Bowm an
McCollister
Road
Road
The Homesteads at Shooting Star West
8
Fish
9
Cre ek
UTILITY LOT 0.17 ACRES +
Propos ed
Landscape Easement Area
LOT 6 2.95 ACRES + Building Envelope 1.03 AC +
7 LOT 5 3.11 ACRES + Building Envelope 0.95 AC +
LOT 99 0.75 ACRES
6
LOT 4 3.40 ACRES
5
LOT 98 0.77 ACRES
Building Envelope 0.92 AC +
k
4
h
Fis
The Lodges at Shooting Star West
ee Cr
LOT 97 0.76 ACRES
LOT 3 1.70 ACRES +
3
Building Envelope 0.80 AC + LOT 96 0.74 ACRES
oa
d
2
Fo u
rP
ine
sR
LOT 95 0.77 ACRES
LOT 2 1.64 ACRES + Building Envelope 0.79 AC +
1
LOT 103 0.72 ACRES
LOT 94 0.76 ACRES
LOT 102 0.75 ACRES
Cre
ac R
oad
ad
an
LOT 93 0.77 ACRES
Fish
u vo
Bi
ek
LOT 1 1.85 ACRES + Building Envelope 0.66 AC +
LOT 101 0.82 ACRES
Ro
wm Bo
LOT 92 1.52 ACRES
C sen Jen
R on any
oad
LOT 100 1.41 ACRES
For more inFormation ContaCt:
John L. resor, President, shooting star 3490 CLubhouse drive WiLson, Wyoming 83014 (307) 739-1908 Jresor@shootingstarJh.Com WWW.shootingstarJh.Com assoCiate broker, the CLear Creek grouP reaL estate
SHOOTING STAR WEST - THE LAST PHASE
N
0
25
SC ALE 1” = 50’
50
100
50
UPDATED APRIL 26, 2017
HERSHBERGER DESIGN LANDSCAPE ARCHITECTURE PLANNING URBAN DESIGN
This is not intended to be an offer to sell nor a solicitation of offers to buy real estate in Shooting Star by residents of Connecticut, Hawaii, Idaho, New York, New Jersey, and Oregon, or in any other jurisdiction where prohibited by law. THESE MATERIALS AND THE FEATURES AND AMENITIES DESCRIBED AND DEPICTED HEREIN ARE BASED UPON CURRENT DEVELOPMENT PLANS, WHICH ARE SUBJECT TO CHANGE BY THE DEVELOPER AT ANY TIME WITHOUT NOTICE. NO GUARANTEE IS MADE THAT ALL OF THE FEATURES, AMENITIES, AND FACILITIES DEPICTED BY ARTISTS’ RENDERINGS OR OTHERWISE DESCRIBED HEREIN WILL BE PROVIDED, OR, IF PROVIDED, WILL BE OF THE SAME TYPE, NUMBER, SIZE, OR NATURE AS DEPICTED OR DESCRIBED. REFER TO PLAT MAPS, LEGAL DESCRIPTIONS, AND CCRs FOR ACTUAL LOT SIZES AND RESTRICTIONS. ACCESS TO AND RIGHTS TO USE RECREATIONAL AMENITIES WITHIN THE DEVELOPMENT MAY BE SUBJECT TO PAYMENT OF USE FEES, MEMBERSHIP REQUIREMENTS, OR OTHER LIMITATIONS.
• 4 bedroom, 4,074 sf John Carney designed lodges with mountain views • 5 bedroom + bonus room, 5,095 sf JLF designed homesteads with Sleeping Indian views • 6 homesites averaging 2.44 acres • on-call shuttle service to and from the Jackson Hole Mountain Resort JOHN L.RESOR A S S O C I AT E B RO K E R
307-739-1908 J R e s o r @ S h o ot i n g S ta r J H . co m w w w . S h o ot i n g S ta r J H . co m #1 PRODUCI NG R E A L E S TAT E AGE N T A S M E A SU R E D BY S A L E S VOLU M E I N JACK SON HOL E I N 2015, 2016 & 2017
1 2 0 W E S T PE A R L AV E N U E ․ J AC K S O N, W YOM I N G 830 01 (307) 732-3400 ․ TCCGR E A L E STAT E .COM This is not an offer to sell nor a solicitation of offers to buy real estate in Shooting Star by residents of Connecticut, Hawaii, Idaho, Illinois, New York, New Jersey, Oregon, or in any other jurisdiction where prohibited by law. ACCESS TO AND RIGHTS TO USE RECREATIONAL AMENITIES WITHIN SHOOTING STAR MAY BE SUBJECT TO PAYMENT OF USE FEES, MEMBERSHIP REQUIREMENTS, OR OTHER LIMITATIONS.
FROM THE MUSIC DIRECTOR
Donald Runnicles
The gesture was overwhelming—as ecstatic as it was heart-stopping. As the music rose to its final, heavenly climax, the giant on the podium—from whom all this incredible music seemed to flow—threw his head back and stretched his arms impossibly wide, as if to embrace each and every musician and singer on the packed stage. Time stood still. The universe sang. The auditorium erupted. At that performance, so many decades ago in a city far from here, my life was changed forever as my musical path forward became clear. It was the Second Symphony of Gustav Mahler and the conductor was the great genius Leonard Bernstein. Like countless other young artists over the generations, I was touched and electrified by this great American musician—whether as conductor, composer, pianist, or lecturer, Bernstein inspired and moved millions. As inconceivable as it is that this forever-youthful Pied Piper is no longer with us, it is equally hard to believe that he would have celebrated his hundredth birthday this year. Grounds to celebrate! Welcome to the Grand Teton Music Festival 2018! On behalf of the hundreds of musicians who participate over these seven weeks, it is a pleasure indeed to welcome you to our hall and to the great music that will fill our valley. As we strive each week to provide our audiences and musicians with diverse, memorable musical experiences, we are particularly excited to pay tribute to the great Leonard Bernstein with concert performances of West Side Story, a brilliant and powerful modern-day Romeo and Juliet. Along with this climactic tribute to arguably the finest American musician ever, over the course of this season we take the opportunity to showcase American music both familiar and lesser-known. Two composers dear to our musicians and audiences, Aaron Jay Kernis and Kareem Roustom, will be with us—with Kareem as our first-ever Composer-in-Residence. To celebrate the remarkable ongoing legacy of our dear friend and leader Sylvia Neil, the Board has commissioned a new work from one of America’s most exciting young composers, Sean Shepherd. Relationships shape, inform, and nurture our Festival. This year we welcome back artists at the very top of their form—Johannes Moser, Kirill Gerstein, Kelley O’Connor, and the Utah Symphony Women’s Chorus. We welcome for the first time pianist Daniil Trifonov and conductors Julian Rachlin, Stéphane Denève, and Markus Stenz, confident that they—like so many illustrious colleagues over the years—will fall under the spell of our Festival, eager to return to new friends, the world’s finest orchestral musicians, a unique audience, and a gorgeous valley.
“A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.” May the immortal words of Leonard Bernstein resonate in us all this summer. We are so glad you are with us.
Donald Runnicles MUSIC DIRECTOR
GTMF.ORG | Season
57
1
ELEVATE y our EXPECTATIONS Preeminent Wealth management for Your excePtional lifestYle
“I have been professionally guided by the Bank of Jackson Hole Trust & Wealth Partners in developing my personal plan towards a sound financial future, as well as achieving peace of mind.” – Ed OplEr
• Financial and Retirement Planning • Investment Management • Trust Services • Estate Administration
Bank of Jackson Hole Trust & Wealth Partners is proud to support The Grand TeTon Music FesTival 307-732-3071 bojhtrust.com 2
MAY LOSE VALUE NOT FDIC Grand Teton Music Festival | SUMMER 2018 INSURED NO BANK GUARANTEE
A Division of
WELCOME TO THE
Grand Teton Music Festival
On behalf of our Board of Directors, staff, and corps of over 100 volunteers, thank you for joining us for our 57th Summer Festival— a Star-Spangled Season celebrating the 100th anniversary of musical icon Leonard Bernstein’s birth. Throughout the summer, you will undoubtedly notice his inspirations and lasting influences. He was a composer, a conductor, an educator, and a pianist— all performed with equal parts brilliance and charisma. Simply put, no other American can claim such a broad impact on a century of American music. Whether you experienced his genius live or only in recordings, you undoubtedly have a favorite Bernstein moment. He changed the world of theater forever with works like On the Town and West Side Story. As a conductor, he ushered in an era of accessibility with his Young People’s Concerts during his tenure at the New York Philharmonic—and simultaneously brought about the revival of Mahler’s symphonies in the United States. As an educator, Bernstein mentored countless generations of conductors at the Tanglewood Music Center and opened up the complexities of the classical music world to the masses through televised lectures as Harvard University’s Charles Eliot Norton Chair of Professor of Poetry. Still widely in circulation, his videos remain the benchmark of how to communicate the inner workings of this infinitely complex art form we call classical music. This summer, we are excited to present works highlighting Bernstein’s storied career, concluding with a fully-cast concert adaptation of West Side Story—a first at the Grand Teton Music Festival. And because there is nothing more American than Broadway, we are beyond thrilled that Broadway’s reigning queen is this year’s Gala Fundraising Artist, six-time Tony Awardwinner Audra McDonald. Additionally—as no Festival season is complete without an epic Gustav Mahler symphony—this August the Festival Orchestra will perform one of his grandest, the Third, which will undoubtedly highlight our Music Director Donald Runnicles. He conducts Mahler’s works with power, vision, and a vastness of color that is unmatched today. Whether you have been coming to the Grand Teton Music Festival for years or this is your very first time, we welcome you. Yours in music,
Andrew Palmer Todd
PRESIDENT & CEO
Allan Tessler BOARD CHAIR
GTMF.ORG | Season
57
3
4
Grand Teton Music Festival | SUMMER 2018
GTMF.ORG | Season
57
5
E L E VAT E D C U I S I N E
Distinguished Service Jackson Hole’s premier catering choice for mountain meetings, weddings, and special events.
6
spurcatering.com | 307.739.4199 Grand Teton Music Festival | SUMMER 2018
Daniil Trifonov
Leila Josefowicz
Kirill Gerstein
Johannes Moser
Table of Contents 8
2018 Summer Calendar
12
Celebrating Leonard Bernstein
14
Festival Board & Staff
16
General Information
20
About GTMF Concerts & Events
24
Education, Lifelong Learning & Community Outreach
28
2018 Season Sponsors
29
Music Director Donald Runnicles
32
2018 Season Programs, Rosters & Notes
32 OPENING WEEK: July 2–7 46 WEEK TWO: July 9–14 Julian Rachlin
64 WEEK THREE: July 16–21 79 WEEK FOUR: July 23–28 99 WEEK FIVE: July 30–August 4
Kelley O’Connor
119 WEEK SIX: August 6–11 143 CLOSING WEEK: August 13–18 166
Meechot Marrero
Celebrating 25 Years with GTMF
168 Introducing Your Festival Orchestra 184
2018 Donors & Sponsors
GTMF.ORG | Season
57
7
July Events take place in Walk Festival Hall unless otherwise noted.
OPENING WEEK
MONDAY
TUESDAY
Movies on the Mountain: Independence Day
Opening Night with Jazz Pianist Diane Schuur July 3 at 8PM
July 2 at 7PM
WEEK TWO
Movies on the Mountain: A League of Their Own
Inside the Music: Scheherazade– Her Story, Our Music
Movies on the Mountain: City Slickers
The Grand Experience with Audra McDonald
July 9 at 7PM
WEEK THREE
July 16 at 7PM
July 10 at 8PM
July 17 at 6PM Private Residence
Inside the Music: The Poetry of Music July 17 at 8PM
WEEK FOUR
Movies on the Mountain: Raiders of the Lost Ark July 23 at 7PM
Free Family Concert: Bassist Edgar Meyer July 24 at 11AM Teton County Library, Jackson Branch
GTMF Presents: Bassist Edgar Meyer July 24 at 8PM 8
Grand Teton Music Festival | SUMMER 2018
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
Festival Orchestra: Patriotic Pops
GTMF Presents: The Music of Scott Joplin
Open Rehearsal
Festival Orchestra: Trifonov Plays Rachmaninoff
July 4 at 6PM
July 5 at 8PM
July 6 at 10AM
Festival Orchestra: Trifonov Plays Rachmaninoff
July 7 at 6PM
July 6 at 8PM
Gallery Concert July 11 at 5:30PM Diehl Gallery
GTMF Presents: Jazz Pianist Aaron Diehl July 11 at 8PM
Free Family Concert: Jazz Pianist Aaron Diehl
Thursday, July 12 at 11AM Teton County Library, Jackson Branch
Chamber Music with Violinist Leila Josefowicz
Open Rehearsal July 13 at 10AM
Festival Orchestra: Beethoven’s Pastoral Symphony
Festival Orchestra: Beethoven’s Pastoral Symphony July 14 at 6PM
July 13 at 8PM
July 12 at 8PM
Chamber Music with Pianist Kirill Gerstein
Fundraising Gala Concert with Audra McDonald
Open Rehearsal
July 18 at 8PM
July 19 at 6PM
Festival Orchestra: Gershwin’s Piano Concerto
VIP Dinner with Audra McDonald
July 19, after the concert Hotel Terra, Murie Ballroom
July 20 at 10AM
July 20 at 8PM
Free Family Concert: GTMF Brass Quintet July 21 at 11AM
Festival Orchestra: Gershwin’s Piano Concerto July 21 at 6PM
Family Festival Orchestra: A Night at the Movies July 25 at 6PM
Chamber Music with Cellist Johannes Moser July 26 at 8PM
Open Rehearsal
July 27 at 10AM
Festival Orchestra: Tchaikovsky’s Fifth Symphony
Festival Orchestra: Tchaikovsky’s Fifth Symphony July 28 at 6PM
July 27 at 8PM
GTMF.ORG | Season
57
9
August Events take place in Walk Festival Hall unless otherwise noted.
WEEK FIVE
MONDAY
TUESDAY
Movies on the Mountain: Shane
Inside the Music: The Blue Highways of American Music
July 30 at 7PM
July 31 at 8PM
WEEK SIX
Movies on the Mountain: Toy Story August 6 at 7PM
GTMF Presents: Violinist Benjamin Beilman & Pianist Orion Weiss August 7 at 8PM
CLOSING WEEK
Movies on the Mountain: On the Town
GTMF Presents: Dover Quartet August 14 at 8PM
August 13 at 7PM
LIVE FROM THE
GRAND TETON MUSIC FESTIVAL with host Donald Runnicles and co-host Andrew Palmer Todd
10
Grand Teton Music Festival | SUMMER 2018
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
Donald Runnicles in Conversation with Composerin-Residence Kareem Roustom
Free Family Concert: GTMF Percussion Trio
Open Rehearsal
Festival Orchestra: Mendelssohn’s Violin Concerto
August 1 at 3PM Teton County Library, Jackson Branch
GTMF Presents: Pianist Olga Kern August 1 at 8PM
Free Family Concert: Canadian Brass
August 8 at 12PM St. John’s Episcopal Church
August 2 at 3PM Teton County Library, Alta Branch
Chamber Music with Violinist Julian Rachlin
Chamber Music with Kelley O’Connor and Jessica Rivera August 9 at 8PM
August 8 at 8PM
August 15 at 2PM Teton County Library, Jackson Branch
Festival Orchestra: Mendelssohn’s Violin Concerto
August 4 at 6PM
August 3 at 8PM
August 2 at 8PM
GTMF Presents: Canadian Brass Free Family Concert: GTMF Woodwind Quintet
August 3 at 10AM
Open Rehearsal
August 10 at 10AM
Festival Orchestra: Mahler’s Third Symphony
Festival Orchestra: Mahler’s Third Symphony August 11 at 6PM
August 10 at 8PM
Chamber Music with Soprano Meechot Marrero August 16 at 8PM
Open Rehearsal August 17 at 10AM
Festival Orchestra: West Side Story
Festival Orchestra: West Side Story August 18 at 6PM
August 17 at 8PM
GTMF Presents: A Broadway Revue August 15 at 8PM
The Festival is embarking on its first national radio series to further share its breathtaking music-making with audiences around the country. With delightful tales and musical anecdotes from his storied career, Donald Runnicles serves as host of the program. He shares the mic with Andrew Palmer Todd—CEO of the Festival, pianist, and public radio host.
LISTEN ONLINE
Generously sponsored by Barbara & John Vogelstein. GTMF.ORG | Season
57
11
CELEBRATING
Leonard Bernstein In its 57th season, the Grand Teton Music Festival joins the world in celebrating Leonard Bernstein’s centennial birthday. Throughout this Star-Spangled Season, GTMF features music from American-born composers, works inspired by the USA, and favorites from the American repertoire. BERNSTEIN THE COMPOSER Leonard Bernstein is unquestionably best known for his score to West Side Story—the timeless and iconic musical that forever changed the landscape of American theater. Nevertheless, he was already quite active as a composer before his 1957 masterpiece, with works like his First Symphony, his musical On the Town, his opera Trouble in Tahiti, and his ballet Fancy Free. Even after his 1958 appointment as the New York Philharmonic Music Director, he managed to compose regularly until his death in 1990, at age 72. When looking back on his output, it is mindboggling how he composed across all genres—chamber music, opera, film, instrumental, vocal, choral, and orchestral music. His catalog effortlessly incorporated myriad influences including jazz, his Jewish heritage, 12tone music, and the Beatles.
BERNSTEIN THE EDUCATOR One of the first composers to successfully navigate mass media, Bernstein’s conversational style and charisma made him a natural television personality. His first foray was the televised Young People’s Concerts, which began airing in the 1950s. His televised Harvard lectures in the 1970s are still celebrated for reaching and inspiring a generation of music lovers. Whether talking to a roomful of adults or a concert hall of children, Bernstein could communicate in the most unassuming way. Especially in the Harvard lectures, he had a remarkable and uncanny ability to make the infinitely complex art of classical music seem straightforward, simple, and most of all, accessible. Yet it wasn’t just communicating to the masses that interested Bernstein; he tutored and mentored countless young conductors through his many summers at the Tanglewood Music Center. And as if his efforts as a teacher weren’t enough, Bernstein was an equally gifted writer. His book The Joy of Music is enjoyable reading for anyone intrigued by the wonders of music and music-making.
“I want to conduct. I want to play the piano. I want to write for Hollywood. I want to write symphonic music. I want to keep on trying to be, in the full sense of that wonderful word, a musician. I also want to teach. I want to write books and poetry. And I think I can still do justice to them all.” – LEONARD BERNSTEIN
BERNSTEIN THE CONDUCTOR Nothing highlights the pace and varied musical life of Bernstein more than his appointment as Music Director of the New York Philharmonic in 1958, which occurred just one year after the premiere of West Side Story on Broadway. Once referred to as “Boston’s Musical Genius” by The New York Times, Bernstein had been a frequent guest conductor at the New York Philharmonic from his 1943 debut through his appointment in 1958. Never one to rely on a narrow scope of repertoire, his interests ranged from the mainstream to the esoteric—like the premiere of Charles Ives’ Second Symphony and Messiaen’s Turangalîla Symphony. He remained a champion of new works throughout his career, but it is his indefatigable work on behalf of Mahler that might be his greatest achievement as a conductor. He almost singlehandedly brought Mahler into the American concert hall and ensured that the composer would have a permanent place in mainstream repertoire. Bernstein’s first cycle of recordings of the Mahler Symphonies, recorded from 1960 to 1967, introduced countless individuals to the expansive universe that is Mahler’s symphonic output. 12
Grand Teton Music Festival | SUMMER 2018
LEONARD BERNSTEIN WAS IN residence with the Houston Grand
Opera in 1983, completing his final opera, A Quiet Place. At that time, I was Principal Bass. “Lenny” chose to spend much of his available time with the musicians and enjoyed hearing some of Houston’s fine jazz musicians— frequently in after-hours clubs. He was brimming with energy and enthusiasm, and regularly outlasted all of us. Those were memorable and fun times! Paul Ellison, Principal Bass Festival Musician for 32 years IN NOVEMBER 1979, I WAS HIRED TO play the West Side Story revival on Broadway with Debbie Allen. We spent a month in Miami rehearsing prior to the Broadway run. Leonard Bernstein was with us and I was aware that we were in the presence of greatness. He was insightful, had a great musical point of view, and made it very clear to the actors and musicians what he wanted. He definitely put his thumbprint on that production—it was a pleasure working with him that week, and to see him at the Minskoff Theater during the yearand-a-half run of the show. Richard Brown, Principal Percussion Festival Musician for 40 years
Leonard Bernstein at the climax of Mahler's Second Symphony with the Boston Symphony Orchestra at Tanglewood on July 5, 1970. The sellout crowd gave the guest conductor an 11-minute standing ovation.
