two concertos, his Violin Concerto having been premiered in June by soloist Benjamin Beilman and the Kansas City Symphony. “It’s daunting to begin by writing concertos for instruments that already have the most famous concertos of all time,” he observes. His piano concerto Samaa’ was commissioned by Bravo! Vail to celebrate Anne-Marie McDermott’s first ten years as its artistic director. A champion of his work, she has commissioned him to write cadenzas for her ongoing series of Mozart concerto recordings and was part of a consortium that commissioned his

Ten Nocturnes for Piano (2021). “In any piece for a great performer, I try to tailor it as specifically as possible to them,” says Rogerson. “I am very drawn to the clarity, elegance, and impressive emotional range of her playing. I also love that, in this program, my concerto is surrounded by Bach. His Goldberg Variations are connected to the idea of sleep, or sleeplessness, and I have written a number of pieces about sleep— some lullabies, Dream Sequence, my orchestral work It Became Dark. When I begin a piece, I always think in terms of atmosphere and dramatic goals. I often think of my music as an amalgam of my musical loves and interests. This concerto might have to do with my dream-world where there are allusions to Bach, sometimes hidden, sometimes not.”

Goldberg Variations, BWV 998 (1741), (arr. James Ferree) JOHANN SEBASTIAN BACH ( 1 6 8 5 -1 75 0)

From 1739 to 1741, Johann Sebastian Bach composed and published the large-scale harpsichord piece that would become known as the Goldberg Variations. Traditional lore maintains that he wrote it for his pupil Johann Gottlieb Goldberg, who played it to entertain his employer, an insomniac Russian count, during sleepless nights. Whether the origin story is true or not, this set of 30 keyboard variations on a 32-bar bass line is one of music’s crowning achievements. The variations are arranged in sets of three, with each of those sets (except for the last) finishing

in a canon. That final group ends in a quodlibet, a jocular free-for-all that combines bits of various melodies. The entire set of 30 variations is framed by two iterations of a simple, elegant aria. James Ferree, The Saint Paul Chamber Orchestra’s principal hornist since 2018, studied both performance and composition at The Juilliard School. “Horn is my first love,” he said, “but I started out on piano, and ‘playing at’ the Goldberg Variations was a way to tap into my pianist days.” In adapting the piece for chamber orchestra, he made virtuosic demands of the players and he changed the instrumentation— and sometimes the musical idiom— from movement to movement. “This helps create larger structures and maximum contrast between each variation,” he explains. “It amplifies how I hear the piece. I highlight motifs or emphasize ideas, like splashing the score with watercolors. It’s like taking frames of a black-and-white film and coloring it to make it that much more alive. I started subtitling each movement as a working crutch, but the names stuck since they do underscore what I was trying to achieve. I didn’t go so far as to recompose the piece. It’s still Bach, but Bach reimagined.”

Funded in part by a generous grant from the Bravo! Vail Artistic Excellence Fund, Lyn and Phillip Goldstein Piano Concerto Artist Project, the National Endowment for the Arts, and Town of Vail. The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of The Saint Paul Chamber Orchestra while in residence at Bravo! Vail.

Bravo! Vail Gratefully Acknowledges Support from the Friends of The Saint Paul Chamber Orchestra MAESTRO ($100,000+) Berry Charitable Foundation

IMPRESARIO ($25,000+) Virginia J. Browning

FIRST CHAIR ($50,000+) Town of Vail

OVATION ($15,000+) Mrs. Jean Graham-Smith and Mr. Philip Smith

ENSEMBLE ($30,000+) Patricia and Peter Kitchak

CRESCENDO ($5,000+) Dr. David Cohen Shelby and Frederick Gans Ann and William Lieff Mr. John McDonald and Mr. Rob Wright Jann and John Wilcox

ALLEGRO ($10,000+) John Dayton Penny and Bill George

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

JUN

SUNDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK 5:00PM GERALD R. FORD AMPHITHEATER LOBBY Abigail Shupe (Colorado State University), speaker

THE SAINT PAUL CHAMBER ORCHESTRA Eunice Kim, violin Xavier Foley, double bass

BOTTESINI

Gran Duo Concertante for Violin, Double Bass, and Orchestra (14 minutes) [Allegro] Largo Presto

BRITTEN

Variations on a Theme of Frank Bridge (27 minutes) Introduction and Theme Variation 1: Adagio Variation 2: March Variation 3: Romance Variation 4: Aria Italiana Variation 5: Bourrée classique Variation 6: Wiener Waltzer Variation 7: Moto perpetuo Variation 8: Funeral March Variation 9: Chant Variation 10: Fugue and Finale

— INTERMISSION — XAVIER FOLEY

For Justice and Peace (9 minutes)

COPLAND

COPLAND’S APPALACHIAN SPRING TOWN OF VAIL NIGHT THIS EVENING’S PERFORMANCE IS PRESENTED BY MARGIE AND CHUCK STEINMETZ SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of The Saint Paul Chamber Orchestra SPONSORED BY Susan and Harry Frampton Marlys and Ralph Palumbo Leewood and Tom Woodell SOLOIST SPONSORS Eunice Kim, violin, sponsored by Debbie and Patrick Horvath

Suite from Appalachian Spring (26 minutes)

There’s more to explore in the Bravo! Vail Music Festival app.

Gran Duo Concertante for Violin, Double Bass, and Orchestra (ca.1840s) G I OVA N N I B OT T E S I N I ( 1 82 1- 89)

iovanni Bottesini, the greatest double bassist of his era, studied violin as a child but switched to double bass to gain a scholarship at the Milan Conservatory. A decade after graduating, he was appearing throughout Europe and the Americas. In 1846 he headed to Havana, Cuba, where he unveiled the first of his eight operas that would be produced in his lifetime. He was music director at various opera houses in Sicily, Spain, and Portugal and in 1850 he was made an honorary member of the Philharmonic Society of New York. His friend Giuseppe Verdi arranged for him to travel to Cairo to conduct the world premiere of Aida. He was inevitably dubbed “The Paganini of the Double Bass,” eliciting praise for the delicacy and agility of his playing. Exclaimed one account, “How he bewildered us by playing all sorts of melodies in flute-like harmonics, as

though he had a hundred nightingales caged in his double-bass!” He composed much-appreciated works for his instrument, including concertos, fantasias, variations, and the Gran Duo Concertante played here. It probably began (in the 1840s) as a piece spotlighting two double basses, but early on, Bottesini was also playing it in a setting for violin and double bass. It was for those instruments that it was first published, apparently in an adaptation made in 1851 by Bottesini’s violinist friend Camillo Sivori.

Variations on a Theme of Frank Bridge (1937) B E N J A M I N B R I T T E N ( 1 9 1 3 -76 )

In 1927, the 13-year-old Benjamin Britten was introduced to the respected composer, violist, and conductor Frank Bridge. Bridge welcomed the talented youngster as his private composition student—the only one he ever accepted. Three years later, Britten entered London’s Royal College of Music, where composer John Ireland and pianists Arthur Benjamin and Harold Samuel continued refining his musicianship. He still worked with Bridge on the side; while his conservatory studies concentrated on “the classics,” Bridge kept steering his young charge toward more up-to-date developments in scores by Gustav Mahler, Arnold Schoenberg, and Igor Stravinsky. In 1937, the conductor Boyd Neel needed a new British piece for his orchestra to premiere at the Salzburg Festival, and he needed it fast. Britten was still little known in musical circles, but Neel had intersected with him on a recent film project and was impressed by Britten’s combination of talent and efficiency. Britten sketched the needed piece within a week and completed the orchestration a month later. The resulting work, a tribute to his beloved teacher, is based on a theme from Bridge’s Idyll No. 2 for String Quartet (1906). The sections of Variations on a Theme of Frank Bridge were meant to illustrate various aspects of Bridge’s personality—wit, charm, humor, and so on—and the 11-part fugue at the end manages to work in references to five further Bridge compositions.

For Justice and Peace (2020)

Suite from Appalachian Spring (1943-44, rev. 1970)

X AV I E R FO L E Y ( B . 1 9 9 4)

Composer and double bass virtuoso Xavier Foley is the laureate of numerous competitions, including from Young Concert Artists (2016), the Sphinx Organization (2014), and the International Society of Double Bassists (2011). In 2018 he received an Avery Fisher Career Grant. He recently appeared as a concerto soloist with (among other ensembles) the Dallas and Atlanta Symphonies, as well as The Saint Paul Chamber Orchestra. He studied composition with Edgar Meyer and Eric Sessler at the Curtis Institute of Music, from which he graduated in 2016. His composition For Justice and Peace was jointly commissioned by the Sphinx Organization, Carnegie Hall, and the New World Symphony. He explains: “This double concerto for violin and double bass was created to mark the 400 years of slavery ever since the arrival of the slave ship White Lion in Jamestown, Virginia. The work features a chorus at the end, where they sing text inspired by frequent court cases where slaves have asked for their freedom, which was often denied because of the color of their skin. This work also features a gavel, which represents the justice system that slowly took away colored people’s rights as the years passed. The soloists … represent two principal voices that paint the full picture of what life was like during slavery in what was soon to be considered the United States of America.”

A ARON COPL AND (1900-90)

Few nights in the history of the arts can rival October 30, 1944, when the ballet Appalachian Spring received its first performance, at the Library of Congress in Washington, D.C. Its music was by Aaron Copland and its choreography by Martha Graham, who initially described it as “a legend of American living.” The setting eventually zeroed in on rural western Pennsylvania, where Graham had spent her childhood. Since the action unrolls in springtime, many people assume that the title refers to the season. In fact, Graham stumbled across those words in a poem by Hart Crane, where the Appalachian spring is unquestionably a stream of water trickling through the hills. Although the general spirit of Appalachian Spring can be found elsewhere in Copland’s oeuvre of this period, this is the work that established its vocabulary as representing the quintessential “American sound.” After he had conducted it frequently, Copland wrote, “I have often admonished orchestras, professional and otherwise, not to get too sweet or too sentimental with it.” He originally scored the ballet for 13 instruments, but the music became more famous in Copland’s slightly condensed concert suite for orchestra. In 1970, he introduced the present version, which follows the text of the familiar orchestral suite but restores the original chamber-like orchestration.

Bravo! Vail Gratefully Acknowledges Support from the Friends of The Saint Paul Chamber Orchestra MAESTRO ($100,000+) Berry Charitable Foundation

IMPRESARIO ($25,000+) Virginia J. Browning

FIRST CHAIR ($50,000+) Town of Vail

OVATION ($15,000+) Mrs. Jean Graham-Smith and Mr. Philip Smith

ENSEMBLE ($30,000+) Patricia and Peter Kitchak

CRESCENDO ($5,000+) Dr. David Cohen Shelby and Frederick Gans Ann and William Lieff Mr. John McDonald and Mr. Rob Wright Jann and John Wilcox

ALLEGRO ($10,000+) John Dayton Penny and Bill George

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

SCHEDULE AT A GLANCE JUN

Foley, McDermott & Saint Paul............................... 45

JUL

McDermott & Denève at the Piano................................. 75

JUL

The Philadelphia Orchestra Strings.............. 89

JUL

An Evening with

27 7

28 Zlatomir Fung....................... 131

42 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

ANNE-MARIE MCDERMOTT

THE ESSENCE OF ELEGANCE

LINDA & MITCH HART SOIRÉE SERIES June 27 – July 28, 2022 These stylish soirées are one-of-a-kind social, culinary, and musical experiences at magnificent private residences, featuring fine dining and intimate performances by some of the world’s most extraordinary musicians.

his season offers a sumptuous array of chamber music where patrons encounter a more intimate aspect of Festival artists, including members of two resident orchestras, featured soloists, and Bravo! Vail’s own Artistic Director, Anne-Marie McDermott.

ZLATOMIR FUNG (PAGE 131) Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons Applejack Wine and Spirits Joanne Cohen and Morris Wheeler Foods of Vail The Francis Family Linda and Mitch Hart Jackson Family Wines The Judy and Alan Kosloff Artistic Director Chair The Left Bank Sarah and Peter Millett Mirabelle Restaurant Alysa and Jonathan Rotella Vail Catering Concepts Vintage Magnolia Nancy and Howard Zirkin

DENÈVE & MCDERMOTT (PAGE 75)

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

The Left Ba The Left Bank Contact us for your catering needs for your private event!

JUN

MONDAY 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

MILLETT RESIDENCE Maureen Nelson, violin Hyobi Sim, viola Richard Belcher, cello Xavier Foley, double bass Anne-Marie McDermott, piano

SCHUBERT

Piano Quintet in A major, D. 667, Trout (38 minutes) Allegro vivace Andante Scherzo: Presto Andantino – Allegretto Allegro guisto

FOLEY, MCDERMOTT & SAINT PAUL

he original source of Franz Schubert’s fun-loving piano quintet was a song warning young women against being ‘caught’ by ‘angling’ men, but the piano quintet version, concentrating on the colorful imagery of a trout in its natural habitat, is a perfect pairing for the stunning setting of expansive mountain views. Artistic Director Anne-Marie McDermott opens Bravo! Vail’s Soirée season with Xavier Foley, fresh off his appearance as both soloist and composer with The Saint Paul Chamber Orchestra, whose members round out the evening’s featured ensemble.

Bravo! Vail Gratefully Acknowledges Support For This Evening’s Soirée THIS EVENING’S HOSTS Sarah and Peter Millett SPECIAL GRATITUDE The Francis Family Linda and Mitch Hart The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY Applejack Wine and Spirits Jackson Family Wines The Left Bank Vintage Magnolia

Catered by The Left Bank Restaurant

SCHEDULE AT A GLANCE THANK YOU TO OUR SPONSOR:

COMMUNITY CONCERTS JUN

Balourdet Quartet

THANK YOU TO OUR SPONSOR:

LITTLE LISTENERS @ THE LIBRARY

FAMILY CONCERTS

JUL

Haydn & Bartók

JUL

Bermel & Brahms

Chopin & Dvořák

JUL

Habitat for Humanity Concert ........................................... 69

JUL

Beach Piano Quintet

JUL

Zhu Wang In Recital

28 AUG

Avery Gagliano In Recital......................................... 91

JUL

The Westerlies: American Roots.................105

JUL

The Westerlies: Songbook.................................... 113

JUL

The Westerlies: Move.................................................... 115

19 21 21

Avon Public Library 2:00PM

Eagle Public Library 2:00PM

Gypsum Public Library 2:00PM

Eagle Public Library 2:00PM

....................................................................... 85

JUL

2:00PM

........................................................................73 JUL

JUL

Vail Public Library

....................................................................... 68

JUL

Concert I - Gypsum .................................................................... 129

Concert II - Eagle

.................................................................... 129

JUL

Concert III - Minturn

2:00PM

....................................................................... 59 JUL

JUL

Avon Public Library

....................................................................... 49 JUL

JUN

JUL

2:00PM

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JUN

Vail Public Library

Gypsum Public Library 2:00PM

46 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

.................................................................. 129

GREAT MUSIC, FOR FUN AND FOR ALL!

FREE CONCERTS AROUND THE VALLEY June 27 – August 1, 2022

Throughout the summer, Bravo! Vail brings dozens of live world-class performances to communities throughout Eagle County, with solo recitals, chamber music concerts, and educational programs for all ages.

ommunity Concerts connect Festival musicians with music-lovers in relaxed, accessible settings (including the Bravo! Vail Music Box, a mobile performance stage). Little Listeners @ the Library is an ageappropriate musical introduction, and Family Concerts expand to a third location this season.

ZHU WANG (PAGE 85) Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons Anonymous (2) Alpine Bank Virginia J. Browning Kathy Cole Marijke and Lodewijk de Vink Eagle Ranch Association Cookie and Jim Flaum The Judy and Alan Kosloff Artistic Director Chair The Sturm Family and ANB Bank Town of Gypsum Town of Minturn U.S. Bank Carole A. Watters

AVERY GAGLIANO (PAGE 91)

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

JUN

MONDAY 6:00PM COMMUNITY CONCERTS

FORD PARK, LOWER BENCH

BALOURDET QUARTET

(Bravo! Vail 2022 Chamber Musicians in Residence) Angela Bae, violin Justin DeFilippis, violin Benjamin Zannoni, viola Russell Houston, cello SELECTIONS TO BE ANNOUNCED FROM THE STAGE.

BALOURDET QUARTET

COMMUNITY CONCERT

BALOURDET QUARTET Artist Insights One of the greatest privileges of my role as Artistic Director is discovering new artists and providing a platform for them to be introduced to our wonderful audiences here in Vail. I learned of the Balourdet Quartet from our Director of Artistic Planning, Jacqueline Taylor, who is regularly in touch with the managers at Concert Artists Guild, one of the few organizations in the country totally dedicated to nurturing young artists. I listened to live recordings of them online playing Bartók, Mozart, and Beethoven and just fell in love. I was so impressed by the level of their artistry, the artistry and the energy of their playing and was completely taken with their freshness and vibrancy. I knew immediately that I wanted to invite them to Bravo! Vail, and they would be perfect for our Chamber Ensemble in Residence program. —Anne-Marie McDermott

Bravo! Vail Gratefully Acknowledges Support For This Evening’s Concert Alpine Bank Antlers at Vail Marijke and Lodewijk de Vink The Judy and Alan Kosloff Artistic Director Chair

The Sturm Family and ANB Bank Town of Vail

JUN

TUESDAY 1:00PM COMMUNITY CONCERTS

THE CHAPEL AT BEAVER CREEK

BALOURDET QUARTET

(Bravo! Vail 2022 Chamber Musicians in Residence) Angela Bae, violin Justin DeFilippis, violin Benjamin Zannoni, viola Russell Houston, cello

HAYDN

String Quartet in D major, Op. 76, No. 5 (19 minutes) Allegretto—Allegro Largo cantabile e mesto Menuetto Finale. Presto

BALOURDET QUARTET

COMMUNITY CONCERT

HAYDN & BARTÓK Artist Insights

BARTÓK

String Quartet No. 4 in C major, Sz. 91, BB 93 (16 minutes) Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

This program features two high-octane, thrilling quartets by Franz Joseph Haydn and Béla Bartók, both composers who assimilated Hungarian cultural elements in their own vocabulary. Haydn, the father of the string quartet, and Bartók, the forerunner of world music scholarship, wrote these two transcendent works at the height of each of their powers, 130 years apart. Haydn’s D major Quartet Op. 76, No. 5 and Bartók’s Fourth Quartet both feature raucous dance elements and abundant energy. Tying the two pieces together further are meditative middle movements, evocative of ever-changing landscapes lost to time. Haydn and Bartók witnessed different turning points in history and reflect this in their music by preserving folk elements while spinning out new, daring structures to move chamber music leaps forward. —Balourdet Quartet

Bravo! Vail Gratefully Acknowledges Support For This Afternoon’s Concert Anonymous Alpine Bank Kathy Cole Marijke and Lodewijk de Vink

Cookie and Jim Flaum Four Seasons Resort Vail Carole A. Watters

UP CLOSE & MUSICAL

CHAMBER MUSIC SERIES June 28 – August 1, 2022 Bravo! Vail’s Chamber Music Series offers something for music lovers of all persuasions, featuring chamber music as it was meant to be heard: in a beautiful, intimate environment, with acclaimed artists, and among friends.

ew this season: experience a different aspect of Bravo! Vail’s two Artists In Residence, Hélène Grimaud and Nikolai Szeps-Znaider, both of whom are also performing concertos with resident orchestras. Two boldly distinctive string quartets, each renowned for cross-cultural innovations, round out the series.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons Anonymous Becker Violin Fund The Francis Family The Sidney E. Frank Foundation The Alan and Judy Kosloff Artistic Director Chair

VERONA QUARTET (PAGE 122) 50 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

©L ARS GUNDERSON; ©K AUPO KIKK AS

NIKOLAJ SZEPS-ZNAIDER (PAGE 86)

SCHEDULE AT A GLANCE JUN

An Evening with

JUL

An Evening with McDermott & SzepsZnaider.............................................. 86

JUL

Verona Quartet &

AUG

Danish String Quartet........................................... 132

28 Hélène Grimaud................. 52

25 McDermott............................... 122 1

DANISH STRING QUARTE T

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

JUN

TUESDAY 7:00PM CHAMBER MUSIC SERIES

VILAR PERFORMING ARTS CENTER Hélène Grimaud, piano The first half of this program is performed attacca, with no pause between works.

VALENTIN SILVESTROV Bagatelle I

DEBUSSY

Arabesque No. 1

SILVESTROV Bagatelle II

SATIE

Gnossienne No. 4

CHOPIN

Nocturne in E minor, Op. 72, No. 1

SATIE

Gnossienne No. 1 En y regardant à deux fois (from Pièces froides)

HÉLÈNE GRIMAUD

AN EVENING WITH HÉLÈNE GRIMAUD

DEBUSSY

La plus que lente

CHOPIN

Mazurka in A minor, Op. 17, No. 4 Waltz in A minor, Op. 34, No. 2

DEBUSSY

Clair de lune (from Suite bergamasque) Rêverie

SATIE

Passer (from Pièces froides)

— INTERMISSION — R. SCHUMANN

Kreisleriana, Fantasies for the Piano, Op. 16 Äusserst bewegt Sehr innig und nicht zu rasch Sehr aufgeregt Sehr langsam Sehr lebhaft Sehr langsam Sehr rasch Schnell und spielend The running time of this concert is approximately one hour and 45 minutes. 52

Bagatelles I and II (2005) V A L E N T I N S I LV E S T R O V ( B . 1 9 3 7 )

he Ukrainian composerpianist Valentin Silvestrov published his Bagatelles in 2005 as his Op. 1, but by then he was decades into his career. Trained at the conservatory in his native Kyiv, he initially wrote in a modernist style, but rather than adapting to mandated socialistrealist aesthetics, he withdrew and developed an introspective neoRomantic style. His works often sound as if they are being created extemporaneously, but, according to musicologist Tatjana Frumkis, “what we hear is not improvisation in the strict sense: everything has been fully crafted in the composer’s mind down to the nethermost detail.”

Arabesque No. 1 (ca. 1890); La plus que lente (1910); Clair de lune, from Suite bergamasque (ca. 1890, rev. 1903-05?); Rêverie (ca. 1890) C L AU D E D E B U S S Y ( 1 8 62-1 9 1 8)

Before he turned 30, Claude Debussy graduated from the Paris Conservatoire, served as accompanist for a Parisian choral society directed by Charles Gounod (who became a mentor), and lived in Rome as a winner of the prestigious Prix de Rome. Although his Arabesque No. 1, Clair de lune, and Rêverie qualify as early works, they all display the much-appreciated gentleness that would remain part of his vocabulary. One also hears touches of melancholy. In fact, he advised that his later piano piece La plus que

lente (The Slower than Slow) should be played “with a morbid feeling.”

Gnossiennes No. 4 (1891) and No. 1 (1890); En y regardant à deux fois (Looking Twice) and Passer (To Pass By), from Danses de travers, Pièces froides (1897, Crooked Dances, Chilly Rooms) E R I K S AT I E ( 1 8 6 6 - 1 9 2 5 )

A certifiable oddball, Erik Satie was revered by such composers as Debussy and Poulenc for his unsentimental style, which was often satirical but projected emotional sincerity. A friend reported that in his 32-square-foot unheated apartment “there was just room for the bed, jammed up against a piano … which he never used.” There he wrote these two Gnossiennes (which may take their name from a city of ancient Crete), with their exotic scales and no barlines. Quietude inhabits these two of his Pièces froides, which might mean “Cold Pieces” or “Chilly Rooms”—he was an authority on the latter.

Nocturne in E minor, Op. 72, No. 1 (1829?); Mazurka in A minor, Op. 17, No. 4 (1832-33); Waltz in A minor, Op. 34, No. 2 (1838) FRÉDÉRIC CHOPIN (1810- 49)

Piano nocturnes were relatively new on the scene when Chopin began writing them. He published 18 in his lifetime, but this brooding example, which he wrote at the age of perhaps 19 (about when he graduated from Warsaw’s High School of Music) was not among them; a publisher issued it after his death. Mazurkas were tripletime dances that reached deep into Poland’s folk heritage. This A-minor Mazurka, ambiguous in its harmony and its mood, is one of Chopin’s most popular pieces. So is the pensive A-minor Waltz, which he once cited as his favorite among all his waltzes.

Kreisleriana, Fantasies for the Piano, Op. 16 R O B E R T S C H U M A N N ( 1 810 -1 8 5 6)

“New wine demands new bottles,” Franz Liszt presumably proclaimed. He

sounded a war-cry for the Romantic composers, eager to rebel against traditional musical models and to devise novel ideas about how musical form related to expression. Robert Schumann, who was nothing if not inventive, created a “new bottle” by developing the genre of the piano cycle, a sequence of solo-piano movements unified through musical means into a large-scale entity. In his piano cycles, the constituent pieces are typically connected through musical quotation, remembered rhythms, or other means. He made the leap already in 1830-31 with his Papillons (Op. 2) and continued through such classics as Carnaval (1834-35), Davidsbündlertänze (1837), and Kreisleriana (1838). During the 1830s, he composed almost nothing but piano music. He had moved to Leipzig in 1830 to enter law school (that didn’t last long), and there he studied and lodged with the pianist Friedrich Wieck. He aspired to be a concert pianist, but something went wrong with one of his fingers and by the end of the decade a performing career was no longer in the cards. However, he became enamored of Wieck’s daughter, Clara. They married in 1840, and she became one of Europe’s most celebrated pianists—so he could depend on a devoted interpreter. Kreisleriana takes its name from Kapellmeister Johannes Kreisler, a character in the fantastical writings of novelist E.T.A. Hoffmann, whose works would also give rise to Offenbach’s opera The Tales of Hoffmann and Tchaikovsky’s ballet The Nutcracker. Schumann had literary leanings—his father was a bookseller—and he seemed to identify with Kreisler, an idealistic upholder of artistic sanctity who ends up going insane. (Sadly, this would also describe Schumann, who, following a suicide attempt in 1854, committed himself to an asylum and progressively disintegrated.) Clara was also an inspiration. “You and one of your ideas are the principal subject,” he wrote to her, “and I shall call them Kreisleriana and dedicate them to you.” (In fact, he ended up dedicating the piece to Chopin.) And after he completed the work, he wrote: “Play my Kreisleriana often.

“What we hear is not improvisation in the strict sense: everything has been fully crafted in the composer’s mind down to the nethermost detail.” —TATJ A N A F R U M K I S , M U S I C O L O G I S T

A positively wild love is in some of the movements, and your life and mine, and the way you look.” Kreisleriana unrolls as eight discrete movements—Schumann called them “fantasies” in the subtitle. Their spirit alternates between passionate turbulence in G minor (as in the first, third, and fifth movements) and calmer reflection in B-flat major (the second, fourth, and fifth movements), with those sentiments also occupying contrasting sections within the second and third movements and at the conclusion of the seventh. The music traces quite a journey, and at the end it simply evaporates like a puff of smoke. It was a radical piece in its day. Even “new bottles” Liszt, always forward-looking, had reservations about Kreisleriana, worrying in a letter to Schumann that it was “too difficult for the public to digest.”

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons Anonymous The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

SCHEDULE AT A GLANCE

FA B I O LU I S I M U S I C D I R ECTO R , DA L L A S SYM PH O NY O R C H ES T R A

JUN

Revolution: The Music

JUN

Symphonie Fantastique

29 of the Beatles......................... 56

30 Conducted by Luisi...... 60 JUL

JUL

Kings of Soul ....................................................................... 62

Beethoven’s Ninth Symphony.................................... 64 Patriotic Concert ....................................................................... 67

UNCOMPROMISING EXCELLENCE

DALLAS SYMPHONY ORCHESTRA In residence June 29 – July 4, 2022 The Dallas Symphony Orchestra delivers uplifting, entertaining, and enriching musical experiences worldwide. This summer, the Orchestra returns to Bravo! Vail for its 21st summer residency with a compelling lineup that includes classical favorites and sensational pops programs.

54 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

he largest performing arts organization in the southwest United States, the Dallas Symphony Orchestra presents distinctive classical programs, inventive pops concerts, and innovative multimedia events to inspire the broadest possible audience. To date, the orchestra has been served by Music Directors Antal Doráti (1945-48), Walter Hendl (194958), Sir Georg Solti (1961-62), Anshel Brusilow (1970-73), Max Rudolf (197374), Eduardo Mata (1977-93), Andrew Litton (1994-2006), Jaap van Zweden (2008-18), and Fabio Luisi, who inaugurated his tenure in September 2020. The Dallas Symphony Orchestra traces its origins to a concert given by a group of 40 musicians conducted by Hans Kreissig in 1900. The orchestra, like the city, evolved in both size and stature until it was in a position to appoint the eminent Hungarian conductor and composer Antal Doráti as Music Director in 1945. Doráti transformed the ensemble into a fully professional orchestra that won national attention through a series of RCA recordings, expanded repertoire, more concerts, and several national network radio broadcasts. When Mexican-born conductor Eduardo Mata was appointed Music Director in 1977, the orchestra embarked on its second major period of growth and success. Under Mata’s guidance the ensemble benefited from recording contracts with both RCA and Dorian, prominent national engagements in New York and Washington, and tours of Europe and South America. During his tenure the Dallas Symphony Orchestra also saw the opening in 1989 of its permanent home, the Morton H. Meyerson Symphony Center. Andrew Litton brought the Dallas Symphony Orchestra unparalleled national and international exposure through recordings, telecasts, and tours during his tenure from 1994 through 2006. He made 26 compact discs with the DSO for five different labels. He led the orchestra on three European tours and four trips to Carnegie Hall. He hosted and conducted national telecasts on PBS and A&E.

Jaap van Zweden took the helm as Music Director in 2008, and the orchestra continued to flourish under his dynamic leadership. Named Musical America’s Conductor of the Year 2012, van Zweden completed his ten-year tenure at the DSO in May 2018. The orchestra embarked on a bold new era in January 2018, when Kim Noltemy joined the Dallas Symphony Association (DSA) as Ross Perot President & CEO. Under her visionary leadership, the DSO has implemented numerous new initiatives. These include the Young Musicians education program, which offers free instruments and music lessons to all children in Southern Dallas, and the Women in Classical Music program. This has seen the establishment of an annual symposium and the appointments of Julia Wolfe

and Angélica Negrón as Composersin-Residence and of Gemma New as Principal Guest Conductor. In June 2018, the Dallas Symphony Orchestra named Grammy Award-winning Italian conductor Fabio Luisi as its next Music Director. Over the next two years, Luisi developed a close rapport with the orchestra through a series of acclaimed performances before assuming the Louise W. & Edmund J. Kahn Music Directorship in September 2020. In the 2021/22 season, Luisi and the orchestra continued their exploration of American music, launched a Brahms symphonic cycle recording project, and presented a full opera-in-concert. Today the Dallas Symphony Orchestra enjoys superlative artistic and executive leadership in one of the world’s foremost concert halls.

Bravo! Vail Gratefully Acknowledges Support from the Friends of the Dallas Symphony Orchestra ENSEMBLE ($30,000+) Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight Marcy and Stephen Sands IMPRESARIO ($25,000+) Lyda Hill VIRTUOSO ($20,000+) Marilyn Augur Margie and Chuck Steinmetz

OVATION ($15,000+) Diane and Hal Brierley Carole C. and CDR. John M. Fleming Alexia and Jerry Jurschak Bobbi and Richard Massman Brenda and Joe McHugh Carole A. Watters ALLEGRO ($10,000+) John Dayton Donna and Randy Smith Cathy and Howard Stone SOLOIST ($7,500+) Jane and Stephen Friedman Carol and Ronnie Goldman

CRESCENDO ($5,000+) Joanne Bober Edwina P. Carrington Rebecca and Ron Gafford Neal Groff Fanchon and Howard Hallam Kimberly and Greg Hext Yon Y. Jorden Mr. John McDonald and Mr. Rob Wright Karen and Al Meitz Vicki Rippeto Debbie and Ric Scripps Gena Whitten and Bob Wilhelm Carolyn Wittenbraker and Arkay Foundation Leewood and Tom Woodell Nancy and Harold Zirkin

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

JUN

WEDNESDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Paul Loren, vocalist Colin Smith, vocalist Nick Cassarino, guitar/vocals Jordan Rose, drums Brian Killeen, bass Cynthia Meng, keyboard

“Get Back” originally released on Let It Be (1970) “Ticket to Ride” originally released on Help! (1965) “Drive My Car” originally released on Rubber Soul (1965) “Yesterday” originally released on Help! (1965) “Penny Lane” originally released on Magical Mystery Tour (1967) “If I Needed Someone” originally released on Rubber Soul (1965) “Lady Madonna” originally released on Past Masters: Volume Two (1988) “Blackbird” originally released on The Beatles (1968) “In My Life” originally released on Rubber Soul (1965) “Paperback Writer” originally released as a single (1966) “Eleanor Rigby” originally released on Revolver (1966) “Hello, Goodbye” originally released on Magical Mystery Tour (1967) “Here Comes the Sun” originally released on Abbey Road (1969) “Hey Jude” originally released on Past Masters: Volume Two (1988)

— INTERMISSION — “The Fool on The Hill” originally released on Magical Mystery Tour (1967) “Got to Get You into My Life” originally released on Revolver (1966) “Maxwell’s Silver Hammer” originally released on Abbey Road (1969) “With a Little Help from My Friends” originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967)

JEFF TYZIK

REVOLUTION: THE MUSIC OF THE BEATLES A SYMPHONIC EXPERIENCE THIS EVENING’S PERFORMANCE IS PRESENTED BY BARB AND DICK WENNINGER NANCY AND HAROLD ZIRKIN SPECIAL GRATITUDE TO Berry Charitable Foundation The Sidney E. Frank Foundation The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Therese M. Grojean Vocalist Fund The Judy and Alan Kosloff Artistic Director Chair The Sturm Family and ANB Bank SPONSORED BY Mrs. Jean Graham-Smith and Mr. Philip Smith Ann and Tom Rader Amy Roth and Jack Van Valkenburgh Terie and Gary Roubos Stephen Saldanha Family Foundation Nancy Traylor SOLOIST SPONSORS Jeff Tyzik, conductor, sponsored by Gina Browning & Joe Illick and Jane & Stephen Friedman

he Beatles arguably influenced every genre of contemporary music throughout the late 20th century. Many innovations were inspired by their expansive musical interests, which included everything from sentimental Victorian ballads to exotic Indian ragas and the work of avant-garde composers such as Karlheinz Stockhausen, Luciano Berio, and John Cage. Music critic William Mann declared John Lennon and Paul McCartney “the greatest songwriters since Schubert.” The album Sgt. Pepper’s Lonely Hearts Club Band in particular was a milestone in using orchestral sounds in rock songs, and the track “A Day in the Life” instantly changed the course of popular music forever. Musically brilliant and structurally mind-blowing, no one had ever heard anything like it before. What is that utterly unique symphonic sound? To fill a 24-bar gap in the original studio recording, Paul McCartney had originally wanted a 90-piece orchestra, but this proved financially unrealistic. Instead, producer George Martin wrote a loose, semiimprovised score that was recorded multiple times by a 40-piece orchestra,

“Come Together” originally released on Abbey Road (1969) “Something” originally released on Abbey Road (1969) “She’s Leaving Home” originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967) “I Am the Walrus” originally released on Magical Mystery Tour (1967) “Let it Be” originally released on Let It Be (1970) “Golden Slumbers/Carry that Weight/ The End” originally released on Abbey Road (1969) “Twist and Shout” originally released on Please Please Me (1963) T H E B E AT L E S

and the four different recordings were overdubbed to create that famously massive, magisterial crescendo. Fun fact: The Beatles hosted the orchestral session as a 1960s-style “happening,” with guests including Mick Jagger, Marianne Faithfull, Keith Richards, Brian Jones, Donovan, Pattie Boyd, Michael Nesmith, and members of the psychedelic design collective The Fool. Reflecting the Beatles’ taste

for experimentation and the avant garde, the orchestra players were asked to wear formal dress and then given props and costume pieces including fake noses, gorilla paws, and a balloon over the end of a bassoon.

The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

Bravo! Vail Gratefully Acknowledges Support from the Friends of the Dallas Symphony Orchestra

©LIBR ARY OF CONGRESS

ENSEMBLE ($30,000+) Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight Marcy and Stephen Sands IMPRESARIO ($25,000+) Lyda Hill VIRTUOSO ($20,000+) Marilyn Augur Margie and Chuck Steinmetz

A Schirmer Theatrical / Greenberg Artists Co-Production All arrangements by Jeff Tyzik ALL ARRANGEMENTS LICENSED TO G. SCHIRMER AND/OR SCHIRMER THEATRICAL, LLC, BY SONY/ATV MUSIC PUBLISHING LLC AND HARRISONGS LTD, C/O THE BICYCLE MUSIC COMPANY. THE SHOW IS NOT ENDORSED BY OR CONNECTED TO APPLE CORPS OR THE BEATLES. Creative Team Robert Thompson, Creative Producer Jeff Tyzik, Producer & Arranger Jami Greenberg, Producer & Booking Agent Alyssa Foster, Producer Sophie Frankle, Associate Producer Ilana Becker, Stage Direction Alek Deva, Technical Supervisor (Black Ink Presents) Mike Kasper, Assistant Technical Supervisor (Black Ink Presents) Paul Bevan, Sound Designer Adam Grannick, Video Director & Animator Andy Roninson, Synth Consultant

There’s more to explore in the Bravo! Vail Music Festival app.

United in Faith Behold, how good and pleasant it is for brothers and sisters to dwell together in unity. — PSALM 133:1

Hosting

8 FREE Bravo! Vail Community Concerts This Season

The Chapel at Beaver Creek has been an interfaith gathering place for residents, locals, and visitors for more than thirty years. Community members come together to celebrate not only weekly worship services, but weddings, baptisms, bar mitzvahs, bat mitzvahs, memorials, and live music events. Donations are gratefully accepted in support of much needed improvements to our aging chapel, including carpeting, painting, sound, and lighting.

Learn More and Donate Today

BeaverCreekChapel.com | BeaverCreekChapel@Gmail.com | (970) 471-3117

JUN

THURSDAY 1:00PM COMMUNITY CONCERTS

THE CHAPEL AT BEAVER CREEK

BALOURDET QUARTET

(Bravo! Vail 2022 Chamber Musicians in Residence) Angela Bae, violin Justin DeFilippis, violin Benjamin Zannoni, viola Russell Houston, cello

DEREK BERMEL

Intonations (19 minutes) I. Harmonica II. Hymn/Homily III. Hustle

BALOURDET QUARTET

BRAHMS

COMMUNITY CONCERT

BERMEL & BRAHMS

String Quartet No. 2 in A minor, Op. 51, No. 2 (36 minutes) Allegro non troppo Andante moderato Quasi minuetto, moderato—Allegretto vivace Finale: Allegro non assai

Artist Insights In this performance, we reflect on what it means for artists to express a shared personal identity. Derek Bermel’s Intonations follows in a lineage of Americana’s musical language, weaving together groundbreaking compositional devices with folk and popular idioms from across eras. Each movement is modeled on a different musical genre, from bluegrass harmonica, to gospel, and finally hiphop. Johannes Brahms’ A minor Quartet is an introspective work that borrows the personal and musical motto of his inner circle of friends, “free but lonely.” Brahms weaves four contrasting movements together, with parallels to the joining of minds between the composer and his closest companions, Robert and Clara Schumann and the violinist Joseph Joachim. Thus it stands as a musical tribute to both individuality and humanity’s innate desire for companionship through musical portraits of these dear figures. —Balourdet Quartet

Bravo! Vail Gratefully Acknowledges Support For This Afternoon’s Concert Anonymous Alpine Bank Kathy Cole Marijke and Lodewijk de Vink

Cookie and Jim Flaum Lodge at Vail Carole A. Watters

JUN

THURSDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK 5:00PM GERALD R. FORD AMPHITHEATER LOBBY Carissa Reddick (University of Northern Colorado), speaker

DALLAS SYMPHONY ORCHESTRA Fabio Luisi, conductor Hélène Grimaud, piano

KATHERINE BALCH

music for young water that danced beneath my feet (9 minutes) (World premiere, co-commissioned by Bravo! Vail and the Dallas Symphony Orchestra) NEW WORKS SYMPHONIC COMMISSIONING PROJECT

R. SCHUMANN

Piano Concerto in A minor, Op. 54 (32 minutes) Allegro affettuoso Intermezzo: Andante grazioso Allegro vivace

— INTERMISSION — BERLIOZ

Symphonie fantastique, Op. 14 (55 minutes) Reveries & Passions A Ball Scene in the Fields March to the Scaffold Dream of a Witches’ Sabbath Following the performance, join a brief talkback with composer Katherine Balch and Artistic Director Anne-Marie McDermott.

Funded in part by a generous grant from the Bravo! Vail Artistic Excellence Fund, Lyn and Phillip Goldstein Piano Concerto Artist Project, and the National Endowment for the Arts. The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

HÉLÈNE GRIMAUD

SYMPHONIE FANTASTIQUE CONDUCTED BY LUISI MUSIC EDUCATION NIGHT Welcome students from Bravo! Vail’s annual Summer Intensive; and from Young Musicians Day, a new collaboration with Aspen Music Festival and School and El Sistema Colorado.

THIS EVENING’S PERFORMANCE IS PRESENTED BY MARILYN AUGUR CAROLE C. AND CDR. JOHN M. FLEMING MARCY AND STEPHEN SANDS SPECIAL GRATITUDE TO Berry Charitable Foundation Virginia J. Browning The Francis Family The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society National Endowment for the Arts The New Works Fund Town of Vail SPONSORED BY Guy Griffin Alexia and Jerry Jurschak Donna and Randy Smith Carole A. Watters SOLOIST SPONSORS Hélène Grimaud, piano, sponsored by Susu and George Johnson

music for young water that danced beneath my feet (World premiere of co-commission from Bravo! Vail and the Dallas Symphony Orchestra) K AT H E R I N E B A L C H ( B . 1 9 9 1 )

recipient of the 2020/21 Rome Prize, Katherine Balch received her master’s from Yale University and is completing her D.M.A. at Columbia University. This year she was visiting professor of composition at Indiana University’s Jacobs School of Music and the Peabody Institute in Baltimore. She has held a composition chair at Young Concert Artists and was awarded the Dallas Symphony Orchestra’s 2020 Career Advancement Award. As a collector of sounds, she often makes field recordings of the noises and the sonic by-products of natural processes she encounters and then draws on them to inspire her compositions, which mostly employ acoustic music-making and can extend to installations and multimedia works. She spent the summer of 2020 at Keystone, Colorado, not far from Vail, where she grew enamored of something she encountered while hiking. “Once you get to the altitude

of 12,000 feet,” she observed, “there’s always ice-melt along the trails. I started listening to, and making videos of, water flowing beneath a thin sheet of ice as it found its path through frozen ground. The sound it makes depends on various things, like how much air there is between the water and the ice. I thought, ‘Ah, if my music could sound like that!’” That experience intersected with two other fascinations. One was Ann Carson’s translation of poems by the ancient Greek poet Sappho, some of which survive in very fragmented form. “The blank space on the page reminds seems frozen; the words percolate up from the frozen page in a way that reminded me of the movement of water beneath the ice.” Balch assembled her piece’s title from words in that collection. And then “Music for”—that, she says is a tribute to Bartók’s Music for Strings, Percussion, and Celesta. Balch duplicates its instrumentation, increasing it by only a harp.

