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visit a branch | 800.USBANKS (872.2657) | usbank.com

For the community that believes in itself, there’s a bank that does, too.

At U.S. Bank, we’re dedicated to helping improve the lives of those in our community, because when people come together with a common goal, the impossible suddenly becomes possible. Our support means funding and volunteering in the programs and organizations that make our community a better place to live. Proud to support the Bravo! Vail program for over 25 years. We look forward to serving you at one of our four convenient area locations.

EQUAL HOUSING

H O M E OW N E R ASSOCIATIO A S S OC IATIO NS NS 65 HOMEOWNER 65 IN D IV ID UA L OW NERS OWNE RS 13,000 INDIVIDUAL 13,000 UN ITS 3,600 UNITS RE N TA L UNITS UN ITS 753 RENTAL L U XURY HOME H OME RE N TALS 30 LUXURY RENTA LS 30

CO N D OM I N I U MS CONDOMINIU MS

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SPA AND ANDATHLETIC AT H LET ICCLU C L UBS BS 33 SPA URBAN DEVELO DEVE LOPMENTS P M E N TS 22URBAN ES S A NNEDCO COMMUNITI M M UNITIE 22PLP LANNED 11 RESO R E SORT RTHOTEL H OT EL $1.2 BILLIONNIN INASSETS A SS E TS $ 1 .2 BILLIO

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IN DE 330 0 YYEARS EA R S IN D E STINATION ST I N AT I O N HOSPITALIT HO S P I TALI TYY P.O. Box 9550 Avon, CO 81620 P.O. Box 9550 Avon, CO 81620

888.832.7893 888.832.7893

www.eastwestdh.com www.eastwestdh.com

WE PROUDLY APPLAUD BRAVO! VAIL The Private Banking and Investment Group at Merrill Lynch is committed to supporting organizations, individuals and families who enhance the neighborhoods where we live. Our focus is to provide innovative financial strategies and solutions that can help you connect your substantial wealth to your life and your legacy. Contact us to learn more about how we can help you pursue your unique goals. Life’s better when we’re connected®

Christopher Aitken, CIMA Ken Tonning Private Wealth Advisor Private Wealth Advisor Managing Director – Wealth Management Vice President – Wealth Management Named to the Barron’s Top 1,200 Advisors 2016* Named to the Financial Times 400 Top Financial Advisers 2016.**

pwa.ml.com/aitken 800.937.0267

* Source: Barron’s magazine, March 7, 2016, America’s Top 1,200 Financial Advisors list. Advisors considered for the “America’s Top 1,200 Financial Advisors list” ranking have a minimum of seven years financial services experience and have been employed at their current firm for at least one year. Quantitative and qualitative measures used to determine the advisor rankings include: client assets, return on assets, client satisfaction/retention, compliance records and community involvement, among others. Barron’s does not receive compensation from advisors, participating firms and their affiliates, or the media in exchange for rankings. Barron’s is a trademark of Dow Jones & Company, Inc. All rights reserved. ** Source: The 2016 Financial Times 400 Top Financial Advisers (FT 400) is an independent listing produced by the Financial Times (FT), March 2016. The FT 400 is based on data gathered from firms, regulatory disclosures and the FT’s research. As identified by the FT, the listing reflected each adviser’s performance in six primary areas, including assets under management, asset growth, compliance record, years in existence, credentials and accessibility. Neither firms nor their employees pay a fee to the Financial Times in exchange for inclusion in the FT 400. Merrill Lynch Wealth Management makes available products and services offered by Merrill Lynch, Pierce, Fenner & Smith Incorporated, a registered broker-dealer and Member SIPC, and other subsidiaries of Bank of America Corporation (BofA Corp.). The Private Banking and Investment Group is a division of MLPF&S that offers a broad array of personalized wealth management products and services. Both brokerage and investment advisory services (including financial planning) are offered by the group’s private wealth advisors through MLPF&S. The nature and degree of advice and assistance provided, the fees charged, and client rights and Merrill Lynch’s obligations will differ among these services. Investments involve risk, including the possible loss of principal investment. Investment products:

Are Not FDIC Insured

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MLPF&S is a registered broker-dealer, a registered investment adviser, Member SIPC and a wholly owned subsidiary of BofA Corp. Investment Management Consultants Association (IMCA®) is the owner of the certification marks CIMA® and Certified Investment Management Analyst®. Use of CIMA® and Certified Investment Management Analyst® signifies that the user has successfully completed IMCA’s initial and ongoing credentialing requirements for investment management consultants. The Bull Symbol, Life’s better when we’re connected and Merrill Lynch are trademarks of Bank of America Corporation. © 2016 Bank of America Corporation. All rights reserved. | ARJKGB89 | AD-03-16-0461 | 03/2016

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Engel & Völkers Vail 242 EAST MEADOW DRIVE, IN VAIL VILLAGE • 970.477.5300 • VAIL.EVUSA.COM ©2015 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.

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Connecting Colorado â&#x20AC;Świth insightful news, new and independent music discovery, and exploration into the world of classical music.

FROM THE CHAIR Welcome to Bravo! Vail’s 29th season of extraordinary music in the mountains. We hope you enjoy the four renowned orchestras performing in Vail this summer. We are excited to welcome back the Dallas Symphony Orchestra, The Philadelphia Orchestra, and the New York Philharmonic. The addition of London’s Academy of St Martin in the Fields brings a top international presence to Vail. Bravo! Vail is committed to presenting world class performances you have come to expect from the finest classical music festival in the country. Our success is due to the hard work and devotion of many people including the dedicated Board of Trustees, generous patrons, talented staff, and an enthusiastic audience. Thank you all for your support, and enjoy the music!

Dan Godec BOARD CHAIR

FROM THE ARTISTIC DIRECTOR I am so thrilled with the extraordinary programs that we will present this summer! It is such a privilege to share this inspiring line-up of orchestras, chamber music artists, and soloists with you. The season kicks off with the electrifying Academy of St Martin in the Fields featuring their Music Director and world-renowned violinist, Joshua Bell. The Dallas Symphony Orchestra will perform Orff’s epic Carmina Burana, featuring Hans Graf and the Colorado Symphony Chorus. The CSO Chorus will also join The Philadelphia Orchestra and Yannick Nézet-Séguin in Mahler’s transcendent “Resurrection” Symphony. The New York Philharmonic performs some of Wagner’s most inspired orchestral masterpieces.

Anne-Marie McDermott For chamber music lovers, I have programmed not only beloved works by Mozart, Brahms, and ARTISTIC DIRECTOR

Shostakovich, but also a powerful chamber arrangement of Bruckner’s 7th Symphony. This summer’s Classically Uncorked Series holds a special place in my heart: we will welcome back Bravo’s founding Artistic Director, Ida Kavafian, and we showcase a world premiere work by legendary Danish composer, Poul Ruders. Not to be missed is a work that the New York Times called “the ultimate environmental piece”: John Luther Adams’ Inuksuit. The “Sound of Extraordinary” will be alive and well at Bravo! this summer!

FROM THE EXECUTIVE DIRECTOR My tenure with Bravo! Vail began in January of this year. As I met the many music lovers in the Vail Valley, I heard a consistent message from patrons and audience members: “Bravo! is summer in Vail!” Now that the music is playing in these glorious Rocky Mountains, I have the experience of truly understanding what makes Bravo! Vail unique. It is the combination of outstanding programming ©ZACHMAHONE.COM

performed by the best orchestras, guest artists, and chamber musicians in the world in a spectacular setting. Bravo!’s success and stability comes from a combination of a dedicated Board of Trustees, tireless administrative staff, generous patrons, and volunteers. Thank you all for the warm welcome to Vail. It is a privilege to experience the music with you, and I look forward to an exciting future

Jennifer Teisinger

with Bravo!

EXECUTIVE DIRECTOR

Learn more at BravoVail.org 29

BOARD OF TRUSTEES Dan Godec, Chair

Jenn Bruno

Alan Kosloff

Lisa Schanzer

Greg Walton, Vice Chair

Glenn Davis

Robert LeVine

Carole Segal

Bill Burns, Treasurer

John Dayton

Laurie Mullen

Rachel Smiley

Susan Suggs, Secretary

Marijke de Vink

Gary Peterson

Cathy Stone

Ronnie Baker

Gary Edwards

Steve Pope

Frank Strauss

Paul Becker

Cookie Flaum

Brad Quayle

Doug Tansill

Sarah Benjes

John Galvin

Michele Resnick

Barry Beracha

Hank Gutman

Vicki Rippeto

Doe Browning

Linda Hart

Byron Rose

ADVISORY COUNCIL David Anderson

Mark Gordon

John Magee

Rod Slifer

Marilyn Augur

Jeanne Gustafson

Tony Mayer

Marcy Spector

Kay Chester

Seeme Hasan

Shirley McIntyre

Tye Stockton

Tim Dalton

Martha Head

Matt Morgan

Sue Sturm

Lucy Davis

Becky Hernreich

Bill Morton

Lisa Tannebaum

Brian Doyle

Mark Herron

Kalmon Post

Fred Tresca

Kathleen Eck

Katie Kellen

Drew Rader

Steve Virostek

Thomas Edwards

Elaine Kelton

Martha Rehm

Michael Warren

Kabe ErkenBrack

Jeremy Krieg

Susan Rogel

Carole A. Watters

Sallie Fawcett

Honey Kurtz

Paul Rossetti

Harry Frampton

Fred Kushner

Terie Roubos

Joan Francis

Dick Liebhaber

Adrienne Rowberry

Michael Glass

Vicki Logan

Jim Shpall

FROM THE FOUNDER It is a distinct pleasure to welcome you to the 29th season of the Bravo! Vail Music Festival. In 2015 it was my honor and privilege to return to Bravo! Vail to help guide the Festival. The support of the Board of Trustees, leadership from Board Chair Dan Godec, steadfast patrons and a loyal audience keep Bravo! Vail strong and thriving. As evidence of Bravo!â&#x20AC;&#x2122;s success, this summer, we welcome for the first time Londonâ&#x20AC;&#x2122;s Academy of St Martin in the Fields to appear with the famed symphony orchestras of Dallas, Philadelphia, and New York. During my return to Bravo!, we identified a new executive director and it is my pleasure to welcome Jennifer Teisinger to this magnificent festival. She joins Artistic Director Anne-Marie McDermott and a

John W. Giovando

fantastic Bravo! staff who have worked tirelessly to create an extraordinary 2016 season.

FOUNDER

Heartfelt thanks for your support of Bravo! and all it offers. Without you, this celebration of music in the Rocky Mountains would not be possible. Enjoy!

30 Learn more at BravoVail.org

8 3 H A L F - F LO O R , F U L L - F LO O R AND DUPLEX RESIDENCES O N M I A M I â&#x20AC;&#x2122; S M U S E U M PA R K . FROM $5.8 MILLION.

1000MUSEUM.COM

Artist renderings provided by ARX Solutions | Creative Director Alfred Lamoureux

305.690.0710

INFO@1000MUSEUM.COM

SUNDAY

MONDAY

TUESDAY

SCHEDULE OF EVENTS

2016 SEASON June 23–August 6, 2016 COLOR KEY

Orchestra Concerts

Academy of St Martin in the Fields 6:00PM | GRFA

Chamber Music Concerts

28 Free Concert 7:30PM | BCIC

Classically Uncorked Free Concerts Free Education & Community Events

Dallas Symphony Orchestra 6:00PM | GRFA

Dallas Symphony Orchestra Special Time, 2:00PM | GRFA

Free Concert 1:00PM | VIC

The Philadelphia Orchestra 6:00PM | GRFA

Little Listeners 2:00PM | APL

Free Concert 1:00PM | VIC

Soirée 6:00PM | Rotella Residence

Little Listeners 2:00PM | VPL

Special Events

Chamber Music 6:00PM | DP

LOCATION KEY APL = Avon Public Library BBT = Bonfire Brewing Taproom, Eagle BCIC = Beaver Creek Interfaith Chapel BCP = Brush Creek Pavilion CMB = Crazy Mountain Brewery

Chamber Music 6:00PM | DP

DP = Donovan Pavilion EIC = Edwards Interfaith Chapel EPL = Eagle Public Library

GESC = Golden Eagle Senior Center

29th Annual Gala 5:30PM | RCBG

GPL = Gypsum Public Library

Free Concert 1:00PM | VIC Chamber Music 6:00PM | DP

GRBC = Gallery Row, Beaver Creek GRFA = Gerald R. Ford Amphitheater GTH = Gypsum Town Hall MP = Maloit Park, Minturn RCBG = Ritz-Carlton, Bachelor Gulch

Pre-Concert Talk 5:00PM | GRFA

Little Listeners 2:00PM | APL

Free Concert 1:00PM | VIC

New York Philharmonic 6:00PM | GRFA

Soirée 6:00PM | Walton Residence

Little Listeners 2:00PM | VPL Chamber Music 6:00PM | DP

VAH = Vail Ale House VIC = Vail Interfaith Chapel VPL = Vail Public Library

32 Get tickets at BravoVail.org

1 AUGUST

Little Listeners 2:00PM | EPL

Classically Uncorked Presented by Grgich Hills Estate 7:30PM | DP

WEDNESDAY

THURSDAY 23 JUNE

FRIDAY 24

Academy of St Martin in the Fields 6:00PM | GRFA

SATURDAY 25 Pre-Concert Talk 5:00PM | GRFA Academy of St Martin in the Fields 6:00PM | GRFA

1 JULY

Dallas Symphony Orchestra 6:00PM | GRFA

Little Listeners 2:00PM | EPL

Dallas Symphony Orchestra 6:00PM | GRFA

Soirée 6:00PM | McKnight Residence

FREE!

Bravo! Vail After Dark 8:30PM | VAH

Little Listeners 2:00PM | GPL

Free Concert 1:00PM | VIC

The Philadelphia Orchestra 6:00PM | GRFA

Pre-Concert Talk 5:00PM | GRFA

FREE!

Bravo! Vail After Dark 8:30PM | BBT

Dallas Symphony Orchestra 6:00PM | GRFA Free Concert 7:30PM | EIC

Instrument Petting Zoo 10:00AM | GRFA

Free Concert 1:00PM | VIC

The Philadelphia Orchestra 6:00PM | GRFA

Pre-Concert Talk 5:00PM | GRFA

Free Family Concert 11:00AM | GRFA

The Philadelphia Orchestra 6:00PM | GRFA

Free Concert 7:30PM | GTH

Soirée 6:00PM | Tannebaum & Brownstein Residence

Free Concert 1:00PM | VIC

New York Philharmonic 6:00PM | GRFA

New York Philharmonic Special Time, 8:00PM | GRFA

Little Listeners 2:00PM | GPL

Free Concert 11:00AM | GESC

Free Concert 1:00PM | GRBC

Free Concert 7:30PM | BCIC

New York Philharmonic 6:00PM | GRFA

Free Concert 1:00PM | VIC

Pre-Concert Talk 5:00PM | GRFA

New York Philharmonic 6:00PM | GRFA

Free Concert 7:30PM | BCP

FREE!

Bravo! Vail After Dark 8:00PM | CMB

4 Classically Uncorked Presented by Grgich Hills Estate 7:30PM | DP

Classically Uncorked Presented by Grgich Hills Estate 7:30PM | DP

5 FREE!

Bravo! Vail After Dark 8:30PM | VAH

6 Inuksuit 2:00PM | MP

ACADEMY OF ST MARTIN IN THE FIELDS

AN INTERNATIONAL CHAPTER BEGINS IN RESIDENCE JUNE 23–26, 2016

HE ACADEMY OF ST MARTIN IN THE FIELDS IS one of the world’s greatest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s most-loved classical music. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Through unrivalled live performances and a vast recording output – highlights of which include the 1969 best-seller Vivaldi’s Four Seasons and the soundtrack to 1985’s Oscar-winning film Amadeus – the Academy quickly gained an enviable international reputation for its distinctive, polished and refined sound. Today the Academy is led by Music Director and virtuoso violinist Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductor-less ensemble which has become an Academy hallmark,

34 Learn more at BravoVail.org

whilst pushing the boundaries of play-directed performance to new heights. Each year the Academy collaborates with some of the world’s most talented soloists and directors, performing symphonic repertoire and chamber music on a grand scale at prestigious venues from New York to Beijing. These partnerships extend to the recording studio, where regular additions to the orchestra’s celebrated back-catalogue of over 500 recordings make the Academy one of the most recorded chamber orchestras in the world. Highlights of the Academy’s 2016-17 season include a month-long tour of the United States and Canada with Inon Barnatan, European and Australian tours with Joshua Bell, several short tours with Sir Neville Marriner, and a complete cycle of Beethoven’s Piano Concertos with Murray Perahia in London. Additional touring engagements include performances with Julia Fischer, Kit Arm-

SCHEDULE AT-A-GLANCE JUN

23 JUN

25 JUN

Bravo! Begins: Bell Plays Mozart ................... 49 Denk & Beethoven 8.................................. 53 Four Seasons: Vivaldi & Piazzolla ................. 57

JOSHUA BELL MUSIC DIREC TOR , ACADEMY OF ST MARTIN

©CHRIS CHRISTODOULOU(2)

IN THE FIELDS

strong, Yulianna Avdeeva, Renaud Capuçon, Arabella Steinbacher, Martin Fröst, and Cameron Carpenter. Complementing a busy international schedule, the Academy continues to reach out to people of all ages and backgrounds through its learning and participation programs. The Academy’s flagship project for young people provides performance workshops for primary and secondary school children; partnerships with Southbank Sinfonia, the Guildhall School of Music and Drama, the Royal Northern College of Music and masterclasses on tour further the development of the professional musicians of tomorrow; the Academy provides a creative outlet for some of London’s most vulnerable and homeless adults at the West London Day Centre; and a regular program of pre-concert talks and podcasts create opportunities for music-lovers the world over to connect and learn with the orchestra.

ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE Bravo! Vail gratefully acknowledges the support of the following patrons: GRAND BENEFACTOR

VIRTUOSO ( $20,000+ )

( $100,000+ )

The Sidney E. Frank Foundation

The Paiko Trust, in honor of the Firefighters of the Vail Valley

BENEFACTOR ( $5,000+ ) PREMIER BENEFACTOR ( $50,000+ )

Town of Vail

The Francis Family John McDonald and Rob Wright Carole A. Watters

Learn more at BravoVail.org 35

DALLAS SYMPHONY ORCHESTRA

UNCOMPROMISING EXCELLENCE IN RESIDENCE JUNE 29–JULY 6, 2016

INCE 1900, THE DALLAS SYMPHONY Orchestra has grown from a 40-person ensemble to a nationally-recognized orchestra performing in Morton H. Meyerson Symphony Center, one of the world’s finest concert halls. The Dallas Symphony Orchestra grew under the leadership of eminent conductors including Hans Kreissig, Antal Dorati, Walter Hendl, Sir Georg Solti, Anshel Brusilow, Max Rudolf, and Louis Lane. In 1977, Mexican-born Eduardo Mata was appointed Music Director of the Dallas Symphony Orchestra. Under his guidance the Orchestra enjoyed many successes, including recording contracts with RCA and Dorian, two Carnegie Hall performances, a performance at the Kennedy Center, a 15-concert European tour, three concerts in Mexico City, and three concerts in Singapore. When Mata retired in June of 1993, he had the longest tenure as Music Director in the Orchestra’s history, and was named Conductor Emeritus of the Dallas Symphony Orchestra.

36 Learn more at BravoVail.org

During Mata’s tenure, the Dallas Symphony Orchestra saw the dedication of its permanent home, the Morton H. Meyerson Symphony Center, in September 1989. In December of 1992, the Dallas Symphony Association named Andrew Litton to succeed Mata as Music Director. Litton launched the Dallas Symphony’s first television venture, the Amazing Music series. He also made numerous recordings with the DSO, including Mahler’s Symphony No. 5 and Gramophone magazine’s Editor’s Choice Award-winning Rachmaninoff Piano Concertos. Litton and the Orchestra had several performances at Carnegie Hall, three European tours, and inaugurated their summer residency here at Bravo! Vail. Following Litton’s departure, the DSO named Jaap van Zweden as its Music Director in February 2007. In addition to his position with the Dallas Symphony, van Zweden serves as Music Director of the Hong Kong Philharmonic Orchestra. Dallas Symphony performances conducted by Jaap

SCHEDULE AT-A-GLANCE JUN

Carmina Burana................................................... 61 JA AP VAN ZWEDEN

JUL

01 JUL

02 JUL

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MUSIC DIREC TOR ,

Fiddle On Fire: American Rhythms & Roots.....................65

DALL AS SYMPHONY ORCHESTRA

Ellis Hall: Ray Charles, Motown & Beyond................ 69 Hadelich Plays Bruch..................................... 73 Patriotic Concert with the DSO................................ 76 Shostakovich 7, Mozart & McDermott............................... 79

©ZACHMAHONE.COM(2)

FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA van Zweden are regularly hailed by The Dallas Morning News as “exhilarating,” “revelatory,” and “as electrifying as you’ll hear anywhere.” In March 2013, van Zweden conducted a heralded two-week European tour with the Dallas Symphony. Van Zweden was named Musical America Conductor of the Year 2012 in recognition of his work as Music Director of the Dallas Symphony and as a guest conductor with the most prestigious U.S. orchestras. On January 27, 2016, the New York Philharmonic announced that Jaap van Zweden will be their new Music Director starting with the 2018-19 season, and will act as Music Director Designate during 2017-18. For the DSO Live record label, Maestro van Zweden has released the symphonies of Tchaikovsky (Nos. 4 and 5), Beethoven (Nos. 5 and 7), Mahler (Nos. 3 and 6) and Dvorak (Symphony No. 9) and the world-premiere recording of Steven Stucky’s concert drama August 4, 1964, for which Stucky was nominated for a GRAMMY® Award.

Bravo! Vail gratefully acknowledges the support of the following patrons: PLATINUM ( $30,000+ )

ALLEGRO ( $10,000+ )

Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Arlene and John Dayton Sallie and Robert Fawcett Sammye and Michael Myers Vicki Rippeto

IMPRESARIO ( $25,000+ ) Lyda Hill

SOLOIST ( $7,000+ )

VIRTUOSO ( $20,000+ ) ANB Bank and the Sturm Family

Carol and Ronnie Goldman Alexia and Jerry Jurschak Bobbi and Richard Massman

OVATION ( $15,000+ )

BENEFACTOR ( $5,000+ )

Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

Peggy and Gary Edwards Cindy Engles Amy Faulconer Rebecca and Ron Gafford Carol and Jeffrey Heller Brenda and Joe McHugh Mr. and Mrs. Al Meitz Allison and Russell Molina Jane and Howard Parker Mr. and Mrs. Rod Sanders Debbie and Ric Scripps Dr. and Mrs. Bill Weaver

Learn more at BravoVail.org 37

THE PHILADELPHIA ORCHESTRA

THE FABULOUS PHILADELPHIANS IN RESIDENCE JULY 8–16, 2016

HE PHILADELPHIA ORCHESTRA IS ONE of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of innovation in music-making. The Orchestra is inspiring the future and transforming its rich tradition of achievement, sustaining the highest level of artistic quality, but also challenging—and exceeding—that level by creating powerful musical experiences for audiences at home and around the world. Yannick Nézet-Séguin is now in his fourth season as Music Director of The Philadelphia Orchestra. He joins a remarkable list that covers the Orchestra’s 116 seasons: Music Directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, chief conductor from 2008 to 2012. Yannick’s highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike.

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The New York Times has called Nézet-Séguin “phenomenal,” adding that “the ensemble … has never sounded better.” The Philadelphia Orchestra continues its decadeslong tradition of presenting collaborative learning and community engagement opportunities for listeners across the Delaware Valley. Today the Orchestra introduces orchestral music to a new generation of listeners through programs for children and adults. Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the U.S. The ensemble has a long history of touring and was the first American orchestra to perform in the People’s Republic of China, in 1973. In 2012 the Orchestra reconnected with its historical roots in China by launching a new partnership with the National Centre for the Performing Arts in Beijing, a pilot residency that united the Orchestra with young Chinese musicians and composers, bringing orchestral music to China’s major cities and provinces. The Orchestra returned to China in 2013, 2014, and again in 2016.

SCHEDULE AT-A-GLANCE JUL

08 JUL

09 JUL

10 JUL

14 JUL

15 JUL

Bramwell Conducts: All Beethoven...............................85 Cirque de la Symphonie............................... 89 Tchaikovsky’s Swan Lake........................................93 Northern Lights: Grieg, Sibelius, Shostakovich... 103 Mozart’s Jupiter & Batiashvili.................................107 Mahler’s “Resurrection” Symphony......................................111

YA N N I C K N É Z E T- S É G U I N MUSIC DIREC TOR ,

©ZACHMAHONE.COM

THE PHIL ADELPHIA ORCHESTRA

Yannick and the Orchestra welcomed the world to Philadelphia in September 2015, when Pope Francis made a historic journey to the city for the World Meeting of Families. Nézet-Séguin and the Orchestra performed for the pope at the Festival of Families and provided the liturgical music for the Papal Mass. The Philadelphia Orchestra has long pushed the boundaries of convention in the classical music realm. Signature to this reputation are world or American premieres of such important works as Mahler’s “Symphony of a Thousand,” Stravinsky’s The Rite of Spring, and Rachmaninoff’s Symphonic Dances. The Orchestra returned to recording under Yannick’s leadership with two CDs on the prestigious Deutsche Grammophon label, which continue the Orchestra’s remarkable history in this area, having made its first recording in 1917. The Orchestra also makes live recordings available on popular digital music services. In 2012 the ensemble returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

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

SOLOIST ( $7,000+ )

( $50,000+ )

Sue and Dan Godec Linda and Kalmon Post Susan and Steven Suggs

ANB Bank and the Sturm Family Peggy Fossett Donna and Patrick Martin Town of Vail

IMPRESARIO ( $25,000+ ) Karen and Michael Herman

OVATION ( $15,000+ ) Teressa and Anthony Perry Susan and Rich Rogel

BENEFACTOR ( $5,000+ ) Sue and Michael Callahan Laura and James Marx Allison and Russell Molina Mr. and Mrs. Ernest Scheller, Jr. Cynthia and Scott Schumacker Dhuanne and Douglas Tansill Sharon and Marc Watson

ALLEGRO ( $10,000+ ) Anonymous Christine and John Bakalar Arlene and John Dayton Anne and Hank Gutman Carole and Peter Segal Cathy and Howard Stone

Learn more at BravoVail.org 39

NEW YORK PHILHARMONIC

PRECISION, POWER, SOUL IN RESIDENCE JULY 22–29, 2016

HE NEW YORK PHILHARMONIC PLAYS A leading cultural role in New York City, the United States, and the world. This season’s projects connect the Philharmonic with up to 50 million music lovers through live concerts in New York City and on its worldwide tours and residencies; digital recording series; international broadcasts on television, radio, and online; and through its wide range of education programs and the New York Philharmonic Leon Levy Digital Archives. The Philharmonic has commissioned and/or premiered works by leading composers from every era since its founding — Dvořák’s Symphony No. 9, From the New World; Gershwin’s Concerto in F; and Berio’s Sinfonia, in addition to U.S. Premieres including Beethoven’s Symphonies Nos. 8 and 9 and Brahms’s Symphony No. 4. Recent highlights include John Adams’s Pulitzer Prize–winning On the Transmigration of Souls and Scheherazade.2 — Dramatic symphony for violin and orchestra; Esa-Pekka Salonen’s Piano

40 Learn more at BravoVail.org

Concerto; Christopher Rouse’s Symphony No. 4; Wynton Marsalis’s Swing Symphony (Symphony No. 3); Magnus Lindberg’s Piano Concerto No. 2; and the World Premieres of 21 works in CONTACT!, the newmusic series. A resource for its community and the world, the New York Philharmonic complements annual free concerts across the city — including the Concerts in the Parks, Presented by Didi and Oscar Schafer — with Philharmonic Free Fridays and a wide range of education programs, among them the famed Young People’s Concerts and Philharmonic Schools, an immersive classroom program that reaches thousands of New York City students. Committed to developing tomorrow’s leading orchestral musicians, the Philharmonic has established the New York Philharmonic Global Academy, collaborations with partners worldwide offering training of preprofessional musicians, often alongside performance residencies. These include the Shanghai Orchestra

SCHEDULE AT-A-GLANCE JUL

22 JUL

23 JUL

24 JUL

27 JUL

28 JUL

Sounds of Spain............................................ 121 Chaplin’s City Lights...................................... 125 Bronfman Plays Lizst......................................129 Strauss’s Ein Heldenleben.................... 135 Josefowicz & Beethoven’s “Eroica”........ 141 The Voice of Wagner......................................145 ALAN GILBERT MUSIC DIREC TOR , NE W YO RK PHILH A RMO NIC

©ZACHMAHONE.COM

FRIENDS OF THE NEW YORK PHILHARMONIC Academy and Residency Partnership and collaborations with Santa Barbara’s Music Academy of the West and The Shepherd School of Music at Rice University. The Philharmonic has appeared in 432 cities in 63 countries on five continents — including the groundbreaking 1930 tour of Europe; the unprecedented 1959 tour to the USSR; the historic 2008 visit to Pyongyang, D.P.R.K., the first there by an American orchestra; and the Orchestra’s debut in Hanoi, Vietnam, in 2009. An International Associate of London’s Barbican Centre, the Orchestra appears there in biennial residencies. Founded in 1842, the New York Philharmonic is the oldest symphony orchestra in the United States, and one of the oldest in the world. Since 1917 the Philharmonic has made almost 2,000 recordings, including several Grammy Award winners, and its self-produced digital recording series continues. Music Director Alan Gilbert began his tenure in 2009, succeeding a line of 20th-century musical giants that includes Bernstein, Toscanini, and Mahler.

Bravo! Vail gratefully acknowledges the support of the following patrons: PLATINUM ( $30,000+ ) ANB Bank and the Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Honey Kurtz Katherine Lawrence Vicki and Kent Logan Leni and Peter May Billie and Ross McKnight Amy and James Regan Helen and Vincent Sheehy Town of Vail Carol and Patrick Welsh

GOLD ( $20,000+ ) Jayne and Paul Becker Amy and Steve Coyer Stephanie and Lawrence Flinn Georgia and Don Gogel Tere and Claudio Gonzalez Judy and Alan Kosloff Donna and Patrick Martin Barbie and Tony Mayer

Ann and Alan Mintz Kay and William Morton June and Paul Rossetti Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

SILVER ( $15,000+ ) Judy and Howard Berkowitz Jeri and Charles Campisi Martha Head Karen and Walter Loewenstern John McDonald and Rob Wright Gene and Carolyn Mercy Allison and Russell Molina Sarah Nash and Michael Sylvester Margaret and Alex Palmer Terie and Gary Roubos Slifer Smith & Frampton Foundation Lisa Tannebaum and Don Brownstein

Learn more at BravoVail.org 41

CHAMBER MUSIC SERIES

UP CLOSE & MUSICAL EXPERIENCE CHAMBER LIKE NEVER BEFORE

RAVO! VAILâ&#x20AC;&#x2122;S CHAMBER MUSIC SERIES offers something for music lovers of all persuasions. Every Tuesday night in July, audiences enjoy well-loved masterworks and new discoveries of the chamber music repertoire, performed by members of the resident orchestras alongside world-renowned guest artists and ensembles, all in the spectacular setting of the Donovan Pavilion, a stunning venue with expansive mountain valley views. Experience chamber music as it was meant to be heard: in a beautiful, intimate environment, with acclaimed artists, among friends.

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AUGUSTIN HADELICH, VIOLIN (page 78)

SCHEDULE AT-A-GLANCE JUL

05 JUL

12 JUL

Philadelphia Plays Mozart & Brahms.................... 98

Beethoven’s Grosse Fuge................................ 116

JUL

Bruckner 7.....................................134

TOP: ©ZACHMAHONE.COM; FROM LEFT: ©PAUL GLICKMAN; ©LISA-MARIE MAZZUCCO

Hadelich, McDermott & The DSO....................................... 78

FRIENDS OF CHAMBER MUSIC Bravo! Vail gratefully acknowledges the support of the following patrons: Fork Art Catering The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair Town of Vail

DOVER QUARTET (page 116)

ANNE-MARIE MCDERMOTT, PIANO (page 116) Learn more at BravoVail.org 43

CLASSICALLY UNCORKED SERIES PRESENTED BY GRGICH HILLS ESTATE

A TASTE OF NEW MUSIC AN UNFORGETTABLE MUSIC EXPERIENCE

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©ZACHMAHONE.COM

HIS SEASON, BRAVO! VAIL pulls out all the stops with Classically Uncorked, showcasing the remarkable depth and scope of new music written by living composers from around the world in innovative and entertaining programs. The setting is the stunning Donovan Pavilion, with its arched beam ceilings and towering windows framing spectacular mountain valley views. Seating is cabaret style, with the performers in close proximity to the audience. Add gourmet hors d’oeuvres and handcrafted wines from Grgich Hills Estate and you’ve got all the ingredients for an unforgettable chamber music experience.

SCHEDULE AT-A-GLANCE AUG

02 AUG

03 AUG

New Music from Puerto Rico & Brazil......... 150 American Soundscapes.............................. 151 Tango & A World Premiere................. 152

SERIES PRESENTED BY

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF: Amy and Charlie Allen Big Delicious Catering FOODsmith Vail The Francis Family The Sidney E. Frank Foundation Grgich Hills Estate The Judy and Alan Kosloff Artistic Director Chair The Paiko Trust, in honor of the Firefighters of the Vail Valley Second Nature Gourmet Town of Vail

Learn more at BravoVail.org 45

EDUCATION & ENGAGEMENT

ENHANCE YOUR EXPERIENCE MUSIC FOR ALL, ALL SUMMER LONG

Take a pause from your day to experience free hour-long chamber music concerts performed by incredible musicians. These concerts include a musical sampling for everyone, and are performed in venues throughout the Vail Valley.

June 28 July 5 July 6 July 7 July 12 July 13 July 14 July 19 July 21 July 21 July 26 July 28 July 28 July 29 July 30

7:30PM, Beaver Creek Interfaith Chapel................................................................... 60 1:00PM, Vail Interfaith Chapel............................. 77 7:30PM, Edwards Interfaith Chapel............. 82 1:00PM, Vail Interfaith Chapel.............................83 1:00PM, Vail Interfaith Chapel............................. 97 7:30PM, Gypsum Town Hall................................100 1:00PM, Vail Interfaith Chapel......................... 101 1:00PM, Vail Interfaith Chapel.......................... 115 1:00PM, Vail Interfaith Chapel..........................118 7:30PM, Brush Creek Pavilion, Eagle.......119 1:00PM, Vail Interfaith Chapel......................... 133 11:00AM, Golden Eagle Senior Center, Eagle........................................................................... 138 1:00PM, Vail Interfaith Chapel......................... 139 1:00PM, Gallery Row, Beaver Creek......... 144 7:30PM, Beaver Creek Interfaith Chapel................................................................ 149

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INUKSUIT August 6 | 2:00PM, Maloit Park, Minturn..........155 Wander, pause, listen, or daydream. Be transported. A performance like no other Bravo! Vail has ever done. Scored for 9 – 99 percussionists across a vast outdoor space, Inuksuit, composed by Grammy Award-winner John Luther Adams, was described by the New York Times as “the ultimate environmental piece.” Presented in Maloit Park with 66 percussionists, Inuksuit provides a unique and individualized listening experience. As the soundscape builds you walk through the piece visiting small collections of players or lone instrumentalists who, as they move to various performing stations, weave apparent randomness into a stunning cohesion. INUKSUIT IS A CO-PRODUCTION BETWEEN BRAVO! VAIL AND THE ASPEN MUSIC FESTIVAL AND SCHOOL.

BOTTOM: ©EMORY HENSLEY; OPPOSITE TOP: ©JOHNRYAN LOCKMAN

CONCERT SERIES

FAMILY CONCERT

PRE-CONCERT TALKS

July 13 | 11:00AM, Gerald R. Ford Amphitheater....... 99 Instrument Petting Zoo opens at 10:00AM

June 25, July 6, July 16, July 24, July 29 | 5:00PM Gerald R. Ford Amphitheater Lobby

Bravo! Vail’s annual Family Concert is an exciting and informal introduction to symphonic music where even the youngest members of the family can be exposed to the sounds of a live symphony orchestra. This year, the world-famous production Beethoven Lives Upstairs comes to Vail.

Learn from the experts! A series of discussions led by some of Colorado’s most prominent musicologists. Gain insight into the composers’ lives and the repertory on the evening’s concert program.

BRAVO! VAIL AFTER DARK LITTLE LISTENERS @ THE LIBRARY Resident musicians present free and fun performances designed for children and families at local libraries. Each library performance will include either a participatory musical activity or a small instrument petting zoo, allowing kids to hold, explore, and play musical instruments.

June 30 July 6 July 11 July 12 July 25 July 26 July 27 August 1

Eagle Public Library Gypsum Public Library Avon Public Library Vail Public Library Avon Public Library Vail Public Library Gypsum Public Library Eagle Public Library

Reimagine your definition of classical music. Bravo! Vail After Dark offers audiences a chance to interact with classical music in a relaxed setting at local bars and breweries. The series features progressive artists comfortably moving between favorite classics and more adventurous repertoire.

July 1 July 8 July 29 August 5

8:30PM, Vail Ale House........................................... 68 8:30PM, Bonfire Brewing Taproom, Eagle................................................................. 88 8:00PM, Crazy Mountain Brewery, Edwards....................................................... 148 8:30PM, Vail Ale House........................................ 153

All Little Listeners events are at 2:00PM Learn more at BravoVail.org 47

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ACADEMY OF ST MARTIN IN THE FIELDS JUN

23 BRAVO! BEGINS:

BELL PLAYS MOZART

THURSDAY JUNE 23, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: LINDA AND MITCH HART

SPECIAL GRATITUDE TO: The Academy of St Martin in the Fields Circle The Judy and Alan Kosloff Artistic Director Chair The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Gina Browning and Joe Illick Susan and Van Campbell Martha Rehm and Cherryl Hobart Susan and Rich Rogel

SOLOIST UNDERWRITERS:

©LISA-MARIE MAZZUCCO

Joshua Bell, violin - Norma Lee and Morton Funger, and Susan and Steven Suggs

JUN

THURSDAY JUNE 23, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

ACADEMY OF ST MARTIN IN THE FIELDS Joshua Bell, leader and violin

MOZART Symphony No. 25 in G minor, K. 183 (23 minutes) Allegro con brio Andante Menuetto Allegro

MOZART Violin Concerto No. 4 in D major, K. 218 (29 minutes) Allegro Andante cantabile Rondeau: Andante grazioso

— INTERMISSION — MENDELSSOHN Symphony No. 4 in A major, Op. 90, “Italian” (27 minutes) Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

BRAVO! BEGINS: BELL PLAYS MOZART Symphony No. 25 in G minor, K. 183 (1773) WOLFGANG AMADEUS MOZART (1756-1791)

ienna was home to many of the most outstanding musicians of the late 18th century. Hasse, Gluck, Gassmann, Wagenseil, Salieri, Haydn, Dittersdorf, Vanhal and many others made Vienna the greatest music city of the day. Several of those composers, most notably Joseph Haydn, were experimenting in the 1770s with a style that brought a new, passionately romantic sensibility to their music — the so-called Sturm und Drang (“Storm and Stress”) — that was characterized by minor keys, expressive harmonies and rhythmic agitation. During his visit to Vienna in the summer of 1773, the seventeenyear-old Mozart heard Haydn’s Symphony No. 39 in G minor, and it stirred his interest in exploring the expressive possibilities of this revolutionary musical language. On his return to Salzburg in September, Mozart wrote his own Sturm und Drang symphony — No. 25, K. 183 — casting it in the dramatic key of G minor. He was to write only one other minor-key symphony: the sublime No. 40 of 1788, also in G minor. The Symphony opens with a pulsing motive, more rhythmic than melodic, as the first movement’s main theme; the second subject is a step-wise motive presented by the violins in a brighter key. A compact development section leads to a recapitulation of the earlier themes, with the second theme heard in the dark coloring of the principal tonality. A short coda returns the opening pulsing motive to close the movement. The Andante is a marvelous synthesis of Italian charm and Germanic emotion. The Minuet, with its bare octaves, returns the Symphony to the stark mood of the opening movement; the contrasting central trio for wind choir without strings provides the only emotionally untroubled portion of the work. The finale, another sonata structure, maintains the mood of restless agitation to the end.

Violin Concerto No. 4 in D major, K. 218 (1775) WOLFGANG AMADEUS MOZART

Mozart’s five authentic violin concertos were all products of a single year, 1775. At nineteen, he was already a veteran of five years experience as concertmaster in the Salzburg archiepiscopal music establishment, for which his duties included not only playing, but also composing, acting as co-conductor with the 50 Learn more at BravoVail.org

keyboard performer (modern conducting did not originate for at least two more decades), and soloing in concertos. It was for this last function that he wrote these concertos. He was, of course, a quick study at all he did, and each of these concertos builds on the knowledge gained from its predecessors. It was with the last three (K. 216, K. 218, K. 219) that something more than simple experience emerged, however, because it is with these compositions that Mozart indisputably entered the age of his mature works. These are his earliest pieces now regularly heard in the concert hall. The opening movement begins with a mock-military fanfare, answered immediately by a graceful balancing phrase. The orchestral introduction continues with a sweetly lyrical contrasting theme before the soloist enters to embroider the melodic material. The central section of the movement is less a true development of earlier motives than a free fantasia of pearly scales and flashing arpeggios. The recapitulation begins without fuss as the soloist tosses off an altered version of the main theme. The Andante is sonatina in form (sonata-allegro without development section) and moonlight-tender in mood. The finale is dance-like and outgoing, an ingenious international blend of open-faced Italian melody, French elegance and German structural sophistication in its blend of rondo and sonata forms.