THE VERY FIRST TIME I PLAYED WITH Bernstein was in 1972, as a student at Tanglewood Music Festival. He conducted the final two movements of Mahler’s Ninth Symphony; I remember the feeling of electricity in the orchestra. The other occasion was during my tenure at the Chicago Symphony Orchestra. Maestro Bernstein conducted Shostakovich’s First and Seventh Symphonies, which we performed and recorded. His interpretation was, and still is, one of the best I’ve ever heard. He was always after clarity and line in the music, and the energy in his conducting brought out the finest playing from the orchestra. What a gift he left all of us with his children’s concerts and his great musical genius. Gail Williams, Principal Horn Festival Musician for 26 years GTMF.ORG | Season
57
13
GRAND TETON MUSIC FESTIVAL
Board & Staff Music Director Donald Runnicles +
CEO & President
Andrew Palmer Todd +
Executive Committee Allan Tessler Chair
Christine Hartley Vice Chair Ralph Haberfeld Treasurer Bob Whitmire Secretary
Lifetime Directors Charles C. Baker* Joseph Bennett Peter A. Benoliel Lynne V. Cheney Sen. Roy Goodman* Jayne Hilde Al Hilde, Jr. Earl Sams Lightner Gilman Ordway Robert Paulson W. Richard Scarlett, III Mary Seidler Sen. Alan K. Simpson William D. Weiss
Artistic Planning and Audience Development Committee
Sylvia Neil David Raisbeck Gary Silberberg Donald Runnicles Arnold Silverman Barbara Manfrey Vogelstein Honorary Chair Sylvia Neil Chair Board of
Directors
Katherine Brooks John Costello Christian Erdman Patty Jaquith Laurentius Marais Sandra Masur Ralph Matson Pam Niner Ari Rifkin Jennifer Ross Jon W. Rotenstreich William Wecker John Whitmore
14
John Costello Patty Jaquith Sandra Masur Barbara McCelvey° Ralph Matson Ari Rifkin Jennifer Ross Barbara Manfrey Vogelstein
Audit Committee William Wecker Chair
Christian Erdman Laurentius Marais Jon W. Rotenstreich
Grand Teton Music Festival | SUMMER 2018
Education, Lifelong Learning, and Community Outreach Committee Gary Silberberg Chair
Katherine Brooks Patty Jaquith Remy Levy° Jennifer Ross Michelle Quinn°
Finance Committee Ralph Haberfeld Chair
Christian Erdman Laurentius Marais Peter Stalker°
Governance Committee Bob Whitmire Chair
John Costello Patty Jaquith David Raisbeck
Housing Committee William Wecker Ralph Haberfeld Gary Silberberg
Institutional Advancement Committee Barbara Manfrey Vogelstein Chair Katherine Brooks Christine Hartley Sandra Masur Sylvia Neil William Wecker
Investment Committee David Raisbeck Chair
Christian Erdman Dick Jaquith° Laurentius Marais John Whitmore
Leadership Review Committee Jon W. Rotenstreich Chair
Arnold Silverman Barbara Manfrey Vogelstein
Strategic Vision Committee Arnold Silverman Chair
John Costello Jon W. Rotenstreich + Ex officio * Deceased ° Non-Director Committee Volunteer
Staff
Seasonal Staff
Andrew Palmer Todd President & CEO
Lindsey Brakhage Marketing Assistant
Richard Brown Artistic Advisor & Orchestra Personnel Manager
Sean Campbell Housing & Artistic Associate
Cassandra Buckner Finance Manager Gregory Hix Interim Manager of Operations Operations Lindsay Kissel Artistic Associate Brittany Laughlin Marketing Manager Andy Mahoney Development Manager Anna Mattson Director of Development Lauren Owens Patron Services Associate Adelle Eslinger Runnicles Chamber Music Coordinator
Grace Carlic Box Office Staff Kevin Harbison Recording Engineer Jerry Hou Associate Conductor Dong Huynh Box Office Staff Brian Kemble Associate Recording Engineer Erin Lupardus Box Office Staff Michael Martin Associate Stage Manager Heather Miller Associate Stage Manager Victor Muenzer Recording Engineer Michael Peterson Box Office Staff Mike Richards Front of House Manager Rebecca Ross Stage Manager Kelsey Williams Associate Stage Manager
2018 Festival Auxiliary The Auxiliary is a group of ambassadors that supports the Grand Teton Music Festival. Members volunteer their time to assist with projects and events throughout the year. We are grateful to the following people for their commitment to our Festival.
Executive Committee Pam Niner President
Petria Fossel Secretary & Treasurer
Reade Dornan Vice President
Shirley Timmerman Membership Chair
Nancy Jarrell Vice President of Events
Patty Jaquith Carol Schwender
Emily Ambler Nannette Beckley Bonnie Bell Gainor Bennett+ Martha Birkett Jaclyn Braddy Barbara Burns Margaret Culbertson Christy Cushman Sarita (Tica) Eastman Nancy Eaton Nancy Faems Jean Ferguson Lynn Fleisher Lou Furrer* Ilene Garber Donna Glass Joan Goldfarb+ Natalie Goss+ Carter Gray+ Theresa Godchaux Pat Gradek Joy Greene Louise Haberfeld Chris Hartley+ Julia Heileson Barbara Herz
Emma (Emmie) Hill J. Leslie Hill Christine Hruza-Iams Nancy Jarrell Lenore Jonasson Alison Jones Diana Kitchen Beedee Ladd Joni Mack+ Elinor Miller+ Ann O’Leary+ Susan Ordway Robin Paulson* Lucy Rankin+ Barbara Z. Sedlin Priscilla Sibson Charlotte Stifel+ Anne Stalker Barbara Terry+ Joan Thulin+ Cammie Watson+ Mary Kay Werner+ Janet Whitmire Diane Winder
+ Sustaining Members * Honorary Members
GTMF.ORG | Season
57
15
General Information Fritz Box Office at Walk Festival Hall Open through August 18, 2018 Monday–Saturday, 10AM through intermission Closed Sundays Tickets are also available online or by phone.
GTMF Administrative Offices
FREE STUDENT TICKETS
Available for subscription concerts. Exclusions apply.
FREE WEEKLY EVENTS
Including Inside the Music, Family Concerts, and Movies on the Mountain. Please note that tickets are required for all GTMF events.
DAY-OF RUSH TICKETS
$15 Day-Of Rush tickets are available for most concerts after 10AM the morning of the performance.
GROUP DISCOUNTS
For parties of 10 or more, please contact Lauren Owens, Patron Services Associate, for details and benefits (lauren@gtmf.org or 307.733.1128).
Announcing our new location and address: 175 South King Street, Suite 200 PO Box 9117 Jackson, WY 83002
Services
Event Venues
All event venues are ADA-compliant. To arrange ADA-accessible parking, early seating, lift assistance, or other services, please call 307.733.1128 to speak with a member of the box office staff.
Walk Festival Hall 3330 West Cody Lane, Teton Village 307.733.1128 Lot parking available Diehl Gallery 155 West Broadway Avenue, Jackson 307.733.0905 Street parking available Teton County Library, Jackson 125 Virginian Lane, Jackson 307.733.2164 Street and lot parking available Teton County Library, Alta 50 Alta School Road, Alta 307.353.2505 Lot parking available Hotel Terra, Murie Ballroom 3335 Village Drive, Teton Village 307.201.6065 Lot parking available St. John's Episcopal Church 170 Glenwood Street, Jackson 307.733.2603 Street and lot parking available
16
Special Offers
Grand Teton Music Festival | SUMMER 2018
ADA INFORMATION
HEARING LOOP
Walk Festival Hall is equipped with an assistive listening system that allows audience members with hearing aids to receive a direct audio feed from the sound system by activating the built-in T-coil setting in their device. For assistance with activating a hearing loop, please speak with an usher. This service was generously donated by Barbara & John Vogelstein.
VALET PARKING AT WALK FESTIVAL HALL
Valet parking is available in the Cody Circle 30 minutes before and after Friday and Saturday performances. Donors at the Guarantor Project Sponsor level and above, as well as vehicles with ADA permits, receive complimentary valet parking. The cost is $10 for all other vehicles.
CONCESSIONS
Visit the Hartley Pavilion for snacks and beverages one hour prior to performances and during intermission on Wednesday, Thursday, and Festival Orchestra concert nights. Limited concessions are available prior to Movies on the Mountain each Monday. Food and drinks purchased at concessions may be consumed inside the Hall.
Your Guides to the Jackson Hole Lifestyle
GRANITE RIDGE TETON VILLAGE 5 Beds, 5.5 Baths .87 Acres | 7,616 SF $10,250,000 | 16-1978
SKI-IN/SKI-OUT AT GRANITE RIDGE After a long day of skiing world-class powder or hiking beautiful trails at the Jackson Hole Mountain Resort, imagine yourself retreating in proper luxury to this more than 7,500 square foot, 5 bedroom, 5.5 bathroom custom log home. With three unique levels that have intimate gathering spaces like a game room, a theater, a bunk room and skiers lounge and more, the home ultimately unites to create an all-seasons haven.
NORTH OF JACKSON ON THE SNAKE RIVER 70 Acres Price Upon Request | 17-1236
SNAKE RIVER SANCTUARY Living just north of the town of Jackson Hole is a bit like living in the middle of a national park. From these two parcels, enjoy big mountain views in every direction. Look West and you’ll see the Tetons spiking into the sky. Look East and you’ll take in the Gros Ventre Mountain Range with its famous Sleeping Indian. Enjoy privacy with proximity to the mountain town of Jackson Hole and all of its amenities.
GTMF.ORG | Season
57
17
CULINARY CULINARY EXPLORATIONS EXPLORATIONS INSPIRED INSPIRED BY BY PLACE AND TRADITION AT JACKSON PLACE AND TRADITION AT JACKSON HOLE HOLE The long-honored ways of the American West take a modern turn at The long-honored ways of the American West take a modern turn at Four Seasons, where every dining experience is a fresh adventure. Enjoy Four Seasons, where every dining experience is a fresh adventure. Enjoy a twist on the enduring pleasures of local ingredients and indigenous a twist on the enduring pleasures of local ingredients and indigenous methods at Westbank Grill. At the Handle Bar, perk up your palate methods at Westbank Grill. At the Handle Bar, perk up your palate with fun pub grub, reinvented by chef Michael Mina. Share the warmth with fun pub grub, reinvented by chef Michael Mina. Share the warmth of fireside laden with vibrant mediterranean small plates, crudo and of fireside laden with vibrant mediterranean small plates, crudo and delicious flabreads at slope-side Ascent Lounge. delicious flabreads at slope-side Ascent Lounge.
Join us for a relaxed welcome and seasonal menus that take creativity to spirited heights. Join us for a relaxed welcome and seasonal menus that take creativity to spirited heights. fourseasons.com/jacksonhole/dining fourseasons.com/jacksonhole/dining
18
Grand Teton Music Festival | SUMMER 2018
Guarantor Program GRAND TETON MUSIC FESTIVAL
As a part of the Festival’s Guarantor Program, you can deepen your involvement while providing vital support for our concerts, education programs, and community outreach activities. Your status as a Guarantor includes benefits like exclusive backstage opportunities, invitations to private parties and visiting artist introductions, as well as conveniences such as free ticket exchanges, priority subscription seating, and complimentary valet parking.
Become a Guarantor Contact Anna Mattson, Director of Development at anna@gtmf.org or 307.732.9967. Board Members Sylvia Neil and Barbara Vogelstein at a Fundraising Gala Reception GTMF.ORG | Season
57
19
ABOUT GTMF
Concerts & Events
Festival Orchestra
Inside the Music
Festival Orchestra
Chamber Music
Festival Orchestra concerts (Fridays at 8PM and Saturdays at 6PM) are the focal point of the Grand Teton Music Festival. Featuring the Festival Orchestra led by internationally renowned conductor Donald Runnicles, these concerts are the very best of symphonic music. World-class visiting artists and conductors are featured weekly.
Featuring a small ensemble of players, these carefully curated programs showcase core classical repertoire along with a few surprises, expertly performed by members of the Festival Orchestra. Our visiting guest artists make regular appearances in these concerts, giving audiences the rare opportunity to hear these acclaimed musicians performing side-by-side with members of the Festival Orchestra.
TICKETS $25–$85
TICKETS $25
Annual Fundraising Gala Concert Each season, GTMF presents a truly exquisite performance to benefit its year-round programs. For one night only, today’s biggest stars in opera, Broadway, and classical music appear with the Festival Orchestra in the intimate venue of Walk Festival Hall. The 2018 Fundraising Gala Concert, to be held on July 19, will feature six-time Tony Award-winning vocalist Audra McDonald.
Inside the Music Engaging hosts collaborate with Festival Musicians to provide insight into musical works related to each evening’s theme. Listen and learn about the background of classical music’s most influential pieces. These free one-hour concerts are fun, informal, and perfect for all ages.
FREE, BUT TICKETED
TICKETS $200–$2,500
GTMF Presents Diverse musical genres converge during GTMF Presents recitals. Featuring leading musicians from jazz, classical, and musical theatre, the series celebrates an eclectic mix of musical styles and the unbounded virtuosity of featured artists.
TICKETS $25
20
Grand Teton Music Festival | SUMMER 2018
Gallery Concerts Enjoy chamber music while immersed in the world of art. In these one-hour concerts, visiting artists and Festival Musicians play in one of Jackson Hole’s exquisite fine art galleries, providing a unique setting in which to enjoy world-class music. Tickets are limited and include a glass of wine.
TICKETS $25
Each summer, the Grand Teton Music Festival presents more than 60 events over seven weeks throughout Jackson Hole. Join us for an exciting lineup of lectures, family events, chamber music, classical crossover concerts, and orchestral performances.
Free Family Concerts
Movies of the Mountain
Patriotic Pops
Movies on the Mountain
Celebrate July 4th in Walk Festival Hall with patriotic favorites such as the Armed Forces Salute and America the Beautiful. Maestro Donald Runnicles leads the Festival Orchestra in this popular concert packed with fun for the whole family. For those who prefer to enjoy the holiday outdoors, GTMF and the Teton Village Association collaborate to broadcast the concert audio throughout the Teton Village Commons.
GTMF opens its hall on Monday evenings for free Movies on the Mountain! This series presents classic family favorites. Showings begin at 7PM, so be sure to arrive early to purchase candy, Jackson Hole POP artisan popcorn, and beverages on the Hartley Pavilion. This series is generously sponsored by the Teton Village Association.
SOLD OUT
FREE, BUT TICKETED
Free Family Concerts
Open Rehearsals
Passionate about sharing music education and appreciation with young listeners, GTMF proudly presents weekly Free Family Concerts. In these one-hour informal events, families with children of all ages are invited to enjoy kid-friendly music performed by world-class musicians. This series is generously sponsored by Christine & Ross Hartley.
Each Friday at 10AM, enjoy a behind-the-scenes look as the conductor and orchestra rehearse for the weekend Festival Orchestra concerts. During the break, head to the Hartley Pavilion to enjoy complimentary coffee and baked goods provided by Legacy Lodge Assisted Living at Jackson Hole.
TICKETS $15
ADULT TICKETS $0–$15; STUDENT TICKETS ARE FREE
Preconcert Talks Before each Friday and Saturday Festival Orchestra concert, Festival Musicians and other experts present educational introductions to the evening’s performance. Learn before you listen, with lectures beginning at 7PM on Fridays and 5PM on Saturdays in the Barbara Furrer Goodman Memorial Garden near Walk Festival Hall’s north entrance. This series is generously sponsored by the Goodman Family Foundation.
FREE WITH ADMISSION TO THE EVENING’S CONCERT GTMF.ORG | Season
57
21
CATHEDRAL VOICES Chamber Choir
be uty hythm elody f cus u ity FIND MORE THAN A HOME. FIND A WAY OF LIFE.
• Year-round performances Give your gift a voice. Music C•AT H E Deducation R A LV O I C Ethrough S.ORG Singing in the Schools
• Workshops and master classes for youth and adults • Biennial SPRING MUSIC FESTIVAL with internationally acclaimed conductors, composers, and guest artists
There are many reasons to consider a home in Jackson Hole — from the stunning location to the laid-back lifestyle to the financial benefits of living in an income tax-free state. Get started at LivewaterJacksonHole.com
Give your gift a DONATE AT
C ATH E D R A LVO I C ES .O RG LATHAM JENKINS REALTOR 307.690.1642
22
Grand Teton Music Festival | SUMMER 2018
Inspiring harmony and community through musical excellence in performance, education and outreach
Family Concert Series GRAND TETON MUSIC FESTIVAL
Generously sponsored by Christine & Ross Hartley Jazz Pianist Aaron Diehl
Thursday, July 12 at 11AM Teton County Library, Jackson Branch Free, but ticketed
GTMF Brass Quintet
GTMF Percussion Trio
Thursday, August 2 at 3PM Teton County Library, Alta Branch Free, but ticketed
Canadian Brass
Saturday, July 21 at 11AM Walk Festival Hall Free, but ticketed
Wednesday, August 8 at 12PM St. John’s Episcopal Church Free, but ticketed
Bassist Edgar Meyer
GTMF Woodwind Quintet
Tuesday, July 24 at 11AM Teton County Library, Jackson Branch Free, but ticketed
Wednesday, August 15 at 2PM Teton County Library, Jackson Branch Free, but ticketed
Family Festival Orchestra: A Night at the Movies Wednesday, July 25 at 6PM Walk Festival Hall Adults $15; Students are free, but ticketed
The evening begins with an instrument petting zoo on the Hartley Pavilion at 5PM
GTMF.ORG | Season
57
23
Education, Lifelong Learning & Community Outreach Music education and outreach are at the heart of the Grand Teton Music Festival’s mission. The Festival proudly partners with local organizations and schools in Jackson Hole to create opportunities for audiences of all ages to experience the beauty of music and understand its importance in our lives. GTMF promotes awareness and appreciation of the performing arts to every generation of musicians and concertgoers all year long. The Grand Teton Music Festival’s educational and outreach endeavors are made possible by a generous group of supporters. To them, we extend our heartfelt gratitude. Jim & Emily Ambler Anonymous Katherine Brooks & George Beller Cecilia & Frank Bellinghiere Bessemer Trust Peter A. Benoliel & Willo Carey Christine Coleman Janet & John Costello Jacqueline & Christian P. Erdman Sylvia Neil & Dan Fischel 24
Grand Teton Music Festival | SUMMER 2018
Scott & Petria Fossel Lou & John Furrer Louise & Ralph Haberfeld Christine & Ross Hartley Chris & Bill Iams Margery and Edgar Masinter Barbara & Pat McCelvey Sandy & Bob Owens Ellen & David Raisbeck Sam Collins & Karen Rockey
Rocky Mountain Bank Susan & Jon Rotenstreich Constance Saville Maggie & Dick Scarlett South Dakota Trust Company Sandy Masur & Scott Spector Carol Baker & Mark Stein StoneRiver Foundation Barbara & John Vogelstein Elaine & Jim Wolfensohn
Programs SYLVIA NEIL SUMMER AMBASSADOR PROGRAM The Sylvia Neil Summer Ambassador program immerses local student musicians in the Festival experience. These dedicated young musicians work with staff to serve as friendly faces and helping hands during Festival Orchestra performances, and have the exclusive opportunity to go behind the scenes with the musicians and the Maestro during Festival Orchestra rehearsals.
WINTER FESTIVAL GTMF presents its fourth annual Winter Festival in February 2019. This weeklong celebration of music includes concerts, lectures, school visits, and outreach performances. The Winter Festival takes place throughout the town of Jackson and is part of the Festival’s commitment to serving the entire community.
COMMUNITY CONCERTS GTMF presents Community Concerts in the spring and fall, spotlighting professional musicians who call the Mountain West their home. These free concerts ensure that exhilarating classical music concerts are available in our community all year long.
THE DONALD RUNNICLES MUSICAL ARTS SCHOLARSHIP COMPETITION
In early 2018, the Grand Teton Music Festival announced the inaugural scholarship competition in honor of Music Director Donald Runnicles. The annual competition is open to graduating high school seniors from Wyoming, Idaho, and Montana who are pursuing college studies in music. After a preliminary round, eight talented individuals were invited to perform in a daylong competition at Walk Festival Hall on Saturday, June 9. First, second, and third place winners were awarded $20,000, $12,500, and $7,500, respectively. The second annual competition will take place in 2019.
TUNE-UP
GTMF’s flagship music education program augments the standard music curriculum in band and orchestra classrooms in Jackson Hole. Tune-Up teachers are practicing musicians with expertise in a wide variety of instruments. They provide individualized classroom instruction, teach private lessons focused on improving technique, and facilitate small group rehearsals. This year, GTMF’s $50,000 investment in the program
allowed more than 400 students to receive instruction through Tune-Up.
STRINGFEST StringFest unites orchestra students from local schools for an intensive weeklong clinic led by an expert clinician. The clinic gives students the opportunity to learn alongside a broader set of peers and concludes with a concert showcasing the students’ newly refined skills and talents.
OPEN THE HALL GTMF opens the doors of Walk Festival Hall to local band, orchestra, and choir students, providing an opportunity to have a professional performance experience in our acoustically-acclaimed concert hall.
SCHOOL VISITS During the Winter Festival, GTMF arranges school visits with visiting artists and artists-inresidence. They perform concerts at the schools, engaging and inspiring youth of all ages. Visiting artists also conduct clinics and participatory workshops, helping the musicians of tomorrow hone their skills.
Support for our education and outreach programs is also provided by
Center of Wonder Town and County Arts for All
A grant from the Community Foundation of Jackson Hole
An award from the Wyoming Arts Council through funding from the National Endowment for the Arts GTMF.ORG | Season
57
25
Independence Day JULY 2
A League of Their Own JULY 9
City Slickers JULY 16
Raiders of the Lost Ark JULY 23
Shane JULY 30
Toy Story AUGUST 6
On the Town AUGUST 13
Movies on the Mountain Each Monday at 7PM | Free, but ticketed
GTMF opens its hall for free Movies on the Mountain! This series presents classic family favorites. Showings begin at 7PM, so be sure to arrive early to purchase candy, Jackson Hole POP artisan popcorn, and beverages on the Hartley Pavilion. This series is sponsored by the Teton Village Association.
GTMF.ORG | Season
57
27
2018 SEASON
Sponsors
The Grand Teton Music Festival’s most generous supporters ensure each season upholds the highest artistic ideals. Their philanthropic leadership creates a foundation for this cherished institution to be at the forefront of classical music locally, nationally, and internationally.
28
Anonymous
Ellen & David Raisbeck
Sylvia Neil & Dan Fischel
Ari Rifkin, in memory of Leonard Rifkin
Christine & Ross Hartley
Frances & Allan Tessler
Marge & Gil Ordway
Barbara & John Vogelstein
Grand Teton Music Festival | SUMMER 2018
“The setting is everything at this event, but with Donald Runnicles in charge, musical quality is assured.” – THE NEW YORK TIMES
Music Director Donald Runnicles conducts Respighi’s Pines of Rome at the 2015 Summer season-closing concert.