Piano Concerto in A minor, Op. 54 ROBE RT SCHUMANN (1810-56)

From 1827 to 1839, Robert Schumann made four stabs at piano concertos, but he left all of them incomplete. Then in May 1841 he wrote a one-movement Phantasie for Piano and Orchestra, which received two private run-throughs that August. That was the last it was heard, and Schumann’s attempts to publish it came to naught. But in the summer of 1845, he set about revising it into the first movement of a full-scale concerto. This is a “symphonic” concerto in which the soloist and the orchestra participate democratically in pursuing a unified intent. Schumann sometimes characterized his musical personality as the duality of his sub-egos, the fiery Florestan and the dreamy Eusebius (though with a mediating Master Raro), and his music’s emotions can often be broadly reduced to those extremes. There is more of Eusebius than Florestan in this concerto, but fierce Florestan gets the opening volley, a dramatic descending flourish on the heels of the orchestra’s opening unison note. We might expect that flourish to be nothing more than a call-to-attention prelude, but it returns

often through the movement and is alluded to even beyond. The principal theme, however, is a far more sedate and mysterious “Eusebius melody,” articulated in tandem by oboe and bassoon. The Intermezzo opens and closes like a Mendelssohnian “song without words,” and it leads without a break to the exhilarating finale, which includes a clever fugal passage. Despite its lack of superficial razzledazzle, Schumann’s only full-fledged piano concerto quickly became one of his most popular pieces, applauded not only at its Dresden premiere in 1845 but also, in short order, at concerts in Leipzig, Prague, Vienna— and soon everywhere else.

Symphonie fantastique: Episode de la vie d’un artiste (Fantastic Symphony: Episode in the Life of an Artist), Op. 14 HEC TOR BE RLIOZ (1803-69)

The Symphonie fantastique is the first of Hector Berlioz’ four symphonies, all of which inhabit the programmatic terrain that would blossom later in the 19th century in the new genre of the symphonic poem. It has been observed that this may be the most radically original First Symphony ever written, at least not rivaled until the appearance of Mahler’s six decades later. Programmatic symphonies had been written before—Beethoven’s Pastoral

is a famous example—but in the Symphonie fantastique the images are depicted with such vibrant specificity as to become downright cinematic. Furthermore, Berlioz’ sense of the programmatic goes well beyond the “merely” depictive to enter the realm of the psychological—the image of a state of mind, one that is far from stable and that spills into hallucinations. It is an extraordinary example of self-exploration and selfexpression, a work of autobiography underscored by the subtitle Episode de la vie d’un artiste (Episode in the Life of an Artist). Berlioz described the episode in question in a long and detailed program note. The action is often accompanied by an idée fixe, a musical theme that surfaces throughout in various transformations. It is first played by flute and violins at the beginning of the opening movement’s “Passions” section. In succeeding movements, we find the artist in a ballroom waltzing with his beloved and in the Alpine countryside, where memories of his beloved disturb his peace. Under the influence of a narcotic drug, he imagines himself being hanged for murdering his beloved, and finally attending to a Witches’ Sabbath convened in honor of his death, at which the idée fixe now becomes a grotesque dance heard along with a parody of the “Dies irae” funeral chant.

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JUL

FRIDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Chester Gregory, vocalist Darren Lorenzo, vocalist Michael Lynche, vocalist Jordan Rose, drums Brian Killeen, bass Shubh Saran, guitar

All arrangements by Jeff Tyzik

HAYES/PORTER

“Soul Man” As Recorded by Sam & Dave

M I C H A E L LY N C H E

WHITFIELD/STRONG

“Can’t Get Next to You” As Recorded by The Temptations

KINGS OF SOUL

DAVIS/GORDY/FUQUA

“Lonely Teardrops” As Recorded by Jackie Wilson

GORDY/ROBINSON

“Shop Around” As Recorded by Smokey Robinson

ROBINSON/WHITE

“My Girl” As Recorded by The Temptations

ODEN/SYKES

“Night Time is the Right Time” As Recorded by Ray Charles

ROBINSON

“Get Ready” As Recorded by The Temptations

CAMPBELL/CONNELLY/WOODS “Try a Little Tenderness” As Recorded by Otis Redding

REDDING/JONES JR/ISBELL “Hard to Handle” As Recorded by Otis Redding

BROWN/NEWSOME

“Man’s World” As Recorded by James Brown

THIS EVENING’S PERFORMANCE IS PRESENTED BY DIERDRE AND RONNIE BAKER MARCY AND GERRY SPECTOR SPECIAL GRATITUDE TO Berry Charitable Foundation The Sidney E. Frank Foundation The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Therese M. Grojean Vocalist Fund The Sturm Family and ANB Bank SPONSORED BY Letitia and Christopher Aitken Diane and Hal Brierley Kathleen and Jack Eck Linda and Ronn Lytle Brooke and Hap Stein SOLOIST SPONSORS Jeff Tyzik, conductor, sponsored by Joyce and Paul Krasnow The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

ccording to the Rock and Roll Hall of Fame, “soul music was the predominant Black music style of the Sixties. Smooth and sensual, passionate and heartfelt, soul included elements of the blues, rhythm & blues, doo-wop, and most notably, gospel.” Soul music originated in African American communities throughout the United States in the 1950s and became popularized through record labels such as Motown, Atlantic, and Stax, which were influential during the Civil Rights Movement. Soul music reflected African-American identity and celebrated African-American culture. Soul sound pioneers drew on the rhythms, structures, vocal stylings, and emotional call-and-response delivery of gospel music to transform rhythm and blues into soul. In 1955, Ray Charles took this a step further by recasting the spiritual “This Little Light of Mine” into the secular “This Little Girl of Mine.” James Brown’s electrifying persona lent a tension to the genre, and his impassioned sound paralleled the emergence of

KING/LEIBER/STOLLER

“Stand By Me” As Recorded by Ben E. King

STEWART

“Dance to the Music” As Recorded by Sly and the Family Stone

— INTERMISSION — WHITE

“Love’s Theme” As Recorded by Barry White

HUFF/MCFADDEN/WHITEHEAD “Back Stabbers” As Recorded by the O’Jays

MAYFIELD

“Move On Up” As Recorded by Curtis Mayfield CHES TER G REG ORY

the Black Power movement. In the mid-1960s, Sam Cooke and Al Green introduced a silky smooth, laid-back, vocal style and lyrics that focused on unity and respect, not only within the African American community but in personal relationships as well. Soul music remained a major form of Black popular expression through the mid1970s, with socially-conscious artists like Marvin Gaye and Stevie Wonder speaking (or singing) out on behalf of their community.

Various flavors of soul music include Motown, pop-friendly and rhythmic; deep or southern soul, combining R&B with southern gospel; Memphis soul, a shimmering, sultry style; New Orleans soul, which came out of R&B; Chicago soul, a lighter gospel-influenced sound; Philadelphia soul, a lush orchestral sound with doo-wop-inspired vocals; as well as psychedelic soul, a blend of psychedelic rock and soul music.

GAMBLE/HUFF/GILBERT “Me and Mrs. Jones” As Recorded by Billy Paul

GAMBLE/HUFF

“You’ll Never Find” As Recorded by Lou Rawls

WHITFIELD/STRONG

“Just My Imagination” As Recorded by The Temptations

GAMBLE/HUFF

“Close the Door” As Recorded by Terry Pendergrass

GAYE/TOWNSEND

“Let’s Get It On” As Recorded by Marvin Gaye

©ALE X STURG ILL

IMPRESARIO ($25,000+) Lyda Hill VIRTUOSO ($20,000+) Marilyn Augur Margie and Chuck Steinmetz

GREEN/HODGES

“Love and Happiness” As Recorded by Al Green

TEMPERTON

“Rock With You” As Recorded by Michael Jackson

JACKSON/SMITH/MINER

“Your Love Keeps Lifting Me Higher” As Recorded by Jackie Wilson A Schirmer Theatrical / Greenberg Artists Co-Production. All Arrangements Licensed by Schirmer Theatrical, LLC.

JUL

SATURDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK 5:00PM GERALD R. FORD AMPHITHEATER LOBBY Jonathan Bellman (University of Northern Colorado), speaker

DALLAS SYMPHONY ORCHESTRA Fabio Luisi, conductor Maureen McKay, soprano Siena Licht Miller, mezzo-soprano Issachah Savage, tenor Ryan Speedo Green, bass-baritone

COLORADO SYMPHONY ORCHESTRA AND BRAVO! VAIL FESTIVAL CHORUS

FA B I O LU I S I

BEETHOVEN’S NINTH SYMPHONY

Duain Wolfe, chorus director

BEETHOVEN

Symphony No. 9 in D minor, Op. 125, Choral (65 minutes) Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Presto - Allegro assai - Allegro assai vivace Program to be performed without intermission. Following the performance, join a brief talkback with Dallas Symphony Orchestra Music Director Fabio Luisi and Bravo! Vail Artistic Director Anne-Marie McDermott.

The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

There’s more to explore in the Bravo! Vail Music Festival app.

THIS EVENING’S PERFORMANCE IS UNDERWRITTEN BY THE BETSY WIEGERS CHORAL FUND, IN HONOR OF JOHN W. GIOVANDO PRESENTED BY LINDA AND MITCH HART SHIRLEY AND WILLIAM S. MCINTYRE, IV SPECIAL GRATITUDE TO Berry Charitable Foundation The Sidney E. Frank Foundation The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Therese M. Grojean Vocalist Fund The Sturm Family and ANB Bank SPONSORED BY Ellie Caulkins Bobbi and Richard Massman Mr. John McDonald and Mr. Rob Wright J. Brian Stockmar SOLOIST SPONSORS Fabio Luisi, conductor, sponsored by Gina Browning and Joe Illick

Symphony No. 9 in D minor, Op. 125, Choral (1822-24) LU DW I G VA N B E E T H OV E N ( 1 7 70 -1 82 7 )

ractically every commentator on music has had something to say about Beethoven’s Ninth Symphony, and their opinions have been so divergent as to make one wonder if they could possibly have been speaking of the same piece. Some members of early audiences chalked it off as the raving of a deaf lunatic, and nearly three decades into the piece’s life a reviewer for the Boston Atlas tried to explain it away politely as “the genius of the great man upon the ocean of harmony, without compass which had so often guided him to his haven of success; the blind painter touching the canvas at random.” Beethoven’s contemporary Louis Spohr, one of the most revered violinists and composers of their generation, adored his colleague’s early works, but here he drew the line: its first three movements, he wrote, “in spite of some flashes of genius, are to my mind inferior to all the eight previous symphonies,” and he found the finale “so monstrous and

tasteless … that I cannot understand how a genius like Beethoven could have written it.” And yet, wrote Hector Berlioz, “There is a small minority of musicians, whose nature inclines them to consider carefully whatever may broaden the scope of art, … and they assert that this work is the most magnificent expression of Beethoven’s genius. … That is the view I share.” Even critics who had problems grasping this symphony tended to echo a sentiment that inhabits these three quotations: whatever you make of it, this is the work of a genius. The Ninth Symphony germinated slowly in the composer’s laboratory. Beethoven composed it mostly from 1822 to February 1824, although he was actively plotting the piece by 1817 and sketched some of its material as early as 1812. As it evolved, the path of the Ninth Symphony grew perfectly clear. It is one of Beethoven’s many musical journeys from darkness into light, a trajectory he had already explored in such works as his Third and Fifth Symphonies and his opera Fidelio. Mystery shrouds the opening: strings and horns playing the open fifth interval of A-E—harmonically vague, not clarifying until the 13th measure that the key of this piece is to be D minor, when that point is made in emphatic fortissimo. That is the moment when the movement’s principal theme is exclaimed by the full orchestra—or rather, by what gives the impression of being the full orchestra, since the composer holds his trombones in check until the Scherzo and his piccolo, contrabassoon, and percussion (apart from timpani) until the finale. A variety of subsidiary themes are presented in short order and put through a tense process of development and recapitulation before the movement reaches its lengthy and quite terrifying, even apocalyptic, coda. The wide-open intervals of the symphony’s beginning are somewhat recalled by the hammer-blows, in falling octaves, that launch the Scherzo—with the third of the figure’s four introductory eruptions literally pounded out by the solo timpani. These will return from time to time in the movement, interrupting the comparatively elfin scurrying of the

Scherzo’s ongoing flow. At times this leads to a galumphing swagger— Bruckner must have loved this movement—that is all the more resounding following the gentle, woodwind-laden pastoralism of the movement’s trio section. The Adagio molto e cantabile introduces the soulful side of Beethoven, greatly in contrast to the athleticism of what has come previously in this symphony. The movement unrolls as a set of extended variations. Mostly these involve the first violins’ tender melody in 4/4 that graces the opening, but to a lesser extent Beethoven also develops a second theme, which flows a bit more urgently in contrasting 3/4 meter. The hushed spell is broken in the most emphatic manner with the Presto that opens the finale. It begins with a horrific explosion by the orchestra that is punctuated by the most curious thing imaginable: a recitative-like passage played in unison by the cellos and double basses unaccompanied. Although no text is expressed, the recitative seems to be asking questions, and the orchestra responds with answers that allude to material heard in the preceding movement. After considerable back-and-forth, these low strings announce the famous theme that will fuel what is essentially a movement of variations. The first three of these variations

involve instruments only, weaving in threads of greater complexity, until finally, after a recurrence of the movement’s opening outburst, the bass (or baritone) soloist sings a real recitative, with words by Beethoven: “O friends, not these tones! Rather, let us tune our voices in more pleasant and more joyful song.” Now we hear the principal theme, by now familiar, intoned to the words of Friedrich Schiller’s ode “Ode to Joy.” By way of continuing variations—as sundry as a “Turkish march,” a vigorous orchestral fugue, and some passages of highwire vocalizing—Beethoven leads us through his grand choral finale. This ode was far from Schiller’s finest literary achievement, but attached to the intensity of Beethoven’s expression it has come to symbolize the highest aspirations of humanitarianism. So it is that Beethoven’s Ninth, problematic in certain ways but never disguising its wealth of genius, transcends its own musical achievement. The philosopher Friedrich Nietzsche argued that “Beethoven’s music is music about music,” but ensuing generations have begged to differ. Beethoven’s Ninth, more than any other piece, has come to be music about the hopes and dreams of humankind.

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JUL

MONDAY 2:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor

JOHN WILLIAMS Liberty Fanfare

SOUSA

Semper Fideles

ARR. TYZIK

The Great Westerns Suite

COPLAND

“Saturday Night Waltz” and “Hoedown” from Rodeo

CINDY MCTEE

Shenandoah David Buck, flute Nathan Olson, violin

PATRIOTIC CONCERT

very year on July 4, families, friends, and neighbors gather to mark the adoption of the Declaration of Independence and the birth of a new system of government. This founding document closes with a vow to “mutually pledge to each other our Lives, our Fortunes and our sacred Honor.” Conductor/composer/arranger Jeff Tyzik applies his seemingly endless talents to these musical depictions of the American spirit: paying tribute to the strength and courage of people who fight for independence everywhere, remembering those who have sacrificed, and celebrating our country’s majestic natural beauty.

The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

ANDERSON

Bugler’s Holiday Stuart Stephenson, trumpet Kevin Finamore, trumpet L. Russell Campbell, trumpet

— INTERMISSION — JOHN WILLIAMS

“March” from Midway

Bravo! Vail Gratefully Acknowledges Support for this Afternoon’s Concert THE VAIL VALLEY FOUNDATION SPECIAL GRATITUDE Berry Charitable Foundation The Sidney E. Frank Foundation The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Sturm Family and ANB Bank

JOHN WILLIAMS The Patriot

JOHN WILLIAMS

With Malice Toward None (from Lincoln)

SOUSA

The Glory of the Yankee Navy

JAMES BECKEL

Gardens of Stone Retired Col. David Rozelle, narrator

ARR. TYZIK

Armed Forces Song Medley

SOUSA

The Stars & Stripes Forever

JUL

TUESDAY 1:00PM COMMUNITY CONCERTS

THE CHAPEL AT BEAVER CREEK Avery Gagliano, piano (Bravo! Vail 2022 Piano Fellow) Zhu Wang, piano (Bravo! Vail 2022 Piano Fellow)

BALOURDET QUARTET

(Bravo! Vail 2022 Chamber Musicians in Residence) Angela Bae, violin Justin DeFilippis, violin Benjamin Zannoni, viola Russell Houston, cello

CHOPIN

Mazurkas, Op. 50 (11 minutes) No. 1 in G major (Vivace) No. 2 in A-flat major (Allegretto) No. 3 in C-sharp minor (Moderato) Ms. Gagliano

DVOŘÁK

Piano Quintet in A major, Op. 81 (41 minutes) Allegro ma non troppo Dumka: Andante con moto Scherzo (Furiant): Molto vivace—Trio: Poco tranquillo Finale: Allegro

Z H U WA N G

COMMUNITY CONCERT

CHOPIN & DVOŘÁK Artist Insights What makes the Op. 50 Mazurkas so wonderful is that as a set, they capture a broad variety of the different characters found in Frédéric Chopin’s mazurka writing. The first mazurka is celebratory and joyful, while the second, with its beautifully elegant melody, is more subtle. In great contrast, the last mazurka is full of tragedy and pain. It is very contrapuntal, with the opening motive circulating between different voices. The coda is particularly interesting for its harmonic density; it puts the final stamp on the deep, emotional landscape that Chopin has painted within the music. —Avery Gagliano

Mr. Wang

The ebullient Dvořák Piano Quintet is one of the most popular and celebrated pieces with audiences and performers alike, for good reason. It includes everything you could possibly want from a timeless classic: show-stopping flair, emotional heart-strings, and a palpable rhythmic vitality. Particularly beloved is the Dumka, an alternating slow-fast movement revealing the dual nature of life’s suffering and joy being interwoven, as well as one of Antonin Dvořák’s most effervescent and melodious Scherzos. —Balourdet Quartet

Bravo! Vail Gratefully Acknowledges Support For This Afternoon’s Concert Anonymous (2) Alpine Bank Kathy Cole Marijke and Lodewijk de Vink

Cookie and Jim Flaum Manor Vail Lodge Carole A. Watters

JUL

TUESDAY 6:00PM COMMUNITY CONCERTS

STRATTON FLATS, GYPSUM

BALOURDET QUARTET

(Bravo! Vail 2022 Chamber Musicians in Residence) Angela Bae, violin Justin DeFilippis, violin Benjamin Zannoni, viola Russell Houston, cello SELECTIONS TO BE ANNOUNCED FROM THE STAGE

COMMUNITY CONCERT

HABITAT FOR HUMANITY CONCERT

ravo! Vail nurtures partnerships with other nonprofits in and around the Vail Valley to create a community enriched by collaboration. We are grateful to partner with Habitat for Humanity to present a concert on the Bravo! Vail Music Box in the Stratton Flats community in Gypsum. Tonight, enjoy an evening of music from Bravo! Vail’s talented Chamber Musicians in Residence, the Balourdet Quartet. Since 1995, Habitat for Humanity Vail Valley has built and renovated homes in the Eagle River Valley, working to help local families achieve strength, stability, and self-reliance through shelter. Through their efforts almost 100 Habitat homeowners, and more than 300 children, have built a strong foundation and housing stability. Learn more at habitatvailvalley.org.

Bravo! Vail Gratefully Acknowledges Support For This Evening’s Concert Alpine Bank Marijke and Lodewijk de Vink Evergreen Lodge The Sturm Family and ANB Bank

Great Friends

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JUL

INSIDE THE MUSIC

MASTERCLASS

WEDNESDAY 1:00PM INSIDE THE MUSIC

THE CHAPEL AT BEAVER CREEK

ach year, Artistic Director Anne-Marie McDermott invites two young pianists to live, learn, and perform in Vail for two weeks during the Festival season. These up-and-coming musicians enjoy unparalleled access to members of resident orchestras and renowned Festival musicians and the invaluable opportunity to collaborate and perform with other artists. Today, Anne-Marie coaches Bravo! Vail Piano Fellows Avery Gagliano and Zhu Wang through solo piano repertoire in front of a live audience. Aspiring classical musicians and their teachers consider master classes to be one of the most effective means of musical development, and watching a young artist’s musicianship evolve is a rare and fascinating opportunity.

Avery Gagliano, piano (Bravo! Vail 2022 Piano Fellow) Zhu Wang, piano (Bravo! Vail 2022 Piano Fellow) Anne-Marie McDermott, coach

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Subscribe today! Save 25% and secure the best seats before single tickets go on sale July 15, 202 2 .

JUL

THURSDAY 1:00PM COMMUNITY CONCERTS

THE CHAPEL AT BEAVER CREEK Avery Gagliano, piano (Bravo! Vail 2022 Piano Fellow) Zhu Wang, piano (Bravo! Vail 2022 Piano Fellow)

BALOURDET QUARTET

(Bravo! Vail 2022 Chamber Musicians in Residence) Angela Bae, violin Justin DeFilippis, violin Benjamin Zannoni, viola Russell Houston, cello

AV E RY G AG L I A N O

GOTTSCHALK

COMMUNITY CONCERT

BEACH PIANO QUINTET Artist Insights Praised by Frédéric Chopin as “king of piano,” Louis Gottschalk was a true virtuoso in both performing and composing. He combines the European tradition with influences of jazz and American popular songs. Written with uncontainable joy and multi-cultural energy, Union is a piece that charms from its opening notes. —Zhu Wang

Union, Op. 48 (8 minutes) Mr. Wang

BEACH

Piano Quintet in F-sharp minor, Op. 67 (27 minutes) Adagio—Allegro moderato Adagio espressivo Allegro agitato—Adagio come prima— Presto Ms. Gagliano

Amy Beach’s Piano Quintet stands as a powerful work by one of history’s great musical talents. A virtuoso pianist and prolific composer, she combined many of the European influences available to her in the early 20th century with an American voice. The music is rhapsodic and visually evocative, with a cyclical form that ties the work together through its many passionate outbursts. At the heart of the Quintet stands one of the most touching and nostalgic slow movements ever written, which in itself reveals how much of a gift Beach’s contribution is to the canon of chamber music. —Balourdet Quartet

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Cookie and Jim Flaum Sitzmark Lodge Carole A. Watters

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JUL

THURSDAY 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

ZIRKIN RESIDENCE Stéphane Denève, piano Anne-Marie McDermott, piano

SCHUBERT

Fantasy in F minor, D. 940 (18 minutes) Allegro molto moderato Largo Allegro vivace Con delicatezza Final

FAURÉ

MCDERMOTT & DENÈVE AT THE PIANO

ausmusik is a centuries-old tradition, a unique combination of art, social gathering, and entertainment, and the genre was largely shaped by the practice of two pianists playing together on a single instrument. This evening’s program turns back the clock to the 19th century, with two of the finest keyboard artists of the 21st: Bravo! Vail’s Artistic Director Anne-Marie McDermott and longtime Bravo! Vail favorite Stéphane Denève in his Soirée debut. Essentially a free-form tone poem, Schubert submitted his F minor Fantasia to his publisher as an example of his “strivings after the highest in art.” The Dolly Suite consists of six short pieces, all with delightfully whimsical names, that mark birthdays and major events in the life of the young daughter of Fauré’s long-time mistress. Ma mère l’Oye is a delicate suite of five miniatures inspired by Ravel’s favorite French fairy tales, filled with references to fantasy, dreams, and legends of childhood.

Dolly Suite, Op. 56 (9 minutes) Berceuse Mi-a-ou Le Jardin de Dolly Kitty-valse Tendresse Le pas espagnol

RAVEL

Ma mère l’Oye (Mother Goose Suite) (17 minutes) Pavane de la Belle au bois dormant Petit Poucet Laideronnette, impératrice des pagodes Les entretiens de la belle et de la bête Le jardin féerique

Bravo! Vail Gratefully Acknowledges Support For This Evening’s Soirée THIS EVENING’S HOSTS Nancy and Harold Zirkin SPECIAL GRATITUDE The Francis Family Linda and Mitch Hart The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY Applejack Wine and Spirits Jackson Family Wines Vail Catering Concepts Vintage Magnolia

Catered by Vail Catering Concepts

SCHEDULE AT A GLANCE JUL

A Hero’s Life with Denève.............................. 78

JUL

Rachmaninoff’s Third Symphony................................... 80

JUL

Warner Bros. Presents

JUL

Beethoven & Schubert with Stutzmann................... 92

JUL

Tchaikovsky’s Sixth Symphony.................. 94

N AT H A L I E S T U T Z M A N N PRINCIPAL GUES T CONDUC TOR

10 Bugs Bunny............................... 82 14 15

JUL

Brahms’ Fourth ....................................................................... 96

THE FABULOUS PHILADELPHIANS

THE PHILADELPHIA ORCHESTRA In Residence July 8 – 16, 2022

The Philadelphia Orchestra is admired for a legacy of innovation and known for its keen ability to capture the hearts and imaginations of audiences. This Orchestra’s distinctive sound returns to Bravo! Vail for its 15th residency.

76 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

he Philadelphia Orchestra is one of the world’s preeminent orchestras. It strives to share the transformative power of music with the widest possible audience, and to create joy, connection, and excitement through music in the Philadelphia region, across the country, and around the world. Through innovative programming, robust educational initiatives, and an ongoing commitment to the communities that it serves, the ensemble is on a path to create an expansive future for classical music, and to further the place of the arts in an open and democratic society. Yannick Nézet-Séguin is now in his 10th season as the eighth music director of The Philadelphia Orchestra. He joins a remarkable list that covers the Orchestra’s 122 seasons: Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach. Yannick’s connection to the musicians of the Orchestra has been praised by both concertgoers and critics, and he is embraced by the musicians of the Orchestra, audiences, and the community. In March 2020, in response to the cancellation of concerts due to the COVID-19 pandemic, the Orchestra launched the Virtual Philadelphia Orchestra, a portal hosting video and audio of performances, free, on its website and social media platforms. In September 2020 the Orchestra announced Our World NOW, its reimagined season of concerts filmed without audiences and presented on its Digital Stage. The Orchestra also inaugurated free offerings: HearTOGETHER, a series on racial and social justice; educational activities; and Our City, Your Orchestra, small ensemble performances from locations throughout the Philadelphia region. Your Philadelphia Orchestra continues the tradition of educational and community engagement for listeners of all ages. It launched its HEAR initiative in 2016 to become a major force for good in every community that it serves. HEAR is a portfolio of integrated initiatives that promotes Health, champions music Education, enables broad Access to

Orchestra performances, and maximizes impact through Research. The Orchestra’s awardwinning education and community initiatives engage over 50,000 students, families, and community members through programs such as PlayINs, side-bysides, PopUP concerts, Free Neighborhood Concerts, School Concerts, the School Partnership Program and School Ensemble Program, and All City Orchestra Fellowships. Through concerts, tours, residencies, and recordings, the Orchestra is a global ambassador. It performs annually at Carnegie Hall, the Mann Center for the Performing Arts, the Saratoga Performing Arts Center, and the Bravo! Vail Music Festival. The Orchestra also has a rich touring history, having first performed outside Philadelphia in its earliest days. In 1973 it was the first American orchestra to perform in the People’s Republic of China, launching a fivedecade commitment of people-topeople exchange. The Philadelphia Orchestra has given either the world or American premieres of many works that are today considered standard repertory,

STÉPHANE DENÈVE GUES T CONDUC TOR

such as Mahler’s Symphony No. 8 (“Symphony of a Thousand”), Stravinsky’s The Rite of Spring, and Rachmaninoff’s Symphonic Dances. The Orchestra makes live recordings available on popular digital music services. Under Yannick’s leadership, the Orchestra returned to recording, with 10 celebrated releases on the prestigious Deutsche Grammophon label, including the Grammy-winning Florence Price Symphonies 1 & 3. The Orchestra also reaches thousands of radio listeners with weekly broadcasts on WRTI-FM and SiriusXM. For more information, please visit philorch.org.

Bravo! Vail Gratefully Acknowledges Support from the Friends of the Fabulous Philadelphians FIRST CHAIR ($50,000+) Town of Vail IMPRESARIO ($25,000+) Virginia J. Browning Sandra and Greg Walton VIRTUOSO ($20,000+) Susan and Van Campbell Cathy and Howard Stone OVATION ($15,000+) Anonymous Anne and Hank Gutman Pam and Don Hutchings Susan and Richard Rogel

ALLEGRO ($10,000+) John Dayton Donna and Patrick Martin Teri Perry Linda Farber Post and Dr. Kalmon D. Post Carole and Peter Segal SOLOIST ($7,500+) Leslie Melzer Barbara and Howard Rothenberg CRESCENDO ($5,000+) Shannon and Todger Anderson

Jill and Al Douglass Carole C. and CDR. John M. Fleming Michelle Fitzgerald and Jonathan Guyton Laura and Jim Marx Mr. John McDonald and Mr. Rob Wright Sally and Byron Rose Roberta and Ernie Scheller Elaine and Steven Schwartzreich Susan and Steven Suggs Leewood and Tom Woodell Kathy and Jonathan Zeschin Nancy and Harold Zirkin

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JUL

FRIDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK 5:00PM GERALD R. FORD AMPHITHEATER LOBBY Carlo Caballero (University of Colorado Boulder), speaker

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Nikolaj Szeps-Znaider, violin

CARLOS SIMON

A HERO’S LIFE WITH DENÈVE

Fate Now Conquers (5 minutes)

SIBELIUS

Concerto for Violin and Orchestra in D minor, Op. 47 (33 minutes) Allegro moderato Adagio di molto Allegro, ma non tanto

— INTERMISSION — R. STRAUSS

Ein Heldenleben (45 minutes) The Hero—The Hero’s Adversaries— The Hero’s Companion—The Hero’s Deeds of War—The Hero’s Works of Peace—The Hero’s Retirement

THIS EVENING’S PERFORMANCE IS PRESENTED BY DONNA AND PATRICK MARTIN KATHIE MUNDY AND FRED HESSLER SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair SPONSORED BY Ron Davis Jan and Lee Leaman Deann Thoms and Richard Bross SOLOIST SPONSORS Nikolaj Szeps-Znaider, violin, sponsored by Becker Violin Fund

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Funded in part by a generous grant from the Town of Vail. The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

Fate Now Conquers (2019) CARLOS SIMON (B . 1986)

arlos Simon was awarded the 2021 Sphinx Medal of Excellence, which—as the Sphinx Organization describes it—recognizes “extraordinary classical Black and Latinx musicians … who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities.” As a performer, he has also appeared as music director and keyboardist for Jennifer Holliday in symphonic concerts and has toured internationally with soul star Angie Stone. Simon has earned particular acclaim for compositions that deal with inequity and social justice. “The projects I have been drawn to,” he says, “have always been about telling the stories of people who aren’t often heard or are misrepresented or marginalized.” Fate Now Conquers, however, is more a rumination on a strictly musical story. It was commissioned by The Philadelphia Orchestra, which streamed its premiere online in 2020. Simon writes:

This piece was inspired by a journal entry from Ludwig van Beethoven’s notebook written in 1815: ‘Iliad. The Twenty-Second Book / But Fate now conquers; I am hers; and yet not she shall share in my renown; that life is left to every noble spirit / And that some great deed shall beget that all lives shall inherit.’ Using the beautifully fluid harmonic structure of the second movement of Beethoven’s Seventh Symphony, I have composed musical gestures that are representative of the unpredictable ways of fate. Jolting stabs, coupled with an agitated groove with every persona. Frenzied arpeggios in the strings that morph into an ambiguous cloud of free-flowing running passages depicts the uncertainty of life that hovers over us. We know that Beethoven strived to overcome many obstacles in his life and documented his aspirations to prevail, despite his ailments. Whatever the specific reason for including this particularly profound passage from the Iliad, in the end, it seems that Beethoven relinquished to fate. Fate now conquers.

Concerto for Violin and Orchestra in D minor, Op. 47 (1902-04; rev. 1905)

The section of a traditional concerto most at odds with Sibelius’ predilection for profundity would be the first-movement cadenza, where soloists usually demonstrate dazzling technical prowess. Sibelius meets the challenge head-on: he provides a solo cadenza but instead of presenting it as a pendant to the proceedings he gives it immense structural importance by moving it to the middle of the movement and inviting it to fill the role of a development section. Also nontraditional is the lack of real dialogue in this concerto, the sort of back-andforth conversation between soloist and orchestra that we are accustomed to hearing in the concertos of, say, Beethoven, Mendelssohn, and Brahms. The vast breadth of the opening movement is mirrored in the still beauty of the slow movement, melancholy in a way that perhaps recalls Tchaikovsky. Although this concerto is not a prime example of Sibelius’ occasional penchant for folk inspiration, the finale does seem to be a dance of some sort.

Ein Heldenleben (A Hero’s Life), Op. 40 (1897-98) R I C H A R D S T R AU S S ( 1 8 6 4 -1 9 49)

Ein Heldenleben (A Hero’s Life) is one of Richard Strauss’ works that can be read as musical autobiography. His sense of self-esteem was not underdeveloped by the time he led its premiere, at the age of 34.

He had worked his way up through appointments that included stints at the Munich Court Opera and the Bayreuth Festival Theatre. His compositions were routinely hailed at their premieres, he was in demand as a conductor, he was about to sign on as music director of the Berlin Court Opera, and he was enjoying a deepening relationship with the soprano who would become his wife. It seemed to Strauss a reasonable moment to produce a musical reflection on himself and on the struggles he had faced in achieving his success. A symphonic poem would provide a perfect framework for such an exercise. He was comfortable in the genre, having written six of them in the decade leading to this one, in 1897-98. In the event, it would be a symphonic poem with strong Classical leanings in terms of its structure—a sort of expanded “Classical symphony” whose four major sections are linked in a single long movement. It would be set in the key of E-flat major, a key resonant with memories of Beethoven’s Sinfonia eroica, which was initially supposed to be a tribute to Napoleon but ended up being reinscribed “To celebrate the memory of a great man.” Like Beethoven’s Eroica, it would be a work of hefty proportions (running to three-quarters of an hour) and its orchestration, including eight horns and five trumpets in its imposing 18-member brass section, would be one to leave the ears spinning.

J E A N S I B E L I U S ( 1 8 6 5 -1 957 )

Jean Sibelius’ Violin Concerto, composed in 1902-04 and revised in 1905, thrust the composer into an unaccustomed genre. Already in his first two symphonies and his Lemminkäinen tone poems he had defined his signature sound, dark and sober, which would not automatically meld with the extroverted, even flashy tradition of many 19th-century violin concertos. His Violin Concerto towers as an icy summit in the instrument’s literature. He was not natively drawn to composing concertos at all, and this was the only one, for any instrument, that he would see to fruition. He worked on a second violin concerto in 1915 but abandoned it far from completion, recycling his sketches into his Sixth Symphony.

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JUL

SATURDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Kirill Gerstein, piano

STACY GARROP

Penelope Waits (6 minutes)

LISZT

— INTERMISSION — RACHMANINOFF

Symphony No. 3 in A minor, Op. 44 (40 minutes) Lento—Allegro moderato—Allegro Adagio ma non troppo—Allegro vivace— Tempo come prima Allegro—Allegro vivace—Allegro

KIRILL GERSTEIN

RACHMANINOFF’S THIRD SYMPHONY THIS EVENING’S PERFORMANCE IS PRESENTED BY BARBARA AND BARRY BERACHA THE FRANCIS FAMILY CATHY AND HOWARD STONE SPECIAL GRATITUDE TO Berry Charitable Foundation The Francis Family The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society SPONSORED BY

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

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Debbie and Jim Donahugh Brenda and Joe McHugh Amy and Hal Novikoff Patti Shwayder-Coffin and Steve Coffin SOLOIST SPONSORS Stéphane Denève, conductor, sponsored by Carol and Ronnie Goldman Kirill Gerstein, piano, sponsored by Debbie and Jim Shpall

Penelope Waits (2013) S TA C Y G A R R O P ( B . 1 9 6 9 )

lthough she formerly taught composition and orchestration at Chicago’s Roosevelt University, Stacy Garrop left academia to establish herself as a freelance composer who “shares stories by taking audiences on sonic journeys—some simple and beautiful, while others are complicated and dark—depending on the needs and dramatic shape of the story.” She was selected to be the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program (2018-2020), spent three years as the Champaign-Urbana Symphony Orchestra’s composer-inresidence (2016-2019), and previously was composer-in-residence with the Albany Symphony and Skaneateles Festival. A variety of leading ensembles have commissioned works from her— for example, her Goddess Triptych for the St. Louis Symphony, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for the vocal group Chanticleer, and (in 2021) Alpenglow, a double concerto for alto saxophone, tuba,

©MARCO BORGGREVE

Piano Concerto No. 2 in A major (22 minutes) Adagio sostenuto assai—Allegro agitato assai—Allegro moderato—Allegro deciso; Sempre Allegro—Marziale, un poco meno Allegro—Allegro animato; Stretto (molto accelerando)

and wind ensemble commissioned by a consortium of 18 high school, university, and military bands. From 2007 to 2013, Garrop composed a Mythology Symphony consisting of five movements based on characters from ancient Greek legends: Becoming Medusa, Penelope Waits, The Lovely Sirens, The Fates of Man, and Pandora Undone. She sanctioned that each of the movements could also be programmed as an independent piece. Though it stands as the Symphony’s second movement, Penelope Waits was the penultimate to be composed, in the summer of 2013, and it uses only a portion of the orchestra required for the full symphony. Garrop introduces the piece in this way: “This quiet movement represents Queen Penelope, the faithful wife of Odysseus, as she patiently waits twenty years for her husband’s return from fighting the Trojan Wars. Penelope herself is represented as an oboe. She is accompanied by a chamber orchestra (rather than the entire ensemble) as she keeps at bay the suitors who wish to marry her and inherit her riches.”

Piano Concerto No. 2 in A major (1839-61) FR ANZ LISZT (1811-86)

Franz Liszt completed two concertos for piano—the First was unveiled in 1855, the Second in 1857. Both were composed, re-composed, and revised over the course of many years—a quarter of a century for the First Concerto, 22 years for the Second. In part this reflects that he was an unusually busy man, traversing the salons and concert halls of Europe as the most celebrated piano virtuoso of his day. Both concertos are short. The Second, the longer of the two, runs only about twenty minutes. Throughout that process the work’s manuscripts carried the title Concerto symphonique; not until it appeared in published form, in 1863, was that changed to “Second Concerto for Piano and Orchestra.” The working name suggests that Liszt was aiming at a genre midway between a concerto and a symphony. The

footprints of traditional symphonic movements can still be discerned, but Liszt promoted a more throughcomposed approach to symphonic writing, one that found perfect expression when he invented the new genre of the one-movement symphonic poem. This Second Concerto is similarly cast in a single, uninterrupted span, but with six distinct sections. Some musicologists have represented this plan as little more than a standard threemovement Romantic concerto that is laid out differently on paper: an opening fast movement introduced by a slow introduction; a leisurely slow movement (notwithstanding the problematic marking of Allegro moderato, since the music begs for more moderato than allegro); and a fast-paced finale that encompasses the remaining three sections.

Symphony No. 3 in A minor, Op. 44 (1935-36, rev. 1938) R AC H M A N I N O F F ( 1 87 3 -1 9 4 3)

Sergei Rachmaninoff, who was the scion of a land-owning family (though not a very wealthy one), bolted from his Russian homeland in 1917 as it plunged toward revolution. When not touring as a conductor or a pianist, he lived in the United States for the rest of his life, mostly in New York City until moving to Beverly Hills shortly before he died. His first years in America again

proved disruptive, and he composed almost nothing from 1917 until 1934. In the early 1930s, he built a villa in Switzerland, where he spent summers on the shore of Lake Lucerne. There, in 1935-36, he produced his Third Symphony, which was premiered that latter year by The Philadelphia Orchestra. The Third Symphony seems to look backwards, as if saluting Tchaikovsky. Still, the sound is Rachmaninoff’s own, with yearning themes that keep coming back, or sometimes alluding (as in the threenote motto motif) to Russian liturgical chants he remembered from his youth. The opening movement also makes some rather Wagnerian sounds, which is not something we expect from him—or perhaps they are the remnants of Wagnerian sounds as conveyed into the 20th century by Richard Strauss. The second movement telescopes a slow movement and a scherzo into a single span, with the wistfully Romantic Adagio sections wrapped around the sprightly Allegro vivace portion. The finale also has a surprise concealed at its center—a witty fugue that is worked out at some length. Again, that is not something one particularly associates with Rachmaninoff, but he shows his truest colors not long afterwards in the form of a section based on the melody of the Dies irae, the funeral chant for the dead, which qualifies as a fingerprint in many of his scores.