Symphony No. 4 in A major, Op. 90, “Italian” (1831-1837) FELIX MENDELSSOHN (1809-1847)

When he was 21, Mendelssohn embarked on an extensive grand tour of the Continent. He met Chopin and Liszt in Paris, painted the breathtaking vistas of Switzerland, and marveled at the artistic riches (and grumbled about the inhospitable treatment by the coachmen and innkeepers) of Italy. “The land where the lemon CONTINUED ON PAGE 194

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE GRAND BENEFACTOR

VIRTUOSO ( $20,000+ )

( $100,000+ )

The Sidney E. Frank Foundation

The Paiko Trust, in honor of the Firefighters of the Vail Valley

BENEFACTOR ( $5,000+ )

PREMIER BENEFACTOR ( $50,000+ )

The Francis Family John McDonald and Rob Wright Carole A. Watters

©IAN DOUGLAS

Town of Vail

Funded in part by a generous grant from the Town of Vail and the Vail Valley Foundation. The Sonnenalp Resort of Vail is the official home of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

INSIDE STORY

BEST OF BOTH (ORCHESTRAL) WORLDS A chamber orchestra is different from a full symphony orchestra in a few fundamental ways. The modern symphony orchestra evolved during the late 1800s, when composers like Berlioz, Mahler and Strauss were taking advantage of the wide variety of instruments that were available, and creating massive sounds and textures. Modern instruments (like winds, brass and percussion) were more resonant, so more strings were needed to balance the sound, and a conductor was needed to lead an ensemble that could have upwards of 100 players in it. Chamber orchestras, on the other hand, typically have around 50 musicians, with one serving as “leader” instead of a conductor, and perform repertoire more suited to the smaller size, like from the Baroque and Classical eras. Bravo! Vail Artistic Director Anne-Marie McDermott explains, “The repertoire is illuminated in a whole different way with a chamber orchestra because it is more intimate.” This summer, Bravo! Vail audiences get to experience the best of both worlds! 51

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ACADEMY OF ST MARTIN IN THE FIELDS JUN

DENK & BEETHOVEN 8

SATURDAY JUNE 25, 6:00PM ORCHESTRA SERIES

SPECIAL GRATITUDE TO: The Academy of St Martin in the Fields Circle The Francis Family The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Marilyn Augur Virginia J. Browning Sally and Byron Rose Carole and Peter Segal US Bank

SOLOIST UNDERWRITERS: Joshua Bell, violin - Debbie and Fred Tresca

JUN

SATURDAY JUNE 25, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

ACADEMY OF ST MARTIN IN THE FIELDS Joshua Bell, leader and violin Jeremy Denk, piano

PROKOFIEV Symphony No. 1 in D major, Op. 25, “Classical” (15 minutes) Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace

MENDELSSOHN Concerto for Violin, Piano and String Orchestra in D minor (38 minutes) Allegro Adagio Allegro molto

— INTERMISSION — SAINT-SAËNS Introduction and Rondo Capriccioso for Violin and Orchestra, Op. 28 (9 minutes)

BEETHOVEN Symphony No. 8 in F major, Op. 93 (26 minutes) Allegro vivace e con brio Allegretto scherzando Tempo di minuetto Allegro vivace

FREE PRE-CONCERT TALK, 5:00PM Gerald R. Ford Amphitheater Lobby Janice Dickensheets - University of Northern Colorado

DENK & BEETHOVEN 8 Symphony No. 1 in D major, Op. 25, “Classical” (1916-1917) SERGEI PROKOFIEV (1891-1953)

rokofiev’s penchant for using Classical musical idioms was instilled in him during the course of his thorough, excellent training: when he was a little tot, his mother played Beethoven sonatas to him while he sat under the piano; he studied with the greatest Russian musicians of the time — Glière, Rimsky-Korsakov, Liadov, Glazunov, Tcherepnin; he began composing at the Mozartian age of six. In 1917, Prokofiev based his own “Classical” Symphony, his first work in the form, on the Viennese models that had formed the core of his musical education. The work is in the four movements customary in Haydn’s symphonies, though at only fifteen minutes it hardly runs to half their typical length. The dapper first movement is a miniature sonata design that follows the traditional form but adds some quirks that would have given old Haydn himself a chuckle — the recapitulation, for example, begins in the “wrong” key (but soon rights itself), and occasionally a beat is left out, as though the music had stubbed its toe. A graceful, ethereal melody floating high in the violins is used to open and close the Larghetto, with the pizzicato gentle middle section reaching a brilliant tutti before quickly subsiding. The third movement, a Gavotte, comes not from the Viennese symphony but from the tradition of French Baroque ballet. The brilliant finale calls for remarkable feats of agility and precise ensemble.

Concerto for Violin, Piano and String Orchestra in D minor (1823) FELIX MENDELSSOHN (1809-1847)

Felix Mendelssohn was born into Berlin’s world of privilege and culture, and he received the finest training from the moment he showed exceptional musical gifts at age seven. His ambitious D minor Concerto for Violin and Piano of 1823, whose duration rivals that of Beethoven’s “Emperor” Concerto, joins his thorough training in Bachian counterpoint and Classical form with his feeling 54 Learn more at BravoVail.org

for the fashionable mannerisms of 19th-century virtuoso string and keyboard performance. The fourteen-year-old composer showed off his precocious skill at polyphony with the main theme, which consists of a rudimentary motive comprising a step and a falling fifth intoned above a chugging contrapuntal accompaniment. An arching lyrical melody in a brighter tonality provides contrast before the main theme and its melodramatic mood return to round out the introduction. The piano and violin announce their entry with rocket arpeggios. The violin reiterates the second theme from the introduction above the piano’s background while the orchestra remains largely silent, establishing the primacy that the soloists enjoy throughout the Concerto. The expansive development section is interrupted twice by recitative-like cadenza passages, the second of which serves as the bridge to the recapitulation. The Adagio is a set of free variations on a tender theme. The sonataform finale, all bustle and brilliance, resumes the contrapuntal interplay and restless mood of the opening movement.

INSIDE STORY

Introduction and Rondo Capriccioso for Violin and Orchestra, Op. 28 (1863) C A M I L L E S A I N T-S A Ë N S (1 8 3 5 -192 1 )

Camille Saint-Saëns, himself a brilliant pianist, wrote ten concertos — five for his own instrument, three for violin and two for cello. In addition, there are numerous smaller concert pieces scattered throughout his large body of work, including the Havanaise and the popular Introduction and Rondo Capriccioso for violin. The latter was composed in 1863 for the great Spanish virtuoso Pablo de Sarasate, for whom Saint-Saëns also wrote the Third Violin Concerto in 1880. The Introduction and Rondo CONTINUED ON PAGE 194

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE GRAND BENEFACTOR

VIRTUOSO ( $20,000+ )

( $100,000+ )

The Sidney E. Frank Foundation

The Paiko Trust, in honor of the Firefighters of the Vail Valley

BENEFACTOR ( $5,000+ )

PREMIER BENEFACTOR ( $50,000+ )

The Francis Family John McDonald and Rob Wright Carole A. Watters

Town of Vail

Funded in part by generous grants from The Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Sonnenalp Resort of Vail is the official home of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

FOR THE LOVE OF CHESS (AND MUSIC) In addition to being a famous composer and pianist, Sergei Prokofiev was also a world-class chess player. He learned to play at age seven, and chess became, like music, a lifelong passion. Prokofiev followed the greatest chess players of the day, including José Raúl Capablanca, the world chess champion from 1921 to 1927, whom Prokofiev actually beat in an exhibition match in 1914 when the composer was only 23. He also played spirited games against some of his musical colleagues, particularly Maurice Ravel and violinist David Oistrakh. In 1937, Prokofiev and Oistrakh played a match that was publicized and featured in Soviet chess magazines of the time. According to Oisrakh, Prokofiev “was an avid player; he could spend hours on end thinking over his moves.” Other famous chess aficionados from the music world? Dizzy Gillespie, Leonard Bernstein, Ray Charles, David Bowie… and Joshua Bell. 55

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ACADEMY OF ST MARTIN IN THE FIELDS JUN

FOUR SEASONS:

VIVALDI & PIAZZOLLA

SUNDAY JUNE 26, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: THE SIDNEY E. FRANK FOUNDATION

SPECIAL GRATITUDE TO: The Academy of St Martin in the Fields Circle The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Penny Bank and Family, Herbert Bank and Family Doe Browning Ann and David Hicks

SOLOIST UNDERWRITERS: Joshua Bell, violin - Mrs. Jean GrahamSmith and Mr. Philip Smith

JUN

SUNDAY JUNE 26, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

ACADEMY OF ST MARTIN IN THE FIELDS Joshua Bell, leader and violin

ATTRIBUTED VITALI Chaconne in G minor for Violin and Orchestra (11 minutes)

VIVALDI The Four Seasons for Violin and Orchestra, Op. 8, Nos. 1-4 (40 minutes) SPRING (R. 269): Allegro — Largo e pianissimo sempre — Danza Pastorale (Allegro) SUMMER (R. 315): Allegro non molto — Adagio — Presto AUTUMN (R. 293): Allegro — Adagio — Allegro WINTER (R. 297): Allegro non molto — Largo — Allegro

— INTERMISSION — PIAZZOLLA The Four Seasons of Buenos Aires (30 minutes) Spring Summer Autumn Winter

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FOUR SEASONS: VIVALDI & PIAZZOLLA Chaconne in G minor for Violin and Orchestra (ca. 1720) AT TRIBUTED TO TOMASO ANTONIO VITALI (1663-1745)

omaso Vitali’s father, Giovanni Battista, was an important figure in the development of Italian instrumental music and a leading musician in Bologna, where Tomaso was born on March 7, 1663. Tomaso learned composition and violin from his father, and went with him to Modena when Giovanni joined the court musical establishment of the Estes family in that city in 1674. Tomaso’s talent blossomed quickly in Modena: he was playing violin in the court orchestra by 1675, and was later appointed its concertmaster; he remained in the employment of the Estes until 1742, just three years before his death in Modena. In 1706, Vitali was honored with membership in the distinguished Accademia Filarmonica of his native Bologna. His creative output consists principally of four volumes of trio sonatas in the style of Corelli issued in Modena between 1693 and 1701, but his posthumous fame rests almost entirely on the well-known Chaconne in G minor, though his authorship of that work has been questioned. The Chaconne was unpublished and virtually unknown until Ferdinand David, the concertmaster of the Leipzig Gewandhaus Orchestra and dedicatee of Mendelssohn’s Violin Concerto, published it in the second volume of his Hoch Schule des Violinspiel (“Advanced School of Violin Playing”) in 1867. David had discovered the piece in a manuscript in the Saxon State Library in Dresden, which also provided several other compositions for his tutor. Later research has shown that the Dresden manuscript, in which the Chaconne was titled “Parte del Tomaso Vitalino,” had been prepared sometime between 1710 and 1730 by Jacob Lindner, the music copyist at the Dresden court. “Parte,” a contemporary term signifying variations over a short, unchanging bass motive, describes the form of the piece and “Vitalino” — “little Vitali” — suggests that the author was Giovanni Battista Vitali’s son, Tomaso. (No composer of that time named “Vitalino” has been discovered.) Doubts arose, however, because of the Chaconne’s wide-ranging harmonic peregrinations, a characteristic of neither Baroque music in general nor Tomaso Vitali’s work in particular. Such an advanced practice was initially attributed to David and his 19th-century sensibility, but it is original in the Dresden manuscript. In sum, the Chaconne in G minor is now generally attributed to Tomaso Vitali — at least until a more unequivocally identifiable composer comes to light.

The chaconne is an ancient variations form in which a short, repeated chord pattern is decorated with changing figurations and elaborations. The Chaconne in G minor offers the violinist one of the most imposing technical challenges in all of Baroque music — it is sometimes cited as a predecessor of the majestic Chaconne that closes Johann Sebastian Bach’s Partita No. 2 for Unaccompanied Violin.

INSIDE STORY

The Four Seasons, Op. 8, Nos. 1-4 (ca. 1720) ANTONIO VIVALDI (1678-1741)

The Gazette d’Amsterdam of December 14, 1725 announced the issuance by the local publisher Michele Carlo Le Cène of a collection of twelve concertos for solo violin and orchestra by Antonio Vivaldi (1678-1741) — Il Cimento dell’Armonia e dell’Inventione, or “The Contest between Harmony and Invention,” Op. 8. The works were printed with a flowery dedication typical of the time to the Bohemian Count Wenzel von Morzin, a distant cousin of Haydn’s patron before he came into the employ of the Esterházy family in 1761. Vivaldi probably met Morzin when he worked in Mantua from 1718 to 1720 for the Habsburg governor of that city, Prince Philipp of Hessen-Darmstadt, and apparently provided the Bohemian Count with an occasional composition on demand. (A bassoon concerto, RV 496, is headed with Morzin’s name.) As the first four concertos of the Op. 8 Concertos, Vivaldi included musically appropriate evocations of the seasons of the year. CONTINUED ON PAGE 194

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE GRAND BENEFACTOR

VIRTUOSO ( $20,000+ )

( $100,000+ )

The Sidney E. Frank Foundation

The Paiko Trust, in honor of the Firefighters of the Vail Valley

BENEFACTOR ( $5,000+ )

PREMIER BENEFACTOR ( $50,000+ )

The Francis Family John McDonald and Rob Wright Carole A. Watters

Town of Vail

Funded in part by a generous grant from the Town of Vail. The Sonnenalp Resort of Vail is the official home of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

THE FOUR SEASONS AS MUSE The Four Seasons has some of the most famous themes in all of classical music, and artists have been inspired by it practically since the day it was published. Three centuries later, there are hundreds of arrangements, “covers” and remixes that Antonio Vivaldi probably never imagined in his wildest dreams. The Four Seasons has been arranged for Japanese koto ensemble, traditional Chinese instruments and Korean (gugak) orchestra. You can find choral versions with Inuit throat singers, the Swingle Singers, and the Irish band Celtic Woman, along with arrangements for pretty much any genre and combination of instruments you can imagine. A quick search of YouTube yields thrash metal guitarists “shredding” the Presto from “Summer,” and a mashup of “Winter” and “Let It Go” (from the Disney hit movie Frozen) with over 54 million views. There are hip-hop and electronic trance versions, even a MIDI arrangement that was included in Windows 3.0. And of course, The Four Seasons can be heard as the soundtrack for countless movies, commercials, and Olympic ice-skating routines. 59

JUN

TUESDAY JUNE 28, 7:30PM FREE CONCERT SERIES

BEAVER CREEK INTERFAITH CHAPEL

Anne-Marie McDermott, piano

SCHUBERT Sonata No. 21 in B-flat major, D. 960 Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo

AN EVENING WITH ANNE-MARIE MCDERMOTT

“A

ll three of the last three piano sonatas of FRANZ SCHUBERT (1797-1828) are works in which meditation, charm, wistfulness, sadness and joy are housed in noble structures,” wrote George R. Marek. They are some of the last music he wrote. At the end of August 1828, Schubert felt unwell, complaining of dizziness and loss of appetite, and his physician advised that he move for a time to a new house outside Vienna’s central city recently acquired by the composer’s brother Ferdinand. Though Ferdinand’s dwelling was damp and uncomfortable and hardly conducive to his recovery, Franz felt better during the following days. He continued to compose incessantly, completing the three piano sonatas on the 26th and performing them at the house of Dr. Ignaz Menz the following day. On October 31st, Schubert fell seriously ill, his syphilitic condition perhaps exacerbated by the typhus then epidemic in Vienna, and he died on November 19, 1828, at the age of 31. Musicologist Alfred Einstein wrote that the B-flat major Sonata was “the climax and apotheosis of Schubert’s instrumental lyricism.”

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: ANNE-MARIE MCDERMOTT

60 Learn more at BravoVail.org

Beaver Creek Resort Company The Christie Lodge Kathy and David Ferguson The Francis Family The Judy and Alan Kosloff Artistic Director Chair The Paiko Trust, in honor of the Firefighters of the Vail Valley Carole A. Watters

DALLAS SYMPHONY ORCHESTRA JUN

CARMINA BURANA

WEDNESDAY JUNE 29, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: THE BETSY WIEGERS CHORAL FUND IN HONOR OF JOHN W. GIOVANDO

SPECIAL GRATITUDE TO: The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY: Pamela and David Anderson Christine and John Bakalar Susan and Martin Solomon

SOLOIST UNDERWRITERS: Hans Graf, conductor - Bobbi and Richard Massman, and Sandra and Greg Walton Cyndia Sieden, soprano - Julie and Bill Esrey

JUN

WEDNESDAY JUNE 29, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

CARMINA BURANA

DALLAS SYMPHONY ORCHESTRA

Suite from Pulcinella (1919-1920)

Hans Graf, conductor Cyndia Sieden, soprano Nicholas Phan, tenor Noel Bouley, baritone Colorado Symphony Chorus Duain Wolfe, director Colorado Children’s Chorale Deborah DeSantis, director

STRAVINSKY Suite from Pulcinella (24 minutes) Sinfonia (Overture): Allegro moderato Serenata: Larghetto — Scherzino — Allegro — Andantino Tarantella — Toccata: Allegro Gavotta con due variazioni: Allegro moderato Vivo Minuetto: Molto moderato — Finale: Allegro assai

— INTERMISSION — ORFF Carmina Burana, Cantiones profanae for Orchestra, Large and Small Choruses, Children’s Chorus, Soprano, Tenor and Baritone Soloists (65 minutes) Fortuna Imperatrix Mundi (“Fortune, Empress of the World”) I. Primo Vere (“Springtime”) II. In Taberna (“In the Tavern”) III. Cour d’Amours (“Court of Love”) Fortuna Imperatrix Mundi

62 Learn more at BravoVail.org

IGOR STR AVINSK Y (1882-1971)

he plot of Stravinsky’s ballet Pulcinella was based on an 18th-century manuscript of commedia dell’arte plays discovered in Naples. The composer provided the following synopsis: “All the local girls are in love with Pulcinella; but the young men to whom they are betrothed are mad with jealousy and plot to kill him. The minute they think they have succeeded, they borrow costumes resembling Pulcinella’s to present themselves to their sweethearts in disguise. But Pulcinella — cunning fellow! — has already changed places with a double, who pretends to succumb to their blows. The real Pulcinella, disguised as a magician, now resuscitates his double. At the very moment when the young men, thinking they are rid of their rival, come to claim their sweethearts, Pulcinella appears and arranges all the marriages. He himself weds Pimpinella, receiving the blessing of his double, who in his turn has assumed the magician’s mantle.” Much of the ballet’s score consists of reworkings of pieces borrowed from the Neapolitan composer Giovanni Battista Pergolesi (1710-1736) and some of his contemporaries. The movements of the suite serve as a précis of the ballet’s music and story. The exuberant Sinfonia (Overture) is based on the opening movement of Pergolesi’s Trio Sonata No. 1 in G major. The movements that follow accompany the entrances of the Neapolitan girls who try to attract Pulcinella’s attention with their dances. (The Serenata derives from a pastorale in Act I of Pergolesi’s opera Flaminio; the Scherzino, Allegro and Andantino are all borrowed from trio sonatas by the Venetian violinist and composer Domenico Gallo.) The Tarantella (from the fourth movement of Fortunato Chelleri’s Concertino No. 6 in B-flat major) portrays the confusion when Pulcinella is apparently restored to life. The five movements that close the suite accompany the events from the point when the young men claim their sweethearts until the end of the ballet. The Toccata and Gavotte are based on anonymous harpsichord pieces; the Vivo on Pergolesi’s F major Cello Sonata; the Minuetto on a canzone from his comic opera Lo frate ’nnamorato; and the Finale on a trio sonata by Gallo.

Carmina Burana, Cantiones profanae (1935-1936) CARL ORFF (1895-1982)

About thirty miles south of Munich, in the foothills of the Bavarian Alps, is the abbey of Benediktbeuren. In 1803, a 13thcentury codex was discovered among its holdings that contains some 200 secular poems which give a vivid, earthy portrait of Medieval life. Many of these poems, attacking the defects of the Church, satirizing contemporary manners and morals, criticizing the omnipotence of money, and praising the sensual joys of food, drink and physical love, were written by an amorphous band known as “Goliards.” These wandering scholars and ecclesiastics, who were often esteemed teachers and recipients of courtly patronage, filled their worldly verses with images of self-indulgence that were probably as much literary convention as biographical fact. The language they used was a heady mixture of Latin, old German and old French. Some paleographic musical notation appended to a few of the poems indicates that they were sung, but it is today so obscure as to be indecipherable. This manuscript was published in 1847 by Johann Andreas Schmeller under the title Carmina Burana (“Songs of Beuren”), “carmina” being the plural of the Latin word for song, “carmen.” CONTINUED ON PAGE 195

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ( $30,000+ )

SOLOIST ( $7,000+ )

Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Alexia and Jerry Jurschak Bobbi and Richard Massman

IMPRESARIO ( $25,000+ )

BENEFACTOR ( $5,000+ )

Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and the Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

ALLEGRO ( $10,000+ ) Arlene and John Dayton Sallie and Robert Fawcett Sammye and Michael Myers Vicki Rippeto

Funded in part by a generous grant from the Vail Valley Foundation. The Antlers at Vail, Vail Marriott Mountain Resort and Spa, and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residency at Bravo! Vail.

INSIDE STORY

“O FORTUNA” ON THE SILVER SCREEN ”O Fortuna” is undoubtedly one of the most powerful openings to any piece of music in history, representing the terrible and inexorable turning of fate’s wheel. It has also been called “the most overused piece of music in film history.” If there’s a particularly dramatic or cataclysmic scene in a movie, it’s a good bet that it’s set to this piece, like the collective voice of a Greek chorus commenting on a critical moment in the action. “O Fortuna” was first introduced to mainstream audiences in the 1981 film Excalibur, and has been used for dramatic effect (and sometimes parody) in countless films since, including Speed (1984), The Doors (1991), Natural Born Killers (1994), Jackass: The Movie (2002), and even G-Force (2009), which stars four highly trained FBI guinea pigs. Now a pop culture staple, the song has even achieved YouTube fame with an animated “O Fortuna Misheard Lyrics” video, which has almost 7 million views. 63

JUN

THURSDAY JUNE 30, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

MCKNIGHT RESIDENCE, BEAVER CREEK

Ellis Hall, vocals and keyboard Program to be announced from the stage

CATERED BY FOODS OF VAIL, EXECUTIVE CHEF, TRACEY VAN CURAN

THE LINDA AND MITCH HART SOIRÉE SERIES

ELLIS HALL: THE AMBASSADOR OF SOUL

e was a protégé of Ray Charles and Stevie Wonder. He has performed with musical royalty like James Taylor, Natalie Cole, and John Mayer. He has performed for luminaries around the world including Oprah Winfrey, Jacqueline Kennedy Onassis, and Nelson Mandela. And now, an exclusive audience with The Ambassador of Soul awaits the fortunate attendees of Bravo! Vail’s first Soirée Series performance of the season. As George Benson declared: “If you don’t know my friend Ellis Hall, you’re behind the times. Get with the hip generation and find out who he is. Now you are among the hippest there is.” You won’t want to miss this unique opportunity to be among the hippest, up close and personal with a living legend of soul-searing Rhythm & Blues.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: ELLIS HALL

THIS EVENING’S HOSTS Billie and Ross McKnight

SPECIAL GRATITUDE TO

SPONSORED BY Crazy Mountain Brewing Company Foods of Vail Pettit Photography Vintage Magnolia West Vail Liquor Mart

64 Learn more at BravoVail.org

©LOU RAIMONDI

The Francis Family Linda and Mitch Hart The Judy and Alan Kosloff Artistic Director Chair

DALLAS SYMPHONY ORCHESTRA JUL

FIDDLE ON FIRE:

AMERICAN RHYTHMS & ROOTS

FRIDAY JULY 1, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: PAT AND PETE FRECHETTE

SPECIAL GRATITUDE TO: The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Debbie and Jim Donahugh Allison and Russell Molina

SOLOIST UNDERWRITERS: Eileen Ivers, fiddle - Sue and Dan Godec Jeff Tyzik, conductor - Sandra and Greg Walton

JUL

FRIDAY JULY 1, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Eileen Ivers, fiddle, banjo, bodhran Buddy Connolly, accordion, whistles Matt Mancuso, guitar, vocals Lindsey Horner, electric bass, upright bass Dave Barckow, percussion

FIDDLE ON FIRE: AMERICAN RHYTHMS AND ROOTS Program to be announced from the stage

JOIN US FOR BRAVO! VAIL AFTER DARK, 8:30PM ELLIS HALL VAIL ALE HOUSE (details on page 68)

66 Learn more at BravoVail.org

FIDDLE ON FIRE: AMERICAN RHYTHMS AND ROOTS

ileen Ivers was born in Bronx, New York but has an Irish soul. The daughter of Irish immigrants, Ivers had fully embraced the musical heritage of her parents’ homeland by the time she took up the fiddle at age nine. In addition to imbibing that music at the source during the family’s summer visits home, she studied with Martin Mulvihill, the traditional Irish fiddler and composer who settled in New York in 1965 and exerted such a strong influence on this country’s culture that two decades later he was awarded the National Heritage Fellowship by the National Endowment for the Arts, a lifetime honor presented to master folk and traditional artists. While earning a degree in mathematics, magna cum laude, at Iona College in New Rochelle, New York and then pursuing graduate study, Ivers established herself among the leading traditional musicians of her generation by winning nine All-Ireland Fiddle Championships, a tenth on tenor banjo, and more than thirty other competitions, making her one of the most awarded persons ever to compete in those prestigious events. As a teenager, she toured with Mick Moloney’s “Green Fields of America,” a showcase for some of the country’s finest traditional musicians and dancers, and in 1985 became a founding member of the still-flourishing all-female band “Cherish the Ladies.” A decade later Ivers gained international acclaim as the lead fiddler of the hit Irish dance and music show “Riverdance,” which has played in over 450 venues worldwide and been seen by more than 25 million people. In 1999, Ivers established her own touring production — Eileen Ivers & Immigrant Soul — which has appeared with numerous symphony orchestras and at major festivals worldwide and on national and international television. She also created “Beyond the Bog Road,” a multimedia concert of music, story, dance and film that celebrates the rich crossfertilization of folk music styles between Ireland and America. She has collaborated with such diverse artists as Sting, Hall and Oates, The Chieftains, “Fiddlers 3” (with Nadja Salerno-Sonnenberg and Regina Carter), Patti Smith, Al Di Meola and Steve Gadd, played for presidents and royalty around the world, and been featured on the soundtrack for Gangs of New York, Martin Scorsese’s film about Irish immigrant life in 1860s, winner of five Academy Awards

including Best Picture. Eileen Ivers’ recording credits include over eighty contemporary and traditional albums, a Grammy Award and numerous movie scores. She has performed with the London Symphony Orchestra, Boston Pops and over forty orchestras around the world, and is currently recording the fiddle, banjo and mandolin for the BBC America series Copper, which was nominated for an Emmy for its music.

INSIDE STORY

FIDDLE, N. AN INSTRUMENT TO TICKLE HUMAN EARS BY FRICTION OF A HORSE’S TAIL ON THE ENTRAILS OF A CAT” – A M B R O S E B I E R C E , T H E D E V I L’ S D I C T I O N A R Y

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ( $30,000+ )

SOLOIST ( $7,000+ )

Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Alexia and Jerry Jurschak Bobbi and Richard Massman

IMPRESARIO ( $25,000+ )

BENEFACTOR ( $5,000+ )

Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and the Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

ALLEGRO ( $10,000+ ) Arlene and John Dayton Sallie and Robert Fawcett Sammye and Michael Myers Vicki Rippeto

The Antlers at Vail, Vail Marriott Mountain Resort and Spa, and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residency at Bravo! Vail.

FIDDLING AROUND According to Wikipedia, there are few real distinctions between a violin and a fiddle. The bridge on a fiddle may have a flatter arch to make it easier to produce sounds like double- or triple stops (playing two or three strings simultaneously) or drones (common in Bluegrass music). Fiddlers also often use steel strings (which produce a “brighter” tone), versus gut or synthetic core strings that are commonly used on a classical violin. Regardless of genre, players often use the word “fiddle” as an affectionate moniker for their instrument. Here are some other answers to that eternal question, “what is the difference between a fiddle and a violin?” • No one cares if you spill beer on a fiddle. • One has strings, the other has strangs. • About $250,000. And on a more serious note: “A violin sings, and a fiddle dances.” 67

JUL

FRIDAY JULY 1, 8:30PM SPECIAL EVENT

VAIL ALE HOUSE

Ellis Hall, vocals and keyboard Program to be announced from the stage

FREE BRAVO! VAIL AFTER DARK

ELLIS HALL

elax with friends in a comfy bar, sip local handcrafted beer, and listen, just inches away from one of the most legendary, soul-searing Rhythm & Blues masters alive. Ellis Hall, renowned worldwide as “The Ambassador of Soul,” brings his five-octave vocal range and monumental keyboard chops to selections spanning his 40-year career, like hits from the funk/rock supergroup Tower of Power, collaborators including Stevie Wonder, Patti LaBelle and James Taylor, and his musical mentor, Ray Charles.

ELLIS HALL Amy and Charlie Allen The Francis Family The Judy and Alan Kosloff Artistic Director Chair The Lifthouse Condominiums Carole A. Watters

68 Learn more at BravoVail.org

©LOU RAIMONDI

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

DALLAS SYMPHONY ORCHESTRA JUL

ELLIS HALL:

RAY CHARLES, MOTOWN & BEYOND

SATURDAY JULY 2, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: LYDA HILL BARB AND DICK WENNINGER

SPECIAL GRATITUDE TO: The Francis Family The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Nancy Gage and Allan Finney Sammye and Mike Myers C.P. “Chuck” and Margery Pabst Steinmetz Vicki Rippeto Cathy and Howard Stone

SOLOIST UNDERWRITERS: Jeff Tyzik, conductor - Sandra and Greg Walton

JUL

SATURDAY JULY 2, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Ellis Hall, lead vocal/piano/keyboards Sandy Simmons, top vocal Wendisue Hall, middle vocal Cristi Black, low vocal

A Fifth of Beethoven Instrumental Hits of the 60s and 70s Ain’t No Mountain High Enough Some Days Were Meant For Rain My Cherie Amour I Heard It Through The Grapevine

— INTERMISSION —

Let the Good Tiimes Roll Hit the Road Jack Unchain My Heart Georgia On My Mind Girl You’re Not In Kansas Anymore You Are My Sunshine You Don’t Know Me I Hallelujah I Just Love Her So I Can’t Stop Loving You What’d I Say?

Total running time of this program is approximately two hours.

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ELLIS HALL: RAY CHARLES, MOTOWN & BEYOND

llis Hall — “The Ambassador of Soul” — was born in Savannah, Georgia and diagnosed with glaucoma as an infant. Doctors told his parents that Ellis would eventually lose his sight completely, so they moved the family to Boston, where he could attend the Perkins School for the Blind. While at Perkins, Ellis mastered the bass, guitar, keyboards, piano and drums, readying himself for the inevitable by practicing his instruments in the dark, and also began developing into one of his generation’s most remarkable singers. In 1973, he created The Ellis Hall Group, establishing a reputation for his recordings and electrifying live performances. In 1984, Hall moved to Los Angeles, where he collaborated with such musical icons as Stevie Wonder, George Benson, Herbie ELLIS HALL Hancock, Earth Wind & Fire, and IS A GEM OF A James Taylor, participated in a host TALENT AND of widely praised recordings, and HUMAN BEING, performed on numerous movie LIVING PROOF soundtracks. In 2001, Hall met the legendary THAT MIRACLES Ray Charles, who was so taken DO HAPPEN!” with his gifts that he took him GUITARIST, SONGWRITER on as a protégé. Charles signed AND PRODUCER R AY Hall as the only other artist on PARKER, JR. his Crossover Records label, and performed and recorded with him frequently until Charles’ death in 2004. In memory of his mentor, whom he fondly called “Papa Ray,” Hall created a show called “A Tribute to Ray Charles, Motown, and Beyond,” which he envisioned would “celebrate their shared R&B roots and deep passion for the heart and soul of music.” He continues to include many of Charles’ hits in his shows. Since 2006, Ellis Hall has appeared with several major orchestras, including those of Nashville, Tucson, Honolulu, Long Beach, Houston, Memphis, Cincinnati, San Diego, Vancouver, Ottawa and Edmonton. He has also performed on multiple occasions with the Boston Pops Orchestra, and in 2013, was the headliner at the 40th July 4th Boston Pops Fireworks Spectacular. Ellis has worked with many prominent conductors, including Marvin Hamlisch, Keith Lockhart, Steve Reineke and Jeff Tyzik, who was the first to call him “The Ambassador of Soul.” Hall has lent his distinctive voice to a variety of other projects as well — he was a lead voice in the animated blues/soul band The

California Raisins and the whimsical Beetlejuice for a Universal Studios show; featured on the soundtracks of The Lion King 2, Chicken Run, Shrek 2, A Bug’s Life, Bruce Almighty, Beneath the Darkness, Invincible and other high-profile theatrical releases; had acting roles in the box office hits Big Momma’s House and Catch Me If You Can; and served as advisor to Jamie Foxx on the set of Ray, the biographical movie tribute to his mentor. The many luminaries before whom he has appeared include Oprah Winfrey, Jacqueline Kennedy Onassis, Rose Kennedy, and Nelson Mandela, who was a declared fan of his work; Hall also had the distinct honor of performing at Helen Keller’s funeral. 25-time Grammy winner Stevie Wonder, who has also lit up the world with great music created from his own personal darkness, shared this succinct advice about sharing an evening with the inimitable “Ambassador of Soul” — Sit down, shut up, I’m going to listen to Ellis. DID YOU KNOW that Martin Luther King Jr. was a Motown artist? Their “Spoken Word” series held the exclusive right to record his speeches. In June 1963, two months before the March on Washington, Motown recorded King’s “I Have a Dream” speech as he delivered it in Detroit.

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ALLEGRO ( $10,000+ ) Arlene and John Dayton Sallie and Robert Fawcett Sammye and Michael Myers Vicki Rippeto

Funded in part by a generous grant from The Lyn and Phillip Goldstein Piano Concerto Artist Project. The Antlers at Vail, Vail Marriott Mountain Resort and Spa, and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residency at Bravo! Vail.

INSIDE STORY

DANCING IN THE STREET: A BRIEF HISTORY OF MOTOWN Berry Gordy, Jr. had an idea, based on an automobile assembly line he had worked on earlier in his life, to create a musical “hit machine.” He founded Motown Records in 1959, during a time when America was defined by increasing racial tensions, and ended up building the soul and pop classics that changed America. Thanks to the popularity of hits from artists like Smokey Robinson and The Miracles, “Little Stevie Wonder” (who signed with Motown at age 11), and Diana Ross and The Supremes, AfricanAmerican songs and faces entered the homes of every American in the country, regardless of race. Motown’s musicians defied stereotypes, the music transcended class boundaries, and eventually the songs powerfully addressed social inequalities. No other record company in history has exerted such a profound influence on both the style and substance of popular music and culture. 71

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DALLAS SYMPHONY ORCHESTRA JUL

HADELICH PLAYS BRUCH

SUNDAY JULY 3, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: ANB BANK AND THE STURM FAMILY

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SPONSORED BY: Holly and Ben Gill Patti and Blaine Nelson Marcy and Stephen Sands Mary Sue and Michael Shannon

SOLOIST UNDERWRITERS: Augustin Hadelich, violin - Carol and Ronnie Goldman

JUL

SUNDAY JULY 3, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden, conductor Augustin Hadelich, violin

BRUCH Violin Concerto No. 1 in G minor, Op. 26 (24 minutes) Prelude: Allegro moderato — Adagio Finale: Allegro energico

— INTERMISSION — BRAHMS Symphony No. 1 in C minor, Op. 68 (45 minutes) Un poco sostenuto — Allegro Andante sostenuto Un poco allegretto e grazioso Adagio — Allegro non troppo, ma con brio

HADELICH PLAYS BRUCH Violin Concerto No. 1 in G minor, Op. 26 (1865–1866) MA X BRUCH (1838–1920)

ax Bruch, widely known and respected in his day as a composer, conductor and teacher, received his earliest music instruction from his mother, an acclaimed singer and pianist. He began composing at eleven, and by fourteen had produced a symphony and a string quartet, the latter garnering a prize that allowed him to study with Carl Reinecke and Hiller in Cologne. Bruch held various posts as a choral and orchestral conductor in Cologne, Coblenz, Sondershausen, Berlin, Liverpool and Breslau, and in 1883, he visited America to conduct concerts of his own compositions. From 1890 to 1910, he taught composition at the Berlin Academy and received numerous awards for his work, including an honorary doctorate from Cambridge University. Though Bruch is known mainly for three compositions for string soloist and orchestra (the G minor Concerto and Scottish Fantasy for violin and Kol Nidrei for cello), he also composed two other violin concertos, three symphonies, a concerto for two pianos, various chamber pieces, songs, three operas, and an array of choral music. The G minor Violin Concerto, a work of lyrical beauty and emotional sincerity, opens with a dialogue between soloist and orchestra followed by a wide-ranging subject played by the soloist. A contrasting theme reaches into the violin’s highest register. A stormy section for orchestra recalls the opening dialogue, which softens to lead directly into the Adagio, based on three important themes, all languorous and sweet, shared by soloist and orchestra. The finale begins with hints of the upcoming theme before the soloist proclaims the vibrant melody itself. A broad melody, played first by the orchestra alone before being taken over by the soloist, serves as the second theme. A brief development, based on the dance-like first theme, leads to the recapitulation. The coda recalls again the first theme to bring the work to a rousing close.

Symphony No. 1 in C minor, Op. 68 (1855–1876) JOHANNES BR AHMS (1833–1897)

Brahms, while not as breathtakingly precocious as Mozart, Mendelssohn, or Schubert, got a reasonably early start on his musical career: he had produced several piano works (including two large sonatas) and a large number of songs by the age of nineteen. In 1853, when Brahms was only twenty, Robert Schumann wrote an article for the widely distributed Neue Zeitschrift für Musik 74 Learn more at BravoVail.org

(“New Journal for Music”), his first contribution to that publication in a decade, hailing his young colleague as the savior of German music, the rightful heir to the mantle of Beethoven. Brahms was extremely proud of Schumann’s advocacy, and he displayed the journal with great joy to his friends and family when he returned to his humble Hamburg neighborhood after visiting Schumann in Düsseldorf. However, there was the other side of Schumann’s assessment as well—the comparison to Beethoven—that placed an immense burden on Brahms’ shoulders. Brahms was acutely aware of the deeply rooted traditions of German music extending back not just to Beethoven, but even beyond him to Bach and Schütz and Lassus. He knew that, having been heralded in a widely publicized article by Schumann, his compositions, especially a symphony, would have to measure up to the standards set by his forebears. At first he doubted that he was even able to write a symphony, feeling that Beethoven had nearly expended all the potential of that form, leaving nothing for future generations. “You have no idea,” Brahms lamented, “how it feels to hear behind you the tramp of a giant like Beethoven.” Encouraged by Schumann to undertake a symphony, Brahms made some attempts in 1854, but he was unsatisfied with the symphonic potential of the sketches, and diverted them into the First Piano Concerto and the German Requiem. He began again CONTINUED ON PAGE 196

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Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Alexia and Jerry Jurschak Bobbi and Richard Massman

IMPRESARIO ( $25,000+ )

BENEFACTOR ( $5,000+ )

Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and the Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

©PAUL GLICKMAN

ALLEGRO ( $10,000+ ) Arlene and John Dayton Sallie and Robert Fawcett Sammye and Michael Myers Vicki Rippeto

The Antlers at Vail, Vail Marriott Mountain Resort and Spa, and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residency at Bravo! Vail.

INSIDE STORY

AUGUSTIN’S BIG YEAR It’s been an unusually eventful year for Augustin Hadelich. In July of 2015, he was the inaugural winner of the Warner Music Prize, which recognizes young classical musicians of exceptional talent and promise, selected by a jury of world-renowned classical artists and industry leaders. The award includes a $100,000 cash prize and a recording deal with Warner Classics. His plans for the cash? “One thing I am spending a lot of money on every year is videos of performances,” said Hadelich in an interview with WQXR. “It’s a lot more expensive than people generally assume. But your presence on YouTube is incredibly helpful for your career.” Over the course of the past season, which included performances with the Chicago and Pittsburgh symphonies, Mr. Hadelich joined the rarefied ranks of soloists who have appeared with every major orchestra and chamber orchestra in the U.S. And the icing on the cake: In February he won his first Grammy Award, for his recording of Henri Dutilleux’s Violin Concerto, ‘L’Arbre des Songes’ with the Seattle Symphony. All this, and he turned 32 in April! 75

JUL

MONDAY JULY 4, 2:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Ellis Hall, vocals

PATRIOTIC CONCERT

ARR. TYZIK The Star-Spangled Banner

BAGLEY National Emblem March

ARR. TYZIK The Great Westerns Suite

COPLAND Rodeo Saturday Night Waltz Hoedown

TRADITIONAL/MCTEE Shenandoah Featuring Demarre McGill, flute

WILLIAMS Overture from “The Cowboys”

GREENWOOD/ARR. TYZIK God Bless The USA America The Beautiful

— INTERMISSION —

“

oday will be the most memorable epocha in the history of America,” wrote John Adams to his beloved Abigail about the Declaration of Independence he had just voted to endorse with the other members of the Continental Congress assembled in Philadelphia. “I am apt to believe that it will be celebrated by succeeding generations as the country’s great anniversary festival.” The date? July 2, 1776. After the final revisions of the document, it was printed two days later for distribution across the nascent states, fixing The Fourth of July as the date ever after associated with the event. The Declaration of Independence was first published on July 6th in the Pennsylvania Evening Post and first read publicly on July 8th in Philadelphia; formal signing of the original parchment copy (the hallowed document now in the National Archives) began on August 2nd and was not completed for several months. The celebration staged in Philadelphia on July 4th the following year — reported as “the discharge of cannon (one round for each state in the union), the ringing of bells, a dinner, the use of music, the drinking of toasts, loud huzzas, a parade, fireworks and the presentation of the nation’s colors” — set the precedent for the patriotic observances that continue on this day from “purple mountain majesties” to the “fruited plain.”

WILLIAMS Liberty Fanfare

TYZIK Fantasy On American Themes

ALFORD Colonel Bogey March

BECKEL Gardens of Stone for Narrator and Orchestra

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Armed Forces Song Medley

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1812 Overture (excerpts)

SOUSA

Funded in part by a generous grant from the Vail Valley Foundation.