MUSIC DIRECTOR
Donald Runnicles
Conductor Donald Runnicles is concurrently the Music Director of the Grand Teton Music Festival; General Music Director of the Deutsche Oper Berlin; and Principal Guest Conductor of the Atlanta Symphony Orchestra. He was recently named Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as its Chief Conductor from 2009–16. Maestro Runnicles enjoys close and enduring relationships with several of the most significant opera companies and symphony orchestras, and he is especially celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire, which are central to his musical identity. Having just finished a complete cycle of The Ring at the San Francisco Opera, Maestro Runnicles will spend the 2018–19 season leading the Deutsche Oper Berlin at Ravello and Musikfest Berlin, and in exciting performances of Wagner’s Tristan und Isolde, Berg’s Wozzeck, and Verdi’s La Traviata. He also guest conducts the Dallas Symphony, the Toronto Symphony, the Lyric Opera of Chicago, and the Cincinnati Symphony. In Europe and elsewhere, he leads the Tonhalle-Orchester Zürich, the BBC Scottish Symphony, and the World Orchestra for Peace. Donald Runnicles’ previous posts include Music Director of the San Francisco Opera (1992–2008), during which he led world premieres of John Adams’ Doctor Atomic, Conrad Susa’s Les Liaisons dangereuses, and the US premiere of Messiaen’s Saint François d’Assise. He has also served as Principal Conductor of the Orchestra of St. Luke’s in New York City (2001–07) and General Music Director of the Theater Freiburg and Orchestra (1989–93). Maestro Runnicles’ extensive discography includes complete recordings of Wagner’s Tristan und Isolde, Mozart’s Requiem, Orff’s Carmina Burana, Beethoven’s Ninth Symphony, Britten’s Billy Budd, Humperdinck’s Hansel and Gretel, and Bellini’s I Capuleti e i Montecchi. His recording of Wagner arias with tenor Jonas Kaufmann and the Orchestra of the Deutsche Oper Berlin won the 2013 Gramophone prize for Best Vocal Recording, and his recording of Janáček’s Jenůfa with the Orchestra and Chorus of the Deutsche Oper Berlin was nominated for a 2015 Grammy Award for Best Opera Recording. Donald Runnicles was appointed an Officer of the Order of the British Empire in 2004. He holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music. GTMF.ORG | Season
57
29
JUNE 27 / 7:30PM
Mary Chapin Carpenter
SEPT 18 / 8PM
Rodrigo y Gabriela OCT 04 / 7PM
JULY 11 / 8PM
Manhattan Short Film Festival
BENEFIT CONCERT
OCT 09 / 8PM
Bela Fleck and the Flecktones AUG 01 / 8PM
Rickie Lee Jones AUG 07 / 8PM
Shovels and Rope AUG 21 / 8PM
The Chick Corea Akoustic Band WITH JOHN PATITUCCI AND DAVE WECKL
AUG 28 / 8PM
Electric Hot Tuna
John Scofield’s Combo 66 FEATURING GERALD CLAYTON, VINCENTE ARCHER, AND BILL STEWART
OCT 14 / 6PM
Michael Grandinetti OCT 16 / 8PM
Portland Cello Project perform Radiohead’s OK Computer
SEPT 10 / 7:30PM
Hootenanny
30
GET YOUR TICKETS! BOX OFFICE: 307.733.4900 JHCENTERFORTHEARTS.ORG
Grand Teton Music Festival | SUMMER 2018
2018
THE CENTER
WITH STEVE KIMOCK
SUMMER / FALL
THE CENTER PRESENTS
SYLVIA NEIL
Summer Ambassadors The Festival’s Summer Ambassadors perform critical functions on special concert nights. Over 30 young adults from Jackson Hole and Star Valley are participating in the program! They will be welcoming concert attendees, directing patrons to seats, and assisting with tickets. A special benefit for these young musicians is the opportunity to sit in the orchestra for a rehearsal! This program is named in honor of Past Board Chair Sylvia Neil.
Contact Anna Mattson, Director of Development, at anna@gtmf.org or 307.732.9967 to learn more.
Opening Week
PICTURED: DANIIL TRIFONOV
32
FE ATURI NG
Jazz Pianist Diane Schuur Vocalist Jenn Gambatese Pianist Daniil Trifonov Opening Night with
Jazz Pianist Diane Schuur July 3 at 8PM
Festival Orchestra
Patriotic Pops July 4 at 6PM
GTMF Presents
The Music of Scott Joplin July 5 at 8PM
Festival Orchestra
Trifonov Plays Rachmaninoff July 6 at 8PM & July 7 at 6PM
Grand Teton Music Festival | SUMMER 2018
Opening Night with
OP E NING WE E K
Jazz Pianist Diane Schuur TUESDAY, JULY 3 AT 8PM
Diane Schuur, voice and piano Ernie Watts, saxophone Bruce Lett, bass Kendall Kay, drums
Tonight’s program will be announced from stage and will include works from Ms. Schuur’s latest CD I Remember You (With Love to Stan and Frank).
Diane Schuur VOCALIST & PIANO
Long regarded as one of the leading vocalists in contemporary jazz, Diane Schuur is as eclectic as she is brilliant. Born in Tacoma, WA, Ms. Schuur was blind from birth—but, gifted with perfect pitch, initially taught herself piano by ear. She later received formal piano training at the Washington State School for the Blind, which she attended until she was 11 years of age. Nicknamed “Deedles” as a child, Diane Schuur grew up surrounded by the world of jazz music embraced by both of her parents: Her father was an amateur pianist, and her mother kept a formidable collection of Duke Ellington and Dinah Washington albums in their home. Not surprisingly, Dinah Washington is often listed as Ms. Schuur’s major vocal influence; she learned the iconic singer’s “What a Difference a Day Makes” while she was still a toddler.
guests invited to perform for Stevie Wonder at the Kennedy Center Honors when he received his prestigious award. Most recently, Ms. Schuur recorded an homage to two of her very important mentors, Frank Sinatra and Stan Getz. The album, entitled I Remember You (With Love To Stan and Frank), commemorates her “official” discovery by Stan Getz in 1979.
With a distinguished recording career that spans three decades—including two Grammy Awards and three additional Grammy Award nominations—her musical collaborations include the Count Basie Orchestra, Barry Manilow, B.B. King, Ray Charles, and Jose Feliciano. These collaborations have resulted in numerous number one Billboard Chart recordings, including Pure Schuur and Heart to Heart with B.B. King. Ms. Schuur has appeared on PBS and other television specials, including a very special visit to the beloved TV show, Sesame Street. Diane Schuur has been invited to perform at the White House on multiple occasions, and was one of the select musical Sponsored by Penney & A.C. Hubbard
GTMF.ORG | Season
57
33
OP E NING WE E K
Festival Orchestra
Patriotic Pops WEDNESDAY, JULY 4 AT 6PM
Jenn Gambatese, vocalist Donald Runnicles, conductor
J.S. Smith/F.S. Key (1750–1836/1779–1943)
Star-Spangled Banner (1778; 1814)
2’
John Williams (b. 1932)
Liberty Fanfare (1986)
4’
Ives (1874–1954)
Variations on “America” (1891)
8’
Bagley (1857–1922)
National Emblem March (1902)
3’
Bernstein (1918–1990) (arr. Mason)
Medley from West Side Story (1957) 10’
Rodgers/Hammerstein (1902–1979/1895–1960) (arr. Kessler)
I’m in Love with a Wonderful Guy from South Pacific (1949) Some Enchanted Evening from South Pacific (1949) You’ve Got to be Carefully Taught from South Pacific (1949) Jenn Gambatese, vocalist
Guthrie This Land is Your Land (1940; 1945) (1912–1967) (arr. Kessler)
4’
Traditional Armed Forces Salute (arr. Kessler)
3’
Cohan (1878–1943) (arr. Kessler)
Cohan Salute (2005) Jenn Gambatese, vocalist
4’
Ward (1847–1903) (arr. Kessler)
America the Beautiful/Battle Hymn of the Republic (1882; 1910) Jenn Gambatese, vocalist
4’
Berlin (1888–1989) (arr. Kessler)
God Bless America (1918; 1938) Jenn Gambatese, vocalist
4’
Maestro Donald Runnicles sponsored by Sylvia Neil & Dan Fischel Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Performance sponsored by Bill & Mary Linn Wecker Vocalist Jenn Gambatese sponsored by Caroline & Ken Taylor
34
10’
Grand Teton Music Festival | SUMMER 2018
OP E NING WE E K
“Ms. Gambatese has a platinum-plated voice and a smile warm enough to sell tickets all by itself.” – WALL STREET JOURNAL
Jenn Gambatese VOCALIST
Lyric Opera of Chicago. Returning to Broadway— where she now stars as Principal Rosalie Mullins in School of Rock—has been a wonderful homecoming!
Jenn Gambatese is an actor, singer, teacher, and writer whose work has enabled her to see the world while collaborating with some of the most wonderful artists imaginable. Originally from Cleveland, OH, Ms. Gambatese went to New York to study at NYU, where she double-majored in Drama and Sociology. She had the distinction of being one of four “Artists and Scholars” from the Tisch School of the Arts.
Upon her return, Ms. Gambatese created her first solo album, Jenn Gambatese: Cockeyed Optimist, as a celebration of her love for the legendary writing team of Richard Rodgers and Oscar Hammerstein II.
Jenn Gambatese’s Broadway debut was in the musical Footloose. She went on to appear in the original company of Hairspray. Ms. Gambatese’s first leading role was playing Natalie (and her alter-ego, Ed) in All Shook Up, earning an Outer Critics Circle nomination. After becoming a mother, Ms. Gambatese had the incredible opportunity to travel across America “by bubble” as Glinda in the national tour of Wicked. She also had the great privilege of starring to critical acclaim as both Maria von Trapp in The Sound of Music, and Carrie Pipperidge in Carousel with the esteemed
As a concert performer Ms. Gambatese has sung across the country with great orchestras such as the Atlanta Symphony Orchestra, West Michigan Symphony Orchestra, and the Long Island Philharmonic. She also enjoys teaching master classes to young performers in both high school and university settings. As a writer, Ms. Gambatese frequently collaborates with the extraordinary playwright Howard Emanuel and composer Paul Fujimoto. Jenn Gambatese is blessed beyond measure to be married to Curtis Cregan. Together they have two beautiful daughters. GTMF.ORG | Season
57
35
OP E NING WE E K 36
Grand Teton Music Festival | SUMMER 2018
GTMF Presents
OP E NING WE E K
The Music of Scott Joplin THURSDAY, JULY 5 AT 8PM
Angela Jones-Reus, flute & piccolo Stephanie Key, clarinet Sean Campbell, saxophone Charles Geyer, trumpet Jay Evans, trombone JáTtik Clark, tuba Jeff Thayer, violin
Ikuko Takahasi, violin Chiara Kingsley Dieguez, viola Thomas Carpenter, cello Paul Ellison, bass Jason Hardink, piano Richard Brown, percussion
Scott Joplin
Maple Leaf Rag
Scott Joplin
Sunflower Slow Drag
James Hubert Blake
Charleston Rag
Django Reinhardt
Schmoozing With Susan
Scott Joplin
Easy Winners
James Europe
Castle House Rag
William Bolcom
Graceful Ghost for Violin and Piano
Jeff Thayer, violin Jason Hardink, piano
Harry Breuer
On the Woodpile
Richard Brown, xylophone
INTERMISSION “Jelly Roll” Morton
Black Bottom Stomp
Scott Joplin
A Real Slow Drag
Clyde McCoy
Sugar Blues
Charles Geyer, trumpet
Scott Joplin
The Cascades
Café Noire
Lulu Swing
Scott Joplin
The Entertainer
GTMF.ORG | Season
57
37
OP E NING WE E K
Festival Orchestra
Trifonov Plays Rachmaninoff FRIDAY, JULY 6 AT 8PM & SATURDAY, JULY 7 AT 6PM Daniil Trifonov, piano Senator Alan Simpson, narrator Donald Runnicles, conductor
Copland
Lincoln Portrait (1942)
(1900–1990)
Senator Alan Simpson, narrator
Rachmaninoff
Piano Concerto No. 1 in F-sharp minor, op. 1 (1890–1891; 1919)
Daniil Trifonov, piano
15’
27’
(1873–1943) Vivace Andante Allegro vivace INTERMISSION
Aaron Jay Kernis
Invisible Mosaic III (1988)
17’
Britten
The Young Person’s Guide to the Orchestra, op. 34 (1946)
18’
(b. 1960)
(1913–1976) Theme: Allegro maestoso e largamente Variation A (flutes and piccolo): Presto Variation B (oboes): Lento Variation C (clarinets): Moderato Variation D (bassoons): Allegro alla marcia Variation E (violins): Brillante—Alla polacca Variation F (violas): Meno mosso Variation G (cellos): L’istesso tempo Variation H (basses): Comminciando lento ma poco a poco accelerando al allegro Variation I (harp): Maestoso Variation J (horns): L’istesso tempo Variation K (trumpets): Vivace Variation L (trombones): Allegro pomposo Variation M (percussion): Moderato Fugue: Allegro molto
Join us for a Preconcert Talk hosted by Festival Musician Roger Oyster prior to these performances. Details on page 21. Maestro Donald Runnicles sponsored by Sylvia Neil & Dan Fischel Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Guest Artist Daniil Trifonov sponsored by Katherine Brooks & George Beller Performances sponsored by Janet & John Costello, Dick & Maggie Scarlett, and Cammie & Andy Watson Corporate Support provided by Neal, Gerber & Eisenberg LLP and Marshall E. Eisenberg
38
Grand Teton Music Festival | SUMMER 2018
OP E NING WE E K
Program Notes suggested that Copland choose a statesman, and the composer felt Lincoln was ideal:
Aaron Copland composing at the piano in 1962. © CBS Television Network
Aaron Copland LINCOLN PORTRAIT
Born: November 14, 1900 in Brooklyn, New York Died: December 2, 1990 in North Tarrytown, New York Duration: 15 minutes Date of Composition: 1942 Premiere: May 14, 1942 with the Cincinnati Symphony Orchestra, conducted by Andre Kostelanetz Most Recent GTMF Performance: August 19, 1994, conducted by Ling Tung with Senator Alan Simpson as narrator
Instrumentation: Piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, snare drum, cymbals, glockenspiel, tam-tam, xylophone, sleigh bells, celeste, harp, and strings
Aaron Copland completed Lincoln Portrait in three months; it is one of three American portraits commissioned by conductor Andre Kostelanetz in direct response to the Pearl Harbor bombing of December 7, 1941. Kostelanetz asked Copland to compose a musical portrait of a prominent
American to express patriotism during a time of great trial and tribulation. “My first thought was to do a portrait of Walt Whitman, the patron poet of all American composers,” Copland responded. But as a literary figure, Walt Whitman had already been chosen by Jerome Kern. Kostelanetz
“On discussing my choice with Virgil Thomson, he amiably pointed out that no composer could possibly hope to match in musical terms the stature of so eminent a figure as that of Lincoln. Of course he was right. But secretly I was hoping to avoid the difficulty by doing a portrait in which the sitter himself might speak. With the voice of Lincoln to help me, I was ready to risk the impossible.”
Copland included two songs of Lincoln’s time: Camptown Races by Stephen Foster and an 1840 ballad first published under the title of The Pesky Sarpent, but better known as Springfield Mountain. Copland divided the composition into roughly three sections. In the opening section, Copland aimed to suggest “the mysterious sense of fatality that surrounds Lincoln’s personality.” The theme is noble yet solemn, with a hint of a funeral march. Near the section’s end, he wanted to add “something of Lincoln’s gentleness and simplicity of spirit.” A clarinet introduces the second theme, based on Springfield Mountain played at half speed. The joyful faster central section briefly sketches the background of Lincoln’s time, including a phrase from Camptown Races, which Copland noted was adapted as a campaign song for Lincoln in 1860. In the final section, Copland sought to “draw a simple but impressive frame about the words of Lincoln himself.” He chose quotations from Lincoln’s letters and lesser-known speeches, except for the final quotation from the Gettysburg Address. GTMF.ORG | Season
57
39
OP E NING WE E K
completed without removing the original’s youthful spirit. He tightened its organization, altered its shape, and increased its virtuosic demands with a cadenza at the end of the first movement, remarking that by preserving the “freshness” of the concerto, he made it “really good now.”
Rachmaninoff was guided by his own lush, lyrical, harmonic muse, in composing work that is Romantic rather than in lockstep with the stylistic dictums of his time. Nevertheless, his First Piano Concerto lived in the shadow of the Second and Third, only recently gaining respect as a spirited work full of youthful enthusiasm.
Sergei Rachmaninoff playing the piano in New York. © Lebrecht Music & Arts/Lebrecht
FIRST MOVEMENT
Sergei Rachmaninoff PIANO CONCERTO NO. 1 IN F-SHARP MINOR, OP. 1 Born: April 1, 1873 in Oneg, Russia Died: March 28, 1943 in Beverly Hills, California Duration: 27 minutes Date of Composition: 1890–91; revised 1917 and 1919 Premiere: 1891, with Rachmaninoff as soloist. The first performance of the revised concerto took place in New York on January 28, 1919 at a concert
of the Russian Symphony Orchestra, again with Rachmaninoff as soloist Most Recent GTMF Performance: July 31, 2009, conducted by Osmo Vänskä with Yevgeny Sudbin as soloist Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, cymbals, triangle, and strings
When 18-year-old Sergei Rachmaninoff completed his First Piano Concerto in 1891, he decided to devote his life to composition. He revisited the work 26 years later, just before fleeing Russia for the US, and made significant changes. In 1919, he thoroughly revised it.
my Concerto, which I intended to play again, and was so engrossed with my work that I did not notice what went on around me. I sat at the writing table or at the piano all day without troubling about the rattle of the machine guns and rifle shots.” [Abridged]
“The outbreak of the Bolshevist upheaval still found me in my old flat in Moscow, starting to rewrite 40
Grand Teton Music Festival | SUMMER 2018
The first version was a student work and the concerto benefited greatly from the experience he brought to its revisions, which he
A strongly impassioned opening, Vivace, begins with a cascade of piano chords often compared to Russian bells. It is dominated by two themes: a large, characteristically melancholy but warm lyrical theme, and a lively contrasting one, built from a permutation on the four-note motive from which much of the work’s thematic material springs. The large cadenza, moving forward with powerful chords and fiery pianistic figures, has been called the “heart of the work.”
SECOND MOVEMENT
Meditative and lyrical, Andante opens with a solo horn offering a version of the motive. It has a somewhat more animated middle section.
THIRD MOVEMENT
The finale, Allegro vivace, was inspired by Tchaikovsky and begins in fleet-fingered fashion with a wild primary theme that settles into a broader, extended second subject. The skittering, scherzo-like music returns, bringing the virtuosic work to a high-spirited conclusion.
Aaron Jay Kernis INVISIBLE MOSAIC III
Born: January 15, 1960 in Bensalem Township, Pennsylvania Duration: 17 minutes Date of Composition: 1988 Premiere: February 5, 1989 with the American Composers Orchestra, conducted by Stanislaw Skrowaczewski Most Recent GTMF Performance: These are the first performances at the Grand Teton Music Festival Instrumentation: Three flutes, piccolo, three oboes, English horn, three clarinets, E-flat clarinet, bass clarinet,
three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, marimba, xylophone, vibraphone, glockenspiel, crotales, flexatone, pane of glass, tenor drum, bass drum, crash cymbals, tuned cymbals, Chinese bowl cymbals, tuned gongs, tam-tam, cowbells, triangle, harmonica, chimes, bongos, brake drums, ratchet, temple blocks, anvils, steel pipes, snare drum, timbales, tomtoms, hotel bell, castanets, tambourine, celeste, harp, and strings
The magnificent mosaics of the Italian town of Ravenna draw visitors from around the world. Dante, who is buried in Ravenna, described the mosaics as a “symphony of color,” and the Italian Michelin Guide elaborates:
peacocks symbolize immortality, and stags represent souls.”
“Their chief characteristics being clarity, harmony, bright colors, and decorative rhythm of design. The figures, with dark eyes, ringed with black, have a strange, distant expression … The spirit they express is both realistic and mystical, with a symbolic meaning: doves drink from the Fountain of Life,
Invisible Mosaic III is the final segment of a progression of pieces that share a title. These represent “a great deal of emotional, musical, and intellectual conflict and working through … gradually toward some semblance of tonality or consonance. Each one goes further toward some kind of resolution as well as toward the development of the long line.” They also represent Kernis’ strong reactions to seeing the Ravenna mosaics in 1984:
OP E NING WE E K
Aaron Jay Kernis in 1989. © Betty Freeman/Lebrecht
“When I saw them, I had a hallucinatory experience. What I was seeing was very close up, rather than seeing the whole picture. I just saw color— fragmented color—that didn’t make any sense. The color and brilliance of it dazzled me, and yet the fragmentation confused me. It was only when I could really stand back that it all came into view. Each of these pieces deals with that initial brilliance and conflict, fragmentation and discontinuity, and in each there is a lot of transformation going on.” At 32 minutes and in three movements, Invisible Mosaic I— written in 1986—is the longest of the three pieces. Though the third movement moves towards consonance, it is still highly chromatic. Invisible Mosaic II, written for 17 members of the Ensemble Intercontemporain in 1987–88, also moves towards “some kind of resolution” over its 18-minute, one-movement span, but it doesn’t go “all the way” as “everything slows down at the end after a build to a beautiful consonant climax.”