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JUL

SUNDAY 7:30PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA THE PROGRAM ACT I THE RIDE OF THE VALKYRIES From “Die Walküre” by Richard Wagner

THE WARNER BROS. FANFARE Music by Max Steiner

“MERRILY WE ROLL ALONG”

(“The Merrie Melodies Theme”) Music by Charles Tobias, Murray Mencher, and Eddie Cantor Arranged and Orchestrated by Carl W. Stalling

“BATON BUNNY” Music by Milt Franklyn

Based on the Overture to “Morning, Noon, and Night in Vienna” by Franz von Suppé Story by Michael Maltese Animation Direction by CHUCK JONES and ABE LEVITOW

Excerpt from

“WHAT’S UP, DOC?” (Original Soundtrack) Music by Carl Stalling

“Hooray for Hollywood” music by Richard A. Whiting, lyrics by Johnny Mercer Story by Warren Foster Animation Direction by ROBERT McKIMSON

“A CORNY CONCERTO” Music by Carl W. Stalling

Based on “Tales of the Vienna Woods” and “The Blue Danube” by Johann Strauss II Story by Frank Tashlin Animation Direction by ROBERT CLAMPETT

“LONG - HAIRED HARE” Music by Carl W. Stalling

after Wagner, von Suppé, Donizetti, and Rossini Story by Michael Maltese Animation Direction by CHUCK JONES

“RHAPSODY RABBIT” Music by Carl W. Stalling

Based on “Hungarian Rhapsody No. 2” by Franz Liszt Piano Solo performed by Jakob Gimpel Story by Tedd Pierce and Michael Maltese Animation Direction by FRIZ FRELENG

30th Anniversary Edition Starring

BUGS BUNNY Conducted by

GEORGE DAUGHERTY Created and Produced by GEORGE DAUGHERTY & DAVID KA LIK WONG Produced by AMY MINTER

Also Starring

ELMER FUDD DAFFY DUCK PORKY PIG WILE E. COYOTE ROAD RUNNER MICHIGAN J. FROG, and GIOVANNI JONES

Music by

CARL W. STALLING MILT FRANKLYN CHRISTOPHER LENNERTZ CARL JOHNSON Based on the Works of Wagner, Rossini, von Suppé, J. Strauss II, Smetana, Liszt, Mendelssohn, Donizetti, and Ponchielli

Animation Direction by

CHUCK JONES FRIZ FRELENG ROBERT CLAMPETT ROBERT McKIMSON ABE LEVITOW MATTHEW O’CALLAGHAN

Voice Characterizations by

MEL BLANC ARTHUR Q. BRYAN as Elmer Fudd BOB BERGEN ERIC BAUZA . . . and NICOLAI SHUTOROV as Giovanni Jones and WILLIAM ROBERTS as Michigan J. Frog

Produced in Association with

Industrial F/X PRODUCTIONS SAN FRANCISCO & LAS VEGAS Official Website www.BugsBunnyAtTheSymphony.net Original Soundtrack Recording on WATERTOWER MUSIC www.watertower-music.com Follow Bugs Bunny At The Symphony on Facebook, Instagram, and Twitter! Post your own pre-concert and post-concert photos with the hashtag #BugsBunnyAtTheSymphony ALL ANIMATION available on DVD and Streaming

THIS EVENING’S PERFORMANCE IS PRESENTED BY ANGELA AND PETER DAL PEZZO MARTIN WALDBAUM SPECIAL GRATITUDE TO Berry Charitable Foundation The Sidney E. Frank Foundation The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Sturm Family and ANB Bank PERFORMANCE SPONSORED BY Gina Browning and Joe Illick Nancy Gage and Allan Finney Ellen Lautenberg and Doug Hendel Mary Lou Paulsen and Randy Barnhart The Stolzer Family Foundation; Ellen and Dan Bolen; Mary Kevin and Tom Giller Funded in part by a generous grant from the Town of Vail. The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

ugs Bunny made his cinematic debut in 1940 in A Wild Hare, directed by Tex Avery and voiced by the inimitable Mel Blanc. That Looney Tunes animated short was nominated for an Oscar, the first of three for Bugs (he demanded a recount when he lost to James Cagney in 1943), and he finally won his Academy Award in 1958 for Knighty Knight Bugs. “That wascally wabbit” has appeared in more films than any other cartoon character, is in the top 10 of the most-portrayed film personalities in the world, and has his own star on the Hollywood Walk of Fame. Conductor/creator/producer George Daugherty explains: Looney Tunes and Merrie Melodies were always populated with hit songs of the day— that was by design, in order to push the vast Warner Bros. song catalog to audiences and sheet music buyers, a sort of 1940’s YouTube. But it was the pure orchestral scores that truly dazzled. The Rabbit of Seville was composed completely in the style and orchestral fabric of Rossini himself, while the gigantic What’s Opera, Doc?, with a full-bore Wagnerian-sized instrumentation, combined not only the major leitmotifs of all four Ring Cycle operas, but of “Tannhauser,” “Lohengrin,” “The Flying Dutchman,” and “Rienzi” as well. Eight Wagner operas in 6 minutes and 48 seconds. (And there are those—including some musicians—who think that this is truly the way to experience them!)”

“WET CEMENT”

(Original Soundtrack) Music by Carl Johnson Written by Michael Ruocco, David Gemmill, & Johnny Ryan Executive Producers: Pete Browngardt and Sam Register Animation Direction by DAVID GEMMILL

“ZOOM AND BORED”

Music by Carl W. Stalling and Milt Franklyn Based on “The Dance of the Comedians” from “The Bartered Bride” by Bedřich Smetana Story by Michael Maltese Animation Direction by CHUCK JONES

Excerpt from

“ONE FROGGY EVENING” (Original Soundtrack) Music by Milt Franklyn

“Hello My Baby” music and lyrics by Ida Emerson and Joseph E. Howard Animation Direction by CHUCK JONES

“THE RABBIT OF SEVILLE” Music by Carl W. Stalling

Based on the Overture to “The Barber of Seville” by Gioachino Rossini Story by Michael Maltese Animation Direction by CHUCK JONES

— INTERMISSION —

ACT II “RABID RIDER”

Music by Christopher Lennertz Executive Producer: Sam Register Story by Tom Sheppard Animation Direction by MATTHEW O’CALLAGHAN and

“COYOTE FALLS”

Music by Christopher Lennertz

Bravo! Vail Gratefully Acknowledges Support from the Friends of the Fabulous Philadelphians

Executive Producer: Sam Register Story by Tom Sheppard Animation Direction by MATTHEW O’CALLAGHAN and

“FUR OF FLYING” FIRST CHAIR ($50,000+) Town of Vail IMPRESARIO ($25,000+) Virginia J. Browning Sandra and Greg Walton VIRTUOSO ($20,000+) Susan and Van Campbell Cathy and Howard Stone OVATION ($15,000+) Anonymous Anne and Hank Gutman Pam and Don Hutchings Susan and Richard Rogel

Music by Christopher Lennertz Executive Producer: Sam Register Story by Tom Sheppard Animation Direction by MATTHEW O’CALLAGHAN CONTINUED ON PAGE 176

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JUL

TUESDAY 1:00PM COMMUNITY CONCERTS

THE CHAPEL AT BEAVER CREEK Zhu Wang, piano (Bravo! Vail 2022 Piano Fellow)

TIMO ANDRES

A Good Word from Moving Études

J.S. BACH (AFTER A. MARCELLO) Concerto in D minor, BWV 974 Andante Adagio Allegro

TIMO ANDRES

Z H U WA N G

Bewegt from Moving Études

COMMUNITY CONCERT

ZHU WANG IN RECITAL

R. SCHUMANN

Selections from Humoreske, Op. 20

TIMO ANDRES

Everything Changes from Moving Études

STRAVINSKY (TRANSCR. AGOSTI)

Artist Insights This recital program originated with my attempt to make connections. I have always been fascinated by finding the hidden cues and conservations that composers have across centuries. To my mind, Bach’s idiomatic and rhythmic arrangement of Marcello’s Oboe Concerto is similar to Timo Andres’ A Good Word. On the other hand, Bewegt is a direct homage to Robert Schumann’s famous marking for the beginning of Kreisleriana, which is why I paired it with the beautiful and sensational Humoreske. The whole program culminates in Igor Stravinsky’s Firebird Suite, and the equally brilliant Everything Changes. —Zhu Wang

Firebird Suite Infernal Dance of King Kashchei Lullaby Finale

The running time of this concert is approximately one hour.

Bravo! Vail Gratefully Acknowledges Support For This Afternoon’s Concert Anonymous (2) Alpine Bank Kathy Cole Marijke and Lodewijk de Vink

Cookie and Jim Flaum Sonnenalp Carole A. Watters

JUL

TUESDAY 7:00PM CHAMBER MUSIC SERIES

VILAR PERFORMING ARTS CENTER Nikolaj Szeps-Znaider, violin Anne-Marie McDermott, piano

SCHUBERT

Sonata in D major for Violin and Piano, D. 384 (14 minutes) Allegro molto Andante Allegro vivace

BRAHMS

Sonata No. 1 in G major for Violin and Piano, Op. 78 (27 minutes) Vivace ma non troppo Adagio Allegro molto moderato

— INTERMISSION — BEETHOVEN

Sonata No. 9 in A major for Violin and Piano, Op. 47, Kreutzer (34 minutes) Adagio sostenuto—Presto Andante con Variazioni (I-IV) Presto

Sonata in D major, D. 384 F R A N Z S C H U B E R T ( 1 7 9 7- 1 8 2 8 )

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uring the first half of 1816, 19-year-old Franz Schubert had a bout of anemoia, nostalgia for a time he had not known himself, wistfulness for the Classical aesthetic that had receded about the time he was born and, in the two decades since, was yielding to less constrained Romanticism. On June 13 of that year, he wrote in his diary: “As from afar, the magic notes of Mozart’s music still gently haunt me. … Thus does our soul retain these fair impressions, which no time, no circumstances can efface, and they lighten our existence.” Three days later, he jotted uncharacteristic criticism of avantgardist Beethoven for “eccentricity that joins and confuses the tragic

with the comic, the agreeable with the repulsive, heroism with howlings, and the holiest with harlequinades.” Schubert’s music of that year exhibits a Classical penchant—for example, his Fourth and Fifth Symphonies, his Adagio and Rondo Concertant for piano quartet, and the three works for violin and piano that were published posthumously, 20 years later, as “sonatinas.” That was an editor’s idea. On his manuscript, Schubert called the work played here “Sonata for Pianoforte with the Accompaniment for a Violin,” the Classical era’s designation for what later generations would call just a “violin sonata.” The spirit of Mozart hovers near this piece—in its modest length, its clear textures, its sense of intimacy, and its general lack of virtuosic showiness. The contours of its opening even seem modeled

©L ARS GUNDERSON

AN EVENING WITH MCDERMOTT & SZEPS -ZNAIDER

N I KO L A J S Z E P S -Z N A I D E R

on Mozart’s E-minor Violin Sonata of 1778, and there is little in the second or third movements that Mozart could not have written. But Schubert’s own fingerprints are here, too. We hear them, for example, in the piano’s right-hand fluttering, so familiar from the composer’s lieder, or in harmonic sequences falling by thirds in that movement’s recapitulation.

Sonata No. 1 in G major for Violin and Piano, Op. 78 JOHANNES BR AHMS (1833-97 )

Although he was not himself a violinist, Johannes Brahms certainly appreciated the instrument’s capacities from close-up. His first professional experiences as a grown-up had been accompanying the Hungarian violinist Ede Reményi on a concert tour in 1853, and one of his lifelong friends (except when they were on the outs) was the eminent violinist Joseph Joachim. Brahms knew what he was about when he produced such masterworks as his Violin Concerto and his three violin sonatas, of which this is the first. He composed it in 1878-79, during

summer vacations at Pörtschach, a placid lakeside resort where he also wrote his Violin Concerto; visitors can still arrange to stay in his very room at the Hotel Schloss Leonstain there. In 1877, he reported from Pörtschach that there were “so many melodies flying about that you must be careful not to tread on any.” A serene, bucolic spirit inhabits this piece. The second movement is one of the composer’s great effusions of noble but gentle lyricism. Yes, Brahms will be Brahms, and occasional shadows therefore waft across the landscape, but this sonata is devoid of the deep-seated struggle that fuels so many of his works. In German-speaking lands, this is sometimes called the Regensonate— the “Rain Sonata”—and you might assume that nickname relates to the quiet pizzicato strumming with which the violin accompanies when the piano gets its turn at the heartmelting principal theme of the first movement, three minutes in—plink, plink, plink. But no. It actually concerns the third movement, the main theme of which Brahms borrows from “Regenlied” (Rain Song), a song he had composed several years earlier: “Cascade, rain, cascade down, Wake for me those dreams again, That I dreamed in childhood … When raindrops pattered outside.”

Sonata No. 9 in A major for Violin and Piano, Op. 47, Kreutzer LU DW I G VA N B E E T H OV E N ( 1 7 70 -1 82 7 )

Ludwig van Beethoven studied the violin as a young man in Bonn and spent a stint as an orchestral violist before moving to Vienna to seek his fortune as a pianist and composer. He produced much notable music for the instrument, including a venerated concerto, two single-movement romances, and ten sonatas. Four of those sonatas were written in close succession: his three Op. 30 Violin Sonatas in 1801-02, and the A-major Sonata known as the Kreutzer in 1802-03. The Kreutzer is joined at the hip to the earlier set in that its tarantella-like finale was written to serve as the corresponding section of the A-major Violin Sonata (Op. 30, No.

“As from afar, the magic notes of Mozart’s music still gently haunt me. …” —FRANZ SCHUBERT

1). Beethoven decided to replace it in the earlier sonata with a theme-andvariations, considering the tarantella too brilliant in the context. When he came to compose the Kreutzer Sonata, he therefore had a finished finale in the same key already in hand; and once he decided to recycle it, he composed the two movements that would precede it with the known conclusion in mind, working into the Kreutzer’s first movement allusions to material that would be heard in the hand-me-down finale. Doubtless the most frequently programmed of Beethoven’s violin sonatas, the Kreutzer takes its name from the French violinist Rodolphe Kreutzer, whose playing Beethoven greatly admired but who appears to have never played the piece. It was actually written for a different violinist, though— George Augustus Polgreen Bridgetower, a famous mixed-race violinist born in Poland to a West Indian (or possibly African) father and a European mother. He played the May 1803 premiere, with the composer accompanying, and he no doubt would have been the dedicatee, too, if he and Beethoven hadn’t had a falling out—over jealousy involving a woman, some said.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons Anonymous Becker Violin Fund The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair

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Where Magic Happens

Creating enchanting evenings since 1982 Beaver Creek | 970.949.7728 | mirabelle1.com

JUL

WEDNESDAY 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

ROTELLA RESIDENCE David Kim, violin Dara Morales, violin Burchard Tang, viola Priscilla Lee, cello Ricardo Morales, clarinet

JESSIE MONTGOMERY Voodoo Dolls (5 minutes)

MOZART

THE PHILADELPHIA ORCHESTRA STRINGS

Clarinet Quintet in A major, K. 581 (31 minutes) Allegro Larghetto Menuetto Allegretto con variazioni

he famous “Philadelphia Sound” is distilled to an intimate essence with concertmaster David Kim, principal clarinet Ricardo Morales, his sisterin-law Dara Morales (assistant principal 2nd violin), violist Burchard Tang, and associate principal cellist Priscilla Lee. Wolfgang Amadeus Mozart’s beloved Clarinet Quintet makes a fascinating pairing with Voodoo Dolls by Jessie Montgomery, a suite of dances representing traditional children’s dolls: Russian Matryoshka (nesting dolls), marionettes, rag dolls, voodoo dolls… even Barbie makes an appearance!

Bravo! Vail Gratefully Acknowledges Support For This Evening’s Soirée THIS EVENING’S HOSTS Alysa and Jonathan Rotella SPECIAL GRATITUDE Linda and Mitch Hart

SPONSORED BY Applejack Wine and Spirits Jackson Family Wines Mirabelle Restaurant Vintage Magnolia

Catered by Mirabelle Restaurant

DiscoverVail.com

JUL

THURSDAY 1:00PM COMMUNITY CONCERTS

THE CHAPEL AT BEAVER CREEK Avery Gagliano, piano (Bravo! Vail 2022 Piano Fellow)

J.S. BACH

French Suite No. 3 in B minor, BWV 814 (17 minutes) Allemande Courante Sarabande Anglaise Menuet I—Menuet II—Menuet I Gigue

MOZART

AV E RY G AG L I A N O

COMMUNITY CONCERT

AVERY GAGLIANO IN RECITAL Artist Insights When conceiving of this program, I knew I wanted to open with a work by Johann Sebastian Bach. His music is so centering, and the B minor French Suite, a lesser-performed yet incredibly beautiful piece, was a perfect way to ease into the program. Wolfgang Amadeus Mozart’s A minor Sonata is a great, dramatic contrast to the Bach and transitions wonderfully into Frédéric Chopin’s Barcarolle, which happens to be the only piece on this program in a major key and brings a breath of fresh air after the intense final movement of the Mozart. Chopin is the most famous of Polish composers, but very recently it became a great interest of mine to explore other Polish composers and perform their works. This is how Karol Szymanowski’s delightful and virtuosic B-flat minor Variations came to be the concluding piece of the program. — Avery Gagliano

Piano Sonata No. 8 in A minor, K. 310/300d (20 minutes) Allegro maestoso Andante cantabile con espressione Presto

CHOPIN

Barcarolle in F-sharp major, Op. 60 (9 minutes)

SZYMANOWSKI

Variations in B-flat minor, Op. 3 (11 minutes) Tema: Andantino tranquillo e semplice Variation 1: L’istesso tempo Variation 2: Agitato Variation 3: Andantino quasi tempo di Mazurka Variation 4: Con moto Variation 5: Lento dolce Variation 6: Scherzando, Vivace molto Variation 7: Allegro agitato ed energico Variation 8: Meno mosso. Mesto Variation 9: Maggiore. Tempo di valse. Grazioso Variation 10: Andantino dolce Variation 11: Andantino dolce affettuoso Variation 12: Allegro con fuoco

Bravo! Vail Gratefully Acknowledges Support For This Afternoon’s Concert Anonymous (2) Alpine Bank The Christie Lodge Kathy Cole

Marijke and Lodewijk de Vink Cookie and Jim Flaum Carole A. Watters

JUL

THURSDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Nathalie Stutzmann, conductor Haochen Zhang, piano

BEETHOVEN

Piano Concerto No. 1 in C major, Op. 15 (34 minutes) Allegro con brio Largo Rondo: Allegro

— INTERMISSION — SCHUBERT

Symphony in C major, D. 944, Great (50 minutes) Andante—Allegro ma non troppo Andante con moto Scherzo. Allegro vivace—Trio Finale. Allegro vivace Following the performance, join a brief talkback with The Philadelphia Orchestra Principal Guest Conductor Nathalie Stutzmann and Bravo! Vail Artistic Director Anne-Marie McDermott.

N AT H A L I E S T U T Z M A N N

BEETHOVEN & SCHUBERT WITH STUTZMANN THIS EVENING’S PERFORMANCE IS PRESENTED BY VERA AND JOHN HATHAWAY ANN HICKS CAROL AND PAT WELSH SPECIAL GRATITUDE TO Berry Charitable Foundation The Francis Family The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society SPONSORED BY

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Sharron and Herbert Bank; Penny Bank Melinda and Tom Hassen Pam and Don Hutchings Museo Kaluz SOLOIST SPONSORS Nathalie Stutzmann, conductor, sponsored by Virginia J. Browning Haochen Zhang, piano, sponsored by Leslie Melzer

Piano Concerto No. 1 in C major, Op. 15 (ca.1795/1800) LU DW I G VA N B E E T H OV E N ( 1 7 70 -1 82 7 )

hough this was not the first piano concerto Beethoven composed, it was the first he published, which is why it is somewhat deceptively labeled “No. 1.” His so-called Piano Concerto No. 2 in B-flat major pre-dated this one, occupying the composer for much of the early 1790s, perhaps even as early as 1788, whereas this C-major Concerto appears to date from 1795 (it was premiered on December 18 of that year). In fact, he had already written a piano concerto earlier than either of them, back in 1784, when he was 13 years old—an un-numbered concerto that survives in an unorchestrated piano score. Soon after he moved from his native Bonn to the musical hotbed of Vienna in 1792, Beethoven signed on as a pupil of Franz Joseph Haydn. The relationship turned out to be mostly cordial but not particularly fruitful, and Beethoven soon eked out his education by studying counterpoint with Johann Georg Albrechtsberger,

the Kapellmeister of St. Stephen’s Cathedral. He also started cultivating a circle of potential patrons. He had reasonable success in gaining access to influential aristocrats, serving as piano teacher to some of them, and quite a few sponsored him in concerts at their impressive homes. These strands came together in Beethoven’s C-major Piano Concerto, which was written while Beethoven was living as a houseguest of Prince Carl Lichnowsky, which bears a dedication to Princess Barbara Odescalchi (a noble supporter who at least by 1797 was also his piano student), and which was premiered at a concert organized by Haydn for the principal purpose of showing off some of his own “London” Symphonies. Anyone writing a piano concerto in Vienna at that time did so in the shadow of the late lamented Mozart, several of whose concertos Beethoven had in his performance repertoire. There is much that is “Mozartean” in this work, particularly in sections that make prominent use of the trumpets, horns, and timpani that Mozart was fond of employing in C-major orchestral pieces, including three of his four piano concertos in that key. But on the whole this concerto of Beethoven’s exhibits a more assertive originality than had his Concerto in B-flat major. The first movement displays the subtlety of a profound musical intelligence, and musical connoisseurs can profitably investigate its structural niceties, particularly in the magical development section in its middle. The Largo is moody and contemplative, prefiguring such famous slow movements as that of the Pathétique Sonata, which would follow within a few years. But it is in the finale that we glimpse the most unmistakably “Beethovenian” traits, including a boisterous sense of humor, an appetite for mixing high sophistication with less elevated references, and an abiding fondness for surprise.

Symphony in C major, D. 944, Great (1825-26) F R A N Z S C H U B E R T ( 1 7 9 7- 1 8 2 8 )

Symphonic nicknames are usually bestowed by people other than the

composer well after symphonies are written. The severest of cognoscenti sometimes disdain their use, but they can be apt and handy. Calling this the Great Symphony in C major derived from Schubert’s mentioning in a letter to friend that some large-scale chamber pieces he was working on would serve as preparation for a “grosse Sinfonie”—a “large” or “great” symphony—he intended to write (which, in the event, would be this piece). In this case, the name makes it easy to differentiate between Schubert’s Great C-major Symphony and another he wrote in the same key, his Symphony No. 6 in C major (the Little). It is “great” in both quantity and quality. Robert Schumann, wearing his critic’s hat in 1840, presented a rapturous review of the piece when it was published a year after its belated premiere. In fact, Schumann had been largely responsible for that premiere; he had “discovered” the manuscript in the possession of the composer’s brother and had passed it along to his friend Felix Mendelssohn to conduct. Wrote Schumann: “Here, beside sheer musical mastery of the technique of composition is life in every fiber, color in the finest shadings, meaning everywhere, the acutest etching of detail, and all flooded with a romanticism which we have encountered elsewhere in Franz Schubert. And this heavenly length, like a fat novel in four volumes by Jean Paul—never-ending.”

Grandeur does indeed inform this symphony, whose four movements usually cover between 45 minutes and an hour in performance, depending on whether repeats are observed. The symphony opens with a solo by the horn, the quintessential Romantic instrument, intoning a spacious, dignified melody that will not only serve as an essential musical cell for the introduction (Andante) but also play a role in the Allegro ma non troppo movement that emerges from it, particularly in its snowballing coda. In the second movement, an opening march plays itself out and yields to chorale-like expanse of lyricism and, after a mysterious transition, a return of the march theme. Though it is the shortest movement (not by much, if all of Schubert’s repeats are respected), the richly-scored Scherzo seems as expansive as anything else in this symphony, far surpassing what a listener might have expected from a movement that traditionally served as something like a sorbet between courses. The Finale is another bigboned essay in exuberance. It would have to be big to serve as a logical conclusion to a symphony of this scale, and Schubert uses its 15 minutes to wrap things up in every way possible, recalling melodic bits, rhythmic figures, and key relationships we have already witnessed in the earlier movements.

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JUL

FRIDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK 5:00PM GERALD R. FORD AMPHITHEATER LOBBY Marc Shulgold, speaker

THE PHILADELPHIA ORCHESTRA

DANIEL LOZ AKOVICH

Nathalie Stutzmann, conductor Daniel Lozakovich, violin

TCHAIKOVSKY

Polonaise from Eugene Onegin (5 minutes)

PROKOFIEV

Violin Concerto No. 2 in G minor, Op. 63 (26 minutes) Allegro moderato Andante assai—Allegretto—Tempo I Allegro ben marcato

— INTERMISSION — TCHAIKOVSKY

Symphony No. 6 in B minor, Op. 74, Pathétique (45 minutes) Adagio—Allegro non troppo—Andante— Allegro vivo—Andante come prima— Andante mosso Allegro con grazia Allegro molto vivace Adagio lamentoso—Andante

TCHAIKOVSKY’S SIXTH SYMPHONY THIS EVENING’S PERFORMANCE IS PRESENTED BY SUSAN AND VAN CAMPBELL LINDA FARBER POST AND DR. KALMON D. POST SPECIAL GRATITUDE TO Berry Charitable Foundation The Sidney E. Frank Foundation The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Sturm Family and ANB Bank SPONSORED BY

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Julie and Bill Esrey Jane and Michael Griffinger Anne and Hank Gutman Teri Perry Susan and Richard Rogel SOLOIST SPONSORS Daniel Lozakovich, violin, sponsored by Jane and Paul Lewis Nathalie Stutzmann, conductor, sponsored by Gina Browning & Joe Illick and Virginia J. Browning

Polonaise from Eugene Onegin (1877-78) P Y O T R I LY I C H T C H A I K O V S K Y (1840-93)

he Polonaise we hear in this concert opens the third act of Tchaikovsky’s opera Eugene Onegin, based on Alexander Pushkin’s hugely influential novel-in-verse of the same title. The polonaise was a dance of Polish origins, always in triple time and with the characteristic rhythmic accompaniment of bum bum-da bum / bum bum bum. It first emerged as a folk-dance of simple structure, but by the mid-18th century it was showing up as a fashionable dance throughout Europe. In the early 19th century it became so popular in Poland that it gave up some of the grandeur it had achieved in favor of banal domesticity. In 1811, the Polish composer Józef Elsner worried in a letter that “everything that is pleasing today may be converted into a polonaise.” Nonetheless, Elsner did his part in holding up the ambitious possibilities of the form, partly by instilling an appreciation of the dance’s potential in his pupil Frédéric Chopin, who would produce supreme examples.

In the symphonic world, however, the polonaise moved forward most forcefully in Russia, where its inherent pomp was perfectly suited to the almost unimaginable grandeur of the imperial court of the czars and czarinas. Operas by Glinka, Musorgsky, Borodin, and Rimsky-Korsakov all made impressive use of polonaises, and Tchaikovsky employed polonaises for heightened moments in his operas The Queen of Spades and Vakula the Smith, as well as in Eugene Onegin. In this last opera we find a polonaise in progress in a palace in St. Petersburg, launching a scene that then proceeds to a less lofty dance, a schottische. Tchaikovsky’s use of the polonaise in such a context might be criticized as obvious and generic; and yet, the popularity of the polonaise in 19thcentury Russia was such that no other dance would have served as authentically in that context.

Violin Concerto No. 2 in G minor, Op. 63 (1935) S E R G E I P R O KO F I E V ( 1 89 1-1 95 3)

Prokofiev slipped out of his native Russia just ahead of the October Revolution and spent more than a decade as an expat in the United States and France. By 1932 his steps began turning homeward to what in the meantime had become the Soviet Union, and in 1936 he settled in Moscow for good. He composed his Violin Concerto No. 2 while he was still based part-time in Paris and on the verge of returning to the Soviet Union. At about the same time, he was creating his splendiferous ballet score Romeo and Juliet, which this concerto mirrors in numerous passages. “Reflecting my nomadic concertizing experience,” he wrote in his so-called Short Autobiography, “the concerto was written in the most diverse countries: the main subject of the first movement was written in Paris, the first theme of the second movement in Voronezh, the instrumentation was completed in Baku, and the premiere took place in December 1935 in Madrid.” He initially thought of titling the piece “Concert Sonata for Violin and Orchestra,” but he gave up that unnecessary complication and called it simply Violin Concerto No. 2, his

Violin Concerto No. 1 having been premiered a dozen years earlier. Prokofiev was a master orchestrator. His Violin Concerto No. 2 brims with extraordinary, if sometimes spare, instrumental combinations, including imaginative percussion effects. He calls for five percussion instruments—bass drum, snare drum, triangle, cymbals, and castanets— arranging everything so that all can be handled by a single player if necessary. It has been suggested that the castanets were added late in the orchestration process, just after plans changed such that the concerto would be premiered in Madrid rather than Paris. One wonders if a passage of “Spanish rhythms” in the string parts near the end of the third movement was similarly invented.

Symphony No. 6 in B minor, Op. 74, Pathétique (1893) P Y O T R I LY I C H T C H A I K O V S K Y (1840-93)

The name Pathétique—to be understood in the classic connotation of “infused with pathos” rather than the modern sense of “sadly inept”— was suggested by Tchaikovsky’s brother the day after the symphony’s premiere. The composer embraced it enthusiastically—for about 24 hours. Then he shot off a note to his publisher asking that the name not be printed on the title page after all. The publisher knew a good

marketing hook when he saw one and ignored Tchaikovsky’s directive. Tchaikovsky told his nephew that the piece would have “a program of a kind that would remain an enigma to all …, [a] program saturated with subjective feeling.” Even without that intimation, a listener would suspect that something specific was being recounted through this symphony. This time, Tchaikovsky had his way; the exact program remains a mystery. We have a general idea, though. Before he set any notes to paper, he penned a cursory sketch toward a scenario: “The ultimate essence of the thirst for activity. Must be short. (Finale DEATH—result of collapse.) Second movement, love; third, disappointments; fourth ends dying away (also short).” “It was not exactly a failure,” Tchaikovsky reported of the premiere, “but it was received with some hesitation.” He should not have been surprised. What was an audience to make of a symphony so unorthodox as this, so redolent of private agony, so cryptic that its ending dies away in a whimper of nearly inaudible pianissississimo? He died nine days after the premiere, apparently the victim of cholera (though suicide has been suggested— and endlessly debated). Three weeks later, his final symphony received its second performance. “This time,” Rimsky-Korsakov wrote, “the public greeted it rapturously.”

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JUL

SATURDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Nathalie Stutzmann, conductor Ricardo Morales, clarinet Choong-Jin Chang, viola

COPLAND

Fanfare for the Common Man (3 minutes)

BRUCH

Concerto in E minor for Clarinet, Viola, and Orchestra, Op. 88 (17 minutes) Andante con moto Allegro moderato Allegro molto

— INTERMISSION — BRAHMS

Symphony No. 4 in E minor, Op. 98 (40 minutes) Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato—Più allegro

BRAHMS’ FOURTH CONDUCTED BY STUTZMANN THIS EVENING’S PERFORMANCE IS PRESENTED BY JAYNE AND PAUL BECKER BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Nancy and Richard Lubin Wendy and Paul Raether Roberta and Ernie Scheller SOLOIST SPONSORS Ricardo Morales, clarinet, sponsored by Mimi and Keith Pockross Nathalie Stutzmann, conductor, sponsored by Virginia J. Browning

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Fanfare for the Common Man (1942) A ARON COPL AND (1900-90)

s World War II raged, the British conductor Eugene Goossens, music director of the Cincinnati Symphony Orchestra, commissioned 18 composers to write short fanfares for brass and percussion that could serve as uplifting program-openers on each of his orchestra’s concerts during the 1942-43 season. “It is my idea to make these fanfares stirring and significant contributions to the war effort,” he said. In addition to Aaron Copland, the roster included such notables as Howard Hanson, Darius Milhaud, Walter Piston, William Grant Still, and Virgil Thomson. Most of the pieces celebrated a single ally nation or military unit, and for a while it seemed that Copland would be no exception, as he weighed the possibility of writing a fanfare to honor Lidice (the Czech town annihilated by the Nazis), or perhaps the allied paratroopers or the four freedoms (a bow to Franklin D. Roosevelt’s 1941 State of the Union Address). In the end he settled on a title that was at once general and specific. “It was the common man,

after all, who was doing all the dirty work in the war and the army,” he later explained. “He deserved a fanfare.” So was born the Fanfare for the Common Man. Its memorable contours became instantly popular: stark trumpets proclaiming a proud, unhurried theme born of optimistically rising intervals, leisurely expanding from a unison statement to two-part harmony divided between the trumpet and horn sections, and then to the fully harmonized texture of the entire brass choir. Copland initially viewed his Fanfare for the Common Man as just a piece of occasional music that would be forgotten once its occasion was past, but in the summer of 1946, he expanded and reshaped it to open the finale of his Third Symphony.

that 1911, when he composed this concerto, was also the year of Stravinsky’s Petrushka and Schoenberg’s essentially atonal Six Little Piano Pieces.) In his final decade, Bruch grew especially fond of mellow instruments—clarinet, horn, viola, cello. The combination of clarinet and viola provides a feeling of rich luxury, which is heightened by relatively relaxed tempos in the first two movements, a truly rapid tempo being held in reserve until the finale. A curiosity: in this concerto, Bruch begins with a chamberscaled orchestra and increases the forces in each of the succeeding movements, the added instrumental heft enhancing the growing rhythmic momentum.

Concerto in E minor for Clarinet, Viola, and Orchestra, Op. 88 (1911)

Symphony No. 4 in E minor, Op. 98 (1884-85)

M A X B R U C H ( 1 8 3 8 -1 920)

The only works of Max Bruch you may reasonably expect to encounter nowadays are his Violin Concerto No. 1, his Scottish Fantasy (also for violin and orchestra), his Kol nidrei (for cello and orchestra), and his Eight Pieces for Clarinet, Viola, and Piano (from 1910). The following year he produced this double concerto spotlighting the same instruments as the Eight Pieces. The impetus for both compositions was his son, Max Felix (the family called him Maxel), who studied at the Berlin Conservatory and became a virtuoso clarinetist as well as a competent composer. When his father wrote these works, Maxel was teaching at a music school in Hamburg and was earning glowing reviews as a performer. In the course of his long career, Bruch held music directorships in Koblenz, Berlin, Liverpool, and Breslau, and from 1890 to 1911 he taught composition at the Berlin Conservatory. He maintained a stalwart, conservative attitude to music, expressing disdain for the advances of Liszt and Wagner while prolonging a musical language anchored in Mendelssohn and Schumann. By the time he died, at the age of 83, Bruch was considered hopelessly old-fashioned. (Consider

JOHANNES BR AHMS (1833-97 )

In his final symphony, Brahms achieved a work of almost mystical transcendence born of opposing emotions: melancholy and joy, severity and rhapsody, solemnity and exhilaration. His friend Clara Schumann recognized this duality already in its first movement, observing, “It is as though one lay in springtime among the blossoming flowers, and joy and sorrow filled one’s soul in turn.” He composed it during summer vacations at Mürzzuschlag, a charming

village in the Styrian Alps. There he produced the first two movements in 1884, the rest in 1885. He wrote from there to the conductor Hans von Bülow that his symphony-inprogress “tastes of the climate here; the cherries are hardly sweet here— you wouldn’t eat them!” Brahms was given to disparaging his works—in fact, he once described this symphony as “another set of polkas and waltzes”— but in this case he perfectly evoked the bittersweet quality that inhabits many of the symphony’s pages. Although it is cast in the same classical four-movement plan as his earlier symphonies, Brahms’ Fourth seems more tightly unified throughout, thanks in part to the pervasive insistence on the interval of the third—especially the minor third. Its movements accordingly unroll with a terrific sense of cumulative power. The opening movement is soaring and intense, and the second is by turns agitated and serene. The Allegro giocoso represents the first time Brahms included a real scherzo in a symphony, quite a contrast to the lighter, even wistful allegretto intermezzos that had served as the third movements of his first three. And for his finale, Brahms unleashes a gigantic passacaglia, a neo-Baroque structure in which an eight-measure progression (derived from the last movement of Bach’s Cantata No. 150) is subjected to 32 variations of widely varying character.

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DIVE INTO GREAT MUSIC

IMMERSIVE EXPERIENCES July 18 – 19, 2022 Bravo! Vail’s Immersive Experiences studies a specific theme or body of work in depth through performances, lectures, and other avenues of exploration.

his season, “A Love Story in Song” examines the intense, intimate relationships between composers Robert Schumann, Clara Schumann, and Johannes Brahms and the impact these connections had on their lives and work, curated and performed by tenor Nicholas Phan, soprano Susanna Phillips, pianist Myra Huang, and Bravo! Vail’s Artistic Director AnneMarie McDermott.

NICHOLAS PHAN

Bravo! Vail Artistic Excellence Fund The Francis Family The Therese M. Grojean Vocalist Fund The Judy and Alan Kosloff Artistic Director Chair Town of Vail

SUSANNA PHILLIPS 98 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

ROBERT & CLARA SCHUMANN

SCHEDULE AT A GLANCE JUL

A Love Story In Song, Part I..................................................100

JUL

A Love Story In Song, Part II................................................ 102

18 19

JOHANNES BRAHMS

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

JUL

MONDAY 7:00PM IMMERSIVE EXPERIENCES SERIES

DONOVAN PAVILION Susanna Phillips, soprano Nicholas Phan, tenor Myra Huang, piano Anne-Marie McDermott, piano

PART I (24 MINUTES) BACH

Prelude and Fugue in C-sharp Major

R. SCHUMANN

Unterm Fenster, Op. 34, No. 3 Der Himmel hat eine Thräne geweint

C. SCHUMANN

Er ist gekommen in Sturm und Regen Liebst du um Schönheit

R. SCHUMANN

Schön ist das Fest des Lenzes Flügel! um zu fliegen über Berg und Thal SUSANNA PHILLIPS

C. SCHUMANN

Warum willst du And’re Fragen

In der Nacht, Op. 74, No. 4

— PAUSE — PART II (23 MINUTES) R. SCHUMANN

Frauenliebe und Leben

— PAUSE — PART III (22 MINUTES) R. SCHUMANN

Tanzlied, Op. 78, No. 1 Er und Sie, Op. 78, No. 2 Selections from Myrthen, Op. 25 Widmung Die Lotosblume Du bist wie eine Blume Liebesgarten, Op. 34, No. 1

C. SCHUMANN

Ich hab’ in deinem Augen Liebeszauber Loreley Die gute Nacht die ich dir sage 100

A LOVE STORY IN SONG, PART I

obert Schumann, Clara Wieck Schumann, Johannes Brahms: they were the most captivating threesome in the history of classical music. In 1830, Robert moved into the Leipzig home of his piano teacher, Friedrich Wieck, whose daughter Clara soon began to concertize as a prodigiously gifted young pianist. A spark ignited five years later, when Clara was 15. Friedrich was furious about this budding romance and forbade the couple to see each other. Clara and Robert filed legal petitions to marry without her father’s consent, and on September 12, 1840, Clara became Mrs. Robert Schumann, one day short of her 21st birthday. Their marriage was apparently happy and fulfilling. From 1841 to 1854 they had eight children. They appreciated each other’s accomplishments

without being overly competitive. But there were challenges, too, often involving Robert’s volatile personality and obsessive phobias. In 1850 the Schumanns passed through Hamburg to give concerts— Clara as soloist, Robert conducting. A local musician named Johannes Brahms, young and unknown, delivered a parcel of his compositions to their hotel and then received it back unopened. He licked his wounds, and in September 1853 he appeared at their home in Düsseldorf armed with a letter of introduction from a violinist they knew. There was an instant connection between the musical power couple (Robert was 43, Clara 34) and the handsome visitor (aged 20). Enchantment ensued— mutual artistic infatuation, for sure, and … well, nobody knows what happened behind closed doors. In

©Z ACH A RY M A X W EL L

R. SCHUMANN

MYRA HUANG

October, Robert published an article proclaiming Johannes as a musical Messiah “springing forth like Minerva fully armed from the head of Jove.” Only a few months later, at the end of February 1854, Robert pushed his way through Carnival revelers and leapt off a bridge into the frigid Rhine. He survived but was committed to an asylum, where he died insane two and a half years later. Johannes moved into the Schumann home for a while. Clara gave up composing. Whether she and Johannes were romantically involved during or after Robert’s life remains a matter of speculation. There is no question that love flowed generously among the three— not just professional admiration but

deep, mutually enriching devotion. Their music bears witness. Robert’s compositions are peppered with references to Clara, some of them encoding her name into musical notes. He wrote piano variations on a theme by Clara, and both Clara and Johannes wrote variations on a theme by Robert. A five-note cipher of the letters C-LA-R-A runs through many of Robert’s pieces and shows up in some of Johannes’, too. Even in a more general sense, something profound lies behind the impassioned love songs each of these figures composed.

PROGRAM NOTES CONTINUED ON PAGE 102

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons Bravo! Vail Artistic Excellence Fund The Francis Family The Therese M. Grojean Vocalist Fund The Judy and Alan Kosloff Artistic Director Chair Town of Vail

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JUL

TUESDAY 7:00PM IMMERSIVE EXPERIENCES SERIES

DONOVAN PAVILION Susanna Phillips, soprano Nicholas Phan, tenor Myra Huang, piano Anne-Marie McDermott, piano

PART I (21 MINUTES) C. SCHUMANN Nocturne, Op. 6

R. SCHUMANN

Familien-Gemälde, Op. 34, No. 4

BRAHMS

Wie melodien zieht es mir leise durch den Wind Unbewegte laue Luft, Op. 57, No. 8 Die Mainacht Von ewige Liebe, Op. 43 No. 1

— PAUSE — NICHOLAS PHAN

PART II (28 MINUTES) R. SCHUMANN

Dichterliebe, Op. 48

— PAUSE — PART III (25 MINUTES)

A LOVE STORY IN SONG, PART II

C. SCHUMANN

Romance in A minor, Op. 21, No. 1

BRAHMS

Selections from Neue Liebeslieder, Op. 65 An jeder Hand die Finger Rosen steckt mir an die Mutter Hungarian Dance No. 5 in F-sharp minor Selections from Liebeslieder Walzer, Op. 52 Wohl schön bewandt Nicht wandle, mein Licht

R. SCHUMANN

Selections from Spanische Liebeslieder, Op 138 Intermezzo O wie lieblich ist das Mädchen Tief im Herzen trag’ ich Pein

BRAHMS

So lass uns wandern, Op. 75, No. 3 102

PROGRAM NOTES CONTINUED FROM PAGE 101

Once listeners start thinking about the intertwined relationships of Robert, Clara, and Johannes, they may start to hear their love songs as more specifically targeted— sometimes joyful, sometimes not. At the heart of these Immersive Experiences are two song cycles by Robert: Dichterliebe and Frauenliebe und Leben, composed respectively in June and July of 1840. The 16 songs of Dichterliebe (A Poet’s Love, to texts by Heinrich Heine) recount a trajectory in which young love turns sour and leads to a tragic end, although it does not unroll in a clearly chronological sequence. In this meditation on the birth, life, and death of love, the poet glimpses its aspects with crystalline

precision—the springtime of the heart, the lover’s eyes, the doubts and conflicts, the search for guidance from nature, the stentorian, the sarcastic, the bitter, the tender, the foolish, the wise. Schumann binds these perceptions together with a score of exceptional variety and sensitivity, richly interlinked through recurring melodic and harmonic touches. Nearly all these songs are tiny. Most last less than two minutes—the breathless outpouring of “Die Rose, die Lilie, die Taube, die Sonne” runs just 30 seconds—and the longest, the concluding “Die alten, bösen Lieder,” stretches to five minutes thanks only to its extended piano postlude, a recollection of music from an earlier, happier spot in the cycle. The eight songs of Frauenliebe und Leben (Woman’s Love and Life, to poems by Adelbert von Chamisso)

ANNE-MARIE MCDERMOT T

cover broader territory. The cycle chronicles a romantic relationship told from the woman’s perspective, from the stirrings of first love, through passionate dedication, the wedding, the raising of a family, the comfort of long-term marriage, and finally widowhood. It’s hard to pretend that Chamisso’s texts have aged well. The woman’s effusive adulation of her man, and her utter abnegation, are likely to sound dissonant to modern audiences, but they very much reflected the mores of their day. In fact, when Chamisso’s Frauenliebe und Leben poems were published (they were brand new when Robert set them), he was widely complimented for being so forward-looking on the

matter of female emancipation, writing texts that unequivocally implied a woman’s point of view. Each song is a gem, and Schumann ties everything together, as he had in Dichterliebe, with a musical memory. In this case, the conclusion is a reminiscence of music from the cycle’s beginning, infused with new meaning through experience. The halting phrases of a woman experiencing true love for the first time transforms into the very picture of a widow lost in her thoughts, ruminating on happier days.