The Stars and Stripes Forever

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TUESDAY JULY 5, 1:00PM

JUL

FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

AEOLUS QUARTET

MOZART & SCHUMANN

n 1782, one year after he had taken up life as a freelance composer and pianist in Vienna, WOLFGANG AMADEUS MOZART (1756–1791) developed a new, gleaming admiration for the music of Bach, Handel, and other masters of the early 18th century. Among the musical results of his study of Bach’s imitative procedures was the powerful Fugue for Two Pianos in C minor (K. 426), written in December 1783. In 1788 he returned to his keyboard fugue, scoring it for strings and prefacing it with an austere Adagio (K. 546). In 1842, ROBERT SCHUMANN (1810–1856) turned from the orchestral genres to concentrate with nearly monomaniacal zeal on chamber music. He completed the three String Quartets of his Op. 41 in just six weeks, after which he never wrote another work in the form. As a surprise for the twenty-third birthday of his wife, Clara, he arranged a private performance of all three quartets on September 13 at the home of Ferdinand David, the Gewandhaus Orchestra’s concertmaster, for whom Felix Mendelssohn was to write his Violin Concerto two years later.

Nicholas Tavani, violin Rachel Shapiro, violin Gregory Luce, viola Alan Richardson, cello

MOZART Adagio and Fugue in C minor, K. 546

SCHUMANN String Quartet No. 3 in A major, Op. 41, No. 3 Andante espressivo — Allegro molto moderato Assai agitato — Un poco Adagio — Tempo risoluto Adagio molto Finale: Allegro molto vivace

©CHRISTIAN STEINER

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AEOLUS QUARTET

JUL

TUESDAY JULY 5, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION

MUSICIANS FROM THE DALLAS SYMPHONY ORCHESTRA

Lucas Aleman, violin Eunice Keem, violin Alexander Kerr, violin Nathan Olson, violin Nora Scheller, violin Lydia Umlauf, violin Ann Marie Brink, viola David Sywak, viola Theodore Harvey, cello Jennifer Humphreys, cello Brian Perry, bass Ryan Anthony, trumpet

Augustin Hadelich, violin Anne-Marie McDermott, piano

YSAŸE Sonata No. 4 for Unaccompanied Violin in E minor, Op. 27, No. 4 (13 minutes) Allemanda: Lento maestoso Sarabande: Quasi lento Finale: Presto ma non troppo

PROKOFIEV Sonata for Two Violins, Op. 56 (14 minutes) Andante cantabile Allegro Commodo (quasi Allegretto) Allegro con brio

— INTERMISSION —

HADELICH, MCDERMOTT & THE DALLAS SYMPHONY

UGÈNE YSAŸE (ee-sy-uh, 1858–1931) was a violinist lionized by audiences, a teacher of immense influence, a conductor of international repute, and a composer of excellent skill. His most admired compositions are his six Sonatas for Unaccompanied Violin. Before returning home to Russia from Paris in 1932 after his long sojourn in the West, SERGEI PROKOFIEV (1891–1953) composed his Sonata for Two Violins as a sort of farewell to the modernism that had been a prominent strain in his creative personality since his days at the St. Petersburg Conservatory. Argentinean-American composer OSVALDO GOLIJOV (b. 1960) wrote that Last Round was inspired by Astor Piazzolla, whom he claimed “was at the peak of his creativity when a stroke killed him in 1992. This work’s title is borrowed from a short story on boxing by Julio Cortázar, a metaphor for an imaginary chance for Piazzolla’s spirit to fight one more time (he used to get into fistfights throughout his life).” Eugene List, soloist in the American premiere of the Piano Concerto No. 1 by DMITRI SHOSTAKOVICH (1906–1975) in 1934, wrote, “It is contemporary without being too ‘far out.’ It has youthful fire and audacity, tongue-in-cheek jollity, a number of satirical allusions to well-known classics, and brilliant piano writing. It also has a beautiful slow movement.”

GOLIJOV Last Round for Strings (14 minutes) Last Round: Movido, urgente Death of the Angels: Lentissimo

SHOSTAKOVICH Concerto No. 1 for Piano, Trumpet and Strings in C minor, Op. 35 (22 minutes) Allegro moderato Lento Moderato Allegro brio

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DALLAS SYMPHONY ORCHESTRA JUL

SHOSTAKOVICH 7, MOZART & MCDERMOTT

WEDNESDAY JULY 6, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: SHIRLEY AND WILLIAM S. MCINTYRE, IV

SPECIAL GRATITUDE TO: The Francis Family The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Carolyn and Gary Cage Sallie and Robert Fawcett Carole A. Watters

SOLOIST UNDERWRITERS: Anne-Marie McDermott, piano - The Frigon Family and Alexia and Jerry Jurschak

JUL

WEDNESDAY JULY 6, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

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

MOZART Piano Concerto No. 24 in C minor, K. 491 (31 minutes) Allegro Larghetto Allegretto

— INTERMISSION — SHOSTAKOVICH Symphony No. 7 in C major, Op. 60, “Leningrad” (70 minutes) Allegretto Moderato (poco allegretto) Adagio Allegro non troppo

FREE PRE-CONCERT TALK, 5:00PM Gerald R. Ford Amphitheater Lobby Marc Shulgold, Music Journalist

SHOSTAKOVICH 7, MOZART & MCDERMOTT Piano Concerto No. 24 in C minor, K. 491 (1786) WOLFGANG AMADEUS MOZART (1756–1791)

fter hearing Mozart’s C minor Concerto at a concert in 1800, Beethoven said to his companion and pupil Ferdinand Ries, “Oh, my dear fellow, we shall never do anything like that.” Beethoven did, of course, compose works equally magnificent, but few others have. “This C minor Concerto is not only the most sublime of the whole series but also one of the greatest piano concertos ever composed,” wrote A. Hyatt King. The extravagant chromaticism and wide leaps of the main theme of the opening Allegro, perhaps the largest sonataform movement composed before the “Eroica” Symphony, recall the music of Bach, which Mozart had recently studied with great profit. The mood of what Hermann Abert called “titanic defiance” continues undiminished throughout the movement, superbly balance in its heated intensity by the cool perfection of the form. The tranquil serenity of the Larghetto is heightened by the music’s placement between two large movements of tragic grandeur. The finale, a set of variations on a dolorous theme of sighing intervals, ends with a coda whose jaunty meter seems almost an ironic taunt to its solemn melodic and harmonic content.

Symphony No. 7 in C major, Op. 60, “Leningrad” (1941) DMITRI SHOSTAKOVICH (1906–1975)

Early in the summer of 1941, Hitler turned his attention from his western front in France and the Low Countries to his eastern front and Russia, where his earliest and most brutal fury fell on Leningrad. The first bombs exploded in the city on June 22 and signaled the beginning of a ruthless one-and-a-half-year siege. Boris Schwarz described the horror in Music and Musical Life in Soviet Russia, 1917-1970: “This city of three million people was cut off, encircled, and condemned to death by starvation. The blockade last80 Learn more at BravoVail.org

ed from September 1941 to February 1943; but even after the blockade was broken, the Germans were entrenched only two miles from the Kirov works. During the eighteen months of the blockade, 632,000 people died of hunger and privation, according to official figures. Unofficially, the estimate is closer to one million deaths, or one-third of the population.... In addition to hunger and cold, the city was subjected to shelling and air raids. The winter of 1941–1942, when the official food rations—if they could be obtained—were reduced to under five hundred calories a day for many adults, was particularly cruel. People died everywhere, on the street, at work, in offices and factories. Water pipes burst and people had to drink the infested water of the Neva or of the canals. Electric power was cut to a minimum and there were no lights in houses and offices.” In August 1941, at the height of the shelling, Shostakovich undertook a symphony that would be both an emotional outpouring of his feelings about the war and an inspiration to those who heard it. CONTINUED ON PAGE 196

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Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Alexia and Jerry Jurschak Bobbi and Richard Massman

IMPRESARIO ( $25,000+ )

BENEFACTOR ( $5,000+ )

Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and the Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

ALLEGRO ( $10,000+ ) Arlene and John Dayton Sallie and Robert Fawcett Sammye and Michael Myers Vicki Rippeto

INSIDE STORY

THE MOZART EFFECT Can listening to Mozart really make you smarter? The phrase “the Mozart Effect” was coined by Dr. Alfred A. Tomatis, a physician who promoted alternative treatments for dyslexia, autism, and other learning disorders. In 1991, Dr. Tomatis released a book, titled Pourquoi Mozart?, which argued that listening to Mozart’s music promotes positive health benefits—mentally, physically, and emotionally. A study in the journal Nature two years later sparked widespread public interest, and the idea that classical music somehow improves the brain took off. Parents all over the world started playing Mozart to their children. In 1998, Zell Miller, the Governor of Georgia, even requested that money be set aside in the state budget so that every newborn baby could be sent a classical music CD. It’s not just babies and children who were deliberately exposed to Mozart’s melodies. When Sergio Della Sala, the psychologist and author of the book Mind Myths, visited a mozzarella farm in Italy, the farmer proudly explained that the buffalos listened to Mozart three times a day to help them to produce better milk. 81

WEDNESDAY JULY 6, 7:30PM

JUL

FREE CONCERT SERIES

EDWARDS INTERFAITH CHAPEL

AEOLUS QUARTET

Nicholas Tavani, violin Rachel Shapiro, violin Gregory Luce, viola Alan Richardson, cello

MAZZOLI Quartet for Queen Mab

MAKAN Washed by Fire

BARBER String Quartet, Op. 11 Molto allegro e appassionato Molto adagio — Molto allegro (come prima)

AEOLUS PLAYS BARBER

ew York composer MISSY MAZZOLI (b. 1980) wrote of Quartet for Queen Mab that “Queen Mab is an elusive creature from folklore and literature [her best-known reference is in Shakespeare’s Romeo and Juliet], a tiny fairy who drives her chariot into the noses of sleeping people. She enters their brains, eliciting dreams of their heart’s desire. This quartet embraces the wildness of Queen Mab’s journey and the dreams that result.” Massachusetts Institute of Technology faculty member KEERIL MAKAN (b. 1972) said that Washed by Fire was “conceived with choreographer Benjamin Levy and inspired by the desire to explore issues of cultural and personal identity … [that arose because] his parents are Persian Jews who escaped Iran during the Islamic Revolution in the 1970s, and my father is Indian but was raised in South Africa, from which he emigrated in the late 1960s to escape Apartheid.” SAMUEL BARBER (1910-1981) composed his only String Quartet in the hills east of Salzburg in 1936, choosing for it an unusual structure anchored around its central slow movement — the Adagio for Strings.

AEOLUS QUARTET

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Eagle County Kathy and David Ferguson The Sidney E. Frank Foundation The Paiko Trust, in honor of the Firefighters of the Vail Valley Carole A. Watters Westin Riverfront Resort and Spa

©MICHAEL DEVITO

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

JUL

THURSDAY JULY 7, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

AEOLUS QUARTET

SCHUBERT’S CELLO QUINTET

he C major String Quintet of FRANZ SCHUBERT (1797–1828) occupies the most exalted level in the entire realm of chamber music. In his survey of the ensemble repertory, American musicologist Homer Ulrich wrote, “In nobility of conception, beauty of melody and variety of mood, it is without equal.” British critic William Mann called it “[Schubert’s] masterpiece, and perhaps the greatest of all his works in range of emotion, quality of material and formal perfection.” The great Polish pianist Arthur Rubinstein asked that the slow movement be played at his funeral. The String Quintet was Schubert’s final instrumental utterance, completed in September 1828, just two months before his untimely death at age thirty-one. Much of the work’s effect is derived from the rich sonorities created by the use of a second cello. “With only five voices,” wrote the distinguished Czech writer and music scholar Joseph Wechsberg, “Schubert expressed a whole musical universe. A very great work.”

Nicholas Tavani, violin Rachel Shapiro, violin Gregory Luce, viola Alan Richardson, cello

Yumi Kendall, cello

SCHUBERT Quintet for Two Violins, Viola and Two Cellos in C major, Op. 163 (D. 956) Allegro ma non troppo Adagio Scherzo: Presto — Trio: Andante sostenuto — Scherzo Allegretto

©CHRISTIAN STEINER

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AEOLUS QUARTET

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THE PHILADELPHIA ORCHESTRA JUL

BRAMWELL CONDUCTS:

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FRIDAY JULY 8, 6:00PM ORCHESTRA SERIES

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SPECIAL GRATITUDE TO: The Francis Family The Friends of the Fabulous Philadelphians The Lynn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Irmgard and Charles Lipcon Nancy and Richard Lubin Molly and Jay Precourt

SOLOIST UNDERWRITERS: Bramwell Tovey, conductor - Sandra and Greg Walton David Kim, violin - Sally and Thomas Gleason Hai-Ye Ni, cello - Karen and Jim Johnson Jean-Yves Thibaudet, piano - Carolyn and Steve Pope

JUL

FRIDAY JULY 8, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Bramwell Tovey, conductor David Kim, violin Hai-Ye Ni, cello Jean-Yves Thibaudet, piano

BEETHOVEN Overture to Goethe’s Egmont, Op. 84 (9 minutes)

BEETHOVEN Triple Concerto for Violin, Cello, Piano and Orchestra in C major, Op. 56 (36 minutes) Allegro Largo — Rondo alla Polacca

— INTERMISSION — BEETHOVEN Symphony No. 5 in C minor, Op. 67 (35 minutes) Allegro con brio Andante con moto Allegro — Allegro

JOIN US FOR BRAVO! VAIL AFTER DARK, 8:30PM AEOLUS QUARTET BONFIRE BREWING TAPROOM, EAGLE (details on page 89)

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BRAMWELL CONDUCTS: ALL BEETHOVEN Overture to Goethe’s Egmont, Op. 84 (1810) LUDWIG VAN BEETHOVEN (1770–1827)

oethe’s Egmont, based on an incident from 1567, depicts the subjugation of the Netherlands to the tyrannical Spanish rulers, the agony of the people and their growing defiance and dreams of liberty, and ends with Count Egmont’s call for revolution and his vision in the moments before his execution of eventual victory. Beethoven composed his incidental music for a series of revivals of the dramas of Schiller and Goethe, the great figures of the German stage, produced by Josef Härtel, the director of Vienna’s Hoftheater, after Napoleon’s forces had withdrawn from the city. The Overture mirrors the plight of the Dutch people and their conviction of their ultimate freedom.

Triple Concerto for Violin, Cello, Piano and Orchestra in C major, Op. 56 (1803-1804) LUDWIG VAN BEETHOVEN

“Everyone likes flattery; and when you come to Royalty you should lay it on with a trowel,” counseled the 19th-century British statesman Benjamin Disraeli. He would have gotten no argument from Beethoven. When Rudolph, Archduke of Austria and titled scion of the Habsburg line, turned up among Beethoven’s Viennese pupils, the young composer realized he had tapped the highest echelon of European society. Beethoven gave instruction in both piano and composition to Rudolph, who had a genuine if limited talent for music. Concerning flattery, the most important manner in which 19th-century composers could praise royalty was by dedicating one of their compositions to a noble personage. Beethoven wrote the Triple Concerto for Rudolph, who eventually became Archbishop Cardinal of Austria and remained a lifelong friend and patron of the composer, and dedicated to him such important works as the Fourth and Fifth Piano Concertos, “Lebewohl” and “Hammerklavier” Sonatas, Op. 96 Violin Sonata, “Archduke” Trio, Missa Solemnis and Grosse Fuge. The Triple Concerto’s first movement is a modified sonata design with a lengthy exposition and recapitulation necessitated by the many thematic repetitions. After a hushed and halting opening in the strings, the full orchestra takes up the main thematic material of the movement. The soloists enter, led, as usual

throughout this Concerto, by the cello with the main theme. The second theme begins, again in the cello, with a snappy triad. Much of the remainder of the movement is given over to repetitions and figuration rather than to true motivic development. A sudden quickening of the tempo charges the concluding measures of the movement with flashing energy. The second movement is a peaceful song for the solo strings with elaborate embroidery for the piano. The finale is a strutting Rondo alla Polacca in the style of the Polish polonaise.

INSIDE STORY

Symphony No. 5 in C minor, Op. 67 (1804–1808) LUDWIG VAN BEETHOVEN

Beethoven’s Fifth Symphony is the archetypal example of the technique and content of the form. Its overall structure is not one of four independent essays linked simply by tonality and style, as in the typical 18th-century example, but is rather a carefully devised whole in which each of the movements serves to carry the work inexorably toward its end. The progression from minor to major, from dark to light, from conflict to resolution is at the very heart of the “meaning” of this work. The psychological progression toward the finale — the relentless movement toward a life-affirming close — is one of Beethoven’s most important technical and CONTINUED ON PAGE 197

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ( $50,000+ )

ANB Bank and the Sturm Family Peggy Fossett Donna and Patrick Martin Town of Vail

IMPRESARIO ( $25,000+ ) Karen and Michael Herman

OVATION ( $15,000+ ) Teressa and Anthony Perry Susan and Rich Rogel

ALLEGRO ( $10,000+ ) Anonymous Christine and John Bakalar Arlene and John Dayton

Anne and Hank Gutman Carole and Peter Segal Cathy and Howard Stone

SOLOIST ( $7,000+ ) Sue and Dan Godec Linda and Kalmon Post Susan and Steven Suggs

Funded in part by generous grants from The Lyn and Phillip Goldstein Piano Concerto Artist Project, the Town of Vail and the Vail Valley Foundation. The Antlers at Vail, Manor Vail Lodge, and the Lodge at Vail are the official homes of the The Philadelphia Orchestra while in residency at Bravo! Vail.

“THREE IS A MAGIC NUMBER” Three is a number that seems to turn up everywhere in classical music, and this program is no exception. We have Beethoven’s Triple Concerto, the famous three-note introduction to his Symphony No. 5, even the fact that he was actually the third Ludwig van Beethoven in his family! The number three has had deep significance to many composers throughout history. Mozart loved numbers, and many of his works, particularly the opera The Magic Flute, are laden with “threes.” The opening is three iterations of a chord, which recur throughout the opera. There are three Ladies who serve the Queen of the Night, three boy/spirit guides, three priests, three temples, lots of three-part harmonies, even the key signature has three flats. In the words of the classic Schoolhouse Rock episode, “Somewhere in ancient mystic trinity, you get three as a magic number.” Is it a coincidence that “Three” was the pilot episode for this classic series that used music to educate young minds? 87

FRIDAY JULY 8, 8:30PM

JUL

SPECIAL EVENT

BONFIRE BREWING TAPROOM, EAGLE

AEOLUS QUARTET

Nicholas Tavani, violin Rachel Shapiro, violin Gregory Luce, viola Alan Richardson, cello

VISCONTI Black Bend

BOLCOM “Poltergeist” from Three Rags for String Quartet

SNOWDEN Appalachian Polaroids

BOLCOM “Graceful Ghost” from Three Rags for String Quartet

FREE BRAVO! VAIL AFTER DARK

AEOLUS QUARTET

oin this adventurous young string quartet for a downhome tour of the American musical landscape. They’ll perform selections from their acclaimed debut album “Many-Sided Music,” which takes its title from Leonard Bernstein’s description of the “many-sidedness” of American music. Settle in for an evening of ragtime and ruminations, with side notes of folky freshness, all celebrating the uniquely American spirit of inventiveness and innovation showcased in these contemporary works, two of which were commissioned by the Quartet just for this album.

BRYANT Lady Isabelle Was That Kind of Woman

BOLCOM

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: AEOLUS QUARTET

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Amy and Charlie Allen Eagle County Town of Eagle Carole A. Watters

©CHRISTIAN STEINER

“Incineratorag” from Three Rags for String Quartet

THE PHILADELPHIA ORCHESTRA JUL

SATURDAY JULY 9, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: ANGELA AND PETER DAL PEZZO DONNA AND PATRICK MARTIN

TOWN OF VAIL NIGHT SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

SPECIAL GRATITUDE TO:

SPONSORED BY: Letitia and Christopher Aitken

SOLOIST UNDERWRITERS: Lio Kuokman, conductor - Marjorie and Philip Odeen, and Sandra and Greg Walton Cirque artists - Liz and Tommy Farnsworth, and Ferrell and Chi McClean

©ZACHMAHONE.COM

CIRQUE DE LA SYMPHONIE

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

JUL

SATURDAY JULY 9, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Lio Kuokman, conductor Cirque de la Symphonie

DVOŘÁK Carnival Overture, Op. 92

SAINT-SAËNS Danse Macabre Op. 40 Aerial Violinist

WILLIAMS Devil’s Dance from The Witches of Eastwick Hand Balance

CHABRIER España

BIZET Les Toreadors from Carmen Spinning Shapes

RIMSKY-KORSAKOV Danse des Bouffons from The Snow Maiden Hula Hoops

COPLAND Hoe Down from Rodeo

WILLIAMS Flight to Neverland from Hook Aerial Straps

— INTERMISSION — GLINKA Overture to Russlan and Lyudmila, Op. 5

MONTI Czardas Aerial Violinist

ANTHEIL Hot Time Dance Cyr Wheel

J. STRAUSS, JR. Chit-Chat, Fast Polka, Op. 214 Electric Juggler

SMETANA Dance of the Comedians from The Bartered Bride

TCHAIKOVSKY Valse from Swan Lake Aerial Duo Total running time of this program is approximately 90 minutes.

CIRQUE DE LA SYMPHONIE

he seeds of the circus were planted in ancient Rome, where the Circus Maximus (“Great Circus” — the word, derived from the Greek, means “circle” or “circuit” in Latin) could accommodate 150,000 spectators along its oblong 2,000-foot length to see games, acrobats, chariot races, trained animals and other public entertainments. These spectacles vanished along with the empire, and Medieval Europe offered little more than a motley of itinerant strong men, acrobats, jesters and similar not-quite-respectable performers for similar diversion. The modern circus was the brainchild of the British cavalry officer Philip Astley, who evidenced remarkable skill as a horseman during the Seven Years War and established a riding school when he settled in London in 1768. Astley expanded his operation by commissioning an elaborate “Amphitheater of Equestrian Arts” built around a circular, 42-foot-diameter ring (the most compact dimension around which horses could gallop at full speed) to put on regular performances of his horsemanship, and supplemented his shows with tumblers, tightrope-walkers, performing dogs and a clown. Competitors appeared — when the “Royal Circus” opened in London in 1782, it became the first show to use the word in its name, apparently at the suggestion of composer Charles Dibdin, a partner in the venture — and circuses sprang up across Europe and, in 1793, in Philadelphia. The horseman John Bill Ricketts, an alumnus of the Royal Circus, arrived in Philadelphia, then the United States capital, in 1792, opened the country’s first circus building on April 3, 1793, and established his reputation so quickly that President George Washington stopped by to catch the show later that year; Gilbert Stuart painted Ricketts’ portrait three years later. Circuses in Europe and America were largely confined to specially constructed venues in large cities until Joshuah Purdy Brown made his show mobile in 1825 by performing under a tent in order to tap new audiences as the country expanded rapidly across the continent. Brown bought a young African elephant from a cattle dealer, convinced some 130 farmers around his rural New York home to invest in the venture, and established the first exotic animal menagerie as part of a circus. By the 1830s, the circus — an itinerant troupe of acrobats, animals and clowns performing under a “Big Top” — had become the most popular entertainment in America. The circus was brought into the modern industrial age by one of the most extraordinary characters ever to stride across the American scene — Phineas Taylor Barnum. The Connecticutborn P.T. Barnum (1810-1891), showman and shyster, politician and philanthropist, businessman and blusterer, failed as a shopkeeper, book dealer and real estate speculator before buying

and exhibiting a blind and nearly paralyzed slave woman named Joice Heth in 1835. After billing her as 135 years old and the nurse of George Washington —“The Most Astonishing and Interesting Curiosity in the World!” touted his modest handbills — he went on to assemble a catch-all exhibition hall in New York City combining zoo, museum, theater, freak show, wax museum, hoaxes (the “Feejee Mermaid,” with the head of a monkey stitched onto the tail of a fish was a big hit) and one of the first public aquariums anywhere that became America’s most popular attraction — 38 million customers paid 25¢ each to gawk at the exhibits between 1841 and 1865, more than the country’s total population in 1860. (Despite his first exhibit, Barnum was a ferocious abolitionist and an early member of the fledgling anti-slavery Republican Party.) After “Barnum’s American Museum” burned down in 1865, Phineas dabbled briefly in politics in Hartford before finding his ultimate calling in 1871 with “P. T. Barnum’s Grand Traveling Museum, Menagerie, Caravan & Hippodrome,” a traveling circus, performing zoo and exhibition of human and animal oddities. Ten years later he merged with veteran circus man James Bailey, and together they ran their show as a corporation — moving it swiftly around the country by train, building it for quick set-up virtually anywhere under their own vast tent (the public was invited to watch the erection of the temporary “circus city” and be enticed to buy a ticket for the show), using advertising (some of it true) to an CONTINUED ON PAGE 197

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ( $50,000+ )

ANB Bank and the Sturm Family Peggy Fossett Donna and Patrick Martin Town of Vail

IMPRESARIO ( $25,000+ ) Karen and Michael Herman

OVATION ( $15,000+ ) Teressa and Anthony Perry Susan and Rich Rogel

ALLEGRO ( $10,000+ ) Anonymous Christine and John Bakalar Arlene and John Dayton

Anne and Hank Gutman Carole and Peter Segal Cathy and Howard Stone

SOLOIST ( $7,000+ ) Sue and Dan Godec Linda and Kalmon Post Susan and Steven Suggs

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

INSIDE STORY

FREQUENCY HOPPING THE LIGHT FANTASTIC The Composer (and the Starlet) Who Invented Wi-Fi The avant-garde composer George Antheil met Hedy Lamarr, a wellknown actress of the day, while at a dinner party, and a peculiar chemistry emerged between these two remarkable minds. Lamarr was mathematically gifted, with an Austrian munitions manufacturer for an ex-husband, and Antheil was a true “Renaissance man” who served as a war correspondent during World War II. Together, this unlikely pairing developed and patented a radio guidance system for Allied torpedoes, using “frequency hopping spread spectrum” technology (wirelessly spreading a signal over rapidly changing frequencies) to defeat the threat of jamming by the Axis powers. Their device was way ahead of its time! Although it was patented at the height of World War II, frequency hopping relied on electronics technology that didn’t exist yet, and was only adopted by the US Navy in the 1960s. Today, the principles of their invention are incorporated into modern Wi-Fi, CDMA and Bluetooth technology. Antheil and Lamarr were inducted into the National Inventors Hall of Fame in 2014. 91

Exquisite Gifts, Fine Flowers & Happenings The Riverwalk at Edwards 970.926.5000 * www.vailvintagemagnolia.com

THE PHILADELPHIA ORCHESTRA JUL

TCHAIKOVSKY’S SWAN LAKE

SUNDAY JULY 10, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: DIERDRE AND RONNIE BAKER MARY LYNN AND WARREN STALEY

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

SPECIAL GRATITUDE TO: The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Barbara and Barry Beracha Rose and Howard Marcus The Stolzer Family Foundation

SOLOIST UNDERWRITERS: Bramwell Tovey, conductor - Brooke and Hap Stein, and Sandra and Greg Walton Chad Hoopes, violin - Valerie and Robert Gwyn, and Jane and Michael Griffinger

JUL

SUNDAY JULY 10, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Bramwell Tovey, conductor Chad Hoopes, violin

J. STRAUSS, JR. Overture to Die Fledermaus (8 minutes)

KREISLER Two Selections for Violin and Orchestra (9 minutes) Caprice Viennois Liebesfreud

RAVEL Tzigane, Rapsodie de Concert for Violin and Orchestra (10 minutes)

— INTERMISSION — TCHAIKOVSKY Selections from Swan Lake, Op. 20 (26 minutes) Act I, Introduction Act I, 2: Waltz Act I, 3: Scene Act IV, 26: Scene Act IV, 27: Dance of the Little Swans Act IV, 28: Scene Act IV, 29: Finale

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TCHAIKOVSKY’S SWAN LAKE Overture to Die Fledermaus (1874) JOHANN STR AUSS, JR . (1825–1899)

ohann Strauss, Jr. was famed throughout the world for his waltzes for many years before he decided to write his first operetta — Die Fledermaus (“The Bat”). Surprisingly, the Viennese public did not take kindly to what has become the quintessential Viennese operetta when it was premiered on April 5, 1874, and it took a rousing success in Berlin for Vienna to accept the work. Die Fledermaus is filled with mistaken and concealed identities, glittering balls, assignations and an unquenchable joie de vivre, and the sparkling Overture perfectly reflects this heady world of champagne, Schlag and chambres séparées.

Caprice Viennois and Liebesfreud for Violin and Orchestra (1910) FRITZ KREISLER (1875–1962)

Fritz Kreisler was admitted to the Vienna Conservatory when he was seven, gave his first performance at nine, and won a Gold Medal in violin when he was ten. He then transferred to the Paris Conservatoire, where, at age twelve, he won the school’s Gold Medal over forty other competitors, all of whom were at least ten years his senior. In 1888-1889, Kreisler successfully toured the United States but then virtually abandoned music for several years, studying medicine in Vienna and art in Rome and Paris, and serving as an officer in the Austrian army. He again took up the violin in 1896 and failed to win an audition to become a member of the Vienna Philharmonic, but quickly established himself as a soloist, making his formal re-appearance in Berlin in March 1899. He returned to America in 1900 and gave his London debut in 1901, creating a sensation at every performance. At the outbreak of World War I, Kreisler rejoined his former regiment but he was wounded soon thereafter and discharged from service. In November 1914, he moved to the United States, where he had been appearing regularly for a decade. He gave concerts in America to raise funds for Austrian war relief, but anti-German sentiment ran so high after America’s entry into the war that he had to temporarily withdraw from public life. He resumed his concert career in New York in October 1919, then returned to Europe. In 1938, following the annexation of Austria by the Nazis,

Kreisler settled in the United States for good; he became an American citizen in 1943. Despite being injured in a traffic accident in 1941, he continued concertizing to immense acclaim through the 1949-1950 season. He died in New York in 1962. In addition to being one of the 20th-century’s undisputed masters of the violin, Fritz Kreisler also a composer most fondly remembered for his many short compositions for violin, including the infectious waltzes Caprice Viennois and Liebesfreud (“Love’s Joy”).

INSIDE STORY

Tzigane, Rapsodie de Concert for Violin and Orchestra (1924) MAURICE R AVEL (1875–1937)

While in England in July 1922, Ravel was a guest at a soirée at which the Hungarian violinist Jelly d’Aranyi participated in a performance of his Sonata for Violin and Cello. When the formal part of the evening’s entertainment was through, Ravel asked Mlle. d’Aranyi to play some Gypsy melodies from her native land. Ravel was captivated by the passionate Hungarian music and he determined to compose a new work of Gypsy cast for Mlle. d’Aranyi, but he had been mired in a fallow period since the end of World War I and it was almost two years before he was able to compose Tzigane. CONTINUED ON PAGE 198

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ( $50,000+ )

ANB Bank and the Sturm Family Peggy Fossett Donna and Patrick Martin Town of Vail

IMPRESARIO ( $25,000+ ) Karen and Michael Herman

OVATION ( $15,000+ ) Teressa and Anthony Perry Susan and Rich Rogel

ALLEGRO ( $10,000+ ) Anonymous Christine and John Bakalar Arlene and John Dayton

Anne and Hank Gutman Carole and Peter Segal Cathy and Howard Stone

SOLOIST ( $7,000+ ) Sue and Dan Godec Linda and Kalmon Post Susan and Steven Suggs

SWAN LAKE & THE FAD FOR FAIRY-TALES There have been all kinds of fads and crazes throughout history: the infamous tulipmania of the 1630s, when a single bulb was worth as much as 10 times the annual income of a skilled craftsman, “Turkish” orientalism (which inspired Mozart’s gleefully exotic opera Abduction from the Seraglio), and the “friendly invasion” of American jazz in 1920s Paris, just to name a few. In the 19th century, a fairy tale craze swept Europe, and many “serious” authors wrote original whimsical tales and fables, including Oscar Wilde, Herman Hesse, and Alexander Pushkin. Water nymphs or “undines” were a particularly popular topic, and Tchaikovsky composed an opera titled Undina in 1869, which was never performed and he decided to destroy the score. However, several of its musical themes made their way into his first ballet, Swan Lake. Dvořák’s opera Rusalka, and Hans Christian Andersen’s The Little Mermaid also explore similar storylines, of love among mortals and mythical beings from watery realms. 95

JUL

MONDAY JULY 11, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

ROTELLA RESIDENCE, BEAVER CREEK

BEETHOVEN Violin Sonata No. 7 in C minor, Op. 30, No. 2

CHOPIN Barcarolle

RAVEL La Valse

CATERED BY MIRABELLE AT BEAVER CREEK, EXECUTIVE CHEF, DANIEL JOLY

ANNE-MARIE MCDERMOTT

CHAD HOOPES

THE LINDA AND MITCH HART SOIRÉE SERIES

MCDERMOTT, HOOPES AND THE PIANO FELLOWS

ne of the most exciting experiences a concertgoer can have is hearing a young artist and feeling goosebumps rise at the realization that this artist has “it,” that electric, magical, elusive quality that marks a rising star. Now imagine sitting just a few feet from the live performance, in a spectacular private home, enjoying immaculate food and wine pairings, in the company of Bravo! Vail Artistic Director Anne-Marie McDermott who personally selected and mentored the 2016 Bravo! Vail Piano Fellows. Rounding out the ensemble is the “prodigiously talented” (according to the New York Times) 21-year-old violinist Chad Hoopes in his Bravo! Vail debut season.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: THIS EVENING’S HOSTS Alysa and Jonathan Rotella

SPECIAL GRATITUDE TO The Francis Family The Sidney E. Frank Foundation Linda and Mitch Hart

STEVEN LIN

TOMER GEWIRTZMAN

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SPONSORED BY Crazy Mountain Brewing Company Grgich Hills Estate Mirabelle at Beaver Creek Pettit Photography Vintage Magnolia West Vail Liquor Mart

©MARCO BORGGREVE; ©SHAO TING KUEI; ©JIYANG CHEN.

Chad Hoopes, violin Tomer Gewirtzman, piano Steven Lin, piano Anne-Marie McDermott, piano

JUL

TUESDAY JULY 12, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

2016 BRAVO! VAIL PIANO FELLOWS

Tomer Gewirtzman, piano Steven Lin, piano

BEETHOVEN & HAYDN

HAYDN

OSEPH HAYDN (1732-1809) once said of himself that he was “not a bad piano player,” but, though he was not a virtuoso on the instrument of the stature of his friend Wolfgang Mozart, he was a competent and busy keyboard performer and composer throughout his career. He composed the Sonata in C major (H. XVI:48) for a publishing venture with the Leipzig firm of Johann and Christoph Breitkopf in 1789. LUDWIG VAN BEETHOVEN (1770-1827) spent the summer of 1802 in the quiet Viennese suburb of Heiligenstadt to try to relieve the disturbing ringing and buzzing in his ears he had first noticed three years before. There he wrote his Piano Sonata in E-flat major (Op. 30, No. 1), one of the first works of his dynamic and dramatic “second period.” The Fantasia on an Ostinato (1985) by Pulitzer Prize-winner JOHN CORIGLIANO (b. 1938), based on a relentlessly repeated pattern from the second movement of Beethoven’s Symphony No. 7, allows the performer to decide the number and, to a certain extent, the character of the repetitions that comprise the work’s central section.

Sonata in C major, Hoboken XVI:48 Andante con espressione Rondo: Presto

BEETHOVEN Sonata in E-flat major, Op. 31, No. 3 Allegro Scherzo: Allegretto vivace Menuetto: Moderato e grazioso Presto con fuoco CORIGLIANO Fantasia on an Ostinato

TOMER GEWIRTZMAN

©JIYANG CHEN; ©SHAO TING KUEI.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation The Paiko Trust, in honor of the Firefighters of the Vail Valley Sebastian Vail Carole A. Watters

STEVEN LIN

JUL

TUESDAY JULY 12, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION

MUSICIANS FROM THE PHILADELPHIA ORCHESTRA

Elina Kalendarova, violin David Kim, violin Che-Hung Chen, viola Burchard Tang, viola Yumi Kendall, cello Hai-Ye Ni, cello Jennifer Montone, horn

Tomer Gewirtzman, piano

BRAHMS Sonata in A major for Violin and Piano, Op. 100 (21 minutes) Allegro amabile Andante tranquillo — Vivace — Andante — Vivace di più — Andante — Vivace Allegretto grazioso (quasi Andante)

MOZART Quintet in E-flat major for Horn, Violin, Two Violas and Cello, K. 407 (17 minutes) Allegro Andante Allegro

— INTERMISSION — BRAHMS Sextet in B-flat major for Two Violins, Two Violas and Two Cellos, Op. 18 (34 minutes) Allegro ma non troppo Andante, ma moderato Scherzo: Allegro molto Rondo: Poco Allegretto e grazioso

PHILADELPHIA PLAYS MOZART & BRAHMS Sonata in A major for Violin and Piano, Op. 100 (1886) JOHANNES BR AHMS (1833-1897)

he A major Violin Sonata by JOHANNES BRAHMS (18331897), one of his most limpidly beautiful creations, was nicknamed “Song” by one of his biographers, not only because of its richly lyrical nature but also because it uses several of his own songs as thematic material. WOLFGANG AMADEUS MOZART (1756-1791) completed the delightful Quintet for Horn and Strings on the last day of 1782 for the horn player Ignaz Joseph Leutgeb, an old friend of the Mozart family from Salzburg, where he was a colleague of Wolfgang and father Leopold in the orchestra of Archbishop Colloredo. One of the few regular jobs that BRAHMS ever held was at the court of Lippe-Detmold, midway between Frankfurt and Hamburg, one of the leading centers of 19th-century German music. He undertook his duties there in 1857, conducting the chorus and orchestra, participating in chamber music, and giving lessons to the young ladies at court. The post was only for the three months of October through December, but the salary was sufficient to sustain Brahms in his modest life style in Hamburg for a full year, and he returned in 1858 and 1859. The B-flat String Sextet was conceived at Detmold in 1859 and reflects his enjoyment of his happy situation there.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Concessions provided by:

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The Francis Family The Sidney E. Frank Foundation Town of Vail Vail Marriott Mountain Resort and Spa

JUL

WEDNESDAY JULY 13, 11:00AM ORCHESTRA SERIES: FREE

GERALD R FORD AMPHITHEATER

FREE FAMILY CONCERT

BEETHOVEN LIVES UPSTAIRS

he world-famous production of Beethoven Lives Upstairs features a lively exchange of letters between young Christoph and his uncle. Their subject is the “madman” who has moved into the upstairs apartment of Christoph’s Vienna home. Through a touching correspondence dramatically underscored with the composer’s most beautiful excerpts, Christoph comes to understand the genius of Beethoven, the beauty of his music, and the torment of his deafness. Audiences will be captivated by more than twenty-five excerpts of the master’s music, including the “Moonlight” Sonata, “Für Elise,” and the great Fifth and Ninth Symphonies. The music is magically woven into the drama as two actors share their anecdotes and observations based on true incidents from the composer’s life. Presenting history, drama, music and fun, this engaging concert is an ideal way to fall in love with Beethoven, no matter your age.

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

NATIONAL REPERTORY ORCHESTRA Lio Kuokman, conductor Anne-Marie McDermott, piano Natalie Berg, “Christoph” Thad Avery, “Uncle”

BEETHOVEN LIVES UPSTAIRS Produced by Classical Kids Music Education Series Creator: Barbara Hammond Director and Producer: Paul Pement Based on the Original Work by Barbara Nichol The theatrical concert version of Beethoven Lives Upstairs is an adaptation of the best-selling and award-winning Classical Kids audio recording, Beethoven Lives Upstairs, produced by Susan Hammond and originally directed as a staged concert by Peter Moss with additional direction by Dennis Garnhum. Classical Kids® is a trademark of Classical Productions for Children Ltd., used under exclusive license to Pement Enterprises, Inc., and produced by Classical Kids Music Education, NFP. Actors and Production Stage Manager are members of Actors’ Equity Association. Classical Kids recordings marketed by The Children’s Group. Total running time of this program is approximately 50 minutes.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS MORNING’S CONCERT FROM: Dierdre and Ronnie Baker The Francis Family The Sidney E. Frank Foundation The Lyn and Phillip Goldstein Piano Concerto Artist Project The Paiko Trust, in honor of the Firefighters of the Vail Valley Carole A. Watters

WEDNESDAY JULY 13, 7:30PM

JUL

FREE CONCERT SERIES

GYPSUM TOWN HALL

Tomer Gewirtzman, piano Steven Lin, piano

F. COUPERIN Passacaille in B minor from Pièces de Clavecin, Ordre 8, No. 9

J.S. BACH Toccata in E minor, BWV 914 Moderato — Un poco allegro — Adagio — Fugue: Allegro

MENDELSSOHN Rondo Capriccioso, Op. 14

LISZT Reminiscences on Mozart’s “Don Juan”

2016 BRAVO! VAIL PIANO FELLOWS

BACH, MENDELSSOHN & COUPERIN

he music of the great French Baroque master FRANÇOIS COUPERIN (1668–1733) was famed for being elegant and melodious, rich but not excessively chromatic, clear in design, expressive but not maudlin, and current with the best musical fashions of the day. JOHANN SEBASTIAN BACH (1685–1750) composed the Toccata in E minor around 1710, during his tenure as organist and chamber musician at the court of Weimar between 1708 and 1717. FELIX MENDELSSOHN (1809–1847) was raised in one of the most cultured and affluent households in early-19th-century Berlin. The genius of young Felix as a violinist, pianist, and composer was evident by the time he was ten, and his youthful musical accomplishments were presented in twice-monthly concerts in a large hall on the estate’s grounds. Among the last works Mendelssohn composed for those family concerts before setting out in 1829 to make his way as a professional musician was the Rondo Capriccioso, Op. 14. The Reminiscences on “Don Juan” (1841) by FRANZ LISZT (1811–1886) is a virtuosic treatment of some of the most familiar themes from Mozart’s beloved opera.

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

STEVEN LIN

100 Learn more at BravoVail.org

Eagle County Kathy and David Ferguson The Francis Family The Sidney E. Frank Foundation Town of Gypsum The Paiko Trust, in honor of the Firefighters of the Vail Valley Carole A. Watters Westwind

©JIYANG CHEN; ©SHAO TING KUEI.