This latest piece, Invisible Mosaic III, “embraces the sense of resolution” approached in the previous two. Its five connected sections are lighter in feeling, “as if some of the conflict has already fallen away,” and evoke the second movement of the first piece, entitled “Children’s Games.” Here, just before the Scherzo section, in a moment of playful theatricality, Kernis pays homage to Debussy’s Jeux. Kernis also cites the influence of Berlioz’s Queen Mab Scherzo on his Scherzo—especially in its absence of percussion (Kernis elsewhere uses percussion—“the largest color resource”—to great effect). The final resolution is in E-flat, “the most distant key from anywhere in the piece.” GTMF.ORG | Season
57
41
OP E NING WE E K
with the fingers; their cousin, the harp, is always plucked”); brass (“modern descendants of old trumpets and hunting horns”); and percussion (“includes drums, gongs, tambourines, and anything else that is hit”). Highlighting each individual instrument with its own variation, Britten demonstrates their expressive appeal—displaying, for example, the flutes’ playfulness, the oboes’ plaintive sadness, and the trombones’ solemn character.
Benjamin Britten conducting in the 1950s. © Leemage/Lebrecht
Benjamin Britten THE YOUNG PERSON’S GUIDE TO THE ORCHESTRA, OP. 34
42
Born: November 22, 1913 in Lowestoft, England Died: December 4, 1976 in Aldeburgh, England Duration: 18 minutes Date of Composition: 1946 Premiere: October 15, 1946 with the Royal Liverpool Philharmonic Orchestra, conducted by Sir Malcolm Sargent
Most Recent GTMF Performance: July 16, 2013, conducted by Nicholas Carter Instrumentation: Piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, xylophone, triangle, snare drum, cymbals, bass drum, tambourine, gong, whip, castanets, Chinese block, harp, and strings
In 1946, Benjamin Britten was asked to compose The Young Person’s Guide to the Orchestra for a British Ministry of Education film meant to be used in schools to introduce children to orchestral instruments. He presents each instrument in a highly entertaining way by introducing a theme followed by variations, each of which features a different orchestral instrument or group of instruments.
Britten took his theme, a bright hornpipe, from the incidental music for Abdelazer, or The Moor’s Revenge, by 17th-century English composer Henry Purcell (whose 250th birthday was being celebrated that year). After a unison statement of the theme, each of the orchestra’s four main sections are showcased: woodwinds (“really a superior variety of pennywhistle,” the composer says); strings (“scraped with a bow or plucked
Grand Teton Music Festival | SUMMER 2018
Variation A begins as a flute duet and the piccolo soon joins them. In Variation B, two oboes sing a melancholy song. In Variation C, two clarinets gracefully toss phrases back and forth so smoothly that they sound like one. Variation D features a comic dance for two bassoons. Variation E showcases the violins playing a brilliant polonaise. In Variation F, the dark-toned violas illustrate how their sound differs from the violins. In Variation G, the cellos sing a lovely song. Variation H presents the double basses lumbering like elephants, but also shows them playing a little melody in their higher ranges. Variation I displays the immense virtuosity of the harp. Variation J is a grand fanfare for four horns. In Variation K, two trumpets chase each other. In Variation L, the trombone and tuba perform pompously. Variation M introduces the percussion with a recurring timpani motive.
Britten concludes with his own brisk, lively fugue subject, which complements Purcell’s grand theme. The piccolo begins, with each instrument entering in the order heard in the variations. With all the instruments together, the composition comes to a grand climax as the brasses sound the Purcell theme.
OP E NING WE E K
“Without question the most astounding pianist of our age.” – THE TIMES OF LONDON
FESTIVAL ORCHESTRA
Artist Biographies Daniil Trifonov PIANO
Russian pianist Daniil Trifonov has made a spectacular ascent in the world of classical music as a solo artist, composer, chamber and vocal collaborator, and champion of the concerto repertoire. Mr. Trifonov recently added his first Grammy Award to an already considerable string of honors, winning Best Instrumental Solo Album of 2018 with Transcendental, a double album of Liszt’s works and his third title as an exclusive Deutsche Grammophon artist. Focusing on Chopin in the 2017–18 season, Mr. Trifonov released Chopin Evocations, his fourth Deutsche Grammophon album. He will give over 20 recitals across the US, Europe, and Asia this season, including one in Carnegie Hall. Three of the concerts are devoted to Chopin and his influence, including programs with cellist Gautier Capuçon and the Kremerata Baltica Chamber Orchestra. Further concerts include collaborations with baritone Matthias Goerne and Mr. Trifonov’s teacher and mentor Sergei
Babayan, with whom he performs the world premiere of a Carnegie-commissioned work for two pianos by Mauro Lanza; a performance of his own piano concerto with longtime collaborator Valery Gergiev leading the Mariinsky Orchestra; and a solo recital in Zankel Hall that includes a seminal piece from each decade of the 20th century. Mr. Trifonov curates a similar series of recitals and orchestral appearances this season at the Vienna Konzerthaus and in San Francisco, concluding with a season-closing Rachmaninoff performance with the San Francisco Symphony and Michael Tilson Thomas. Born in Nizhny Novgorod, Russia in 1991, Mr. Trifonov began his musical training at the age of five. He attended Moscow’s Gnessin School of Music as a student of Tatiana Zelikman before pursuing his piano studies with Sergei Babayan at the Cleveland Institute of Music. He has also studied composition and continues to write for piano, chamber ensemble, and orchestra. GTMF.ORG | Season
57
43
OP E NING WE E K
Senator Alan Simpson NARRATOR
A native of Cody, WY, Senator Alan K. Simpson was born September 2, 1931. Upon graduating with a Bachelor of Science in Law degree from the University of Wyoming in 1954, he was commissioned as an ROTC officer. He served overseas in the 5th Infantry Division and in the 2nd Armored Division of the Army of Occupation in Germany. Following his honorable discharge in 1956, Sen. Simpson returned to the University of Wyoming to complete his study of law, earning his Juris Doctorate degree in 1958. Sen. Simpson was admitted to the Wyoming Bar and the United States District Court in 1958, and served briefly as Wyoming Assistant Attorney General. He later joined the law firm of Simpson, Kepler & Simpson and practiced law there for 18 years while maintaining an active interest in civic, community, and state matters. He also served 10 years as City Attorney of Cody. Sen. Simpson began his political career in 1964 when he was elected to the Wyoming State Legislature as a state representative. He served for the next 13 years in the Wyoming House of Representatives, holding the offices of Majority Whip, Majority Floor Leader, and Speaker Pro-Tem. 44
Grand Teton Music Festival | SUMMER 2018
In 1978, Sen. Simpson was elected to the United States Senate. He was chosen by his peers to assume the position of the Assistant Republican Leader in 1984, and served in that capacity until 1994. He completed his final term on January 3, 1997. In his 18 years of public service in the US Senate, Sen. Simpson served on the Judiciary, Financial, Veterans Affairs, and Environment and Public Works Committees as well as the Special Committee on Aging. He was a member of the Iraq Study Group and the Commission on Presidential Debates, and acted as co-chair for the Continuity in Government Commission and the National Commission on Fiscal Responsibility and Reform. For the past several years, Sen. Simpson has enjoyed his relationship with the renowned composer and conductor John Williams, and has performed Williams’ Suite from The Reivers at the Eastman School of Music, Boston Pops Orchestra, Chicago Symphony Orchestra, and with the Marine Corps Band at the Kennedy Center in Washington, DC.
OP E NING WE E K
Festival Orchestra Roster WEDNESDAY JULY 4, FRIDAY, JULY 6 & SATURDAY, JULY 7
Violin I
Jeff Thayer Bruno Eicher Russell Hershow Anna Genest Louise Morrison Holly Mulcahy Alessandra Jennings Flanagan Mary Corbett Eva Cappelletti Chao Rebekah Johnson Doris Dai Janssen Tomoko Iguchi Marlyse Martinez Thayer Ikuko Takahashi Tracy Dunlop
Violin II
Jennifer Ross Patrick Neal Ling Ling Huang Julie Coleman Simon Shiao Joan Christensen Joan Cataldo Christopher Pulgram Anne-Marie Terranova Lois Finkel Kana Kimura Gina Davis Carolyn Kessler
Viola
Charles Pikler Susan Gulkis Assadi Rita Porfiris Caroline Gilbert Phillippe C. Chao Suzanne LeFevre George Ohlsson Madeline Sharp Claudine Bigelow Chiara Kingsley Dieguez Lucina Horner
Cello
Yao Zhao Dariusz Skoraczewski Gregory Clinton Kari Jane Docter Karen Freer Marcia Peck Deborah Nitka Hicks David Mollenauer Thomas Carpenter Andrew Larson
Bass
Paul Ellison Deborah Dunham Charles DeRamus William Ritchie Corbin Johnston Erik Gronfor John Pellegrino Patrick Bilanchone
Flute
Angela Jones-Reus Alice Weinreb Kogan Caitlin Valovick-Moore
Piccolo
Caitlyn Valovick-Moore Alice Weinreb Kogan
Oboe
Jaren Atherholt Samuel Nemec Martin Schuring
English Horn Martin Schuring
Clarinet
Eugene Mondie Stephanie Key Marci Gurnow
E-Flat Clarinet
Harp
Bass Clarinet
Keyboard
Stephanie Key
Marci Gurnow
Bassoon
Sue Heineman Kristin Sonneborn
Contrabassoon Juan de Gomar
Horn
Gail Williams Edmund Rollett Michael Gast Jessica Valeri Trumpet Charles Geyer Barbara Butler Charles Daval Matthew Sonneborn* Trombone Roger Oyster Jay Evans
Elisabeth Remy Johnson Kimi Kawashima Jason Hardink*
Librarian
Crozet Duplantier *Patriotic Pops concert only Names in bold indicate principal chair All rosters are subject to change
Bass Trombone Steve Norrell Tuba JรกTtik Clark
Timpani
Michael Crusoe
Percussion Richard Brown Riely Francis Craig Hauschildt Keith Carrick
GTMF.ORG | Season
57
45
Week Two
PICTURED: LEILA JOSEFOWICZ
46
FE ATURI NG
Jazz Pianist Aaron Diehl Violinist Leila Josefowicz Conductor Markus Stenz Inside the Music
Free Family Concert
Scheherazade— Her Story, Our Music
Jazz Pianist Aaron Diehl
July 10 at 8PM
July 12 at 11AM Teton County Library, Jackson
Gallery Concert Hosted by
Chamber Music with
Diehl Gallery
July 11 at 5:30PM GTMF Presents
Jazz Pianist Aaron Diehl July 11 at 8PM
Grand Teton Music Festival | SUMMER 2018
Violinist Leila Josefowicz July 12 at 8PM
Festival Orchestra
Beethoven’s Pastoral Symphony July 13 at 8PM & July 14 at 6PM
Inside the Music
Scheherazade—Her Story, Our Music TUESDAY, JULY 10 AT 8PM
Holly Mulcahy & Jerry Hou, hosts
1’
Anne M. Guzzo from The Wind (2018) (b. 1968) I. Reconciliation Mary Corbett, violin Holly Mulcahy, violin
4’
George S. Clinton from String Quartet “Osmosis” (1998) (b. 1947) I.— Holly Mulcahy, violin Mary Corbett, violin Chiara Kingsley Dieguez, viola David Mollenauer, cello
5’
John Adams from Shaker Loops (1978) (b. 1947) I. Shaking and Trembling Holly Mulcahy, violin Simon Shiao, violin Mary Corbett, violin Chiara Kingsley Dieguez, viola Thomas Carpenter, cello David Mollenauer, cello Charles DeRamus, bass Jerry Hou, conductor
8’
J.S. Bach from Violin Sonata No. 1 in G minor, BWV 1001 (1720) (1685–1750) I. Adagio Chester Englander, cimbalom
4’
John Adams
8’
WE E K TWO
Rimsky-Korsakov Violin Cadenza from Scheherazade, op. 35 (1888) (1844–1908) II. The Legend of the Kalendar Prince Holly Mulcahy, violin
Excerpts from Scheherazade.2 (2014) Holly Mulcahy, violin Chester Englander, cimbalom
John Adams from Hallelujah Junction (1996) I. Brilliant, energetic, resonant Kimi Kawashima, piano Jason Hardink, piano
6’
GTMF.ORG | Season
57
47
Gallery Concert Hosted by
Diehl Gallery WE E K TWO
WEDNESDAY, JULY 11 AT 5:30PM Mendelssohn
String Quartet No. 6 in F minor, op. 80 (1847)
Louise Morrison, violin Dorris Dai Janssen, violin Chiara Kingsley Dieguez, viola Jennifer Humphreys, cello
(1809–1847) Allegro vivace assai Allegro assai Adagio Finale: Allegro molto
Sponsored by Mariam Diehl and the Diehl Gallery
48
Grand Teton Music Festival | SUMMER 2018
28’
WE E K TWO
GTMF.ORG | Season
57
49
GTMF Presents
Jazz Pianist Aaron Diehl WE E K TWO
WEDNESDAY, JULY 11 AT 8PM George Gershwin
Three Preludes (1926)
Jimmy Yancey
Yancey Special
3’
Louis Gottschalk
Danza, op. 33 (1857)
7’
“Jelly Roll” Morton
Original Jelly Roll Blues (1924)
3’
W.C. Handy
St. Louis Blues (1914)
3’
Willie Smith
Tango La Caprice (1939)
2’
James Johnson
Snowy Morning Blues (1927)
3’
Thomas “Fats” Waller
Viper’s Drag (1930)
3’
Robert Johnson
Come on in My Kitchen (1937)
3’
7’
(1898–1937) Allegro ben ritmato e deciso Andante con moto Agitato (c. 1895–1951)
(1829–1869)
(1890–1941)
(1873–1958)
(1897–1973)
(1894–1955)
(1904–1943)
(1911–1938) INTERMISSION
50
Grand Teton Music Festival | SUMMER 2018
Richard Hyman
Etudes for Jazz Piano (1982)
Mary Lou Williams
Zodiac Suite (1945)
(b. 1927)
19’
Azalea Rag (dedicated to Scott Joplin) Decatur Stomp (dedicated to Jelly Roll Morton) Cuttin’ Loose (dedicated to James P. Johnson) Struttin’ on a Sunny Day (dedicated to Earl Hines) Ivory Strides (dedicated to Fats Waller) Pass It Along (dedicated to Teddy Wilson) South Side Boogy (dedicated to Jimmy Yancey, Albert Ammons) Ocean Languor (dedicated to Duke Ellington) Onyx Mood (dedicated to Art Tatum) Bouncing in F Minor (dedicated to Erroll Garner) Bird in the Roost (dedicated to Bud Powell) Deep Groove (dedicated to Oscar Peterson) Roses and Cream (dedicated to George Shearing) Time Play (dedicated to Dave Brubeck) Passage (dedicated to Bill Evans) 29’
(1910–1981) Aries Taurus Gemini Cancer Leo Virgo Libra Scorpio Sagittarius Capricorn Aquarius Pisces
GTMF.ORG | Season
57
51
WE E K TWO
TH E C O M M U N IT Y F O U N DATI O N O F J AC K S O N H O LE
MAKES GIVING SMARTER, NONPROFITS MORE EFFECTIVE AND OUR COMMUNITY STRONGER.
BEAUTIFUL LANDSCAPES START HERE
Open Year Round Monday-Saturday 9-6 208.354.8816 2389 S. Hwy 33 • Driggs, ID
www.mdlandscapinginc.com
52
Grand Teton Music Festival | SUMMER 2018
P H OTO : JO S H ME T TE N
SIMPLIFY YOUR GIVING AND LEAVE A LASTING LEGACY.
WE E K TWO
“Melodic precision, harmonic erudition, and elegant restraint.” – THE NEW YORK TIMES
Aaron Diehl PIANO
Pianist Aaron Diehl is one of today’s most soughtafter jazz virtuosos. His meticulously thought-out performances, collaborations, and compositions are a leading force in contemporary jazz, spearheading a distinct union of traditional and fresh artistry. Recent highlights in Mr. Diehl’s career include serving as Music Director for the Jazz at Lincoln Center New Orleans Songbook concert series; performing in the New York premiere of Philip Glass’ complete Etudes at the Brooklyn Academy of Music; collaborating with the Spanish flamenco guitarist Dani De Morón in Flamenco Meets Jazz; and touring the US and Europe with Grammy Award-nominated jazz singer Cécile McLorin Salvant. Mr. Diehl’s second album on Mack Avenue Records, Space, Time, Continuum, emphasizes the artistic collaborations between generations. The album includes performances by NEA Jazz Master Benny Golson and Duke Ellington Orchestra alumnus Joe Temperley, alongside Quincy Davis and David Wong—also members of Mr. Diehl’s established trio.
Mr. Diehl’s recent collaborations with internationally acclaimed artists and ensembles include: Warren Wolf, Lew Tabackin, Matt Wilson, Wycliffe Gordon, Wynton Marsalis and his Septet, and the Jazz at Lincoln Center Orchestra. In 2014 Mr. Diehl became one of the youngest musicians ever to be named the Monterey Jazz Festival Commission Artist. He was also the 2013 recipient of the Jazz Journalists Association Award for Up and Coming Artist, the 2012 Prix du Jazz Classique recipient, and winner of the 2011 Cole Porter Fellowship from the American Pianists Association. In an effort to nurture the development of young jazz artists and the community as a whole, Mr. Diehl was the inaugural Artistic Director of the Catskill Jazz Factory. Aaron Diehl is a graduate of The Juilliard School, where he studied with Kenny Barron. Residing in Harlem, he enjoys spending time in the sky when he isn’t on tour or recording. As a licensed pilot, one of his favorite planes to fly is the Beechcraft Bonanza.
GTMF.ORG | Season
57
53
WE E K TWO 54
Grand Teton Music Festival | SUMMER 2018
Chamber Music with
Violinist Leila Josefowicz
View biography for Leila Josefowicz on page 60.
Grieg Violin Sonata No. 2 in G major, op. 13 (1867) (1843–1907) Lento doloroso—Allegro vivace Allegretto tranquillo Allegro animato Jeff Thayer, violin Jason Hardink, piano
22’
Clarke Piano Trio (1921) (1886–1979) Moderato ma appassionato Andante molto semplice Allegro vigoroso Anne-Marie Terranova, violin Kari Jane Docter, cello Kimi Kawashima, piano
23’
THURSDAY, JULY 12 AT 8PM
WE E K TWO
INTERMISSION
György Kurtág Eight Duos for Violin and Cimbalom, op. 4 (1961) (b. 1926) Poco sostenuto Agitato, non allegro Risoluto Lento Allegretto Vivo Adagio Vivo Leila Josefowicz, violin Chester Englander, cimbalom Arensky String Quartet No. 2 in A minor, op. 35 (1894) (1861–1906) Moderato Theme and Variations Theme: Moderato Variation 1: Un poco piu mosso Variation 2: Allegro non troppo Variation 3: Andante tranquillo Variation 4: Vivace Variation 5: Andante Variation 6: Allegro con spirito Variation 7: Andante con moto Coda: Moderato Finale: Andante sostenuto—Allegro moderato Ling Ling Huang, violin Thomas Carpenter, cello Rita Porfiris, viola Yao Zhao, cello
8’
29’
GTMF.ORG | Season
57
55
Festival Orchestra
Beethoven’s Pastoral Symphony FRIDAY, JULY 13 AT 8PM & SATURDAY, JULY 14 AT 6PM
WE E K TWO
Leila Josefowicz, violin Markus Stenz, conductor
John Adams
Scheherazade.2 (2014)
Leila Josefowicz, violin Chester Englander, cimbalom
(b. 1947)
50’
Tale of the Wise Young Woman—Pursuit by the True Believers A Long Desire (Love Scene) Scheherazade and the Men with Beards Escape, Flight, Sanctuary
INTERMISSION
Beethoven
Symphony No. 6 in F major, op. 68 “Pastoral” (1808)
(1770–1827) Awakening of Cheerful Feelings upon Arriving in the Country (Allegro ma non troppo) Scene by the Brook (Andante molto mosso) Merry Gathering of Country Folk (Allegro)— Thunderstorm (Allegro)— Shepherd’s Song; Cheerful Feelings after the Storm (Allegretto)
Join us for a Preconcert Talk hosted by Composer Anne Guzzo prior to these performances. Details on page 21. Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Guest Conductor Markus Stenz sponsored by Dave & Ellen Raisbeck Guest Artist Leila Josefowicz sponsored by Barbara & Pat McCelvey Performances sponsored by Bob & Carole Hummel, Mert & Bonnie Bell, and Janet & Bob Whitmire Corporate Support provided by Jackson Hole Resort Lodging
56
Grand Teton Music Festival | SUMMER 2018
39’
Program Notes
Scheherazade, unknown date (oil on canvas) by Sophie Gengembre Anderson. © The New Art Gallery Walsall
John Adams SCHEHERAZADE.2
Born: February 15, 1947 in Worcester, Massachusetts Duration: 50 minutes Date of Composition: 2014 Premiere: March 26, 2015 with the New York Philharmonic, conducted by Alan Gilbert with Leila Josefowicz as soloist Most Recent GTMF Performance: These are the first performances at the Grand Teton Music Festival
Instrumentation: Two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, suspended cymbal, tam-tam, xylophone, vibraphone, whip, bass drum, tuned gongs, cimbalom, celeste, two harps, and strings
COMPOSER’S NOTES BY JOHN ADAMS
of the “Arabian Nights,” and of Scheherazade and how this story has evolved over the centuries. The casual brutality toward women that
The impetus for the piece was an exhibition at the Institut du Monde Arabe in Paris detailing the history
WE E K TWO
lies at the base of many of these tales prodded me to think about the many images of women oppressed, abused, or violated that we see in the news on a daily basis. In the old tale, Scheherazade is the lucky one who, through her endless inventiveness, is able to save her own life. But there is not much to celebrate when one realizes that she is spared simply because of her cleverness and ability to keep entertaining her warped and murderous husband.