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Anne-Marie McDermott with the Saint Paul Chamber Orchestra, Bravo! Vail Music Festival 2021. Photo credit: Tomas Cohen

“Each season Bravo! Vail is proud to present outstanding guest pianists. It makes me so proud to offer this gorgeous Yamaha CFX instrument to be played in the beautiful Ford Amphitheater. When I perform on this piano, I’m in absolute heaven.” – Anne-Marie McDermott, Yamaha Artist and Artistic Director, Bravo! Vail

Classic Pianos

classicpianosdenver.com Authorized Yamaha Piano Representative, Vail, CO

JUL

TUESDAY 1:00PM COMMUNITY CONCERTS

THE CHAPEL AT BEAVER CREEK

THE WESTERLIES

(Bravo! Vail 2022 Chamber Musicians in Residence) Riley Mulkerhar, trumpet Chloe Rowlands, trumpet Andy Clausen, trombone Willem de Koch, trombone

DUKE ELLINGTON Echoes of Harlem

DUKE ELLINGTON Where’s the Music

THE WESTERLIES

CHARLES IVES

COMMUNITY CONCERT

THE WESTERLIES: AMERICAN ROOTS

In The Mornin’

CHARLES IVES

Songs My Mother Taught Me

ROBIN HOLCOMB

Excerpts from Wherein Lies the Good

WILLIAM WALKER Louisiana

Artist Insights American Roots weaves a common thread through the colorful tapestry of American music. Drawing upon shape note hymns, the art songs of Charles Ives, and the inimitable pen of Duke Ellington, The Westerlies translate these seemingly disparate collections of repertoire through their horns to find a common American voice. Also included on the program are excerpts from Wherein Lies The Good, an 11-movement work originally written for solo piano by Seattle-based composer/singer-songwriter Robin Holcomb. Holcomb is a longtime friend and mentor to The Westerlies since their childhood in Seattle, and their close personal relationship is reflected in the ensemble’s approach to her music. American Roots presents The Westerlies at their best, cutting trails across the vast expanse of the American musical landscape.

TRADITIONAL Weeping Mary

TRADITIONAL Get Away Jordan

WAYNE HORVITZ Home

The running time of this concert is approximately one hour.

Bravo! Vail Gratefully Acknowledges Support For This Afternoon’s Concert Anonymous Alpine Bank Kathy Cole Marijke and Lodewijk de Vink

Cookie and Jim Flaum The Hythe, A Luxury Collection Resort, Vail Carole A. Watters

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Vail's only wine cellar featuring fine wines from around the world. Superb selection of beer, spirits, cigarettes & cigars from the humidor. FREE DELIVERY AVAILABLE 100 E. Meadow Drive #32 Vail, CO 81657 (970) 479 - WINE (9463) www.vailwine.com

JUL

INSIDE THE MUSIC

NATURALLY MAHLER: DISCUSSION WITH MEMBERS OF THE NEW YORK PHILHARMONIC

WEDNESDAY 1:00PM INSIDE THE MUSIC

VAIL PUBLIC LIBRARY Gabryel Smith, New York Philharmonic Director of Archives and Exhibits

he last time Gustav Mahler conducted his First Symphony was in 1909, when he led the New York Philharmonic in its U.S. premiere during his first year as Music Director. This discussion will explore his final interpretation through the composer’s marked score, which he left in New York and is housed at the Philharmonic archives, as well as the critical responses to the performance. Joined by members of the orchestra, Director of Archives and Exhibits Gabryel Smith will address the Philharmonic’s championship of the work through time—nearly 200 performances and counting—as they dive into the interpretations from Bruno Walter to Leonard Bernstein to Jaap van Zweden. Which performing traditions, begun under Mahler’s tenure, may continue to be heard in today’s orchestra?

JUL

INSIDE THE MUSIC

NATURALLY MAHLER: ADVENTURE WALK

rom 1893 until the end of his life, Gustav Mahler spent most of his summers composing in the Austrian Alps. He even constructed small huts as composing retreats that were designed to bring him as close as possible to nature—his constant, lifelong inspiration—and interspersed his hours of composing work with long hikes through his favorite Bohemian landscapes. This walking tour/lecture explores Mahler’s love of the mountains and details the many ways that nature made its way into his music, guided by Gabryel Smith, Director of Archives and Exhibitions for the New York Philharmonic, with live musical illustrations by The Westerlies along the way.

SATURDAY 9:30AM, 11AM, 1PM INSIDE THE MUSIC

VAIL NATURE CENTER Gabryel Smith, New York Philharmonic Director of Archives and Exhibitions

THE WESTERLIES

(Bravo! Vail 2022 Chamber Musicians in Residence) Riley Mulkerhar, trumpet Chloe Rowlands, trumpet Andy Clausen, trombone Willem de Koch, trombone

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SCHEDULE AT A GLANCE JUL

Beethoven & Mahler

20 Conducted by Van

Zweden......................................... 110 JUL

A World Premiere with

22 the NY Phil................................ 116 JUL

Tao Plays Mozart

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JUL

Mahler’s Sixth

JUL

Tovey Conducts

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A Sondheim

24 Symphony................................ 120 26 Tchaikovsky............................ 124 27 Celebration ........................... 126

PRECISION, POWER, SOUL

NEW YORK PHILHARMONIC In Residence July 20 – 27, 2022 The New York Philharmonic returns to Bravo! Vail in 2022 for its 19th summer residency, performing works both fresh and familiar with its signature brilliance and power.

108 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

he New York Philharmonic plays a leading cultural role in New York City, the United States, and the world, building a tradition of innovation that has allowed it to adapt and thrive over 180 years. Each season the Orchestra connects with up to 50 million music lovers through live concerts in New York and around the world, broadcasts, recordings, and education programs. The 2022/23 season marks a new chapter in the life of America’s longest living orchestra with the opening of the reimagined David Geffen Hall, following an accelerated renovation, and programming that engages with today’s cultural conversations. The NY Phil explores its newly renovated home’s potential by performing repertoire that activates the new concert hall and by launching new presentations, including at the intimate Sidewalk Studio. Season highlights include HOME, a monthlong festival introducing the hall and its new spaces; LIBERATION, a response to cries for social justice; SPIRIT, a reflection on humanity’s relationship with the cosmos; and EARTH, an examination of the climate crisis. The Orchestra gives World, US, and New York Premieres of 12 works and introduces Community Partnersin-Residence, building on impactful collaborations forged with New York City’s local organizations developed over the course of the pandemic. In the 2021/22 season, during the David Geffen Hall renovation, the Orchestra performed at Alice Tully Hall, the Rose Theater at Jazz at Lincoln Center’s Frederick P. Rose Hall, and Carnegie Hall; explored The Schumann Connection, conducted by Gustavo Dudamel; and joined The Mary and James G. Wallach Artist-in-Residence Anthony Roth Costanzo in Authentic Selves: The Beauty Within, exploring questions of identity. Following the February 2020 launch of Project 19, marking the centennial of the 19th Amendment with commissions by 19 women

composers, the NY Phil cancelled 18 months of concerts because of the COVID-19 pandemic. During that period the Orchestra launched NY Phil Bandwagon—free, outdoor, “pullup” concerts featuring Philharmonic musicians that brought live music back to New York City—and NYPhil+, a state-of-the-art streaming platform. The New York Philharmonic has commissioned and/or premiered works by leading composers from every era, from Dvořák’s New World Symphony and Gershwin’s Concerto in F to John Adams’ On the Transmigration of Souls and Tania León’s Stride, the latter two of which received the Pulitzer Prize in Music in 2003 and 2021, respectively. The Philharmonic has made more than 2,000 recordings since 1917; the most recent CDs include Julia Wolfe’s Grammy-nominated Fire in my mouth and David Lang’s prisoner of the state (both available on Decca Gold). The Orchestra’s extensive history is available free online through the New York Philharmonic Shelby White & Leon Levy Digital Archives, which comprises approximately four million

pages of documents, including every printed program since 1842 and scores and parts marked by past musicians and Music Directors such as Mahler and Bernstein. A resource for its community and the world, the Orchestra complements annual free concerts across the city— including the Concerts in the Parks, Presented by Didi and Oscar Schafer— with education projects, including the famed Young People’s Concerts, which served children and schools as virtual experiences during the pandemic. The Orchestra has appeared in 436 cities in 63 countries, including Pyongyang, DPRK, in 2008, the first visit there by an American orchestra. Founded in 1842 by local musicians, the New York Philharmonic is the oldest symphony orchestra in the United States, and one of the oldest in the world. Notable figures who have conducted the Philharmonic include Tchaikovsky, Richard Strauss, Stravinsky, and Copland. Jaap van Zweden became Music Director in 2018–19, succeeding musical leaders including Leonard Bernstein, Arturo Toscanini, and Gustav Mahler.

Bravo! Vail Gratefully Acknowledges Support from the Friends of the New York Philharmonic FIRST CHAIR ($50,000+) Marijke and Lodewijk de Vink Leni and Peter May Town of Vail SYMPHONY ($40,000+) Julie and Tim Dalton Georgia and Don Gogel Lyn Goldstein Mr. Claudio X. Gonzalez Linda and Mitch Hart Barbie and Tony Mayer Billie and Ross McKnight Amy and James Regan June and Paul Rossetti ENSEMBLE ($30,000+) Vera and John Hathaway Ann and Alan Mintz VIRTUOSO ($20,000+) Jayne and Paul Becker Jean and Harry Burn Amy and Steve Coyer Tom Grojean June and Peter Kalkus

Judy and Alan Kosloff Honey M. Kurtz Kay and Bill Morton Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Douglas Tansill Carol and Pat Welsh OVATION ($15,000+) Ron Davis Penny and Bill George Melinda and Tom Hassen Cynnie and Peter Kellogg Ferrell and Chi McClean Museo Kaluz Margaret and Alex Palmer Carolyn and Steve Pope Sandra and Alejandro Rojas Terie and Gary Roubos Barbara and Carter Strauss Jennifer and Michael Sylvester Lisa Tannebaum and Don Brownstein Anne and Chris Wiedenmayer

ALLEGRO ($10,000+) Pamela and David Anderson Nancy and Andy Cruce Liz and Tommy Farnsworth Carole C. and CDR. John M. Fleming Laura and Bill Frick Martha Head Karen and Jay Johnson Mr. and Mrs. Arthur Kelton, Jr. Dr. and Mrs. Frederick Kushner Donna and Patrick Martin Jean and Ray Oglethorpe Linda Farber Post and Dr. Kalmon D. Post Ann and Tom Rader Carole and Peter Segal Sue and Marty Solomon and P&S Equities, Inc Nancy and Harold Zirkin

Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

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JUL

WEDNESDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK 5:00PM GERALD R. FORD AMPHITHEATER LOBBY Jack Sheinbaum (University of Denver), speaker JA A P VA N Z W E D E N

NEW YORK PHILHARMONIC Jaap van Zweden, conductor Seong-Jin Cho, piano

BEETHOVEN

Piano Concerto No. 5 in E-flat major, Op. 73, Emperor (38 minutes) Allegro Adagio un poco moto [attacca] Rondo: Allegro

— INTERMISSION — MAHLER

Symphony No. 1 in D major (56 minutes) Langsam, schleppend Kräftig bewegt Feierlich und gemessen Stürmisch bewegt

BEETHOVEN & MAHLER CONDUCTED BY VAN ZWEDEN SPECIAL THANKS AND APPRECIATION TO LENI AND PETER MAY THIS EVENING’S PERFORMANCE IS PRESENTED BY JULIE AND TIM DALTON ANN AND ALAN MINTZ AMY AND JAMES REGAN JUNE AND PAUL ROSSETTI SPECIAL GRATITUDE TO Berry Charitable Foundation The Francis Family The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

SPONSORED BY Jean and Ray Oglethorpe Sue and Marty Solomon and P&S Equities, Inc. Lisa Tannebaum and Don Brownstein SOLOIST SPONSORS

There’s more to explore in the Bravo! Vail Music Festival app.

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Jaap van Zweden, conductor, sponsored by Gina Browning & Joe Illick and Sheika Gramshammer, in memory of Pepi Gramshammer

Piano Concerto No. 5 in E-flat major, Op. 73, Emperor (1809) LU DW I G VA N B E E T H OV E N ( 1 7 70 -1 82 7 )

apoleon’s troops marched in to occupy Vienna in 1805, and in ensuing years he expanded his reach to cover much of Europe. In 1809, French troops again descended on Vienna, now meeting terrific military resistance but ultimately prevailing. Monetary inflation swung out of control and many of Vienna’s leading citizens fled the city. Beethoven considered joining the exodus, but in early 1809 three of his noble patrons guaranteed him a substantial annuity for life so long as he remained in Vienna or “another city in the hereditary lands of his Austrian-Imperial Majesty”— so he decided to stay despite it all. “We have been suffering misery in a most concentrated form,” he wrote to his publisher that July. “What a destructive and disorderly life I see and hear around me, nothing but drums, cannons, human misery in every form.” Through it all he managed to compose his final piano concerto, an uplifting work nurtured from dismal surroundings. It was premiered in

Leipzig in November 1811, and when it reached Vienna two-and-a-half months later, a French officer in the audience had the audacity to shout out “C’est l’Empereur!”—at least so the tale is told. The nickname stuck, ironically since Beethoven generally disdained the emperor in question. Every note in this work sounds essential, from the opening chords and ensuing piano cadenza—certainly unanticipated by its first hearers. The slow movement is an exercise in transcendence, entirely at odds with the bellicose world into which it was born. A short, muted set of variations on a hymn-like theme, it finally drifts into reverie before the music slides seamlessly through a harmonic shift into an unconnected key for the spirited finale. Here a dance-like spirit is thrown into relief through the interjection of a surprising moment of adagio and pianissimo before a rowdy but scintillating coda. The piece usually runs to about forty minutes, making it the longest of Beethoven’s piano concertos (though shorter than his Violin Concerto). Early listeners were flabbergasted. “The immense length of the composition robs it of the impact that this product of a gigantic intellect would otherwise practice upon its hearers,” complained a review of the premiere. Five decades later, Anton Schindler, the composer’s amanuensis, observed: “Who would today find this concerto excessively long? This critical remark shows us once more that it was then, as later, the external form of Beethoven’s works that gave the most offence.” As was so often the case, Beethoven had a habit of contravening expectations in a way that set new norms for succeeding generations.

Symphony No. 1 in D major (1884-88; revised through 1906) G U S TA V M A H L E R ( 1 8 6 0 - 1 9 1 1 )

Mahler arrived in Budapest in 1888 to become director of the Royal Hungarian Opera, and a year later he conducted the Budapest Philharmonic in the premiere of his Symphony No. 1. He insisted that its disastrous reception prevented his being accepted as a composer for the rest of his life. “My friends bashfully avoided me afterward,” he said. “Nobody dared

talk to me about the performance and my work, and I went around like a sick person or an outcast.” The piece played then differed from the symphony as it is normally heard today. It was identified not as a symphony but rather as a symphonic poem, and it included, as its second section, a movement Mahler titled Blumine (Bouquet of Flowers). He described a program in which the movements portrayed spring, happy daydreams, a wedding procession, a funeral march to accompany the burial of a poet’s illusions, and a triumphant advance toward spiritual victory. Eventually he would delete the Blumine movement (it remained unpublished for seven decades), the title Titan (which he briefly attached to this symphony), and most of the explicit programmatic references, striving to make everything “more slender and transparent,” as he told his friend Richard Strauss. It seems that he was struggling with the gulf that separated “program music” and “absolute music”—the aesthetic rift that divided partisans of explicitly depictive music from those who championed music as an inherently

abstract enterprise. Mahler seems to have hoped to gain the sympathies of the “program” faction for a while, but in the end he accepted that he was himself an “absolutist.” What remains is an extraordinary achievement of hyper-abundant imagination, all the more amazing for its being a first symphony. The work includes several quotations, sometimes from Mahler’s own prior compositions (especially his Songs of a Wayfarer of 1884), sometimes from other sources. A downright macabre example arrives in the third movement, where a muted solo double bass intones the children’s song “Frère Jacques,” in the minor mode and in the orchestra’s deepest register—a funeral procession, one might think, that is interrupted by a klezmer band that wanders into earshot. The other movements are no less astonishing. The symphony opens with otherworldly music that Mahler marks “Like a sound of nature” (one of the few programmatic references

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 176

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111

A LEGACY OF LIVE MUSIC STARTS WITH YOU

e create something magical together here in Vail, Colorado: Live classical music for our entire community, year-round. With your support, we’ve grown our Bravo! Vail Music Festival into its 35th Season and are continuing to expand our reach year-round by leading music education and outreach through our Music Makers Haciendo Música program and more.

Bravo! Vail is building a bridge to the future. To ensure Bravo! Vail can serve our families and community for generations to come, a robust endowment is needed. Please consider making a legacy gift in your estate plans today so world class music can live on in the Vail Valley.

There are many ways to create a legacy gift, including: • A charitable gift in your will or living trust • Naming Bravo! Vail as co-beneficiary of your IRA • Remembering us with a charitable remainder trust

To learn more about creating a legacy gift, please visit us online at PlannedGiving.BravoVail.org.

Scan the Code to Learn More About Planned Giving

Questions? Contact Vice President of Philanthropy Jason Denhart at 877.812.5700 or jdenhart@bravovail.org

A legacy gift in your estate plan will ensure our Bravo! Vail Music Festival will be here to inspire and excite future generations.

JUL

THURSDAY 1:00PM COMMUNITY CONCERTS

THE CHAPEL AT BEAVER CREEK

THE WESTERLIES

(Bravo! Vail 2022 Chamber Musicians in Residence) Riley Mulkerhar, trumpet Chloe Rowlands, trumpet Andy Clausen, trombone Willem de Koch, trombone

OLAFUR ARNALDS Saman

RANDY NEWMAN THE WESTERLIES

When She Loved Me

JOHN PRINE

COMMUNITY CONCERT

THE WESTERLIES: SONGBOOK

Way Back Then

WOODY GUTHRIE Two Good Men

ARTHUR RUSSELL Eli

JUDEE SILL The Kiss

Artist Insights With Songbook, The Westerlies return to their folk roots for a set of acoustic covers of some of their favorite songs. Listeners are invited into an intimate setting to bask in the warmth and immediacy of the group’s interpretations of John Prine, Judee Sill, Randy Newman, Aphex Twin, Ólafur Arnalds, and Arthur Russell. Many of the arrangements on this program were developed during the early stages of the COVID-19 pandemic, as the ensemble drew upon songs that provided them comforting warmth in the face of great uncertainty. Stripped down to their essence, the brilliance and feeling of these timeless songs are heard in a revelatory new light.

WILLEM DE KOCH Dover

RILEY MULKERHAR A Nearer Sun

APHEX TWIN Avril 14th

CHLOE ROWLANDS When All of This is Over

The running time of this concert is approximately one hour.

Bravo! Vail Gratefully Acknowledges Support For This Afternoon’s Concert Anonymous Alpine Bank Kathy Cole Marijke and Lodewijk de Vink

Cookie and Jim Flaum Vail Racquet Club Carole A. Watters

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SUPPORT BRAVO! VAIL’S EDUCATION & ENGAGEMENT PROGRAMS

Online Auction & Paddle Raise Raise your paddle to support Bravo! Vail’s mission-critical Education & Engagement Programs, which provide access, instruction, enrichment, and professional development opportunities, year-round.

Items for bidding include: Opportunity to Conduct the New York Philharmonic Intimate Experiences with Festival Musicians Unique Adventure Experiences... and more!

July 16 – July 28 Bid early, bid often… inspire and support our musicloving community

The proceeds from this online auction are a powerful investment in our community, supporting Bravo! Vail’s Education & Engagement Programs and enriching people’s lives through the power of music.

Scan the Code to View Items and to Place Your Bid*

Your generosity brings music to thousands of community members of all ages and abilities throughout Eagle County and beyond.

*QR Code link goes live on July 12th to view a preview of the items available for bidding! The auction will officially open on July 16th.

JUL

THURSDAY 6:00PM COMMUNITY CONCERTS

EDWARDS INTERFAITH CHAPEL

THE WESTERLIES

(Bravo! Vail 2022 Chamber Musicians in Residence) Riley Mulkerhar, trumpet Chloe Rowlands, trumpet Andy Clausen, trombone Willem de Koch, trombone

ANDY CLAUSEN Robert Henry

JASON MORAN Arizona Landscape

THE WESTERLIES

CAROLINE SHAW

COMMUNITY CONCERT

THE WESTERLIES: MOVE

Entr’acte

ANDY CLAUSEN New Berlin, NY

CHLOE ROWLANDS Laurie

GOLDEN GATE QUARTET

Artist Insights Move presents The Westerlies’ vision for the future of chamber music: a musical world that celebrates spontaneity, improvisation, and timbral exploration, built around rich harmonies and timeless melodies that linger in one’s ear. At the center of the program is Caroline Shaw’s monumental string quartet, Entr’acte, reimagined by The Westerlies in a way that stretches traditional notions of the expressive potential of brass instruments. The program also includes original compositions by members of the ensemble, showcasing their personal voices as composers next to some of their greatest musical inspirations. With Move, The Westerlies tear down the walls of genre to construct a bold and inclusive musical universe.

Five Spirituals

TRADITIONAL Saro

This running time of this concert is approximately one hour.

Bravo! Vail Gratefully Acknowledges Support For This Evening’s Concert Kathy Cole Marijke and Lodewijk de Vink Cookie and Jim Flaum Carole A. Watters

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JUL

FRIDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK 5:00PM GERALD R. FORD AMPHITHEATER LOBBY Ryan Bañagale (Colorado College), speaker

NEW YORK PHILHARMONIC Jaap van Zweden, conductor Bomsori Kim, violin

CARLOS SIMON

Profiles (World premiere, co-commissioned by Bravo! Vail and the New York Philharmonic) (10 minutes) NEW WORKS SYMPHONIC COMMISSIONING PROJECT The Block Empress of the Blues City of Light

BRUCH

Violin Concerto No. 1 in G minor, Op. 26 (26 minutes) Prelude: Allegro moderato Adagio Finale: Allegro energico

— INTERMISSION — BARTÓK

Concerto for Orchestra (35 minutes) Introduzione: Andante non troppo Allegro vivace Giuoco delle coppie: Allegretto scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante - Presto Following the performance, join a brief talkback with composer Carlos Simon and Bravo! Vail Artistic Director Anne-Marie McDermott.

Funded in part by a generous grant from the Bravo! Vail Artistic Excellence Fund, the National Endowment for the Arts, and Town of Vail. The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

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BOMSORI KIM

A WORLD PREMIERE WITH THE NEW YORK PHILHARMONIC THIS EVENING’S PERFORMANCE IS PRESENTED BY GEORGIA AND DON GOGEL TOM GROJEAN JUDY AND ALAN KOSLOFF BARBIE AND TONY MAYER SPECIAL GRATITUDE TO Berry Charitable Foundation Virginia J. Browning The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society National Endowment for the Arts The New Works Fund Town of Vail SPONSORED BY Pamela and David Anderson Laura and Bill Frick Mr. and Mrs. Arthur Kelton, Jr. SOLOIST SPONSORS Bomsori Kim, violin, sponsored by Maria Santos

Profiles (2022; World premiere, co-commissioned by Bravo! Vail and the New York Philharmonic) CARLOS SIMON (B . 1986)

arlos Simon is much honored for works inspired by AfricanAmerican history and culture. He received the Underwood Emerging Composer Commission of the American Symphony Orchestra, was named a Sundance/Time Warner Composer Fellow at the Sundance Institute, and was given the 2021 Sphinx Medal of Excellence. This orchestral triptych is inspired by artworks of Romare Bearden (1911-88). He lived most of his life in New York City, where he became particularly noted for paintings and collages depicting life in his neighborhood of Harlem from the 1940s through the 1960s and where the Museum of Modern Art honored him with a retrospective exhibition in 1971. Simon reports:

My entry into Bearden’s work was The Block, a multi-panel mural of one block in Harlem in the ’70s. It depicts a funeral home, a nightclub, a church—all the establishments on that block, all so vibrant and colorful. That is the image behind the first movement. Bearden’s paintings incorporate various mediums including watercolors, graphite, and metallic papers. In the same way, this musical piece explores various musical textures which highlight the vibrant scenery and energy that a block in Harlem or any urban city exhibits. The second movement is based on Empress of the Blues, his painting celebrating Bessie Smith. I don’t quote her music specifically, but I allude to some of her attributes, and I feature trombone and cello, which play roughly in her vocal range. To conclude, I turned to City of Light, a stained-glass work he created for a subway station in the Bronx, and I tried to translate into music the super-colorful play of stained glass. Bearden believed that art comes from other art. His visual art was influenced by music, and here my music is influenced by his art.

Violin Concerto No. 1 in G minor, Op. 26 (1864-67)

found the piece “very violinistic”; but that didn’t keep him from offering a good deal of specific advice pertaining to the solo and the orchestral parts, much of which Bruch incorporated as he revised the concerto through 1867. Its structure is compressed compared to “textbook” 19th-century concertos, yet it seems perfectly balanced. Bruch was inherently conservative, and it was accordingly his fate to remain in the shadow of Johannes Brahms, who was five years his elder. Brahms was surely the greater composer, but Bruch was often inspired and frankly original. It is hard to mistake the similarity between the openings of the third movements of Bruch’s G-minor and Brahms’ D-major Violin Concertos, but it is only fair to point out that Bruch’s preceded Brahms’ by a full decade. Joachim would premiere that work, too, but when he was asked to characterize the four most famous German concertos in his repertoire—by Beethoven, Mendelssohn, Bruch, and Brahms—he insisted that Bruch’s was “the richest and the most seductive.”

Concerto for Orchestra (1942-43) B É L A B A R TÓ K ( 1 8 81-1 9 4 5)

Bartók’s Concerto for Orchestra towers as a summit of symphonic music, but it is a miracle that it was written at all. Bartók moved in 1939 from his native Hungary to New York, where he spent the remaining five years of his life. Feeling depressed and isolated, he was plagued by exhaustion and ill health, the first symptoms of the leukemia that would kill him. An ethnomusicology research grant from Columbia University kept him afloat for a while, but by the summer of 1943 the money ran out and his precarious health mandated that he be confined to a hospital. At the instigation of two of Bartók’s similarly displaced Hungarian friends, the conductor Fritz Reiner and the violinist Joseph Szigeti, Serge Koussevitzky (music director of the Boston Symphony) dropped by the hospital and offered a thousand-dollar commission for a new symphonic work.

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 176

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M A X B R U C H ( 1 8 3 8 -1 920)

It would not be quite accurate to label Max Bruch a “one-work wonder,” but his G-minor Violin Concerto does account for almost all of his exposure in modern concert life. In fact, he wrote other pieces featuring violin, including two further concertos and his occasionally programmed Scottish Fantasy. Still, if his production were reduced to the work performed here, his reputation would hardly change. It was a relatively early work, begun tentatively in 1857 but mostly composed from 1864 to 1866, while Bruch was serving as court music director in Koblenz. After it was premiered in 1866, with Otto von Königslow as soloist, Bruch decided to rework it. He sent his score to the more eminent violinist Joseph Joachim, who responded that he

FIRST CHAIR ($50,000+) Marijke and Lodewijk de Vink Leni and Peter May Town of Vail SYMPHONY ($40,000+) Julie and Tim Dalton Georgia and Don Gogel Lyn Goldstein Mr. Claudio X. Gonzalez Linda and Mitch Hart Barbie and Tony Mayer Billie and Ross McKnight Amy and James Regan June and Paul Rossetti ENSEMBLE ($30,000+) Vera and John Hathaway Ann and Alan Mintz VIRTUOSO ($20,000+) Jayne and Paul Becker Jean and Harry Burn Amy and Steve Coyer Tom Grojean June and Peter Kalkus

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JUL

SATURDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Jaap van Zweden, conductor Conrad Tao, piano

NINA SHEKHAR

Lumina (11 minutes)

MOZART

Piano Concerto No. 17 in G major, K. 453 (33 minutes) Allegro Andante Allegretto Cadenzas by Conrad Tao

— INTERMISSION — C O N R A D TA O

DVOŘÁK

Symphony No. 7 in D minor, Op. 70 (40 minutes) Allegro maestoso Poco adagio Scherzo: Vivace Allegro

TAO PLAYS MOZART THIS EVENING’S PERFORMANCE IS PRESENTED BY AMY AND STEVE COYER JUNE AND PETER KALKUS HONEY M. KURTZ CAROLE AND PETER SEGAL SPECIAL GRATITUDE TO

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

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Berry Charitable Foundation The Francis Family The Sidney E. Frank Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Sturm Family and ANB Bank SPONSORED BY Karen and Jay Johnson Carolyn and Steve Pope Sandra and Alejandro Rojas SOLOIST SPONSORS Conrad Tao, piano, sponsored by Marge and Phil Odeen

Lumina (2020) NINA SHEKHAR (B. 1995)

ina Shekhar, who is currently pursuing a Ph.D. in Music Composition at Princeton University, previously studied at the University of Southern California and University of Michigan, where she earned dual degrees in music composition and chemical engineering. She holds a place on the composer roster of Young Concert Artists but she also performs as a flutist, pianist, and saxophonist. She has played at the Detroit International Jazz Festival, was featured by the National Flute Association, and appeared as a soloist with the USC Thornton Symphony and with the Lublin Philharmonic in the Poland International Piano Festival. Her music has been commissioned and performed by a broad variety of notable performers and organizations,

including Eighth Blackbird, International Contemporary Ensemble, JACK Quartet, Left Coast Chamber Ensemble, violinist Jennifer Koh, and soprano Tony Arnold, as well as the Los Angeles Philharmonic, Albany Symphony, and Civic Orchestra of Chicago. An active educator, Shekhar is a Composer Teaching Artist Fellow for Los Angeles Chamber Orchestra and is on the faculty at Idyllwild Arts Academy and Brightwork newmusic’s Project Beacon initiative. She served as an inaugural Debut Fellow of the Young Musicians Foundation, mentored by violinist and social activist Vijay Gupta. She is the recipient of multiple awards from the American Society of Composers, Authors, and Publishers (ASCAP): the Morton Gould Young Composer Award (twice, in 2015 and 2019), ASCAP Foundation Leonard Bernstein Award (2018), and ASCAP Foundation Rudolf Nissim Prize (2021), the last being in honor of her orchestral piece Lumina, about which she provides this comment: Lumina explores the spectrum of light and dark and the murkiness in between. Using swift contrasts between bright, sharp timbres and cloudy textures and dense harmonies, the piece captures sudden bursts of radiance amongst the eeriness of shadows.

Piano Concerto No. 17 in G major, K. 453 (1784) WOLFGANG AMADEUS MOZ ART (1756-91)

As a composer of piano concertos, Mozart was at his busiest in 1784, during which he produced no fewer than six (K.449-451, 453, 456, and 459). Normally he wrote concertos to show off his own virtuosity, but that April he may have composed this G-major Concerto to spotlight one of his students, Babette Ployer, who gave its first firmly documented performance that June. She was the pianist for whom he would also compose a short Funeral March (K. 453a) and for whom Haydn would write his splendid F-minor Variations in 1793. It is an irresistible entry among his concertos. Arthur Hutchings, in A Companion to Mozart’s Piano

Concertos, finds that “it is one of those few concertos in the series wherein each of the three movements reaches a supreme level of excellence. … In this G major work Mozart set that standard from which he was not again to fall, though he never wrote a better concerto of its kind.” It begins in the most tentative way imaginable: first violins quietly exhale a modest theme that both defines the key of G major and undermines it by inserting a “bluesy” F-natural (the flatted leading tone). It’s just a momentary jolt, but it unsettles the listener by broaching the conflicting sentiments that will inform the entire concerto. The mysterious Andante displays a constant ebb and flow, moment-to-moment volatility, and sudden silences. The finale mixes sunshine with shadows, but its principal theme could not be more cheerful. Mozart kept a pet starling that learned to whistle this theme almost correctly. The bird lived another three years, and when it chirped its last Mozart penned a brief rhyming epitaph and invited his friends to participate in a mock requiem at the avian burial.

Symphony No. 7 in D minor, Op. 70 (1884-85) A N TO N Í N DVO Ř Á K ( 1 8 41-1 9 0 4)

Although Johannes Brahms was only eight years older than Antonín Dvořák, he was a firmly established figure long before the younger composer attracted attention. When some of Dvořák’s music came to his attention in the 1870s, Brahms recommended the Czech composer to his own publisher and then continued to serve as a mentor. Dvořák’s Sixth Symphony reflected the pastoral attitude of Brahms’ recently composed Second Symphony. In December 1883, Brahms released his Third Symphony, and when Dvořák heard that work a month later, it also seems to have triggered his inspiration. By the end of that year he began his Seventh Symphony, which echoes some of the storminess and monumentality of Brahms’ Third. Dvořák communicated with Brahms as he developed the new symphony and was rewarded with a

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 176

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JUL

SUNDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK 5:00PM GERALD R. FORD AMPHITHEATER LOBBY Jack Sheinbaum (University of Denver), speaker

NEW YORK PHILHARMONIC Jaap van Zweden, conductor

MAHLER

Symphony No. 6 in A minor (80 minutes) Allegro energico, ma non troppo Scherzo: Wuchtig Andante Finale. Allegro moderato—Allegro energico Program to be performed without intermission.

MAHLER’S SIXTH SYMPHONY THIS EVENING’S PERFORMANCE IS PRESENTED BY KAY AND BILL MORTON DIDI AND OSCAR SCHAFER SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Martha Head Cynnie and Peter Kellogg Jennifer and Michael Sylvester

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Funded in part by a generous grant from the Town of Vail. The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

Symphony No. 6 in A minor, (1903-04, rev. 1906) G U S TA V M A H L E R ( 1 8 6 0 - 1 9 1 1 )

hroughout his career Gustav Mahler balanced a dual vocation as a composer and conductor. Responsibilities on the podium and in the administrative office completely occupied him during the concert seasons, forcing him to relegate his composing to the summer months. When he wrote his Sixth Symphony, during the summers of 1903 and 1904, he was persevering as director of the Vienna Court Opera. He held that post with mounting strain and frustration until December 1907, after which he moved the center of his professional activities to New York—first conducting at the Metropolitan Opera and from 1909-11 as music director of the New York Philharmonic.

His summer getaway was Maiernigg, a bump on the road on the south shore of the Wörthersee, a bucolic spot in southern Austria. In 1901 he had moved into a villa he built on the lake, and the next summer he brought his new bride there for his first summer as a married man. He had met Alma Schindler in November 1901. Their marriage was often unhappy, but they stayed together until Mahler’s death. She provided some sort of stability that he found useful while he satisfied her need to be allied with a man of genius. At Maiernigg, Mahler had constructed a small, sparsely furnished composing cottage on the hill behind his villa, and every morning he would meander up along a forest path to work in splendid seclusion. He typically spent some five hours composing there every morning, devoting the afternoons to hiking, swimming, sunbathing, and other outdoor pursuits. Alma Mahler left an account of the Sixth Symphony as it was being created: After he had drafted the first movement he came down from the woods to tell me he had tried to express me in a theme. “Whether I’ve succeeded, I don’t know; but you’ll have to put up with it.” This is the great soaring theme of the first movement of the Sixth Symphony. In the third movement he represented the arrhythmic games of the two little children, tottering in zigzags over the sand. Ominously, the childish voices became more and more tragic, and at the end died out in a whimper. In the last movement he described himself and his downfall or, as he later said, that of his hero: “It is the hero, on whom fall three blows of fate, the last of which fells him as a tree is felled.” Those were his words. Not one of his works came so directly from his inmost heart as this. We both wept that day. The music and what it foretold touched us deeply. The theme she signaled as her musical portrait (the second subject of the first movement, introduced

by flutes and violins) echoes almost note for note an aria in the opera Der Trompeter von Säckingen, a work long forgotten today (different from the incidental music Mahler himself wrote for a series of tableaux vivants on the same subject). But it was very likely known to Mahler, as that opera had been composed by Emil Kaiser, his immediate predecessor as conductor at the theatre in Olmütz (Olomouc), Moravia, where Mahler took over in 1883. Alma may not have been aware of the connection, or of the fact that the words of that aria read: “God keep you, it would have been too lovely; God keep you, it was not meant to be.” Mahler’s Sixth Symphony came into being in an idyllic place, and we may hear a certain measure of loveliness in the score. But that is not the overriding sentiment of this work. On the contrary, this is Mahler’s tragic symphony—quite literally, since he appended the subtitle Tragic to the work at its premiere. (He would later withdraw the subtitle, but it reemerged on the printed program the final time he conducted this symphony, lending authority and credibility to its widespread use in

modern parlance.) Tragedy surfaces often in Mahler’s symphonies, but the composer nearly always uses it as a springboard to triumphant victory (as in his First, Second, Fifth, Seventh, and Eighth Symphonies) or to ecstatic transcendence (in his Third, Fourth, and Ninth). In the resolutely minor-key Sixth, tragedy persists as the dominant expression to the bitter end. And it is the bitterest of ends, a musical depiction of utter catastrophe, of humanity rendered powerless and insignificant, overwhelmed by forces that seem born of a dimension apart. Many of Mahler’s symphonies could be described as cosmic, but in the Sixth we encounter a cosmos that holds out no hope for mankind. The famous hammer-blows near this symphony’s conclusion—originally three but reduced in revisions to only two—are among the most shocking and despondent sounds in the entire orchestral repertoire. The composer initially described each as a “short, powerful but dull-sounding stroke of a non-metallic character,” and later added “like the stroke of an axe.”

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JUL

MONDAY 7:00PM CHAMBER MUSIC SERIES

VILAR PERFORMING ARTS CENTER Anne-Marie McDermott, piano

VERONA QUARTET

Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello

PUCCINI

Crisantemi (Chrysanthemums) for String Quartet (5 minutes)

BEETHOVEN

String Quartet No. 1 in F major, Op. 18, No. 1 (27 minutes) Allegro con brio Adagio appassionato ed appassionato Scherzo (Allegro molto)— Trio Allegro

— INTERMISSION — COLERIDGE-TAYLOR

Crisantemi (Chrysanthemums) for String Quartet (1890) G I AC O M O P U C C I N I ( 1 8 5 8 -1 924)

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e know Puccini almost exclusively through his operas, but he did compose a few instrumental works early in his career. He wrote Crisantemi as a funeral elegy on the death of Prince Amedeo (or Amadeo) of Savoy, First Duke of Aosta, who died on January 18, 1890. “I composed it in one night,” Puccini said. Because chrysanthemums flower in autumn, many cultures embrace them as symbols of old age and rich experience. In Italy, however, they are associated exclusively with death and are appropriately displayed only on funereal occasions—hence Puccini’s title.

This movement for string quartet does not invite much in the way of detailed musical analysis; in fact, the celebrated but self-consciously hightoned Cobbett’s Cyclopedic Survey of Chamber Music (1927) referred to it as a “very trifling number.” And yet, it is a beautiful and sincere piece of music, and its five minutes truly transmit a feeling of desolation and mourning—not a very distant cousin of Samuel Barber’s Adagio for Strings, which was also originally set for string quartet. Like Barber’s famous Adagio, Puccini’s Crisantemi has achieved some popularity in recent years in a scaled-up version involving a complete orchestral string section. But it began as a string quartet, just as it is heard here, and in that original form it transmits an intimacy that is often sacrificed in the bargain for a lush orchestral timbre.

©K AUPO KIKK AS

VERONA QUARTET & MCDERMOTT

Piano Quintet in G minor, Op. 1 (26 minutes) Allegro con moto Larghetto Scherzo Allegro molto—Vivace—Tempo I

VERONA QUARTET

Puccini had already unveiled two operas, Le villi and Edgar, neither of which made a splash. His first operatic success arrived in 1894 with the premiere of Manon Lescaut. That score incorporated several pieces he had already written and felt deserved further life. One was Crisantemi, which he transformed for use in the third and fourth acts of that opera.

String Quartet No. 1 in F major, Op. 18, No. 1 (1798-1800) LU DW I G VA N B E E T H OV E N ( 1 7 70 -1 82 7 )

Ludwig van Beethoven composed his first six quartets from the summer or autumn of 1798 to the summer of 1800 and had them introduced at a series of private concerts at the Vienna mansion of Prince Joseph Franz Lobkowitz, the aristocrat to whom the set would be dedicated. The movers and shakers who attended soon lined up to commission works from this intractable but indisputable genius. Beethoven’s sketchbooks reveal that he composed these works in a different order from how they were positioned

when published in 1801, as his Op. 18. The F-major Quartet was apparently the second he wrote, but he revised it after he composed the ensuing pieces. He had provided a copy to his violinist-friend Karl Amenda when it was in its initial state, but he later wrote to insist, “Do not lend your quartet to anybody, because I have greatly changed it, having just learned how to write quartets properly.” Beethoven’s sketches plot his trials and errors as he refined the quartet’s opening statement—six notes and two rests spread over two measures—into a phrase that could support extensive development while maintaining the solidity desired to launch a groundbreaking publication. He also hooked his piece to an illustrious star; when Amenda remarked that the slow movement sounded like lovers bidding farewell, the composer replied that he had envisioned it as depicting the tomb scene in Romeo and Juliet. That Beethoven decided to place the F-major Quartet as the opening piece when he published the set reflects his good opinion of it. It displays a splendid sense of balance, in terms of not only the phrasing and the general dimensions of the movements’ parts but also the distribution of material within the instruments’ registers.