TOMER GEWIRTZMAN

JUL

THURSDAY JULY 14, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

Tomer Gewirtzman, piano Steven Lin, piano

2016 BRAVO! VAIL PIANO FELLOWS

HAYDN

HAYDN, CHOPIN & LISZT

Sonata in C major, Hoboken XVI: 50 Allegro Adagio Allegro molto

he eminent Danish musicologist Jens Peter Larsen called the C major Sonata (H. XVI: 50) of JOSEPH HAYDN (1732–1809), composed in London in 1794 or 1795, “perhaps the finest expression of the composer’s own creative power. It is a marvelous example of his structural mastery, developing a short and rather formal opening theme into a varied but consistently unified piece.” Robert Schumann characterized the Ballade No. 1 (1831–1835) as “the most spirited and daring work” of FRÉDÉRIC CHOPIN [1810–1849], and reported that it was inspired by Mickiewicz’s Konrad Valenrod, a poetic epic concerning battles between the pagan Lithuanians and the Christian Knights of the Teutonic Order. The work exhibits both the ingenious conflation of sectional, sonata, and rondo forms, and the voluptuous, wide-ranging harmonic palette that marks all four of Chopin’s Ballades. The Sonata in B minor (1852–1853) by FRANZ LISZT (1811–1886) employs a revolutionary technique called “thematic transformation,” in which a recurring theme is altered to create a wide variety of tempos, harmonies, and rhythms that suggest contrasting emotional states.

CHOPIN Ballade No. 1 in G minor, Op. 23

LISZT Sonata in B minor

©JIYANG CHEN; ©SHAO TING KUEI.

TOMER GEWIRTZMAN

STEVEN LIN

101

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THE PHILADELPHIA ORCHESTRA JUL

NORTHERN LIGHTS:

GRIEG, SIBELIUS, SHOSTAKOVICH

THURSDAY JULY 14, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: KAREN AND MICHAEL HERMAN

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

SPECIAL GRATITUDE TO: The Francis Family The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Terri and Tom Grojean Mr. and Mrs. Ernest Scheller, Jr.

SOLOIST UNDERWRITERS: Kirill Gerstein, piano - Sally and Wil Hergenrader, and Barbara and Jack Woodhull

103

JUL

THURSDAY JULY 14, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Kirill Gerstein, piano

NORTHERN LIGHTS: GRIEG, SIBELIUS, SHOSTAKOVICH Suite No. 1 from Peer Gynt, Op. 46 (1874–1875)

GRIEG

EDVARD GRIEG (1843–1907)

Suite No. 1 from Peer Gynt, Op. 46 (15 minutes) Morning Mood The Death of Åse Anitra’s Dance In the Hall of the Mountain King

SHOSTAKOVICH Piano Concerto No. 2 in F major, Op. 102 (17 minutes) Allegro Andante — Allegro

— INTERMISSION — SIBELIUS Symphony No. 5 in E-flat major, Op. 82 (32 minutes) Tempo molto moderato — Allegro moderato (ma poco a poco stretto) Andante mosso, quasi allegretto Allegro molto

he premiere of the revival of the fantastical allegory Peer Gynt by Henrik Ibsen (1828-1806) in February 1876 for which Grieg provided a raft of incidental music was one of the greatest successes of the composer’s life. The event marked the beginning of his international renown and his financial security. Grieg outlined the plot of the play, though it must be noted that the episodes and characters he mentions have a deeper, symbolic significance than is apparent from this brief précis: “Peer Gynt, the only son of poor peasants, is drawn by the poet as a character of morbidly developed fancy and a prey to megalomania. In his youth, he has many wild adventures — comes, for instance, to a peasants’ wedding where he carries the bride up to the mountain peaks. There he leaves her so that he may roam about with wild cowherd girls. He then enters the land of the Mountain King, whose daughter falls in love with him and dances for him. But he laughs at the dance and its droll music, whereupon the enraged mountain folk wish to kill him. But he succeeds in escaping and wanders to foreign countries, among others to Morocco, where he appears as a prophet and is greeted by Arab girls. After many wonderful guidings of Fate, he at last returns home as an old man. There the sweetheart of his youth, Solvejg, who has stayed true to him for all these years, meets him, and his weary head at last finds rest in her lap.” The First Suite opens with Morning Mood, which occurs in Act IV, when Peer finds himself in Africa. The Death of Åse serves as the poignant background for the passing of Peer’s mother. Anitra’s Dance is a lithe number performed for Peer during his adventures in Morocco by the daughter of a Bedouin chief. In the Hall of the Mountain King accompanies Peer’s terrified escape from the abode of the most fearsome of Norway’s trolls.

Piano Concerto No. 2 in F major, Op. 102 (1956–1957) DMITRI SHOSTAKOVICH (1906–1975)

Standing beside the introspective and reflective creations of Shostakovich’s later years — the wondrous series of string 104 Learn more at BravoVail.org

quartets and the last three symphonies — is a large amount of immediately appealing music embodying one of his most important tenets: “I find it incredible that an artist should wish to shut himself away from the people.” One of the best-crafted among this group of film scores, tone poems, jingoistic anthems and occasional instrumental works is the Piano Concerto No. 2, which Shostakovich wrote in 1956-1957 for his son, Maxim, who was just finishing his studies at the Moscow Conservatory. The outer movements, both marked Allegro, are propelled by an almost demonic energy grown from a hybrid of march and galop. They call for an invigorating display of virtuosity — nimble, powerful, percussive by turns — that gives the soloist ample opportunity to display his technique. In contrast, the slow middle movement, for piano and strings only (with the exception of a single entry by the solo horn), is of a lyricism and tenderness reminiscent of Chopin, filtered perhaps, in its harmonic suavities, through Poulenc.

Symphony No. 5 in E-flat major, Op. 82 (1915) JEAN SIBELIUS (1865–1957)

Early in 1915, Sibelius learned that a national celebration was planned for his fiftieth birthday (December 8th), and that the government was commissioning from him a new symphony for CONTINUED ON PAGE 198

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ( $50,000+ )

ANB Bank and the Sturm Family Peggy Fossett Donna and Patrick Martin Town of Vail

IMPRESARIO ( $25,000+ ) Karen and Michael Herman

OVATION ( $15,000+ ) Teressa and Anthony Perry Susan and Rich Rogel

ALLEGRO ( $10,000+ ) Anonymous Christine and John Bakalar Arlene and John Dayton

Anne and Hank Gutman Carole and Peter Segal Cathy and Howard Stone

SOLOIST ( $7,000+ ) Sue and Dan Godec Linda and Kalmon Post Susan and Steven Suggs

Funded in part by generous grants from The Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail, Manor Vail Lodge, and the Lodge at Vail are the official homes of the The Philadelphia Orchestra while in residency at Bravo! Vail.

INSIDE STORY

SIBELIUS: FINLAND’S FAVORITE SON While many composers have strong associations with their home countries, not many become a national hero whose birthday is declared a national holiday. Jean Sibelius was such a “favorite son” to Finland. Much of his writing is music inspired by mythology, political themes, and scenic imagery of his homeland, especially the Karelia Suite, and Kullervo and The Swan of Tuonela, both based on traditional epic poems. His orchestral piece Finlandia has become an unofficial national anthem, and his Symphony No. 5 was actually commissioned by the Finnish government in honor of the composer’s own 50th birthday! Other marks of Finnish devotion to their beloved countryman include: • Putting his picture on the 100 mark bill • Building a museum devoted to music and naming it for him • Creating a Sibelius Society, and even a Sibelius Birthtown Foundation which coordinated his 150th birthday “jubilee” year in 2015 • Annually celebrating his birthday, December 8, as “Day of Finnish Music”

DID YOU KNOW? The world’s best-selling music notation software was named Sibelius as a pun on the last name of its inventors, Ben and Jonathan Finn, who are actually British. 105

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THE PHILADELPHIA ORCHESTRA JUL

MOZART’S JUPITER & BATIASHVILI

FRIDAY JULY 15, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: PEGGY FOSSETT

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

SPECIAL GRATITUDE TO: The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: June and Peter Kalkus Carolyn and Gene Mercy Teressa and Anthony Perry

SOLOIST UNDERWRITERS: Lisa Batiashvili, violin - Linda and Kalmon Post

107

JUL

FRIDAY JULY 15, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Lisa Batiashvili, violin

MOZART Symphony No. 41 in C major, K. 551, “Jupiter” (30 minutes) Allegro vivace Andante cantabile Menuetto: Allegretto Molto allegro

— INTERMISSION — DVOŘÁK Three Slavonic Dances (15 minutes) Op. 46, No. 1 in C major Op. 72, No. 2 in E minor Op. 46, No. 8 in G minor

DVOŘÁK Violin Concerto in A minor, Op. 53 (33 minutes) Allegro ma non troppo — Adagio ma non troppo Finale: Rondo giocoso, ma non troppo

108 Learn more at BravoVail.org

MOZART’S JUPITER & BATIASHVILI Symphony No. 41 in C major, K. 551, “Jupiter” (1788) WOLFGANG AMADEUS MOZART (1756–1791)

ozart’s life was starting to come apart in 1788 — his money, health, family situation and professional status were all on the decline. He was a poor money manager, and the last years of his life saw him sliding progressively deeper into debt. Sources of income dried up. His students had dwindled to just two by summer, and he had to sell his new compositions for a pittance to pay the most immediate bills. He hoped that Vienna would receive Don Giovanni as well as had Prague when that opera was premiered there the preceding year, but it was met with a haughty indifference when first heard in the Austrian capital in May 1788. He could no longer draw enough subscribers to produce his own concerts and had to take second billing on the programs of other musicians. His wife, Constanze, was ill from worry and continuous pregnancy, and spent much time away from her husband taking cures at various mineral spas. On June 29th, their fourth child and only daughter, Theresia, age six months, died. Yet, astonishingly, from these seemingly debilitating circumstances came one of the greatest miracles in the history of music. In the summer of 1788, in the space of only six weeks, Mozart composed the three greatest symphonies of his life: No. 39, in E-flat (K. 543) was finished on June 26th; the G minor (No. 40, K. 550) on July 25th; and the C major, “Jupiter” (No. 41, K. 551) on August 10th. Three separate motives are introduced successively in the “Jupiter” Symphony’s first dozen measures: a brilliant rushing gesture, a sweetly lyrical thought from the strings, and a marching motive played by the winds. The second theme is a simple melody first sung by the violins over a rocking accompaniment. The closing section of the exposition introduces a jolly little tune that Mozart had originally written a few weeks earlier as a buffa aria for bass to be interpolated into Le Gelosie Fortunate (“The Fortunate Jealousy”), an opera by Pasquale Anfossi. Much of the development is devoted to an amazing exploration of the musical possibilities of this simple ditty. The thematic material is heard again in the recapitulation in a richer orchestral and harmonic setting. The ravishing Andante is spread across a fully realized sonata form, with a compact but emotionally charged development section. The Minuet is a perfect blend of the lighthearted rhythms of popular Viennese dances and Mozart’s deeply expressive chromatic harmony. The finale has been the

focus of many musicological assaults. It is demonstrable that there are as many as five different themes played simultaneously at certain moments, making this one of the most masterful displays of technical accomplishment in the entire orchestral repertory. But the listener need not be subjected to any numbing pedantry to realize that this music is really something special. Mozart was the greatest genius in the history of music, and he never surpassed this movement.

INSIDE STORY

Three Slavonic Dances (1878 and 1886) ANTONÍN DVOŘ ÁK (1841–1904)

The eight Slavonic Dances, Op. 46, were the first efflorescence of the Czech nationalism that was to become so closely associated with Dvořák’s music. On the advice of his mentor Johannes Brahms, he sent them to the noted publisher Fritz Simrock of Berlin in May 1878 and was paid 300 marks, the first substantial sum Dvořák had ever made from any of his works. Though these pieces were originally intended for piano duet (a shrewd marketing strategy by Simrock — there were a lot more piano players than orchestras), Dvořák began the orchestrations even before the keyboard score for all eight dances was completed, and Simrock issued both versions simultaneously in August 1878. Louis Ehlert, the influential critic of the Berliner Nationalzeitung, saw an early CONTINUED ON PAGE 199

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ( $50,000+ )

ANB Bank and the Sturm Family Peggy Fossett Donna and Patrick Martin Town of Vail

IMPRESARIO ( $25,000+ ) Karen and Michael Herman

OVATION ( $15,000+ ) Teressa and Anthony Perry Susan and Rich Rogel

ALLEGRO ( $10,000+ ) Anonymous Christine and John Bakalar Arlene and John Dayton

Anne and Hank Gutman Carole and Peter Segal Cathy and Howard Stone

SOLOIST ( $7,000+ ) Sue and Dan Godec Linda and Kalmon Post Susan and Steven Suggs

SEVEN FUN FACTS ABOUT DVOŘÁK 1. Antonín Dvořák was the eldest of 14 children. His father was a professional zither player, an innkeeper and a butcher. As a youth Antonín joined the local band, and also became an apprentice butcher. 2. Dvořák married his wife, Anna, after courting and being turned down by her sister, Josefina. 3. Dvořák was commissioned to write some Slavonic Dances for piano duet. Aimed at the lucrative domestic market, the sheet music sold out in one day. 4. When his publisher failed to send him an advance for his Symphony No. 7, the composer argued that he needed the money to make up for the poor potato harvest that year. 5. Dvořák was a “train spotter,” spending hours at the Prague railway station. In New York, he also became fascinated with steam ships and pigeons. 6. While in the United States Dvořák became quite homesick, rarely going out, and even spent a summer with a Czech community in Iowa. 7. An American Liberty ship of the U.S. Navy is named USNS Antonín Dvořák in his honor. 109

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THE PHILADELPHIA ORCHESTRA JUL

MAHLER’S “RESURRECTION” SYMPHONY

SATURDAY JULY 16, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Pat Martin

SPECIAL GRATITUDE TO: The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

SPONSORED BY: Susan and John Dobbs Penny and Bill George Anne and Hank Gutman

SOLOIST UNDERWRITERS: Karina Gauvin, soprano - Joyce and Paul Krasnow Michelle DeYoung, mezzo-soprano Kathy and Roy Plum Duain Wolfe, Colorado Symphony Chorus Director - Mary Lou Paulsen and Randy Barnhart

111

JUL

SATURDAY JULY 16, 6:00PM ORCHESTRA SERIES

FREE PRE-CONCERT TALK, 5:00PM

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Karina Gauvin, soprano Michelle DeYoung, mezzo-soprano Colorado Symphony Chorus Duain Wolfe, director

MAHLER Symphony No. 2 for Soprano and Mezzo-Soprano Soloists, Chorus and Orchestra in C minor, “Resurrection” (80 minutes) Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck Andante moderato: Sehr gemächlich In ruhig fliessender Bewegung — “Urlicht”: Sehr feierlich aber schlicht (Mezzo-Soprano) — Finale, on Klopstock’s ode “Auferstehen” (“Resurrection”) (Chorus and Soloists)

This evening’s concert is performed without intermission.

112 Learn more at BravoVail.org

Gerald R. Ford Amphitheater Lobby Jack Sheinbaum, Denver University

MAHLER’S “RESURRECTION” SYMPHONY Symphony No. 2 in C minor, “Resurrection” (1888–1894) GUSTAV MAHLER (1860–1911)

n August 1886, the distinguished conductor Arthur Nikisch, later music director of the Boston Symphony Orchestra, appointed the 26-year-old Gustav Mahler as his assistant at the Leipzig Opera. In Leipzig, Mahler attended a reception in a room filled with flowers. This seemingly beneficent image played on his mind, becoming transmogrified into nightmares and waking visions, almost hallucinations, of himself on a funeral bier surrounded by floral wreaths. The First Symphony was completed in March 1888, and its successor was begun almost immediately. Mahler, spurred by the startling visions of his own death, conceived the new work as a tone poem entitled Totenfeier (“Funeral Rite”). Though he inscribed his manuscript, “Symphony in C minor/First Movement,” he had no idea at the time what sort of music would follow Totenfeier, and for a time he considered allowing the movement to stand as an independent work. The next five years were ones of intense professional and personal activity for Mahler. He resigned from the Leipzig Opera in May 1888 to take a new post in Budapest. In 1891, he switched jobs once again, leaving Budapest to join the prestigious Hamburg Opera as principal conductor. There he encountered Hans von Bülow, who was director of the Hamburg Philharmonic concerts. Encouraged by Bülow’s admiration of his conducting, Mahler asked for his comments on the still-unperformed Totenfeier. Mahler described their encounter: “When I played my Totenfeier, Bülow fell into a state of extreme nervous tension, clapped his hands over his ears and exclaimed, ‘Beside your music, Tristan sounds as simple as a Haydn symphony!’ We parted in complete friendship, I, however, convinced that Bülow considers me an able conductor but absolutely hopeless as a composer.” A year after Bülow’s withering criticisms, Mahler found inspiration to compose again in a collection of German folk poems by Ludwig Achim von Arnim and Clemens Brentano called Des Knaben Wunderhorn (“The Youth’s Magic Horn”). He had known

these texts since at least 1887, and in 1892 set four of them for voice and piano. The following summer, when he was free from the pressures of conducting, he took rustic lodgings in a village near Salzburg, and it was there that he resumed work on the Second Symphony, five years after the first movement had been completed. Without a clear plan as to how they would fit into the Symphony’s overall structure, he used two of the Wunderhorn songs from the preceding year as the bases for the internal movements. On July 16th, he completed the orchestral score of the Scherzo. By the end of summer 1893, the first four movements of the Symphony were done, but Mahler was still unsure about the work’s ending — the finality implied by the opening movement’s “Funeral Rite” seemed to allow no logical progression to another point of climax. As a response to the questions posed by the first movement, he envisioned a grand choral close for the work, much in the manner of the triumphant ending of Beethoven’s last symphony. Still, no solution presented itself. In December 1892, Bülow’s health gave out and he designated Mahler to be his successor as conductor of the Hamburg Philharmonic concerts. A year later Bülow went to Egypt for treatment, but he died suddenly at Cairo on February 12, 1894. Mahler’s friend Josef Förster described the memorial service at Hamburg’s St. Michael Church: “Mahler and I were present at the moving farewell.... The strongest impression to remain was that of the singing of the children’s voices. The effect was created not CONTINUED ON PAGE 199

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ( $50,000+ )

ANB Bank and the Sturm Family Peggy Fossett Donna and Patrick Martin Town of Vail

IMPRESARIO ( $25,000+ ) Karen and Michael Herman

OVATION ( $15,000+ ) Teressa and Anthony Perry Susan and Rich Rogel

ALLEGRO ( $10,000+ ) Anonymous Christine and John Bakalar Arlene and John Dayton

Anne and Hank Gutman Carole and Peter Segal Cathy and Howard Stone

SOLOIST ( $7,000+ ) Sue and Dan Godec Linda and Kalmon Post Susan and Steven Suggs

INSIDE STORY

MAHLER THE CONDUCTOR Gustav Mahler the composer is familiar to classical music fans, especially to lovers of large-scale orchestral works. While Mahler was alive, however, he was better known as a conductor than a composer. He got his first gig at age 20, a “dismal little job” conducting operettas in an Austrian spa town. He worked his way up through larger and more prestigious houses in Prague and Leipzig, followed by the Royal Opera in Budapest and the Hamburg Stadttheater, where Tchaikovsky declared Mahler “positively a genius” after hearing him conduct the German premiere of Eugene Onegin. An appointment as Director of Vienna’s Hofoper (now Staatsoper) was marked by both artistic triumphs and battles — it was said that he treated his musicians the way a lion tamer treated his animals — and the 47-year-old soon set off for New York, where he led both the Metropolitan Opera and New York Philharmonic. But before he left his beloved Austria, he conducted a farewell performance of his own Symphony No. 2, “Resurrection.” 113

JUL

SUNDAY JULY 17, 5:30PM BRAVO! VAIL GALA

THE RITZ CARLTON, BACHELOR GULCH

In Honor and Celebration of Bravo! Vail’s Education and Community Engagement Programs GALA CO-CHAIRS Michele and Jeffrey Resnick Carole and Peter Segal

5:00 Exclusive VIP Pre-Party (Available to Gold and Platinum Level Ticket Buyers Only)

5:30 Cocktail Reception and Silent Auction

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Dierdre and Ronnie Baker Doe Browning Cindy Engles Judy and Alan Kosloff Michele and Jeffrey Resnick Adrienne and Chris Rowberry Carole and Peter Segal Susan and Steven Suggs Sandra and Greg Walton

JUL

19 2016 BRAVO! VAIL PIANO FELLOWS

BARTÓK & BARBER

he movements of Out of Doors (Five Piano Pieces) (1926) by BÉLA BARTÓK (1881–1945) are succinct character pieces with varied referential titles: With Drums and Pipes; Barcarolla; Musettes; The Night’s Music; and The Chase. DAVID HERTZBERG (b. 1990), a graduate of Juilliard and Curtis and one of America’s most prominent young composers, wrote Notturno Incantato (“Enchanted Nocturne”) in 2013 for Steven Lin, who premiered it in Carnegie Hall early the following year. Hertzberg suggested the expressive aura of the work in an evocative poem: draped in darkness, she lays her languid limbs across the earth a music lithe and distant is exhumed in the faintness of her undulating breath and in the swell of supple silence beneath her veil, unseen,

TUESDAY JULY 19, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

Tomer Gewirtzman, piano Steven Lin, piano

BARTÓK Out of Doors (Five Piano Pieces) With Drums and Pipes: Pesante Barcarolla: Andante Musettes: Moderato The Night’s Music: Lento The Chase: Presto

HERTZBERG Notturno Incantato

BARBER Souvenirs for Piano, Four Hands, Op. 28 Waltz Schottische Pas de Deux Two-Step Hesitation-Tango Galop

celestial cinders whisper secret syllables in their ever-ancient tongue. SAMUEL BARBER (1910–1981) based Souvenirs, written in 1951–1952 for a popular duo-piano team at one of New York’s fashionable nightclubs, on turn-of-the-20th-century American dance styles.

©JIYANG CHEN; ©SHAO TING KUEI.

TOMER GEWIRTZMAN

STEVEN LIN 115

JUL

TUESDAY JULY 19, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION

DOVER QUARTET Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello Anne-Marie McDermott, piano

BEETHOVEN Grosse Fuge for String Quartet, Op. 133 (17 minutes) Fugue: Allegro — Meno mosso e moderato — Allegro molto e con brio — Meno mosso e moderato — Allegro molto e con brio

SMETANA String Quartet No. 1 in E minor, “From My Life” (29 minutes) Allegro vivo appassionato Allegro moderato a la Polka Largo sostenuto Vivace — Meno presto — Moderato

— INTERMISSION — BRAHMS Quintet in F minor for Piano and String Quartet, Op. 34 (45 minutes) Allegro non troppo Andante, un poco adagio Scherzo: Allegro Finale: Poco sostenuto — Allegro non troppo — Presto, non troppo

BEETHOVEN’S GROSSE FUGE

he Grosse Fuge of LUDWIG VAN BEETHOVEN (1770– 1827), originally the finale of the Quartet, Op. 130, is grand in scale and Promethean in thought, bursting from the strict model of the Baroque genre by inextricably combining counterpoint, variation, and thematic development: it is a compendium of Beethoven’s mature techniques at their highest level. The String Quartet in E minor (“From My Life”) of BEDŘICH SMETANA (1824–1884) was composed soon after he suddenly lost his hearing and much of his livelihood. He said its four movements evoke “my youthful leanings toward art … the joyful days of youth when I composed dance tunes and was known everywhere as a passionate lover of dancing … the happiness of my first love, the girl who later became my wife … [and] the onset of my deafness and, remembering all the promise of my early career, a feeling of regret.” The Piano Quintet of JOHANNES BRAHMS (1833–1897) began as a string quintet before becoming a sonata for two pianos and eventually the work that the esteemed conductor Hermann Levi called “a thing of great beauty, a masterpiece of chamber music.”

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Concessions provided by:

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JUL

WEDNESDAY JULY 20, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

TANNEBAUM & BROWNSTEIN RESIDENCE, VAIL

THE LINDA AND MITCH HART SOIRÉE SERIES

DOVER QUARTET PERFORMS BEETHOVEN

f, as the jazz great Stan Getz said, “a good quartet is like a good conversation among friends,” then a great quartet playing Haydn and Beethoven must be the best dinner party in town. Experience what the Santa Fe New Mexican called “string quartet nirvana” when these four phenomenal young players dig deeply into two great masterpieces of the classical chamber music repertoire. Haydn was known as “the father of the string quartet,” and the two movements of his Opus 103 contain the last notes he ever wrote in the genre. Beethoven’s String Quartet No. 8 is a study in contrasts, incorporating contemplative hymns, surprising harmonic clashes, suspense, humor, and – ultimately – transcendence.

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

HAYDN String Quartet in D minor, Op. 103

BEETHOVEN String Quartet No. 8, Op. 59, No. 2 “Razumovsky”

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Lisa Tannebaum and Don Brownstein

SPECIAL GRATITUDE TO

DOVER QUARTET

Linda and Mitch Hart

SPONSORED BY Crazy Mountain Brewing Company Pettit Photography Vail Catering Concepts Vintage Magnolia West Vail Liquor Mart

117

THURSDAY JULY 21, 1:00PM

JUL

FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

DOVER QUARTET Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello Tomer Gewirtzman, piano Steven Lin, piano

CHOPIN Nocturne in C minor, Op. 48 No. 1

MEDTNER Sonata-Idylle, Op. 56

DOHNÁNYI Quintet No. 1 for Piano and String Quartet in C minor, Op. 1 Allegro Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato

2016 BRAVO! VAIL PIANO FELLOWS

DOVER & DOHNÁNYI

he C minor Nocturne (1841) of FRÉDÉRIC CHOPIN (1810–1849) was praised by musicologist Herbert Weinstock as “one of his compositional triumphs.” Though Russian composer and pianist NICOLAS MEDTNER (1880–1951) is today little known, he is regarded by many faithful followers as the creative and pianistic equal of Scriabin and Rachmaninoff. The opening movement of his radiant Sonata-Idylle (1937) suggests ethereal sylphs dancing in a sundappled, mythological grove, while the lyrical finale uses a second theme whose opening notes resemble Somewhere Over the Rainbow (which, completely coincidentally, Harold Arlen, the son of a Russian-born cantor, was composing in Hollywood for The Wizard of Oz at exactly the same time). ERNST VON DOHNÁNYI (1877–1960) was among the 20th century’s foremost composers, pianists, teachers, and music administrators. Born in Hungary, he studied at the Franz Liszt Academy in Budapest, toured extensively as a pianist, taught at the Berlin Hochschule für Musik, and became director of the Budapest Academy in 1919 and musical director of the Hungarian Radio in 1931. He ended his career at Florida State University. Dohnányi composed the Piano Quintet No. 1 in 1895, when he was eighteen and still a student at the Liszt Academy.

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Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation The Paiko Trust, in honor of the Firefighters of the Vail Valley The Sonnenalp Resort of Vail Carole A. Watters

©JIYANG CHEN; ©SHAO TING KUEI.

TOMER GEWIRTZMAN

JUL

THURSDAY JULY 21, 7:30PM FREE CONCERT SERIES

BRUSH CREEK PAVILLION

DOVER QUARTET

BEETHOVEN’S “RAZUMOVSKY”

©LISA-MARIE MAZZUCCO

ward-winning American composer DAVID LUDWIG (b. 1972) wrote of Pale Blue Dot, “I am inspired by astronomy and always have been. In 1990, the visionary astronomer and astrophysicist Carl Sagan, who worked on the Voyager missions, asked NASA to turn Voyager around and take a deep space portrait of Earth looking back as it was leaving the solar system from six billion miles away. When you look at this picture, you see first the long rays of sunlight refracted off of Voyager’s camera. In the bottom right of the photo is a bright little speck, not quite even a full pixel, and that is our home, the Earth. The photo is titled appropriately Pale Blue Dot. Those thoughts and images are the inspiration for my work.” LUDWIG VAN BEETHOVEN (1770–1827) wrote his three Op. 59 String Quartets In honor of (or, perhaps, at the request of) his Russian patron Count Andreas Kyrillovitch Razumovsky, one of the most prominent figures in Viennese society, politics, and art at the turn of the 19th century.

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

LUDWIG Pale Blue Dot

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

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Eagle County Town of Eagle Kathy and David Ferguson The Paiko Trust, in honor of the Firefighters of the Vail Valley Vail’s Mountain Haus Carole A. Watters

DOVER QUARTET

119

STEP IN WHERE THE STORIES START AT THE ENCORE

NEW YORK PHILHARMONIC JUL

SOUNDS OF SPAIN

FRIDAY JULY 22, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: THE FRIENDS OF THE NEW YORK PHILHARMONIC LENI AND PETER MAY

SPECIAL GRATITUDE TO: The Francis Family The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair The Paiko Trust, in honor of the Firefighters of the Vail Valley

121

JUL

FRIDAY JULY 22, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Bramwell Tovey, conductor Javier Perianes, piano Jennifer Johnson Cano, mezzo-soprano

MASSENET Ballet Music from Le Cid (14 minutes) Aragonaise Aubade Catalane Madrilène Navarraise

FALLA Nights in the Gardens of Spain, Symphonic Impressions for Piano and Orchestra (25 minutes) At the Generalife: Allegretto tranquillo e misterioso Distant Dance: Allegretto giusto In the Gardens of the Mountains of Córdoba: Vivo

— INTERMISSION — FALLA The Three-Cornered Hat, Ballet in Two Parts for Mezzo-Soprano and Orchestra (40 minutes)

SOUNDS OF SPAIN Ballet Music from Le Cid (1884-1885) JULES MASSENET (1842-1912)

l Cid (Le Cid, in French) — “The Conqueror,” from the Spanish Arabic al-sid (“lord, or chief”), the honorific of Rodrigo Díaz de Vivar, born around 1043 near Burgos — was the seminal figure in Spanish history who reclaimed Iberia from Moorish rule. El Cid was given almost legendary status by the anonymous 12th-century epic poem El Cantar de Mío Cid (“The Song of The Cid”), the earliest monument of Spanish literature, and by the account in La Crónica General ó Estoria [History] de España by the remarkable King Alfonso the Wise of Castile and Léon (1221-1284), poet, composer, scholar, social and political reformer, patron of the arts and sciences, and founder of a chair of music at the University of Salamanca in 1254. These early accounts of El Cid provided the material and inspiration for the plays Las Mocedades [Youth] del Cid and Las Hazañas [Exploits] del Cid, published together in 1618 by the Valencian poet and dramatist Guillen de Castro y Bellvis (1569-1631), which in turn became the basis of Pierre Corneille’s masterpiece of 1637, the tragedy Le Cid. The subject of El Cid entered the operatic repertory with Francesco Gasparini’s Il Gran Cid, premiered in Naples in 1717, and received another dozen treatments in Italy through the 1770s. Giovanni Pacini composed Il Cid for Milan’s La Scala in 1853, Peter Cornelius wrote Der Cid for Weimar in 1865, and both Bizet (Don Rodrigue, 1873, his last work before Carmen) and Debussy (Rodrigue et Chimène, 1890-1892) began El Cid operas that they never completed. The most successful opera derived from the tales of Spain’s iconic hero was Jules Massenet’s grand opéra Le Cid of 1885. In the ballet music, Massenet brilliantly captured the color and spirit of the opera’s setting with his versions of several characteristic Spanish dances.

Nights in the Gardens of Spain, Symphonic Impressions for Piano and Orchestra (1909-1915) MANUEL DE FALL A (1876-1946)

In speaking of Nights in the Gardens of Spain, Falla noted, “The end for which it was written is no other than to evoke places, sensations and sentiments. The themes employed are based on rhythms, modes, cadences and ornamental figures peculiar to Andalusia, although they are seldom employed here in their original forms; and the orchestration frequently employs in a conventional manner certain effects which are peculiar to the 122 Learn more at BravoVail.org

instruments popular in those parts of Spain.” The opening movement was inspired by the famous gardens of the Generalife, a 13th-century Moorish villa on a hillside overlooking the Alhambra in Granada. (In 1922, Falla settled within sight of the Generalife.) The clipped hedges, grottoes, fountains and avenues of cypress caused the 19th-century French writer Théophile Gautier to call the Generalife “a dream garden without parallel.” The movement is not in traditional concerto form, but is rather built from variations and extensions of a melody of tiny, winding intervals presented at the beginning by violas playing tremolo and sul ponticello (“at the bridge”). Falla did not specify a precise site for the second movement, called simply Distant Dance, though it is obviously the scene of a spirited fiesta. The rhythms, sometimes heard only vaguely, sometimes brought closer by a warm breeze, are vibrant and enticing. The theme is redolent of the sinuous leadings of Oriental melody. The finale, In the Gardens of the Mountains of Córdoba, according to J.B. Trend, portrays “an evening when a party is in progress, with a zambra of Gypsy musicians.... The word sâmira was used by the Moors in Spain for a revelry by night, CONTINUED ON PAGE 199

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ( $30,000+ ) ANB Bank and the Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Honey Kurtz Katherine Lawrence Vicki and Kent Logan Leni and Peter May Billie and Ross McKnight Amy and James Regan Helen and Vincent Sheehy Town of Vail Carol and Patrick Welsh

GOLD ( $20,000+ ) Jayne and Paul Becker Amy and Steve Coyer Stephanie and Lawrence Flinn Georgia and Don Gogel Tere and Claudio Gonzalez Judy and Alan Kosloff

Donna and Patrick Martin Barbie and Tony Mayer Ann and Alan Mintz Kay and William Morton June and Paul Rossetti Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

Funded in part by generous grants from The Lyn and Phillip Goldstein Piano Concerto Artist Project, the Town of Vail and the Vail Valley Foundation. The Antlers at Vail, Vail Marriott Mountain Resort and Spa, and Manor Vail Lodge are the official homes of the The New York Philharmonic while in residency at Bravo! Vail.

INSIDE STORY

THE MOOR’S LAST SIGH Legends of the Alhambra Spain boasts some of the most beautiful gardens in the world. As early as the 8th century, elaborate combinations of palatial architecture, exotic plants, water features and parkland were constructed, intended as places of rest and reflection, and reminders of paradise. These intricately designed landscapes were also perfect for inspiring myths and legends like secret chambers, vengeful massacres, imprisoned princesses, and palace ghosts. One of the most popular legends relates how Sultan Boabdil, a pacifist and the last king of the Moors, surrendered Granada without a fight to King Ferdinand and Queen Isabella of Spain in 1492. The Catholic monarchs exiled Boabdil, who wept as he handed King Ferdinand the keys to the city. As the peaceable Boabdil left his beloved Alhambra and the beautiful gardens of the Generalife, he paused at a mountain top for one final glance, sighing deeply at being forced to abandon his earthly paradise. Salman Rushdie took this legend as an inspiration for his famous novel “The Moor’s Last Sigh.” 123

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NEW YORK PHILHARMONIC JUL

SCREENING OF FILM:

CHAPLIN’S CITY LIGHTS

SATURDAY JULY 23, 8:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: THE FRIENDS OF THE NEW YORK PHILHARMONIC

SPECIAL GRATITUDE TO:

©ROY EXPORT SAS

The Lyn and Phillip Goldstein Maestro Society

125

JUL

SATURDAY JULY 23, 8:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC

SCREENING OF FILM: CHAPLIN’S CITY LIGHTS

Timothy Brock, conductor

Script, Direction and Music (except “La Violetera” by José Padilla) by Charlie Chaplin (1889-1977)

CITY LIGHTS

2004 RESTOR ATION OF CHAPLIN’ S SCORE BY TIMOTHY BROCK

Produced, written and directed by Charlie Chaplin

COMPOSED IN 1931

Music composed by Charles Chaplin except “La Violetera” by José Padilla Original musical arrangement by Arthur Johnston Original musical direction by Alfred Newman 2004 restoration of Chaplin’s score by Timothy Brock THE CAST A Blind Girl: Virginia Cherrill Her Grandmother: Florence Lee An Eccentric Millionaire: Harry Myers His Butler: Al Ernest Garcia A Prizefighter: Hank Mann A Tramp: Charlie Chaplin This performance will run approximately 90 minutes with no intermission. City Lights © Roy Export S.A.S. Music for City Lights Copyright © Roy Export Company Establishment and Bourne Co. except “La Violetera” © José Padilla. All rights reserved.

126 Learn more at BravoVail.org

harlie Chaplin — actor, producer, director, screenwriter, composer, Hollywood icon — received just one competitive Academy Award: for Best Score for the 1952 Limelight, his last American film. The Oscar, however, was not presented until 1973, the year after Limelight was finally released in the United States, since Sen. Joseph McCarthy and FBI director J. Edgar Hoover dictated that Chaplin would not be allowed back into the country after a trip to his native England in 1952 because they did not like his stand on social issues and tried for years to paint him as a Communist sympathizer. They never proved it and he always denied it. Chaplin settled in Switzerland and did not return to America until 1972, when he accepted an Honorary Award from the Academy “for the incalculable effect he has had in making motion pictures the art form of this century.” Though he had no formal training in the field and could neither read nor write music, Chaplin scored many of the ninety films of his half-century career, including The Kid, The Gold Rush, City Lights, Modern Times, The Great Dictator, Monsieur Verdoux, Limelight and A King in New York, among others. Chaplin always had music in his life. His father (who abandoned the family when Charlie was still an infant) was a music hall entertainer in London, his mother a singer; he made his stage debut in 1894, at age five, filling in for her when she once lost her voice mid-song. His childhood was difficult — he was placed in a series of bleak workhouses and residential schools after his mother had to be institutionalized — and he found much solace in what he called in his 1922 memoir, My Trip Abroad, “the rare beauty of music, a beauty that gladdened and haunted me.” At age eight, he joined a clog-dancing act and later tried out acting (in William Gillette’s Sherlock Holmes), vaudeville and pantomime, and taught himself to play violin and cello (both left-handed), organ and piano, on which he would improvise for hours. The direction of his career was set in 1913, when he left the pantomime troupe with which he was touring America to appear in Mack Sennett’s Keystone comedy films. Chaplin had already started writing songs by that time, and in 1916 he set up a music publishing company in Los Angeles to issue his own works. He made his first starring feature with The Kid in 1921, and beginning with A Woman of Paris

two years later, he created and published accompaniments that he distributed with his films, some music borrowed from classical sources or existing studio libraries, some newly composed. His first complete original score was for City Lights of 1931, and in speaking of it he explained his straightforward collaborative process with arranger and orchestrator Arthur Johnson: “I played it on the piano or violin, and Arthur wrote it down.” Conductor, composer and arranger Timothy Brock, who has meticulously restored Chaplin’s scores for City Lights, Modern Times, The Circus, The Gold Rush, Shoulder Arms, A Dog’s Life, The Pilgrim, A Day’s Pleasure, Sunnyside and Pay Day, wrote, “Up to City Lights, Chaplin had always had an invested interest in the music for his feature films, although his experience for composing had been limited to writing songs and dance numbers. To that point, he had approved and co-compiled scores for all of his features, but it was not until City Lights that he composed his first through-music score; it was a tremendous challenge for any young composer. “Chaplin’s composing methods involved a ‘musical associate’ [Arthur Johnson for City Lights] who would transcribe what he played on the piano or the violin. From there, Chaplin, sitting CONTINUED ON PAGE 200

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Jayne and Paul Becker Amy and Steve Coyer Stephanie and Lawrence Flinn Georgia and Don Gogel Tere and Claudio Gonzalez Judy and Alan Kosloff

Funded in part by a generous grant from the Town of Vail. The Antlers at Vail, Vail Marriott Mountain Resort and Spa, and Manor Vail Lodge are the official homes of the The New York Philharmonic while in residency at Bravo! Vail.

INSIDE STORY

LIGHTS, CAMERA... MUSIC! Charles Chaplin wrote, starred in, produced, directed, and edited the majority of his films. He is famous worldwide as one of the most innovative filmmakers in history, but there is a side of Chaplin that is not as well known: his role as composer. He never learned to read music, but played the piano, violin and cello (strung in reverse, as he was left handed), all by ear. When scoring a film he would describe, pick out, or sing the sounds he wanted to sync with the action on screen, and then work with a professional orchestrator to notate the written score. This laborious process was how Chaplin “wrote” the music for most of his feature films. He even won an Academy Award (his only Oscar) for the score to Limelight. Creating the soundtrack alongside the silent film allowed him complete control over every aspect of the audience’s experience, and with his genius he could transform or elevate a primitive gag — like squirting someone with a soda siphon — into something exquisite, through the use of music. 127

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NEW YORK PHILHARMONIC JUL

BRONFMAN PLAYS LISZT

SUNDAY JULY 24, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: THE FRIENDS OF THE NEW YORK PHILHARMONIC

SPECIAL GRATITUDE TO: The Francis Family The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

129

JUL

SUNDAY JULY 24, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Juraj Valčuha, conductor Yefim Bronfman, piano

KODÁLY Dances of Galánta (16 minutes) Lento Allegretto moderato Allegro con moto, grazioso Allegro Allegro vivace

LISZT Piano Concerto No. 2 in A major, Op. 23 (21 minutes) Adagio sostenuto assai Allegro agitato assai Allegro moderato Allegro deciso Marziale un poco meno Allegro Allegro animato Played without pause

— INTERMISSION — DVOŘÁK The Water Goblin, Op. 107 (19 minutes)

FREE PRE-CONCERT TALK, 5:00PM Gerald R. Ford Amphitheater Lobby Deborah Kauffman, University of Northern Colorado

BRONFMAN PLAYS LISZT Dances of Galánta (1933) Z O LTÁ N KO D Á LY ( 1 8 8 2 -1 9 6 7 )

odály devoted his career to preserving and nurturing the musical culture of his native Hungary, collecting indigenous songs and dances and devising a system of music education based on Hungarian folksong and utilizing its stylistic components in his compositions. When the Budapest Philharmonic commissioned him to write a work for its 80th anniversary, Kodály dipped once again into his inexhaustible folk treasury for melodic material, turning specifically to some books of Hungarian dances published in Vienna around 1800 that contained music “after several Gypsies of Galánta,” his childhood home. The Dances of Galánta follow a structure of alternating slow and fast sections. The introduction consists of a series of instrumental solos. The first dance, a slow one begun by the solo clarinet, displays a restrained Gypsy pathos. The quicker second dance, for solo flute, is based on a melody circling around a single pitch in halting rhythms. The first dance returns in the full orchestra as a bridge to a spirited tune first heard in the oboe. The finale is a brilliant whirlwind of music.