Thinking about what a contemporary Scheherazade might be brings to mind some famous examples of women under threat for their lives; for example, the “woman in the blue bra” in Tahrir Square— dragged through the streets, severely beaten, humiliated, and physically exposed by enraged, violent men. Or young Iranian student Neda Agha-Soltan, who was shot to death while attending a peaceful protest in Teheran. Or women routinely attacked and even executed by religious fanatics in any number of countries— India, Pakistan, Afghanistan, wherever. The modern images that come to mind certainly aren’t exclusive to the Middle East; we see examples, not quite so graphic yet still profoundly disturbing, from everywhere in the world— including in our own country and even on our own college campuses. So I was suddenly struck by the idea of a “dramatic symphony” in which the principal character role is taken by the solo violin—and she would be Scheherazade. While not having an actual story line or plot, the symphony follows a set of provocative images: a beautiful young woman with grit and GTMF.ORG | Season
57
57
JOHN ADAMS SCHEHERAZADE.2
WE E K TWO
Continued personal power; a pursuit by “true believers”; a love scene (perhaps her lover is also a woman); a scene in which she is tried by a court of religious zealots (Scheherazade and the Men with Beards), during which the men argue doctrine among themselves and rage at her only to have her calmly respond to their accusations); and a final “escape, flight and sanctuary,” which must be the archetypal dream of any woman importuned by a man or men.
I composed the piece specifically for Leila Josefowicz, who has been my friend and a champion of my music (and many other composers) for nearly 15 years. Together we’ve performed my Violin Concerto and my concerto for amplified violin, The Dharma at Big Sur, many times. This work is a true collaboration and reflects a creative dialogue that went back and forth for well over a year—and I expect will continue long after the first performance. I find Leila a perfect embodiment of that kind of empowered strength and energy that a modern Scheherazade would possess. Editor’s note: The symphony was a joint commission by the New York Philharmonic, the Concertgebouw Orchestra of Amsterdam, and the Sydney Symphony Orchestra.
58
Grand Teton Music Festival | SUMMER 2018
A portion of a sketch by Ludwig van Beethoven for his Sixth Symphony.
Ludwig van Beethoven SYMPHONY NO. 6 IN F MAJOR, OP. 68 “PASTORAL” Born: December 16, 1770 in Bonn, Germany Died: March 26, 1827 in Vienna, Austria Duration: 39 minutes Date of Composition: 1803–1808 Premiere: December 22, 1808 at the Academy Concert at the Royal Theatre an der Wien, conducted by Beethoven
Most Recent GTMF Performance: July 8, 2011, conducted by Donald Runnicles Instrumentation: Piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, and strings
Vienna’s great composers, from Beethoven and Schubert to Brahms and Mahler, spent as much time as possible in the gorgeous, evocative countryside just outside the city, and sought to make their music echo with
its charms. Beethoven liked to compose in his head while he took long walks—but representing nature’s beauty in music held challenges and difficulties for him. Similarly, almost a century later, Mahler often had
a specific descriptive program in mind but usually revised or even discarded it, finding it was more likely to confuse than enlighten his audience. Beethoven had considered the same issue:
FIRST MOVEMENT
Eventually, Beethoven relaxed his position about what would come to be called program music. On a violin part used at the premiere of the “Pastoral” Symphony, a handwritten note quoting the composer’s words reads: “Recollection of life in the country—more an expression of feeling than a depiction.” Officially, Beethoven headed the first movement “Awakening of Cheerful Feelings upon Arriving in the Country.”
The first two movements are particularly serene and calm, emphasizing woodwinds and strings with no brass except horns and percussion. The first movement is based almost entirely on one theme, which repeats itself with variations of tonality and instrumental color.
SECOND MOVEMENT
Andante molto mosso represents a “Scene by the Brook.” At its end, birdcalls specified in the score are those of a nightingale, a cuckoo, and quail. Beethoven’s disciple, Anton Schindler, wrote about revisiting a favorite bit of countryside with the composer: “Crossing a meadow that is traversed by a gently murmuring brook, Beethoven kept stopping
had never included either instrument until his Fifth Symphony. The thunderstorm fades away as quickly as it starts.
THIRD MOVEMENT
This symphony is dominated by the brightness of its major tonality and airy textures. The themes consist of intervals of simple thirds and sixths like those often used in folksong. The accompaniment, with its drones and other countrified band sounds, underlines the feeling of rusticity.
Allegro represents a “Merry Gathering of Country Folk” with their countrified songs and dances. It depicts, in part, a scene that especially amused the composer. “Beethoven asked me,” Schindler wrote, “if I had ever observed how village musicians often played while half asleep, occasionally dropping their instruments and then waking with a start, vigorously sounding a few random notes—generally in the right key—and then falling asleep again.”
Here, the texture brightens with trumpet sounds. Many passages recall the country bands Beethoven heard at peasant taverns. The intimation of dancing and sounds of foot-stomping reference the gatherings of country folk that Beethoven witnessed.
FOURTH MOVEMENT The country-dance runs without pause into an Allegro titled “Thunderstorm,” which, in effect, makes up an extra movement. The thunderstorm begins gently in the distance before intensifying into a full-fledged tempest. The timpani evoke thunder, and the trombone and piccolo—with its high-pitched timbre—help listeners feel the wind, heightening the storm’s effectiveness. Notably, Beethoven
FIFTH MOVEMENT
The final movement, Allegretto, opens with a “Shepherd’s Song” of thanksgiving, beginning with solo clarinet and, later, solo horn. The finale, “Cheerful Feelings after the Storm,” becomes a joyous hymn to a pantheistic God of Nature.
WE E K TWO
“The hearer should be allowed to discover the subject himself. Anyone who has an idea of what country life is can make out the intentions of the composer, and without titles, the work will be recognized as a matter of feeling rather than of painting sounds.”
and looking about, full of joy in the glorious landscape. He sat on the ground, resting against an elm and asked if I could hear any yellowhammers in the trees. [Beethoven had lost most of his hearing by this time.] Then he said, ‘I composed the “Scene by the Brook” here, and the yellowhammers up there, the quails, nightingales, and cuckoos all around composed along with me.’”
Beethoven sketched ideas for the “Pastoral” Symphony as early as 1803, when he was writing the Third Symphony, and by 1806 he had worked out its principal themes. During 1807 and 1808, he worked simultaneously on his Fifth and Sixth Symphonies, finishing the Fifth early in 1808 and the Sixth in early summer of that same year. On December 22, 1808, Beethoven premiered several of his newest compositions: the Fourth Piano Concerto, the Fifth and Sixth Symphonies, and several other works. A contemporary observer remarked that the concert lasted for four hours, going late into the night in a bitterly cold hall—an experience, he explained, which brought him to the truth: one can have too much of a good thing.
The Sixth Symphony is dedicated to Prince Franz Joseph von Lobkowitz and Count Andreas Razumovsky, both frequent patrons of Beethoven. GTMF.ORG | Season
57
59
WE E K TWO
“Her virtuosity is extraordinary, but even more extraordinary is her expressive power. She is the Wonder Woman of violinists.” – LOS ANGELES TIMES
FESTIVAL ORCHESTRA
Artist Biographies Leila Josefowicz VIOLIN
Leila Josefowicz’s passionate advocacy of contemporary music for the violin is reflected in her diverse programs and enthusiasm in performing new works. She frequently collaborates with leading composers, and works with orchestras and conductors at the highest level around the world. In 2008 she was awarded a prestigious MacArthur Fellowship, joining prominent scientists, writers, and musicians who have made unique contributions to contemporary life. Highlights of Ms. Josefowicz’s 2017–18 season include concerts with the Los Angeles Philharmonic, the Concertgebouw Orchestra, the Iceland Symphony Orchestra, the Boston Symphony Orchestra, the Lahti Symphony Orchestra, and the Finnish Radio Symphony Orchestra, as well as with Washington’s National Symphony Orchestra. Alongside pianist John Novacek—with whom she has enjoyed a close collaboration since 1985—Ms. Josefowicz has performed recitals in Reykjavik, Leeds, Chicago, and San Francisco. She has also recently appeared at world-renowned venues such as New York’s Zankel Hall and London’s Wigmore Hall. Several composers have written violin concertos especially for Ms. Josefowicz, including John Adams, 60
Grand Teton Music Festival | SUMMER 2018
Esa-Pekka Salonen, Colin Matthews, and Steven Mackey. Scheherazade.2 (Dramatic Symphony for Violin and Orchestra) by John Adams was given its world premiere in 2015 by Ms. Josefowicz with the New York Philharmonic. In 2014 she performed the world premiere of Luca Francesconi’s concerto Duende—The Dark Notes (also written for her) with the Swedish Radio Symphony Orchestra and Susanna Mälkki. She later performed the concerto with Ms. Mälkki and the BBC Symphony Orchestra at the BBC Proms in 2015. Recent highlights include engagements with the Berliner Philharmoniker, the Tonhalle-Orchester Zürich, and the symphony orchestras of San Francisco, London, and Minnesota. Ms. Josefowicz has released several recordings. Her latest release, featuring Scheherazade.2 with the St. Louis Symphony conducted by David Robertson, was nominated for a Grammy Award. Ms. Josefowicz’s recording of Esa-Pekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra, conducted by the composer, was nominated for a Grammy Award in 2014.
“Chester Englander, Adams’ cimbalomist of choice, dispatched the part wonderfully.” WE E K TWO
– CHICAGO TRIBUNE
Chester Englander CIMBALOM
Acclaimed for his “boldly played” (Los Angeles Times), “vivid“ (The New York Times), and “expert“ (St. Louis Post-Dispatch) performances as the solo cimbalom of John Adams’ Scheherazade.2—and praised by The New York Times for the “brilliant clarity” of his performance of the featured cimbalom part within Mr. Adams’ The Gospel According to the Other Mary—Chester Englander has a thriving career as a percussionist and concert cimbalom player with orchestras throughout the country. Mr. Englander has performed on percussion and/or cimbalom with the Los Angeles Philharmonic; the Boston Symphony Orchestra; the San Francisco Symphony; the New York Philharmonic; the Cleveland Orchestra; the Chicago Symphony Orchestra; the National Symphony; the San Diego Symphony; the Saint Louis Symphony; the Seattle Symphony; the Rochester Philharmonic; the Buffalo Philharmonic; the Atlanta Symphony Orchestra; the Cincinnati Symphony Orchestra; the Israel Philharmonic; the Toronto Symphony Orchestra; and the New World Symphony.
works by composers including John Adams, Thomas Adés, Louis Andriessen, Unsuk Chin, Peter Eötvös, Esa-Pekka Salonen, Dmitri Shostakovich, and Bernd Alois Zimmermann. Additionally, he directly collaborated with John Adams on the composition of the featured cimbalom parts for The Gospel According to the Other Mary and Scheherazade.2. Mr. Englander can be heard on the Capcom, Deutsche Grammophon, Cantaloupe, DisneyNature, Interscope, Naxos, Nonesuch, Seattle Symphony Media, and Ubisoft labels. He and his lovely wife, violinist Rachel Englander, reside in Cleveland, OH and are proud parents to their adorable daughters, Charlotte and Alice.
Mr. Englander has taken part in multiple world and US premiere performances of orchestral and chamber GTMF.ORG | Grand Teton Music Festival
61
WE E K TWO
“Stenz makes the orchestra play beyond itself, and future appearances should not be missed.” – THE WASHINGTON POST
Markus Stenz CONDUCTOR
Known for his vibrant, masterful musical interpretations and a special passion for German orchestral works, Markus Stenz is Chief Conductor of the Netherlands Radio Philharmonic Orchestra since 2012, Principal Guest Conductor of the Baltimore Symphony Orchestra since 2015, and a recent appointee as Conductor-in-Residence of the Seoul Philharmonic Orchestra. Maestro Stenz’s expansive 2017–18 season reflects the breadth of his artistry and international regard as an inspirational collaborator. Across North America, Maestro Stenz serves as guest conductor of the St. Louis, Colorado, Utah, and San Diego Symphony Orchestras, and the Minnesota Orchestra. In the fall, returning to his role as Principal Guest Conductor of the Baltimore Symphony Orchestra, Maestro Stenz gives three performances of works by Mendelsohn, Bruch, and Wagner; in the spring, he leads lively programs of orchestral works by Beethoven, Korngold, Liszt, Mahler, Rachmaninoff, Schumann, and Wagner. Overseas, Maestro Stenz leads powerful programs at the Netherlands Radio Philharmonic Orchestra including Beethoven’s Ninth Symphony; Mahler’s First Symphony “Titan”; Strauss’ Elektra; and excerpts from Wagner’s Der Meistersinger and Tristan und Isolde. 62
Grand Teton Music Festival | SUMMER 2018
Markus Stenz has conducted many of the world’s leading orchestras including the Royal Concertgebouw Orchestra; Munich Philharmonic; Gewandhaus Orchestra Leipzig; Berliner Philharmoniker; TonhalleOrchester Zürich; Vienna Symphony; and NHK Symphony Orchestra, Tokyo. In the United States he has led the Chicago, Houston, and St. Louis symphonies, the Los Angeles Philharmonic, and the Boston Symphony Orchestra. Maestro Stenz’s discography includes many awardwinning recordings. His complete symphonies of Gustav Mahler with the Gürzenich Orchestra Cologne was selected as a “Quarterly Critic’s Choice” by the German Record Critics’ Award Association; recent releases with the Orchestra include various Schönberg recordings, one of which earned the 2016 Gramophone Classical Music Award for Best Choral Album. Markus Stenz has been awarded an Honorary Fellowship by the Royal Northern College of Music and the “Silberne Stimmgabel” (Silver Tuning Fork) by the state of North Rhein/Westphalia. He resides in Cologne, Germany with his wife and two children.
Festival Orchestra Roster FRIDAY, JULY 13 & SATURDAY, JULY 14
Violin I
Violin II
Jennifer Ross Julie Coleman Anne-Marie Terranova Ikuko Takahashi Tracy Dunlop Mary Corbett Anna Genest Lois Finkel Carolyn Kessler Rebecca Racusin Ling Ling Huang Alessandra Jennings Flanagan Eva Cappelletti Chao
Viola
Susan Gulkis Assadi Charles Pikler Phillippe C. Chao Chiara Kingsley Dieguez Caroline Gilbert Rita Porfiris Lucina Horner Madeline Sharp Claudine Bigelow George Ohlsson Suzanne LeFevre
Yao Zhao Dariusz Skoraczewski Karen Freer Jennifer Humphreys Gregory Clinton Thomas Carpenter Kari Jane Docter Marcia Peck David Mollenauer Deborah Nitka Hicks
Bass
Paul Ellison Charles DeRamus Deborah Dunham John Pellegrino Erik Gronfor Corbin Johnston Patrick Bilanchone William Ritchie
Flute
Angela Jones-Reus Alice Weinreb Kogan
Piccolo
Caitlin Valovick-Moore
Oboe
Jaren Atherholt Samuel Nemec
English Horn
Bassoon
Sue Heineman Kristen Sonneborn
Contrabassoon Horn
Gail Williams Haley Hoops Michael Gast Kevin Haseltine
Trumpet
Barbara Butler Charles Geyer
Trombone Roger Oyster Jay Evans
Bass Trombone Steve Norrell
Timpani
Michael Crusoe
Percussion
Richard Brown Riely Francis Craig Hauschildt
Harp
Elisabeth Remy Johnson Anne Preucil Lewellen
Clarinet
Cimbalom
Bass Clarinet Marci Gurnow
All rosters are subject to change
Juan de Gomar
Martin Schuring Eugene Mondie Stephanie Key
Names in bold indicate principal chair WE E K TWO
Jeff Thayer Patrick Neal Bruno Eicher Tomoko Iguchi Simon Shiao Christopher Pulgram Holly Mulcahy Gina Davis Louise Morrison Rebekah Johnson Russell Hershow Doris Dai Janssen Joan Christensen Kana Kimura Joan Cataldo
Cello
Chester Englander
Piano
Jason Hardink
Librarian
Crozet Duplantier
GTMF.ORG | Season
57
63
Week Three
PICTURED: KIRILL GERSTEIN
64
FE ATURI NG
Vocalist Audra McDonald Pianist Kirill Gerstein Conductor Stéphane Denève Inside the Music
The Poetry of Music
Festival Orchestra
Gershwin’s Piano Concerto
July 17 at 8PM
July 20 at 8PM & July 21 at 6PM
Chamber Music with
Free Family Concert
July 18 at 8PM
July 21 at 11AM
Pianist Kirill Gerstein
2018 Fundraising Gala with
Audra McDonald July 19 at 6PM
Grand Teton Music Festival | SUMMER 2018
GTMF Brass Quintet
Inside the Music
The Poetry of Music TUESDAY, JULY 17 AT 8PM
Julia Bogorad-Kogan & Brian Prechtl, hosts
To a Stranger (2017)*
(b. 1962)
Marcia Kämper, flute Dariusz Skoraczewski, cello Brian Prechtl, percussion John Kinzie, narrator
Bernstein
Halil (1981; 1987)
Jerry Hou, conductor
(1918–1990)
Julia Bogorad-Kogan, flute Peter Kogan, timpani Richard Brown, percussion Brian Prechtl, percussion John Kinzie, percussion Riely Francis, percussion Kimi Kawashima, piano
David Mullikin
from Between Eternity and Time (2013)
Karen Kinzie, violin Marcia Kämper, flute John Kinzie, percussion Brian Prechtl, narrator
Brian Prechtl
Song of Myself: It is Happiness (2018)*
(b. 1950)
12’
16’ WEEK THREE
Brian Prechtl
8’
III. I should not dare to leave my friend IV. The Railway Train
12’
Gail Williams, horn Karen Kinzie, violin Dariusz Skoraczewski, cello Brian Prechtl, percussion John Kinzie, narrator
* WYOMING PREMIERE GTMF.ORG | Season
57
65
WEEK THREE 66
Grand Teton Music Festival | SUMMER 2018
Chamber Music with
Pianist Kirill Gerstein
View biography for Kirill Gerstein on page 75.
WEDNESDAY, JULY 18 AT 8PM Andrew Norman (b. 1979)
Gran Turismo (2007) Tomoko Iguchi, violin Rebekah Johnson, violin Ikuko Takahashi, violin Louise Morrison, violin
8’ Anna Genest, violin Gina Davis, violin Julie Coleman, violin Anne-Marie Terranova, violin
Jones Four Movements for Five Brass (1957) (1910–1997) Introduction and March Pretentions Waltz Finale: Allegro Hunter Eberly, trumpet Jay Evans, trombone Matthew Sonneborn, trumpet JáTtik Clark, tuba Matthew Annin, horn
7’
WEEK THREE
André Previn Trio for Piano, Oboe, and Bassoon (1996) (b. 1929) Lively Slow Jaunty Jaren Atherholt, oboe Sue Heineman, bassoon Andrew Palmer Todd, piano
19’
INTERMISSION
Gershwin (1898–1937)
Rhapsody in Blue (1924) Gregory Raden, clarinet Stephanie Key, clarinet Haley Hoops, horn Kevin Haseltine, horn Hunter Eberly, trumpet Charles Daval, trumpet Craig Mulcahy, trombone Jay Evans, trombone Carol Jantsch, tuba Sean Campbell, soprano saxophone David Hall, alto/baritone saxophone Brian Booth, tenor saxophone Richard Brown, drums Brian Prechtl, percussion
16’ Andrew Palmer Todd, piano/celeste Holly Mulcahy, violin Ling Ling Huang, violin Tomoko Iguchi, violin Eva Cappelletti Chao, violin Ikuko Takahashi, violin Linda Hurwitz, violin Rebecca Racusin, violin Kana Kimura, violin Robin Kesselman, bass Kirill Gerstein, solo piano Jerry Hou, conductor
Sponsored by Peter Benoliel & Willo Carey
GTMF.ORG | Season
57
67
WEEK THREE
July 17 & 19 Grand Teton Music Festival is proud to present Broadway superstar and six-time Tony Award-winning vocalist Audra McDonald for this year’s Annual Fundraising Gala. The three events over two days support the Festival’s mission.
THE GRAND EXPERIENCE WITH AUDRA MCDONALD Tuesday, July 17 at 6PM Majestic Teton views. A private performance with Broadway royalty in one of Jackson Hole’s most elegant homes. A multi-course dinner expertly prepared by celebrated New York Chef Gabriel Kreuther. This is the event of the summer. The Grand Experience also includes a ticket to the Fundraising Gala Concert and the VIP Dinner on July 19. This event is sold out. If you would like to be added to the waiting list, please call Anna Mattson, Director of Development, at 307.732.9967.
GALA FUNDRAISING CONCERT Thursday, July 19 at 6PM This unforgettable Festival Orchestra performance features Audra McDonald in an all-American concert of works by Leonard Bernstein, Rodgers and Hammerstein, and Stephen Sondheim. Tickets are $200 and include a $100 tax-deductible donation.
VIP DINNER WITH AUDRA MCDONALD Thursday, July 19, immediately following the concert Hotel Terra, Murie Ballroom After the Fundraising Gala concert, join friends and continue the excitement with an exclusive dinner with Audra McDonald sponsored by Hotel Terra. Tickets are $300 and include a $200 tax-deductible donation.
FU N DR AI S I N G G AL A W I T H
Audra LIMITED TICKETS AVAILABLE Guarantors, Guarantor Project Sponsors, and Season Subscribers receive priority seating for the Fundraising Gala. Please call the Fritz Box Office to reserve your priority seating: 307.733.1128.
