8 minute read
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
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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 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. 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 events are open-air venues. Refunds are not given due to weather unless a concert is canceled in its entirety with no performance rescheduled.
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.
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:
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 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.
DANA CORREIA
970.390.3141 dcorreia@slifer.net
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