RAVEL La Valse, Poème chorégraphique (13 minutes)

Piano Concerto No. 2 in A major, Op. 23 (1839 and 1849) FR ANZ LISZT (1811-1886)

Liszt sketched his two piano concertos in 1839, but they lay unfinished until he became music director at the court of Weimar in 1848. He completed the Second Concerto, in A major, during the following summer, but he did not get around to having it performed for more than seven years. The procedure on which Liszt built this Concerto and other of his orchestral works is called “thematic transformation,” or, to use the rather more jolly phrase of American critic William Foster Apthorp, “The Life and Adventures of a Melody.” Basically, the “thematic transformation” process consists of inventing a theme that could be used to create a wide variety of moods, tempos, orchestrations and rhythms to suggest whatever emotional states were required by the different sections 130 Learn more at BravoVail.org

of the piece. There are at least six such “scenes” in Liszt’s Second Piano Concerto. The composer provided no specific plot for any of these, but he wrote music of such extroverted emotionalism that it is not difficult for imaginative listeners to provide their own: languor, storm, love, strife, resolve and battle is only one possible sequence. The melody on which this Concerto is based is presented immediately by the clarinet. It courses through each section, and can most easily be identified by the little half-step sigh at the end of the first phrase.

INSIDE STORY

The Water Goblin, Op. 107 (1896) ANTONÍN DVOŘ ÁK (1841-1904)

Dvořák’s tone poem The Water Goblin was based on a grisly Czech fairy tale by Karel Jaromir Erben (1811-1870), originally a lawyer, then a museum administrator, and finally, for many years, archivist of the city of Prague. The story is based on a fearsome aquatic creature who rules a village lake. This “Goblin” vows to have a wife and lures into his watery domain a maiden who has CONTINUED ON PAGE 200

POE AND RAVEL: A SHARED PHILOSOPHY

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Funded in part by generous grants from The Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail, Vail Marriott Mountain Resort and Spa, and Manor Vail Lodge are the official homes of the The New York Philharmonic while in residency at Bravo! Vail.

Maurice Ravel cited Edgar Allen Poe’s essay, “The Philosophy of Composition,” as the most important lesson he ever received about composing, proclaiming that the American writer, editor and literary critic was “my teacher in composition.” In the essay, Poe said, “Every plot, worth the name, must be elaborated to its dénouement before anything be attempted with the pen.” Ravel took this quite literally, and adopted the habit of composing a complete work in his head before setting pen to paper. Ravel also agreed with the writer about the ideal length of creative works, which Poe maintained can only sustain their excitement for a half-hour, “at the very utmost.” Most of Ravel’s works are 30 minutes or less (the typical running time of La Valse is about 13 minutes), which apparently was also the maximum amount of music he could hold in his head before setting it down on paper. 131

JUL

MONDAY JULY 25, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

WALTON RESIDENCE, ARROWHEAD

Yefim Bronfman, piano Program to be announced from the stage

CATERED BY THE LEFT BANK, EXECUTIVE CHEF, JEAN-MICHEL CHELAIN

THE LINDA AND MITCH HART SOIRÉE SERIES

AN EVENING WITH YEFIM BRONFMAN

pend an unforgettable evening with one of the most acclaimed and admired pianists in the world, who also happens to be a connoisseur of fine food and wine. “Fima,” as he is affectionately known, was the first classical musician to serve as a judge on the Food Network show Iron Chef America, and even has a wine named after him (Fimasaurus, a Napa Valley cabernet/merlot blend). Mingle with fellow musiclovers and epicures, settle in for a world-class performance in an intimate-yet-spectacular private home, then lift a glass (and fork) in celebration of the finest things in life.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: YEFIM BRONFMAN

THIS EVENING’S HOSTS Sandra and Greg Walton

SPECIAL GRATITUDE TO

SPONSORED BY Crazy Mountain Brewing Company Pettit Photography The Left Bank Vintage Magnolia West Vail Liquor Mart

132 Learn more at BravoVail.org

©DARIO ACOSTA

The Francis Family Linda and Mitch Hart

JUL

TUESDAY JULY 26, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

QWINDA WOODWIND QUINTET

FRENCH IMPRESSIONS

a Cheminée du Roi René by DARIUS MILHAUD (1892-1974) began as the soundtrack for a 1939 film by director Raymond Bernard about the 15th-century King René d’Anjou. Milhaud arranged excerpts from the score as a suite for winds when he was teaching at Mills College in Oakland, California during World War II. The fine craft, good humor and distinctive Gallic sensibilities characteristic of the music of JACQUES IBERT (1890-1962) are all embodied in the Trois Pièces Brèves he composed for woodwind quintet in 1930. A divertissement is a musical confection meant to divert, to delight, to amuse, and the Divertissement for Oboe, Clarinet and Bassoon by JEAN FRANÇAIX (1912-1997), bubbling with the composer’s distinctive insouciance and wit, more than lives up to its title. Françaix wrote his Woodwind Quintet in 1948 as a showcase for the virtuosity and stylistic range of the solo woodwind players of the Orchestre National de Paris.

Niles Watson, flute William Welter, oboe Stanislav Chernyshev, clarinet Emeline Chong, bassoon Jenny Ney, horn

MILHAUD La Cheminée du Roi René for Woodwind Quintet, Op. 205 Cortège Aubade Jongleurs La Maousinglade Joutes sur l’Arc Chasse à Valabre Madrigal–Nocturne

IBERT Trois Pièces Brèves for Woodwind Quintet Allegro Andante Assez lent — Allegro scherzando — Vivo — Tempo I — Vivo

FRANÇAIX Divertissement for Oboe, Clarinet and Bassoon Prélude: Moderato — Più vivo, poco portamento, animato — Tempo I — Allegretto assai Elégie: Grave Scherzo BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Colorado Mountain Express Destination Resorts Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation The Paiko Trust, in honor of the Firefighters of the Vail Valley Carole A. Watters

FRANÇAIX Woodwind Quintet No. 1 Andante tranquillo — Allegro assai Presto — Trio: Un poco più lento — Presto — Coda Tema con variazione: Andante Variation I: L’istesso tempo Variation II: Andantino con moto Variation III: Lento Variation IV: Vivo Variation V: Andante Tempo di marcia francese

JUL

TUESDAY JULY 26, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION

MUSICIANS FROM THE NEW YORK PHILHARMONIC

Hannah Choi, violin Quan Ge, violin Rémi Pelletier, viola Eileen Moon, cello Timothy Cobb, bass Pascual Martínez Forteza, clarinet Philip Myers, horn

Anne-Marie McDermott, piano

BRUCKNER Symphony No. 7 in E major (65 minutes) Allegro moderato Adagio: Sehr feierlich und langsam Scherzo: Sehr schnell — Trio: Etwas langsamer — Scherzo Finale: Bewegt, doch nicht zu schnell Arranged for Two Violins, Viola, Cello, Bass, Clarinet, Horn, Piano Four-Hands and Harmonium by Hanns Eisler, Erwin Stein and Karl Rankl This evening’s concert is performed without intermission.

AN INTIMATE ARRANGEMENT:

BRUCKNER 7

n November 1918, immediately after the cessation of hostilities that had wracked Europe for more than four years, Arnold Schoenberg founded the Society for Private Musical Performances in Vienna in order to “give artists and art-lovers a real and accurate knowledge of modern music.” Between December 1918 and the end of 1921, the Society gave well over 100 concerts at which were heard nearly 200 different pieces by Reger, Debussy, Bartók, Stravinsky, Ravel, Scriabin, Korngold and other modern masters. In addition to its regular concerts, the organization also produced a number of special events to aid its work. Among the last of the projects undertaken by the Society was an ambitious chamber arrangement of the monumental Symphony No. 7 of ANTON BRUCKNER (1824-1896) by Schoenberg’s students Hanns Eisler, Erwin Stein and Karl Rankl . They finished their work a week after the Society folded, however, and it was not heard until March 2000, when an ensemble led by violinist Thomas Christian gave its much-belated premiere in Vienna.

ANNE-MARIE MCDERMOTT

Concessions provided by:

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: The Francis Family The Sidney E. Frank Foundation Sitzmark Lodge Town of Vail

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NEW YORK PHILHARMONIC JUL

STRAUSS’S EIN HELDENLEBEN

WEDNESDAY JULY 27, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: THE FRIENDS OF THE NEW YORK PHILHARMONIC

SPECIAL GRATITUDE TO: The Lyn and Phillip Goldstein Maestro Society

135

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WEDNESDAY JULY 27, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Alan Gilbert, conductor

STRAUSS’S EIN HELDENLEBEN Ein Heldenleben (“A Hero’s Life”), Op. 40 (1898) RICHARD STR AUSS (1864-1949)

— PROGRAM TO INCLUDE — STRAUSS Ein Heldenleben, Op. 40 (47 minutes) The Hero The Hero’s Adversaries The Hero’s Companion The Hero’s Battlefield The Hero’s Works of Peace The Hero’s Retreat from the World, and Fulfillment Played without pause Frank Huang, solo violin

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arly in 1898, Strauss undertook a musical overview of the heroic spirit (his own, of course) in a tone poem. He painted six aspects of this spirit in Ein Heldenleben. The first three sections portray the participating characters: The Hero (“his pride, emotional nature, iron will, richness of imagination, inflexible and well-directed determination supplant low-spirited and sullen obstinacy” noted the modest composer); His Adversaries (Strauss said nothing about them — the cackling, strident music speaks for itself); and His Beloved (“It’s my wife I wanted to show. She is very complex, very feminine, a little perverse, a little coquettish”). The fourth section, in which the hero girds his loins to do battle against his enemies, was considered the height of modernity when it was new. Section five is an ingenious review of at least thirty snippets selected by Strauss from nine of his earlier works. The finale tells of the hero’s withdrawal from the earthly struggles to reach “perfection in contemplative contentment,” in the obscure words of the composer. For Strauss’ appearance as guest conductor with the New York Philharmonic in 1921, Lawrence Gilman prepared the following synopsis of Ein Heldenleben, to which the composer gave his approval: “1. The Hero. We hear first the valorous theme of the Hero. Subsidiary themes picture his pride, depth of feeling, inflexibility, sensitiveness, imagination. “2. The Hero’s Adversaries. Herein are pictured an envious and malicious crew, filled with all uncharitableness. The theme of the Hero appears in sad and meditative guise. But his dauntless courage soon reasserts itself, and the mocking hordes are put to rout. “3. The Hero’s Companion. A solo violin introduces the Hero’s Beloved. After an earnest phrase heard again and again, the orchestra breaks into a love song of heroic sweep and passion. As the ecstasy subsides, the mocking voices of the foe are heard remotely. “4. The Hero’s Battlefield. Suddenly the call to arms is heard. Distant fanfares (trumpets off-stage) summon the Hero to the conflict. The orchestra becomes a battlefield. A triumphant outburst proclaims his victory.

“5. The Hero’s Works of Peace. Now begins a celebration of the Hero’s victories of peace, suggesting his spiritual evolution and achievements. We hear quotations of themes from Strauss’ earlier works: reminiscences of Death and Transfiguration, Don Quixote, Don Juan, Till Eulenspiegel, Macbeth, Also sprach Zarathustra, the music-drama Guntram, and the exquisite song Traum durch die Dämmerung (‘Dream at Twilight’). “6. The Hero’s Retreat from the World, and Fulfillment. The tubas mutter the uncouth and sinister phrase that voices the dull contempt of the benighted adversaries. Furiously, the Hero rebels and the orchestra rages. His anger subsides. An agitated memory of storm and strife again disturbs his mood, but the solo violin reminds him of the consoling presence of the Beloved One. Peace descends upon the Hero’s spirit, and the finale is majestic and serene.”

INSIDE STORY

FRANK HUANG’S BEST WEEK EVER

GOLD ( $20,000+ )

©CHRIS LEE

Jayne and Paul Becker Amy and Steve Coyer Stephanie and Lawrence Flinn Georgia and Don Gogel Tere and Claudio Gonzalez Judy and Alan Kosloff

On April 11, 2015, the classical musicnews site TheViolinChannel.com published an article with the snappy headline “New York Phil Concertmaster, Frank Huang Completes Best Week of His Life.” This was not exaggeration, tonguein-cheek, or even hyperbole. On April 8, the New York Philharmonic announced that Huang would be their new Concertmaster, following a two-year search. Huang succeeded Glenn Dicterow, the longest-serving Concertmaster in the history of that august institution, who was retiring after 34 years. (The last time the New York Philharmonic had appointed a new Concertmaster, Ronald Reagan was president and Prince Charles and Lady Di were the celebrity couple of the year.) Two days after the public announcement of Huang’s appointment he was admitted into yet another august institution – matrimony — with his marriage to Sarah Ludwig, a violinist with the Houston Grand Opera. 137

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THURSDAY JULY 28, 11:00 AM FREE CONCERT SERIES

GOLDEN EAGLE SENIOR CENTER

QWINDA WOODWIND QUINTET

Niles Watson, flute William Welter, oboe Stanislav Chernyshev, clarinet Emeline Chong, bassoon Jenny Ney, horn

AGAY Five Easy Dances for Woodwind Quintet Polka Tango Bolero Waltz Rumba

MILHAUD La Cheminée du Roi René for Woodwind Quintet, Op. 205 Cortège Aubade Jongleurs La Maousinglade Joutes sur l’Arc Chasse à Valabre Madrigal–Nocturne

IBERT Trois Pièces Brèves for Woodwind Quintet Allegro Andante Assez lent — Allegro scherzando — Vivo — Tempo I — Vivo

QWINDA IN EAGLE

omposer, conductor, author and arranger DENES AGAY (1911-2007) was born in Hungary and trained at the Liszt Academy in Budapest, but was driven to America in 1939 by the Nazis. Agay wrote nearly a hundred books on musical subjects and composed for films and concert, including his delightful tongue-in-cheek Five Easy Dances of 1956. La Cheminée du Roi René by DARIUS MILHAUD (1892-1974) began as the soundtrack for a 1939 film by director Raymond Bernard about the 15th-century King René d’Anjou. Milhaud arranged excerpts from the score as a suite for winds when he was teaching at Mills College in Oakland, California during World War II. The fine craft, good humor and distinctive Gallic sensibilities characteristic of the music of JACQUES IBERT (1890-1962) are all embodied in the Trois Pièces Brèves he composed for woodwind quintet in 1930. In the New Grove Dictionary of Music and Musicians, British critic Paul Griffiths wrote of the “melodic fluency, elegance of structure, and consistently sensitive concern for instrumental capabilities” of the music of EUGÈNE BOZZA (1905-1991), qualities exemplified by his 1954 Trois Pièces pour Une Musique de Nuit (“Three Night Music Pieces”). GIOACCHINO ROSSINI (1792-1868) was said to have based the original Overture to The Barber of Seville, appropriately enough, on Spanish themes. That piece, however, was lost in transit somewhere between Rome and Bologna, so he simply replaced it with the instrumental number he had composed for Aureliano in Palmira of 1813, an adventure about the Emperor Aurelian in Palmyra in the third century of the Christian era.

BOZZA Trois Pièces pour Une Musique de Nuit for Flute, Oboe, Clarinet and Bassoon Andantino Allegro vivo Moderato

ROSSINI Overture to The Barber of Seville for Woodwind Quintet

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BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS MORNING’S CONCERT FROM: Town of Eagle Eagle County Kathy and David Ferguson The Paiko Trust, in honor of the Firefighters of the Vail Valley United Way of Eagle River Valley Vantage Point Carole A. Watters

JUL

THURSDAY JULY 28, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

MOZART & RAVEL

©ANDREW BOGARD PHOTOGRAPHY

he Quintet for Piano and Winds, a product of the busiest time that WOLFGANG AMADEUS MOZART (1756-1791) ever enjoyed in Vienna, was written for his own program at the Burgtheater April 1, 1784. EMILY COOLEY (b. 1990) earned degrees from Yale and USC’s Thornton School, and currently holds the Creamer Fellowship at Curtis, where she studies with Pulitzer Prizewinning composer Jennifer Higdon. Cooley has received awards and recognition from the American Composers Orchestra, Tribeca New Music, ASCAP, Minnesota Orchestra Composer Institute and LA Phil National Composers Intensive; in 2015, she was awarded a prestigious Charles Ives Scholarship from the American Academy of Arts and Letters. During the French Baroque, composers paid tribute in music to recently deceased colleagues. Such a piece was called a “tombeau,” literally a “tomb,” and MAURICE RAVEL (1875-1937) intended such an association in Le Tombeau de Couperin, which was inspired in 1917 by the sorrow caused by World War I as well as the need to retain the civilizing influence of French culture represented for him by the refined music of François Couperin (1668-1733).

QWINDA WOODWIND QUINTET

Niles Watson, flute William Welter, oboe Stanislav Chernyshev, clarinet Emeline Chong, bassoon Jenny Ney, horn

Anne-Marie McDermott, piano

MOZART Quintet for Piano, Oboe, Clarinet, Bassoon and Horn in E-flat major, K. 452 Largo — Allegro moderato Larghetto Rondo: Allegretto

COOLEY New Work

RAVEL Le Tombeau de Couperin for Woodwind Quintet Prélude: Vif Fugue Menuet: Allegro moderato Rigaudon: Assez vif

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation Lodge at Vail The Paiko Trust, in honor of the Firefighters of the Vail Valley Carole A. Watters

QWINDA WOODWIND QUINTET

139

TAKE A “NEW” SPIN ON NEW AMERICAN CUISINE. When we open for the new season, our kitchen will be under the guidance of new chef Brian Ackerman, who is also revamping our menu. Come visit what Zagat® describes as the “epitome of the Beaver Creek experience,” offering “splendid” New American fare. Our new, beautiful dishes, exemplary wine list, and warm experience are something to be excited about. OUR DOORS RE-OPEN JUNE 10TH. SplendidoRestaurant.com | (970) 845-8808 | 17 Chateau Lane, Beaver Creek, CO

NEW YORK PHILHARMONIC JUL

JOSEFOWICZ & BEETHOVEN’S “EROICA”

THURSDAY JULY 28, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: THE FRIENDS OF THE NEW YORK PHILHARMONIC

SPECIAL GRATITUDE TO: The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

141

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THURSDAY JULY 28, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Alan Gilbert, conductor Leila Josefowicz, violin

STRAUSS Radetsky March, Op. 228 Dierdre Baker, special guest conductor

PROKOFIEV Violin Concerto No. 1 in D major, Op. 19 (22 minutes) Andantino Scherzo: Vivacissimo Moderato – Andante

— INTERMISSION — BEETHOVEN Symphony No. 3 in E-flat major, Op. 55, “Eroica” (47 minutes) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

JOSEFOWICZ & BEETHOVEN’S “EROICA” Violin Concerto No. 1 in D major, Op. 19 (1915-1917) SERGEI PROKOFIEV (1891-1953)

ery early in his career, Sergei Prokofiev classified his music into four distinct styles: classical or neoclassical; modern; toccata or motoric; and lyrical. It was largely in this last style that he composed his First Violin Concerto. Indeed, the composer himself cited the lovely opening theme as an example of his lyricism. Given that Prokofiev was one of the foremost disciples of modernity at the time, such a romantic notion of melody raised a few eyebrows. It was, however, Prokofiev’s penchant when he was young to compose simultaneously works in more than one of his four manners, and just when a particular faction would hold him up as a model of its specific bias, out popped a Prokofiev piece that just did not do what it was expected to do. He took the greatest delight in this kind of surprise, and one of the continuing themes running through his early works is a dedicated nose-thumbing that missed few musical camps. The gentle mood that pervades the Violin Concerto No. 1 is established immediately at the beginning by the beautiful principal theme. A quickening of the tempo introduces the second theme, a melody filled with flashing ornamentation and insistent rhythmic motion. After a pause, the development begins quietly with the woodwinds chanting the main theme. The central scherzo, an example of Prokofiev’s toccata or motoric style, is in the form of a compact rondo. The finale returns the introspective mood of the opening movement.

Symphony No. 3 in E-flat major, Op. 55, “Eroica” (1803-1804) LUDWIG VAN BEETHOVEN (1770-1827)

The “Eroica” (“Heroic”) is a work that changed the course of musical history. There was much sentiment at the turn of the 19th century that the expressive and technical possibilities of the symphonic genre had been exhausted by Haydn, Mozart, C.P.E. Bach and their contemporaries. It was Beethoven, and specifically this majestic Symphony, that threw wide the gates on the unprecedented artistic vistas that were to be explored for the rest of the century. For the first time, with this music, the master composer was recognized as an individual responding to a higher calling. After Beethoven, the composer became regarded as a 142 Learn more at BravoVail.org

visionary — a special being lifted above mundane experience — who could guide benighted listeners to loftier planes of existence through his valued gifts. The modern conception of an artist — what he is, his place in society, what he can do for those who experience his work — stems from Beethoven. Romanticism began with the “Eroica.” The vast first movement opens with a summons of two mighty chords. At least four thematic ideas are presented in the exposition. The development is a massive essay progressing through many moods, all united by a sense of titanic struggle. It is in this central portion of the movement and in the lengthy coda that Beethoven broke through the boundaries of the 18th-century symphony to create a work not only longer in duration but also more profound in meaning. The beginning of the Marcia funebre (“Funeral March”), with its plaintive themes intoned over a mock drum-roll in the basses, is the touchstone for the expression of tragedy in instrumental music. A development-like section, full of remarkable contrapuntal complexities, is followed by a return of the opening threnody. The third movement is a lusty scherzo; the central section is a rousing trio for horns. The finale is a large set of variations on two themes, the first of which forms the bass line CONTINUED ON PAGE 201

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INSIDE STORY

IMPROVISATIONS ON A THEME Improvisation is something we associate with jazz or bluegrass, not so much with classical music. However, this hasn’t always been the case. In earlier times, organists often improvised during church services. As public performances became more common, many performers used improvisation as a way to show off their abilities and attract attention to themselves. Improvisation “duels” became a popular form of entertainment among Vienna’s aristocracy, with noblemen sponsoring each entrant, who would set the tunes for each other to improvise upon. In 1800, a famous piano virtuoso named Daniel Steibelt arrived in Vienna and challenged Beethoven to such a contest. The challenger went first, improvising on a piece of his own composition. Beethoven picked up Steibelt’s music, turned it upside down, and proceeded to outplay and humiliate the newcomer so thoroughly that he fled Vienna, vowing never to return as long as Beethoven lived there. FUN FACT: In 1808, Beethoven hadn’t had time to compose an introduction for the Choral Fantasy, so at the premiere he simply sat down at the piano and improvised one. 143

JUL

FRIDAY JULY 29, 1:00PM FREE CONCERT SERIES

GALLERY ROW, BEAVER CREEK

QWINDA WOODWIND QUINTET

Niles Watson, flute William Welter, oboe Stanislav Chernyshev, clarinet Emeline Chong, bassoon Jenny Ney, horn

AGAY Five Easy Dances for Woodwind Quintet Polka Tango Bolero Waltz Rumba

MILHAUD La Cheminée du Roi René for Woodwind Quintet, Op. 205 Cortège Aubade Jongleurs La Maousinglade Joutes sur l’Arc Chasse à Valabre

D’RIVERA Aires Tropicales for Woodwind Quintet Alborada Son Vals Venezolano Habanera Dizziness Afro Contradanza

QWINDA AT GALLERY ROW

omposer, conductor, author and arranger DENES AGAY (1911-2007) was born in Hungary and trained at the Liszt Academy in Budapest, but was driven to America in 1939 by the Nazis. Agay wrote nearly a hundred books on musical subjects and composed for films and concert, including his delightful tongue-in-cheek Five Easy Dances of 1956. La Cheminée du Roi René by DARIUS MILHAUD (1892-1974) began as the soundtrack for a 1939 film by director Raymond Bernard about the 15th-century King René d’Anjou. Milhaud arranged excerpts from the score as a suite for winds when he was teaching at Mills College in Oakland, California during World War II. Cuban-born composer, clarinetist and saxophonist PAQUITO D’RIVERA (b. 1948) has won sixteen Grammy awards — the first artist to receive Grammys in both Classical and Latin Jazz categories — and received the National Medal for the Arts at the White House and designation as an NEA Jazz Master by the National Endowment for the Arts. His Aires Tropicales (1994) is based on several of the most popular Latin dance styles. Argentinean composer and bandoneónist ASTOR PIAZZOLLA (1921-1992), the greatest master of the modern tango, composed Libertango in Rome after moving there from his native Buenos Aires. He called it “a sort of song of liberty,” suggesting that it was a release of new ideas inspired by a new place.

PIAZZOLLA Libertango for Woodwind Quintet BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Beaver Creek Resort Company The Christie Lodge Kathy and David Ferguson The Paiko Trust, in honor of the Firefighters of the Vail Valley Carole A. Watters

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NEW YORK PHILHARMONIC JUL

THE VOICE OF WAGNER

FRIDAY JULY 29, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: THE FRIENDS OF THE NEW YORK PHILHARMONIC

SPECIAL GRATITUDE TO: The Lyn and Phillip Goldstein Maestro Society The Paiko Trust, in honor of the Firefighters of the Vail Valley

145

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FRIDAY JULY 29, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Alan Gilbert, conductor Heidi Melton, soprano Eric Owens, bass-baritone

WAGNER Prelude and Liebestod from Tristan und Isolde (17 minutes)

— INTERMISSION — WAGNER “Ride of the Valkyries” and Final Scene of Act III from Die Walküre (48 minutes)

JOIN US FOR BRAVO! VAIL AFTER DARK, 8:00PM QWINDA WOODWIND QUINTET CRAZY MOUNTAIN BREWERY, EDWARDS (details on page 148)

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FREE PRE-CONCERT TALK, 5:00PM Gerald R. Ford Amphitheater Lobby Ryan Bañagale, Colorado College

THE VOICE OF WAGNER Prelude and Liebestod from Tristan und Isolde (1854-1859) RICHARD WAGNER (1813-1883)

agner provided a synopsis of the emotional progression of the action of Tristan whose voluptuous prose is a not only a sketch of the events of the story, but also a key to understanding the surging sea of passion upon which the entire world of this opera floats: “Tristan, the faithful vassal, woos for his king her for whom he dares not avow his own love, Isolde. Isolde, powerless than to do otherwise than obey the wooer, follows him as bride to his lord. Jealous of this infringement of her rights, the Goddess of Love takes her revenge. As the result of a happy mistake, she allows the couple to taste of the love potion which, by the burning desire that suddenly inflames them after tasting it, opens their eyes to the truth and leads to the avowal that for the future they belong only to each other. Henceforth, there is no end to the longings, the demands, the joys and woes of love. One thing only remains: longing, longing, insatiable longing, forever springing up anew, pining and thirsting. Powerless, the heart sinks back to languish in longing, in longing without attaining; for each attainment only begets new longing, until in the last stage of weariness the foreboding of the highest joy of dying, of no longer existing, of the last escape into that wonderful kingdom from which we are furthest off when we are most strenuously striving to enter therein. Shall we call it death? Or is it the hidden wonder-world from out of which an ivy and vine, entwined with each other, grew up upon Tristan’s and Isolde’s grave, as the legend tells us?” The sense of longing is generated right at the beginning of the opera. Its Prelude is built, in the composer’s words, from “one long series of linked phrases,” each of which is left hanging, unresolved, in silence. Of the remainder of the Prelude and its progression to the Liebestod (“Love-Death”), Wagner wrote, it moves from “the first timidest lament of inappeasable longing, the tenderest shudder, to the most terrible outpouring of an avowal of hopeless love, traversing all phases of the vain struggle against the inner ardor until this, sinking back upon itself, seems to be extinguished in death.” The Prelude is constructed

as a long arch of sound, beginning faintly and building to a huge climax near its center before dying away to silence. In Wagner’s concert version, the Liebestod follows without pause, and it, too, generates a magnificent tonal gratification at the point near the end of the opera where the lovers find their only possible satisfaction in welcome death. Of this sublime moment, Wagner wrote, “What Fate divided in life now springs into transfigured life in death: the gates of union are thrown open. Over Tristan’s body the dying Isolde receives the blessed fulfillment of ardent longing, eternal union in measureless space, without barriers, without fetters, inseparable.”

INSIDE STORY

“Ride of the Valkyries” and Final Scene of Act III from Die Walküre (1854-1856) RICHARD WAGNER

Wagner’s cycle of “music-dramas,” The Ring of the Nibelungen, is unique in the history of art: an ancient mythological tale spread over four interdependent operas; the capstone of Romantic orchestration, harmony and expression; a nodal point in the CONTINUED ON PAGE 201

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WAGNER’S QUEST FOR THE PERFECT TUBA In 1853, Richard Wagner was working on his new opera Das Rheingold, and was unsatisfied with the colors he was getting from the traditional family of brass instruments. He wanted to add a sound that could hearken back to an ancient bronze age Nordic horn, and that would serve as a bridge between trombone and horn, creating a more effective blend among all the brasses. Wagner went on a brief trip to Paris, to the workshop of Adolphe Sax, the inventor of the saxophone and also a saxhorn, which Wagner had hoped might be the answer to his quest. Not quite satisfied, Wagner took it upon himself to invent an instrument that would create the exact sound he was looking for. The “Wagner tuba” made its debut in 1875, and since then a few other composers have written for it, most notably Anton Bruckner, whose Seventh Symphony has a quartet of them in a movement that is a tribute to Wagner’s memory. 147

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FRIDAY JULY 29, 8:00PM SPECIAL EVENT

CRAZY MOUNTAIN BREWERY, EDWARDS

QWINDA WOODWIND QUINTET

Niles Watson, flute William Welter, oboe Stanislav Chernyshev, clarinet Emeline Chong, bassoon Jenny Ney, horn

PIAZZOLLA Libertango

HALLAM Dance Suite Waltz Bossa Nova Quickstep Charleston

FREE BRAVO! VAIL AFTER DARK

QWINDA: LET’S DANCE

ou’ll be “blown” away by the infectious melodies coming out of this spirited woodwind quintet. From Argentine tango to Polish polka, lively quickstep to languorous alborada, we challenge you to stay in your seat as this colorful program runs the gamut of modern and classic dance forms from around the world, featuring Aires Tropicales by the Cuban-born Latin jazz virtuoso Paquito D’Rivera. Even the legs of your barstool will be moving!

AGAY 5 Easy Dances Polka Tango Bolero Waltz Rumba

D’RIVERA

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: QWINDA WOODWIND QUINTET

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Amy and Charlie Allen Eagle County Lion Square Lodge Carole A. Watters

Aires Tropicales

JUL

SATURDAY JULY 30, 7:30PM FREE CONCERT SERIES

BEAVER CREEK INTERFAITH CHAPEL

QWINDA WOODWIND QUINTET

A NIGHT IN ITALY

IOACCHINO ROSSINI (1792-1868) was said to have based the original Overture to The Barber of Seville, appropriately enough, on Spanish themes. That piece, however, was lost in transit somewhere between Rome and Bologna, so he simply replaced it with the instrumental number he had composed for Aureliano in Palmira of 1813, an adventure about the Emperor Aurelian in Palmyra in the third century of the Christian era. GIULIO BRICCIALDI (1818-1881) gained fame in Rome, Naples, London and Florence as a flutist, composer and teacher and for his work in refining technical aspects of his instrument. His Woodwind Quintet in D major (1875) summarizes the two essential aspects of his musical personality: the mastery of woodwind sonority and technique and the apparently irresistible attraction of opera for 19th-century Italian composers. GIUSEPPE VERDI (1813-1901) wrote his String Quartet in a Naples hotel room in March 1873 while in town to oversee the local premiere of Aida. The Quartet, his only significant instrumental work, is imbued with the lyricism and drama that made him the most successful Italian opera composer of his era.

Niles Watson, flute William Welter, oboe Stanislav Chernyshev, clarinet Emeline Chong, bassoon Jenny Ney, horn

ROSSINI Overture to The Barber of Seville for Woodwind Quintet

BRICCIALDI Woodwind Quintet in D major, Op. 124 Allegro marziale Andante — Allegretto Allegro

VERDI String Quartet in E minor arranged for Woodwind Quintet Allegro Andantino Prestissimo Scherzo Fuga: Allegro assai mosso

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Beaver Creek Resort Company The Christie Lodge Kathy and David Ferguson The Sidney E. Frank Foundation The Paiko Trust, in honor of the Firefighters of the Vail Valley Carole A. Watters

QWINDA WOODWIND QUINTET

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AUG

TUESDAY AUGUST 2, 7:30PM SPECIAL EVENT

DONOVAN PAVILION

CLASSICALLY UNCORKED OPUS ONE Ida Kavafian, violin Steven Tenenbom, viola Peter Wiley, cello Anne-Marie McDermott, piano

MEEHAN/PERKINS PERCUSSION DUO Todd Meehan, percussion Doug Perkins, percussion

C. ASSAD Z Sonata for Piano Quartet (12 minutes) Don Diego de La Vega Pasodoble Lolita Polido La Mascara del Zorro Commissioned by Denise and James Anderton for the Ocean Reef Chamber Music Festival 2016

SIERRA Fuego de Ángel for Piano Quartet (16 minutes) El ángel y las sombras. Moderado, pero muy expresivo Misteriosa danza. Danzante La visión del angel. Expresivo Fuego

— INTERMISSION —

PRESENTED BY GRGICH HILLS ESTATE

NEW MUSIC FROM PUERTO RICO & BRAZIL

LARICE ASSAD (b. 1978), daughter of renowned guitarist Sérgio Assad, studied at Boston’s Berklee School of Music and Roosevelt University in Chicago. Among her honors are the Aaron Copland Award, several ASCAP awards in composition, and a 2009 Latin Grammy nomination for Best Contemporary Composition. Her Z Sonata, composed for Opus One, was inspired by the dashing literary figure of Zorro. Grammy-nominated ROBERTO SIERRA (b. 1953) has served as Chancellor of the Puerto Rico Conservatory and in 1992 joined the faculty at Cornell. His Fuego de Ángel was inspired by “the idea of an angel in conjunction with fire in images from Renaissance and early Baroque religious paintings.” Long-time Princeton faculty member PAUL LANSKY (b. 1944) wrote, “Travel Diary, commissioned by the Meehan/Perkins Duo in 2007, was composed to be a meditation on travel, particularly for those who don’t do it that much.” JOHN FITZ ROGERS (b. 1963) trained at Cornell, Yale and Oberlin, and teaches at the University of South Carolina School of Music. The intricate rhythms for the two marimbas in Once Removed are coordinated by means of separate click tracks heard through headphones.

LANSKY Travel Diary for Two Percussionists (20 minutes) Leaving Home Cruising Speed Lost in Philly Arrived, Phone Home

ROGERS Once Removed for Two Marimbas

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

(9 minutes) This evening’s hors d’oeuvres provided by:

150 Learn more at BravoVail.org

Amy and Charlie Allen FOODsmith Vail The Francis Family The Sidney E. Frank Foundation Grgich Hills Estate The Judy and Alan Kosloff Artistic Director Chair The Paiko Trust, in honor of the Firefighters of the Vail Valley Town of Vail

AUG

WEDNESDAY AUGUST 3, 7:30PM SPECIAL EVENT

DONOVAN PAVILION

CLASSICALLY UNCORKED PRESENTED BY GRGICH HILLS ESTATE

AMERICAN SOUNDSCAPES

rgentinean-American composer OSVALDO GOLIJOV (b. 1960) has won an international reputation for works that synthesize European, American and Latin cultures with a spirituality drawn from both Judaism and Christianity. His many distinctions include a Kennedy Center Friedheim Award and a MacArthur Foundation “Genius Award.” Golijov composed Mariel in memory of his friend Mariel Stubrin, who died in a car accident in Chile. STEPHEN HARTKE (b. 1952) studied at Yale, University of Pennsylvania, and UC Santa Barbara, and taught at USC from 1987 to 2015 before joining the Oberlin faculty. His honors include the Kennedy Center Friedheim Awards and a Grammy Award. Hartke’s King of the Sun was inspired by titles of paintings by Joan Miró. PAUL LANSKY (b. 1944) was one of this country’s pioneers in the theory and composition of tape and electronic music for forty years until he refocused his creativity onto more traditional acoustic media in the 1990s. He wrote of Textures, “The scoring brings the instruments to the edge of their sonic potentials. Pianos can function as percussion instruments and percussion can explore its tuneful side, particularly through mallet instruments.”

OPUS ONE Ida Kavafian, violin Steven Tenenbom, viola Peter Wiley, cello Anne-Marie McDermott, piano

MEEHAN/PERKINS PERCUSSION DUO Todd Meehan, percussion Doug Perkins, percussion Christopher O’Riley, piano

GOLIJOV Mariel for Cello and Marimba (14 minutes)

HARTKE King of the Sun for Piano Quartet (14 minutes) Personages in the night guided by the phosphorescent tracks of snails Dutch interior Dancer listening to the organ in a Gothic cathedral Interlude The flames of the sun make the desert flower hysterical Personages and birds rejoicing at the arrival of night

— INTERMISSION — LANSKY Textures for Two Pianists and Two

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Amy and Charlie Allen The Francis Family The Sidney E. Frank Foundation Grgich Hills Estate The Paiko Trust, in honor of the Firefighters of the Vail Valley Second Nature Gourmet Town of Vail

Percussionists (30 minutes) Striations Loose Ends Soft Substrates Slither Granite Points of Light Aflutter, On Edge Round-Wound This evening’s hors d’oeuvres provided by:

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AUG

THURSDAY AUGUST 4, 7:30PM SPECIAL EVENT

DONOVAN PAVILION

CLASSICALLY UNCORKED

OPUS ONE Ida Kavafian, violin Steven Tenenbom, viola Peter Wiley, cello Anne-Marie McDermott, piano Christopher O’Riley, piano

ADAMS Hallelujah Junction for Two Pianos (17 minutes)

PIAZZOLLA Libertango for Two Pianos (5 minutes)

— INTERMISSION — RUDERS New Work for Piano Quartet (20 minutes) Co-commissioned by Bravo! Vail Music Festival 2016 and by Patricia Isenberg for the Ocean Reef Chamber Music Festival 2017

PRESENTED BY GRGICH HILLS ESTATE

TANGO & A WORLD PREMIERE

OHN ADAMS (b. 1947), the most frequently performed living American composer according to a survey by the League of American Orchestras, wrote, “Hallelujah Junction is a tiny truck stop on the Nevada-California border, near where I have a small mountain cabin. One can only speculate on its beginnings in the era of Gold Rush speculators. Here we have a case of a great title looking for a piece. And now the piece exists.” Argentinean composer and bandoneónist ASTOR PIAZZOLLA (1921-1992), the greatest master of the modern tango, composed Libertango in Rome after moving there from his native Buenos Aires. He called it “a sort of song of liberty,” suggesting that it was a release of new ideas inspired by a new place. The Opus One Piano Quartet premieres a work by POUL RUDERS (b. 1949) at this concert. Ruders, Denmark’s preeminent living composer, trained as an organist at the Royal Danish Conservatory but is largely self-taught as a composer. He has received two Grammy nominations and recognition as “Composer of the Year” from the Marché international de l’édition musicale, the world’s largest music industry trade fair.

OPUS ONE

Amy and Charlie Allen Big Delicious Catering The Francis Family The Sidney E. Frank Foundation Grgich Hills Estate The Paiko Trust, in honor of the Firefighters of the Vail Valley Town of Vail

152 Learn more at BravoVail.org

This evening’s hors d’oeuvres provided by:

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

AUG

FRIDAY AUGUST 5, 8:30PM SPECIAL EVENT

VAIL ALE HOUSE

Christopher O’Riley, piano

FREE BRAVO! VAIL AFTER DARK

CHRISTOPHER O’RILEY

Program to be announced from the stage

n eclectic polymath of the keyboard, Christopher O’Riley has an almost missionary zeal for breaking boundaries between genres. He is renowned for performing his own piano arrangements of music by the likes of Radiohead, Elliott Smith, and Nirvana alongside traditional classical repertoire, and for his elegant, equal-opportunity musicality. Last year, his Bravo! Vail After Dark appearance was one of the hottest (free) tickets in town, and his Rachmaninoff brought down the house. Personable, passionate, and thoroughly fascinating, O’Riley will rock your musical world.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Amy and Charlie Allen The Sidney E. Frank Foundation Carole A. Watters

CHRISTOPHER O’RILEY

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LUNCH

11:30AM - 3PM

DINNER 3PM - 9:30PM

HAPPY HOUR 3PM - 5PM

SUNDAY BRUNCH 10AM - 3PM

122 E. Meadow Drive, Vail Village | 970.476.4403 | latour-vail.com

AUG

SATURDAY AUGUST 6, 2:00PM SPECIAL EVENT

MALOIT PARK, MINTURN

FREE JOHN LUTHER ADAMS

INUKSUIT

his performance is like no other Bravo! Vail has ever done. Scored for 9 to 99 percussionists meant to be widely dispersed outdoors, Inuksuit, by Grammy-Award winner John Luther Adams, has been described by the New York Times as “the ultimate environmental piece.” Presented in Maloit Park with 66 percussionists, Inuksuit provides a unique and individualized listening experience. As the soundscape builds you walk through the piece visiting small collections of players or lone instrumentalists who, as they move to various performing stations, weave apparent randomness into a stunning cohesion. Wander, pause, listen, or daydream. Be transported. All ages. Inuksuit refers to a type of stone marker that the Inuit and other native peoples use to orient themselves in Arctic spaces. The arrangement of rhythmic layers in the score mimics the shape of these lonely sentinels, which sometimes resemble the monolithic shapes of Stonehenge. In a program note, the composer writes, “This work is haunted by the vision of the melting of the polar ice, the rising of the seas, and what may remain of humanity’s presence after the waters recede.”