68
Grand Teton Music Festival | SUMMER 2018
WEEK THREE
McDonald WINNER OF
6 TONY AWARDS, 2 GRAMMY AWARDS & 1 EMMY AWARD
GTMF.ORG | Season
57
69
Festival Orchestra
Gershwin’s Piano Concerto FRIDAY, JULY 20 AT 8PM & SATURDAY, JULY 21 AT 6PM Kirill Gerstein, piano Stéphane Denève, conductor
Bernstein
Overture from Candide (1956)
Gershwin
Piano Concerto in F (1925)
Kirill Gerstein, piano
5’
(1918–1990) 31’
WEEK THREE
(1898–1937) Allegro Adagio—Andante con moto Allegro agitato INTERMISSION
Berlioz
Symphonie fantastique, op. 14 (1830)
(1803–1869)
Rêveries—Passions (Reveries—Passions) Un bal (A Ball) Scène aux champs (Scene in the Country) Marche au supplice (March to the Scaffold) Song d’une nuit du sabbat (Dream of the Witches’ Sabbath)
Join us for a Preconcert Talk hosted by Festival Musician Holly Mulcahy prior to these performances. Details on page 21. Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Guest Conductor Stéphane Denève sponsored by Charlotte Stifel Guest Artist Kirill Gerstein sponsored by Laurentius Marais Performances sponsored by Robert & Nancy Spetzler and Bonnie & Nick Hopkins
70
Grand Teton Music Festival | SUMMER 2018
49’
Program Notes
Leonard Bernstein OVERTURE FROM CANDIDE
Born: August 25, 1918 in Lawrence, Massachusetts Died: October 10, 1990 in New York City, New York Duration: 5 minutes Date of Composition: 1956 Premiere: The operetta Candide, with music by Leonard Bernstein, opened on December 1, 1956 at the Martin Beck Theatre in New York. The concert version of the overture premiered on January 26, 1957 with the New York Philharmonic under the composer’s direction.
Most Recent GTMF Performance: July 29, 2015, conducted by Edo de Waart Instrumentation: Piccolo, three flutes, two oboes, two clarinets plus E-flat clarinet and bass clarinet, two bassoons and contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, and strings
As one of the greatest American musicians of the 20th century, Leonard Bernstein served as Music Director of the New York
Philharmonic and composed symphonic and musical theater works. His first Broadway musical was the 1944 hit On the Town.
WEEK THREE
Frontispiece and first page of chapter one of an early English translation of Voltaire’s Candide, printed by J. Newbery, 1762. © S. Whitehead
Bernstein and his collaborators, the dramatist Lillian Hellman and the poet Richard Wilbur, did not allow Candide to be presented with the usual billing of “a new musical.” Instead, they described it as “a comic operetta based on Voltaire’s satire,” which immediately claimed it a place alongside the works of Offenbach, Johann Strauss, and Gilbert & Sullivan. Although the first stage production did not become a commercial success, the music instantly acquired an independent life. The original Broadway cast recording was popular for many years, and the overture joined the standard orchestral repertoire. A Broadway revival in the 1970s, with significant libretto and staging revisions, enjoyed a long run and stimulated many new productions. In the 1980s, Candide entered the repertoire of the New York City Opera, and in 1997, it was produced again on Broadway. Candide is the eponymous hero of a novel written by Voltaire and published in 1759. Along with his beloved Cunégonde, Candide experiences disillusionment through his countless misadventures despite the optimistic teachings of his mentor, Dr. Pangloss. The story concludes with Candide refuting the mantra: “all is for the best” in the “best of all possible worlds.” The Overture to Candide opens with a fanfare and some battle music. The love duet, “Oh, Happy We,” provides lyric contrast and is followed by a passage derived from the ending of the coloratura aria, “Glitter and Be Gay.” A brilliant coda brings the short overture to a close. GTMF.ORG | Season
57
71
large-scale work for piano and orchestra. Although Gershwin had already written many musical comedies, he had little experience with formal composition and bought a text—Forsyth’s Standard Manual of Orchestration—to aid his efforts. At the time, Broadway composers were discouraged from orchestrating their own work.
WEEK THREE
Damrosch asserted, “Composers have been walking around jazz like a cat around a plate of hot soup, waiting for it to cool off so that they could enjoy it without burning their tongues.” However, Gershwin approached jazz boldly:
George Gershwin composing at the piano. © Lebrecht Music & Arts/Lebrecht
George Gershwin PIANO CONCERTO IN F
72
Born: September 26, 1898 in Brooklyn, New York Died: July 11, 1937 in Beverly Hills, California Duration: 31 minutes Date of Composition: 1925 Premiere: February 12, 1924 in New York, by Paul Whiteman and his band with George Gershwin playing the piano Most Recent GTMF Performance: July 3, 2003, conducted by Marin Alsop with Christopher O’Riley as soloist
Instrumentation: Piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, bass drum, bells, xylophone, snare drum, wood block, whip, crash cymbals, suspended cymbal, triangle, gong, and strings
George Gershwin, one of the most successful songwriters of all time, was widely admired for the beauty and originality of his melodic inventions and for the vigor and ingenuity of his rhythms. Rhapsody in Blue, Gershwin’s first composition in a large form,
premiered at a historic concert entitled “Experiment in Modern Music.” Among the important musicians attending was Walter Damrosch, conductor of the New York Symphony Orchestra, who was so impressed that he commissioned Gershwin to write another
Grand Teton Music Festival | SUMMER 2018
“Lady Jazz has danced her way around the world, but she has encountered no knight who could lift her to a level that would enable her to be received as a respectable member of musical circles. Gershwin seems to have accomplished this miracle by dressing the independent and up-to-date young lady in the classic garb of a concerto, yet he has not detracted from her fascinating personality. He is the prince who has taken Cinderella by the hand and openly proclaimed her a princess to the astonished world, no doubt to the fury of her envious suitors.”
FIRST MOVEMENT
Gershwin originally decided to call his dynamic work the “New York Concerto,” but eventually settled on the less-evocative Piano Concerto in F. The opening Allegro movement has a sonatalike form (Gershwin labeled it: “in sonata form—but”), freely modified and adapted to the composer’s popular melodic style. Four days before the premiere, Gershwin published a description in the New York Tribune, saying:
“The first movement … is quick and pulsating, representing the young, enthusiastic spirit of American life. It begins with a rhythmic
motif given out by the kettledrums, supported by other percussion instruments, and with a Charleston motif introduced by bassoon, horns, clarinets, and violas. The principal theme is announced by a bassoon.”
SECOND MOVEMENT
WEEK THREE
The middle movement, Adagio— Andante con moto, embraces the blues with a sustained, lyrical nocturne. A bassoon introduces the sprightly first theme, while the piano itself plays a warm-hearted contrasting theme. In ternary form (ABA), it features a muted, sultry solo trumpet with the piano and a banjo-style accompaniment in the strings. Gershwin said, “The second movement has a poetic nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated.”
THIRD MOVEMENT
The vigorously rhythmic finale, Allegro agitato, is related to a classic rondo-finale and recalls themes from the first two movements. Gershwin declared, “The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping the same pace throughout.” This energetic movement begins with timpani, cymbals, and bass drum. Full of athletic dynamism, the unique work sports optimism throughout and ends much like it begins, with big timpani strokes. George Gershwin dedicated Piano Concerto in F to Walter Damrosch, conductor of the New York Symphony Orchestra.
Irish Actress Harriett Constance Smithson (1800–1854), Shakespearean actress and wife/muse of Hector Berlioz, 19th century (oil on canvas) by George Clint. © Sotheby’s
Hector Berlioz SYMPHONIE FANTASTIQUE, OP. 14 Born: December 11, 1803 in La-CôteSaint-André, France Died: March 8, 1869 in Paris, France Duration: 49 minutes Date of Composition: 1830 Premiered: December 5, 1830 at the Paris Conservatoire, conducted by FrançoisAntoine Habeneck, with the composer performing as one of the percussionists
Most Recent GTMF Performance: August 7, 2009, conducted by Donald Runnicles Instrumentation: Two flutes, piccolo, two oboes, English horn, three clarinets plus E-flat clarinet, four bassoons, four horns, two trumpets, two cornets, three trombones, two tubas, timpani, percussion, two harps, and strings
In 1830, three years after Beethoven’s death, the little-known 26-year-old Berlioz composed Symphonie fantastique, a work that designated him as an original musical thinker.
Remarkable for its combination of musical imagery and emotional representation, the piece became a model for Liszt, Wagner, and Strauss. Nevertheless, when it GTMF.ORG | Season
57
73
HECTOR BERLIOZ SYMPHONIE FANTASTIQUE, OP. 14
protagonist’s anxiety subsides into religious consolation, announced musically with repeated, sustained hymnal Amens.
Continued
In the second movement, “Un bal” (“A Ball”), a traditional waltz again includes the idée fixe. The harps and woodwinds add color as this movement shifts the programmatic focus from an interior emotional experience to an invocation of the surroundings. Berlioz deftly blurs the boundary between interior and exterior when the hero finds himself confronted by his beloved.
WEEK THREE
was first performed, Symphonie fantastique drew a wide range of response—much of it negative.
In 1827, a London theatrical company arrived in Paris to perform Hamlet and Romeo and Juliet. Harriet Smithson, an Irish actress, played both Ophelia and Juliet, and Berlioz fell in love with her. Drawing inspiration from Beethoven, he composed Symphonie fantastique as a tribute to his love. When he arranged for her to attend the symphony’s second premiere five years later, the two still had not met, though Smithson was aware of Berlioz’s longstanding interest in her. She had no idea she inspired the symphony until she saw the text in which Berlioz confessed to have longed for “the Juliet, the Ophelia for whom my heart cries out.” They married the following October, but within a few years, the couple had separated.
Symphonie fantastique is renowned for its brilliantly imaginative orchestration and for Berlioz’s use of a single melody (his idée fixe), which pervades all five movements. Representing his beloved Harriet, this melody acts as the seed from which the themes grow, binding the work together in symphonic unity.
FIRST MOVEMENT
The main thematic material of the first movement suggests Berlioz’s reveries and passions. The violins first articulate the idée fixe melody, a forlorn statement of longing, after the long, slow introduction. By the movement’s end, the 74
Grand Teton Music Festival | SUMMER 2018
SECOND MOVEMENT
THIRD MOVEMENT
This slow movement occurs third instead of second, just as it had in Beethoven’s Ninth Symphony. It includes birdcalls and intermittently flowing rhythmic patterns, owing much to the “Scene by the Brook” movement in Beethoven’s Sixth Symphony. The idée fixe appears as a secondary theme. The movement opens with an English horn-oboe exchange simulating shepherd calls of the alphorn, sounding “the tune used by the Swiss to call the flocks together.” The scene buoys the musician’s imagination, but with the beloved’s reappearance and intimations of her faithlessness, darkness gathers. At the equivocal close, the shepherd falls silent as the muffled timpani suggest the sound of distant thunder.
FOURTH MOVEMENT
The unsettled close effectively paves the way for a nightmare. Again recalling Beethoven’s Sixth Symphony, the fourth and fifth movements are structurally linked in their scoring for large orchestra with full brass ensemble. The garish “Marche au supplice” (“March to the Scaffold”) serves as a prologue to the finale. The march
is based on the “March of the Guards” from Berlioz’s unfinished opera Les Francs-Juges, tonally and temperamentally providing an effective transition from the vague foreboding to the unleashing of horror that follows.
FIFTH MOVEMENT
The beloved (the idée fixe) turns into a hideous witch: a shrieking clarinet leads the spirits in the “Song d’une nuit du sabbat” (“Dream of the Witches’ Sabbath”). The idée fixe becomes grotesque with grace notes and trills, but the witches greet the sound with laughter. The idée fixe returns, yet the bell sounds. The Dies irae—a medieval melody used for funerals and masses that signified Judgment Day and was well known to audiences of the time—interrupts the revelry. The idée fixe and Dies irae mix in a grotesque “Ronde du Sabbat” (“Sabbath Round Dance”), which eventually becomes a fugue. The large orchestra explodes with full energy in the coda. By 1855, Berlioz revised his original program so that the musician takes opium at the beginning, making the symphony a psychedelic dream. His final program is brief:
“A young musician of morbid sensibility and ardent imagination poisons himself with opium in a fit of despair over love. The narcotic dose, too weak to bring him death, plunges him into a heavy sleep accompanied by the strangest of visions, in which his sensations, sentiments, and recollections are translated in his sick mind into musical ideas and images. Even his beloved has become a melody for him, an obsession that he finds and hears everywhere.”
“Mr. Gerstein is emerging as one of the most respected pianists of his generation.” – THE NEW YORK TIMES
WEEK THREE
FESTIVAL ORCHESTRA
Artist Biographies Kirill Gerstein PIANO
Kirill Gerstein is the sixth recipient of the prestigious Gilmore Artist Award, presented every four years to an exceptional pianist. Since receiving the award in 2010, Mr. Gerstein has shared his prize through the commissioning of works by Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau. In addition, Mr. Gerstein was awarded First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, and he received the 2002 Gilmore Young Artist Award as well as the 2010 Avery Fisher Grant. Recent engagements have included performances with the Los Angeles and New York Philharmonics, the Philadelphia Orchestra, and the Chicago, St. Louis, and San Francisco symphonies, among others. He has appeared at Tanglewood with the Boston Symphony, at the Santa Fe Chamber Music Festival, at Chicago’s Grant Park, and with the Philadelphia Orchestra at the Bravo! Vail Valley Festival. Internationally, he has played with such prominent European orchestras as the Berlin, Munich, and London Philharmonics; the Finnish Radio Orchestra; and the Royal Concertgebouw.
Mr. Gerstein’s recordings include Liszt’s Transcendental Etudes, a new album released by Myrios Classics in the US. His other solo recordings for the label include Imaginary Pictures, comprising Mussorgsky’s Pictures at an Exhibition, and Schumann’s Carnaval. Both albums were named among the best recordings of the year by The New York Times. Born in 1979 in Voronezh, Russia, Mr. Gerstein studied piano at a music school for gifted children and taught himself to play jazz by listening to his parents’ extensive record collection. Mr. Gerstein came to the US at age 14 to study jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. After completing his studies in three years, Mr. Gerstein turned his focus back to classical music and attended the Manhattan School of Music, where he earned both Bachelor of Music and Master of Music degrees by the age of 20. An American citizen since 2003, Mr. Gerstein now divides his time between the United States and Germany.
GTMF.ORG | Season
57
75
WEEK THREE
“Denève tempered enthusiastic wildness with a sense of poetry, feeling for the distinct personality of orchestral sections and, indeed, discrete instruments.” – LOS ANGELES TIMES
Stéphane Denève CONDUCTOR
Stéphane Denève is Music Director of the Brussels Philharmonic, Principal Guest Conductor of the Philadelphia Orchestra, Music Director Designate of the St. Louis Symphony, and Director of the Center for Future Orchestral Repertoire. He served as Chief Conductor of Stuttgart Radio Symphony Orchestra from 2011–16, and as Music Director of the Royal Scottish National Orchestra from 2005–12. Maestro Denève regularly appears at major concert venues with the world’s greatest orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for new music. He is committed to inspiring the next generation of musicians and listeners, and has worked regularly with young people in the programs of the Tanglewood Music Center and New World Symphony. He is a frequent guest with orchestras such as the Royal Concertgebouw Orchestra, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Cleveland Orchestra, Los Angeles Philharmonic, San Francisco 76
Grand Teton Music Festival | SUMMER 2018
Symphony, New York Philharmonic, St. Louis Symphony, and Toronto Symphony. In the field of opera, Stéphane Denève has led productions at the Royal Opera House, Glyndebourne Festival, La Scala, Deutsche Oper Berlin, and at the Opéra National de Paris. As a recording artist, he has won critical acclaim for his recordings of the works of Poulenc, Debussy, Ravel, Roussel, Franck, and Honegger. He is a triple winner of the Diapason d’Or de l’Année, has been shortlisted for Gramophone’s Artist of the Year Award, and has won the prize for symphonic music at the International Classical Music Awards. His most recent releases are a disc of the works of Guillaume Connesson with the Brussels Philharmonic (awarded the Diapason d’Or de l’Année, Caecilia Award, and Classica Magazine’s CHOC of the Year) and a disc with Lucas & Arthur Jussen and the Royal Concertgebouw Orchestra—both for Deutsche Grammophon.
Festival Orchestra Roster FRIDAY, JULY 20 & SATURDAY, JULY 21
Violin I
Violin II
Jennifer Ross Bruno Eicher Patrick Neal Judith Cox Simon Shiao Karen Kinzie Mary Corbett Kana Kimura Rebecca Racusin Holly Mulcahy Lois Finkel Gina Davis Ikuko Takahashi
Viola
Susan Gulkis Assadi Allyson Goodman Yang-Yoon Kim Madeline Sharp Lucina Horner Claudine Bigelow Suzanne LeFevre Rachel Swerdlow Chiara Kingsley Dieguez Phillippe C. Chao Caroline Gilbert
Cello
Daniel Laufer Dariusz Skoraczewski Karen Freer Jennifer Humphreys Kari Jane Docter Deborah Nitka Hicks Barrett Sills David Mollenauer Steven Laven Gregory Clinton
Bass
Robin Kesselman Robert Barney Charles DeRamus Corbin Johnston Patrick Bilanchone Erik Gronfor Donald Hermanns William Ritchie
Flute
E-Flat Clarinet Stephanie Key
Bass Clarinet Shannon Orme
Richard Brown John Kinzie Riely Francis Brian Prechtl
Bassoon
Harp
Christopher Millard Sue Heineman Kristen Sonneborn Juan de Gomar
Contrabassoon Juan de Gomar
Horn
Matthew Annin Haley Hoops Michael Lewellen Kevin Haseltine Hunter Eberly Charles Daval Jennifer Marotta Matthew Sonneborn
Piccolo
Trombone
Oboe
Jaren Atherholt Elizabeth Priestly Siffert Martin Schuring
English Horn
Librarian Gary Corrin
Names in bold indicate principal chair All rosters are subject to change
Craig Mulcahy Jay Evans
Bass Trombone Steve Norrell
Tuba
Martin Schuring
JรกTtik Clark Carol Jantsch
Clarinet
Timpani
Gregory Raden Stephanie Key Shannon Orme
Rachel Van Vorhees Kirschman Anne Preucil Lewellen
Trumpet
Julia Bogorad-Kogan Camille Churchfield Alice Weinreb Kogan Alice Weinreb Kogan
Percussion
WEEK THREE
Jeff Thayer Raymond Leung Ling Ling Huang Louise Morrison Julie Coleman Marlyse Martinez Thayer Christopher Pulgram Anna Genest Linda Hurwitz Rebekah Johnson Anne-Marie Terranova Tomoko Iguchi Eva Cappelletti Chao Barbara Scowcroft Joan Cataldo
Michael Crusoe Richard Brown
GTMF.ORG | Season
57
77
78
Grand Teton Music Festival | SUMMER 2018
Week Four
PICTURED: JOHANNES MOSER
FE ATURI NG
Bassist Edgar Meyer Cellist Johannes Moser Composer Sean Shepherd Free Family Concert
Chamber Music with
July 24 at 11AM Teton County Library, Jackson
July 26 at 8PM
GTMF Presents
Tchaikovsky’s Fifth Symphony
Bassist Edgar Meyer
Bassist Edgar Meyer July 24 at 8PM
Cellist Johannes Moser
Festival Orchestra
July 27 at 8PM & July 28 at 6PM
Family Festival Orchestra Concert
A Night at the Movies July 25 at 6PM
GTMF.ORG | Season
57
79
GTMF Presents
Bassist Edgar Meyer TUESDAY, JULY 24 AT 8PM J.S. Bach
Cello Suite No. 1 in G major, BWV 1007 (1717–1723)
Edgar Meyer
Work in Progress for Unaccompanied Double Bass (2011)
16’
(1685–1750) Prelude Allemande Courante Sarabande Menuet I Menuet II Gigue (b. 1960) I. II. III. INTERMISSION
WEEK FOUR
The second half of tonight’s program will be announced from stage and will include arrangements of traditional folk melodies as well as original compositions from Mr. Meyer’s genre-defying catalog.