Piano Quintet in G minor, Op. 1 (1893) S A M U E L C O L E R I D G E -TA Y L O R ( 1 875 -1 9 1 2 )

Samuel Coleridge-Taylor was born to a father from Sierra Leone and a mother from England, who raised him as a single parent after the father returned to Africa. He entered the Royal College of Music as a violinist in 1890 and composed prolifically. At first he produced a stream of chamber music, much of it redolent of Brahms (a favorite composer of his teacher, Charles Villiers Stanford), and by the turn of the century he produced imposing works for orchestra, chorus, and the stage. At the age of 17 he became impassioned by the music of Dvořák, which led to an interest in American and African-American music, which Dvořák promoted. He encountered

“I composed it in one night” —PUCCINI

many luminaries of African-American culture when they passed through England and made three visits to the United States, where the orchestral musicians of New York reportedly complimented his conducting by dubbing him “the Black Mahler.” He wrote his Piano Quintet in 1893, at age 18, while a conservatory student, and premiered it on a program that also included his Clarinet Sonata and three songs, which he accompanied at the piano. “Mr. Coleridge-Taylor astounded the audience … by his beautiful manipulation of the piano,” wrote a reviewer. “The audience seemed already gratified with Mr. Taylor’s ability, but were astonished when his Pianoforte Quintet in G-minor was presented.” Dvořák’s influence is unmistakable here. One hears it at the outset, where the principal themes convey seriousness of purpose while also encompassing a dance-like spirit, and certainly in the Larghetto, where the cello exhales a lyrical line surrounded by the piano’s figuration, music that will return following a more fiery central expanse. There follow a syncopation-filled Scherzo and (without a break) a nervous finale—an admirable achievement for a composer of any age.

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JUL

TUESDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC

Bramwell Tovey, conductor W. Chichester McClean III, special guest conductor Zlatomir Fung, cello

ROSSINI

Finale from William Tell Overture (2 minutes)

TCHAIKOVSKY

Romeo and Juliet, Overture-Fantasy (20 minutes)

TCHAIKOVSKY (ed. Fitzenhagen) Variations on a Rococo Theme for Cello and Orchestra, Op. 33 (20 minutes) Moderato quasi Andante Thema: Moderato semplice Variation I: Tempo della Thema Variation II: Tempo della Thema Variation III: Andante sostenuto Variation IV: Andante grazioso Variation V: Allegro moderato Variation VI: Andante Variation VII and Coda: Allegro vivo

— INTERMISSION — TCHAIKOVSKY

Symphony No. 5 in E minor, Op. 64 (47 minutes) Andante—Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso— Allegro vivace Funded in part by a generous grant from the Town of Vail. The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

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TCHAIKOVSK Y

TOVEY CONDUCTS TCHAIKOVSKY THIS EVENING’S PERFORMANCE IS PRESENTED BY JEAN AND HARRY BURN PENNY AND BILL GEORGE LYN GOLDSTEIN MR. CLAUDIO X. GONZALEZ DHUANNE AND DOUGLAS TANSILL SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Nancy and Andy Cruce Ferrell and Chi McClean Margaret and Alex Palmer Anne and Chris Wiedenmayer SOLOIST SPONSORS Zlatomir Fung, cello, sponsored by Valerie and Robert Gwyn

Finale from William Tell Overture (1829) G I OAC H I N O R O S S I N I ( 1 792-1 8 6 8)

n 1824, Rossini took up residence in France, contracting with the French Government to compose a major work for the Paris Opéra. After considering several librettos to fulfill his obligation, he settled on Friedrich von Schiller’s celebrated play Wilhelm Tell (1804), which deals with the revolt of the Swiss forest cantons against the oppressive rule of the Habsburg Dynasty. Rossini had been busily turning out operas for nearly two decades, but he had one final masterwork still in him. Guillaume Tell (William Tell) may not be a perfect opera, to be sure. Even within the longwinded tradition of French grand opéra, this one goes on and on, its four acts spanning four hours, not counting breaks between. On the other hand, its music is terrific throughout, including

some knock-your-socks-off arias, dramatically gripping ensembles, and a deeply involving title role for the humble Swiss citizen who leads his countrymen to independence—and, of course, shoots an apple off his son’s head in the process. The opera’s overture was quickly embraced as a standalone concert item. It was a rather radical piece for Rossini; whereas most of his overtures have at most a slight connection to the action of their operas, this one is structured as four self-contained episodes that specifically prefigure the plot—and some of the musical content—that would follow. After opening with a pastoral depiction of the Swiss countryside, it proceeds to a storm on the lake, a bucolic herdsman’s melody, and a spirited final section. That finale, played here, became one of classical music’s most famous melodies, especially when it became associated with the immortal words “A fiery horse with a speed of light, a cloud of dust, and a hearty ‘Hi-Yo, Silver!’ … The Lone Ranger!”

Romeo and Juliet, OvertureFantasy (1869, rev. 1870 and 1880)

rise to the opening music of the overture-fantasy as we now know it, and then in the summer of 1880 Tchaikovsky again put the piece through a severe rewrite. After fully a decade’s work, Romeo and Juliet (now enriched by a dire, unforgiving coda) reached masterpiece status, an achievement that was recognized in 1884 when it won the 500-ruble Glinka Award, the first of many prizes that would come Tchaikovsky’s way in his remaining years.

Variations on a Rococo Theme for Cello and Orchestra, Op. 33 (1876-77) Tchaikovsky composed his Variations on a Rococo Theme (a.k.a. Rococo Variations) in December 1876 for the cellist Wilhelm Fitzenhagen, a German who served as principal cellist of the Moscow division of the Imperial Russian Music Society and as cello professor at the Moscow Conservatory. Tchaikovsky wrote the piece quickly and Fitzenhagen played its premiere a year later, in December 1877. It appears that what he played

on that occasion was the Rococo Variations as Tchaikovsky created it: an orchestral introduction, the solo cello’s presentation of the theme, a working-out of the melody’s possibilities through eight variations, and a concluding coda. Then Fitzenhagen apparently forgot that he himself was not the composer. He worked through a copy of Tchaikovsky’s manuscript, entered extensive alterations into the solo part (essentially re-writing it in places), deleted one of the variations entirely, re-ordered the remaining seven (only the first and second remained where Tchaikovsky had envisioned them), and made a substantial cut in the coda. He presented these alterations to Tchaikovsky’s publisher with a demand that they be formally incorporated, to which the composer meekly consented. Tchaikovsky’s original version wasn’t published until 1956. By then the “Fitzenhagen version” was well established, having been in circulation for eight decades, and it continues

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 176

P Y O T R I LY I C H T C H A I K O V S K Y (1840-93)

Composer Mily Balakirev suggested the topic for Pyotr Ilyich Tchaikovsky’s Romeo and Juliet, Overture-Fantasy and then instructed him about how he should realize the project. He kibitzed about the key, the harmonic structure, and the rhythmic niceties, and he even offered a sample of what the opening measures would sound like if he were composing it. “The layout is yours,” Tchaikovsky assured him. “The introduction portraying the friar, the fight—Allegro, and love— the second subject; and, secondly, the modulations are yours: also the introduction in E, the Allegro in B-flat minor and the second subject in D-flat.” He continued, with disturbing but not uncharacteristic servility: “I will take note of what you say and will try to do better in my next work.” The piece was not a success at its premiere, in March 1870, and that summer Tchaikovsky undertook extensive revisions. That gave

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125

JUL

WEDNESDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Bramwell Tovey, conductor Isabel Leonard, mezzo-soprano Emmett O’Hanlon, baritone

SELECTIONS TO BE ANNOUNCED FROM THE STAGE

STEPHEN SONDHEIM

A SONDHEIM CELEBRATION BILLIE AND ROSS MCKNIGHT SPECIAL GRATITUDE TO

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Berry Charitable Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Therese M. Grojean Vocalist Fund SPONSORED BY Liz and Tommy Farnsworth Dr. and Mrs. Frederick Kushner Barbara and Carter Strauss SOLOIST SPONSORS Bramwell Tovey, conductor, sponsored by Margo & Terence Boyle and Gina Browning & Joe Illick

o celebrate Stephen Sondheim (1930-2021) is to celebrate one of the most engaging, most influential, and all-around most important composers in the entire history of American music. When he slipped away last November at the age of 91, music-lovers around the world went into a tailspin. For more than half a century, he had defined what might be achieved at the highest summit of musical theater, and he had done it as a double-threat, through both his music and his lyrics. Still, the world of Broadway could hardly feel shortchanged. As a composer-lyricist, he created 16 full-scale musicals plus a handful of “anthology shows” built on numbers cut from musicals and a stack of scores for film, television, and staged theater productions. Each of his major works was groundbreaking in its way, yet

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each exudes a universality that makes it seem up-to-date. Even his shows that did not score much commercial success at least achieved a sort of succès d’estime. Sondheim was a New Yorker born and bred. He was an only child, the son of a garment manufacturer and his designer-wife who lived in comfortable surroundings, but when he was 10 his family unraveled and he was sent off to military school, which he loved. Shortly thereafter, he entered the orbit of what would become a surrogate family, that of the distinguished lyricist Oscar Hammerstein II. Mrs. Hammerstein had served as the interior decorator for the Sondheims’ Manhattan apartment, and Stephen grew friendly with the Hammersteins’ son, Jamie, who was just the same age. The Hammersteins had moved to Bucks County, north of Philadelphia, in 1942. Young Stephen Sondheim was one of their first visitors and he settled in for the long haul. Jamie Hammerstein quipped, “He was the boy who came to dinner.” “The Hammersteins were more than a balm,” Sondheim said. “They were not only comforting. They gave me an outlet; they opened up all the worlds of creative possibilities.” Just when Sondheim attached himself to the Hammerstein family, Oscar Hammerstein II was collaborating with composer Richard Rodgers on what would be their most brilliant achievement, the musical Oklahoma! Observing at close hand that show’s progress toward its Broadway opening in March 1943, Sondheim glimpsed the craft that lay ahead for him. Four years later, Hammerstein provided Sondheim an entrée to Broadway by hiring him as an assistant for the premiere production of Allegro. By that time, Sondheim was a college student at Williams College, in Massachusetts, where he studied with the composer Joaquín Nin-Culmell. After his graduation, he became a private pupil of Milton Babbitt, who led him through scores by such composers as Mozart, Beethoven, Copland, and Ravel—and also supported his student’s interest in musical theater. Sondheim was well prepared when he was invited to serve as lyricist for more seasoned composers: for

Leonard Bernstein in West Side Story (1957), Jule Styne in Gypsy (1959), and Richard Rodgers in Do I Hear a Waltz? (1965). Initially he demurred, fixating on writing music as well as words, but Hammerstein knocked some sense into him. Within a few years, enriched by experience, Sondheim emerged as the composer-lyricist he aspired to be, in every case infusing sophistication into language that could be embraced by general theatergoers. Following the first two of his shows to reach the Great White Way—the delightful A Funny Thing Happened on the Way to the Forum (1962) and the satirical, almost absurdist Anyone Can Whistle (1964)—he arrived at the six musicals he developed in association with director Hal Prince: Company (1970, a commentary on the foibles of human relationships and the romantically unattached), Follies (1971, a study of aspiration and disappointment in show business and personal life), A Little Night Music (1972, a charmed but bittersweet glimpse of midsummer romance), Pacific Overtures (1976, a Zen-infused masterpiece on the unlikely subject of Japanese-American political relations), Sweeney Todd

(1979, a macabre “musical thriller”), and Merrily We Roll Along (1981, a daring exploration of how the idealism of youth yields to the cynicism of adulthood—told in reverse). Merely naming these shows underscores how the composer was given to perpetual exploration, never reiterating a familiar plot, never retracing a conceptual formula he had already plumbed. These characteristics maintained through the works produced in ensuing decades: Sunday in the Park with George (1984, a Pulitzer Prize-winner that brings the act of artistic creativity radiantly alive), Into the Woods (1989, which delves into children’s fables and the human psyche), Assassins (1991, focusing on a slender niche of criminality), Passion (1994, the love story of a soldier and his commander’s sickly cousin), and a final show that developed through three separate identities, as Wise Guys, Bounce, and Roadshow (a meditation on gambling, business speculation, and the reversal of

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 177

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THE LOST STRING QUARTET

nspired by a charming picture book, The Lost String Quartet by N. M. Bodecker, this playful program combines comedy and musical performance to illustrate the bizarre misadventures of a string quartet that takes a wrong turn on its way to a mid-winter gig, with hilariously disastrous results. As the story progresses, each member of the quartet meets their own unique challenges, but as the old adage goes, the show must go on! This wildly inventive musical journey features music by Beethoven, Puccini, Ligeti, and more.

VERONA QUARTET

Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello

SELECTIONS TO BE ANNOUNCED FROM THE STAGE

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WHEELER RESIDENCE Zlatomir Fung, cello SELECTIONS TO BE ANNOUNCED FROM THE STAGE

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AN EVENING WITH ZLATOMIR FUNG

hile still only in his early 20s, Zlatomir Fung is already a star among the coming generation of world-class musicians. He’s won a 2020 Avery Fisher Grant and is a recipient of the 2022 BorlettiBuitoni Trust Fellowship. In 2019, he was Gold Medalist of the XVI International Tchaikovsky Competition and has swept an armload of top prizes from more competitions around the world. Just days after another career milestone—his New York Philharmonic debut— Fung displays a more intimate aspect of his artistry in solo recital, featuring the music of J.S. Bach. “For me, the most important thing is to have practice performing, basically just putting yourself out there as often as possible. You can make an analogy between being a performer and playing Pokemon games: In order to level up, you have to go through a lot of battles. The problem is that for musicians, there’s no “Rare Candy” [a shortcut to leveling up], you have to just get out there and play as much as possible. I’m really lucky that I’ve had the chance to perform in a lot of studio classes, house concerts… lower-pressure environments that encourage me to tap into that mindset of peak performance.”

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AUG

MONDAY 7:00PM CHAMBER MUSIC SERIES

VILAR PERFORMING ARTS CENTER

DANISH STRING QUARTET

Rune Tonsgaard Sørensen, violin Frederik Øland, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello

SCHUBERT

String Quartet No. 15 in G major, D. 887 (45 minutes) Allegro molto moderato Andante un poco moto Scherzo: Allegro vivace Allegro assai

— INTERMISSION — BENT SØRENSEN

Doppelgänger (24 minutes)

SCHUBERT

DANISH STRING QUARTET

Der Doppelgänger (arr. Danish String Quartet) (4 minutes)

DANISH STRING QUARTET String Quartet No. 15 in G major, D. 887 (1826) Der Doppelgänger (1828, arranged by the Danish String Quartet) F R A N Z S C H U B E R T ( 1 7 9 7- 1 8 2 8 )

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ranz Schubert completed more than 20 works for string quartet in his short life, and of these the last three—in A minor (D.804), D minor (D.810, the so-called Death and the Maiden), and G major (D.887)—are acknowledged as crowning achievements of the repertoire. He apparently planned to publish them as a triptych, but that was not to be. In fact, the A-minor was the only one of the three to be printed during his lifetime. The D-minor and A-minor Quartets were written in quick succession, but more than

two years passed before Schubert returned to his quartet project in July 1826. The months preceding had not been very happy ones for Schubert. Desperately in need of income, he had applied in April for the position of Second Court Kapellmeister; but the position would be abolished. At about the time of this quartet, symptoms of syphilis returned after remission of a year and a half. He was having little success getting his major works into print. A letter from the publisher Heinrich Probst of Leipzig summed up the situation as gracefully as it could: “The public does not yet sufficiently and generally understand the peculiar, often ingenious, but perhaps now and then somewhat curious procedures of your mind’s creations.” The G-major Quartet is quite unlike any quartet Schubert had written before. Here he explores the

relationship between major and minor modes, an interest that pervades both surface and structural behavior in this work. We hear it in the opening measures, where G-major chords erupt into G-minor chords; the duality of the major-minor conflict, always an engine of Schubertian thoughts, is moved front and center. The musicologist Jack Westrup spoke of “Schubert’s equation of major and minor” and described these measures as “a neutral opening, but one charged with great possibilities.” Indeed, when Schubert reaches the recapitulation of this big-boned, discursive movement, he confirms that sense of “equating” major with minor by reversing the order in which those sonorities are heard. Schubert’s treatment of sonority is also captivating. He seems to think beyond the “normal” capacity of a string quartet, and near the movement’s end he has the four instruments multiple-stop such that they sound 15 of their 16 strings simultaneously. In the elegiac Andante the composer explores other majorminor implications, It would be easy to imagine the theme as a song. The third-movement scherzo lightens the emotional climate somewhat, particularly in the Ländler-like expanses of its Trio section. In the bustling fourth movement, a sort of tarantella, Schubert again plays with the harmonic implications in different ways, telescoping the single sonority of a major or minor chord to the more extended tonality expressed by arpeggios and scales. The Danish String Quartet also performs its own arrangement of Schubert’s song “Der Doppelgänger,” which connects to both this quartet and to Bent Sørensen’s similarly titled work. It is a terrifying song, a setting of Heinrich Heine’s poem portraying a man who walks down a street in the dead of night to the house where his beloved once lived and sees a man standing there, wringing his hands in anguish—a man the onlooker recognizes to be himself. Schubert probably composed this austere anthem of alienation in the winter of 1828. That October, he hoped to publish this in a set along with five other Heine songs, but the plans failed to materialize.

In November he died. In December his brother sold these to a publisher who collected them into a group of 14 songs and issued them under the title Schwanengesang (Swan Song).

Doppelgänger (2020) BENT SØRENSEN (B . 1958)

Bent Sørensen, a leading voice among Danish composers, was initially self-taught as a composer, drawing particular inspiration from folk music. Not until he was in his mid-20s did he seek more formal instruction, studying with two of his prominent compatriots, Ib Nørholm and Per Nørgård. His music from 1984 on tended toward sonorities that emerged from, and recede back into, near-silence, detailed combinations of sounds whose ghostly parts were indistinct around the edges, whose melodic and harmonic contours were obscured by portamentos, glissandos, and microtones. Encountering a work by Sørensen, the Norwegian composer Arne Nordheim remarked, “It reminds me of something I’ve never heard!” The evocative titles of many Sørensen compositions suggest their inherent spirit of mystery, shadows, or otherworldliness—for example, the string quartet Schreie und Melancholie (Shrieks and Melancholy), the violin concerto Sterbende Gärten (Dying Gardens), and the chamber works The Birds of Lament and Phantasmagoria (2007). He was awarded the Nordic Council Music Prize, the Wilhelm Hansen Composer Prize, and the prestigious Grawemeyer Award. He has served since 2008 as visiting professor of composition at the Royal Academy of Music in London. He offers this comment about Doppelgänger, which the Danish String Quartet premiered in Hamburg this past February: After my very first premiere with professional musicians in 1981, I had a very inspiring conversation with the cellist in the ensemble who had performed my piece: “You should listen to the great G-major quartet by Schubert,” he said. So—I did that, and since then the piece has been one of “my” pieces, and that is

“The public does not yet sufficiently and generally understand the peculiar, often ingenious, but perhaps now and then somewhat curious procedures of your mind’s creations.” —HEINRICH PROBST

probably why I immediately said: “It has to be the G-major quartet” when The Danish String Quartet asked me to compose a piece in some way referring to one of the late Schubert quartets. It became Doppelgänger, not only because of connections to the quartet by Schubert—actually the only traces of Schubert in my piece are some recurring clean and pure G major chords often transformed, as in the Schubert quartet, to G minor. It is called Doppelgänger more for what is going on inside the music, inside the quartet. The piece is in two movements, and between and within them there are mirror effects—shadows of music arrive and create new contours. A fugue emerges, and later the fugue can be seen from behind, when it is played backwards. There I was thinking of Schubert. His fight with fugues. A fight I took on…

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ARTISTRY IN ABUNDANCE

CLASSICALLY UNCORKED August 2 – 4, 2022 This innovative series explores remarkable juxtapositions of music by cutting-edge composers and new perspectives on familiar favorites, along with handcrafted wines, à la carte hors d’oeuvres, and cabaret-style seating in a beautiful mountain setting.

o-curated by Dover String Quartet, this year’s programs are powerful musical adventures performed with transcendent artistry. Experience the Bravo! Vail debut of trailblazing bass-baritone Davóne Tines, not one but two new works commissioned by Bravo! Vail, and an all-American evening featuring the remarkable bassist/composer Edgar Meyer.

DAVÓNE TINES (page 138) Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

EDGAR MEYER (page 140)

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Amy and Charlie Allen Applejack Wine and Spirits Bravo! Vail Artistic Excellence Fund Virginia J. Browning The Francis Family The Therese M. Grojean Vocalist Fund Jackson Family Wines The Judy and Alan Kosloff Artistic Director Chair The New Works Fund Town of Vail

SCHEDULE AT A GLANCE AUG

Classically Uncorked I.................................................................. 136

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Classically Uncorked II................................................................ 138

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Classically Uncorked III............................................................. 140

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AUG

TUESDAY 7:00PM C L A S S I C A L LY U N C O R K E D SERIES

DONOVAN PAVILION

DOVER QUARTET

Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello

SCHNITTKE

String Quartet No. 3 (20 minutes) Andante—Agitato—Pesante

BEETHOVEN

Grosse Fuge in B-flat major, Op. 133 (16 minutes) Overtura: Allegro—Meno mosso e moderato—Allegro Fuga: [Allegro]—Meno mosso e moderato—Allegro molto e con brio)

— INTERMISSION — MENDELSSOHN

String Quartet in D major, Op. 44, No. 1 (30 minutes) Molto allegro vivace Menuetto: Un poco allegretto Andante espressivo ma con moto Presto con brio

CLASSICALLY UNCORKED I String Quartet No. 3 (1983) ALFRED SCHNIT TKE (1934-98)

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lfred Schnittke spent most of his life as a foreigner in his own land. He was born into a German family in a German community in a city named after a German social theorist, but he was not born in Germany. He was born in Engels, in the Volga German Republic of the Soviet Union, where his family settled into a workable solution of biculturalism: his father was employed as a journalist and German-Russian translator, his mother as a teacher of German and a staff member at a Germanlanguage newspaper. He would prove susceptible to a dizzying array of musical influences, and in time his chameleonic voice would emerge as

one of the most interesting of its era. Nonetheless, Schnittke’s modernist tendencies made him persona non grata in the Soviet Union, and he was prevented from developing his career elsewhere. In 1990 he finally managed to move to Hamburg, but he was plagued by circulatory problems. After several strokes his heart gave out for good in 1998. The boy who grew up as a German in Russia ended up dying as a Russian in Germany. If any composer deserves to be called polystylistic, it is Schnittke. One can imagine him as a musical bumblebee sipping from the nectar of Bach, Haydn, Mozart, Beethoven, Mahler, Berg, Bartók, Stravinsky, and Shostakovich, transforming everything he consumes into something distinctly his own. His String Quartet No. 3 begins by reaching back to the Renaissance, quoting a phrase

from the Stabat Mater of Orlando di Lasso and in short order makes allusions to Beethoven’s Grosse Fuge and Shostakovich’s “musical initials” (the notes D, E-flat, C, B-natural)— Shostakovich being a prime influence on Schnittke’s music. These themes fuel a work filled with fascinating episodes and passionate expression.

premiered in March 1826 as an oddly balanced six-movement piece that concluded in the astonishing ‘great fugue,” which in posterity has always been called by its German name, the Grosse Fuge. The audience was perplexed, to which Beethoven responded with characteristic forthrightness: “Cattle! Asses!” His publisher had plates engraved but held off printing any copies, hazarding instead to ask the composer to consider writing a more accessible finale. Beethoven consented, surprisingly, and the Grosse Fuge was spun off as a standalone piece with its own opus number, 133. Since then, the quartet has sometimes been performed ending with the Grosse Fuge and sometimes with the replacement finale. The Grosse Fuge was strictly sui generis in its time, and it has never given up sounding avant-garde. Its subject is marked by immense leaps, the contours of its lines are jagged, its harmonic trajectory veers toward brash dissonance, and its progress is interrupted by extreme contrasts of tempo, mood, and dynamics. The germ of the material is presented in an opening few bars marked Overtura, after which the first violin gently proposes the basic contour of the subject as if hesitantly touching toe to water. Then the ensemble erupts into the fugue with a vengeance. It shocks with its daring juxtaposition of contrasting elements, challenging listeners to accept infringements of form, method, and style that had not been countenanced previously.

Grosse Fuge in B-flat major, Op. 133 (1825)

String Quartet in D major, Op. 44, No. 1 (1838)

LU DW I G VA N B E E T H OV E N ( 1 7 70 -1 82 7 )

FE LI X M E N D E L S S O H N (1809 - 47 )

DOVER QUARTE T

By the time Beethoven embarked on his final five string quartets, he was largely cut off by deafness from the hearing world and was completely wrapped up in his uniquely advanced compositional technique and emotional expression. He composed the middle quartet of those five, the Quartet in B-flat major (Op. 130), mostly from August through November 1825, and it was

Felix Mendelssohn completed six-and-a-half string quartets, the “half” being two movements for a projected quartet that remained incomplete when he died at the age of 38. His Op. 44, a set of three quartets, emerged in the midst of a busy life; he was just then the conductor of the Leipzig Gewandhaus Orchestra; was performing as a solo pianist, organist, and chamber musician; and was getting married (in 1837),

setting up a new home, and having a son (in 1838). The D-major Quartet, played here, was the last of the group to be completed (in July 1838), but Mendelssohn placed it first in the set when the pieces were published. “I have just finished my third Quartet, in D major, and it pleases me greatly” wrote Mendelssohn to his violinist-friend Ferdinand David. “I hope it may please you, too. I think it will, since it is more spirited and seems to me likely to be more grateful to the players than the others.” The opening of the spirited first movement bristles with energy, the first violin launching the principal theme against the crackling tremolando background of the other players. This movement has been criticized for textures that sound almost orchestral, though it’s not as if Mendelssohn writes nothing but that sort of music in this quartet. Considered in its entirety, the D-major Quartet is generally very clear— and reasonably democratic—in its textures, including several expanses of luminous four-part counterpoint. Mendelssohn may have been the all-time master of the scherzo, but in this work he opts instead for a gentler Menuetto, harking back to what was by then an antique dance movement. There follow a wistful “song without words” of an Andante and a finale of explosive energy, again almost orchestral.

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AUG

WEDNESDAY 7:00PM C L A S S I C A L LY U N C O R K E D SERIES

DONOVAN PAVILION

DOVER QUARTET

Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello

Davóne Tines, bass-baritone

MASON BATES

Suite for String Quartet (18 minutes) NEW WORKS SYMPHONIC COMMISSIONING PROJECT (World premiere, co-commissioned by Bravo! Vail and John F. Kennedy Center for the Performing Arts)

BARBER

Dover Beach, Op. 3 (9 minutes)

— INTERMISSION — CAROLINE SHAW

By and By (21 minutes) Will There Be Any Stars In My Crown Angel Band O Death I’ll Fly Away

RAVEL

String Quartet in F major (29 minutes) Allegro moderato Assez vif—Très rhythmé Très lent Vif et agité

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CLASSICALLY UNCORKED II Suite for String Quartet (2022; co-commissioned by Bravo! Vail and John F. Kennedy Center for the Performing Arts) M A S O N B AT E S ( B . 1 9 7 7 )

rowing up in Virginia, Mason Bates studied composition with Schoenberg’s pupil Dika Newlin, and he went on to take degrees in composition and in English literature at The Juilliard School and Columbia University. Enmeshed in the club culture of New York’s Lower East Side, he gained a reputation as a deejay under the name DJ Masonic. In 2001, he moved to California, where he continued his activities in the club scene and in 2008 was awarded a doctorate from the University of California, Berkeley. He often pairs the sonic resources of electronica (the sound

production associated with the dance scene) and the acoustic elements of traditional classical ensembles. The first-ever composer-in-residence of the Kennedy Center in Washington, D.C. (2015-20), he previously served as composer-in-residence at the Chicago Symphony (2010-12) and for Young Concert Artists. His first opera, The (R)evolution of Steve Jobs, was premiered by Santa Fe Opera in 2017 and won a 2019 Grammy for Best Opera Recording. He is currently writing another, The Amazing Adventures of Kavalier & Clay (after Michael Chabon’s novel), on commission from the Metropolitan Opera. He was named Musical America’s 2018 Composer of the Year. His new Suite for String Quartet is his third work for this medium, preceded by his Amber Frozen (2004) and Bagatelles for String Quartet and Electronica (2012).

occasion to play through it for Ralph Vaughan Williams, who responded with unalloyed enthusiasm: “I tried several times to set Dover Beach,” the older, more established composer confessed, “but you really got it.” In fact, Vaughan Williams' 1909 song cycle On Wenlock Edge, for voice, string quartet, and piano, may have provided direct inspiration for the sonority of voice and string quartet that Barber chose for this work.

By and By (2010) C A R O L I N E S H AW ( B . 1 982 )

DAVÓ N E T I N E S

Dover Beach, Op. 3 (1931) SAMUEL BARBER (1910-81)

When the Curtis Institute of Music first opened its doors, in 1924, Samuel Barber was second in line, right behind violinist Max Aronoff, a future member of the Curtis String Quartet. At Curtis, Barber studied not only piano and composition, but also voice in the studio of the baritone Emilio de Gogorza (a colleague of Barber’s aunt, the contralto Louise Homer). Barber possessed a fine baritone voice and was accomplished enough to pursue a small-scale recital career as a singer. In fact, he served as the vocal soloist in a 1935 recording of his single-movement Dover Beach. He was 21 years old still and still a Curtis student when he composed Dover Beach. The finesse with which he sets the Victorian poet Matthew Arnold’s brooding, pessimistic lyric poem and the care with which he underscores details of the text prove compelling. Shortly after he wrote the piece, Barber had

Caroline Shaw majored in violin in college, spent a year in Europe studying garden design, and continued to a master’s in performance at Yale. All the while she reveled in choral singing, but not until she entered a doctoral program at Princeton did she begin extensive formal training in composition. Vocal music would afford her “big break” when, in 2013, she became the youngest recipient ever of the Pulitzer Prize for Music, for her Partita for 8 Voices, written for Roomful of Teeth, a vocal ensemble to which she belonged (and still does). Since then, she has received commissions from many leading musicians and organizations, including the Seattle Symphony, Los Angeles Philharmonic, Baltimore Symphony, and Philharmonia Baroque; produced collaborations with Kanye West and Nas; contributed to records by The National; and provided music for (and appeared in) the TV series Mozart in the Jungle. Born in Greenville, North Carolina, Shaw loved playing in a string quartet during her high-school years, an experience that set the stage for her later embrace of that medium as a composer. She also has a soft spot for old-time gospel music. Those two passions intersect in By and By, a cycle in which she freely adapts and recombines melodies and lyrics of traditional songs and draws on the extended sonic possibilities of the quartet.

String Quartet in F major (1902-03) M AU R I C E R AV E L ( 1 875 -1 93 7 )

Maurice Ravel was on the verge of his 29th birthday when his String Quartet was introduced, on March 5, 1904. He was just finishing his study with Gabriel Fauré, to whom he would dedicate this work but who was befuddled by some of its formal liberties— and doubtless by the finale’s unorthodox five-beat meter. Claude Debussy had written his only string quartet in 1893, Ravel wrote his a decade later. Reviewing the premiere of Ravel’s quartet in Le temps, the critic Pierre Lalo wrote, “In its harmonies and successions of chords, in its sonority and form … and in all the sensations which it evokes, it offers an incredible resemblance with the music of M. Debussy.” The pieces do have a lot on common, but Ravel later stressed their differences: “Stravinsky is often considered the leader of neoclassicism, but don’t forget that my String Quartet was already conceived in terms of four-part counterpoint, whereas Debussy’s Quartet is purely harmonic in conception.” Although the two composers did not enjoy a warm relationship, Debussy, learning that Ravel was being urged to revise the work, wrote, “In the name of the gods of music, and of my own, do not touch a single note of what you have written in your quartet.”

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons Amy and Charlie Allen Applejack Wine and Spirits Bravo! Vail Artistic Excellence Fund Virginia J. Browning The Therese M. Grojean Vocalist Fund Jackson Family Wines The New Works Fund Town of Vail

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AUG

THURSDAY 7:00PM C L A S S I C A L LY U N C O R K E D SERIES

DONOVAN PAVILION Anne-Marie McDermott, piano Edgar Meyer, double bass

DOVER QUARTET

Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello

CHRIS ROGERSON

Dream Sequence (38 minutes) NEW WORKS PROJECT (World premiere, commissioned by Bravo! Vail) Introduction—Lullaby I Nightmare I Lullaby Nightmare II Afterword

— INTERMISSION — EDGAR MEYER

Quintet for String Quartet and Double Bass (26 minutes) Movement I Movement II Movement III Movement IV

CHRIS ROGERSON

CLASSICALLY UNCORKED III Dream Sequence (2020) CHRIS ROGERSON (B . 1988)

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hris Rogerson developed his musical voice in the course of studies at the Curtis Institute of Music, Yale School of Music, and Princeton University, studying along the way with Jennifer Higdon, Aaron Jay Kernis, Martin Bresnick, and Steve Mackey. Selected for the composers’ roster of Young Concert Artists, he was that organization’s composer-inresidence from 2010-12. In 2012, he co-founded Kettle Corn New Music, a contemporary-music presenting organization in New York City, which he continues to serve as co-artistic director. In 2016, he returned to Curtis as a teacher, joining the conservatory’s faculty for musical studies.

His output extends to orchestral works, compositions featuring voice, and solo instrumental pieces, but the largest portion of his catalogue is given over to chamber music, including four string quartets, the piano quartet Summer Night Music, and the piano quintet Dream Sequence. Earlier this summer, Bravo! Vail presented the world premiere of his Piano Concerto in One Movement, which it commissioned from him. The current season includes premieres of several others of his works: The Little Prince, a violin concerto for Benjamin Beilman commissioned by the Kansas City Symphony; Sacred Earth, for mezzo-soprano J’Nai Bridges plus video; and Arietta, for the Dover Quartet with bassist Edgar Meyer. Bravo! Vail commissioned Dream Sequence to be premiered by Anne-Marie McDermott and the

Dover Quartet in August 2020, but the pandemic forced a shift. As a result, the work was introduced last October by those musicians under the auspices of Santa Fe Pro Musica and now reaches our stage. The pandemic was already part of this piece, as the composer explains: There has been much scientific research about people having vivid dreams as a result of the pandemic and quarantining. My work Dream Sequence could be viewed as a reflection of my response to the pandemic. The first movement presents ideas that will appear later in the piece, though in fractured form; this gives way to a rocking lullaby. The second movement, Nightmare I, is steady and tense; the third movement is a tender lullaby and a nod to Ravel. The fourth movement is a more frozen, stricken nightmare. Finally, Afterword is an extended version of a previous work written for two violins and piano. This expansive movement was written after the death of the great soprano Jessye Norman, and contains several references to Strauss’ Four Last Songs, an iconic recording of hers and one of my favorite pieces. I try to evoke a sense of timelessness and wistfulness while also capturing the sweetness and poignancy of sleep. When Afterword was originally unveiled, he added this further comment about that movement: “I also composed this piece while reading Hanya Yanagihara’s novel A Little Life, which is at its core a meditation on life’s sweetness and anguish. … To me there is something particularly poignant about someone who reflects on a difficult life: the shortness of it, how cruel it can be, how ephemeral, how sweet.”

Quintet for String Quartet and Double Bass (1995) E DG AR ME YE R (B . 1960)

Edgar Meyer began playing the double bass at the age of five, taking

the first steps on a path that would lead to acclaim as a soloist and a chamber musician. His distinctive career has been recognized through such honors as an Avery Fisher Career Grant (1994), an Avery Fisher Prize (2000), and a MacArthur Award (2002). He currently serves as visiting professor of double bass at the Curtis Institute of Music in Philadelphia. He developed a parallel career as a composer. Often his two areas of expertise have overlapped, as when he introduced in his own Concerto for Bass and Cello (1995, along with YoYo Ma), his Concerto for Double Bass and Violin (2012, with Joshua Bell), his Triple Concerto for Double Bass, Banjo, and Tabla (2006, with Béla Fleck and Zakir Hussain), or the various occasions when he has played one of his three solo concertos for double bass (1993, 2003, 2012). He has also composed pieces that are not basscentric, including his Violin Concerto (1999, written for Hilary Hahn) and his Overture for Violin and Orchestra (2017, a commission from Bravo! Vail and performed here by Joshua Bell and the Saint Paul Chamber Orchestra). He has earned particular note for his collaborations that cross boundaries of musical genres or geography. He frequently performs with mandolinists Chris Thile, Mike Marshall, and Sam Bush, country/folk violinist Mark O’Connor, and a trio he has established with Fleck and Hussain. His recording Appalachian Waltz (with Ma and O’Connor) was a bestseller in 1996, and their 2000 sequel, Appalachian Journey, won a Grammy for Best Classical Crossover Album; both were rich in Meyer compositions and arrangements. In 1997, the same trio appeared as featured performers at the inaugural gala for the second term of President Clinton. In 2011, he joined with Ma, Thile, and fiddler Stuart Duncan for the recording The Goat Rodeo Sessions, which was awarded the 2012 Grammy for Best Folk Album. “The general act of making music is often highly collaborative,” he said in an interview on National Public Radio. “I really love the idea of something that’s more like a sculpture or writing a novel, where you really see something through from a beginning vision all the way to a completed thing.”

“To me there is something particularly poignant about someone who reflects on a difficult life: the shortness of it, how cruel it can be, how ephemeral, how sweet.” He offers this comment about his Quintet: The Quintet was written in 1995 to be performed by the Emerson String Quartet and myself. … One of my primary goals in writing the Quintet was that it be clear and self-explanatory. Given this goal, detailed notes could be considered a distraction or even a failing, so please forgive the brevity of these. The piece is in four movements. The first is a cross between theme and variation and variations on a ground bass. The second movement is moderate with some sense of humor. The third is slow and devoid of humor. The fourth is fast (and difficult). If this leaves you wondering what to expect, all the better.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons Amy and Charlie Allen Applejack Wine and Spirits Bravo! Vail Artistic Excellence Fund Virginia J. Browning The Francis Family Jackson Family Wines The Judy and Alan Kosloff Artistic Director Chair The New Works Fund Town of Vail

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THE SAINT PAUL CHAMBER ORCHESTRA OUR MISSION is to sustain a world-class chamber orchestra at the highest standards of artistic excellence that enriches the Twin Cities community by sharing dynamic, distinctive, and engaging performances. We are actively committed to accessibility and intentional inclusivity in all aspects of our work and continually strive to provide all people in our community with opportunities to connect with the music we perform.

VIOLIN

BASS

TIMPANI

Steven Copes Kyu-Young Kim Daria T. Adams Nina Tso-Ning Fan Eunice Kim Maureen Nelson Kathryn Bennett Brandon Garbot Rolf Haas Kayla Moffett Nicholas Tavani

Zachary Cohen Timothy Pitts

Erich Rieppel

FLUTE

Hanna HyunJung Kim

VIOLA

Andrew Brady Jack Pena

Hyobi Sim Maurycy Banaszek Ben Ullery Tanner Menees

CELLO Julie Albers Joshua Koestenbaum Sarah Lewis Richard Belcher

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Julia Bogorad-Kogan Alicia McQuerrey

OBOE Cassie Pilgrim Barbara Bishop

BASSOON

HORN James Ferree Michael Petruconis

TRUMPET Lynn Erickson Martin Hodel

KEYBOARD ADMINISTRATION Jon Limbacher, Managing Director and President Kyu-Young Kim, Artistic Director Jason Piehl, General Manager Cassandra Flowers, Director of Operations Kelly MacLennan, Director of Orchestra Personnel John Nickelson and Nathan Kulenkamp, Stage Crew

DALLAS SYMPHONY ORCHESTRA

VIOLA

OBOE

Matthew Sinno Associate Principal

Willa Henigman Associate Principal

Sarah Kienle Acting Associate Principal

Brent Ross

Meredith Kufchak Principal Hortense & Lawrence S. Pollock Chair

Erin Hannigan Principal Nancy P. & John G. Penson Chair

Music Director Louise W. & Edmund J. Kahn Music Directorship

Gemma New

Valerie Dimond** Dr. James E. Skibo Chair

CLARINET

Matthew Good Principal Dot & Paul Mason Chair

Gregory Raden Principal Mr. & Mrs. C. Thomas May, Jr. Chair

Christine Hwang Xiaohan Sun Maisie Heiken Chair Dan Wang Debra & Steve Leven Chair

Jeff Tyzik

CELLO

Assistant Conductor Marena & Roger Gault Chair

Angélica Negrón

Composer-in-Residence

Ute Miller+ Eve Tang+

Christopher Adkins Principal Fannie & Stephen S. Kahn Chair Theodore Harvey Associate Principal Holly & Tom Mayer Chair Jolyon Pegis** Associate Principal Joe Hubach Chair Jeffrey Hood

Nathan Olson Co-Concertmaster Fanchon & Howard Hallam Chair Gary Levinson Senior Principal Associate Concertmaster Enika Schulze Chair Emmanuelle Boisvert Associate Concertmaster Robert E. & Jean Ann Titus Family Chair Eunice Keem Associate Concertmaster Marcella Poppen Chair Diane Kitzman Principal Filip Fenyrch W. Paul Radman, DDS Chair Maria Schleuning Norma & Don Stone Chair Lucas Aleman Jenna Barghouti Mary Reynolds Andrew Schast Motoi Takeda** Associate Concertmaster Emeritus

Bruce Wittrig Giyeon Yoon Kaori Yoshida* Ami Campbell+

VIOLIN II

Angela Fuller Heyde Principal Barbara K. & Seymour R. Thum Chair Alexandra Adkins Associate Principal Sho-mei Pelletier Associate Principal Bing Wang Bruce Patti* Rita Sue & Alan Gold Chair Mariana Cottier-Bucco Lilit Danielyan* Hyorim Han Shu Lee Nora Scheller* Aleksandr Snytkin* Lydia Umlauf Paige Kossuth+

Stephen Ahearn Second Clarinet + Acting Associate Principal Courtney & Andrew Nall Chair

Minji Kim Nan Zhang David Mollenauer+

BASS

David Heyde Associate Principal + Acting Principal Linda VanSickle Chair

Thomas Lederer Co-Principal

Haley Hoops Becky & Brad Todd Chair

Roger Fratena Associate Principal

Yousef Assi** Kevin Haseltine

Paula Holmes Fleming

Alexander Kienle Assistant Principal + Utility

Brian Perry Clifford Spohr Principal Emeritus

Brian Jones Principal Dr. Eugene & Charlotte Bonelli Chair Ian Sullivan+

PERCUSSION

Daniel Florio Associate Principal

HORN

Nicolas Tsolainos Principal Anonymously Endowed Chair

TIMPANI

BASSOON

Peter Grenier + Contrabassoon

Emileigh Vandiver+

Jarrod Robertson+

Andrew Sandwick Bass Clarinet + Utility

Tom Fleming

Marie-Thais Oliver+

TUBA

George Nickson Principal Margie & William H. Seay Chair

Stephanie Key

Scott Walzel Associate Principal Barbara & Robert P. Sypult Chair

Kari Kettering

Alexander Kerr Concertmaster Michael L. Rosenberg Chair

Paul Garner** Associate Principal + E-flat Robert E. and Ruth Glaze Chair

Ted Soluri Principal Irene H. Wadel & Robert I. Atha, Jr. Chair

Jennifer Yunyoung Choi

VIOLIN I

Brian Hecht Utility Trombone

Thomas Demer

Principal Guest Conductor Dolores G. & Lawrence S. Barzune, M.D. Chair

Maurice Cohn

Christopher Oliver Associate Principal

Darren McHenry Bass Trombone

David Sywak

Principal Pops Conductor Dot & Paul Mason Podium

Barry Hearn Principal Cece & Ford Lacy Chair

David Matthews + English Horn Karen & Jim Wiley Chair

Pamela Askew

Fabio Luisi

TROMBONE

Shaun Tilburg+ Brad Wagner+

HARP

Emily Levin Principal Elsa von Seggern Chair Naoko Nakamura+

KEYBOARD

Jeanne R. Johnson Chair Steve Harlos

SAXOPHONE Peter Grenier Tom Myer+ Wil Swindler+ * Performs in both Violin I and Violin II sections **On Leave + Guest Artist

Vacant Principal Howard E. Rachofsky Chair

Alexander Jenkins+ Tyler Shepherd+

Jesse Clevenger+

FLUTE

David Buck Principal Joy & Ronald Mankoff Chair Deborah Baron Associate Principal + Piccolo Barbara Rabin Chair

TRUMPET

L. Russell Campbell Associate Principal + Acting Principal Yon Y. Jorden Chair Kevin Finamore Elmer Churampi

Kara Kirkendoll Welch Caroline Rose Hunt Chair

Peter Stammer+ Stuart Stephenson+

Daphne Volle

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BRAVO! VAIL MUSIC MAKERS AFTER-SCHOOL PROGRAMS

earning music at a young age can promote creativity, improve academic performance, and build self-esteem. Bravo! Vail’s dynamic after-school programs go far beyond playing music and include opportunities for students to perform in community recitals throughout the year.