COLORADO INUKSUIT ENSEMBLE featuring percussionists from Colorado and beyond, including the Meehan/ Perkins Duo, musicians of the Aspen Music Festival, the University of Northern Colorado, Denver University, the University of Colorado at Boulder, Colorado State University, the Colorado Symphony, and more. Doug Perkins, music director Brandon Bell, project coordinator

J. L. ADAMS Inuksuit

INUKSUIT IS A CO-PRODUCTION BETWEEN BRAVO! VAIL

AND THE ASPEN MUSIC FESTIVAL AND SCHOOL.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: The Sidney E. Frank Foundation The Paiko Trust, in honor of the Firefighters of the Vail Valley Carole A. Watters

JOHN LUTHER ADAMS

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“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, Artistic Director, Bravo! Vail

Classic Pianos 1332 S. Broadway, Denver, CO 80210 classicpianosdenver.com | (303) 777-2636

Authorized Yamaha Piano Representative, Vail, CO

ACADEMY OF ST MARTIN IN THE FIELDS Joshua Bell Music Director

VIOLIN I

VIOLIN II

Joshua Bell Harvey de Souza Amanda Smith Fiona Brett Jeremy Morris Pauls Ezergailis Anna Blackmur Alicja Smietana

Katie Stillman Matthew Ward Helen Paterson Winona Fifield Raja Halder Martin Gwilym-Jones

VIOLA

CLARINET

TRUMPET

Stephen Orton Will Schofield Judith Herbert Juliet Welchman

James Burke Tom Lessels

Mark David Tony Cross

BASSOON

TIMPANI Adrian Bending

DOUBLE BASS

Paul Boyes Gavin McNaughton

Lynda Houghton David Stark

HORN

FLUTE Michael Cox Sarah Newbold

HARPSICHORD John Constable

Tim Brown Joanna Hensel Stephen Stirling Nicholas Hougham

OBOE Richard Simpson Rachel Ingleton

Â©IAN DOUGLAS

Robert Smissen Nicholas Barr Stephen Upshaw Triona Milne

CELLO

157

Vail Interfaith Chapel

Bringing

Spiritual Harmony to the Vail Valley since 1969

B’nai Vail

��isco�al Church of the �rans��ura�on

Covenant Presbyterian

Mount of the Holy Cross Lutheran

Rabbi Joel Newman 970‐477‐2992 www.bnaivail.org

Pastor Tim Wilbanks 970‐477‐0383 www.covenantvail.org

Fr. Brooks Keith 970‐476‐0618 www.episcopalvail.com

Pastor �co� Beebe 970‐476‐6610 www.mountholy.com

St. Patrick Catholic

Fr. James Baird 970‐926‐2821 www.saintpatrickminturn.com

Mountain Community Church Pastor �a� Wya� info@mcc‐vail.com www.mcc‐vail.com

Vail Interfaith Chapel  19 Vail Road  Vail, Colorado 81657 www.vailchapel.com  970‐476‐3347

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden Music Director Louise W. & Edmund J. Kahn Music Directorship

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

Jeff Tyzik Principal Pops Conductor Dot & Paul Mason Principal Pops Conductor’s Podium

Karina Canellakis Assistant Conductor

Joshua Habermann Chorus Director Jean D. Wilson Chorus Director Chair

VIOLA

CLARINET

PERCUSSION

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

Gregory Raden Principal Mr. & Mrs. C. Thomas May, Jr. Chair Paul Garner Associate Principal + E-flat clarinet Stephen Ahearn Christopher Runk + Bass Clarinet

Douglas Howard Principal Margie & William H. Seay Chair Ronald Snider Assistant Principal Daniel Florio

CELLO Christopher Adkins Principal Fannie & Stephen S. Kahn Chair Theodore Harvey Associate Principal Jolyon Pegis Associate Principal Jeffrey Hood Michael Coren Jennifer Humphreys Kari Kettering John Myers Nan Zhang

BASS VIOLIN I

VIOLIN II

Alexander Kerr Concertmaster Michael L. Rosenberg Chair Nathan Olson Co-Concertmaster Fanchon & Howard Hallam Chair Gary Levinson Sr. Principal Associate Concertmaster Emmanuelle Boisvert Associate Concertmaster Robert E. & Jean Ann Titus Family Chair Eunice Keem Associate Concertmaster Diane Kitzman Principal Filip Fenrych Maria Schleuning Susan Ager-Breitbarth Lucas Aleman Miika Gregg Mary Reynolds Andrew Schast Motoi Takeda Associate Concertmaster Emeritus Daphne Volle Bruce Wittrig

Angela Fuller Heyde Principal Barbara K. & Seymour R. Thum Chair Alexandra Adkins Associate Principal Sho-mei Pelletier Associate Principal Bing Wang Bruce Patti* Mariana Cottier-Bucco Lilit Danielyan* Heidi Itashiki Andrzej Kapica Shu Lee Nora Scheller Aleksandr Snytkin* Lydia Umlauf Kaori Yoshida* *Performs in both Violin I and Violin II sections

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

FLUTE Demarre McGill Principal Joy & Ronald Mankoff Chair Deborah Baron Associate Principal + Piccolo Kara Kirkendoll Welch

OBOE Erin Hannigan Principal Nancy P. & John G. Penson Chair Willa Henigman Associate Principal Brent Ross David Matthews + English Horn

BASSOON Theodore Soluri Principal Irene H. Wadel & Robert I. Atha, Jr. Chair Scott Walzel Associate Principal Peter Grenier + Contrabassoon

HORN David Cooper Principal Howard E. Rachofsky Chair David Heyde Associate Principal Linda VanSickle Chair Haley Hoops Yousef Assi Kevin Haseltine Alexander Kienle Assistant Principal/Utility

TRUMPET Ryan Anthony Principal Diane & Hal Brierley Chair L. Russell Campbell Associate Principal Kevin Finamore Thomas Booth Assistant Principal

TROMBONE Vacant Principal Chris Oliver Associate Principal Darren McHenry + Bass Trombone

TUBA

HARP Vacant Principal Elsa von Seggern Principal Harp Chair

ORGAN Mary Preston Resident Organist Lay Family Chair

STAFF KEYBOARD

DSO League, Élan Circle & Innovators Chair Steven Harlos Pops Gabriel Sanchez Classical

LIBRARIAN Karen Schnackenberg Principal Mark Wilson Associate Principal Katie Klich Assistant Melanie Gilmore Choral

ARTISTIC ADVISOR Paul Phillips Artistic Advisor to the Music Director

PERSONNEL MANAGEMENT Scott Walzel Dir. of Orchestra Personnel + Engagement

STAGE Shannon Gonzalez Stage Manager Marc Dunkelberg Assistant Stage Manager Franklin Horvath Lighting Technician

Matthew Good Principal Dot & Paul Mason Chair

TIMPANI Brian Jones Principal Dr. Eugene & Charlotte Bonelli Chair Douglas Howard Assistant Principal 159

vail jazz club series

wednesdays in july at mountain plaza Take your favorite NYC jazz club, add the rustic Rocky Mountain charm of Vail, and youâ&#x20AC;&#x2122;ve got the Vail Jazz Club Series! This popular series combines unmatched intimacy and spectacular entertainment to create the perfect evening out.

July 6

Monty Alexander, John Clayton and JeďŹ&#x20AC; Hamilton

July 13 John Pizzarelli July 20 Bria Skonberg July 27 Michel Camilo Trio

THE PHILADELPHIA ORCHESTRA

David Nicastro Burchard Tang Che-Hung Chen Rachel Ku Marvin Moon

CELLOS

Yannick Nézet-Séguin Music Director Walter and Leonore Annenberg Chair

Stéphane Denève Principal Guest Conductor

Cristian Măcelaru Conductor-in-Residence

Lio Kuokman Assistant Conductor

Charles Dutoit Conductor Laureate

FIRST VIOLINS

SECOND VIOLINS

David Kim, Concertmaster Dr. Benjamin Rush Chair Juliette Kang, First Associate Concertmaster Joseph and Marie Field Chair Ying Fu, Associate Concertmaster Marc Rovetti, Assistant Concertmaster Herbert Light* Larry A. Grika Chair Barbara Govatos Wilson H. and Barbara B. Taylor Chair Jonathan Beiler Hirono Oka Richard Amoroso Robert and Lynne Pollack Chair Yayoi Numazawa Jason DePue Lisa-Beth Lambert* Jennifer Haas Miyo Curnow* Elina Kalendarova Daniel Han Yiying Li

Kimberly Fisher, Principal Peter A. Benoliel Chair Paul Roby, Associate Principal Sandra and David Marshall Chair Dara Morales, Assistant Principal Anne M. Buxton Chair Philip Kates Mitchell and Hilarie Morgan Family Foundation Chair Booker Rowe Davyd Booth Paul Arnold Lorraine and David Popowich Chair Yumi Ninomiya Scott Dmitri Levin Boris Balter William Polk Amy Oshiro-Morales Mei Ching Huang

VIOLAS Choong-Jin Chang, Principal Ruth and A. Morris Williams Chair Kirsten Johnson, Associate Principal Kerri Ryan, Assistant Principal Judy Geist Renard Edwards Anna Marie Ahn Petersen Piasecki Family Chair

Hai-Ye Ni, Principal Albert and Mildred Switky Chair John Koen, Acting Associate Principal Yumi Kendall, Assistant Principal Wendy and Derek Pew Foundation Chair Richard Harlow Gloria dePasquale Orton P. and Noël S. Jackson Chair Kathryn Picht Read Winifred and Samuel Mayes Chair Robert Cafaro Volunteer Committees Chair Ohad Bar-David Catherine R. and Anthony A. Clifton Chair Derek Barnes Mollie and Frank Slattery Chair Alex Veltman

BASSES Harold Robinson, Principal Carole and Emilio Gravagno Chair Michael Shahan, Associate Principal Joseph Conyers, Assistant Principal John Hood Henry G. Scott David Fay Duane Rosengard Robert Kesselman Some members of the string sections voluntarily rotate seating on a periodic basis.

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

OBOES

TROMBONES

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

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

CLARINETS

TUBA

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

Carol Jantsch, Principal Lyn and George M. Ross Chair

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

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 Daniel Williams Jeffry Kirschen Denise Tryon Shelley Showers

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

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

PIANO AND CELESTA Kiyoko Takeuti

KEYBOARDS Davyd Booth Michael Stairs, Organ**

HARP Elizabeth Hainen, Principal Patricia and John Imbesi Chair

LIBRARIANS Robert M. Grossman, Principal Steven K. Glanzmann

STAGE PERSONNEL Edward Barnes, Manager James J. Sweeney, Jr. James P. Barnes *On leave **Regularly engaged musician

161

BRAKES AUTOMATICALLY, JUST IN CASE YOU CANâ&#x20AC;&#x2122;T. This is our standard

LE A R N M O R E AT VO LVO C A R S . CO M / U S

2 0 1 6 XC7 0

NEW YORK PHILHARMONIC

Nathan Vickery Ru-Pei Yeh+ The Credit Suisse Chair in honor of Paul Calello Joseph Lee++ Wendy Sutter++

BASSES

Timothy Cobb Principal Max Zeugner* The Herbert M. Citrin Chair Blake Hinson** Satoshi Okamoto

ALAN GILBERT Music Director

Courtney Lewis

Assistant Conductor

Randall Butler The Ludmila S. and Carl B. Hess Chair David J. Grossman Orin O’Brien Rion Wentworth

Leonard Bernstein

FLUTES

Assistant Conductor

Joshua Gersen

Laureate Conductor, 1943–1990

Kurt Masur Music Director Emeritus

VIOLINS

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 Carol Webb Quan Ge Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair Lisa GiHae Kim Kuan Cheng Lu Newton Mansfield+ The Edward and Priscilla Pilcher Chair Kerry McDermott Anna Rabinova Charles Rex The Shirley Bacot Shamel Chair Fiona Simon Sharon Yamada Shanshan Yao Elizabeth Zeltser The William and Elfriede Ulrich Chair Yulia Ziskel The Friends and Patrons Chair

Mark Schmoockler+ Na Sun The Gary W. Parr Chair Vladimir Tsypin Jin Suk Yu Ji Min Lee++ Bracha Malkin++ Sarah Pratt++ David Southorn++ Jungsun Yoo++ Alisa Wyrick++

VIOLAS

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

CELLOS

Richard Deane* R. Allen Spanjer The Rosalind Miranda Chair Leelanee Sterrett Howard Wall Alana Vegter++ Theodore Primis++ David Smith++ Chad Yarbrough++

TRUMPETS

Matthew Muckey Acting Principal The Paula Levin Chair Ethan Bensdorf*** Thomas V. Smith Liam Day++ Nicholas Jemo++

TROMBONES

Robert Langevin Principal The Lila Acheson Wallace Chair Sandra Church*+ Yoobin Son Mindy Kaufman Blair Francis++

Joseph Alessi Principal The Gurnee F. and Marjorie L. Hart Chair Colin Williams*+ David Finlayson The Donna and Benjamin M. Rosen Chair Carl Lenthe++ Demondrae Thompson++

PICCOLO

BASS TROMBONE

Mindy Kaufman

OBOES

Liang Wang Principal The Alice Tully Chair Sherry Sylar* Robert Botti The Lizabeth and Frank Newman Chair Grace Shryock++

ENGLISH HORN Grace Shryock++

CLARINETS

Anthony McGill Principal The Edna and W. Van Alan Clark Chair Mark Nuccio* The Honey M. Kurtz Family Chair Pascual Martínez Forteza Amy Zoloto

E-FLAT CLARINET Mark Nuccio

BASS CLARINET Amy Zoloto

SAXOPHONES

George Curran The Daria L. and William C. Foster Chair

TUBA

Alan Baer Principal

TIMPANI

Markus Rhoten Principal The Carlos Moseley Chair Kyle Zerna**

PERCUSSION

Christopher S. Lamb Principal The Constance R. Hoguet Friends of the Philharmonic Chair Daniel Druckman* The Mr. and Mrs. Ronald J. Ulrich Chair Kyle Zerna

HARP

Nancy Allen Principal The Mr. and Mrs. William T. Knight III Chair Caroline Bembia++ Emily Levin++ Stacey Shames++

Steve Kenyon++ Daniel Goble++ Lino Gomez++

KEYBOARD

BASSOONS

HARPSICHORD

Lisa Kim Acting Principal Soohyun Kwon*** In Memory of Laura Mitchell Duoming Ba The Joan and Joel I. Picket Chair

Carter Brey Principal The Fan Fox and Leslie R. Samuels Chair Eileen Moon* The Paul and Diane Guenther Chair Eric Bartlett Patrick Jee

Judith LeClair Principal The Pels Family Chair Kim Laskowski* Roger Nye The Rosalind Miranda Chair in memory of Shirley and Bill Cohen Arlen Fast

Hannah Choi Marilyn Dubow The Sue and Eugene Mercy, Jr. Chair Hyunju Lee Joo Young Oh Daniel Reed Marié Rossano

Elizabeth Dyson The Mr. and Mrs. James E. Buckman Chair Alexei Yupanqui Gonzales Maria Kitsopoulos The Secular Society Chair Sumire Kudo Qiang Tu

CONTRABASSOON Arlen Fast

HORNS

Philip Myers Principal The Ruth F. and Alan J. Broder Chair

In Memory of Paul Jacobs Paolo Bordignon

PIANO

Eric Huebner The Anna-Maria and Stephen Kellen Piano Chair

ORGAN

Kent Tritle

LIBRARIANS

Lawrence Tarlow Principal Sandra Pearson** Sara Griffin**

ORCHESTRA PERSONNEL MANAGER Carl R. Schiebler

STAGE REPRESENTATIVE Joseph Faretta

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.

HONORARY MEMBERS OF THE SOCIETY Emanuel Ax Pierre Boulez Stanley Drucker Zubin Mehta

NEW YORK PHILHARMONIC

Oscar S. Schafer, Chairman Matthew VanBesien, President Bill Thomas, Senior Vice President and Chief Operating Officer Miki Takebe, Vice President, Operations Ed Yim, Vice President, Artistic Planning Katherine E. Johnson, Director, Communications Patrick O’Reilly, Operations Assistant Valerie Petrov, Orchestra Personnel Assistant / Auditions Coordinator Brendan Timins, Director, Touring and Operations Galiya Valerio, Assistant to the Music Director Pamela Walsh, Artistic Administrator Robert W. Pierpont, Stage Crew Robert Sepulveda, Stage Crew Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund. Steinway is the Official Piano of the New York Philharmonic Programs of the New York Philharmonic 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, and the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature.

163

Aeolus Quartet (string quartet), comprised of violinists Nicholas Tavani and Rachel Shapiro, violist Gregory Luce, and cellist Alan Richardson, was formed in 2008 at the Cleveland Institute of Music. Since its inception, the all-American quartet has won awards at major competitions including Grand Prize at the 2011 Plowman Chamber Music Competition and 2011 Chamber Music Yellow Springs Competition. The Quartet has performed across North America, Europe, and Asia in venues including Weill Recital Hall at Carnegie Hall, Merkin Hall, The Library of Congress, St. Martin-in-the-Fields, and the Shanghai Oriental Arts Center.

©SAMMY HART

Lisa Batiashvili (violin), Musical America’s 2015 Instrumentalist of the Year, is this season’s Artist-in-Residence with the Tonhalle-Orchester Zürich. The Georgian violinist has developed long-term relationships with some of the world’s leading orchestras, including the New York Philharmonic, with whom she was Artist-in-Residence last season. Recent engagements include the Berlin Philharmonic and London Philharmonic Orchestra, Orchestre de Paris, Vienna Philharmonic, London Symphony Orchestra, the Royal Stockholm Philharmonic Orchestra’s European tour, and a series of recitals celebrating the 100th anniversary of Henri Dutilleux’s birth at London’s Wigmore Hall.

Joshua Bell (violin) first came to national attention at age 14 when he made his highly acclaimed orchestral debut with Riccardo Muti and the Philadelphia Orchestra. Equally at home as a soloist, chamber musician, recording artist and orchestra leader, his multi-faceted musical interests have been captivating audiences for decades, garnering Grammy, Mercury, Gramophone and Echo Klassik awards. Named the Music Director of the Academy of St Martin in the Fields in 2011, Mr. Bell is the first person to hold this post since Sir Neville Marriner formed the orchestra in 1958.

©SIMON PAULY

Noel Bouley (baritone) is an accomplished concert artist as well as a renowned operatic voice. He recently made his debuts with the Berlin Philharmonie, as well as the Aspen, Round Top, and Glimmerglass Festivals. Upcoming roles with Deutsche Oper Berlin, where is an ensemble member, include Donner in Das Rheingold, Sharpless in Madama Butterfly, and Le Comte de Nevers in Les Huguenots. A native of Houston, Texas, Mr. Bouley was the winner of the 2013 Shreveport Opera’s Singer of the Year Competition and a finalist in Houston Grand Opera’s Eleanor McCollum Competition.

Timothy Brock (conductor) specializes in concert works of the early 20th century and live performances of silent film. As a leading authority on orchestral performance practices of the 1920’s and ‘30’s, he has been engaged to conduct many celebrated orchestras throughout the world, including the BBC Symphony, Chicago Symphony, Orchestre National de Lyon, BBC Scottish Symphony, and NDR Radiophilharmonie. Mr. Brock’s performance of “Modern Times” with the New York Philharmonic was listed by the New York Times as one of the “10 Best Classical Music Events of 2014.”

©DARIO ACOSTA

Yefim Bronfman (piano) has won consistent acclaim for his solo recital and orchestral

164 Learn more at BravoVail.org

performances, and on an expanding catalog of recordings. Recent engagements featured all the Beethoven concertos in residency with the Dresden Staatskapelle; a cycle of the complete Prokofiev sonatas over three programs in Berlin, New York’s Carnegie Hall, and Cal Performances, Berkeley; and both U.S. and European tours with violinist Anne-Sophie Mutter and cellist Lynn Harrell. The Avery Fisher Prize-winning Mr. Bronfman has been nominated for three Grammy Awards, and won for his recording of Bartók’s piano concertos with the Los Angeles Philharmonic.

Cirque de la Symphonie represents an elegant adaptation of cirque performances showcasing many of the best artists in the world, including world record holders, Olympians, and accomplished veterans of exceptional cirque programs from across the globe. Each performance is uniquely adapted to stage accommodations shared with the symphony, and each artist’s performance is choreographed to the music arranged in collaboration with the maestro, resulting in a fantastic fusion of two great art forms. Featured performers include Alexander Streltsov, Christine Van Loo, Vitalii Buza, Irina Burdetsky, and Vladimir Tsarkov, with violinist Janice Martin.

Classical Kids Live! brings to life the best-selling audio stories by Susan Hammond (recipient of Billboard Magazine’s International Achievement Award) for student and family audiences. These fully-staged concerts showcase the extraordinary lives and musical masterpieces of great classical composers. Natalie Berg (Christoph) has performed with Classical Kids throughout the United States and Canada as well as in Singapore, Kuala Lumpur and Australia. Chicago-based Thad Avery (Uncle) has traveled the world with an international comedy troupe, and enjoyed a long and rewarding relationship with the musical Forever Plaid.

Colorado Children’s Chorale (Deborah DeSantis, Artistic Director) has sung

hundreds of performances with performing arts organizations around the globe, world-renowned artists, and for numerous dignitaries, including Pope John Paul II and the Dalai Lama, as well as presidents, emperors and first ladies of the world. The Chorale performs by invitation across Colorado, nationally and internationally. In recognition of its artistic excellence, the Chorale has been awarded the Governor’s Award for Excellence in the Arts, the Mayor’s Award for Excellence in the Arts and the El Pomar Award for Excellence in Arts and Humanities.

Colorado Symphony Chorus (CSC) (Duain Wolfe, founder-director) was founded in 1984 by Grammy Award-winner Duain Wolfe, who also serves as director of the Chicago Symphony Orchestra Chorus. The ensemble of 180 volunteers has grown into a nationally respected chorus that joins the Colorado Symphony for numerous performances (more than 25 this year alone), and radio and television broadcasts, to critical acclaim. In 2009, in celebration of the 25th anniversary of the chorus, Mr. Wolfe led the chorus on a concert tour of Europe presenting the Verdi Requiem, and CSC will return to Europe in 2016.

Jeremy Denk (pianist) is the winner of a MacArthur “Genius” Fellowship, the Avery Fisher Prize, and Musical America’s 2014 Instrumentalist of the Year award. He has appeared with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London, and regularly gives recitals around the world. Last season, Mr. Denk launched a four-season tenure as an Artistic Partner of the Saint Paul Chamber Orchestra and embarked on a fourteen-city recital tour of the U.S., and in 2014 served as Music Director of the Ojai Music Festival.

Michelle DeYoung (mezzo-soprano) appears frequently with many of the world’s leading orchestras, opera houses, and festivals. Named 2015 Artist in Residence at Wolf Trap Opera, her recent engagements include the Metropolitan Opera, Israel Philharmonic Orchestra, Hong Kong Philharmonic, and the Dallas Symphony, and recitals around the world. Ms. DeYoung has won two Grammy Awards for Best Classical Album for her recordings of Mahler’s Kindertotenlieder and Symphony No. 3 with the San Francisco Symphony under Michael Tilson Thomas and Les Troyens with Sir Colin Davis and the London Symphony Orchestra, which also won for Best Opera. 165

Dover Quartet (string quartet), in 2013, became the first-ever Quartet-in-Residence at the Curtis Institute of Music, and this season joined Northwestern University as Faculty Quartet-in-Residence. The Quartet’s 2015-16 season featured more than 100 concerts around the world, including debuts at Carnegie Hall, the Lucerne Festival, and Yale University, and on Lincoln Center’s Great Performers series; their debut tour of Israel; and four concerts at Dumbarton Oaks in Washington, D.C., two of them featuring a new work written for the Quartet by the Pulitzer Prize-winning composer Caroline Shaw.

Karina Gauvin (soprano), recipient of the 2016 Opus Award for Performer of the Year in her native Canada, has also won first prize in the CBC Radio competition, and the Virginia Parker Prize and Maggie Teyte Memorial Prize in London. She has sung with many of the world’s great orchestras, including the Orchestre symphonique de Montreal, the San Francisco Symphony, and the Chicago Symphony, and her extensive discography - over 30 titles - has won numerous awards, including a Chamber Music America Award for her Fête Galante recording with pianist Marc-André Hamelin.

Kirill Gerstein (piano) is a multifaceted artist whose early experience in jazz shaped his energetic and expressive musicality. Recent career highlights include his Royal Concertgebouw Orchestra debut, Scriabin’s Prometheus: Poem of Fire with the Chicago Symphony, Rachmaninoff’s Concerto No. 1 with the Cleveland Orchestra, and a BBC Music Magazine Award nomination for his recording of the 1879 version of Tchaikovsky’s First Piano Concerto. Mr. Gerstein has won First Prize at the Arthur Rubinstein Piano Competition, the Gilmore Young Artist Award, and in 2010 received both the Gilmore Artist Award and an Avery Fisher Grant.

©JIYANG CHEN

Tomer Gewirtzman (piano fellow) was born in Israel and is currently working toward his Master of Music degree at The Juilliard School under Sergei Babayan. He has been awarded dozens of awards and accolades including First Prizes in the 2015 Young Concert Artists International Auditions, the 2014 Wideman International Piano Competition, and the Chopin Competition for Young Pianists in Tel-Aviv. Mr. Gewirtzman has performed recitals in London and Paris, played with Nikolai Petrov’s Kremlin Festival throughout Russia, and has appeared as soloist with orchestras throughout Israel and the United States.

©CHRIS LEE

Alan Gilbert (conductor), Music Director of the New York Philharmonic, introduced the positions of Composer-in-Residence, Artist-in-Residence, and Artist-in-Association; CONTACT!, the new-music series; the NY PHIL BIENNIAL; and the New York Philharmonic Global Academy. In 2015-16 he conducts World Premieres; co-curates the second NY PHIL BIENNIAL; performs violin in Messiaen’s Quartet for the End of Time; and participates in Global Academy residencies in Shanghai and Santa Barbara. He is conductor laureate of the Royal Stockholm Philharmonic Orchestra and Juilliard’s Director of Conducting and Orchestral Studies, and was principal guest conductor of Hamburg’s NDR Symphony Orchestra.

©BRUCE BENNETT

Hans Graf (conductor), known for his wide range of repertoire and creative programming,

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served as Music Director of the Houston Symphony from 2001-2013, the longest tenure in that orchestra’s history. Previously he was music director of the Calgary Philharmonic, Orchestre National Bordeaux Aquitaine, and the Salzburg Mozarteum Orchestra. Mr. Graf is a frequent guest with major North American and European orchestras and opera houses, and has been awarded the Chevalier de l’Ordre de la Legion d’Honneur by France as well as the Grand Decoration of Honour in Gold for Services to the Republic of Austria.

©PAUL GLICKMAN

Augustin Hadelich (violin) won a 2016 Grammy in the “Best Classical Instrumental Solo” just months after being awarded the inaugural Warner Music Prize. Highlights of his 2015-16 season included debuts with the Chicago Symphony, Pittsburgh Symphony, and the Orpheus Chamber Orchestra in Carnegie Hall, as well as return engagements with numerous renowned ensembles worldwide. The 2006 Gold Medalist of the International Violin Competition of Indianapolis, Mr. Hadelich is the recipient of an Avery Fisher Career Grant (2009), a Borletti-Buitoni Trust Fellowship in the UK (2011), and Lincoln Center’s Martin E. Segal Award (2012).

©LOU RAIMONDI

Ellis Hall (singer/multi-instrumentalist) has performed throughout the world in a career spanning over four decades. A master of the guitar, bass, piano, keyboards, and drums, Mr. Hall has also made a mark as songwriter, arranger, and producer. He is well known as lead singer and keyboardist with the quintessential funk-soul band Tower of Power, and has performed with a multitude of musical icons, including Stevie Wonder, Patti LaBelle, George Benson, Herbie Hancock, Earth Wind & Fire, Natalie Cole, George Duke, Bobby Womack, Billy Preston, James Taylor, John Mayer and his musical mentor Ray Charles.

Chad Hoopes (violin) has been garnering international attention since he won first prize at the Young Artists Division of the Yehudi Menuhin International Violin Competition, and his 2014 admittance into the Chamber Music Society of Lincoln Center’s renowned CMS Two Program. 2015-16 season highlights included return invitations to the Louvre in Paris, Rheingau Musik Festival, Kloster Eberbach, Moritzburg, and Mosel Music Festival as well as his London debut with the National Youth Orchestra and a highly acclaimed debut with the Munich Symphony Orchestra, which led to an invitation to be their first Artist in Residence.

©MEL DIGIACOMO

Eileen Ivers (fiddle), the original musical star of Riverdance and founding member of Cherish the Ladies, is one of the pre-eminent exponents of the Irish fiddle in the world today. The Grammy-awarded and Emmy-nominated musician has been rooted in Irish traditional music all her life, and has won nine All-Ireland fiddle championships, a tenth on tenor banjo, and over 30 championship medals. Ms. Ivers has performed with more than 40 symphony orchestras, collaborated with a dizzyingly diverse array of artists, appeared on numerous film soundtracks, and performed for presidents and royalty worldwide.

Jennifer Johnson Cano (mezzo-soprano) is a Richard Tucker Career Grant and George London Award winner. She was also a winner of the Metropolitan Opera National Council Auditions in 2008, and made her Met debut the following season. As First Prize winner of the 2009 Young Concert Artist International Auditions, she gave acclaimed recital debuts in New York, Washington DC, Boston, and Philadelphia. In addition to regular engagements with The Metropolitan Opera and The Cleveland Orchestra, Ms. Cano appears around the world with esteemed symphonies and opera houses, and is a dedicated recitalist and chamber musician.

©CHRIS LEE

Leila Josefowicz (violin) is a frequent collaborator with leading composers, and works with orchestras and conductors around the world. She has been awarded a prestigious MacArthur Fellowship, and nominated for a Grammy Award for her recording of Esa-Pekka Salonen’s Violin Concerto. Recent highlights include engagements with the London Symphony, Royal Concertgebouw, Tokyo Metropolitan Symphony and Sydney Symphony orchestras, the Orquesta Nacional de España, and the Finnish Radio Symphony Orchestra, including on tour in Vienna, Salzburg and Innsbruck; and recitals at New York’s Zankel Hall as well as in Berkeley and Denver. 167

Lio Kuokman (conductor), Assistant Conductor of The Philadelphia Orchestra, is renowned as a conductor of symphony and opera, piano soloist, and chamber musician. He was the winner of the third Evgeny Svetlanov Conducting Competition in Paris in 2014, for which he also received the audience prize and orchestra prize. Recent appearances include the Orchestre Philharmonique de Radio France, National Arts Center Orchestra in Ottawa, Seoul Philharmonic, Danish National Symphony, and Fort Worth Symphony. He has received a Certificate of Commendation from Hong Kong and a Medal of Cultural Merit from his native Macao.

Steven Lin (piano fellow) was accepted into the Juilliard Pre-College Division on a full scholarship at the age of ten to study with Yoheved Kaplinsky. A two-time winner of the Juilliard Pre-College Piano Competition, he made his debut with the New York Philharmonic in Avery Fisher Hall at the age of 13. Additional concerto performances include the New Jersey Symphony, Baltimore Symphony, Tulsa Symphony, Orlando Philharmonic and Sendai Symphony Orchestra. He has appeared on radio broadcasts including NPR’s From The Top and WQXR’s McGraw Hill Young Artists Showcase.

Anne-Marie McDermott (piano), Bravo! Vail’s Artistic Director since 2011, has played concertos, recitals and chamber music in hundreds of cities throughout the United States, Europe and Asia over her 25-year career. An artist member of the Chamber Music Society of Lincoln Center, she is a regular performer at top chamber music festivals worldwide and has performed with many leading orchestras. Ms. McDermott has recorded the complete Prokofiev piano sonatas, Bach’s English Suites and Partitas (Editor’s Choice, Gramophone magazine), Gershwin’s works for piano and orchestra, and a disc of Mozart concertos with the Calder Quartet.

©BEN JOHANSEN

Meehan/Perkins Duo (percussion duo) was founded in 2006 by Todd Meehan and Doug Perkins with the goal of expanding repertoire and producing eclectic new acoustic and electroacoustic works. Their diverse commissions and engaging performances have been shared with audiences throughout the country, including at Weill Recital Hall, MoMA, the Bang on a Can Marathon, (le) poisson rouge, the Ojai Music Festival, and abroad in Russia, Brazil, and Mexico. Their recording of Parallels, a high-frequency full-length piece written for the Duo by composer/ visual artist Tristan Perich, was released in 2015.

©SIMON PAULY

Heidi Melton (soprano) made several notable debuts this season, including Brünnhilde with the Vienna Philharmonic under the baton of Valery Gergiev, with the New York Philharmonic singing Strauss and Wagner, and in a new production of Tristan and Isolde at the English National Opera. She has also appeared with notable companies such as the Metropolitan Opera, San Francisco Opera, Deutsche Oper Berlin, Oper Frankfurt and Opéra National de Bordeaux. Ms. Melton is the winner of prestigious awards and prizes including the George London / Kirsten Flagstad Memorial Award and the Mario Lanza Competition.

©CHRIS LEE

Yannick Nézet-Séguin (conductor) is an inspired leader of The Philadelphia Orchestra

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and one of the most exciting talents of his generation. As the Orchestra’s Music Director, his highly collaborative style and deeply rooted musical curiosity, paired with a fresh approach to programming, have been heralded by critics and audiences alike. Named Musical America’s 2016 Artist of the Year, he is also Music Director of the Rotterdam Philharmonic and Artistic Director/ Principal Conductor of the Orchestre Metropolitain. He regularly conducts the world’s great ensembles and appears annually at the Metropolitan Opera.

©EDY PEREZ

Christopher O’Riley (piano) is known to millions as the host of NPR’s “From the Top,” each week introducing the next generation of classical-music stars to listeners around the country. He has performed as a soloist with most major American orchestras and in recital throughout North America, Europe, and Australia, garnering widespread praise for his untiring efforts to reach new audiences with repertoire that spans a kaleidoscopic array of music from the pre-baroque to present-day. Mr. O’Riley has received the prestigious Avery Fisher Career Grant and an equally coveted four-star review from Rolling Stone magazine.

Opus One (piano quartet) brings together four of the leading musicians of our time: pianist Anne-Marie McDermott, violinist Ida Kavafian, violist Steven Tenenbom, and cellist Peter Wiley. Veterans as well as present members of the world’s most prestigious chamber groups including the Chamber Music Society of Lincoln Center, Tashi, the Beaux Arts Trio and the Orion and Guarneri String Quartets, the ensemble has performed on major series, as well as at universities and festivals across the U.S. Opus One has commissioned and premiered works by such composers as Stephen Hartke, Lowell Liebermann, and Steven Stucky.

©DARIO ACOSTA

Eric Owens (bass-baritone) brings his powerful poise, expansive voice, and instinctive acting faculties to stages around the world. In addition to numerous collaborations with the New York Philharmonic as their 2015-16 Artist-in-Residence, featured engagements this season included the St. Louis Symphony, Minnesota Orchestra, and Bayerische Rundfunk; and his return to the Metropolitan Opera as Orest in a new production of Strauss’s Elektra. Mr. Owens has been recognized with multiple honors, including the 2003 Marian Anderson Award, the Metropolitan Opera National Council Auditions, and the Luciano Pavarotti International Voice Competition.

©JOSEP MOLINA

Javier Perianes (piano), awarded the National Music Prize by the Ministry of Culture of Spain, has performed in concerts ranging from London’s Royal Festival Hall to New York’s Carnegie Hall; Paris’s Théâtre des Champs-Élysées to Berlin’s Philharmonie; Moscow Conservatory’s Great Hall to Suntory Hall Tokyo. Recent season highlights include debuts with the Orchestre de Paris, Washington National and San Francisco Symphony Orchestras and BBC Scottish Symphony, and a tour of orchestras in Australia and New Zealand. His recording of Falla’s Nights in the Gardens of Spain was nominated for a Latin Grammy.

©ANDRES BOGARD

Nicholas Phan (tenor) appears regularly in the world’s premiere concert halls, music festivals and opera houses. In the 2015-16 season, Mr. Phan performed in the American premiere of Scarlatti’s La gloria di primavera with Philharmonia Baroque and made his role debut as Tamino in Mozart’s Magic Flute with Boston Baroque. Other season highlights include solo recitals at the Library of Congress in Washington, DC and the Green Music Center in Sonoma; returns to the Dallas and Kansas City Symphonies; and his debut with the Chamber Music Society of Lincoln Center.

Qwinda (woodwind quintet) was formed in 2015 after a group of students from the Curtis Institute of Music were invited to the festival Music from Angel Fire as a quintet-in-residence, where they worked with renowned chamber musicians such as Ida and Ani Kavafian, Anne-Marie McDermott, Peter Wiley, musicians from the Miami and Orion Quartets, Stephen Taylor, Tara O’Connor, and others. Three of the founding members (Niles Watson, flute; William Welter, oboe; Stanislav Chernyshev, clarinet) as well as the newest group member, bassoonist Emeline Chong, will be joined by Jenny Ney (horn) for their Bravo! Vail programs. 169

©SALLY BROWN

Dr. Richard E. Rodda (program annotator) has provided program notes for numerous American orchestras, as well as the Kennedy Center, the Chamber Music Society of Lincoln Center, Grant Park Music Festival (Chicago), the Cleveland Octet, the Peninsula Music Festival, the Santa Fe Chamber Music Festival, Chamber Music Northwest and many other ensembles and organizations across the country. He is a regular contributor to Stagebill Magazine, and has written liner notes for Telarc, Angel, Newport Classics, Delos and Dorian Records. Dr. Rodda also teaches at Case Western Reserve University and the Cleveland Institute of Music.

©ERICA KEELING

Cyndia Sieden (soprano) moves easily among the Baroque, classical, romantic and contemporary repertoires to worldwide acclaim. Ms. Sieden has sung in concert with the world’s most prestigious orchestras, including the Royal Concertgebouw Orchestra Amsterdam, Cleveland Orchestra, the Chicago, London, and San Francisco Symphonies, and New York’s Mostly Mozart Festival. She made her highly praised Metropolitan Opera debut as the protagonist in Berg’s Lulu, returned to sing Queen of the Night in Mozart’s Die Zauberflöte, and is an active recitalist and frequent guest artist with the New York Festival of Song.

©DECCA

Jean-Yves Thibaudet (piano) has performed around the world for more than 30 years and recorded more than 50 albums. 2015-16 season highlights included tours with the Tonhalle Orchestra Zurich and in recital across the United States, Europe, and Asia, all while serving as Artist-in-Residence at the Royal Concertgebouw Orchestra, the Seattle Symphony, and the Colburn School of Music. Mr. Thibaudet has been nominated for two Grammy Awards and won the Schallplattenpreis, the Diapason d’Or, the Choc du Monde de la Musique, a Gramophone Award, two Echo awards, and the Edison Prize.

©DAVID COOPER

Bramwell Tovey (conductor) is the Grammy and Juno Award-winning Music Director of the Vancouver Symphony Orchestra, and Artistic Adviser of the VSO School of Music. He was also founding host and conductor of the New York Philharmonic’s Summertime Classics series. Mr. Tovey is a Fellow of the Royal Academy of Music in London, the Royal Conservatory of Music in Toronto and holds honorary degrees from the universities of British Columbia, Manitoba, Kwantlen and Winnipeg. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music.

Jeff Tyzik (conductor), now in his 22nd year as Principal Pops Conductor of the Rochester Philharmonic Orchestra, also serves in that role for the symphonies of Dallas, Seattle, Detroit, and Oregon, and The Florida Orchestra, and maintains a busy guest-conducting schedule. As an accomplished composer and arranger, Mr. Tyzik has produced and composed theme music for major television networks and released six of his own albums. He worked closely with the legendary Doc Severinsen on many projects, and produced the Grammy Award-winning album, The Tonight Show Band with Doc Severinsen, Vol. 1.

Juraj Valčuha (conductor) is Chief Conductor of the Orchestra Sinfonica Nazionale della

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RAI, Turin. A native of Slovakia, he studied composition, conducting, and cymbalon at the Bratislava Conservatory. 2005 saw his debut with Orchestre National de France, and since then he has he has made debut and return engagements around the world, including New York Philharmonic, San Francisco Symphony, Minnesota Orchestra, Munich Philharmonic, Philharmonia London, Orchestre de Paris, and Czech Philharmonic. Mr. Valčuha recently toured Europe with the Bamberg Symphony and Santa Cecilia Rome orchestras and conducted Wagner’s Parsifal at the Budapest Opera.

Jaap van Zweden (conductor) has risen rapidly to become one of today’s most sought-after conductors. Van Zweden has been Music Director of the Dallas Symphony Orchestra since 2008 and Music Director of the Hong Kong Philharmonic Orchestra since 2012. In January 2016, the New York Philharmonic appointed him as their Music Director starting with the 2018-19 season. Van Zweden has appeared as guest conductor with the world’s most prestigious orchestras and opera companies including the Chicago Symphony, Berlin Philharmonie, Vienna Philharmonic, Royal Concertgebouw Orchestra, and the Vienna State Opera.

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WAYS TO GIVE GIFTS TO THE ENDOWMENT Create a legacy that lasts in perpetuity when you contribute to Bravo! Vail’s Endowment.

ANNUAL FUND Your gift ensures that music continues to resound throughout the Vail Valley.

ORCHESTRA UNDERWRITING The world’s top orchestras come to Vail each summer. Designate your gift to support your favorite.

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CORPORATE Enjoy benefits like event invitations and sponsor recognition while aligning your business with other arts supporters. GIFTS OF STOCK Donating stock and securities can help maximize tax benefits.

DONATE YOUR VEHICLE Donating your vehicle is a great way to make your gift go further!

EDUCATION PROGRAMS Support Bravo!’s mission at work by underwriting the many education programs which make music accessible to all.

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BEQUESTS When you include a bequest to the Festival in your estate plans, you make an investment in Bravo!’s future.

ADVERTISE The Bravo! Vail Program Book is an excellent way to get your message out to the community of music lovers.

JOIN THE BRAVO! VAIL COMMUNITY The generosity of our donors makes Bravo! Vail great. The Festival relies on its incredible donors to continue its legacy of musical excellence and fulfill its mission to enrich peoples’ lives through the power of music.

TRIBUTE AND MEMORIAL GIFTS Give a meaningful gift to a music lover, or honor the memory of a loved one.