80
Grand Teton Music Festival | SUMMER 2018
16’
“The most remarkable virtuoso in the relatively un-chronicled history of his instrument.” – THE NEW YORKER
WEEK FOUR
Edgar Meyer BASS
In demand as both a performer and a composer, Edgar Meyer has formed a role unlike any other in the music world. Mr. Meyer’s unparalleled technique and musicianship—in combination with his gift for composition—are appreciated by a vast and varied audience; his uniqueness in the field was recognized by a MacArthur Award in 2002. As a solo classical bassist, Mr. Meyer can be heard with Joshua Bell on a concerto album with the St. Paul Chamber Orchestra conducted by Hugh Wolff featuring Bottesini’s Gran Duo and Second Bass Concerto as well as Mr. Meyer’s own Concerto in D for Bass and his Double Concerto for Bass and Cello with Yo-Yo Ma. He has also recorded an album featuring three of Bach’s Unaccompanied Suites for Cello. In 2011 Mr. Meyer joined cellist Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan for the Sony Masterworks recording The Goat Rodeo Sessions, which was awarded the 2012 Grammy Award for Best Folk Album. As a composer, Mr. Meyer has carved out a unique niche in the musical world. He has collaborated with Béla Fleck and Zakir Hussain to write a triple
concerto for double bass, banjo, and tabla, which was commissioned for the opening of the Schermerhorn Symphony Center in Nashville. Original compositions include a violin/piano work that has been performed by Joshua Bell at New York’s Lincoln Center; a Double Concerto for Bass and Cello premiered with Yo-Yo Ma and the Boston Symphony Orchestra under Seiji Ozawa; and a violin concerto written for Hilary Hahn, premiered and recorded by Ms. Hahn herself. Edgar Meyer’s longtime collaboration with fellow MacArthur Award recipient Chris Thile includes a Nonesuch Records release of original material. Mr. Meyer’s previous performing and recording collaborations include a duo with Béla Fleck; a quartet with Joshua Bell, Sam Bush, and Mike Marshall; and a trio with Yo-Yo Ma and Mark O’Connor. He collaborated with Mr. O’Connor for the 1996 release Appalachia Waltz, which soared to the top of the charts for 16 weeks and was honored with a Grammy Award. Edgar Meyer began studying bass at the age of five under the instruction of his father and Stuart Sankey. In 1994 he received the Avery Fisher Career Grant and, in 2000, the Avery Fisher Prize. GTMF.ORG | Season
57
81
Family Festival Orchestra Concert
A Night at the Movies WEDNESDAY, JULY 25 AT 6PM Jerry Hou, conductor
WEEK FOUR
Strauss Sonnenaufgang (Sunrise) from Also sprach Zarathustra (1896) (1864–1949) from 2001: A Space Odyssey Howard Shore (b. 1946)
Symphonic Suite from The Lord of the Rings (2001)
Ennio Morricone (b. 1928)
Gabriel’s Oboe from The Mission (1986)
3’
Klaus Badelt (b. 1967)
Symphonic Suite from Pirates of the Caribbean (2003)
6’
Various (arr. Healey)
Disney Classics Overture (1993)
8’
Alan Menken (b. 1949) (arr. Troob)
Suite from Aladdin (1992)
9’
Alan Menken
Overture from Beauty and the Beast (1991) 3’
Kristen Anderson-Lopez/ Robert Lopez (b. 1972/b. 1975) (arr. Krogstad)
Let It Go from Frozen (2013)
Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Family Concert Series sponsored by Christine & Ross Hartley Performance sponsored by the Jerry S. Handler Family, in memoriam
82
2’
Grand Teton Music Festival | SUMMER 2018
10’
4’
“Jerry Hou is quickly gaining recognition as a versatile and exciting young conductor.” – BROADWAY WORLD CLASSICAL MUSIC NEWS WEEK FOUR
Jerry Hou CONDUCTOR
Associate Conductor for the Shepherd School of Music at Rice University, Jerry Hou is a versatile and exciting conductor. At the Shepherd School of Music, he leads the Shepherd School Contemporary Ensemble, curates the Hear&Now new music series, works with the symphony and chamber orchestras, and assists with the opera program. In addition to his work at Rice, Maestro Hou serves as Associate Conductor of the Grand Teton Music Festival and Artistic Advisor of the Wyoming Symphony Orchestra. Maestro Hou served as assistant conductor with the Rochester Philharmonic Orchestra for two seasons. In addition, he worked for several seasons with the St. Louis Symphony and music director David Robertson, including assisting on a concert performance of Peter Grimes at Carnegie Hall. Maestro Hou also served as an assistant conductor for the Lincoln Center Festival in the festival production of the opera Monkey: Journey to the West. He returned to make his
Lincoln Center debut with Ensemble Signal as part of Lincoln Center Songbook: Steve Reich and Stephen Sondheim in Conversation. A passionate advocate of contemporary music, Maestro Hou has collaborated with composers such as Bernard Rands, Helmut Lachenmann, György Kurtàg, Luca Francesconi, Steve Reich, George Lewis, Mark-Anthony Turnage, Unsuk Chin, Brett Dean, Harrison Birtwistle, Pierre Boulez, and Peter Eötvös. Jerry Hou has conducted the Houston Symphony, St. Louis Symphony, Orchestra of St. Luke’s, Rochester Philharmonic, BBC Scottish Symphony Orchestra, National Arts Centre Orchestra, Royal Stockholm Philharmonic, and Luxembourg Philharmonic Orchestra, as well as contemporary music groups including Ensemble Modern, Remix Ensemble, Bang on a Can All-Stars, Slee Sinfonietta, Alarm Will Sound, and Ensemble Signal. Jerry Hou resides in Houston with his wife Jenny and their son Remy. GTMF.ORG | Season
57
83
WEEK FOUR 84
Grand Teton Music Festival | SUMMER 2018
Chamber Music with
Cellist Johannes Moser
View biography for Johannes Moser on page 92.
THURSDAY, JULY 26 AT 8PM Shulamit Ran (b. 1949)
Spirit (2018)
Sean Shepherd (b. 1979)
Quartet for Oboe and Strings (2011)
7’
Stephanie Key, clarinet 12’
Elizabeth Priestly Siffert, oboe Sarah Schwartz, violin Yang-Yoon Kim, viola Amy Leung, cello 28’
WEEK FOUR
Dvořák String Quartet No. 12 in F major, op. 96 “American” (1893) (1841–1904) Allegro ma non troppo Lento Molto vivace Finale: Vivace ma non troppo Jennifer Ross, violin Ling Ling Huang, violin Allyson Goodman, viola Jennifer Humphreys, cello INTERMISSION
Brahms String Sextet No. 1 in B-flat major, op. 18 (1860) (1833–1897) Allegro ma non troppo Andante ma moderato Scherzo: Allegro molto Rondo: Poco allegretto e grazioso Angela Fuller Heyde, violin Susanne Park, violin Susan Gulkis Assadi, viola Joan DerHovsepian, viola Johannes Moser, cello Daniel Laufer, cello
36’
Artist-in-Residence Johannes Moser sponsored by Sandra Masur & Scott Spector
GTMF.ORG | Season
57
85
Festival Orchestra
Tchaikovsky’s Fifth Symphony FRIDAY, JULY 27 AT 8PM & SATURDAY, JULY 28 AT 6PM Johannes Moser, cello Donald Runnicles, conductor
Sean Shepherd (b. 1979)
Melt (2018)*
Shostakovich Cello Concerto No. 1 in E-flat major, op. 107 (1959) (1906–1975) Allegretto Moderato— Cadenza— Allegro con moto Johannes Moser, cello
12’ 30’
WEEK FOUR
INTERMISSION
Tchaikovsky Symphony No. 5 in E minor, op. 64 (1888) (1840–1893) Andante—Allegro con anima Andante cantabile con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso—Allegro vivace
* THIS PIECE IS A JOINT COMMISSION BY THE GRAND TETON MUSIC FESTIVAL AND THE CABRILLO FESTIVAL
OF CONTEMPORARY MUSIC. THESE PERFORMANCES MARK THE WORLD PREMIERE. Join us for a Preconcert Talk hosted by Festival Musician Holly Mulcahy prior to these performances. Details on page 21. Maestro Donald Runnicles sponsored by Sylvia Neil & Dan Fischel Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Guest Artist Johannes Moser sponsored by Sandra Masur & Scott Spector Performances sponsored by Don & Mary Shockey and Mike & Trina Overlock Corporate Support provided by Bessemer Trust
86
Grand Teton Music Festival | SUMMER 2018
44’
Program Notes tumultuous time when Soviet cultural restrictions had been loosened marginally. The work is deeply personal and reflective of Shostakovich’s feelings at having to navigate such an unpredictable and hostile cultural environment. One of the ways Shostakovich survived Soviet repression was by using satire in his music to mock the leaders. Here, he buried Stalin’s favorite song, “Suliko,” in the fourth movement—so well hidden that Rostropovich did not recognize the familiar song until Shostakovich pointed it out.
FIRST MOVEMENT Russian cellist Mstislav Rostropovich, a friend of Dmitri Shostakovich and dedicatee of his First Cello Concerto. © Maeder/Lebrecht
CELLO CONCERTO NO. 1 IN E-FLAT MAJOR, OP. 107 Born: September 25, 1906 in Saint Petersburg, Russia Died: August 8, 1975 in Moscow, Russia Duration: 30 minutes Date of Composition: 1959 Premiere: October 4, 1959 with the Leningrad Philharmonic Orchestra, conducted by Eugene Mravinsky with Mstislav Rostropovich as soloist
Most Recent GTMF Performance: August 1, 2003, conducted by Peter Oundjian with Alban Gerhardt as soloist Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, contrabassoon, horn, timpani, celeste, and strings
Dmitri Shostakovich, music’s last great classicist, composed a total of 15 symphonies and 15 string quartets. His First Cello Concerto is one of his most lyrical and beautiful works, boasting an immediacy of expression, formal perfection, Romantic passion, and Classical balance. Shostakovich dedicated the concerto to his
friend, the iconic cellist Mstislav Rostropovich, who astounded the composer by mastering the work in four days. Shostakovich composed the concerto—one of the most popular 20th-century cello concertos and one of the most difficult concertos ever—at a
WEEK FOUR
Dmitri Shostakovich
The first movement, Allegretto, combines and fragments two ideas extensively, with different note sequences and starting points. Shostakovich inscribes his own initials in the four-note “DSCH” motive (D, E-flat, C, and B in German notation); the “D” corresponds to his first name, followed by the first three letters of his last name. He was probably mirroring the code Bach used (B-flat, A, C, and B) in The Art of the Fugue (B in German is B-flat, H is B). Varied, developed, and taken into the cello’s higher registers, the brief motive dominates the movement. The main theme is articulated in the soloist’s first four notes. The work begins with what Shostakovich called “an ironic march,” related to music from his 1948 film The Young Guard, which illustrates a group of Soviet soldiers being marched to their deaths. The syncopated, insistent second theme inverts the “DSCH” motive as the music becomes more excited and grows technically. GTMF.ORG | Season
57
87
DMITRI SHOSTAKOVICH CELLO CONCERTO NO. 1 IN E-FLAT MAJOR, OP. 107 Continued At the movement’s end, the opening theme recurs in its original low register.
WEEK FOUR
SECOND MOVEMENT
The second, third, and fourth movements are played without a break. In the slower second movement, Moderato, the cello sings a simple, folk-like theme. The movement’s uneasy yet lyrically elegiac introspection includes Russian gloom and intermittent bleak sounds of extreme passion. The movement ends hauntingly, with an eerie celeste accompanying the cello’s initial melody.
THIRD MOVEMENT
The extended solo Cadenza, the unusual third movement, starts with a development of the second movement’s melancholic material and becomes faster and faster, capitalizing on the cello’s range and capacity. It begins low and quiet, building to passionate chords in the cello’s middle register before ascending ultimately with impassioned melodies and scales to its highest register, all while quoting the first movement’s motive. Exceedingly hard to perform, it is not only a virtuosic showpiece but, in Russian critic Lev Ginzburg’s words, a piece of “deep meditation, reaching philosophical heights.” It ends with the work’s initial theme.
with contrasting material. The oboe and clarinet share the theme, giving the soloist a break after the exhausting cadenza. The melody that begins the first movement’s motive reappears with a second quotation, descending 32nd notes from Mussorgsky’s Songs and Dances of Death, illustrative of a drunken peasant seduced by death in a whirling snowstorm. Turning more positive, the music hurtles to a finish (with Stalin’s favorite song lurking beneath the vigorous coda’s surface). Timpani abruptly and emphatically end the concerto with seven decisive blows.
FOURTH MOVEMENT
The finale’s main theme, based loosely on the “Suliko” quotation, alternates spiritedly but nervously
Calling All Volunteers Interested in becoming more involved with the Grand Teton Music Festival? Opportunities include: Concert Ushers Festival Auxiliary Office Volunteers Concessions
And for young adults, the Sylvia Neil Summer Ambassador Program
If you are interested in learning more about volunteering, please contact Director of Development Anna Mattson at anna@gtmf.org or 307.732.9967.
88
Grand Teton Music Festival | SUMMER 2018
Cabinet card portrait of Piotr Il’yich Tchaikovsky. © The New York Public Library Digital Gallery
SYMPHONY NO. 5 IN E MINOR, OP. 64 Born: May 7, 1840 in Votkinsk, Russia Died: November 6, 1893 in St. Petersburg, Russia Duration: 44 minutes Date of Composition: 1888 Premiere: November 27, 1888 in St. Petersburg, conducted by the composer
Most Recent GTMF Performance: August 1, 2007, conducted by Roberto Abbado Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings
Ten years separate Tchaikovsky’s Fourth and Fifth Symphonies. During those years, popular opinion contended that the composer had exhausted his creative powers, and sometimes even he believed that. In 1880, he wrote his benefactress Madame von Meck, “I am trying with difficulty, to squeeze a symphony out of my poor tortured brain. I shall work
hard, for I want very much to prove that I am not yet written out. Often I ask myself, ‘Isn’t it time to stop writing music? Haven’t I overstrained my imagination?’”
Tchaikovsky lived and worked outside the German symphonic tradition, but succeeded with the symphony as no other 19th-century Russian had. Nevertheless, he
Even after its premiere, Tchaikovsky’s pessimism about the long-delayed symphony persisted: “I have come to the conclusion that it is a failure. It seems it is too garish, too massive, too patchy and insincere, too long, and generally of very little appeal. There is something repellent, something superfluous, which the public instinctively recognizes. Perhaps I am all done, as they say.”
WEEK FOUR
Piotr Il’yich Tchaikovsky
noted in his diary that Chairman of the Board of the Hamburg Philharmonic Society, Theodor Avé-Lallement begged him to move to Hamburg so that German high culture might convert him from his uncultured Russian ways to more civilized art. Tchaikovsky was not offended and even dedicated his very Russian Fifth Symphony to Avé-Lallement. However, Avé-Lallement responded with little tact, proclaiming that he disliked the symphony’s noisy instrumentation. Further, he refused to attend the premiere. Brahms, however, attended and approved of everything but the finale.
Tchaikovsky sought unique ways of creating the integrated, organic work he felt his symphony must demonstrate. He used a procedure still new at the time: carrying an important theme forward through the symphony from one movement to another. In the Fifth Symphony, a persistent musical motive appears in each movement, although it is stated differently each time. Never fully developed until the end, it transforms into a triumphal march.
FIRST MOVEMENT The recurrent theme first occurs in the clarinet part at the symphony’s beginning—softly, in a low register. Here, the tempo remains slow before Tchaikovsky shifts to GTMF.ORG | Season
57
89
PIOTR IL’YICH TCHAIKOVSKY SYMPHONY NO. 5 IN E MINOR, OP. 64 Continued livelier subjects. Tchaikovsky called this initial motive the theme of “Fate and Resignation” and deemed that Providence had predestined it for him; it reappears suddenly with great force and increased tempo in the coda. Although it seems as if “Fate” might triumph, Tchaikovsky wrote that faith gave him “a shield against which the blows of Fate are in vain.”
WEEK FOUR
SECOND MOVEMENT
The symphony’s slow movement begins with somber, introductory chords. Then the horn plays a
glorious melody, above which the composer wrote: “O que je t’aime! O, mon amie.” (“Oh how I love you! Oh, my friend.”) Two themes follow: the “Fate” motive, this time more powerful and threatening than before, and a clarinet-bassoon interlude that emerges as the music rises, subsides, and rises again. Finally, the whole orchestra intones the “Fate” motive. After the climactic moment, the music fades into silent, pessimistic gloom.
THIRD MOVEMENT
Contrastingly, the third movement, a sweet Valse (Waltz), has an elegantly fluid theme that is both quick and busy. Tchaikovsky attributed this theme to a song he had heard an Italian child sing when he was in Florence, Italy. Just before the song is complete, the “Fate” motive reappears from obscurity, where it has been lurking, disguised in waltz rhythm.
CONCESSIONS ON THE
Hartley Pavilion Visit the GTMF concessions bar on the Hartley Pavilion for beer, wine, soft drinks, and snacks. Open one hour prior to the event and during intermission on Wednesday through Saturday, and also during special events.
90
Grand Teton Music Festival | SUMMER 2018
It abruptly transforms into the somber and tense introduction to the last movement.
FOURTH MOVEMENT The Finale contains a passionate struggle of musical elements, several of which are distant derivations from earlier movements. “Fate” marches on, becoming exultant and finally triumphant in the coda, where it transforms into celebratory affirmation. Although Tchaikovsky never spoke about a program for this symphony, he included statements in his notebooks that indicate an autobiographical intent:
“Introduction. Complete resignation before Fate, or which is the same, before the inscrutable predestination of Providence. Allegro. Murmurs, doubts, plaints, reproaches against. Shall I throw myself in the embrace of Faith?”
WEEK FOUR
GTMF.ORG | Season
57
91
“One of the finest among the astonishing gallery of young virtuoso cellists.” – GRAMOPHONE
FESTIVAL ORCHESTRA
Artist Biographies Johannes Moser
WEEK FOUR
CELLO
German-Canadian cellist Johannes Moser has performed with the world’s leading orchestras including the Berliner Philharmoniker; New York Philharmonic; Los Angeles Philharmonic; Chicago Symphony Orchestra; BBC Philharmonic at the Proms; London Symphony Orchestra; Symphonieorchester des Bayerischen Rundfunks; NHK Symphony Orchestra, Tokyo; and the Philadelphia and Cleveland Orchestras. He has concertized with conductors of the highest level including Riccardo Muti; Lorin Maazel; Mariss Jansons; Valery Gergiev; Zubin Mehta; Vladimir Jurowski; Franz Welser-Möst; Christian Thielemann; Pierre Boulez; Paavo Jarvi; Semyon Bychkov; Yannick Nézet-Séguin; and Gustavo Dudamel. Mr. Moser recently won his third ECHO Klassik Award as Instrumentalist of the Year for his Russian Recital disc on the Pentatone label. His latest recordings include the concertos by Dvořák, Lalo, Elgar, and Tchaikovsky, which have gained him the prestigious Preis der Deutschen Schallplattenkritik and Diapason d’Or. In 2017, he returned to the studio to record Lutoslawski and Dutilleux concertos. For the 2017–18 season, Mr. Moser will return to the Chicago Symphony Orchestra; Orchestre de la Suisse Romande; Tonhalle-Orchester Zürich; Los Angeles Philharmonic; Danish National Symphony; City of Birmingham Symphony Orchestra; New World Symphony; and the symphonies of Seattle and San Diego.
92
Grand Teton Music Festival | SUMMER 2018
With his newly-formed piano trio with Yevgeny Sudbin and Vadim Gluzman, Johannes Moser plans to tour extensively throughout Europe and North America in the coming season. A dedicated chamber musician, he has performed with Joshua Bell, Emanuel Ax, Leonidas Kavakos, Menahem Pressler, James Ehnes, Midori, and Jonathan Biss. Renowned for his efforts to expand the reach of the classical genre—as well as his passionate focus on new music—Mr. Moser has recently been heavily involved in commissioning works by Julia Wolfe, Ellen Reid, Thomas Agerfeld Olesen, Johannes Kalitzke, Jelena Firsowa, and Andrew Norman. He will take part in the European premiere of Gubaidulina’s Triple Concerto with the Tonhalle-Orchester Zürich. In 2011 he premiered Enrico Chapela’s Magnetar for electric cello with the Los Angeles Philharmonic conducted by Gustavo Dudamel, and in the following season he continued his relationship with the orchestra, performing Michel van der Aa’s cello concerto Up-close. Born into a musical family, Johannes Moser began studying the cello at the age of eight and became a student of Professor David Geringas in 1997. He was the top prizewinner at the 2002 Tchaikovsky Competition, and was awarded the Special Prize for his interpretation of the Rococo Variations.
“An exciting composer of the new American generation.” – THE NEW YORK TIMES
Sean Shepherd COMPOSER
Mr. Shepherd’s orchestral work Magiya, written for Carnegie Hall’s newly established National Youth Orchestra of the United States of America, toured the US and Europe in Summer 2013 in the orchestra’s first performances with Gergiev. In March 2013, the St. Luke’s Chamber Ensemble debuted his Quintet at various New York venues. Following the 2010 premiere
of These Particular Circumstances, commissioned for the inaugural season of the new music series CONTACT!, he composed another work for the New York Philharmonic and Alan Gilbert, to be performed in June 2014 in recognition as the orchestra’s first Kravis Emerging Composer.
WEEK FOUR
Sean Shepherd has quickly gained admiration from audiences and return engagements with major ensembles and performers across the US and Europe. He recently completed his tenure as the Daniel R. Lewis Composer Fellow of the Cleveland Orchestra, culminating with the 2013 premiere of Tuolumne, written for Franz Welser-Möst and the orchestra. Other recent performances include the New York Philharmonic; the National, BBC, and New World symphony orchestras; festivals in Aldeburgh, Heidelberg, La Jolla, Lucerne, Santa Fe, and Tanglewood; and with leading European ensembles including Ensemble Intercontemporain, the Scharoun Ensemble Berlin, the Asko|Schönberg Ensemble, and the Birmingham Contemporary Music Group. Conductor-champions include Christoph Eschenbach, Valery Gergiev, Alan Gilbert, and Welser-Möst; distinguished composer-conductors Oliver Knussen and George Benjamin; and young stars Pablo Heras-Casado, Susanna Mälkki, and Matthias Pintscher.
Other recent premieres include Blue Blazes, a Hechinger Commission from Eschenbach and the National Symphony Orchestra, performed in Washington, DC and on a South American tour; Blur for Ensemble Intercontemporain and Susanna Mälkki, in Paris and Cologne in 2012; and Trio for the Claremont Trio, in celebration of the 2012 opening of Calderwood Hall at the Isabella Stewart Gardner Museum in Boston. From 2010–12, Mr. Shepherd served as the first-ever Composer-in-Residence of his hometown orchestra, the Reno Philharmonic, where he composed two new works: Silvery Rills and Desert Garden. Born in 1979, Sean Shepherd’s education includes degrees in composition and bassoon performance from Indiana University, a master’s degree from The Juilliard School, and doctoral work at Cornell University with Roberto Sierra and Steven Stucky. He lives in New York and his music is published by Boosey & Hawkes.