WHO:

Students entering grades 2–5.

WHAT:

Weekly group classes geared towards teaching the fundamentals of instrument training, musical concepts, performance skills, and reading music.

WHEN:

Classes run September 12, 2022–April 14, 2023.

WHERE:

Several locations from Vail to Gypsum.

TIME:

Classes are 45 minutes long and take place between 3:15–7:00PM. Specific times are determined by student’s experience and ability.

COST:

$150 for 27 weeks of instruction, including recitals. Instrument and tuition scholarships are available based on financial need. Applications available at BravoVail.org/MusicMakers.

Scan the code with your camera to learn more

ONLINE ENROLLMENT AUGUST 1 -15, 2022 Visit BravoVail.org/MusicMakers or email Education@BravoVail.org

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons Dierdre and Ronnie Baker Kimberly and David Bernstein Virginia J. Browning Carol and Harry Cebron Kathy and Brian Doyle Sandi and Leo Dunn Eagle County School District Kathy and David Ferguson and The Ferguson Music Makers Haciendo Música Fund Cookie and Jim Flaum Helmut Fricker Scholarship Fund Gallegos Corp. Sue and Dan Godec Neal Groff Karen and Michael Herman Judy and Alan Kosloff Diane and Lou Loosbrock Drs. Rob and Julie Rifkin Slifer Smith & Frampton Foundation Town of Gypsum Wall Street Insurance

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin

Music Director Walter and Leonore Annenberg Chair

Nathalie Stutzmann

Principal Guest Conductor Ralph and Beth Johnston Muller Chair

Gabriela Lena Frank

Composer-in-Residence

Assistant Conductor

Lina Gonzalez-Granados Conducting Fellow

Charlotte Blake Alston

Storyteller, Narrator, and Host

Frederick R. Haas

Artistic Advisor Fred J. Cooper Memorial Organ Experience

David Kim, Concertmaster Juliette Kang, First Associate Concertmaster Joseph and Marie Field Chair Christine Lim Associate Concertmaster Marc Rovetti, Assistant Concertmaster Barbara Govatos Robert E. Mortensen Chair Jonathan Beiler Hirono Oka Richard Amoroso Robert and Lynne Pollack Chair Yayoi Numazawa Jason DePue Larry A. Grika Chair Jennifer Haas Miyo Curnow Elina Kalendarova Daniel Han Julia Li William Polk Mei Ching Huang

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 Meng Wang

CELLOS

Erina Yashima

FIRST VIOLINS

VIOLAS

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 Davyd Booth Paul Arnold Joseph Brodo Chair, given by Peter A. Benoliel Boris Balter Amy Oshiro-Morales Yu-Ting Chen Jeoung-Yin Kim

Hai-Ye Ni, Principal Priscilla Lee, Associate Principal Yumi Kendall, Assistant Principal Elaine Woo Camarda and A. Morris Williams, Jr., Chair Richard Harlow Gloria dePasquale Orton P. and Noël S. Jackson Chair Kathryn Picht Read Robert Cafaro Volunteer Committees Chair Ohad Bar-David John Koen Derek Barnes Alex Veltman

BASSES

Harold Robinson, Principal Carole and Emilio Gravagno Chair Joseph Conyers, Acting Associate Principal Tobey and Mark Dichter Chair Nathaniel West, Acting Assistant Principal David Fay Duane Rosengard Some members of the string sections voluntarily rotate seating on a periodic basis.

FLUTES

Jeffrey Khaner, Principal Paul and Barbara Henkels Chair Patrick Williams, Associate Principal Rachelle and Ronald Kaiserman Chair Olivia Staton Erica Peel, Piccolo

OBOES

Philippe Tondre, 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 Socrates Villegas Paul R. Demers, Bass Clarinet Peter M. Joseph and Susan Rittenhouse Joseph Chair

BASSOONS

Daniel Matsukawa, Principal Richard M. Klein Chair Mark Gigliotti, Co-Principal Angela Anderson Smith Holly Blake, Contrabassoon

HORNS

Jennifer Montone, Principal Gray Charitable Trust Chair Jeffrey Lang, Associate Principal Hannah L. and J. Welles Henderson Chair Christopher Dwyer Ernesto Tovar Torres Shelley Showers

TRUMPETS

David Bilger, Principal Marguerite and Gerry Lenfest Chair Jeffrey Curnow, Associate Principal Gary and Ruthanne Schlarbaum Chair Anthony Prisk

TROMBONES

Nitzan Haroz, Principal Neubauer Family Foundation Chair Matthew Vaughn, Co-Principal Blair Bollinger, Bass Trombone Drs. Bong and Mi Wha Lee Chair

TUBA

Carol Jantsch, Principal Lyn and George M. Ross Chair

TIMPANI

Don S. Liuzzi, Principal Dwight V. Dowley Chair Angela Zator Nelson, Associate Principal

PERCUSSION

Christopher Deviney, Principal Angela Zator Nelson

PIANO AND CELESTA Kiyoko Takeuti

KEYBOARDS Davyd Booth

HARP

Elizabeth Hainen, Principal

LIBRARIANS

Nicole Jordan, Principal Steven K. Glanzmann

STAGE PERSONNEL James J. Sweeney, Jr., Manager Dennis Moore, Jr. Francis “Chip” O’Shea

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NEW YORK PHILHARMONIC JAAP van ZWEDEN Music Director

PICCOLO

Laureate Conductor, 1943–1990

Kurt Masur

Music Director Emeritus, 1991–2015

VIOLINS

Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair Lisa GiHae Kim Kuan Cheng Lu Kerry McDermott Su Hyun Park Anna Rabinova Fiona Simon The Shirley Bacot Shamel Chair Sharon Yamada Elizabeth Zeltser+ The William and Elfriede Ulrich Chair Yulia Ziskel The Friends and Patrons Chair Qianqian Li Principal Lisa Eunsoo Kim* In Memory of Laura Mitchell Soohyun Kwon The Joan and Joel I. Picket Chair Duoming Ba Hannah Choi Marilyn Dubow The Sue and Eugene Mercy, Jr. Chair Dasol Jeong Hyunju Lee Kyung Ji Min Marié Schwalbach Na Sun The Gary W. Parr Chair Jin Suk Yu Andi Zhang

Robert Langevin Principal The Lila Acheson Wallace Chair Alison Fierst* Yoobin Son Mindy Kaufman The Edward and Priscilla Pilcher Chair Lauren Scanio++

Mindy Kaufman

Leonard Bernstein

Frank Huang 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 Quan Ge+

FLUTES

VIOLAS

Cynthia Phelps Principal The Mr. and Mrs. Frederick P. Rose Chair Rebecca Young* The Joan and Joel Smilow Chair Cong Wu** The Norma and Lloyd Chazen Chair Dorian Rence Leah Ferguson Katherine Greene The Mr. and Mrs. William J. McDonough Chair Vivek Kamath Peter Kenote Kenneth Mirkin Robert Rinehart The Mr. and Mrs. G. Chris Andersen Chair

CELLOS

Carter Brey Principal The Fan Fox and Leslie R. Samuels Chair N.N.* The Paul and Diane Guenther Chair Patrick Jee

OBOES

TROMBONES

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

BASS TROMBONE

George Curran The Daria L. and William C. Foster Chair

TUBA

Liang Wang Principal The Alice Tully Chair Sherry Sylar* Robert Botti The Lizabeth and Frank Newman Chair Ryan Roberts

Markus Rhoten Principal The Carlos Moseley Chair Kyle Zerna**

ENGLISH HORN

PERCUSSION

Ryan Roberts

Alan Baer Principal

TIMPANI

Anthony McGill Principal The Edna and W. Van Alan Clark Chair Pascual Martínez Forteza*** The Honey M. Kurtz Family Chair Pavel Vinnitsky++

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 Pablo Rieppi++ Matthew Kantorski++

E-FLAT CLARINET

HARP

CLARINETS

Pascual Martínez Forteza

BASS CLARINET N.N.

BASSOONS

Judith LeClair Principal The Pels Family Chair Kim Laskowski* Roger Nye The Rosalind Miranda Chair in memory of Shirley and Bill Cohen

CONTRABASSOON N.N.

HORNS

Nancy Allen Principal Stacey Shames++

KEYBOARD

In Memory of Paul Jacobs

HARPSICHORD

Isaac Thompson, Managing Director Adam Z. Gerdts, Senior Vice President, Philanthropy Justin Brown, Vice President, Production & Venues Patrick Castillo, Vice President, Artistic Planning Adam Crane, Vice President, External Affairs Katharine Dryden, Orchestra Personnel Administrator Patrick O’Reilly, Assistant Production Manager Brendan Timins, Director, Touring & Operations Galiya Valerio, Assistant to the Music Director Jerry Hou, Residency Assistant Conductor

ORGAN

Kent Tritle+

LIBRARIANS

BASSES

TRUMPETS

Joseph Faretta

146 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Peter W. May, Oscar L. Tang, Co-Chairmen Deborah Borda, Linda and Mitch Hart President & CEO

Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.

Eric Huebner The Anna-Maria and Stephen Kellen Piano Chair

Lawrence Tarlow Principal Sara Griffin**

Randall Butler The Ludmila S. and Carl B. Hess Chair David J. Grossman Isaac Trapkus Rion Wentworth

NEW YORK PHILHARMONIC

PIANO

Richard Deane Acting Principal Leelanee Sterrett*** R. Allen Spanjer The Rosalind Miranda Chair N.N. The Ruth F. and Alan J. Broder Chair Alana Vegter++ Chad Yarbrough++ Theodore Primis++ Christopher Martin Principal The Paula Levin Chair Matthew Muckey* Ethan Bensdorf Thomas Smith

Emanuel Ax Stanley Drucker Zubin Mehta

Robert W. Pierpont, Stage Crew Robert Sepulveda, Stage Crew

Paolo Bordignon+

Elizabeth Dyson The Mr. and Mrs. James E. Buckman Chair Alexei Yupanqui Gonzales Maria Kitsopoulos The Secular Society Chair Sumire Kudo Qiang Tu Nathan Vickery Ru-Pei Yeh The Credit Suisse Chair in honor of Paul Calello Timothy Cobb Principal Max Zeugner* The Herbert M. Citrin Chair Blake Hinson** Satoshi Okamoto

HONORARY MEMBERS OF THE SOCIETY

ORCHESTRA PERSONNEL

DeAnne Eisch Orchestra Personnel Manager

STAGE REPRESENTATIVE AUDIO DIRECTOR Lawrence Rock

* Associate Principal ** Assistant Principal *** Acting Associate 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.

Steinway is the Official Piano of the New York Philharmonic. Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the National Endowment for the Arts, the National Endowment for the Humanities, and the New York State Council on the Arts, with the support of the Office of the Governor and the New York State Legislature.

COLORADO SYMPHONY CHORUS BRAVO! VAIL FESTIVAL CHORUS Duain Wolfe

Founding Director and Conductor

Mary Burke

Associate Conductor

Taylor Martin

Assistant Conductor

SOPRANO Lori Ascani Kimberly Black Jude Blum Margot Brauchli Denelda Causey Sarah Coberly Angie Collums Kerry Cote Claudia Dakkouri Jennifer Davis Mary Dobreff Daniela Eguez Kate Emerich Jackie Ernst Phoenix Gayles Jenifer Gile Lori Gill Susan Graber Elizabeth Hedrick Nadya Hill Cameron Jordan Sarah Kochevar Lisa Kraft Cathy Look Erin Montigne Wendy Moraskie Christine Nyholm Jeannette O'Nan Jodie Peterson Kim Pflug Hannah Ploughman Barbara Porter

Donneve Rae Andi Rooney Sarah Roth Elise Schauer Roberta Sladovnik Nicole Stegink Sydney Timme Susan Vonroedern Karen Wuertz Joan Zisler ALTO Priscilla Adams Charlotte Braud Jayne Conrad Martha Cox Janie Darone Raleigh Fairchild Anna Friedman Sharon Gayley Pat Guittar Sheri Haxton Kaia Hoopes Brandy Jackson Ellen Janasko Alice Major Joanna Maltzahn Susan McWaters Annélise Nelson Kristen Nordenholz Sheri Owens Elizabeth Scarselli Deanna Thaler

Mary Thayer Clara Tiggelaar Kimberly Trubetskoy Emma Vawter Pat Virtue Benita Wandel Evin Worthington TENOR Christian Auguello Gary Babcock James Carlson Dusty Davies Roger Fuehrer John Gale Frank Gordon Forrest Guittar David Hodel Michael Hoffman Sami Ibrahim Curt Jordan Kenneth Kolm Todd McCracken Tom Milligan Richard Moraskie Timothy Nicholas Dallas Rehberg Tyler Richardson Eugene Roach Jerry Sims Philip Stohlmann Hannis Thompson Joshua Zabatta Kenneth Zimmerman

Kenneth Quarles Frederick Ravid Joshua Richards Russell Skillings David Struthers Tom Virtue Keith Williamson Zach Williman Joe Winans PIANISTS HsiaoLing Lin ShaoChun Tsai CHORUS MANAGERS Eric Israelson Barbara Porter

BASS Allen Adair John Adams Daniel DeCecco Robert Friedlander Tim Griffin Chris Grossman Nicholas Hamlyn Phill Hatton Douglas Hesse Eric Israelson Thomas Jirak John Jones Paul Lingenfelter Zeky Nadji Eugene Nuccio Ben Pilcher Tom Potter Oliver Poveda Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

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The Balourdet Quartet (string quartet) (Angela Bae and Justin DeFilippis, violins; Benjamin

Zannoni, viola; Russell Houston, cello) was formed in 2018 and is currently in residence at New England Conservatory. The group received the Grand Prize at the 2021 Concert Artists Guild Victor Elmaleh Competition, the top prize awarded in the 2021 Premio Paolo Borciani, the Gold Medal in the 2020 Fischoff National Chamber Music Competition, the Gold Medal and Audience Award at the 2021 Chamber Music Yellow Springs Competition, and Chamber Music America’s 2021 Classical Commissioning Grant. The quartet gets its name from Antoine Balourdet, chef extraordinaire at the Hotel St. Bernard.

Richard Belcher (cello) joined the SPCO in 2019 after a 20-year career as founding cellist of the Grammy-nominated Enso String Quartet. Born in New Zealand, Richard is the Artistic Director of Music on the Hill in Mankato, Minnesota, and since 2008 has been Principal Cellist of River Oaks Chamber Orchestra in Houston, Texas. He has taught and performed at many festivals including St. Bart’s, Festival d’Aix en Provence, Prussia Cove, Madeline Island, Campos do Jordao International Winter Festival, SummerFest La Jolla, and the San Miguel de Allende International Chamber Music Festival.

Nick Cassarino (guitar/vocals) has shared the stage, studio, or playbill with such renowned musicians as Allison Krauss, Yo-Yo Ma, Wynton Marsalis, Joe Lovano, John Faddis, Michael Ray, Bob Gullotti, Trey Anastasio, Page McConnell, and Mike Gordon, among many others. As bandleader or sideman, he has worked at venues including Carnegie Hall, The Blue Note, Le Passion Rouge, Jacob Javitz Center, and Sullivan Hall in New York City, and also The Venetian Hotel in Macau, China. A Vermont native, Mr. Cassarino twice headlined the Burlington Discover Jazz Festival.

Choong-Jin (C.J.) Chang (viola) became principal viola of The Philadelphia Orchestra in 2006

after having joined the Orchestra in 1994. He made his performance debut as a 12-year-old violinist with the Seoul Philharmonic as winner of the grand prize in Korea’s Yook Young National Competition. Mr. Chang made his solo debut recital at Carnegie Hall in 2007 and since then has appeared in numerous recitals in the United States and South Korea. As a chamber musician, he performs with the world’s great musicians at festivals throughout the United States and Asia. He is a founding member of the Johannes Quartet.

Seong-Jin Cho (piano) was the youngest-ever winner of Japan’s Hamamatsu International Piano Competition and took Third Prize at Moscow’s Tchaikovsky Competition in 2011. He won First Prize at the Chopin International Competition in Warsaw in 2015 and signed an exclusive contract with Deutsche Grammophon the following year. An active recitalist, he has also collaborated with conductors Esa-Pekka Salonen, Vladimir Ashkenazy, Yuri Temirkanov, and Leonard Slatkin, among others. His 2017 Carnegie Hall main stage concert sold out. Deutsche Grammophon recently released his recording of Mozart’s Piano Concerto No. 20 with Yannick Nézet-Séguin conducting the Chamber Orchestra of Europe. Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

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Danish String Quartet (Frederik Øland and Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello) is known for its performances of classical music as well as its own renditions of traditional Nordic folk music. The recipient of many awards and prestigious appointments, including Musical America’s 2020 Ensemble of the Year and the Borletti-Buitoni Trust, the Quartet was named in 2013 as BBC Radio 3 New Generation Artists and as members of The Bowers Program. Its Bravo! Vail appearance is part of Doppelgänger, a four-year international commissioning project pairing world premieres of new works with the chamber music of Schubert.

George Daugherty (conductor) has appeared with more than 125 of the world’s leading orchestras, ballet companies, opera houses, and concert artists over his 40-year career. Daugherty is also an award-winning creator with credits as director, writer, and producer for television, film, theater, and unique concerts. He received a Primetime Emmy as executive producer of ABC’s animation and live-action production of Prokofiev’s Peter and the Wolf, which he also directed, wrote, and conducted, and for which he was also nominated for Outstanding Music Direction. Mr. Daugherty created the Bugs Bunny symphonic concert legacy in 1990, which has since played to millions of people worldwide.

Stéphane Denève (conductor) is well known to Bravo! Vail audiences from his many

appearances as Principal Guest Conductor of The Philadelphia Orchestra (2014-2020). He is Music Director of both the St. Louis Symphony and the Brussels Philharmonic, where he also directs the Centre for Future Orchestral Repertoire. He was recently appointed Principal Guest Conductor of The Netherlands Radio Philharmonic Orchestra. Prior posts include Chief Conductor of the Stuttgart Radio Symphony Orchestra and Music Director of the Royal Scottish National Orchestra. He has a special affinity for music of his native France and is a passionate advocate of 21st century music.

Dover Quartet (string quartet), named one of the greatest string quartets of the last 100 years

by BBC Music Magazine, has been honored with the Avery Fisher Career Grant, Chamber Music America’s Cleveland Quartet Award, and Lincoln Center’s Hunt Family Award. In addition to its faculty role as the Ensemble in Residence at the Curtis Institute of Music, the Quartet (comprising Joel Link, Bryan Lee, Milena Pajaro-van de Stadt, and Camden Shaw) holds residencies with the Kennedy Center, Bienen School of Music at Northwestern University, Artosphere, and the Amelia Island Chamber Music Festival. Its recording of The Schumann Quartets for Azica Records was nominated for a 2020 Grammy Award.

Xavier Foley (double bass and composer) was recently recognized on New York WQXR’s “19 for 19” Artists to Watch list. Winner of a prestigious 2018 Avery Fisher Career Grant, Mr. Foley won the 2016 Young Concert Artists International Auditions and a Paiko Foundation Fellowship and First Prizes at Astral’s 2014 National Auditions, Sphinx’s 2014 Competition, and the 2011 International Society of Bassists Competition. As concerto soloist, he has performed with the Atlanta Symphony, Philadelphia Orchestra, Nashville Symphony, Sphinx Symphony, and Sphinx Virtuosi at Carnegie Hall. His work “For Justice and Peace” was co-commissioned by Carnegie Hall and the Sphinx Organization.

Zlatomir Fung (cello) was the first American in four decades, and youngest musician ever, to win First Prize at the International Tchaikovsky Competition Cello Division. Mr. Fung was a winner of the 2022 Borletti-Buitoni Trust Fellowship, 2017 Young Concert Artists International Auditions, and the 2017 Astral National Auditions, among other top prizes. Recipient of an Avery Fisher Career Grant in 2020, he has been featured on National Public Radio’s Performance Today and has appeared on From the Top six times.

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Avery Gagliano (piano) gained international attention as the First Prize and Best Concerto Prize winner of the 2020 10th National Chopin Piano Competition and as the only American semifinalist at the 18th International Chopin Competition in 2021. She is an alumna of the Verbier Festival & Academy and the Lang Lang International Music Foundation’s Young Scholars Program, a four-year winner of the US Chopin Foundation Scholarship, and has made several appearances on National Public Radio’s (NPR) From The Top. Ms. Gagliano recently made her Carnegie Hall debut and released her debut album, “Reflections.”

Kirill Gerstein (piano) is a multifaceted artist whose early experience in jazz continues to influence his career. Recent highlights include Mozart with Camerata Salzburg, both of Ravel’s Piano Concertos with City of Birmingham Symphony Orchestra; and all five Beethoven Piano Concertos over two nights with the Grand Rapids Symphony. His decades-long relationship with composer Thomas Adès has resulted in two recordings which have garnered a 2021 International Classical Music Award, a 2020 Gramophone Award, and three Grammy Award nominations. In 2010, Mr. Gerstein received both the Gilmore Artist Award and an Avery Fisher Grant.

Ryan Speedo Green (bass) opened the Metropolitan Opera’s 2021/22 season in Terrence

Blanchard’s Fire Shut up in my Bones and reprised his Grammy Award winning role of Jake in Porgy and Bess. He was also one of the 2021 recipients of the Met’s prestigious Beverly Sills Award. Orchestral appearances include the Los Angeles Philharmonic, the Philadelphia Orchestra, and the Chicago Symphony Orchestra at the Ravinia Festival. Mr. Green is the subject of the bestselling book “Sing for Your Life,” based on his journey from trailer park to international acclaim.

Chester Gregory (vocalist) is an American actor, singer, and songwriter from Gary, Indiana.

He was last seen starring in the Broadway production of Motown The Musical as Berry Gordy. Additional Broadway credits include Hairspray, Tarzan, Cry-Baby, and Sister Act. Other credits include August Wilson’s Fences and Two Trains Running. He has toured nationally with Dreamgirls and Sister Act, as well as his one-man show The Eve of Jackie Wilson. Mr. Gregory is the recipient of the Joseph Jefferson Award and a NAACP Theatre Award and has been chosen as an Honorary State Representative of Indiana.

Hélène Grimaud (piano) was born in Aix-en-Provence, France, and began her musical studies

at a local school before being accepted into the Paris Conservatoire at age 13. In addition to being a concert pianist, she has published three semi-autobiographical novels and is an active member of Musicians for Human Rights, a worldwide network of musicians that promotes a culture of human rights and social change. Her recordings have been critically acclaimed and awarded numerous accolades, among them the Cannes Classical Recording of the Year, Choc du Monde de la musique, Diapason d’or, Grand Prix du disque, and the Echo Klassik Award.

Myra Huang (piano) is highly sought after for her interpretation of lieder and art song. An avid recitalist and recording artist, her recordings have received critical acclaim from the New York Times, Gramophone UK, Opera News, and The Boston Globe. Her recent album Gods and Monsters with tenor Nicholas Phan was nominated for the “Best Classical Vocal Solo Album” category at the 2018 Grammy Awards. She is a part of the coaching staff in The Metropolitan Opera Lindemann Young Artist Development Program, as well as The Atkins Program at The Mariinsky Theatre in St. Petersburg, Russia.

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Stefan Jackiw (violin) has appeared as soloist with the Boston, Chicago, Cleveland, New York,

Philadelphia, and San Francisco symphony orchestras, among others. Highlights of the past season include the premiere of a new violin concerto by Conrad Tao with the Atlanta and the Baltimore Symphonies and appearances with Orchestre National de Lyon and NDR Elbphilharmonie Orchestra. Jackiw tours frequently with his musical partners, Conrad Tao on piano and cellist Jay Campbell, as part of the Junction Trio. He also collaborates regularly with pianist Jeremy Denk with whom he has performed complete Ives Violin Sonatas.

James Keller (program annotator) recently completed his 22nd season as program annotator

of the San Francisco Symphony. He is the author of Chamber Music: A Listener’s Guide (Oxford University Press) and has contributed chapters to books including American Mavericks, George Crumb and the Alchemy of Sound, and Leonard Bernstein, American Original. In demand as a lecturer and interviewer, he was formerly program annotator of the New York Philharmonic, a writer-editor at The New Yorker, and critic-at-large for the Santa Fe New Mexican. He has curated major museum exhibitions in California and New Mexico about historical popular music relating to those states.

Brian Killeen (bass) is based in New York City and has enjoyed performing with many inspiring artists. Some of his favorite musical situations have included sharing stages with Chuck Loeb, Jarle Bernhoft, Liz Longley, A Great Big World, and Joe Sumner, as well as various on and off-Broadway theatrical productions. He is thrilled to be a part of Revolution: The Music of The Beatles.

Bomsori Kim (violin) has won prizes at 10 international violin competitions, including Tchaikovsky, Queen Elisabeth, ARD, Sibelius, Montreal, Sendai, Wieniawski, Joachim, China, and Schoenfeld, as well as the 2018 Young Artist Award from the Korean Ministry of Culture, Sports and Tourism, and the Korean Music Association’s 2019 Young Artist Award. She was the Focus Artist of the Rheingau Musik Festival 2021, with a nine-concert residency. Recent highlights include all five Mozart violin concertos with the Camerata Salzburg, Tchaikovsky’s Violin Concerto with Royal Philharmonic Orchestra, and Bach with Vasily Petrenko and Tenebrae Choir.

David Kim (violin) was named concertmaster of The Philadelphia Orchestra in 1999. Born in

Carbondale, Illinois, in 1963, he started playing the violin at the age of three, began studies with the famous pedagogue Dorothy DeLay at the age of eight, and later received his bachelor’s and master’s degrees from the Juilliard School. In addition to regular solo appearances with the orchestra, Mr. Kim is in demand as a teacher and coach and enjoys annual guest appearances with the modern hymn writers Keith and Kristyn Getty. Mr. Kim is also well known by Bravo! Vail audiences for his love of golf and the outdoors.

Eunice Kim (violin) made her solo debut at the age of seven with the Korean Broadcasting Symphony Orchestra, has played for the United Nations and the American Academy in Berlin, and has appeared multiple times at the Kennedy Center on the Millennium Stage Series. The young violinist has been featured soloist with orchestras including The Philadelphia Orchestra, Louisville Symphony, Saint Paul Chamber Orchestra, and the Albany Symphony Orchestra, with which she recorded George Tsontakis' Unforgettable, released in 2017 on Naxos Records. Ms. Kim was the recipient of the Rose Paul Fellowship at the Curtis Institute and was awarded the prestigious Milka Violin Artist Prize upon graduation. 152 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Kyu Young Kim (violin) is artistic director and principal violin of The Saint Paul Chamber Orchestra and one of the most versatile and accomplished musicians of his generation. His appointment as the SPCO’s Artistic Director in January 2016 marks the first time a playing member has been tapped to take the artistic helm of a major American orchestra. Since assuming his dual role in 2013, the SPCO has toured throughout the U.S. and to Europe to great critical acclaim. It also won a Grammy Award in 2018 for its recording of Schubert’s Death and the Maiden.

Priscilla Lee (cello) joined The Philadelphia Orchestra as assistant principal cello at the start of the 2016/17 season. A 2005 Avery Fisher Career Grant recipient, she began studying at the age of five and made her solo debut in 1998 with the Los Angeles Philharmonic. A native of California, she studied with Ronald Leonard at the Colburn School of Performing Arts and in 1998 went on to the Curtis Institute of Music to study with David Soyer. In 2005 she received a Master of Music degree from the Mannes College of Music, where she studied with Timothy Eddy.

Isabel Leonard (mezzo-soprano) is a multiple Grammy Award-winning mezzo-soprano with

repertoire that spans from Vivaldi to Mozart to Nico Muhly. Recent season highlights include debuts at Royal Opera House Covent Garden, Dutch National Opera, Cincinnati Opera, and The Glimmerglass Festival, as well as performing L’enfant et les sortilèges with the The Philadelphia Orchestra and Cincinnati Symphony, Shéhérazade with the New York Philharmonic and Detroit Symphony Orchestra, and La damnation de Faust with the Saint Louis Symphony. Ms. Leonard is a recipient of the Richard Tucker Award and serves on the Board of Trustees at Carnegie Hall.

Paul Loren (vocalist) is a singer, songwriter, producer, and entertainer. A native New Yorker, Mr. Loren was raised on the rich legacy of soul, classic pop, and the Great American Songbook. He completed his first headline tour this year and has performed as a support artist on national tours for Brendan James, The Temptations, as part of Stamford’s Summer Concert Series “Wednesday Night Live,” and has sold out Joe’s Pub at the Public in New York City multiple times. Mr. Loren’s upcoming album is being recorded at his “Five & Dime” studio in Brooklyn on old magnetic tape machines.

Darren Lorenzo (vocalist) is a veteran performer, hailing straight from Atlanta, Georgia. He trained with Broadway Theater Project at the University of South Florida and with Theater Emory of Emory University. He has performed in national and international touring productions of Legally Blonde, Saturday Night Fever, Smokey Joe’s Cafe, and Once on This Island, as well as several gospel tours throughout Europe. In addition to acting and singing, he also works as a writer, producer, teacher, and director.

Daniel Lozakovich (violin) was born in Stockholm in 2001, began playing the violin when he

was almost seven, and made his solo debut two years later with the Moscow Virtuosi Chamber Orchestra. He signed an exclusive contract with Deutsche Grammophon in June 2016, soon after his 15th birthday. His many accolades include first prize at the 2016 Vladimir Spivakov International Violin Competition, the Excelentia Prize, awarded to him under the honorary presidency of Queen Sofia of Spain, and “Young Artist of the Year” at the 2017 Festival of the Nations. Recent highlights include his New York debut at the Mostly Mozart Festival with Louis Langrée and tours to Japan and Asia.

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Fabio Luisi (conductor) Grammy-winning conductor Fabio Luisi launched his tenure as Louise W. & Edmund J. Kahn Music Director of the Dallas Symphony Orchestra in the 2020/21 season. Also serving as Principal Conductor of the Danish National Symphony Orchestra, he assumes the role of Chief Conductor of Japan’s NHK Symphony Orchestra in September 2022. Luisi’s DSO tenure has already been marked by remarkable artistic growth, and, during the 2021/22 concert season, he and the orchestra continued their exploration of American music, launched a Brahms symphonic cycle recording project, and presented a full opera-in-concert.

Michael Lynche (vocalist) garnered attention during his stint on the ninth season of American

Idol, where he rose from obscurity to finalist. Since performing throughout the United States as part of the American Idol LIVE! Tour, “Big Mike” has released two studio albums; toured as an opening act for Boyz II Men, Lalah Hathaway, Faith Evans, and Lyfe Jennings; and recently took his show overseas for the first time to headline a tour of the Mediterranean.

Anne-Marie McDermott (piano) has been Artistic Director of Bravo! Vail since 2011. She

enjoys performing, recording, commissioning, and planning an awe-inspiring variety of music. She is currently working on recording the complete Mozart Concertos with the Odense Symphony in Denmark for release on Bridge Records and is looking forward this summer to premiering a new concerto by Chris Rogerson, commissioned for her by the Bravo! Vail Music Festival in honor of her 10th anniversary. A highly sought-after chamber musician, she regularly performs with the Chamber Music Society of Lincoln Center, where she has been a member since 1995.

Maureen McKay (soprano) has recently been featured in several roles with The Metropolitan

Opera, singing Echo in Strauss’ Ariadne auf Naxos and serving as the cover for Pamina in The Magic Flute, and Susanna in Le nozze di Figaro. Recent concert performances include Mahler’s Symphony No. 4 with The Cleveland Orchestra, Mozart’s Requiem and Debussy’s La damoiselle élue with the Utah Symphony, Carmina Burana with the National Symphony Orchestra, Seattle Symphony, and Utah Symphony, and Louis Andriessen’s The New Math(s) with the Seattle Chamber Players. Ms. McKay is a former member of Seattle Opera’s Young Artists Program and was a Filene Young Artist with Wolf Trap Opera Company.

Cynthia Meng (keyboard) is a New York-based music director, vocalist, and pianist who

frequently works in theater, and also performs regularly as a session keyboardist and singer in the live music circuit. Ms. Meng is a member of the music team for the Tony- and Grammy-winning production of Anaïs Mitchell’s Hadestown, has played keyboard for the Radio City Christmas Spectacular, and currently plays keyboard in the Broadway revival of Stephen Sondheim’s Company starring Katrina Lenk and Patti LuPone.

Edgar Meyer (double bass) works in the traditions of classical, bluegrass, newgrass, and jazz

as both performer and composer. In 1994 he became the only bassist to win the Avery Fisher Career Grant and in 2000, the only bassist to receive the Avery Fisher Prize. His uniqueness in the field was recognized by a MacArthur Award in 2002. A five-time Grammy Award winner, his collaborators have spanned a wide range of musical styles and talents; among them are Joshua Bell, Hilary Hahn, Yo-Yo Ma, Béla Fleck, Zakir Hussain, Sam Bush, Chris Thile, Mark O’Connor, Christian McBride, and Emanuel Ax.

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Siena Licht Miller (mezzo soprano) has been featured as a soloist with the Oregon, Grant Park

(Chicago), Columbus, and Charlotte Symphonies in repertoire from Beethoven to Britten. Operatic highlights include role debuts with Opera Philadelphia as Hermia in A Midsummer Night’s Dream and Zweite Dame in Die Zauberflöte. Ms. Miller has received awards from the Metropolitan Opera National Council Auditions, the Marilyn Horne Rubin Foundation, and the Gerda Lissner Foundation.

Dara Morales (violin) joined The Philadelphia Orchestra as assistant principal second violin at the start of the 2007/08 season. She came to the Orchestra from the Utah Symphony and Opera, where she served as principal second violin. She has previously held the positions of principal second violin and interim associate concertmaster of the Puerto Rico Symphony and concertmaster of the Northern Kentucky Symphony. As soloist Ms. Morales has performed with the Utah Symphony, the Cincinnati Symphony, the Puerto Rico Symphony, the Bangor Symphony, and the Lancaster Symphony, among others.

Ricardo Morales (clarinet), a native of San Juan, joined The Philadelphia Orchestra as principal clarinet in 2003 and made his solo debut with the Orchestra in 2004. Previously he was principal clarinet of the Metropolitan Opera Orchestra, with which he soloed at Carnegie Hall. With the U.S. Marine Band, he recorded Jonathan Leshnoff’s Clarinet Concerto, commissioned for him by The Philadelphia Orchestra. His recent recordings include a performance with the Pacifica Quartet, which was nominated for a Latin Grammy Award. He also performs as principal clarinet with the Saito Kinen Festival Orchestra and the Mito Chamber Orchestra, at the invitation of Maestro Seiji Ozawa.

Maureen Nelson (violin) became a full-time member of The Saint Paul Chamber Orchestra in

2016. As former founding member and first violinist, she led the Grammy-nominated Enso String Quartet for nearly two decades, making numerous critically acclaimed recordings on the Naxos label. A native of Pennsylvania, Maureen was enrolled in Temple University's Center for Gifted Young Musicians at the age of 12, and began attending the Curtis Institute of Music shortly thereafter. She was concertmaster of the Detmolder Kammerochester and has been a member of the Houstonbased River Oaks Chamber Orchestra since 2010.

Emmett O’Hanlon (baritone) recently made his house debut with Irish National Opera as Simon in Donnacha Dennehy and Edna Walsh’s The First Child, presented as part of the Dublin Theatre Festival. The Irish-American vocalist has performed in concert in Scenes from a New York Stage at the Blue Building in Manhattan and Unanswered Questions: A Leonard Bernstein Journey with the New World Symphony, and in recital at Opera Birmingham and with Sun Valley Opera. Mr. O’Hanlon was a finalist in both the 2017 Operalia competition and the south regional finals of the Metropolitan Opera National Council Auditions.

Nicholas Phan (tenor) performs regularly with the world’s leading orchestras and opera companies. Also an avid recitalist, in 2010 he co-founded the Collaborative Arts Institute of Chicago (CAIC) to promote art song and vocal chamber music. In addition to his work as artistic director of CAIC, he also has served as guest curator for projects with the Laguna Beach Music Festival, Philadelphia Chamber Music Society, Merola Opera program, WQXR, and San Francisco Performances, where he served as the vocal artist-in-residence from 2014 to 2018. Mr. Phan’s most recent album, Clairières, was nominated for the 2020 Grammy Award for Best Classical Solo Vocal Album. Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

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Susanna Phillips (soprano), recipient of The Metropolitan Opera’s 2010 Beverly Sills Artist Award, is a singing actor and recitalist, and co-founder of Twickenham Fest, a chamber music festival in her native Huntsville, Alabama. Known for her sparkling portrayal of Musetta in La bohème, Ms. Phillips has sung at the Metropolitan Opera for 12 consecutive seasons. In 2005 she won four of the world’s leading vocal competitions: Operalia (both First Place and the Audience Prize), the Metropolitan Opera National Council Auditions, the MacAllister Awards, and the George London Foundation Awards Competition.

Shubh Saran (guitar) is a New York-based Indian guitarist and composer who has performed extensively throughout the United States, India, Canada, Bangladesh, Vietnam and Mexico. In his compositions and performances, he has crafted a unique style that blends the sounds of classical and contemporary Indian music with blues, jazz, funk and neo soul. Mr. Saran has performed alongside many renowned artists in the American and Indian music industries including OMI, American Idol’s Michael Lynche, A.R Rahman, Clinton Cerejo, Prasanna, and Mohini Dey.

Jordan Rose (drums) A native of Houston, Texas, drummer Jordan Rose has performed at festivals and venues throughout the US, Canada, Europe, Mexico, Asia, and the Middle East. From 2012-2014 Jordan toured extensively with multi-Grammy Award winner Joe Louis Walker. He now resides in Brooklyn, New York where he’s had opportunities to collaborate with Charlie Puth, Jeff Coffin, Nona Hendryx, Bakithi Kumalo, Louis Cato, and many others. Recently, he has toured with Theo Katzman and Corey Wong of Vulfpeck, The Blues Brothers, and Caleb Hawley.

David Rozelle (Retired Army Colonel) served 26 years as an Armor/Cavalry Officer in the U.S. Army. David served in leadership positions from tank platoon leader to combined arms battalion command and completed four combat deployments. He served three tours in Iraq, twice as a Military Amputee where he lost his right leg below the knee to a land-mine in June of 2003. He most recently deployed for a year to Afghanistan and served as a Colonel on the Resolute Support staff in Kabul. In March of 2021, David retired from the Army out of Fort Jackson, South Carolina, and is now working for the State of South Carolina Department of Veterans’ Affairs as the Director of Operations. Since 2004, David has been an active Vail Veterans program board member and spokesperson.

Issachah Savage (tenor) swept the boards at Seattle’s International Wagner Competition in 2014, taking First Prize, Audience Prize and Orchestra Favorite award. Formerly a member of San Francisco Opera’s prestigious Merola Program, recent operatic milestones include his debut as Bacchus in Strauss’ Ariadne auf Naxos at Seattle Opera and his Metropolitan Opera debut as Don Riccardo in Verdi’s Ernani. Mr. Savage’s varied concert repertoire includes mainstay works such as Beethoven Symphony No. 9, Verdi’s Messa da Requiem and Mahler’s Das Lied von der Erde alongside lessfrequently performed pieces like Stravinsky’s Pulcinella and Kurt Weill’s Lost in the Stars.