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. GRAND BENEFACTOR ($100,000 and above) ANB Bank and the Sturm Family* The Francis Family**** The Sidney E. Frank Foundation* Linda and Mitch Hart The Paiko Trust, in honor of the Firefighters of the Vail Valley Town of Vail***** PREMIER BENEFACTOR ($50,000 and above) Peggy Fossett* Donna and Patrick Martin Billie and Ross McKnight Vail Valley Foundation***** Betsy Wiegers Choral Fund in Honor of John W. Giovando**** IMPRESARIO ($25,000 and above) Amy and Charlie Allen Dierdre and Ronnie Baker** Angela and Peter Dal Pezzo* Julie and Tim Dalton** Marijke and Lodewijk de Vink*** Stephanie and Lawrence Flinn, Jr.**** Pat and Pete Frechette** Lyn Goldstein**** Jeanne and Jim Gustafson** Vera and John Hathaway* Karen and Michael Herman** Lyda Hill*** Judy and Alan Kosloff**** Honey Kurtz** Kay Lawrence** Vicki and Kent Logan** Leni and Peter May**** Carolyn and Gene Mercy**** Shirley and William S. McIntyre, IV*** Amy and James Regan**** Helen and Vincent Sheehy**** Mary Lynn and Warren Staley* Cathy and Howard Stone****

Dhuanne and Doug Tansill*** Carol and Pat Welsh*** Barb and Dick Wenninger* VIRTUOSO ($20,000 and above) Jayne and Paul Becker**** Amy and Steve Coyer** Arlene and John Dayton** Kathy and David Ferguson Georgia and Don Gogel* Mr. and Mrs. Claudio Gonzalez*** Barbie and Tony Mayer**** Mr. John McDonald and Mr. Rob Wright**** Ann and Alan Mintz*** Allison and Russell Molina* Kay and Bill Morton**** June and Paul Rossetti Didi and Oscar Schafer** Marcy and Gerry Spector** Lisa Tannebaum and Don Brownstein* Sandra and Greg Walton* OVATION ($15,000 and above) Letitia and Christopher Aitken* Marilyn Augur*** Armando T. Belly Barbara and Barry Beracha* Sandy and John Black*** Doe Browning* Virginia J. Browning Carolyn and Gary Cage**** Susan and Van Campbell** Jeri and Charlie Campisi**** Debbie and Jim Donahugh* Cindy Engles* Penny and Bill George*** Holly and Ben Gill*** Terri and Tom Grojean**** Martha Head**** Irmgard and Charles Lipcon Karen and Walter Loewenstern**** Sarah Nash and Michael Sylvester** National Endowment for the Arts* Patti and Blaine Nelson Margaret and Alex Palmer* Teressa and Anthony Perry**** Martha Dugan Rehm and Cherryl Hobart*** Richard and Susan Rogel****

Each * denotes five years of consecutive donations.

Sally and Byron Rose** Terie and Gary Roubos*** Marcy and Stephen Sands* Mary Sue and Mike Shannon* Slifer Smith & Frampton Foundation*** C.P. â&#x20AC;&#x153;Chuckâ&#x20AC;? and Margery Pabst Steinmetz*** US Bancorp Foundation* US Bank*** Volvo Carole A. Watters** ALLEGRO ($10,000 and above) Anonymous** (2) Alpine Bank** Pamela and David Anderson* Christine and John Bakalar** Penny Bank and Family, Herbert Bank and Family Judy and Howard Berkowitz**** Bravo! Vail Guild***** Kelly and Sam Bronfman II Gina Browning and Joe Illick Jean and Harry Burn Colorado Creative Industries** Susan and John Dobbs*** Sallie and Robert Fawcett**** Cookie and Jim Flaum*** Susan and Harry Frampton**** Nancy Gage and Allan Finney Anne and Hank Gutman* Ann and David Hicks Kay and Michael Johnson June and Peter Kalkus**** Jan and Lee Leaman* Nancy and Richard Lubin** Rose and Howard Marcus**** Sammye and Mike Myers* Jullie and Gary Peterson Molly and Jay Precourt** Wendy and Paul Raether Vicki Rippeto** Mr. and Mrs. Ernest Scheller, Jr.*** Carole and Peter Segal** Sue and Marty Solomon** Soros Fund Charitable Foundation Matching Gifts Program Stolzer Family Foundation*** Bea Taplin** 177

ORCHESTRAL UNDERWRITING Orchestral underwriting is designated to a specific orchestra and applied directly towards residency expenses. Bravo! Vail expresses deep gratitude to the supporters of each of its orchestras.

THE ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE GRAND BENEFACTOR ($100,000 and above) The Paiko Trust, in honor of the Firefighters of the Vail Valley PREMIER BENEFACTOR ($50,000 and above) Town of Vail*****

BENEFACTOR ($5,000 and above) The Francis Family**** Mr. John McDonald and Mr. Rob Wright**** Carole A. Watters** PATRON ($3,000 and above) Mr. and Mrs. Lawrence H. Kyte*** Leewood and Tom Woodell

CONTRIBUTOR ($1,200 and above) Amy and Steve Coyer** DONOR ($300 and above) Alberta and Reese Johnson Helena and Peter Leslie*** PRELUDE ($50 and above) Helen and William Richards

VIRTUOSO ($20,000 and above) The Sidney E. Frank Foundation*

THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ($30,000 and above) Linda and Mitch Hart Shirley and William S. McIntyre, IV*** Billie and Ross McKnight IMPRESARIO ($25,000 and above) Lyda Hill*** VIRTUOSO ($20,000 and above) ANB Bank and the Sturm Family* OVATION ($15,000 and above) Marilyn Augur*** Patti and Blaine Nelson Marcy and Stephen Sands* C.P. “Chuck” and Margery Pabst Steinmetz*** Carole A. Watters** ALLEGRO ($10,000 and above) Arlene and John Dayton** Sallie and Robert Fawcett**** Sammye and Mike Myers* Vicki Rippeto** 178 Learn more at BravoVail.org

SOLOIST ($7,000 and above) Carol and Ronnie Goldman* Alexia and Jerry Jurschak Bobbi and Richard Massman** BENEFACTOR ($5,000 and above) Peggy and Gary Edwards* Cindy Engles* Amy Faulconer* Rebecca and Ron Gafford* Carol and Jeff Heller* Brenda and Joe McHugh*** Mr. and Mrs. Al Meitz Allison and Russell Molina* Jane and Howard Parker**** Mr. and Mrs. Rod Sanders Debbie and Ric Scripps* Dr. and Mrs. Bill Weaver* PATRON ($3,000 and above) Edwina P. Carrington** The Standford C. and Mary Clare Finney Foundation Yon Jorden Jere Thompson**

Gena and Bob Wilhelm Leewood and Tom Woodell CONTRIBUTOR ($1,200 and above) Clara Willoughby Cargile**** Randi and Ed Halsell* Fanchon and Howard Hallam Karen and Steve Livingston*** Patty and Denny Pearce* Dr. and Mrs. Thomas H. Smith Arkay Foundation/Carolyn and Tom Wittenbraker* FRIEND ($600 and above) Carol and John MacLean**** Margot and Ross Perot Cathy and Howard Stone Violet and Harry Wickes* DONOR ($300 and above) Shelley and Guion Gregg Betty and Clint Josey** PRELUDE ($50 and above) Gerry and Don Houk

THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ($50,000 and above) ANB Bank and the Sturm Family* Peggy Fossett* Donna and Patrick Martin Town of Vail***** IMPRESARIO ($25,000 and above) Karen and Michael Herman** OVATION ($15,000 and above) Teressa and Anthony Perry**** Richard and Susan Rogel**** ALLEGRO ($10,000 and above) Anonymous* Christine and John Bakalar** Arlene and John Dayton** Anne and Hank Gutman* Carole and Peter Segal** Cathy and Howard Stone****

SOLOIST ($7,000 and above) Sue and Dan Godec** Dr. Kalmon D. Post and Linda Fanber Post** Susan and Steven Suggs* BENEFACTOR ($5,000 and above) Sue and Michael Callahan Laura and James Marx** Allison and Russell Molina* Mr. and Mrs. Ernest Scheller, Jr.*** Cynthia and Scott Schumacker Dhuanne and Doug Tansill*** Sharon and Marc Watson** PATRON ($3,000 and above) Shannon and Todger Anderson* Dierdre and Ronnie Baker** Dokie* Wendi and Brian Kushner** Michele and Jeffrey Resnick* Barbara and Howard Rothenberg* Gwen and Rick Scalpello

CONTRIBUTOR ($1,200 and above) Drs. Maryalice Cheney and Scott Goldman Cathy and Graham Hollis* FRIEND ($600 and above) Neal Colton in appreciation of Barbara and Howard Rothenberg Kenneth Lubin DONOR ($300 and above) Judith and Paul Braun Bernice and John Davie* Judy and John Stovall Francine and Jorge Topelson PRELUDE ($50 and above) Maria and Robert Davison Eileen and Jack Hardy

THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000 and above) ANB Bank and the Sturm Family* Julie and Tim Dalton** Marijke and Lodewijk de Vink*** Lyn Goldstein**** Jeanne and Jim Gustafson** Vera and John Hathaway* Honey Kurtz** Kay Lawrence** Vicki and Kent Logan** Leni and Peter May**** Billie and Ross McKnight Amy and James Regan**** Helen and Vincent Sheehy**** Town of Vail***** Carol and Pat Welsh***

GOLD ($20,000 and above) Jayne and Paul Becker**** Amy and Steve Coyer** Stephanie and Lawrence Flinn, Jr.**** Georgia and Don Gogel* Mr. and Mrs. Claudio Gonzalez*** Judy and Alan Kosloff**** Donna and Patrick Martin Barbie and Tony Mayer**** Ann and Alan Mintz*** Kay and Bill Morton**** June and Paul Rossetti Didi and Oscar Schafer** Marcy and Gerry Spector** Cathy and Howard Stone**** Dhuanne and Doug Tansill***

Each * denotes five years of consecutive donations.

SILVER ($15,000 and above) Judy and Howard Berkowitz**** Jeri and Charlie Campisi**** Martha Head**** Karen and Walter Loewenstern**** Mr. John McDonald and Mr. Rob Wright**** Carolyn and Gene Mercy**** Allison and Russell Molina* Sarah Nash and Michael Sylvester** Margaret and Alex Palmer* Terie and Gary Roubos*** Slifer Smith & Frampton Foundation*** Lisa Tannebaum and Don Brownstein* 179

FESTIVAL SUPPORT

he gifts listed below represent charitable giving to Bravo! by individuals and foundations from May 12, 2015 – May 1, 2016. The Board of Trustees expresses its sincere thanks to each supporter for making it possible for Bravo! Vail to achieve its mission. PERMANENT RESTRICTED FUNDS Best Friends of the Bravo! Vail Endowment The Lyn and Phillip Goldstein Maestro Society The Lyn and Phillip Goldstein Piano Concerto Artist Project The Judy and Alan Kosloff Artistic Director Chair The Paiko Trust, in Honor of the Firefighters of the Vail Valley The Betsy Wiegers Choral Fund in Honor of John W. Giovando GRAND BENEFACTOR ($100,000 and above) ANB Bank and the Sturm Family* The Francis Family**** The Sidney E. Frank Foundation* Linda and Mitch Hart The Paiko Trust, in honor of the Firefighters of the Vail Valley Town of Vail***** PREMIER BENEFACTOR ($50,000 and above) Peggy Fossett* Donna and Patrick Martin Billie and Ross McKnight Vail Valley Foundation***** The Betsy Wiegers Choral Fund in Honor of John W. Giovando**** IMPRESARIO ($25,000 and above) Amy and Charlie Allen Dierdre and Ronnie Baker** Angela and Peter Dal Pezzo* Julie and Tim Dalton** Marijke and Lodewijk de Vink*** Stephanie and Lawrence Flinn, Jr.**** Pat and Pete Frechette** Lyn Goldstein****

180 Learn more at BravoVail.org

Jeanne and Jim Gustafson** Vera and John Hathaway* Karen and Michael Herman** Lyda Hill*** Judy and Alan Kosloff**** Honey Kurtz** Kay Lawrence** Vicki and Kent Logan** Leni and Peter May**** Carolyn and Gene Mercy**** Shirley and William S. McIntyre, IV*** Amy and James Regan**** Helen and Vincent Sheehy**** Mary Lynn and Warren Staley* Cathy and Howard Stone**** Dhuanne and Doug Tansill*** Carol and Pat Welsh*** Barb and Dick Wenninger* VIRTUOSO ($20,000 and above) Jayne and Paul Becker**** Amy and Steve Coyer** Arlene and John Dayton** Kathy and David Ferguson Georgia and Don Gogel* Mr. and Mrs. Claudio Gonzalez*** Barbie and Tony Mayer**** Mr. John McDonald and Mr. Rob Wright**** Ann and Alan Mintz*** Allison and Russell Molina* Kay and Bill Morton**** June and Paul Rossetti Didi and Oscar Schafer** Marcy and Gerry Spector** Lisa Tannebaum and Don Brownstein* Sandra and Greg Walton* OVATION ($15,000 and above) Letitia and Christopher Aitken* Marilyn Augur*** Armando T. Belly Barbara and Barry Beracha* Sandy and John Black*** Doe Browning* Virginia J. Browning, in Honor of Doe Browning Carolyn and Gary Cage**** Susan and Van Campbell**

Jeri and Charlie Campisi**** Debbie and Jim Donahugh* Cindy Engles* Penny and Bill George*** Holly and Ben Gill*** Terri and Tom Grojean**** Martha Head**** Irmgard and Charles Lipcon Karen and Walter Loewenstern**** Sarah Nash and Michael Sylvester** National Endowment for the Arts* Patti and Blaine Nelson Margaret and Alex Palmer* Teressa and Anthony Perry**** Martha Dugan Rehm and Cherryl Hobart*** Richard and Susan Rogel**** Sally and Byron Rose** Terie and Gary Roubos*** Marcy and Stephen Sands* Mary Sue and Mike Shannon* Slifer Smith & Frampton Foundation*** C.P. “Chuck” and Margery Pabst Steinmetz*** US Bancorp Foundation* US Bank*** Volvo Carole A. Watters** ALLEGRO ($10,000 and above) Anonymous** (2) Alpine Bank** Pamela and David Anderson* Christine and John Bakalar** Penny Bank and Family, Herbert Bank and Family Judy and Howard Berkowitz**** Bravo! Vail Guild***** Kelly and Sam Bronfman II Gina Browning and Joe Illick Jean and Harry Burn Colorado Creative Industries** Susan and John Dobbs*** Sallie and Robert Fawcett**** Cookie and Jim Flaum*** Susan and Harry Frampton**** Nancy Gage and Allan Finney Anne and Hank Gutman* Ann and David Hicks Kay and Michael Johnson

June and Peter Kalkus**** Jan and Lee Leaman* Nancy and Richard Lubin** Rose and Howard Marcus**** Sammye and Mike Myers* Jullie and Gary Peterson Molly and Jay Precourt** Wendy and Paul Raether Vicki Rippeto** Mr. and Mrs. Ernest Scheller, Jr.*** Carole and Peter Segal** Sue and Marty Solomon** Soros Fund Charitable Foundation Matching Gifts Program Stolzer Family Foundation*** Bea Taplin** SOLOIST ($7,000 and above) Julie and Bill Esrey**** Liz and Tommy Farnsworth*** The Frigon Family Norma Lee and Morton Funger**** Sally and Tom Gleason** Sue and Dan Godec** Carol and Ronnie Goldman* Mrs. Jean Graham-Smith and Mr. Philip Smith**** Jane and Michael Griffinger**** Valerie and Robert Gwyn**** Sally and Wil Hergenrader**** Karen and Jim Johnson* Alexia and Jerry Jurschak Joyce and Paul Krasnow*** Bobbi and Richard Massman** Ferrell and Chi McClean* Marge and Phil Odeen* Mary Lou Paulsen and Randy Barnhart* Kathy and Roy Plum**** Carolyn and Steve Pope*** Dr. Kalmon D. Post and Linda Fanber Post** Alysa and Jonathan Rotella Maria Santos* Brooke and Hap Stein*** Susan and Steven Suggs* Debbie and Fred Tresca* Barbara and Jack Woodhull****

BENEFACTOR ($5,000 and above) Anonymous Barbara and Christopher Brody* Jeffrey Byrne and Sheldon Andrew Sue and Michael Callahan Norma and Charlie Carter**** Carol and Harry Cebron Kay Chester*** Caryn Clayman** Nancy and Andy Cruce*** Lucy and Ron Davis Peggy and Gary Edwards* Gail and Jim Ellis Amy Faulconer* Laura and Bill Frick**** Helen and Bob Fritch***** Rebecca and Ron Gafford* Linda and John Galvin**** Sheika and Pepi Gramshammer**** Cindy and Guy Griffin Melinda and Tom Hassen Carol and Jeff Heller* Debbie and Patrick Horvath Caleb B. Hurtt**** Susu and George Johnson** Mr. and Mrs. Lee Klingenstein**** Mark and Betsy Kogan Dr. and Mrs. Frederick Kushner* Gail and Jay Mahoney*** Laura and James Marx** The McDonnell Foundation, Inc.** Brenda and Joe McHugh*** Mr. and Mrs. Al Meitz Leila and Walt Mischer Lisa and John Ourisman Marlys and Ralph Palumbo Jane and Howard Parker**** Diane Pitt and Mitchell Karlin Patti and Drew Rader** Michele and Jeffrey Resnick* Amy L. Roth, Ph.D. and Jack Van Valkenburgh* Mr. and Mrs. Rod Sanders Cynthia and Scott Schumacker Debbie and Ric Scripps* Pat and Larry Stewart** Barbara and Carter Strauss Jennifer Teisinger and Chris Gripkey Nancy Traylor**** Sharon and Marc Watson**

Each * denotes five years of consecutive donations.

Michael Watters Dr. and Mrs. Bill Weaver* Leewood and Tom Woodell PATRON ($3,000 and above) Shannon and Todger Anderson* Margo M. Boyle Eleanor and Dr. Gus Bramante**** Edwina P. Carrington** Kathy Cole* Dokie* Kathy and Brian Doyle* Kathleen and Jack Eck The Standford C. and Mary Clare Finney Foundation Mikki and Morris Futernick**** Francie and Michael Gundzik** Valerie and Noel Harris, Wall Street Insurance* Lorraine and Harley Higbie**** Sherry and Rob Johnson***** Yon Jorden Lynn and Dr. Andrew Kaufman** Barbara and Tim Kelley Mr. and Mrs. Arthur Kelton, Jr.**** Wendi and Brian Kushner** Mr. and Mrs. Lawrence H. Kyte*** Ann and William Lieff** Janet and T. Scott Martin Carolyn and Rollie McGinnis J.F. Merz, Jr.* Ellen Mitchell* Sally and Dick Oâ&#x20AC;&#x2122;Loughlin** Nancy and Douglas Patton* Mimi and Keith Pockross*** Ronnie and William A. Potter**** Jackie and James Power*** Janet Pyle and Paul Repetto Gail and Stephen Rineberg Barbara and Howard Rothenberg* Suzanne and Bernard Scharf** Peggy and Tony Sciotto*** Debbie and Jim Shpall Deana and Gerald Sempler**** Jere Thompson** Tim Tyler*** Paula and Will Verity Sally and Dennis von Waaden*** Martin Waldbaum*** Anne and Chris Wiedenmayer* Gena and Bob Wilhelm 181

FESTIVAL SUPPORT CONTRIBUTOR ($1,200 and above) Jan Andersen Robert Balas Sarah Benjes and Aaron Ciszek Barbara and Dolph Bridgewater** Sunny and Philip Brodsky* Jan Broman Linda and Joe Broughton* Joyce A. Mollerup and Robert H. Buckman*** Alison and Kurt Burghardt**** Bette and Trent Campbell** Leslie Capin Clara Willoughby Cargile**** Mary and Edmund Carpenter April and Art Carroll* Patsy and Pedro Cerisola**** Toko and Bill Chapin* Drs. Maryalice Cheney and Scott Goldman Elizabeth G. Clark*** Jan and Philip Coulson** Mr. and Mrs. David Cross Courtnay Daniels Martinna and Charlie Dill* Mary and Rodgers Dockstader** Irene and Jared Drescher*** Holly and Buck Elliott*** Carole and Peter Feistmann** Professor Meyer Feldberg Diane and Larry Feldman Donald R. Fraser Barbara and Paul Flowers** Tom and Margie Gart* Donna M. Giordano**** Lindy and Dr. Gerald Gold** Joan and Joseph Goltzman* Anne and Donald Graubart**** Alison and Michael Greene* Mr. and Mrs. Neal Groff**** Fanchon and Howard Hallam Randi and Ed Halsell* Gretchen and Morris Hatley* Cathy and Graham Hollis* Nancy E. Horgan and John A. Horgan, MD* Mrs. Polly Horger and Dr. Ed Horger* Mrs. Michelle Horton Kerma and John Karoly* Bonnie and Larry Kivel** 182 Learn more at BravoVail.org

Rosalind and Marvin Kochman**** Gloria and Joel Koenig* Jeremy L. Krieg of New York Life Insurance* Sue B. and Robert J. Latham* Helena and Peter Leslie*** Karen and Steve Livingston*** Mary and John Lohre Judy and Bob Love** Deb and Dan Luginbuhl* Debbie and Devinder Mangat Meg and Peter Mason Jeanne and Dale Mosier Hazel and Matthew Murray* Karen Nold and Robert Croteau Rosanne and Gary Oatey* Renee Okubo* Priscilla O’Neil**** Mary Beth and Charlie O’Reilly Mr. and Mrs. Robert Paul, III Patty and Denny Pearce* Joyce and Robert Pegg** Nancy and Robert Rosen Susan and Alberto Sanchez* Gwen and Rick Scalpello Lisa and Ken Schanzer Carole Schragen**** Maureen and Les Shapiro** Beth and Rod Slifer Phoebe Anne Smedley*** Dr. and Mrs. Thomas H. Smith Molly Smith Shafer Kathy and David Stassen Anne and Joe Staufer*** Susan Stearns and Frank O’Loughlin Linda and Stewart Turley*** Lois and John Van Deusen** Marjorie Vickers* Sheila Wald Susan and Tom Washing*** Mindy and Greg White** Leslie and Mike Winn Winslow BMW of Colorado Springs Ellen and Bruce Winston* Arkay Foundation/Carolyn and Tom Wittenbraker* Linda and Bob Wohleber Diane and Michael Ziering*

FRIEND ($600 and above) Anonymous Shelly and Arthur Adler Mercedes and Alfonso Alvarez Constance and Robert Anderson Ellen Arnovitz Sheryl and Eliot Barnett Paul S. Bates Nancy Bedlington and Robert Elkins Barbara and Jack Benson Susan and Lee Berk Nancy and Peter Berkley* Barry Berlin Sandy and John Blue Claudia and Marc Braunstein Loretta and David Brewer Robin and Dan Catlin Libby Chambers Erin and Don Chappel Jenny and Terry Cloudman Neal Colton, in appreciation of Barbara and Howard Rothenberg Donna and Ted Connolly* Lucinda and Andy Daly The Davies-Svensson Family Doris Dewton and Richard Gretz* Dr. Fred W. Distelhorst* Suzy and Jim Donohue** Barbara and Lane Earnest* Jana Edwards and Rick Poppe Margaret and Tom Edwards** Jenny and Wendell Erwin**** Anna Filatov Michele Fletcher Susan and Robert Gadmonski*** Alexandria and Rand Garbacz** Doris and Matthew Gobec Vivien and Andrew Greenberg Charles Greisch, III Becky Hernreich Jo and David Hill* Suzi Hill and Eric Noreen Peter Hillback Helen Hodges Jack Holt Marilyn and Matthew Horween Jill Huddleston Sonny and Steve Hurst Sheila and Robert Hyatt Henny Kaufmann*

Elizabeth Keay*** Jayne and Jack Kendall William Koch Margaret and Ed Krol Karen Lechner and Mark Murphy Roberta and David Levin Kenneth Lubin Peter Lyons Suzanne and James MacDougald Lynne and Peter Mackechnie** Carol and John MacLean**** Teresa and Antonio Madero Evi and Evan Makovsky Ginny Mancini*** Marjorie J. Marks** Elaine and Carl Martin** Debbie and Ron McCord Mr. and Mrs. W. Peterson Nelson**** Gerry and Ed Palmer Alyn Park and Jay Wissot* David Perdue Margot and Ross Perot Alrene and Bob Rakich Kathi Renman and Jim Picard Jane L. and Dan C. Roberts Gussie Ross Emely and Dennis Scioli Sandra and Ken Seward Harriett and Bernard Shavitz Judy and Martin Shore* Sydney and Stanley Shuman Marty and Sam Sloven** Annette and Paul Smith Carolyn Smith and George L. Mizner, M.D.**** Dr. and Mrs. C. John Synder*** Catherine and Richard Stampp Ellen and Ray van der Horst Bonnie Vogt Patty and Ed Wahtera* Cynthia and Sam Walker Judy and Phil Walters Elyce and David Walthall Dr. and Mrs. Albert C. Weihl* Violet and Harry Wickes* Lee and Jim Wockenfuss Dr. and Mrs. Larry Wolff Eastern Carolina ENT/Dr. and Mrs. Jonathan Workman Rod Wright Mariette and Wayne Wright

DONOR ($300 and above) Anonymous** Janet and Bill Adler Sandi and Larry Agneberg*** Nancy Alexander and David Staat* Sheila and James Amend Lisa and Joe Bankoff Pamela A. and Brooks F. Bock* Michele and Rick Bolduc Shirley and Jeff Bowen** Mr. and Mrs. John Box* Judith and Paul Braun Patricia and Rex Brown Sue Cannon Ellie Caulkins Karen and Nate Cheney Ann and Lester Cole Mr. and Mrs. Sam B. Cook* Carolyn and Fred Coulson** Marilyn S. Cranin* Silvia and Alan Danson Bernice and John Davie* Salle Dean and Larry Roush**** Linda and Al Demarest Pam and Ernie Elsner Linda and Lester Faigley Deb and Don Felio Marisol and Frank Ferraiuoli Barbara and Larry Field**** Regina and Kyle Fink** Denise and Michael Finley** Sally and Crosby Foster*** Vicky and John Garnsey** Wright B. George Billie Kay and David Gohn Shelley and Guion Gregg Alida and George Gregory Eric Grubbs Mr. and Mrs. Stephen Gubin Patricia and Charles Hadley** Lowell Hahn Jan and Robert T. Hall Colleen M. And David B. Hanson*** Jane and Cal Johnson* Alberta and Reese Johnson Betty and Clint Josey** Ida Kavafian and Steve Tenenbom Dr. and Mrs. Bob Landgren**** Evelyn and Fred Lang*** Lainey and Merv Lapin

Each * denotes five years of consecutive donations.

Harrel Lawrence and Jerry McMahan** Sherri and Bruce Lazear Sheila and Aaron Leibovic Terry Ann and John Leopold* Jessica and Igor Levental Pat Lieberman Nancy and John Lindahl* Jane Linstroth Linda and Stewart Lubitz Peter L. Macdonald**** Vicki and Roger Marce* Anne and Dr. Frank Massari** Judith McBride and Bruce Baumgartner Linda McKinney BJ and Harold Meadows Sam Meals Liz and Luc Meyer* Susan W. and William O. Morris* Joan and Ronald Nordgren Jacque and Bill Oakes** Dr. and Mrs. Hugh Overy Sherrill Pantle Gina and Rick Patterson Cynthia and Lorne Polger Adrienne and Chris Rowberry Jill and Robert Rutledge Jo Dean and Juris Sarins Linda and Shaun Scanlon* Arlene and Jack Schierholz** Laura and Michael Schiff Ivylyn and Dick Scott Suzie and Morrie Shepard Nancy Singer Susan and Bruce Smathers** Karlene Spivak* Brooke and Sean Steigerwalt Madeline and Les Stern Shelley and Dale Stortz Judy and John Stovall Francine and Jorge Topelson Rosie and Bob Tutag Carroll Tyler Anne and Jim von der Heydt Katie and Michael Warren Brenda and Michael Whealy Rosalie Wooten***

183

FESTIVAL SUPPORT PRELUDE ($50 and above) Anonymous** (4) Leslie and Phil Aaholm** Donna Abbruzzese Laila K. and Alejandro Aboumrad Lynn and Jerry Anderson Sheri Ball Kristin and Matthew Banner Helene Barasch Mr. and Mrs. James B. Barber Vincent Bates Judy and Don Baxter Margo and Roger Behler**** Kathryn Benysh Elinor and Howard Bernstein Lucy and Henry Billingsley Judy and Tom Biondini Kathy Bird Larry Blivas Pat and Brian Blood Rachel and David Bondelevitch Covell Brown Nancy L. Bryan Shan Burchenal Althea and Cliff Callaway Charlyn Canada** Lynn and Jim Chapin Renee Ann Chelm Robert B. Clasen Lynn Cohagan John Connell Mary and Bill Cotton Ted Harrington Cox John Curzon Michele and Will Darken Jane and Edward Davenport*** Maria and Robert Davison Mrs. Gabriela G. de Kalb Susan and Mark Dean Anna DeBooy Phyllis Decker Lynne and Fred Deming Nancy and Craig Denton* Fran and Don Diones Abby Dixon Judy and James Donnalley Michael Dossey William W. Dunkin Ulf Edborg**** J Keith Edwards 184 Learn more at BravoVail.org

Lillian Edwards Delight and John Eilering*** Jane Eisner and Samuel Levy Erika and Gerhard Endler Anne Esson**** Joan and Joel Ettinger Claire and R. Marshall Evans*** Clark Fitzmorris Terry and John Forester* Mercedes Franco Walter Frank Allan Freeman Patricia A. Frese Mr. and Mrs. Peter Frieder*** Megan Frigon Grace and Steve Gamble Laura and Warren Garbe Dot and Luther Gause Betty Ann and Robert Gaynor Debra and Rick Geddes Wilma and Arthur Gelfand** Kitty George Michelle Gersten Linda Gibbard Andrea and Mike Glass Carol and Henry Goldstein Gregory Golyansky Sandra Gooch and Harry Lederman Carol and Marc Gordon Tracy and Mark Gordon Richard Graham Mr. and Mrs. David Warren Grawemeyer Dianne and Ed Green Suzanne Greene Rob Gregg Julie Grimm Susan and Ron Gruber*** Wendy and Dick Gustafson Daniel Hagler Jeri and Brian Hanly Eileen and Jack Hardy Joy and James Harrison Jane and Tom Healy Diana Heinle Judy and Jim Heinze*** Dwight Henninger Debra Herz Brenda and Alan Himelfarb Gary Hoffman Betsy and Arlen Holter

Jennifer and Don Holzworth Gerry and Don Houk Holly Hultgren Dee and Don Hunter Judy and Phil Hutchison Bernie Ilg Ernesto Infante Dr. Susan R. Jensen, MD Susan and David Joffe Deborah and Todd Johnson Agneta Kane* Karen and Michael Kaplan Phoenix Cai and Martin Katz William Kehr Katherine and Jim Kellen Bob Keller David Kellogg, Esq. Edith and Matthew King* Donald Kirkpatrick Gene Klein Georganna and William Klingensmith Sally and James Kneser Peggy Knight William Kohut Dolores Kopel Irwin Kowal Nancy and Carl Kreitler Kathy and Phil Kulinski Diane Larsen and David Floyd Monique and Peter Lathrop** Brooke H. Lee* Dr. Barbara Leffler Carol and Gerald Lesnik Kerry and Nicholas Loetscher Missy Love Jane Sheffield Lowery Nicole and Steve Lucido Keith Lytton Kathleen Madrid Michael McBride Marcia and Tom McCalden** Margaret McCormick Jan and Gary McDavid Sharon McKay-Jewett* Judi and Randy McKean Dr. and Mrs. George K. Mellott Jean Melville Michael Mertens Martha and Kevin Milbery Mary Jane and Frank Miller* Wendy and Don Milliman

Lori Mintzer and Simon Aron Harriet and Daniel Mironov Belinda and Eric Monson Harriet and Edward Moskowitz Susan Murry Leslie and Dr. Robert Nathan* Jean Naumann Barbara C. Neeley Suzette Newman Donna Newmyer Sara Newsam* Dorothy and Henry Norton Nancy and Mauri Nottingham Tiffany and David Oestreicher, II Jean and Ed Onderko Jim Oâ&#x20AC;&#x2122;Neal Maite and Adolfo Pardo Kim and Alan Parnass JoAnn and John Pattison John Peace Judy and Tom Pecsok Stephen Penrose Monica and Mark Perin Mauree Jane and Mark Perry Martha and Kent Petrie** Carol and Michael Phillips* Barbara and Don Phillipson Evelyn Pinney and Rob LeVine**** Sydney and Mark Pittman Margaret Pitts Susan Pollack Mr. and Mrs. John B. Porter Bradley Quayle Mindy and Jay Rabinowitz Victoria and Tom Ratts Anne D. Reed Barbara and Michael Reischman Carol Reischman-Cook and Peter Cook Margaret and Albert Reynolds Linda and David Reynolds Helen and William Richards James Rider Mr. and Mrs. Tim Roble* Mr. and Mrs. Warren Rothstein Eileen Rowe and Kenneth Stein* Lynn and Rick Russell Linda and Don Sage Sallie and Don Salanty Mr. and Mrs. Donald Salcito Dr. and Mrs. Jack Sanders*

Susan and Frederick Schantz Vernon Schoep Jane and Chuck Schultz Dr. and Mrs. Jonathan Schwartz** Betty and Harvey Schwartzberg Pamela and Jerry Secor* Mary and Chuck Seibert Anne Sheldon**** Ricki and Steve Sherlin Charlie Sherwood Howard Siegel Eileen Silvers and Richard Bronstein Pat and Ralph Silversmith**** Daphne and Jim Slevin*** Shaunie and Ted Smathers Diane and Loren Smith Mr. and Mrs. Norman S. Smith, Jr.*** Kathy and Robin Smith Shirley and William Smith Mr. and Mrs. Jerry Snyder Linda Sommers**** Colleen Sorte Barbara and Jim Spiker** Ann and Robert Stanton Drs. Arlene and Bob Stein** Judy and Rob Stiber Michella Maria Stiles Steve Straub Jane and David Strauss Fran and Steve Susman** Kathleen Talbot Beverly Jean and Richard Tally Bernice Tarlie Marilu and George Theodore Hayden Thompson Marianne Tracey Robert Triplett, Jr. Carol and Albert Tucker* Robert Uram Barbara and Bill Van Luven Barbara Veto Irit Waldbaum Trudy and Bob Walsh* Deborah Webster and Stephen Blanchard**** Jan Weiland and Alan Gregory Judith and Steven Weingruber Mr. and Mrs. Stephen Wenner Andrea and John O. Westcott Sheila Whitman** Mrs. Joan Whittenberg****

Each * denotes five years of consecutive donations.

Dennis and Vali Wilcox Barbara and Charles Wolff Gerald Yallaly* Shao Yang Edward Zinbarg Tracy and Mark Zuber IN HONOR OF Bill Clinkenbeard Jeanne and Craig White Shirley and Bill McIntyre Fanchon and Howard Hallam Cathy and Howard Stone Michele and Jeffrey Resnick Rickie and Gordon Nutik Anna and Bill Tenenblatt Carole and Peter Segal Rickie and Gordon Nutik Carolyn Smith Dr. Linda Lister Betsy and George Wiegers Joan D. Houlton IN MEMORY OF Dick Bass Jeanne and Craig White Christy Hill Joan Francis Jeanne and Craig White

185

EDUCATION & COMMUNITY ENGAGEMENT

ravo! Vail is proud to offer dozens of free and low cost concerts and events to the community each summer. We thank all those whose support makes these events possible.

186 Learn more at BravoVail.org

Karen and Walter Loewenstern Donna and Patrick Martin Barbie and Tony Mayer Carolyn and Gene Mercy Barb and Duane Miller Jane and Richard Mirande Lisa Muncy-Pietrzak and Mik Pietrzak Caitlin and Dan Murray National Endowment for the Arts Rickie and Gordon Nutik Jean and Ray Oglethorpe The Paiko Trust, in honor of the Firefighters of the Vail Valley Linda and Kalmon Post Patti and Drew Rader Kymberly and Joe Redmond Amy and James Regan Michele and Jeffrey Resnick Susan and Rich Rogel Elaine and Steven Schwartzreich Sue and Doug Sewell Carole and Peter Segal Marcy and Gerry Spector Cathy and Howard Stone Susan and Steven Suggs Dhuanne and Doug Tansill Anna and Bill Tenenblatt

Joe Tonahill, Jr. Town of Eagle Town of Gypsum Debbie and Fred Tresca United Way of Eagle River Valley US Bancorp Foundation Norm and Jackie Waite Lisa Green and Martin Waldbaum Sandra and Greg Walton Carole A. Watters Jeanne and Craig White Gina and Andre Willner

ÂŠJOHNRYAN LOCKMAN

Anonymous Letitia and Christopher Aitken Amy and Charlie Allen Alpine Bank Sarah and Glenn Ast Dierdre and Ronnie Baker Beaver Creek Resort Company Jayne and Paul Becker Alix and Hans Berglund Bravo! Vail Guild Kelly and Sam Bronfman II Janie and Bill Burns Barbara and Paul Cantrell Mary Ellen and Stan Cope Amy and Steve Coyer Elizabeth Davis and Peter Cobos Arlene and John Dayton Kathy and Brian Doyle Sandi and Leo Dunn Eagle County Eagle Ranch Homeowners Association Peggy and Gary Edwards Sallie and Robert Fawcett Kathy and David Ferguson FirstBank Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation Andrea and Mike Glass Sue and Dan Godec Terri and Tom Grojean Anne and Hank Gutman Kathryn and Michael Hanley Valerie and Noel Harris, Wall Street Insurance Becky Hernreich Kathy and Allan Hubbard Julie and Steven Johannes Judy and Alan Kosloff Sheila and Aaron Leibovic

GIFTS TO THE ENDOWMENT

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

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

Millie and Vic Dankis FirstBank Susan and Harry Frampton Linda and John Galvin Sheika and Pepi Gramshammer Nita and Bill Griffin Becky Hernreich Bob Hernreich Mary and Jim Hesburgh Gretchen and Jay Jordan Kensington Partners Alexandra and Robert Linn Gerard P. Lynch The Mercy Family Priscilla O’Neil Patricia O’Neill and John Moore Joan and Richard Ringoen Family Foundation, Inc. Terie and Gary Roubos Terie and Gary Roubos Foundation Seevak Family Foundation Helen and Vincent Sheehy The Smiley Family Claudia Smith Mark Smith Cathy and Howard Stone Stewart Turley Foundation, Inc. TRUSTEES’ MILLENNIUM FUND $2,000 and above Sallie and Robert Fawcett Mr. and Mrs. Lawrence Flinn, Jr. June and Peter Kalkus Kalkus Foundation, Inc. Karen and Walter Loewenstern Merz Family Ron and Zoe Rozga Dr. and Mrs. William T. Seed Deb and Rob Shay Karin and Bob Weber Anne and Dennis Wentz Barbara and Jack Woodhull Bob Zinn

187

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 others. This generous gift from Lyn and Phillip Goldstein supports artistic expenses associated with the Festival’s piano concerto artists. This gift will be recognized in perpetuity. THE JUDY AND ALAN KOSLOFF ARTISTIC DIRECTOR CHAIR Bravo! Vail gratefully acknowledges this gift which supports Artistic Director Anne-Marie McDermott in her vision of bringing exciting and innovative programming and performing artists to Bravo! Vail. THE SIDNEY E. FRANK FOUNDATION Bravo! Vail is grateful to The Sidney E. Frank Foundation for its generous underwriting of education and community engagement programs including: free community concerts; Bravo! Vail After Dark; the Bravo! Vail Piano Fellows; Classically Uncorked, audio recording, videography and archiving and much more. This generous gift helps the Festival fulfill its mission and bring music to the community. THE SANDRA AND GREG WALTON GUEST CONDUCTOR FUND Bravo! Vail thanks Sandra and Greg Walton for their generous gift to underwrite the additional expenses associated with the many world-class guest conductors who join the Festival’s resident orchestras on stage in Vail. 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 188 Learn more at BravoVail.org

known pianists performing as many as possible of the classical symphonic works with the resident and guest orchestras of the Festival. Thank you! THE PAIKO TRUST, IN HONOR OF THE FIREFIGHTERS OF THE VAIL VALLEY Bravo! Vail gratefully acknowledges the generosity of the Paiko Trust for the purpose of music education, community engagement and future planning to promote the growth of the Festival. This gift has been made in honor of the firefighters of the Vail Valley. Special thanks to Eagle River Fire Protection District, Greater Eagle Fire Protection District, Gypsum Fire Protection District, Rock Creek Fire and Vail Fire. THE PHILADELPHIA ORCHESTRA CHALLENGE GRANT In support of the Bravo! Vail residency of The Philadelphia Orchestra, a Challenge Grant has been issued every year since 2013. Bravo! Vail gratefully acknowledges the 2016 Challenge Grant donors, whose gifts inspire the generosity of others: Peggy Fossett, ANB Bank and the Sturm Family, and Donna and Patrick Martin. THE BETSY WIEGERS CHORAL FUND IN HONOR OF JOHN W. GIOVANDO Bravo! Vail gratefully acknowledges this fund, created by Betsy Wiegers, which will underwrite the performance of a choral work each year for ten years. The 2016 Season features the Dallas Symphony Orchestra, led by Jaap van Zweden, performing Carmina Burana on June 29. 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. TOWN OF VAIL Bravo! Vail wishes to acknowledge the vision of the Town of Vail and its Council Members for their most generous underwriting of the residencies of the Academy of St Martin in the Fields, The Philadelphia Orchestra and the New York

Philharmonic. Their support of Bravo! Vail since its inception has ensured the Festival’s continued success. 15TH ANNUAL PATRON SKI DAY Many thanks to Cookie and Jim Flaum, Jeremy L. Krieg of New York Life, West Vail Liquor Mart and Elway’s Restaurant for underwriting the 15th Annual Patron Ski Day in March. LIV SOTHEBY’S INTERNATIONAL REALTY LIV Sotheby’s is a valued corporate partner of the Festival. Special thanks for underwriting the Opening Night Patron Reception for the New York Philharmonic. REHEARSAL SPACE Cathy and Howard Stone, Vail Mountain School, Manor Vail, and the Vail Interfaith Chapel all provide invaluable rehearsal space. Thank you for this unique gift. ALPINE BANK RADIO AND MEDIA PROGRAM Bravo! Vail receives radio and television promotion through a unique program designed and funded by Alpine Bank. Their gracious support of music education programs is also greatly appreciated. LOCAL TRANSPORTATION The Festival acknowledges Colorado Mountain Express for their generous support in assisting Festival artists with local transportation to and from airports in both Denver and Eagle. MEDIA ACKNOWLEDGEMENTS The Festival is pleased to acknowledge support from CMNM, Colorado Public Radio, Tiga Advertising, Town of Vail, Vail Daily, Vail Valley Partnership, Vail Local Marketing District Advisory Committee, Vail Resorts, and Vail Town Council. FESTIVAL PHYSICIANS The Festival extends sincere appreciation to Festival Physicians Dr. Lisa L. MuncyPietrzak, MD, ABHM of Vibrant Health of Vail and Dr. David Cohen, MD, for their invaluable service to Festival musicians.