Hyobi Sim (viola) is the Associate Principal Violist of The Saint Paul Chamber Orchestra. A native

of Korea, she began her studies at age 12 and went on to win prizes at Tertis International Viola Competition, Music Chunchu Competition and Seoul Arts Center Competition. In addition to concerto appearances, Ms. Hyobi was the guest principal violist at the Cabrillo Festival of Contemporary Music in 2018 and has performed chamber music extensively with the world’s top players. She is a graduate of the Curtis Institute of Music, the Juilliard School and the Peabody Institute of Music.

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Colin Smith (vocalist) has led a varied musical life. With his former band Mrnorth, he toured

extensively with The Who, Van Halen, Sheryl Crow and Journey among others. His songs have been licensed for movies and television. Mr. Smith has been seen in live collaborations with Alicia Keys and has worked multiple times on Saturday Night Live as the featured vocal talent. In 2018 he could be seen on tour with Christina Aguilera, duetting with her on the Grammy winning “Say Something” for audiences across the globe.

Nathalie Stutzmann (conductor) became The Philadelphia Orchestra’s principal guest conductor in the 2021/22 season. She made her Philadelphia Orchestra debut as a contralto in 1997 and her conducting debut in 2016. She is also in her fourth season as chief conductor of the Kristiansand Symphony and was principal guest conductor of the RTÉ National Symphony of Ireland from 2017 to 2020. In October she was named the next music director of the Atlanta Symphony, beginning in the 2022/23 season, becoming only the second woman to lead a major American orchestra.

Nikolaj Szeps-Znaider (violin) enjoys a varied career as both a soloist and conductor. Currently Music Director of the Orchestre National de Lyon, he regularly plays and conducts with orchestras such as the Staatskapelle Dresden, Cleveland Orchestra, and the New York Philharmonic. His recording of Mozart’s violin concertos, conducted from the violin with the London Symphony Orchestra, was critically acclaimed, and he has recorded the complete violin and piano works of Johannes Brahms with Yefim Bronfman. Mr. Szeps-Znaider is also president of the Carl Nielsen International Competition, which takes place every three years in Odense, Denmark.

Burchard Tang (viola) joined The Philadelphia Orchestra in September 1999. He received a

Bachelor of Arts degree in May 1999 from the Curtis Institute of Music, where he studied with Joseph dePasquale, retired Philadelphia Orchestra principal viola, and Choong-Jin Chang, the Orchestra’s current principal viola. Mr. Tang has served as principal viola with the Curtis Symphony and the New York String Seminar, and he has performed with the Brandenburg Ensemble.

Conrad Tao (piano), a native of Urbana, Illinois, made his Bravo! Vail debut in 2019 playing

Beethoven’s Piano Concerto No. 2 with the New York Philharmonic. He was awarded the 2021 Yvar Mikhashoff Prize and received an Avery Fisher Career Grant and was named a Lincoln Center Emerging Artist in 2018. While he was the Dallas Symphony’s artist-in-residence as a composer, the orchestra premiered his The world is very different now, commissioned in observance of the 50th anniversary of President Kennedy’s assassination. In 2018, the New York Philharmonic premiered his Everything Must Go, a work commissioned by the Orchestra.

Davóne Tines (bass baritone) work blends opera, spirituals, gospel, and anthems as a means to tell deeply personal stories. Mr. Tines was co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes’ poem of the same name. He is also a founding core member of the American Modern Opera Company. A winner of the 2020 Sphinx Medal of Excellence, and the 2018 Lincoln Center Emerging Artists Award, he has appeared on numerous concert stages in collaboration with the Dover Quartet.

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Bramwell Tovey (conductor) is the Grammy and Juno Award-winning Principal Conductor of

London’s BBC Concert Orchestra, Music Director Emeritus of the Vancouver Symphony Orchestra, and Artistic Advisor of the Rhode Island Philharmonic. His many New York Philharmonic performances have included annual appearances at Bravo! Vail since 2007, and the nationally telecast 2017 New Year’s Eve tribute to Leonard Bernstein. A Fellow of London’s Royal Academy of Music and Toronto’s Royal Conservatory of Music, he also holds honorary degrees from four universities. In 2013 he was appointed honorary Officer of the Order of Canada for services to music.

Jeff Tyzik (conductor/composer/arranger) was a member of Chuck Mangione’s jazz

orchestra in the 1970’s. He is the Principal Pops Conductor of the Dallas Symphony Orchestra and serves in that role for the symphonies of Detroit and Oregon, the Rochester Philharmonic, and The Florida Orchestra. At Bravo! Vail, he has conducted jazz, classical, Motown, Broadway, film, dance, Latin and swing, and the annual Fourth of July celebration. He has produced and composed theme music for major television networks and released six of his own albums. He produced the Grammy Award-winning “The Tonight Show Band” with Doc Severinson, Vol 1.

Verona Quartet (string quartet) comprises Jonathan Ong and Dorothy Ro, violins, Abigail

Rojansky, viola, and Jonathan Dormand, cello. The group made its Bravo! Vail debut in 2019, performing Michael Gilbertson’s Quartet, a finalist for the 2018 Pulitzer Prize in Music. In 2020, the Quartet earned Chamber Music America’s coveted Cleveland Quartet Award. The ensemble serves as Quartet-in-Residence at Oberlin College and Conservatory, the Lunenberg Academy of Music Performance, and Indiana University Summer String Academy. Its collaborations include one with the Grammy-winning folk supergroup I’m With Her.

Zhu Wang (piano) is a winner of 2020 Young Concert Artists International Audition and has been awarded the Stern Young Artist Development Award. Mr. Wang’s upcoming season includes solo recital debuts at Carnegie’s Zankel Hall and The Kennedy Center, world premiere performances of a work for solo piano by Nina Shekhar, Florence Price’s Piano Concerto in One Movement with the Mississippi Symphony and appearances with violinist Randall Goosby in a San Francisco Symphony recital series, at the 92nd Street Y, and Merkin Hall. Mr. Wang is currently pursuing his artist diploma at Curtis Institute of Music, under the guidance of Robert McDonald.

Westerlies (brass quartet) is comprised of four childhood friends: Riley Mulherkar and Chloe

Rowlands on trumpet, and Andy Clausen and Willem de Koch on trombone. Equally at home in concert halls and living rooms, The Westerlies navigate a wide array of venues and projects with recent engagements at Bay Chamber Concerts, Earshot Jazz Festival, and Noe Valley Chamber Music, among many others. Sought-after collaborators, The Westerlies have toured with Fleet Foxes and are featured on recordings by Vieux Farka Touré, Common, and Dave Douglas. Formed in 2011, the ensemble takes its name from the prevailing winds that travel from the West to the East.

Colorado Symphony Chorus (Duain Wolfe, founder-director) was formed in 1984 by

founder Duain Wolfe, who also served as director of the Chicago Symphony Orchestra Chorus for 28 years. Well known to Bravo! Vail audiences, the ensemble of 160 volunteers is a nationally respected chorus that has joined each of the Festival’s resident orchestras for major choral presentations. In addition to its many performances each season with the Colorado Symphony, the Chorus has made several commercial recordings and has done three European tours.

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Haochen Zhang (piano) won the gold medal at the Thirteenth Van Cliburn International Piano

Competition in 2009, and has since been captivating audiences around the world. In 2017, the year of his Bravo! Vail debut, Mr. Zhang received the prestigious Avery Fisher Career Grant. In recent seasons, Mr. Zhang has made his Orchestre Philharmonique de Radio France debut and toured China with the Lucerne Festival Orchestra, and Asia with The Philadelphia Orchestra. He recently finished recording the complete Beethoven piano concertos with The Philadelphia Orchestra and Nathalie Stutzmann for BIS Records.

Jaap van Zweden (conductor) is Music Director of the New York Philharmonic and Hong Kong Philharmonic. He regularly guest conducts distinguished ensembles including the Orchestre de Paris, Chicago Symphony, and Amsterdam’s Royal Concertgebouw Orchestra. In October 2022 he leads the NY Phil’s return to the reimagined David Geffen Hall. Born in Amsterdam, he was the youngestever concertmaster of the Royal Concertgebouw. He began his conducting career in 1996, and his many honors include the Concertgebouw Prize (2020). In 1997 he and his wife, Aaltje, established the Papageno Foundation to support families of children with autism.

Regionally sourced ingredients from nearby mountains and rivers

Our vibrant, inclusive Jewish community welcomes you. Family Friendly Shabbat Services in Vail, every Friday Night at 6:00pm Holiday Celebrations Religious School Education & Bar and Bat Mitzvah Training Year Round and Seasonal Membership Available Lifecycle Events Created For You

We hope you’ll join us… Rabbi Joel D. Newman & Cantor Michelle Cohn Levy

For schedule information, please see our website or contact Executive Director, Jeanne Whitney (970) 477-2992 or admin@bnaivail.org

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RidgeandRiverVail.com | 970-343-6111 Located in Manor Vail Lodge (next to the Ford Amphitheater)

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WAYS TO GIVE JOIN THE BRAVO! VAIL COMMUNITY

The Festival relies on its incredible donors to continue its legacy of musical excellence and fulfill its mission to enrich people's lives through the power of music. There are many ways to join this community of arts supporters and make an impact. For more information, please email development@bravovail.org.

ONLINE AUCTION & PADDLE RAISE

Support Bravo! Vail’s year round Education & Engagement Programs through the online auction at bravovail.org/auction.

ANNUAL FUND

Your gift ensures that music continues to resound throughout the Vail Valley. Don't forget to check if your company offers matching gifts.

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EDUCATION & ENGAGEMENT

Support Bravo! Vail’s mission at work by underwriting the many education programs which make music accessible to all.

THE NEW WORKS FUND

The New Works Fund serves two purposes: to underwrite future premieres of new music and to present music that may be unfamiliar to Vail audiences.

ARTISTIC EXCELLENCE FUND

Help continue to provide an amazing musical experience audiences have come to expect, and to further elevate the level of artistic quality in the future. 160 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

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Create a legacy that lasts in perpetuity when you contribute to Bravo! Vail’s Endowment.

DONATE A VEHICLE

Instead of selling, trading, or storing your old vehicle, donate it and receive a tax deduction.

HOUSING HOST

Do you own a house, condo, or private guest apartment that is free for any length of time during the Festival? Be a Housing Host and make an impact!

TRIBUTE AND MEMORIAL GIFTS

Give a meaningful gift to a music lover, or honor the memory of a loved one.

CORPORATE PARTNERSHIPS

Enjoy benefits like donor events and sponsor recognition while aligning your business with other arts supporters.

GIFTS OF STOCK

Donating stock and securities can help maximize tax benefits.

QUALIFIED CHARITABLE DISTRIBUTION Donors aged 70 ½ or older can donate directly to Bravo! Vail from their IRA and receive tax benefits.

THE GOLDEN CIRCLE

he Golden Circle acknowledges annual cumulative gifts from generous donors whose support provides vital funding for the Festival. Each donor is gratefully and sincerely appreciated. MAESTRO ($100,000 and above) Bacca Foundation Berry Charitable Foundation* Virginia J. Browning* Colorado Creative Industries The Francis Family****** Linda and Mitch Hart* Billie and Ross McKnight* Town of Vail******* FIRST CHAIR ($50,000 and above) Anonymous* Dierdre and Ronnie Baker*** Gina Browning and Joe Illick* Marijke and Lodewijk de Vink**** Kathy and David Ferguson and The Ferguson Music Makers Haciendo Música Fund Leni and Peter May***** June and Paul Rossetti** Cathy and Howard Stone***** The Sturm Family and ANB Bank** Betsy Wiegers Choral Fund, in Honor of John W. Giovando****** SYMPHONY ($40,000 and above) Jayne and Paul Becker****** Julie and Tim Dalton*** Georgia and Don Gogel** Lyn Goldstein***** Mr. Claudio X. Gonzalez**** Judy and Alan Kosloff***** Barbie and Tony Mayer***** Kathie Mundy and Fred Hessler* Amy and James Regan***** ENSEMBLE ($30,000 and above) Anonymous*** Barbara and Barry Beracha** Angela and Peter Dal Pezzo** John Dayton**** Carole C. and CDR. John M. Fleming The Sidney E. Frank Foundation** Tom Grojean***** Vera and John Hathaway** Ann Hicks* Patricia and Peter Kitchak* Shirley and William S. McIntyre, IV**** Ann and Alan Mintz**** Marcy and Stephen Sands** Vail Valley Foundation******* Nancy and Harold Zirkin* IMPRESARIO ($25,000 and above) Becker Violin Fund Jane and Gary Bomba Penny and Bill George**** Each * denotes five years of consecutive donations.

Karen and Michael Herman*** Lyda Hill**** Margie and Chuck Steinmetz***** Martin Waldbaum**** Sandra and Greg Walton** Carole A. Watters*** Barb and Dick Wenninger** VIRTUOSO ($20,000 and above) Alpine Bank**** Marilyn Augur**** Doe Browning**** Jean and Harry Burn** Susan and Van Campbell**** Norma and Charles Carter***** Amy and Steve Coyer*** June and Peter Kalkus***** The Judy and Alan Kosloff Artistic Director Chair* Honey M. Kurtz**** LIV Sotheby's International Realty** Donna and Patrick Martin* Kay and Bill Morton***** Linda Farber Post and Dr. Kalmon D. Post*** Sally and Byron Rose*** Didi and Oscar Schafer*** Carole and Peter Segal*** Marcy and Gerry Spector*** Dhuanne and Douglas Tansill**** Carol and Pat Welsh**** OVATION ($15,000 and above) Anonymous* Letitia and Christopher Aitken** Amy and Charlie Allen* Diane and Hal Brierley Nancy and Andy Cruce**** Ron Davis* Debbie and Jim Donahugh** Sandi and Leo Dunn*** Cookie and Jim Flaum**** Nancy Gage and Allan Finney* Holly and Ben Gill**** GMC Mrs. Jean Graham-Smith and Mr. Philip Smith***** Jane and Michael Griffinger***** The Therese M. Grojean Vocalist Fund Anne and Hank Gutman** Melinda and Tom Hassen* Pam and Don Hutchings Alexia and Jerry Jurschak* Cynnie and Peter Kellogg***** Dr. and Mrs. Frederick Kushner** Jan and Lee Leaman** Bobbi and Richard Massman*** Ferrell and Chi McClean** Mr. John McDonald and Mr. Rob Wright***** Brenda and Joe McHugh**** Museo Kaluz* Margaret and Alex Palmer** Carolyn and Steve Pope**** Janet Pyle and Paul Repetto*

Susan and Richard Rogel***** Sandra and Alejandro Rojas* Terie and Gary Roubos**** Stephen Saldanha Family Foundation Sue and Marty Solomon and P&S Equities, Inc.*** J. Brian Stockmar Barbara and Carter Strauss* Jennifer and Michael Sylvester*** Lisa Tannebaum and Don Brownstein** Anne and Chris Wiedenmayer** Leewood and Tom Woodell* ALLEGRO ($10,000 and above) Anonymous* (2) Pamela and David Anderson** Sharron and Herbert Bank; Penny Bank**** Ellie Caulkins* Carol and Harry Cebron* Caryn Clayman*** Dr. David Cohen* Kathy Cole** Kathleen and Jack Eck**** Julie and Bill Esrey***** Liz and Tommy Farnsworth**** Michelle Fitzgerald and Jonathan Guyton Susan and Harry Frampton***** Laura and Bill Frick***** Helmut Fricker Scholarship Fund Guy Griffin* Neal Groff***** Martha Head***** Kiwi and Landon Hilliard Kathrine and David Jansen Karen and Jay Johnson** Mr. and Mrs. Arthur Kelton, Jr.****** Ellen Lautenberg and Doug Hendel LIV Sotheby's International Realty** Diane and Lou Loosbrock* Nancy and Richard Lubin**** Linda and Ronn Lytle Sarah and Peter Millett* National Endowment for the Arts Amy and Hal Novikoff Jean and Ray Oglethorpe Marlys and Ralph Palumbo* Mary Lou Paulsen and Randy Barnhart** Teri Perry***** Ann and Tom Rader* Wendy and Paul Raether* Amy Roth and Jack Van Valkenburgh** Roberta and Ernie Scheller**** Patti Shwayder-Coffin and Steve Coffin* Beth and Rod Slifer* Donna and Randy Smith Brooke and Hap Stein***** The Stolzer Family Foundation; Ellen and Dan Bolen; Mary Kevin and Tom Giller***** Bea Taplin*** Deann Thoms and Richard Bross Nancy Traylor****** Debbie and Fred Tresca** Jane and Thomas Wilner* 161

ORCHESTRAL UNDERWRITING Orchestral underwriting is designated to a specific orchestra and applied directly towards residency expenses. Bravo! Vail expresses deep gratitude to the friends of each of its orchestras.

THE FRIENDS OF THE SAINT PAUL CHAMBER ORCHESTRA MAESTRO ($100,000 and above) Berry Charitable Foundation* FIRST CHAIR ($50,000 and above) Town of Vail******* ENSEMBLE ($30,000 and above) Patricia and Peter Kitchak* IMPRESARIO ($25,000 and above) Virginia J. Browning* OVATION ($15,000 and above) Mrs. Jean Graham-Smith and Mr. Philip Smith*****

ALLEGRO ($10,000 and above) John Dayton**** Penny and Bill George**** CRESCENDO ($5,000 and above) Dr. David Cohen* Shelby and Frederick Gans* Ann and William Lieff*** Mr. John McDonald and Mr. Rob Wright***** Jann and John Wilcox

OVERTURE ($350 and above) Denise and Michael Finley**** Alberta and Reese Johnson* Beth Levine Architect, Inc. PRELUDE ($100 and above) Linda Lee Helena and Peter Leslie****

CONCERTO ($1,500 and above) Amy and Steve Coyer*** Debbie and Fred Tresca** Leewood and Tom Woodell* Nancy and Harold Zirkin*

THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA ENSEMBLE ($30,000 and above) Linda and Mitch Hart* Shirley and William S. McIntyre, IV**** Billie and Ross McKnight* Marcy and Stephen Sands** IMPRESARIO ($25,000 and above) Lyda Hill**** VIRTUOSO ($20,000 and above) Marilyn Augur**** Margie and Chuck Steinmetz***** OVATION ($15,000 and above) Diane and Hal Brierley Carole C. and CDR. John M. Fleming Alexia and Jerry Jurschak* Bobbi and Richard Massman*** Brenda and Joe McHugh**** Carole A. Watters*** ALLEGRO ($10,000 and above) John Dayton**** Donna and Randy Smith Cathy and Howard Stone*****

SOLOIST ($7,500 and above) Jane and Stephen Friedman* Carol and Ronnie Goldman*** CRESCENDO ($5,000 and above) Joanne Bober Edwina P. Carrington*** Rebecca and Ron Gafford** Neal Groff***** Fanchon and Howard Hallam* Kimberly and Greg Hext Yon Y. Jorden Mr. John McDonald and Mr. Rob Wright***** Karen and Al Meitz* Vicki Rippeto Debbie and Ric Scripps** Gena Whitten and Bob Wilhelm* Carolyn Wittenbraker and Arkay Foundation** Leewood and Tom Woodell* Nancy and Harold Zirkin* FORTISSIMO ($3,000 and above) Susan and Gordon Coburn Randi and Ed Halsell** Jere W. Thompson**** Dr. Bill Weaver**

162 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

CONCERTO ($1,500 and above) Lucy and Henry Billingsley Jan and George Grubbs, Jr. Karen and Steve Livingston**** Patty and Denny Pearce*** Margot Perot* Susan and Bruce Smathers*** SONATA ($750 and above) Helen Neuhoff Butler Meg and Jamie Duke Jane Jayroe Gamble and Gerald Gamble* Laine and Merv Lapin* Jane and Chuck Schultz OVERTURE ($350 and above) Clara Willoughby Cargile***** PRELUDE ($100 and above) Marshall Gordon Priscilla and David Kellogg Andrea and Dr. Robert Miller

THE FRIENDS OF THE FABULOUS PHILADELPHIANS FIRST CHAIR ($50,000 and above) Town of Vail******* IMPRESARIO ($25,000 and above) Virginia J. Browning* Sandra and Greg Walton** VIRTUOSO ($20,000 and above) Susan and Van Campbell**** Cathy and Howard Stone***** OVATION ($15,000 and above) Anonymous*** Anne and Hank Gutman** Pam and Don Hutchings Susan and Richard Rogel***** ALLEGRO ($10,000 and above) John Dayton**** Donna and Patrick Martin** Teri Perry***** Linda Farber Post and Dr. Kalmon D. Post*** Carole and Peter Segal*** SOLOIST ($7,500 and above) Leslie Melzer Barbara and Howard Rothenberg***

CRESCENDO ($5,000 and above) Shannon and Todger Anderson** Jill and Al Douglass* Carole C. and CDR. John M. Fleming Michelle Fitzgerald and Jonathan Guyton Laura and Jim Marx*** Mr. John McDonald and Mr. Rob Wright***** Sally and Byron Rose*** Roberta and Ernie Scheller**** Elaine and Steven Schwartzreich Susan and Steven Suggs*** Leewood and Tom Woodell* Kathy and Jonathan Zeschin* Nancy and Harold Zirkin* FORTISSIMO ($3,000 and above) Cathy and Graham Hollis** Jessica and Igor Levental* Michele and Jeffrey Resnick** CONCERTO ($1,500 and above) Constance and Robert Anderson* Elia Buck and Caroline Rogers* Kathy and Peter Huddleston Sarah and Peter Millett* Lynn Pearson Kathy and William Wiener

SONATA ($750 and above) Drs. Maryalice Cheney and Scott Goldman** Barbara Earnest** Susan and Anthony Krausen Judy and John Stovall* Mrs. Joan Whittenberg****** OVERTURE ($350 and above) Anonymous Anonymous* Patricia and Lawrence Herrington Myra Little-Porter and John Porter* PRELUDE ($100 and above) Bernice and John Davie** Melissa and Mike Demos Carol and Russell Meyer Lawrence Moskow Kathleen and Kenneth Reynard Coleen and Klaus Roggenkamp Jenene and James Stookesberry* Pat and Tom Vernon

THE FRIENDS OF THE NEW YORK PHILHARMONIC FIRST CHAIR ($50,000 and above) Marijke and Lodewijk de Vink**** Leni and Peter May***** Town of Vail******* SYMPHONY ($40,000 and above) Julie and Tim Dalton*** Georgia and Don Gogel** Lyn Goldstein***** Mr. Claudio X. Gonzalez**** Linda and Mitch Hart* Barbie and Tony Mayer***** Billie and Ross McKnight* Amy and James Regan***** June and Paul Rossetti** ENSEMBLE ($30,000 and above) Vera and John Hathaway** Ann and Alan Mintz**** VIRTUOSO ($20,000 and above) Jayne and Paul Becker****** Jean and Harry Burn** Each * denotes five years of consecutive donations.

Amy and Steve Coyer*** Tom Grojean***** June and Peter Kalkus***** Judy and Alan Kosloff***** Honey M. Kurtz**** Kay and Bill Morton***** Didi and Oscar Schafer*** Marcy and Gerry Spector*** Cathy and Howard Stone***** Dhuanne and Douglas Tansill**** Carol and Pat Welsh**** OVATION ($15,000 and above) Ron Davis* Penny and Bill George**** Melinda and Tom Hassen* Cynnie and Peter Kellogg***** Ferrell and Chi McClean** Museo Kaluz* Margaret and Alex Palmer** Carolyn and Steve Pope**** Sandra and Alejandro Rojas* Terie and Gary Roubos****

Barbara and Carter Strauss* Jennifer and Michael Sylvester*** Lisa Tannebaum and Don Brownstein** Anne and Chris Wiedenmayer** ALLEGRO ($10,000 and above) Pamela and David Anderson** Nancy and Andy Cruce**** Liz and Tommy Farnsworth**** Carole C. and CDR. John M. Fleming Laura and Bill Frick***** Martha Head***** Karen and Jay Johnson** Mr. and Mrs. Arthur Kelton, Jr.****** Dr. and Mrs. Frederick Kushner** Donna and Patrick Martin** Jean and Ray Oglethorpe Linda Farber Post and Dr. Kalmon D. Post*** Ann and Tom Rader* Carole and Peter Segal*** Sue and Marty Solomon and P&S Equities, Inc*** Nancy and Harold Zirkin* 163

FESTIVAL SUPPORT

he gifts listed below represent charitable donations to Bravo! Vail for the 2022 Season through May 15, 2022. The Board of Trustees expresses its sincere thanks to each supporter for making it possible for Bravo! Vail to achieve its mission. RESTRICTED FUNDS The Artistic Excellence Fund Becker Violin Fund Best Friends of the Bravo! Vail Endowment Berry Charitable Foundation The Ferguson Music Makers Haciendo Música Fund The Francis Family Profusion of Pianos The Lyn and Phillip Goldstein Maestro Society The Lyn and Phillip Goldstein Piano Concerto Artist Project The Therese M. Grojean Vocalist Fund The Judy and Alan Kosloff Artistic Director Chair The New Works Fund The Betsy Wiegers Choral Fund, in Honor of John W. Giovando MAESTRO ($100,000 and above) Bacca Foundation Berry Charitable Foundation* Virginia J. Browning* Colorado Creative Industries The Francis Family****** Linda and Mitch Hart* Billie and Ross McKnight* Town of Vail******* FIRST CHAIR ($50,000 and above) Anonymous* Dierdre and Ronnie Baker*** Gina Browning and Joe Illick* Marijke and Lodewijk de Vink**** Kathy and David Ferguson, The Ferguson Music Makers Haciendo Música Fund Leni and Peter May***** June and Paul Rossetti** Cathy and Howard Stone***** The Sturm Family and ANB Bank** Betsy Wiegers Choral Fund, in Honor of John W. Giovando****** SYMPHONY ($40,000 and above) Jayne and Paul Becker****** Julie and Tim Dalton*** Georgia and Don Gogel**

Lyn Goldstein***** Mr. Claudio X. Gonzalez**** Judy and Alan Kosloff***** Barbie and Tony Mayer***** Kathie Mundy and Fred Hessler* Amy and James Regan***** ENSEMBLE ($30,000 and above) Anonymous*** Barbara and Barry Beracha** Angela and Peter Dal Pezzo** John Dayton**** Carole C. and CDR. John M. Fleming The Sidney E. Frank Foundation** Tom Grojean***** Vera and John Hathaway** Ann Hicks* Patricia and Peter Kitchak* Shirley and William S. McIntyre, IV**** Ann and Alan Mintz**** Marcy and Stephen Sands** Vail Valley Foundation******* Nancy and Harold Zirkin* IMPRESARIO ($25,000 and above) Becker Violin Fund Jane and Gary Bomba Penny and Bill George**** Karen and Michael Herman*** Lyda Hill**** Margie and Chuck Steinmetz***** Martin Waldbaum**** Sandra and Greg Walton** Carole A. Watters*** Barb and Dick Wenninger** VIRTUOSO ($20,000 and above) Alpine Bank**** Marilyn Augur**** Doe Browning**** Jean and Harry Burn** Susan and Van Campbell**** Norma and Charles Carter***** Amy and Steve Coyer*** June and Peter Kalkus***** The Judy and Alan Kosloff Artistic Director Chair* Honey M. Kurtz**** LIV Sotheby's International Realty** Donna and Patrick Martin* Kay and Bill Morton***** Linda Farber Post and Dr. Kalmon D. Post*** Sally and Byron Rose*** Didi and Oscar Schafer*** Carole and Peter Segal***

164 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Marcy and Gerry Spector*** Dhuanne and Douglas Tansill**** Carol and Pat Welsh**** OVATION ($15,000 and above) Anonymous* Letitia and Christopher Aitken** Amy and Charlie Allen* Diane and Hal Brierley Nancy and Andy Cruce**** Ron Davis* Debbie and Jim Donahugh** Sandi and Leo Dunn*** Cookie and Jim Flaum**** Nancy Gage and Allan Finney* Holly and Ben Gill**** GMC Mrs. Jean Graham-Smith and Mr. Philip Smith***** Jane and Michael Griffinger***** The Therese M. Grojean Vocalist Fund Anne and Hank Gutman** Melinda and Tom Hassen* Pam and Don Hutchings Alexia and Jerry Jurschak* Cynnie and Peter Kellogg***** Dr. and Mrs. Frederick Kushner** Jan and Lee Leaman** Bobbi and Richard Massman*** Ferrell and Chi McClean** Mr. John McDonald and Mr. Rob Wright***** Brenda and Joe McHugh**** Museo Kaluz* Margaret and Alex Palmer** Carolyn and Steve Pope**** Janet Pyle and Paul Repetto* Susan and Richard Rogel***** Sandra and Alejandro Rojas* Terie and Gary Roubos**** Stephen Saldanha Family Foundation Sue and Marty Solomon and P&S Equities, Inc.*** J. Brian Stockmar Barbara and Carter Strauss* Jennifer and Michael Sylvester*** Lisa Tannebaum and Don Brownstein** Anne and Chris Wiedenmayer** Leewood and Tom Woodell* ALLEGRO ($10,000 and above) Anonymous* (2) Pamela and David Anderson** Sharron and Herbert Bank; Penny Bank**** Ellie Caulkins* Carol and Harry Cebron* Caryn Clayman***

Dr. David Cohen* Kathy Cole** Kathleen and Jack Eck**** Julie and Bill Esrey***** Liz and Tommy Farnsworth**** Michelle Fitzgerald and Jonathan Guyton Susan and Harry Frampton***** Laura and Bill Frick***** Helmut Fricker Scholarship Fund Guy Griffin* Neal Groff***** Martha Head***** Kiwi and Landon Hilliard Kathrine and David Jansen Karen and Jay Johnson** Mr. and Mrs. Arthur Kelton, Jr.****** Ellen Lautenberg and Doug Hendel LIV Sotheby's International Realty** Diane and Lou Loosbrock* Nancy and Richard Lubin**** Linda and Ronn Lytle Sarah and Peter Millett* National Endowment for the Arts Amy and Hal Novikoff Jean and Ray Oglethorpe Marlys and Ralph Palumbo* Mary Lou Paulsen and Randy Barnhart** Teri Perry***** Ann and Tom Rader* Wendy and Paul Raether* Amy Roth and Jack Van Valkenburgh** Roberta and Ernie Scheller**** Patti Shwayder-Coffin and Steve Coffin* Beth and Rod Slifer* Donna and Randy Smith Brooke and Hap Stein***** The Stolzer Family Foundation; Ellen and Dan Bolen; Mary Kevin and Tom Giller***** Bea Taplin*** Deann Thoms and Richard Bross Nancy Traylor****** Debbie and Fred Tresca** Jane and Thomas Wilner* SOLOIST ($7,500 and above) Anonymous Margo and Terence Boyle** Joanne Cohen and Morris Wheeler Jane and Stephen Friedman* Sue and Dan Godec*** Carol and Ronnie Goldman*** Sheika Gramshammer***** Valerie and Robert Gwyn***** Debbie and Patrick Horvath* Susu and George Johnson Joyce and Paul Krasnow**** Janet and Paul Lewis Each * denotes five years of consecutive donations.

Ann and William Lieff*** Leslie Melzer Lynne Murray Sr. Educational Fund and Carolyn and Paul Landen Marge and Phil Odeen** Mimi and Keith Pockross***** Alysa and Jonathan Rotella Barbara and Howard Rothenberg*** Maria Santos** Debbie and Jim Shpall* SHS Solutions and Simon Hamui* Town of Gypsum**** CRESCENDO ($5,000 and above) Anonymous* Shannon and Todger Anderson** Barbara Baldrey Marcy and Michael Balk Bank of America Private Bank Berkshire Hathaway Home Services Colorado Properties Kimberly and David Bernstein Joanne Bober Kelly and Sam Bronfman, II** Edwina P. Carrington*** Elizabeth Chambers and Ronald Mooney* Christopher Chase and Braden Wagner Kay Chester**** Katherine Clayborne and Thomas Shoup Mr. and Mrs. Robert Damico* Jill and Al Douglass* Kathy and Brian Doyle** Janet and Jim Dulin* Lois and John Easterling* Holly and Buck Elliott***** Gail and Jim Ellis* Fidelity Investments Mikki and Morris Futernick****** Rebecca and Ron Gafford** Gallegos Corp. Linda Galvin****** Shelby and Frederick Gans* Goldman, Sachs, & Co. Dr. and Mrs. Ty H. Goletz* Francie and Michael Gundzik**** Mary Hagopian and Wright B. George* Fanchon and Howard Hallam* Kimberly and Greg Hext Susan Hill and Eric Noreen* Kathy and Al Hubbard Yon Y. Jorden Lynn and Dr. Andrew B. Kaufman*** Barbara and Tim Kelley* Kelly Family Foundation Pamela Kross and Michael Watters** Wendi and Brian Kushner*** Sue B. and Robert J. Latham**

Alexandra and Robert Linn J. Mahoney***** Laura and Jim Marx*** Jean and Tom McDonnell*** Karen and Al Meitz* MentorMore Foundation Carolyn and Gene Mercy***** Sally and Dick O'Loughlin*** Mary Beth and Charlie O'Reilly** Nancy and Douglas Patton*** Kathy and Roy Plum***** Jackie and James Power***** Michele and Jeffrey Resnick** Drs. Rob and Julie Rifkin Vicki Rippeto Jane and Dan Roberts* Rushmore Family Foundation Suzanne and Bernard Scharf*** Dr. Kim Schilling Elaine and Steven Schwartzreich Peggy and Tony Sciotto**** Debbie and Ric Scripps** Kathie and Bob Shafer* Judy and Martin Shore** Slifer Smith & Frampton Foundation**** Pat and Larry Stewart*** Susan and Steven Suggs*** Drs. Pamela and Peter Triolo Vacasa Jackie and Norm Waite** Wall Street Insurance** Shelly and Ken Weisbacher Westhaven Capital LLC Gena Whitten and Bob Wilhelm* Jann and John Wilcox Carolyn Wittenbraker and Arkay Foundation** Kathy and Jonathan Zeschin* FORTISSIMO ($3,000 and above) Michael Abrams and Rita Numerof Sharlene Baum Sandy and Stephen Bell* Terre and Jack Bergman Dan Braun* Sunny and Phil Brodsky*** Janis Broman* Susan and Gordon Coburn Nancy and Ken Deline Martinna and Charlie Dill** Carole and Peter Feistmann*** Barbara and Professor Meyer Feldberg* First Western Trust Joan and Joseph Goltzman** Sue and Brian Gordon* Vivien and Andrew Greenberg* Juli Robbins Greenwald 165

FESTIVAL SUPPORT Randi and Ed Halsell** Ronda and Hank Helton Helen Hodges* Cathy and Graham Hollis** Allison Krausen and Kyle Webb* Mr. and Mrs. Lawrence H. Kyte**** Kay Lawrence and David and Katherine Lawrence Foundation**** Jessica and Igor Levental* Ginnie Maes* Meg and Peter Mason* Linda and Chris Mayer* Marcia and Tom McCalden*** J. Frederick Merz, Jr.** Ellen Mitchell** Laurie and Tom Mullen* Caitlin and Dan Murray* Renee Okubo** Priscilla O'Neil***** Ronnie Potter***** Patti and Drew Rader*** Rader Engineering*** Kathleen and William Roe Lisa and Ken Schanzer* Anne and Joe Staufer**** Jere W. Thompson**** Mrs. W. E. Walker, Jr. Dr. Bill Weaver** Susan and Albert Weihl** Ellen and Bruce Winston*** Janice and William Woolford* CONCERTO ($1,500 and above) Anonymous* Larry Abston Joanne and Richard Akeryod* Constance and Robert Anderson* Bonnie and Stan Beard Sarah Benjes and Aaron Ciszek* Mia and Bill Benjes Laura and Len Berlik Rhoda and Howard Bernstein Lucy and Henry Billingsley Sally Blackmun and Michael Elsberry* Anne and John Blair* Gretchen Brigden Stephen Brint and Mark Brown Linda and Joe Broughton** Elia Buck and Caroline Rogers* Patsy and Pedro Cerisola***** Martha Chamberlin* Toko and Bill Chapin*** Renee Ann Chelm Karen and Nate Cheney* Sidney and Don Childress Coca-Cola Foundation

Janet and David Cooper Alix and John Corboy* Mr. and Mrs. David Cross Mary Beth and Neil Dermody Dr. Fred W. Distelhorst** Mary and Rodgers Dockstader*** Jana Edwards and Rick Poppe* Diane and Lawrence Feldman* Susan and William Fink Jenny and John Fleming Margie and Tom Gart** Bonnie and Gary Goldberg Karen and Clifford Goldman* Mari Jo and Gene Grace Anne and Donald Graubart****** Julie Grimm-Reeves and Rich Reeves* Jan and George Grubbs, Jr. Dana Dennis Gumber Barbara Haws and William Josephson Rebecca Hernreich* Kim and Dr. John Hoffman Jennifer and Don Holzworth* Kathy and Peter Huddleston Nancy and Carrick Inabnett Donna and Ward Katz Bonnie and Larry Kivel**** Rosalind A. Kochman***** Gloria and Joel Koenig Laine and Merv Lapin* Helena and Peter Leslie**** Jane and Tod Linstroth Karen and Steve Livingston**** Judy and Bob Love* Wolfgang Mairhofer Evi and Evan Markovsky* Cheryl and Richard Marks* M. Elaine and Carl E. Martin**** Kathy and Dick McCaskill Anne-Marie McDermott and Michael Lubin* Liz and Luc Meyer** Kathy and Bob Moore Jeanne and Dale Mosier* Hazel and Matthew Murray** Mr. and Mrs. W. Peterson Nelson****** Donna Newmyer* Claire and Mark Noble Karen Nold and Bob Croteau** Pamela Y. Paul Patty and Denny Pearce*** Lynn Pearson Margot Perot* Lorrie Peterson Sandra and Stephen Ramsey Etty and Alberto Rimoch Melissa and Jeris Romeo Nancy and Robert Rosen* Gussie Ross*

166 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Jo Dean and Juris Sarins Gretchen and Mark Schar Laura and Dr. Michael Schiff* David Schlendorf Susan and Ambassador Alvin Schonfeld Carole Schragen***** Ingrid Seade Harriet and Bernard Shavitz** Lynn and Ray Siegel** Marty Sloven*** Susan and Bruce Smathers*** Angela and Tim Stephens Rhonda and Marc Strauss* Solly Toussier* Heidi Fremont Troester US Bank**** Vail Rotary Club Ellen and Ray van der Horst* Lois and John Van Deusen*** Katie and Michael Warren* Lori Weiner and Lorne Polger* Annette and Seth Werner Monica and Dan White* Kathy and William Wiener Laura and Howard Willard Ann and Phil Winslow* Janice and Dee Wisor* Betty and Michael Wohl* Linda and Jim Wolcott* Dr. and Mrs. Larry Wolff* Jane and David Yarian Aneta M. Youngblood Diane and Michael Ziering SONATA ($750 and above) Shelly and Arthur Adler** Janet and Bill Adler* Ellen Arnovitz** Nancy Bedlington and Robert Elkins* Emogene and Gary Bedrosian Cathy and Bill Bethke Judy and Tom Biondini* David J. Borns* Shirley and Jeff Bowen*** Vicki and Jack Box Mr. and Mrs. Marion P. Brawley, III* Loretta and David Brewer* Adam V. Brinson and Vernon Brinson Charitable Fund Patricia and Rex Brown* Nancy L. Bryan* Janie and Bill Burns* Helen Neuhoff Butler Jeffrey David Byrne Kim L. and Dr. John J. Callaghan Robin and Dan Catlin*

Drs. Maryalice Cheney and Scott Goldman** Jenny and Terry Cloudman Cincinnati Insurance Lynn Cohagan* Kathi and Steve Cramer* Pam and Jim Crane Lucinda and Andy Daly* Silvia and Alan Danson* Fran and Don Diones* Suzy and Jim Donohue*** Meg and Jamie Duke Eagle Ranch Association** Barbara Earnest** Edwards Rotary Club Jane Eisner and Sam Levy* Joan and Joel Ettinger* Marisol and Frank Ferraiuoli* Leslie Fielden and Jeff Seidel Dr. and Mrs. Michael Fisher Nancy and Clark Fitzmorris* Mercedes and Elmer Franco Jeanne Fritch and Ella Lyons Sheila and Robert Furr Jane Jayroe Gamble and Gerald Gamble* Betty and Robert Gaynor* Donna M. Giordano***** Alison and Michael Greene*** Rhonda and Glen Gross Denise and Ken Gurrentz Patricia Hammon Colleen M. and David B. Hanson**** Alicia and Steve Harris Amber and Peter Herron* Debra Herz* Pamela and Richard Hinds* Jill and Loyal Huddleston* Vina and Tom Hyde Sue and Rich Jones* Henny Kaufmann** Adria and Stephen Klein Georgeanna and Bill Klingensmith* Susan and Anthony Krausen Nancy and Carl Kreitler* Margaret and Ed Krol* Drs. Nancy and Richard Lataitis* Carol Laycob Karen Lechner and Mark Murphy* Terry and John Leopold*** Polly and John Loewy Peter L. Macdonald***** Betty and Scott Marsh BJ and Bud Meadows* David Meyer Linda and Jim Montgomery Dr. and Mrs. Robert Nathan**

Each * denotes five years of consecutive donations.

Brian Nestor Tiffany and David Oestreicher** James Stanley Ogsbury, III Alice and Norman Patton* Martha and Kent Petrie*** Mary Reisher and Barry Berlin* Rockstar Enterprise Inc.; Martha Brassel and Chris Anderson Jane E. Rosenbaum Linda and Shaun Scanlon** Dr. Christine Scheetz and Mr. Douglas Scheetz* Lanning Schiller Jane and Chuck Schultz Suzie Shepard Gail and Ronny Shoss Carolyn Smith and George Mizner***** Edward L. Soll, MD Elissa Stein and Richard Replin Jill R. Stewart and Michael E. Huotari* Judy and John Stovall* Phyllis and Steve Straub* Kaye Summers and Danny Carpenter* Jacqueline Taylor and Steven Sobol Joni White Taylor Sabrina and Robert Triplett* Gail and Thomas Viele Patty and Ed Wahtera*** Barbara Wallace Marilyn and John Wells Clare Anne and Jonathan Whitfield* Mrs. Joan Whittenberg****** Judy and Bob Wilner Rosalie Wooten**** Mariette and Wayne Wright* Mrs. Kathleen and Dr. Marvin Zelkowitz OVERTURE ($350 and above) Anonymous (4) Anonymous* (2) Anonymous**** Alfonso Alvarez Karin and Ron Artinian* Lisa and Joe Bankoff** Elise and Brian Barish* Sheryl and Eliot Barnett** Francesca and Edward Beach Drs. Michelle and Douglas Bell Nancy and Peter Berkley** John Blue* Wendy and Warren Blumenthal Adriana and David Bombard Pat and Mike Booker Carolyn Borus Shan and Caleb Burchenal* Althea T. Callaway

Anna Marie Campbell and Andrew McElhany* Clara Willoughby Cargile***** Jeffrey and Shelly Cohen Dr. and Mrs. Andrew Cole Mr. and Mrs. Lester Cole Scott F. Conklin John Connell and Eric Versch* Julie Countiss and Stan Beard Marilyn S. Cranin** Juan Creixell J. Lynn Davis Sallie Dean and Larry Roush***** Phyllis and Robert Decker* Linda and Al Demarest Fara and Jason Denhart* Barbara and Laurence Dobrot Peggy and Gary Edwards*** Gina Erickson and Clark Brook Jan and Annette Fante Julie and Barney Feinblum* Signe and Donald Ferguson Barbara and Larry Field***** Regina and Kyle Fink*** Denise and Michael Finley**** Eleanore and Tom Flynn Victoria Frank Google Tracy and Mark Gordon Judith Green Dr. Mary E. Guy* Jeri and Brian Hanly* Cynthia Harris and Johannes Rudolph Patricia and Lawrence Herrington Joel High* Margie and Dave Hunter Sonny and Steve Hurst* IBM Corporation** Pia and Tomas Jablonski Dr. Susan Rae Jensen and Tom Adams Trainer Alberta and Reese Johnson* Deborah and Todd Johnson Geraldine Karkowsky* Grant S. Kesler Joan and Irwin Kowal Steve and Sarah Kumagai Dr. and Mrs. Robert Landgren***** Evelyn and Fred Lang**** Jon A. Lang Claudia and Gregg Laswell Harrel Lawrence and Jerry McMahan*** Beth Levine Architect, Inc. Rob LeVine Nancy and John Lindahl*** Myra Little-Porter and John Porter* 167

FESTIVAL SUPPORT Eleanor and John Lock Vicki and Kent Logan Judith McBride and Bruce Baumgartner* Jan and Gary McDavid* Tracy and Cass McKenzie Linda McKinney* Micahel A. Mertens, M.D.* William Mohrman Harriet and Edward Moskowitz Basak and Osman Nalbantoglu Judith and Barry Nelson Cheryl Nichols Sharmon O'Brien and Donald Mock Jean and Ed Onderko* Gerry and Ed Palmer* Stephen Penrose* Monica and Mark Perin* Christy and Brad Pierce Amy Poole and Douglas Putney Happy and JP Power Mary Pownall* Ron Pressman Yvonne and Calvin Reid Gail and William Reisinger Anne and Albert Reynolds* Margaret and Rick Rogers Lucila and Louis Rojas Adrienne and Chris Rowberry* Nancy Rudy Gray and Mel Rueppel* Lana and Steven Russell Robert Schilling, Realtor Vail Valley Dr. and Mrs. Samuel and Sharon Schwartz* Ivylyn and Dick Scott* Barbara Scrivens Connie and Ken Scutari* Andy and Stuart Shatken Christina Simpson and David Lippman Timothy Slattery Gregory Douglas Smith Colleen and John Sorte* Dorothy and Stanley Stein* Drs. Michael and Michella Stiles Myrna and Ronald Strong Pam Timmins Town of Minturn Anne and Jim von der Heydt Cheryl and Jeffrey Wall Elyce and David Walthall* Jill and Bob Warner Enid and Steve Wenner** LaDonna and Gary Wicklund Maggie and Hans Wiemann Stacy and John Wilkirson Kendall and Rick Wilson Edward Zinbarg Victor Zorrila

PRELUDE ($100 and above) Anonymous (3) Anonymous* Sandi and Larry Agneberg**** Susan and Sandy Avner Sheri Ball* Nancy and Joel Becker Margo and Roger Behler****** Kathryn Benysh* Patty and David Bomboy* Kathleen and Howard Brand Tom Brix Linda Ciklik Liane and Robert Clasen* Sander Cohen Scholarship Foundation Diana Crew Bernice and John Davie** Melissa and Mike Demos Sherry Dorward Deb and Drex Douglas Dr. Kelsey and Mr. Zachary Dworkis Robert H. Ebert Delight and John Eilering**** Anne and Thomas Eller Margaret Enright Wendy Erb Kabe ErkenBrack Claire and R. Marshall Evans***** James E. Fell, Jr.* Terry and John Forester Dr. and Mrs. Alan L. Freeman* Mr. and Mrs. Peter Frieder**** Martha and John Gart Grace Gehret Michelle and Robin Gersten Andrea and Michael Glass Marshall Gordon Mary Ann and Dirk Gralka* Nancy Mezey Groff Ron and Susan Gruber**** Matt Heimerich Dwight Henninger** Margaret and John Hillman Jacquelin and Jesse Hofflin Nan and Charlie Holt Dr. and Mrs. Ernesto Infante Susan and David Joffe* Julie and Steve Johannes Floy Kaminski Karen Kaplan* Jerry Katz Priscilla and David Kellogg Julie and Mike Kirk Ann and Collier Kirkham Monique and Peter Lathrop**** Bettan Laughlin Linda Lee

168 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Carol and Gerald Lesnick Joel Levy Mary and Herrick Lidstone Michele Lier Linda and Bob Llewellyn* Candace and Brian Loftus Barbara and Edward Lukes Teresa Madigan and Michael Baskins Regina and John Magee* Joanne and Douglas Mair* Leslie and Jack Manes Chris and Richard Maxwell Sharon McKay-Jewett** Francie and Eric Mendelsohn Carol and Russell Meyer Andrea and Dr. Robert Miller Augusta Molnar Lawrence Moskow Jean Naumann* Sara Newsam*** Jim O'Neal Susan Parker and Saul Hoffman Nancy G. Peller Glenna and Bruce Pember Diane Pincus and Tomas Berl Sydney and Mark Pittman Mindy and Jay Rabinowitz* Melanie Reed and Jerry Freier* Coleen and Klaus Roggenkamp Shelley Roth and Jed Weissberg Mary Jane and Warren Rothstein* Emily and Andrew Rubin Lynn and Richard Russell** Patsy Ryan Robin and David Savitz Arlene and Jack Schierholz*** Bobbi and Jon Schwartz*** Julie and Gary Schwedt, West Vail Liquor and KZYR/KKVM Anne Sheldon***** Ricki and Steve Sherlin Charles Sherwood Eileen and Michael Sinneck Kelley and James Smith Carol and Roger Sperry* Karlene and Ed Spivak Drs. Arlene and Bob Stein*** Nancy and Jerry Stevens Judy and Rob Stiber Jenene and James Stookesberry* Margot and Ned Timbel Joe Tonahill, Jr.** Town of Eagle* Pat and Tom Vernon Deborah Webster and Stephen Blanchard***** Jan Weiland and Alan Gregory*

Sheila Whitman*** Vali and Willy Wilcox Gordon Yasinow William Young

David and Katherine Lawrence Foundation Caitlin and Dan Murray Mrs. Joan Whittenberg

IN HONOR OF Bravo! Vail Staff Julie and Steve Johannes

Erika McCall Patsy Ryan

Charlotte Bollinger Adam V. Brinson and Vernon Brinson Charitable Fund

Rosalie and Philip Lier Michele Lier

Dr. Walter Meyer Andrea and Dr. Robert Miller Dorothy Mock Sharmon O’Brien and Donald Mock

Fara and Jason Denhart Robert Schilling

T. Larry Okubo Renee Okubo

Marijke and Lodewijk de Vink Betty and Scott Marsh

Carol Schimmer Bravo! Vail Board of Trustees and Advisory Council Bravo! Vail Guild Fara and Jason Denhart Caitlin and Dan Murray

Joan Francis Barbara Scrivens Shirley and William S. McIntyre, IV Fanchon and Howard Hallam Arlene and Alfred Noreen Susan Hill and Eric Noreen Carole and Peter Segal Shelby and Frederick Gans Betsy Wiegers Martha Brassel and Chris Anderson IN MEMORY OF Sander Cohen Benjamin Sander Cohen Scholarship Foundation Leola and Dilworth Blatchford Jan and Annette Fante Clifford K. Callaway Althea T. Callaway Linda Chase Christopher Chase and Braden Wagner Pepi Gramshammer Sheika Gramshammer Cindy Griffin Guy Griffin Gerald Grosenheider Pam and Jim Crane Jimmie Heuga Debbie and Patrick Horvath Carol Horvath Debbie and Patrick Horvath Jeanne Kesler Grant S. Kesler Kay Lawrence Bravo! Vail Board of Trustees and Advisory Council Fara and Jason Denhart Martha and John Gart Each * denotes five years of consecutive donations.

Rae Silberman Anonymous Bill Sneed J. Lynn Davis Karen Soll Edward L. Soll, MD Dr. Tom Steinberg Marilyn S. Cranin NEW WORKS FUND The New Works Fund serves two purposes: to underwrite future premieres of new music and to present music that may be unfamiliar to Vail audiences. ENSEMBLE ($30,000 and above) Town of Vail******* ALLEGRO ($10,000 and above) National Endowment for the Arts SOLOIST ($7,500 and above) Virginia J. Browning* FORTISSIMO ($3,000 and above) Judy and Alan Kosloff***** Shirley and William S. McIntyre, IV**** June and Paul Rossetti** CONCERTO ($1,500 and above) Jayne and Paul Becker****** Marijke and Lodewijk de Vink**** Kathleen and Jack Eck****

SONATA ($750 and above) Amy and Charlie Allen* Dierdre and Ronnie Baker*** Barbara and Barry Beracha** Doe Browning**** Cookie and Jim Flaum**** Susan and Harry Frampton***** Joan Francis****** Linda and Mitch Hart* Patricia and Peter Kitchak* Dr. and Mrs. Frederick Kushner** Diane and Lou Loosbrock* Barbie and Tony Mayer***** Linda Farber Post and Dr. Kalmon D. Post*** Sally and Byron Rose*** Carole and Peter Segal*** Donna and Randy Smith Cathy and Howard Stone***** Dhuanne and Douglas Tansill**** Debbie and Fred Tresca** Carole A. Watters*** OVERTURE ($350 and above) Carol and Harry Cebron* John Dayton**** Peggy and Gary Edwards*** Sue and Dan Godec*** Anne and Hank Gutman** Eleanor and John Lock Vicki and Kent Logan Sarah and Peter Millett* Caitlin and Dan Murray* Carolyn and Steve Pope**** Patti and Drew Rader*** Ann and Tom Rader* Michele and Jeffrey Resnick** Terie and Gary Roubos**** Jacqueline Taylor and Steven Sobol PRELUDE ($100 and above) Sarah Benjes and Aaron Ciszek* Edwina P. Carrington*** Fara and Jason Denhart* Kathy and Brian Doyle** Kabe ErkenBrack Tracy and Mark Gordon Ronda and Hank Helton Rob LeVine Regina and John Magee Laurie and Tom Mullen* Brian Nestor Melissa and Jeris Romeo Lisa and Ken Schanzer* Jerry and Nancy Stevens Susan and Steven Suggs*** Katie and Michael Warren* Monica and Dan White* 169

EDUCATION AND ENGAGEMENT PROGRAMS

ravo! Vail is proud to offer dozens of free and low-cost concerts and events to the community each summer and throughout the year. We thank all those whose support makes these events possible. FIRST CHAIR ($50,000 and above)

Kathy and David Ferguson and The Ferguson Music Makers Haciendo Música Fund

ENSEMBLE ($30,000 and above) Dierdre and Ronnie Baker*** Bravo! Vail Guild Marijke and Lodewijk de Vink****

IMPRESARIO ($25,000 and above) Anonymous* Karen and Michael Herman***

VIRTUOSO ($20,000 and above) Virginia J. Browning* The Sturm Family and ANB Bank**

OVATION ($15,000 and above) Sandi and Leo Dunn***

ALLEGRO ($10,000 and above) Alpine Bank**** Carol and Harry Cebron* Kathy Cole** Cookie and Jim Flaum**** Helmut Fricker Scholarship Fund Diane and Lou Loosbrock* Carole A. Watters***

SOLOIST ($7,500 and above)

Anonymous Lynne Murray Sr. Educational Fund and Carolyn and Paul Landen Town of Gypsum****

CRESCENDO ($5,000 and above)

Kimberly and David Bernstein Doe Browning**** Katherine Clayborne and Thomas Shoup

Dr. David Cohen* Nancy and Andy Cruce**** Kathy and Brian Doyle** Janet and Jim Dulin* Michelle Fitzgerald and Jonathan Guyton Gallegos Corp. Sue and Dan Godec*** Neal Groff***** Patricia and Peter Kitchak* Judy and Alan Kosloff***** Carolyn and Gene Mercy***** Kathie Mundy and Fred Hessler* Drs. Rob and Julie Rifkin Beth and Rod Slifer* Slifer Smith & Frampton Foundation**** Jackie and Norm Waite** Martin Waldbaum****

FORTISSIMO ($3,000 and above) John Dayton**** Renee Okubo** Leewood and Tom Woodell*

CONCERTO ($1,500 and above)

Mia and Bill Benjes Gina Browning and Joe Illick* Mr. and Mrs. David Cross Mari Jo and Gene Grace Julie Grimm-Reeves and Rich Reeves* Ann and William Lieff*** Anne-Marie McDermott and Michael Lubin* Shirley and William S. McIntyre, IV**** Claire and Mark Noble Michele and Jeffrey Resnick** Melissa and Jeris Romeo Sally and Byron Rose*** J. Brian Stockmar Heidi Fremont Troester US Bank**** Vail Rotary Club Wall Street Insurance** Monica and Dan White* Linda and Jim Wolcott* Aneta M. Youngblood

SONATA ($750 and above)

Jayne and Paul Becker****** Barbara and Barry Beracha** Jill and Al Douglass* Eagle Ranch Association** Edwards Rotary Club Anne and Hank Gutman** Ann Hicks* Sue and Rich Jones* Betty and Scott Marsh Tiffany and David Oestreicher** Martha and Kent Petrie*** Ann and Tom Rader* Pat and Larry Stewart***

Joni White Taylor

OVERTURE ($350 and above)

Pat and Mike Booker Janie and Bill Burns* Fara and Jason Denhart* Dr. Susan Rae Jensen and Tom Adams Trainer Dr. and Mrs. Frederick Kushner** Linda McKinney* William Mohrman Brian Nestor Monica and Mark Perin* Patti and Drew Rader*** Terie and Gary Roubos**** Robert Schilling, Realtor Vail Valley Sue and Marty Solomon and P&S Equities, Inc.*** Town of Minturn Anne and Jim von der Heydt

PRELUDE ($100 and above)

Kathryn Benysh* Robert H. Ebert Sue and Brian Gordon* Floy Kaminski Laurie and Tom Mullen* Carole Schragen***** Carole and Peter Segal*** Nancy and Jerry Stevens Jenene and James Stookesberry* Joe Tonahill, Jr.** Town of Eagle* Susan and Albert Weihl**

ARTISTIC EXCELLENCE FUND

ravo! Vail is committed to presenting the greatest musicians and finest orchestras and has established the Artistic Excellence Fund to uphold that legacy. Bravo! Vail expresses its gratitude to all who have made gifts to the Artistic Excellence Fund, allowing the Festival to dream farther into the future. MAESTRO ($100,000 and above)

June and Paul Rossetti

ENSEMBLE ($30,000 and above)

OVATION ($15,000 and above)

IMPRESARIO ($25,000 and above)

ALLEGRO ($10,000 and above)

Billie and Ross McKnight

Barbara and Barry Beracha Sam B. Ersan Sandra and Greg Walton

VIRTUOSO ($20,000 and above) Marcy and Stephen Sands

170 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Dr. and Mrs. Frederick Kushner

Carole and Peter Segal

CRESCENDO ($5,000 and above) Kathie Mundy and Fred Hessler Chuck and Margie Steinmetz

CONCERTO ($1,500 and above) Marlys and Ralph Palumbo

ENCORE SOCIETY AND ENDOWMENT THE BRAVO! VAIL ENCORE SOCIETY

embers of Bravo! Vail’s Encore Society have made a bequest to the Festival and Bravo! Vail thanks them sincerely. Including Bravo! Vail in your estate plans ensures that your support of the Festival will continue to have an impact on tomorrow’s audiences. If you have included Bravo! Vail in your estate plans, please let us know so we may recognize you in this elite group. $1,000,000 and above Anonymous (2) Vicki and Kent Logan $100,000 and above Anonymous Anne and Donald Graubart Maryan and K Hurtt/Lockheed Martin Corporation Directors Charitable Award Fund Judy and Alan Kosloff Dhuanne and Doug Tansill

Sally and Byron Rose June and Paul Rossetti Carole Schragen Carole and Peter Segal Cathy and Howard Stone Martin Waldbaum Betsy and George Wiegers Gena Whitten and Bob Wilhelm

GIFTS TO THE ENDOWMENT

he Bravo! Vail Endowment Fund ensures the Festival’s long-term financial security and the continuance of the highest quality of music for generations to come. These endowed funds are professionally managed with oversight by the Bravo! Vail Investment Committee and are held in support of the Festival’s mission. The Festival expresses its deep gratitude to all who have made gifts to the endowment.

$50,000 and above Rosalind A. Kochman

LEADERSHIP GIFTS $100,000 and above Maryan and K Hurtt Leni and Peter May Betsy and George Wiegers

$20,000 and above Steven and Julie Johannes Peter Vavra

MILLENNIUM GROUP $50,000 and above Jean and Dick Swank

$10,000 and above John W. Giovando Jeanne and Craig White

$40,000 and above Anonymous Ralph and Roz Halbert Gilbert Reese Family Foundation

$7,500 and above Susan Stearns Encore Society Members Anonymous Kathryn Benysh Virginia J. Browning Edwina Carrington Linda Galvin Sue and Dan Godec Lowell Hahn Noel Harris Valerie Harris Cathey A. Herren Joyce and Paul Krasnow Laurie and Tom Mullen Caitlin and Dan Murray Teri and Tony Perry Martha Dugan Rehm and Cherryl Hobart

BEST FRIENDS OF THE MILLENNIUM $20,000 and above Jayne and Paul Becker Jan Broman The Cordillera Group/Gerry Engle Linda and Mitch Hart Fran and Don Herdrich The Mercy Family Susan and Rich Rogel BEST FRIENDS OF THE ENDOWMENT $10,000 and above Mr. and Mrs. Elton G. Beebe, Sr. Mary Ellen and Jack Curley The Francis Family Merv Lapin Amy and Jay Regan

$5,000 and above Margo and Roger Behler/FirstBank Carolyn and Gary Cage Jeri and Charlie Campisi Kay and E.B. Chester in Memory of Louise and Don Hettermann Millie and Vic Dankis Susan and Harry Frampton Linda and John Galvin Sheika and Pepi Gramshammer Nita and Bill Griffin Becky Hernreich Bob Hernriech Mary and Jim Hesburgh Bruce Jordan Gretchen and Jay Jordan Kensington Partners Alexandra and Robert Linn Gerard P. Lynch Priscilla O’Neil Patricia O’Neill and John Moore Joan and Richard Ringoen Family Foundation, Inc. Terie and Gary Roubos/Roubos Foundation Seevak Family Foundation Helen and Vincent Sheehy The Smiley Family Claudia Smith Mark Smith Cathy and Howard Stone Stewart Turley Foundation TRUSTEES’ MILLENNIUM FUND $2,000 and above Sallie and Robert Fawcett Mr. and Mrs. Lawrence Flinn, Jr. June and Peter Kalkus/Kalkus Foundation Karen and Walter Loewenstern John McDonald and Rob Wright Jean and Thomas McDownell The Merz Family Zoe and Ron Rozga Dr. and Mrs. William T. Seed Carole J. Schragen Deb and Rob Shay Mrs. Jean Graham-Smith and Mr. Philip Smith Karin and Bob Weber Anne and Dennis Wentz Barbara and Jack Woodhull Carol and Bob Zinn BRAVO! VAIL EMERITUS SOCIETY Judy and Howard Berkowitz Sharon and Bill Donovan Sallie and Robert Fawcett Vicki and Kent Logan Molly and Jay Precourt 171

SPECIAL GIFTS 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 LYN AND PHILLIP GOLDSTEIN PIANO CONCERTO ARTIST PROJECT The quality of individual performers sets Bravo! Vail apart from all other festivals. 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 JUDY AND ALAN KOSLOFF ARTISTIC DIRECTOR CHAIR Bravo! Vail gratefully acknowledges this gift which supports Artistic Director AnneMarie McDermott in her vision of bringing exciting and innovative programming and performing artists to Bravo! Vail. THE SIDNEY E. FRANK FOUNDATION Bravo! Vail is grateful to The Sidney E. Frank Foundation for its generous underwriting of important programs including the Virtual Access and Digital Content Project which creates video content and audio recordings. THE FRANCIS FAMILY The Festival gratefully acknowledges the “Profusion of Pianos,” underwritten by the Francis Family, allowing the Festival to ensure the appearance of the highest level of internationally known pianists performing as many of the classical symphonic works as possible with the resident and guest orchestras of the Festival. BERRY CHARITABLE FOUNDATION Bravo! Vail gratefully acknowledges the generosity of the Berry Charitable Foundation for the purposes of digital and live stream initiatives, audience development, future planning to promote the growth of the Festival, and more. TOWN OF VAIL Bravo! Vail acknowledges the vision of the Town of Vail and its Council Members for their most generous underwriting of

the residencies of Saint Paul Chamber Orchestra, The Philadelphia Orchestra, and the New York Philharmonic, as well as the New Works Fund. Their support of Bravo! Vail since its inception has ensured the Festival’s continued success. 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 musical excellence. THE STURM FAMILY AND ANB BANK The Festival gratefully acknowledges The Sturm Family and ANB Bank for their generous underwriting of live streaming initiatives and the Bravo! Vail Music Box. BECKER VIOLIN FUND Bravo! Vail gratefully acknowledges the Becker Violin Fund, underwritten by Jayne and Paul Becker, allowing the Festival to ensure the appearance of the highest level of internationally known violinists each season. REHEARSAL SPACE The Chapel at Beaver Creek, Eagle County School District, Eagle River Presbyterian Church, Cathy and Howard Stone, and Vail Mountain School all provide invaluable rehearsal space. Thank you for this unique gift. MEDIA ACKNOWLEDGEMENTS The Festival is pleased to acknowledge support from CMNM, Colorado Public Radio, Street Media Group, Town of Vail, Vail Daily, Vail Valley Partnership, Vail Local Marketing District Advisory Committee, Vail Resorts, Vail Town Council, Vail Valley Live/Vail Valley Latino, and Westword. BRAVO! VAIL MUSIC AWARD Instituted in 2016, the Bravo! Vail Music Award supports and extends opportunities for students to pursue musical studies of the highest caliber. Recipients will have displayed commitment, dedication, and excellence in their musical studies. The goal of the award is to provide financial assistance to a student in their pursuit of serious high-level music studies in an accredited program, camp, academic institution, or another similar setting, or

172 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

to assist with the costs of instruments, software, or other materials essential to the student’s continued musical studies. THE THERESE M. GROJEAN VOCALIST FUND Bravo! Vail gratefully acknowledges The Therese M. Grojean Vocalist Fund, underwritten by Tom Grojean in memory of Therese M. Grojean who was a life-long lover of music and a long-time friend of the Festival. This multi-year fund allows Bravo! Vail to present world-class vocalists during our various concert series’ each summer. THE FERGUSON MUSIC MAKERS HACIENDO MÚSICA FUND The Bravo! Vail Education and Engagement Committee gratefully acknowledges The Ferguson Music Makers Haciendo Música Fund, generously provided by Kathy and David Ferguson, long-time supporters of piano and violin instruction in our community. The fund underwrites Bravo! Vail's three-year strategic plan to grow and expand these important music education programs for local youth in our community. THE BETSY WIEGERS CHORAL FUND, IN HONOR OF JOHN W. GIOVANDO Bravo! Vail gratefully acknowledges this fund, created by Betsy Wiegers to honor Festival Founder John Giovando, and will underwrite the performance of a choral work each year for ten years. LOCAL TRANSPORTATION The Festival acknowledges Epic Mountain Express and B-Line Transportation for its generous support in assisting Festival artists with local transportation to and from airports in both Denver and Eagle. HOUSING HOSTS Bravo! Vail is grateful to the individuals who donate their residence for the use by musicians during their stay at the Festival. Thank you to Patty and Earle Bidez, Gina Browning and Joe Illick, Edwina Carrington, Ellie Caulkins, Sandra and John Fox, Vivien and Andrew Greenberg, Gregory Hansen and Jeff Bernardy, Mary Janet and Alan Stenger, and Cathy and Howard Stone.

CORPORATE & GOVERNMENT SUPPORT

ravo! Vail is indebted to the Town of Vail, the Vail Town Council, and the Festival’s many corporate, government, and community partners for their financial support.

OVATION ($15,000 and above) GMC

MAESTRO ($100,000 and above) Colorado Creative Industries Shuttered Venue Operators Grant and Small Business Administration Town of Vail*******

SOLOIST ($7,500 and above) Anonymous Town of Gypsum****

FIRST CHAIR ($50,000 and above) The Sturm Family and ANB Bank** ENSEMBLE ($30,000 and above) Vail Valley Foundation******* VIRTUOSO ($20,000 and above) Alpine Bank**** LIV Sotheby's International Realty**

ALLEGRO ($10,000 and above) National Endowment for the Arts

CRESCENDO ($5,000 and above) Bank of America Private Bank Berkshire Hathaway Home Services Colorado Properties Fidelity Investments Gallegos Corp. Goldman, Sachs & Co. Slifer Smith & Frampton Foundation**** Vacasa Wall Street Insurance**

FORTISSIMO ($3,000 and above) First Western Trust Rader Engineering*** CONCERTO ($1,500 and above) Coca-Cola Foundation US Bank**** Vail Rotary Club SONATA ($750 and above) Cincinnati Insurance Eagle Ranch Association** Edwards Rotary Club OVERTURE ($350 and above) Google IBM Matching Grants Program*** Town of Minturn PRELUDE ($100 and above) Town of Eagle*

IN - KIND GIFTS MAESTRO ($100,000 and above) Antlers at Vail Vail, Beaver Creek and EpicPromise Vail Valley Foundation FIRST CHAIR ($50,000 and above) Lodge at Vail FirstBank The Hythe, A Luxury Collection Resort, Vail Sonnenalp Hotel Town of Vail SYMPHONY ($40,000 and above) Eagle County School District ENSEMBLE ($30,000 and above) Four Seasons Resort Vail Manor Vail Lodge

Joanne Cohen and Morris Wheeler Foods of Vail Vera and John Hathaway The Left Bank Shirley and William S. McIntyre, IV Sarah and Peter Millett Mirabelle Restaurant Alysa and Jonathan Rotella Elaine and Steven Schwartzreich Vail Catering Concepts Yamaha Nancy and Harold Zirkin SOLOIST ($7,500 and above) Mary Janet and Alan Stenger

VIRTUOSO ($20,000 and above) Applejack Wine and Spirits CEAVCO Jackson Family Wines

CRESCENDO ($5,000 and above) Gina Browning and Joe Illick Edwina Carrington The Christie Lodge Sandra and John Fox Joan Francis Vivien and Andrew Greenberg Sitzmark Lodge Vail Racquet Club Vintage Magnolia

ALLEGRO ($10,000 and above) Dr. David Cohen

FORTISSIMO ($3,000 and above) Ellie Caulkins

IMPRESARIO ($25,000 and above) Ali & Aaron Creative

Each * denotes five years of consecutive donations.

Evergreen Lodge Sweet Basil Gregory Hansen and Jeffrey Bernardy Mountain Standard CONCERTO ($1,500 and above) Dierdre and Ronnie Baker John Dayton Country Club of the Rockies The Golden Bear Gregory Hansen and Jeff Bernardy Lisa and Ken Schanzer Cathy and Howard Stone SONATA ($750 and above) Patty and Earle Bidez D’Addario Foundation Splendido at the Chateau Vail Jazz OVERTURE ($350 and above) Dallas Symphony Orchestra The Philadelphia Orchestra PRELUDE ($100 and above) Arrowhead at Vail Boulder Philharmonic Hotel Boulderado Vista at Arrowhead 173

BRAVO! VAIL STAFF ARTISTIC DIRECTOR Anne-Marie McDermott EXECUTIVE DIRECTOR Caitlin Murray

EXECUTIVE FOUNDER John W. Giovando ARTISTIC FOUNDER Ida Kavafian ARTISTIC Director of Artistic Planning Jacqueline Taylor Marketing Content Specialist & Artist Liaison Henry Bowen

INSTITUTIONAL ADVANCEMENT Senior Vice President Ronda Helton Vice President of Philanthropy Jason Denhart Director of Business Intelligence & Systems David Judd Director of Development Jackie Ernst Director of Marketing Parker Owens Corporate Partnerships & Events Manager Emily Block Database Manager Beth Pantzer

ADMINISTRATION & FINANCE Vice President of Finance and Human Resources Monica White

Institutional Advancement Coordinator Linda Stamper Boyne

Executive Assistant Hannah Ploughman

Sales Manager Nancy Stevens

Front Office Manager Heidi Young

Box Office Associates Amy Sherman Maddie Stevens Jonny Stevens

Human Resources and Volunteer Coordinator Palmer Daniels EDUCATION & ENGAGEMENT Director of Education & Engagement Aileen Pagán-Rohwer Education & Engagement Programs Coordinator Amara Sperber BRAVO! VAIL MUSIC MAKERS HACIENDO MÚSICA TEACHING STAFF Cindy Allard Celesta Cairns Scott Carroll Abigail Dreher Lindsay Erickson Sarah Blaser Murray Hannah Ploughman Jenny Roussel Amara Sperber Hannah Terrell Mallorie Werts

OPERATIONS AND TECHNICAL PRODUCTION Director of Artistic Operations Elli Varas Senior Technical Director Todd Howe Technical Director Jake Cacciatore Sound Engineering and Recording Zac Craven Andrew May Production Crew Manager Robert Pastore Jr. Production Crew Jeremy Almeter Todd Bethune Paul Casey Benjamin Kust Kate Redmond Steve Schrader

174 Learn more at BravoVail.org or in the Bravo! Vail Music Festival app

Piano Technician Cassie Van Gelder FESTIVAL INTERNSHIP PROGRAM Institutional Advancement Interns Dani Haddad, University of Colorado Boulder Maggie Lashley, University of Nebraska - Lincoln Lydia Lee, Iowa State University Abigail Solis, Colorado Mesa University, Guardian Scholar Education and Engagement Intern Carolyn VanderWerf, University of Colorado Boulder Operations Intern Shannon Murray, University of Northern Colorado (Graduated) Audio and Technical Interns Skyler McCoy, University of Denver Taylor Sobol, DePaul University Jack Zurawel, Full Sail University (Graduated) RESIDENT ORCHESTRA PHYSICIAN Steve Yarberry, MD RESIDENT ORCHESTRA PHYSICAL THERAPIST Jennifer Martin, PT, DPT, OCS, FAAOMPT MARKETING AND DEVELOPMENT CONTENT Managing Editor Alice Kornhauser Public Relations 8VA Music Consultancy Communication and Grants Specialist Christy Pierce FILMMAKING Director Tristan Cook PHOTOGRAPHY Tomas Cohen CREATIVE DESIGN Ali & Aaron Creative

GUILD & SPECIAL NOTES GUILD Bruce & Linda Alper Janet Beals Pat Blood Barbara Bower Carol Brannigan Edwina Carrington Judy & David Carson Kris Cashman Joyce Chizmadia Nancy Collins Bob & Jan Cope Becky Crawford James & Pamela Crine Bruce Crow Carol & Greg Dobbs Lois Donelson Debbie & Rich Durben Ann & Sandy Faison Deborah Feeney Eleanor Finlay Claire Forsyth Laura & Warren Garbe Greer & Jack Gardner Colleen Gauron Pam Hamilton Anne Hatch

Irene Hayes Nina Holmquist Don Hoolihan Sharon Johnson Jane Jones Julie Kenfield Betty Kerman Wendy Kline Don & Marion Laughlin Victoria Litchev Nicole Lucido Diane & Jim Luellen Henry Mader Maureen McCullough Louise McGoughey Carole Ann McNeill Bruce & Ferol Menzel Kevin & Martha Milbery Sandy Morrison Rita Neubauer Suzette Newman Annette Parsons Barbara & Jim Risser Joanne Rock Thomas Russo George & Nancy Saunders

John Saunders Gary & Linda (Lou) Scanlon Scott Schaefer Andy Searls Charlie Sherwood Lisa Simek Eileen & Michael Sinneck Eileen Sordi AnneMarie Tellefsen Judy & Michael Turtletaub Carol Walker Karla Wall Julia Watson Katheryn & Steven Willing Dean & Linda Wolz Allison Wright Brian & Chiann-yi Yawitz

Bravo! Vail Bravo! Vail and the Bravo! Vail logo are trademarks of Bravo! Colorado @ Beaver Creek-Vail, Inc in the United States. Information is subject to change without notice. © 2022 Bravo! Vail. All rights reserved.

events are open-air venues. Refunds are not given due to weather unless a concert is canceled in its entirety with no performance rescheduled.

SPECIAL NOTES Bravo! Vail will follow all health and safety protocols in place as determined by local and state health officials. The use of cell phones and electronic devices is prohibited during concerts. Sound recording, photographing, or videoing of concerts is strictly prohibited. Concerts start punctually at the time indicated. Latecomers may be admitted at the discretion of our ushers, either between movements or between pieces. Please respect our volunteer ushers. We ask that adults accompany young children at all times. Artists and programs are subject to change without prior notice and such changes are not cause for a refund. Please save your program book for the duration of the Festival and recycle unwanted materials. You may also download the Bravo! Vail app, which will allow you to access information contained in the printed program book right on your smartphone.

Bravo! Vail Program Book © 2022 Mail/Administration 2271 N Frontage Rd W, Suite C Vail, CO 81657 970.827.5700 | 877.812.5700 toll free Fax 970.827.5707 Tickets Online: bravovail.org Phone: 877.812.5700 Email: ticketing@bravovail.org Box Office: 2271 N Frontage Rd W, Suite C, Vail, CO 81657 Concerts take place rain or shine, unless otherwise specified in event details. The GRFA, Lower Bench, community amphitheaters, and Bravo! Vail Music Box

No refund or exchange. Event dates and times are subject to change. All rights reserved. If the event for which this ticket is issued is rescheduled or canceled, the holder shall not be entitled to a refund except as otherwise required by law and will instead will have the right only to attend the rescheduled event, or if an event is not rescheduled, to exchange the ticket for another of equal value. By attending this event you consent to photography, audio and/or video recording and its/their release, publication, exhibition, and/or reproduction to be used for advertising or promotional purposes, or any other purpose by Bravo! Vail Music Festival and its affiliates and representatives. See full ticketing policy details and more at BravoVail.org.

175

July 10, Continued From Page 83

“HIGH NOTE”

Music by Milt Franklyn after Johann Strauss Based upon “The Blue Danube” Story by Michael Maltese Animation Direction by CHUCK JONES

Excerpt from

“DUCK AMUCK” (Original Soundtrack)

Sound Effects by Treg Brown Story by Michael Maltese Animation Direction by CHUCK JONES

“WHAT’S OPERA, DOC?” Music by Milt Franklyn

Based on music from “The Flying Dutchman,” “Die Walküre,” “Siegfried,” “Götterdämmerung,” “Rienzi,” and “Tannhäuser” by Richard Wagner Story by Michael Maltese Animation Direction by CHUCK JONES

MERRIE MELODIES “THAT’S ALL FOLKS!”

Music Arranged and Orchestrated by Carl W. Stalling Voice Characterization by Noel Blanc

Printed Encore:

“DYNAMITE DANCE” Music by Carl Johnson

Based on “The Dance of The Hours” from “La Gioconda” by Amilcare Ponchielle Written by David Gemmill, Pete Browngardt, & Johnny Ryan Executive Producers: Pete Browngardt and Sam Register Animation Direction by DAVID GEMMILL Program Subject To Change Without Notice LOONEY TUNES and all related characters and elements © & TM Warner Bros. Entertainment Inc. WB SHIELD: TM & © WBEI. (s22)

July 20, Continued From Page 111 he retained), seemingly unconnected musical ideas that gradually coalesce. There follow a generally straightforward scherzo and then the funeral march movement. The finale opens with a terrifying sound that Mahler described as a bolt of lightning ripping forth from a dark cloud. From there it travels widely, even recalling the opening “nature music,” before reaching its spectacular conclusion.

July 22, Continued From Page 117 During the summer and early fall of 1943, Bartók wrote the entire Concerto for Orchestra at a rural mountain getaway in upstate New York. What Koussevitzky got for his money was a splendid showpiece for his orchestra—for many of the solo wind-players and percussionists as well as for the ensemble as a whole. Bartók provided a comment to help the listener: “The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first moment and the lugubrious death-song of the third to the lifeassertion of the last one.” These three movements are the “big” sections of the piece, with the second and fourth movements being more lightweight intermezzos. Bartók attended the premiere in Boston against his doctors’ advice, and the enthusiastic cheering would be a highlight of his career. “It was worth the while,” he reported succinctly.

July 23, Continued From Page 119 great deal of encouragement from his respected champion. In the early 1880s, Dvořák’s fame began to reach beyond Austria and Bohemia, securing a following especially in England. His Stabat Mater scored an immense success when it was given in London in 1883. The Royal Philharmonic seized the occasion to extend an invitation for

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the following year, asking him to return in 1884 to conduct his own Sixth Symphony, among other works. That, too, proved popular, inspiring the orchestra to commission him to write his Seventh Symphony specifically for them. Following its premiere, which the composer conducted in London on April 22, 1885, Dvořák wrote to a friend in Mirovice, Bohemia: “Before this letter reaches you will perhaps know how things turned out here. Splendidly, really splendidly. This time, too, the English again welcomed me as heartily and as demonstratively as always heretofore. The symphony was immensely successful and at the next performance will be a still greater success.”

July 26, Continued From Page 125 today as by far the more commonly played edition—and, indeed, the version heard in this concert.

Symphony No. 5 in E minor, Op. 64 (1888) Tchaikovsky composed his Fifth Symphony in just four months, from May through August 1888. He had already jotted down initial thoughts in April in a prose outline for the first movement: Intr[oduction]. Complete resignation before Fate—or, what is the same thing, the inscrutable designs of Providence. Allegro 1. Murmurs of doubt, laments, reproaches against … XXX. 2. Shall I cast myself in the embraces of faith??? A wonderful program, if only it can be carried out. The triple-X business is a mystery. Some musicologists believe it referred to Tchaikovsky’s homosexuality, others to his gambling addiction; in any case, it was clearly something he considered secret and personal. Through the summer and fall he sent out further cryptic messages in letters to his patron, Nadezhda von Meck— allusions to the emotional background

to this piece, which continued to involve resignation to fate, designs of providence, murmurs of doubt, and similarly dark thoughts. Tchaikovsky later insisted to his friend the Grand Duke Konstantin Konstantinovich that the symphony had no program whatsoever, but most listeners would have trouble buying that; something seems to be going on here. The four movements are unified through common reference to a “motto theme,” which is announced by somber clarinets at the piece’s outset. This probably represents the idea of Fate to which Tchaikovsky referred obsessively. It reappears often in this symphony, sometimes considerably reworked. It causes a brutal interruption in the middle of the slow movement (a languid elegy spotlighting the solo horn); it appears in a subdued statement from clarinets and bassoons near the end of the graceful third movement; and in the finale this “Fate”

motif is transposed from the minor mode into the major in a gesture that sounds at least temporarily triumphant.

July 27, Continued From Page 127 fortune). Rounding out the roster are two shows that achieved their fame belatedly: The Frogs (a musical version of Aristophanes’ comedy, first heard at Yale in 1974) and Saturday Night (a tale of aspiring young men on date night, written in 1954 but not produced until 1997). In the tsunami of interviews and roundtables following his death, participants were inevitably asked to name their favorite Sondheim show. It seemed as if nobody could limit themselves to just one. How could they? In the vast landscape of Sondheim, breathtaking vistas had always waited around every turn.

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177

— C O M I N G T O B E AV E R C R E E K , C O L O R A D O —

Winter 2022-2023

Canadian Brass with Kantorei DEC 23 —

Pianist

Khatia Buniatishvilli JAN 17 —

Béla Fleck & Abigail Washburne — with — The Colorado Symphony FEB 2 —

Aris Quartett

Presented in the May Gallery FEB 14

Our Planet Live in Concert

Canadian Brass with Kantorei

Pianist Khatia Buniatishvilli

FEB 23 —

Benedetti Elschenbroich Grynyuk Trio MAR 20 —

Tel Aviv Wind Quintet — with guest — Pianist Yaron Kohlberg Presented in the May Gallery MAR 28 —

Béla Fleck

Our Planet Live in Concert

A spectacular tribute to life on our planet

Music by Academy Award®-Winning composer

Colorado Symphony Petite Musique

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Explore the mus ical riches and unique settings of thes e allied festival s of the Western Unite d States.

CLASSICAL MUSIC FESTIVALS OF THE WEST 2022

Fri. July 29, 7:30pm

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Sun. August 7, 6:00pm

��–�� // GRFA

��–�� // VPAC

Sat. July 30, 7:30pm

Thu. August 4, 5:30pm

Opening Night New York City Ballet MOVES ��–�� // GRFA

Dancing in the Park Free // AVON

Fri. August 5, 7:30pm

Sun. July 31, 6:00pm

Ephrat Asherie Dance: ODEON ��–�� // VPAC

International Evenings of Dance I ��–�� // GRFA

Sat. August 6, 5:00pm & 7:45pm

Mon. August 1, 7:30pm

Limón Dance Company

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International Evenings of Dance II ��–�� // GRFA

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DanceAspen

Mon. August 8, 7:30pm

NOW: Premieres ��–�� // GRFA

Tue. August 9, 7:30pm

Dance for ��.�� Lawn: ��.��, Pavilion: ��.�� GRFA AVON = Avon Performance Pavilion at Nottingham Park GRFA = Gerald R. Ford Amphitheater, Vail VPAC = Vilar Performing Arts Center, Beaver Creek

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Bravo! Vail Music Festival 2022 Program Book

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Board of Trustees & Advisory Council

New Works Symphonic Commissioning Project