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.

ALLEGRO ($10,000 and above) Alpine Bank** Colorado Creative Industries** LIV Sotheby’s International Realty* Soros Fund Charitable Foundation Matching Gifts Program

GRAND BENEFACTOR ($100,000 and above) ANB Bank and the Sturm Family* Town of Vail*****

SOLOIST ($7,000 and above) Beaver Creek Resort Company Grgich Hills Estate

PREMIER BENEFACTOR ($50,000 and above) Vail Valley Foundation***** OVATION ($15,000 and above) National Endowment for the Arts* Slifer Smith & Frampton Foundation*** US Bancorp Foundation* US Bank*** Volvo

BENEFACTOR ($5,000 and above) J.P. Morgan Patti and Drew Rader** Town of Gypsum** PATRON ($3,000 and above) Alpine Party Rentals Valerie and Noel Harris, Wall Street Insurance* Nakamichi Foundation

Each * denotes five years of consecutive donations.

CONTRIBUTOR ($1,200 and above) Bank of America Matching Gifts Eagle County** Eagle Ranch Homeowners Association* IBM Matching Grants Program* Jeremy L. Krieg of New York Life Insurance* Sprint Foundation* FRIEND ($600 and above) Community First Foundation* Faegre Baker Daniels Foundation Town of Eagle DONOR ($300 and above) GE Foundation United Way of Eagle River Valley PRELUDE ($50 and above) Larkspur Restaurant* Schneider Electric North America Foundation

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IN-KIND GIFTS

ravo! Vail is grateful to all of its partners who provide in-kind donations to the Festival. PREMIER BENEFACTOR ($50,000 and above) Antlers at Vail FirstBank Lodge at Vail RockResorts Town of Vail Vail Marriott Mountain Resort and Spa Vail Resorts Vail Resorts EpicPromise Vail Valley Foundation IMPRESARIO ($25,000 and above) Bravo! Vail Board of Trustees and Advisory Council Bravo! Vail Development Committee Bravo! Vail Gala Committee Bravo! Vail Guild West Vail Liquor Mart VIRTUOSO ($20,000 and above) 5280 Magazine Dr. Lisa Muncy-Pietrzak OVATION ($15,000 and above) Ali & Aaron Creative Alpine Bank ALLEGRO ($10,000 and above) Crazy Mountain Brewing Company Cookie and Jim Flaum Arlene and John Dayton Foods of Vail Four Seasons Resort Vail Gacina Adriatic Charter Grgich Hills Estate Vera and John Hathaway Left Bank Restaurant Manor Vail Lodge Shirley and William McIntyre, IV Billie and Ross McKnight Mirabelle at Beaver Creek Republic National Distributing Company Alysa and Jonathan Rotella Second Nature Gourmet Splendido at the Chateau Lisa Tannebaum and Don Brownstein

190 Learn more at BravoVail.org

Vail Catering Concepts Vail Daily Vintage Magnolia Sandra and Greg Walton Westin Riverfront Resort and Spa Yamaha SOLOIST ($7,000 and above) Big Delicious Catering The Christie Lodge Destination Resorts The Lifthouse Condominiums Lion Square Lodge The Sebastian Vail Sitzmark Lodge Sonnenalp TV8 Vail Mountain Haus Vail Mountain Lodge and Spa BENEFACTOR ($5,000 and above) Gina Browning and Joe Illick Dr. David Cohen Colorado Mountain Express Colorado Public Radio Elway’s Faegre Baker Daniels FOODsmith Vail Diane and Lou Loosbrock Anne-Marie McDermott and Mike Lubin Rod and Olivia Miller Michele And Jeffrey Resnick Carole and Peter Segal Mountain Standard Sarah Nash and Michael Sylvester Kent Pettit Photography TASTE 5 Catering Sweet Basil Vail Racquet Club Westwind Condos PATRON ($3,000 and above) 10th Mountain Whiskey & Spirits Co. Comcast/NBC/Universal Evergreen Lodge Martha Head Cathy and Howard Stone Terra Bistro Vantage Point CONTRIBUTOR ($1,200 and above) Dierdre and Ronnie Baker

Barbara and Barry Beracha Bōl The Golden Bear Sue Klein TIGA Advertising FRIEND ($600 and above) Chocolove Disneyland Resort The French Laundry Patti and Drew Rader Vail Jazz Foundation Vilar Performing Arts Center Wagner & Associates Westside Cafe DONOR ($300 and above) Cross Training Fitness of Vail Comedy Works The Cos Bar at Riverwalk Fresh Tracks Pet Shoppe Go Photo Booth Judy and Alan Kosloff Lead Foot Linda’s Riverwalk Wine and Spirits Root and Flower PRELUDE ($50 and above) Allegria Spa Any Occasion Cards & Gifts Avalanche Ranch Cabins and Hot Springs Big O Tires Bookworm of Edwards Bouchon Boulder Philharmonic Orchestra City Market Colorado Music Festival and Center for Musical Arts Costco Denver Museum of Nature and Science Denver Zoo Eagle Valley Humane Society Elitch Gardens Felicia’s Studio Glenwood Caverns Adventure Park Grouse Mountain Grill Mountain Man Fruit and Nut Company Nina McLemore Royal Gorge Route Railroad Steammaster

Celebrate Bigger ✔ Tents & Accessories ✔ Bar & Kitchen Wares ✔ Dance Floors & Stages ✔ Tables & Chairs ✔ Linens & much more!

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BRAVO! VAIL STAFF EXECUTIVE DIRECTOR Jennifer Teisinger ARTISTIC DIRECTOR Anne-Marie McDermott ARTISTIC Director of Artistic Planning Jacqueline Taylor DEVELOPMENT Vice President of Development Caitlin Murray Records Management & Donor Fulfillment Coordinator Beth Pantzer Development & Events Coordinator Darcy Giles Development Associate Melissa Meyers MARKETING AND PUBLIC RELATIONS Vice President of Marketing and Executive Vice President Lisa Mallory Marketing Manager Carly West Marketing Coordinator Megan Roepke SALES & CUSTOMER RELATIONS Donor Fulfillment & Sales Manager Nancy Stevens Box Office Associates Anna Janes Kim Nottingham Maddie Stevens ADMINISTRATION Vice President of Administration and Finance Julie Johannes Director of Finance & Administration Irene Emma Office Manager Heidi Young 192 Learn more at BravoVail.org

Certified Public Accountant Stephanie Novosad Novosad, Lyle, Associates, P.C. TECHNOLOGY Director of Technology David Judd PRODUCTION/EDUCATION Director of Operations Elli Varas Education & Community Engagement Coordinator Keelin Davis Concert Production Manager Brett Logan PRODUCTION CREW Paul Casey Devin Klepper Rane Logan Zac Logan Kalen Martinez Robert Pastore Jr. Brandon Reid Steve Schaefer Piano Technician Michael Jackson Sound Engineering Mountainside Productions, Inc. THD Productions Audio Recording Todd Howe SEASONAL STAFF Artist Liaisons Michael Kappen Kerry Smith Festival Internship Program: Development Interns Emily McCabe, Columbia University Lauren Nichols, University of Oregon Marketing Interns William Albach, Wagner College Madeline Bombardi-Bragg, Colorado State University

Operations and Education Interns Joe Kahake, University of Louisville Crystal Pelham, Colorado State University Sound Recording Interns Kyle Hughes, Denver University Drew Jostad, University of Colorado at Denver Resident Orchestra Physician Lisa Muncy, MD, ABHM GUILD Mary Jo Allen Molly Ansfield Janet Beals Joan Berger Pat Blood Carol Bosserman Barbara Bower Peggy Buchannan Kathy Cardwell Edwina Carrington David and Judy Carson Brabara Coffey Nancy Collins Rod and Dolly Corlin Carl and Becky Crawford James and Pamela Crine William David Doris Dewton Greg and Carol Dobbs Holly Eastman Ann Faison Sandy Faison Warren and Laura Garbe Jack and Greer Gardner Richard Gretz Pam Hamilton Irene Hayes Summer Holm Becky Hopkins Randall Horton Shari Johnson Jane Jones Jean Kearns Elizabeth Keay Betty Kerman Charlene Koegel Don and Marion Laughlin

SPECIAL NOTES Donna London Ann Loper Nicole Lucido Hank Mader Melanna Marcellot Louise McGaughey Carole Ann McNeill Bruce and Ferol Menzel Kevin and Martha Milbery Frank and Mary Jane Miller Sandy Morrison Paolo and Susan Narduzzi Rita Neubauer Suzette Newman Nancy Nottingham Bill Nussbaum Dr Clifton and Joy Okman Pauline Oliver Donald and Linda Orseck Annette (Mickie) Parsons Tom Russo Andy Searls Mary Servais Charlie Sherwood Bill and Connie Smith Mark and Diane Smooke Paige Sodergren Frank and Joanne Strauss Joan Tilden Michael and Judy Turtletaub Claudette Vail Leo and Dianne B Williams Dean and Linda Wolz Allison Wright BRAVO! VAIL PIANO PROGRAM TEACHING STAFF Arzu Basyildiz Bora Basyildiz Alyssa Berube Chloe Brook Zachary Brown Mack Callicrate Patricia Chapman Jordan Denning Evan Fitzcharles Cameron Jarnot Theresa Jiminez-Anders Luis Juarez

Justi Lundeberg Kyla Marsh Camilla Petterson Natasha Reichardt SPECIAL NOTES ADA access is available at all concert venues. Please call the Bravo! Vail offices at 970.827.4316 for further information. The use of cell phones and electronic devices is prohibited during concerts. Sound recording or photographing of concerts is strictly prohibited. Concerts start punctually at the time indicated. Latecomers may be admitted at the discretion of our ushers, either between movements or between pieces. Please respect the volunteer ushers. We ask that adults accompany small children at all times. Artists are subject to change without prior notice and a change of artist is not cause for a refund. Program annotations by © Richard Rodda. Please save your program book for the duration of the Festival and recycle unwanted materials. Bravo! Vail 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. © 2016 Bravo! Vail. All rights reserved. Bravo! Vail Program Book © 2016. MAIL/ADMINISTRATION 2271 N Frontage Rd W, Suite C Vail, CO 81657 970.827.5700 | 877.827.5700 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 All sales are final. There are no refunds or exchanges. Inclement weather is not a cause for refund unless a performance is cancelled. If you are unable to attend a concert, please call the Bravo! Vail offices at 877.812.5700 prior to the concert to donate your tickets. A tax receipt will be issued to you for your ticket donation. Thank you! GERALD R. FORD AMPHITHEATER INFORMATION: Gates to the venue seating open one hour prior to concert start time. Gates to the lobby open 90 minutes prior to concert start time. Lawn seating available on a first come-first served basis. The Gerald R. Ford Amphitheater is fully ADA compliant. The following are policies of the Gerald R. Ford Amphitheater Management and are not permitted in the facility: audio and video recording devices, lawn chairs, cameras, cigarette and cigar smoking, skateboards, bicycles, scooters, in-line skates, pets, and alcoholic beverages. Concessions with food, beverage, and alcohol sales are available at the facility. Picnics and commercially sealed non-alcoholic beverages are permitted. Personnel directly associated with the Management of the Amphitheater will inspect all private refreshment coolers and personal items at the entrance gates.

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Bell Plays Mozart, Continued From Page 51

trees blossom,” as his friend Goethe described sunny Italy, stirred him so deeply that he began a musical work there in 1831 based on his impressions of Rome, Naples and the other cities he visited. The composition of this “Italian” Symphony, as he always called it, caused him much difficulty, however, and he had trouble bringing all of the movements to completion. “For the slow movement I have not yet found anything exactly right, and I think I must put it off for Naples,” he wrote from Rome to his sister Fanny. The spur to finish the work came in the form of a commission for a symphony from the Philharmonic Society of London that caused Mendelssohn to gather up his sketches and complete the task by 1837. The Symphony’s opening movement takes an exuberant, leaping melody initiated by the violins as its principal subject and a quieter, playful strain led by the clarinets as its subsidiary theme. The intricately contrapuntal development section is largely based on a precise, staccato theme of darker emotional hue but also refers to motives from the main theme. A full recapitulation of the exposition’s materials ensues before the movement ends with a coda that recalls the staccato theme from the development. The Andante may have been inspired by a religious procession Mendelssohn saw in the streets of Naples. The third movement is a minuet/scherzo whose central trio utilizes the burnished sonorities of bassoons and horns. The finale turns to a tempestuous minor key for an exuberant dance modeled on a whirling saltarello that Mendelssohn heard in Rome.

42), Beethoven was immensely fond of a certain rough fun and practical jokes, and Sir George Grove believed that “this symphony, perhaps more than any other of the nine, is a portrait of the author in his daily life, in his habit as he lived; the more it is studied and heard, the more will he be found there in his most natural and characteristic personality.” Certainly the Symphony No. 8 presents a different view of Beethoven than do its immediate neighbors, and it is this very contrast that helps to bring the man and his creations more fully into focus. The compact sonata form of the first movement begins without preamble. The opening theme, dancelike if a bit heavy-footed, appears immediately in vigorous triple meter; the second theme is built from short sequentially rising figures. The development section is concerned with a quick, octave-skip motive and a rather stormy treatment of the main theme. The second movement is a sonatina — a sonata form without a development section — based on a ticking theme in the woodwinds (intended to imitate the metronome recently invented by Beethoven’s friend Johann Nepomuk Mälzel) and an impeccable music-box melody presented by the violins. The third movement is in the archaic form of the minuet; its central trio features horns and clarinets. The finale is joyous in mood and sonata in form, with enough repetitions of the main theme thrown in to bring it close to a rondo.

Four Seasons, Continued From Page 59 Spring The spring has come, joyfully, The birds welcome it with merry song, And the streams flow forth with sweet murmurs.

Denk & Beethoven 8, Continued From Page 55

Now the sky is draped in black,

Capriccioso is prefaced by a doleful opening section (marked “malinconico” — “melancholy” — in the score), after which the spirited main rondo theme is presented by the soloist. This section of the work is based on the stirring rhythms of the Spanish dance from Aragon, the jota, perhaps in tribute to Sarasate’s native land. The work is a sterling display of the violin’s technical possibilities balanced by Saint-Saëns’ unerring sense of musical form and good taste.

Thunder and lightning announce a storm. When the storm has passed, the little birds Return to their harmonious songs. And in the lovely meadow full of flowers, To the gentle rustling of leaves and branches, The goatherd sleeps, his faithful dog at his side. To the rustic bagpipe’s merry sound, Nymphs and shepherds dance under the lovely sky When spring appears in all its brilliance.

Symphony No. 8 in F major, Op. 93 (1811-1812) LUDWIG VAN BEETHOVEN (1770-1827)

At the time he wrote his Eighth Symphony (he was 194 Learn more at BravoVail.org

Summer In the heat of the blazing summer sun,

Man and beast languish; the pine tree is scorched. Soon the turtledove and goldfinch join in the song.

Las Quatro Estaciones Porteñas (“The Four Seasons of Buenos Aires”) for Violin and Orchestra (1968)

A gentle breeze blows,

ASTOR PIAZZOLL A (1921-1992)

The cuckoo raises his voice.

But then the north wind whips, And the shepherd weeps As above him the dreaded storm gathers. His weary limbs are roused from rest By his fear of the lightning and fierce thunder And by the angry swarms of flies and hornets. Alas, his fears are borne out. Thunder and lightning dominate the sky, Bending down the tops of trees and flattening the grain. Autumn The peasant celebrates with dance and song The joy of a fine harvest; And filled with Bacchus’ liquor He ends his fun in sleep. Everyone is made to leave dancing and singing. The air is gentle and pleasing, And the season invites everyone To enjoy a delightful sleep. At dawn the hunters set out With horns, guns and dogs. The hunted animal flees, Terrified and exhausted by the noise Of guns and dogs. Wounded, it tries feebly to escape, But is caught and dies. Winter Freezing and shivering in the icy darkness, In the severe gusts of a terrible wind, Running and stamping one’s feet constantly,

The greatest master of the modern tango was Astor Piazzolla, born in Mar Del Plata, Argentina, a resort town south of Buenos Aires, in 1921 and raised in New York City, where he lived with his father from 1924 to 1937. Before Astor was ten years old, his musical talents had been discovered by Carlos Gardel, then the most famous of all performers and composers of tangos and a cultural hero in Argentina. At Gardel’s urging, the young Astor returned to Buenos Aires in 1937 and joined the popular tango orchestra of Anibal Troilo as arranger and bandoneón player. Piazzolla studied classical composition with Alberto Ginastera in Buenos Aires, and in 1954, he wrote a symphony for the Buenos Aires Philharmonic that earned him a scholarship to study in Paris with Nadia Boulanger. When Piazzolla returned to Buenos Aires in 1956, he founded his own performing group, and began to create a modern style for the tango that combined elements of traditional tango, Argentinean folk music and contemporary classical, jazz and popular techniques into a “Nuevo Tango” that was as suitable for the concert hall as for the dance floor. Piazzolla toured widely, recorded frequently and composed incessantly until he suffered a stroke in Paris in August 1990. He died in Buenos Aires on July 5, 1992. Among Piazzolla’s most ambitious concert works is Las Quatro Estaciones Porteñas (“The Four Seasons of Buenos Aires”), published originally for piano solo in 1968 and later arranged for various instrumental combinations. The four movements, beginning with Spring, are not specifically pictorial, as are Vivaldi’s well-known precedents, but are instead general evocations of the changing seasons in Piazzolla’s native Argentina.

So chilled that one’s teeth chatter. Spending quiet and happy days by the fire While outside the rain pours everywhere. Walking on the ice with slow steps, Walking carefully for fear of falling, Then stepping out boldly, and falling down. Going out once again onto the ice, and running boldly Until the ice cracks and breaks, Hearing the Scirocco, The North Wind, and all the winds battling. This is winter, but such joy it brings.

Carmina Burana, Continued From Page 63

Carl Orff encountered these lusty lyrics for the first time in the early 1930s. He was immediately struck by their theatrical potential and chose 24 poems from the Carmina Burana as the basis for a new work. Since the 13th-century music for them was unknown, all of their settings are original with him. Orff’s Carmina Burana is disposed in three large sections with prologue and epilogue. The three principal divisions — Primo Vere (“Springtime”), In Taberna (“In the Tavern”) and Cour d’Amours (“Court of Love”) — sing the libidinous songs 195

Carmina Burana, Continued From Page 195

of youth, joy and love. However, the prologue and epilogue (using the same verses and music) that frame these pleasurable accounts warn against unbridled enjoyment. “The wheel of fortune turns; dishonored I fall from grace and another is raised on high,” caution the words of Fortuna Imperatrix Mundi (“Fortune, Empress of the World”), the chorus that stands like pillars of eternal verity at the entrance and exit of this Medieval world. The work opens with the chorus Fortuna Imperatrix Mundi, depicting the terrible revolution of the Wheel of Fate through a powerful repeated rhythmic figure that grows inexorably to a stunning climax. After a brief morality tale (Fortune plango vulnera — “I lament the wounds that fortune deals”), the Springtime section begins. Its songs and dances are filled with the sylvan brightness and optimistic expectancy appropriate to the annual rebirth of the earth and the spirit. The next section, In Taberna (“In the Tavern”), is given over wholly to the men’s voices. Along with a hearty drinking song are heard two satirical stories: Olim lacus colueram (“Once in lakes I made my home”) — one of the most fiendishly difficult pieces in the tenor repertory — and Ego sum abbas Cucaniensis (“I am the abbot of Cucany”). The third division, Cour d’Amours (“Court of Love”), enters a refined world of sensual pleasure. The music is limpid, gentle and enticing, and marks the first appearance of the soprano soloist. The lovers’ urgent entreaties grow in ardor, with insistent encouragement from the chorus, until submission is won in the most rapturous moment in the score, Dulcissime (“Sweetest Boy”). The grand paean to the loving couple (Blanziflor et Helena) is cut short by the intervention of imperious fate, as the opening chorus (Fortuna), like the turning of the great wheel, comes around once again to close this mighty work. Hadelich Plays Bruch, Continued From Page 75

a year later, perhaps influenced by a performance of Schumann’s Manfred, and set down a first movement, but this music he kept to himself. Seven years passed before he sent this movement to Clara, Schumann’s wife, to seek her opinion. She was pleased with this C minor sketch, and encouraged him to finish the rest so that it could be performed. Brahms, however, was not to be rushed. Eager inquiries from conductors in 1863, 1864, and 1866 went unanswered. It was not until 196 Learn more at BravoVail.org

1870 that he hinted about any progress at all beyond the first movement. The success of the superb Haydn Variations for orchestra of 1873 seemed to convince Brahms that he could complete his initial symphony, and in the summer of 1874, he began two years of labor—revising, correcting, perfecting—before he signed and dated the score of the First Symphony in September 1876. The first movement begins with a slow introduction energized by the heartbeat of the timpani. The violins announce the upward-bounding main theme in the faster tempo that launches a magnificent, seamless sonata form. The second movement starts with a placid, melancholy song led by the violins. After a mildly syncopated middle section, the bittersweet melody returns. The brief third movement, with its prevailing woodwind colors, is reminiscent of the pastoral serenity of Brahms’s earlier Serenades. The finale begins with an extended slow introduction based on several pregnant thematic ideas, and concludes with a noble chorale intoned by trombones and bassoons. The finale proper begins with a new tempo and a broad hymnal theme, and progresses in sonata form, but without a development section. The work closes with a majestic coda in the sun-bright key of C major featuring the trombone chorale of the introduction in its full splendor. Shostakovich 7, Continued From Page 81

The “peaceful life of the people” is portrayed, according to the composer, in the opening movement of the “Leningrad” Symphony by the two themes of the exposition, the first one energetic and full of leaping intervals, the second (presented quietly by the strings over a rocking accompaniment) is simple and flowing. Instead of the expected development section, Shostakovich substituted a marching tune that is played a dozen times at a gradually rising dynamic level. This portrayal of the advancing German army, urged on inexorably by the military cadence of the snare drum, builds from a soft, distant threat to an overpowering fusillade of sound. The march ends with a violent confrontation as invaders clash with defenders. The recapitulation of the opening theme turns from the bright C major of the exposition to the mourning key of C minor. The solo bassoon intones a moving plaint for those who perished, with a hint of the continuing conflict suggested by the drum-beat that closes the movement. “The second movement,” noted the composer, “brings back pleasant memories of happy days. [The

music] is meant to confirm that life and art continue despite the war.” This is the Symphony’s threepart scherzo. The first section—partly jovial, partly somber—has two themes; the first is heard in the strings, the second in the solo oboe and English horn. The tumultuous central section, in rapid triple meter, features thrilling writing for the brass. The final section recalls the opening themes, accompanied by glacial chords in the flutes. Shostakovich continued, “The Adagio expresses rapture with life and admiration of nature, impressions of the unforgettable view of Leningrad, the steady flow of the Neva River, its granite banks, the wellproportioned buildings of the Admiralty and the Winter Palace, and of avenues receding into the distance.” The chorale of the beginning, evoking an almost religious solemnity, is followed by a long melody initiated by the solo flute. Feelings of anxiety, conveyed by syncopations and brittle dotted rhythms, pervade the central section. This music builds to a mighty climax with augmented brass before the chorale returns to subdue the apprehension and leave the movement poised on an unresolved harmony. Three soft taps on the gong join this movement to the finale without pause. “The fourth movement,” said Shostakovich, “is dedicated to our victory of lofty humanism over monstrous tyranny.” Though often given to dark moods and mournful thoughts, especially in its central portions, this finale affirms the faith in the ultimate triumph over the enemy. Its blazing closing pages were the nourishment the Russian soul needed so desperately in 1942, and which, with its positive and forceful optimism, can still move listeners today. Bramwell Conducts, Continued From Page 87

emotional legacies, and it established for following generations the concept of how such a creation could be structured, and in what manner it should engage the listener. The opening gesture is the most famous beginning in all of classical music. It establishes the stormy temper of the Allegro by presenting the germinal cell from which the entire movement grows. The gentler second theme derives from the opening motive, and gives only a brief respite in the headlong rush that hurtles through the movement. It provides the necessary contrast while doing nothing to impede the music’s flow. The development section is a paragon of cohesion, logic and concision. The recapitulation roars forth after a series of breathless chords that pass from

woodwinds to strings and back. The second movement is a set of variations on two contrasting themes. The first theme, presented by violas and cellos, is sweet and lyrical in nature; the second, heard in horns and trumpets, is heroic. The ensuing variations on the themes alternate to produce a movement by turns gentle and majestic. The Scherzo returns the tempestuous character of the opening movement, as the four-note motto from the first movement is heard again in a brazen setting led by the horns. The fughetta, the “little fugue,” of the central trio is initiated by the cellos and basses. The Scherzo returns with the mysterious tread of the plucked strings, after which the music wanes until little more than a heartbeat from the timpani remains. Then begins another accumulation of intensity, first gradually, then more quickly, as a bridge to the finale, which arrives with a glorious proclamation, like brilliant sun bursting through ominous clouds. The finale is jubilant and martial. The sonata form proceeds apace. At the apex of the development, however, the mysterious end of the Scherzo is invoked to serve as the link to the return of the main theme in the recapitulation. It also recalls and compresses the emotional journey of the entire Symphony. The closing pages repeat the cadence chords extensively as a way of discharging the work’s enormous accumulated energy. Cirque de la Symphonie, Continued From Page 91

unprecedented degree, and adding a second and then third ring to give everybody a good view of the show’s greatly expanded offerings. “Why send out a minnow,” Barnum said of his seemingly limitless ambition, “when a whale will do?” Barnum died during a performance in 1890 and the seven Ringling brothers purchased his circus in 1907, merging the shows twelve years later into the “Ringling Bros. and Barnum & Bailey Circus” that continues to tour the world as “The Greatest Show on Earth.” The circus was revitalized once again beginning in the 1970s, when troupes from Australia to Wales brought a new sophistication to the genre’s design and performance, often without animals. The most successful of these modern circus producers is the Montreal-based Cirque de Soleil, whose many shows have been seen by some 90 million spectators on five continents and now annually gross nearly a billion dollars. Other than a few grandiloquent announcements from a ringmaster, circus is a visual art form, and instrumental music has been an indispensible element of it since the days that trumpet players accompanied Philip Astley as he distributed 197

Cirque de la Symphonie, Continued From Page 197

handbills around London from horseback. The Philadelphia Orchestra renews that tradition with the cavalcade of symphonic highlights that accompanies this Cirque de la Symphonie. Tchaikovsky’s Swan Lake, Continued From Page 95

Suite from Swan Lake, Op. 20 (1875-1876) P E T E R I LY I C H T C H A I KO V S K Y ( 1 8 4 0 -1 8 9 3)

Act I of Swan Lake is a festival celebrating the coming of age of Prince Siegfried the following day, when he must choose a bride. Attracted by a flight of swans over the castle, Siegfried and his friends form a hunting party and leave the festivity. At the beginning of Act II, Siegfried arrives at the lake to see the swans, led by Odette, the Swan Queen, glide across the surface. Just as Siegfried is about to unleash his crossbow, Odette appears to him not in avian form, but as a beautiful princess. She tells him that she and the other swan-maidens live under a curse by the evil magician Rothbart that lets them take human shape just from midnight to dawn. The spell can be broken, she says, only by one who promises to love her and no other. Though Rothbart vows to undo them both, Siegfried promises his love to Odette. Act III is again set in the castle. Amid the birthday celebration, Rothbart, in disguise, suddenly enters with his daughter, Odile, who appears to Siegfried in the exact image of Odette. Odette, hovering at the window, tries to warn Siegfried of the deception, but to no avail. Siegfried asks for Odile’s hand in marriage. Rothbart and Odile exult in their vile triumph. Siegfried realizes he has been trapped. Odette seems doomed. In Act IV, Odette returns to the lake, prepared to kill herself. The other maidens urge her to wait for the Prince. He appears and again vows his love, but she knows that Rothbart’s power can only be broken by death. She throws herself from the parapet of a lakeside fortress. Siegfried follows. Rothbart’s enchantment is destroyed by the power of love. At the final curtain, Odette and Siegfried are seen sailing off together on a beautiful, celestial ship, united forever. The Waltz is danced during Siegfried’s birthday festivities in Act I (No. 2). The majestic music of the Scene in Act I (No. 3) accompanies the arrival of his mother, the Queen. The Scene early in Act IV (No. 26) leads to the reconciliation of Odette and Siegfried. A 198 Learn more at BravoVail.org

brief, quasi-Oriental number accompanies the Dance of Little Swans in Act IV (No. 27). The anxious Scene near the close of Act IV (No. 28) occurs when Odette bids a tearful farewell to her companions. The Finale to Act IV (No. 29) provides the ballet’s musical and dramatic denouement. Northern Lights, Continued From Page 105

the festive concert in Helsinki. He withdrew into the isolation of his country home at Järvenpää, thirty miles north of Helsinki (today a lovely museum to the composer), to devote himself to the gestating work, and admitted to his diary, “I love this life so infinitely, and feel that it must stamp everything that I compose.” The birthday of “Finland’s greatest son,” as the program described Sibelius, was a veritable national holiday, when he was lionized with speeches, telegrams, banquets, greetings and gifts; the new Fifth Symphony met with great acclaim. Theorists have long debated whether Sibelius’ Fifth Symphony is in three or four movements; even the composer himself left contradictory evidence on the matter. The contention centers on the first two sections, a broad essay in leisurely tempo and a spirited scherzo, played without pause and related thematically. The opening portion is in a sort of truncated sonata form, though it is of less interest to discern its structural divisions than to follow the long arches of musical tension and release that Sibelius built through manipulation of the fragmentary, germinal theme presented at the beginning by the horns. The scherzo grows seamlessly from the music of the first section. At first dance-like and even playful, it accumulates dynamic energy as it unfolds, ending with a whirling torrent of sound. The following Andante, formally a theme and variations, is predominantly tranquil in mood. “There are frequent moments in the music of Sibelius,” wrote Charles O’Connell of the finale, “when one hears almost inevitably the beat and whir of wings invisible, and this strange and characteristic effect almost always presages something magnificently portentous. We have it here.” The second theme is a bell-tone motive led by the horns. The whirring theme returns, after which the bell motive is repeated over and over, building toward a climax until it seems about to burst — which it does. The forward motion abruptly stops, and the Symphony ends with six stentorian chords, separated by silences, proclaimed by the full orchestra.

Mozart’s Jupiter & Batiashvili, Continued From Page 109

copy of the Slavonic Dances, and wrote admiringly of Dvořák’s “real, naturally real talent.” The public’s interest was aroused, there was a run on the music shops, and Dvořák was suddenly famous (and Simrock was suddenly rich). Eight years later Dvořák wrote a second series of Slavonic Dances (Op. 72). The fee was 3,000 marks, ten times the amount tendered for the earlier set. Though he did not quote actual folk melodies in this music, as had Brahms in his Hungarian Dances, Dvořák was so imbued with the spirit and style of indigenous Slavic music that he was able to create such superb, idealized examples of their genres.

Violin Concerto in A minor, Op. 53 (1879) ANTONÍN DVOŘ ÁK (1841–1904)

In his Violin Concerto, Dvořák was influenced by several facets of the Czech personality — the blending of sadness and determination in the first movement, the tenderness of the second and the boisterous peasant joy of the finale. The main theme group of the Concerto’s first movement comprises a bold, almost tragic, opening statement, a lamenting phrase with a prominent triplet rhythm presented by the soloist and (after a repetition of the first two motives) a lyrical woodwind strain above a simple string accompaniment. These three motives are treated at some length before the smoothly flowing second theme is introduced as a duet for oboe and solo violin. The development section is a challenging exercise in broken chords for the soloist. The recapitulation is greatly truncated, and brings back only the lamenting theme from the exposition. A delicate woodwind chorale leads without pause to the second movement, a song of sweet nostalgia sung by the soloist. The bucolic mood is twice interrupted by stern proclamations from the orchestra. The finale is a scintillating rondo whose main theme is reminiscent of the fiery Czech dance, the furiant.

Mahler’s Resurrection, Continued From Page 113

just by their singing of Klopstock’s profound poem [Auferstehen — ‘Resurrection’] but by the innocence of the pure sounds issuing from the children’s throats. Later I could not find Mahler, so that afternoon I hurried to his apartment. I opened the door and saw him sitting at his writing desk. He turned to me and said: ‘Dear friend, I have it!’ I understood: Klopstock’s poem, which that morning we had heard from the

mouths of children, was to be the basis for the finale of the Second Symphony.” On June 29, 1894, three months later, Mahler completed his monumental “Resurrection” Symphony, six years after it was begun. The composer wrote of the expressive progression of the Second Symphony: “1st movement. We stand by the coffin of a well-loved person. What now? What is this life — and this death? Do we have an existence beyond it? Do life and this death have a meaning? — We must answer this question if we are to live on. “2nd movement — Andante (in the style of a Ländler). You must have attended the funeral of a person dear to you and then, perhaps, the picture of a happy hour long past arises in your mind like a ray of sun undimmed — and you can almost forget what has happened. “3rd movement — Scherzo, based on Des Antonius von Padua Fischpredigt [‘St. Anthony of Padua Preaching to the Fishes’]. When you awaken from the nostalgic daydream [of the preceding movement] and you return to the confusion of real life, the senseless bustle of daily activity may strike you with horror. Then life can seem meaningless. “4th movement — Urlicht ([‘Primal Light’], mezzosoprano solo). The moving voice of naïve faith sounds in our ear: I am of God, and desire to return to God! “5th movement. We again confront all the dreadful questions. The end of all living things has come. The Last Judgment is announced and the ultimate terror of this Day of Days has arrived. The ‘Great Summons’ resounds: the trumpets of the apocalypse call. Softly there sounds a choir of saints and heavenly creatures: ‘Rise again, yes, thou shalt rise again.’ An almighty love shines through us with blessed knowing and being.” Sounds of Spain, Continued From Page 123

or even for a quiet nocturnal meeting at which a number of people passed the night together telling stories, like those of the Thousand and One Nights.” Falla’s fiery music is built in the form of a copla with a refrain-like estribillo, which resembles the classical rondo. A quiet ending suggests welcome sleep at sunrise after a night of revels.

The Three-Cornered Hat, Ballet in Two Parts for Mezzo-Soprano and Orchestra (1917-1919) MANUEL DE FALLA

Falla’s 1919 ballet The Three-Cornered Hat concerns a village miller and his pretty wife. The Corregidor (mayor) is attracted to the miller’s wife, and she tells her husband to watch as she spurns the 199

Sounds of Spain, Continued From Page 199

old man’s attempts at love. That evening the village festivities are interrupted by the local constabulary, who have come to arrest the miller on a charge trumped up by the Corregidor to get him out of the way. The Corregidor appears as the miller is led away but falls into the millstream as he pursues the girl. She runs off in search of her husband while the Corregidor removes his sodden clothes, including his three-cornered hat — symbol of his office — hangs them on a chair outside, and jumps into the absent girl’s bed to ward off a chill. Meanwhile, the miller has escaped and returned home. He sees the Corregidor’s discarded clothes and believes himself betrayed by his wife. Vowing to get even, he exchanges his garments for those of the official, scribbles on the wall “The wife of the Corregidor is also very pretty,” and runs off in search of his conquest. The Corregidor emerges to find only the miller’s clothes. He puts them on just in time for the police, hunting their escaped prisoner, to arrest him by mistake. The miller and his wife are happily reconciled.

Chaplin’s City Lights, Continued From Page 127

beside his collaborator at the piano, would suggest the orchestration of each passage as he heard it in his mind…. The Chaplin family and I decided to restore the City Lights score (from scratch) because we wanted to have the film’s music as close as possible to how Chaplin conceived it. “Throughout all of Chaplin’s films, there is a unique voice that only he could convey: in the midst of the pseudo-Teutonic band marches of The Great Dictator, for example, there is always the barber somewhere underneath; in the dark mind of the murderous Bluebeard in Monsieur Verdoux, there is the simple family man who was unjustly cast aside; and behind the well-lit marquee of the famous performer evoked by Limelight, there is the lonely man in the dressing room. Each Chaplin film requires a Chaplin score, since it is he who understood the character first-hand. Each passage of music contains the juxtaposition of ‘big’ against ‘small,’ and I think it was always Chaplin’s intention to portray the singular man among some form of chaos in his films. I believe that City Lights is the starting point not only for Chaplin as a composer, but for his own musical identity as well. And from that 200 Learn more at BravoVail.org

moment, this musical self-portrait developed to the very end.” City Lights was an anomaly, a silent film released when the “talkies” had made the old visuals-only process all but obsolete. Chaplin began developing the script and the production early in 1928 and started filming before the end of the year, just as the major studios were committing to sound. He resolved to complete City Lights without spoken dialogue, though he decided that it should have a synchronized soundtrack with the score and some sound effects, including one hilarious gag giving an orating politician the unintelligible voice of a kazoo. (Chaplin was dismissive of sound films at that time, telling a reporter he would “give the talkies three years, that’s all.” He was deeply concerned that developing a voice for his iconic Tramp character, which would have to speak a specific language, would adversely affect his gigantic international audience). He worked on City Lights until September 1930, painstakingly supervising every aspect of the production, as he did for all his films (he shot the early scene in which the Tramp buys a flower from the Blind Girl 342 times), and then decided to take further advantage of the new possibilities that sound offered and compose the score himself, his first for one of his films. City Lights premiered at the Los Angeles Theater on January 30, 1931 (Albert Einstein and his wife were the guests of honor) and in New York at the George M. Cohan Theater the following month. It was received enthusiastically by press and public alike (“a film worked out with admirable artistry,” New York Times; “an orgy of laughs,” Los Angeles Examiner) and earned $5 million in its initial release, a triumphant acclamation for Chaplin and his work in the midst of the Great Depression. City Lights has come to be regarded as perhaps Chaplin’s finest work, a screen classic high on countless “Best Films of All Time” lists and a selection for preservation in the Library of Congress’ United States National Film Registry.

Bronfman Plays Liszt, Continued From Page 131

come to the lake to do her washing. He takes her as his wife and the girl bears his child. She finds no happiness, however, and longs to visit her home and her mother in the village. The Goblin allows her to leave for one day on condition that the child remain with him. When the girl does not return, he becomes enraged, and goes to her mother’s cottage to seek her out. The maiden refuses to go with him, and an ominous thump is heard against the cottage door.

Mother and daughter are horrified to find the headless body of the child lying upon the doorstep.

La Valse, Poème choréographique (1919-1920) MAURICE R AVEL (1875-1937)

Ravel first considered composing a musical homage to Johann Strauss as early as 1906. The idea forced itself upon him again a decade later, but during the years of World War I he could not bring himself to work on a score he had tentatively titled “Wien” (“Vienna”), and it was not until January 1919 that he was immersed in the composition of his tribute to Vienna — “waltzing frantically,” as he wrote to a friend. He saw La Valse both as “a kind of apotheosis of the Viennese waltz” and as a “fantastic and fatefully inescapable whirlpool.” The “inescapable whirlpool” was the First World War toward which Vienna marched in three-quarter time, salving its social and political conscience with the luscious strains of Johann Strauss. Ravel completed La Valse in piano score by the end of 1919 and then made a piano duet version and undertook the orchestration, which he finished in the spring of the following year. A surrealistic haze shrouds the opening of La Valse, a vague introduction from which fragments of themes gradually emerge. In the manner typical of the Viennese waltz, several continuous sections follow, each based on a different melody. At the halfway point of the score, however, the murmurs of the introduction return, and the melodies heard previously in clear and complete versions are now fragmented, played against each other, and are unable to regain the rhythmic flow of their initial appearances. The musical panacea of 1855 cannot smother the reality of 1915, however, and the music becomes consumed by the harsh thrust of the roaring triple meter transformed from a seductive dance into a demonic juggernaut. At the almost unbearable peak of tension, the dance is torn apart by a violent five-note figure, a gesture so alien to the triple meter that it destroys the waltz and brings this brilliant, forceful and disturbing work to a shattering close.

Josefowicz & Beethoven’s Eroica, Continued From Page 143

to the other. The second theme, introduced by the oboe, also appears in Beethoven’s ballet The Creatures of Prometheus, Contradanse No. 7 and Variations and Fugue, Op. 35. The variations accumulate energy, and, just as it seems the movement is whirling toward

its final climax, the music comes to a full stop before launching into an Andante section that explores first the tender and then the majestic possibilities of the themes. A brilliant Presto led by the horns concludes this epochal work. The Voice of Wagner, Continued From Page 147

history of music; and an integral part, for both better and worse, of the German psyche. Wagner’s grand conception left no thinking person untouched in the late 19th century. Almost all were seduced by the overwhelming power and emotion of the operas, though some (notably the French) eventually rebelled against Wagner’s musical style and aesthetic ideals. His impact on modern thought and art has been enormous — one German scholar at the beginning of the 20th century estimated that of all the figures in Western history until that time, only Jesus Christ had been more written about than Richard Wagner. The Ride of the Valkyries takes place at the beginning of Act III of Die Walküre, the second opera of the four comprising the complete Ring cycle. The Valkyries are the nine warrior-maidens of German mythology who ride through the air on their steeds, bringing heroes killed in battle to Valhalla, home of the gods, to form a garrison of defense. The Ride occurs at the point in the opera where the curtain rises on a rocky mountain to reveal four of the Valkyries watching their sisters return from the battleground. The music vividly depicts the wild, wind-swept heights, the powerful strides of the magical horses and the Valkyries’ thrilling war cries. In the opera’s closing scene, the Valkyrie Brünnhilde has disobeyed the express command of her father, the god Wotan, by giving her protection to the brother and sister Siegmund and Sieglinde, whose liaison will produce the hero Siegfried. Though Brünnhilde has followed what she knows to be the true wish of her father’s heart in her action, and is told by him that he still loves her, Wotan deprives his daughter of her godhood for her transgression, and instructs Loge, the god of fire, to encircle her with a wall of flames while she is in a trance-like sleep. Wotan decrees that Brünnhilde can only be awakened by the kiss of a hero who fears neither the leaping flames nor the point of the god’s sword. The opera Die Walküre ends with Wotan’s majestic farewell to his daughter and the luminous Magic Fire Music.

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