GTMF.ORG | Season
57
93
WEEK FOUR
EANGER IRVING COUSE (1866-1936), Autumn Flute Song, 1924, oil on canvas, 12 1/4 x 16 inches, Estimate: $40,000-$60,000
MARTIN GRELLE (1954-), Morning Chores, acrylic on canvas, 20 x 18 inches, Estimate: $20,000-$30,000
JENNESS CORTEZ (1944-), A Tale of Two Cultures, oil on mahogany panel, 30 x 36 inches, Estimate: $75,000-$125,000
SAVE THE DATE! SEPTEMBER 14-15, 2018 SESSION I: SEPTEMBER 14TH | SESSION II: SEPTEMBER 15TH JACKSON HOLE | SCOTTSDALE | SANTA FE | NEW YORK
94
| SUMMER 2018
TetonMASTERWORKS Music Festival OF THE AMERICAN WEST PAST &Grand PRESENT
EMAIL: COORDINATOR@JACKSONHOLEARTAUCTION.COM CALL: 866-549-9278 | VISIT: JACKSONHOLEARTAUCTION.COM
Festival Orchestra Roster WEDNESDAY, JULY 25, FRIDAY, JULY 27 & SATURDAY, JULY 28
Violin I
Angela Fuller Heyde Susanne Park Ling Ling Huang Karen Kinzie Julie Coleman Judith Cox Derek Powell Simon Shiao Mary Corbett Tomoko Iguchi Dan Rizner Eva Cappelletti Chao Sarah Schwartz Louise Morrison Anna Genest
Violin II
Viola
Allyson Goodman Susan Gulkis Assadi Joan DerHovsepian Paul Murphy Chiara Kingsley Dieguez Phillippe C. Chao Lucina Horner Kristen Linfante Anna Kruger Yang-Yoon Kim Rachel Swerdlow
Daniel Laufer Jennifer Humphreys Karen Freer Thalia Moore Gregory Clinton David Mollenauer Deborah Nitka Hicks Barrett Sills Amy Leung Steven Laven
Bass
Robin Kesselman Robert Barney Richard Barber Fred Bretschger Donald Hermanns Wilbur ‘Skip’ Edwards Corbin Johnston Erik Gronfor
Flute
Julia Bogorad-Kogan Camille Churchfield Koren McCaffrey
Piccolo
Koren McCaffrey Camille Churchfield
Oboe
Erin Hannigan Elizabeth Priestly Siffert Martin Schuring
English Horn Martin Schuring
Clarinet
Gregory Raden Stephanie Key Shannon Orme
Bass Clarinet
Keyboard
Bassoon
Librarian
Shannon Orme
Christopher Millard Sharon Kuster Juan de Gomar
Contrabassoon Juan de Gomar
Adelle Eslinger Runnicles Gary Corrin
Names in bold indicate principal chair All rosters are subject to change
Horn
Gail Williams Haley Hoops Nancy Goodearl Kevin Haseltine Michael Lewellen
Trumpet
WEEK FOUR
Jennifer Ross Raymond Leung Patrick Neal Barbara Scowcroft Ikuko Takahashi Jennifer Gordon Levin Dmitri Lazarescu Holly Mulcahy Anne-Marie Terranova Linda Hurwitz Marina Brubaker Lois Finkel Rebekah Johnson
Cello
Hunter Eberly Charles Daval Jennifer Marotta
Trombone Craig Mulcahy Jay Evans
Bass Trombone Jared Rodin
Tuba
JáTtik Clark
Timpani
Kenneth Every
Percussion Richard Brown John Kinzie Brian Prechtl
Harp
Rachel Van Vorhees Kirschman
GTMF.ORG | Season
57
95
SOAK UP EVERY SUMMER MOMENT 96
Grand Teton Music Festival | SUMMER 2018
Protect, hydrate and glow Make it a sun-kissed season with TrilipidermŽ, the luxurious 24-hour sun care system that hydrates while it protects. Start your day with a dose of SPF 30 and Vitamin D in a moisturizing crème. After sunset, spray on a soothing allbody oil and glow again tomorrow. Try it on. Look for free samples at festival venues! Buy online at Trilipiderm.com or at fine retailers across the region.
Formulated in Jackson Hole for sun lovers everywhere. GTMF.ORG | Season
57
97
FOR A WEEK... FOR A MONTH... FOR A LIFETIME... Whether you desire a private family vacation or fancy something a bit more perennial, The Clear Creek Group offers unequaled accommodations in Jackson Hole and beyond...
v il l a r en ta l r e a l estate a sset m a nage men t 98
Grand Teton Music Festival | SUMMER 2018
120 w est pe a r l av en u e ․ jack son, w yoming 83001 (307) 732-3400 ․ t hecl e a rcr e ekgroupjh.com
PICTURED: JULIAN RACHLIN
Week Five
FE ATURI NG
Composer Kareem Roustom Pianist Olga Kern Violinist Julian Rachlin Inside the Music
Free Family Concert
The Blue Highways of American Music
GTMF Percussion Trio
July 31 at 8PM
August 2 at 3PM Teton County Library, Alta
Donald Runnicles in Conversation
Chamber Music with
Composer-in-Residence Kareem Roustom
Violinist Julian Rachlin August 2 at 8PM
August 1 at 3PM Teton County Library, Jackson
Festival Orchestra
GTMF Presents
August 3 at 8PM & August 4 at 6PM
Pianist Olga Kern
Mendelssohn’s Violin Concerto
August 1 at 8PM
GTMF.ORG | Season
57
99
Inside the Music
The Blue Highways of American Music TUESDAY, JULY 31 AT 8PM Kareem Roustom, host
Price from Five Folksongs in Counterpoint (1951) (1887–1953) I. Calvary: Adagio vigoroso III. Drink to me Only with Thine Eyes: Andante cantabile IV. Shortnin’ Bread: Allegro Julie Coleman, violin Eva Cappelletti Chao, violin Phillipe C. Chao, viola Judith McIntyre Galecki, cello
10’
Hovhaness (1911–2000)
Duo for Violin and Cello, op. 409 (1987)
14’
Kareem Roustom (b. 1971)
“Letters Home” for Clarinet and Viola (2011)
Robert Deemer (b. 1970)
Grin for Solo Violin (2016)
Angela Fuller Heyde, violin Thalia Moore, cello Stephanie Key, clarinet Chiara Kingsley Dieguez, viola Holly Mulcahy, violin
WEEK FI VE 100
6’
Grand Teton Music Festival | SUMMER 2018
7’
“[Roustom’s music is] among the most distinctive to have emerged from the Middle East.” – BBC RADIO
Kareem Roustom COMPOSER-IN-RESIDENCE
Mr. Roustom’s recent orchestral work Ramal, commissioned by Daniel Barenboim for the WestEastern Divan Orchestra, was described by James R. Oestreich in The New York Times as “propulsive, colorful and [an] immediately appealing creation.” The Chicago Tribune has described Mr. Roustom as “a gifted and accomplished artist … one of the most prominent active Arab-American composers.” Of his triple string quartet A Voice Exclaiming, commissioned for the Kronos Quartet, the group’s founder and first violinist David Harrington wrote: “I think that with A Voice Exclaiming, Kareem
Roustom has made a vivid, thought-provoking new piece that reflects hope in the time we live in, and the immense possibility for positive change as well as its awesome uncertainties and dangers.” In a review of Mr. Roustom’s oratorio “The Son of Man,” The Boston Globe wrote, “The music … is pitched toward the impassioned, adapting Arabic-derived scales into a rich, heavily perfumed chromaticism, affording both eerie atmosphere and high-impact drama.” Mr. Roustom’s work in film has been recognized by an Emmy Award nomination and includes a number of award-winning narrative and documentary films that have competed at festivals such as Sundance, Cannes, and Tribeca. Mr. Roustom is the recipient of the Pete Carpenter Fellowship from BMI and is a Sundance Film Composers Lab Fellow.
WEEK FI VE
Steeped in the musical traditions of the Near East and trained in western concert music and jazz, Syrian-American Kareem Roustom is a musically bilingual composer who has collaborated with a wide variety of artists and received numerous commissions to compose works for the likes of the Kronos Quartet, Daniel Barenboim and the West-Eastern Divan Orchestra, the Philadelphia Orchestra, and the Michigan Philharmonic. His music has been performed at the Malmö Opera Orchestra in Sweden, the Pittsburgh Symphony, the Slovak Radio Symphony Orchestra, and the Philadelphia Orchestra Chamber Music Series. Forthcoming performances include the Hamburg Elbphilharmonie, Berlin Pierre Boulez Saal, and the Royal Academy of Music in London.
Kareem Roustom has also written high-profile arrangements for pop artists Shakira, Beyoncé, and Wyclef Jean. As an oud player who has performed in the US and Europe, he has recorded for groups such as the Boston Camerata. Mr. Roustom has been a resident/visiting composer at the College of William and Mary, Arizona State University, Curtis Institute of Music, Dartmouth College, Northern Illinois University, and the New England Conservatory of Music, among others.
GTMF.ORG | Season
57
101
GTMF Presents
Pianist Olga Kern WEDNESDAY, AUGUST 1 AT 8PM
WEEK FI VE
Beethoven (1770–1827)
Ten Variations on “La stessa, la stessissima” from Salieri’s Falstaff (1799) 11’
Schumann Carnaval, op. 9 “Little Scenes on Four Notes” (1834–1835) (1810–1856) Préambule Pierrot Arlequin Valse noble Eusebius Florestan Coquette Réplique Sphinxes Papillons A.S.C.H—S.C.H.A: Lettres Dansantes Chiarina Chopin Estrella Reconnaissance Pantalon et Colombine Valse allemande Intermezzo: Paganini Aveu Promenade Pause Marche des “Davidsbündler” contre les Philistins Gershwin Three Preludes (1926) (1898–1937) Allegro ben ritmato e deciso Andante con moto Agitato
7’
Gershwin from Seven Virtuoso Etudes after Gershwin (1989) (arr. Wild) VI. Fascinatin’ Rhythm
3’
INTERMISSION
Sponsored by Arnold & Barbara Silverman
102
28’
Grand Teton Music Festival | SUMMER 2018
Rachmaninoff (1873–1943)
Prelude No. 1 in C major, op. 32, Allegro vivace (1910)
23’
Prelude No. 5 in G major, op. 32, Moderato (1910) Prelude No. 2 in C-sharp minor, op. 3, Lento (1892) Prelude No. 12 in G-sharp minor, op. 32 (1910) Prelude No. 5 in G minor, op. 23, Alla marcia (1901) Moments musicaux No. 4 in E minor, op. 16 (1896) Morceaux de salon No. 3 in G minor, op. 10 “Barcarolle” (1893–1894)
Scriabin (1871–1915)
Étude No. 4 in F-sharp major, op. 42 (1903)
Balakirev (1837–1910)
Islamey, op. 18 (1869)
5’
Étude No. 5 in C-sharp minor, op. 42 (1903) 9’
WEEK FI VE
Calling All Volunteers Interested in becoming more involved with the Grand Teton Music Festival? Volunteer to be an usher today!
Our dedicated volunteer ushers fulfill an important role in the regular concert operations at GTMF and help thousands of patrons enjoy exhilarating musical experiences every summer. The benefits are numerous and include vouchers for free concert tickets throughout the season. No prior experience is necessary and all ages are encouraged to participate.
If you are interested in becoming a volunteer usher or would like more information, please contact Housing & Artistic Associate Sean Campbell at sean@gtmf.org or 307.732.9968.
GTMF.ORG | Season
57
103
Jackson Hole Classical Academy
“Intelligence plus character - that is the goal of true education.”
WEEK FI VE
-Martin Luther King, Jr.
Contact Manjola Koci for a School Tour mkoci@jhclassical.org 307-201-5040 | jhclassical.org 3255 West High School Rd. Jackson, WY 83001
104
Grand Teton Music Festival | SUMMER 2018
“This immensely talented artist turned in a performance that was dignified, controlled and almost majestic.” – THE WASHINGTON POST
Olga Kern PIANO
First prize winner of the Rachmaninoff International Piano Competition at the age of 17, Ms. Kern is a laureate of many international competitions. In 2016 she served as Jury Chairman of both the Seventh Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of Artistic Director. Ms. Kern serves as Artist-in-Residence to the San Antonio Symphony’s 2017–18 season, appearing in two subscription weeks as well as solo recital. She will also perform with the Madison Symphony, Rochester Philharmonic, Copenhagen Philharmonic, Austin Symphony, New Mexico Philharmonic, Arizona Musicfest Orchestra, Colorado Symphony, and Hawaii Symphony Orchestra. Ms. Kern will premiere her first American concerto, Barber’s Piano Concerto, with the
Detroit Symphony Orchestra under the baton of Leonard Slatkin. She will give recitals at the University of Arizona; the Lied Center in Lincoln, NE; the Sanibel Music Festival in Sanibel, FL; and abroad in Mainz and Turin. In addition to opening the Baltimore Symphony’s 2015–16 centennial season with Maestro Marin Alsop, Ms. Kern has appeared with the Royal Philharmonic, Orchestre Philharmonique de Nice, and Rochester Philharmonic. She has toured South Africa with the Cape and KwaZulu Natal Philharmonics, and Israel with the Israel Symphony. An avid recitalist, she has appeared in solo and collaborative recitals at Carnegie Hall, the Great Hall of the Moscow Conservatory, Symphony Hall in Osaka, Salzburger Festspielhaus, La Scala in Milan, Tonhalle in Zurich, and Chatelet in Paris.
WEEK FI VE
Russian-American Olga Kern is recognized as one of her generation’s great pianists. She jumpstarted her US career with her historic Gold Medal win at the Van Cliburn International Piano Competition in Fort Worth, TX—the first woman to do so in more than 30 years.
Ms. Kern’s discography includes her Grammy Award-nominated recording of Rachmaninoff ’s Corelli Variations and other transcriptions. She was featured in the award-winning documentary about the 2001 Cliburn Competition, Playing on the Edge. GTMF.ORG | Season
57
105
Commissioned by the Grand Teton Music Festival Kareem Roustom (b. 1971) String Quartet No. 1 Shades of Night (2018) Commissioned by the Grand Teton Festival I. Al-Ghurub ﻟﻐﺮوبMusic ا String Quartet No. 1 Shades Night (2018) Kareem Roustom (b.of1971) "Sunset"
Chamber Music with
WEEK FI VE
Violinist Julian Rachlin
View biography for Julian Rachlin Kareem (b. 1971) Commissioned by theRoustom Grand Teton Music I. Al-Ghurub ﻖب ﻟﻐﺸﻔﺮوFestival ا II. Al-Shafaq String Quartet No. 1 Shades of Night (2018) "Sunset" Twilight “The beginning of the darkness of night. When the darkness becomes confused on page 116. View biography Commissioned by the Grand Teton Music Festival for Kareem Roustom on page 101. & obstructs the view of the aspects of things.” Kareem Roustom (b. 1971) I. Al-Ghurub ب و ﺮ ﻐ ﻟ ا II. Al-Shafaq اﻟﺸﻔﻖ THURSDAY, AUGUST 2 AT 8PM "Sunset" of night. When the darkness becomes confused Twilight “The String beginning of the darkness Quartet No.the1 Grand Shades Night (2018) Commissioned Festival I. by Al-Ghurub بTeton وof ﻐﺮthe اﻟMusic & obstructs theIII. view of aspects Al-Ghasaq اﻟﻐﺴﻖof things.” Beethoven Quintet for Piano and Winds in E-flat major, op. 16 (1796) 24’ "Sunset" II. Al-Shafaq ﺸﻔﻖsmall اﻟNight down upon the mountains “Fully dark. The night Stringpoured Quartet No. 1 Shades of (2018) & covered them with darkness.” Kareem Roustom (b. 1971) Twilight “The beginning of the darkness of night. When ma the non darkness becomes confused (1770–1827) Grave—Allegro troppo I.view Al-Ghurub Al-Shafaq اﻟﻐ اﺮﻟوﺸﻔبﻖof & obstructsKareem theII. of the aspects things.” III. Al-Ghasaq ﻖ ﺴ ﻐ ﻟ ا IV. Al-Sudfa ﺔ ﻓ ﺪ ﺴ Andante cantabile (b. 1971) Commissioned by theRoustom Grand Teton Music Festival becomes confused "Sunset" Twilight beginning the darkness of night. When the darkness Thecommingling nightofpoured upon the small mountains & covered them with darkness.” “Fully“The dark. “The ofdown light & darkness. Meaning the ‘light’ or ‘the darkness’; Rondo: Allegro ma non troppo & obstructs the view of the aspects of things.” String Quartet No. 1Grand Shades of Night or theCommissioned darkness and the light are called by one(2018) and the same name because by the Teton Music Festival II. Al-Shafaq اﻟﺴﺪﻓﺔ اﻟاﻟﺸﻐﻔ Erin Hannigan, III. Al-Ghasaq ﺴﻖﻖoboe IV. Al-Sudfa each of them comes the other”. I. Al-Ghurub ب و ﺮ اﻟﻐupon Twilight “The beginning of the darkness of night. When the darkness becomes confused night commingling poured downQuartet upon the mountains & covered them withdarkness’; darkness.” “Fully dark. The “The Gregory Raden, clarinet String No. 1 Shades of Night (2018) of light &small darkness. Meaning the ‘light’ or ‘the Kareem Roustom (b. 1971) "Sunset" & obstructs the view of the aspects of things.” III. Al-Ghasaq ﻖ ﺴ ﻐ ﻟ ا or the darkness andChristopher the light are called by one and the same name because Millard, bassoon V. Al-Fahma ﺔ ﻤ ﺤ ﻔ ﻟ ا I. Al-Ghurub اﻟﻐﺮوب the small & covered them with darkness.” “Fully dark. The night poured down upon IV. Al-Sudfa ﺔmountains ﻓthe ﺪhorn (ﺴb. اﻟupon Kareem Roustom 1971) each of them comes thecalled other”. Commissioned by the"Sunset" Grand Teton Music Festival “The most intense blackness of so because of its heat; Gail Williams, II. Al-Shafaq ﻖ ﻟﺸﻔnight: اthe “The commingling offorlight & darkness. Meaning ‘light’ or ‘the darkness’; thedarkness first partof ofPalmer the night is hotter than itsbecomes last part.”confused Andrew Todd, piano Twilight beginning the night. darkness III. Al-Ghasaq ﻖ اﻟﺴand ﺔ اﻟﻐthe IV. Al-Sudfa ﺔone ﺪﻓWhen ﺴ or “The the darkness andofthe light are called by the same name because Commissioned by the Grand Teton Music Festival V. Al-Fahma ﻤ ﺤ ﻔ ﻟ ا II. Al-Shafaq ﻖ ﻔ ﺸ ﻟ ا & obstructs the view the aspects things.” night down upon theofsmall mountains & covered darkness.” “Fully dark. “TheThe commingling of light & darkness. Meaning theofso ‘light’ or because ‘thethem darkness’; each ofdarkness them comes upon the “Thepoured intense blackness of the night: ofwith itsconfused heat; I. Al-Ghurub بNo. وWhen ﻐﺮ1اﻟother”. Al-Buhra ةthe ﻟﺒﮭﺮcalled اdarkness Twilight “The beginning of the ofVI. night. becomes Kareem Roustom most String Quartet “Shades ofname Night” (2018)* 20’ or the darkness and the light are called by one and the same because the “The firstthe part ofreached the night hotter than all its its laststars part.” "Sunset" Midnight. night theispoint shone.” &for obstructs view of the aspects of when things.” IV. Al-Sudfa ﺔ ﻓ ﺪ ﺴ ﻟ ا each of them comes upon the other”. V. Al-Fahma ﺔ ﻤ ﺤ ﻔ ﻟ ا (b. 1971) I.Al-Ghurub Al-Ghurub ( اﻟﻐﺮوبSunset) III.darkness. Al-Ghasaq ﻖso اﻟﻐﺴthe because “The light & Meaning orof‘the “Thecommingling most intenseofblackness of the"Sunset" night: its darkness’; heat; VI. Al-Buhra &ﺒﺤﮭﺮﺮة ‘ﻟlight’ Al-Shafaq II. Al-Shafaq ﺸﻔﻖcalled ( اﻟTwilight) VII. Al-Sahar اﻟ اﺴcovered poured down upon the small mountains thembecause with darkness.” “Fully dark.orThe thenight darkness and the light are called by one and the same name V. Al-Fahma ﺔ ﻤ ﺤ ﻔ ﻟ ا for the first part of the night is hotter than its last part.” Midnight. “The night reached the when all itsbecomes stars shone.” Twilight “The beginning darkness of night. When the darkness confused “The of lastthe part of the night. The time of the departure of the night Al-Ghasaq Dark) III. Al-Ghasaq ﻖso ﺴ ﻐpoint ( اﻟFully of them comes upon the other”. “The most intense each blackness of the night: called because of its heat; II. Al-Shafaq (ﺸﻔﻖComingling اﻟofofthe &the obstructs the view of the aspects things.” and coming of the day. The time breathing of the dawn.” poured down upon the small mountains & covered them with darkness. “Fully dark. The night Al-Sudfa of Light and Dark) ” IV. Al-Sudfa اthan its last part.” the firstofpart theAl-Buhra night hotter VI. اﻟﻟﺒﺴﮭﺪﻓﺮﺔةWhen Twilight “The for beginning theofdarkness ofisnight. becomes confused VII. Al-Sahar ‘ﺤﺮlight’ ﺴthe اﻟdarkness “The commingling of light & darkness. Meaning the or ‘the darkness’; Al-Fahma Black; Like Coal) V. ﻤﺔwhen ( اﻟﻔﺤIntense Midnight. “The night reached the of point &last obstructs the view the of “The part ofVIII. theAl-Fahma night. The ofall the departure the night Al-Fajr Al-Katheb بits ذthings.” ﻜﺎstars ﺠﺮ اﻟname ﻔshone.” اﻟof IV. Al-Sudfa ﮭﻓﺮﺔtime ﺪaspects ﺴ ﻟand (اMidnight) or the darkness and the light are called by one the same because “The most intense blackness of the night: so called because of its heat; Al-Buhra VI. Al-Buhra ة ﺒ ﻟ ا and the coming of the day. The time of the breathing of the dawn.” III. Al-Ghasaq ﻖ ﺴ ﻐ ﻟ ا False dawn. “That which rises without extending laterally. “The commingling of light Meaning theall‘light’ orpart.” ‘the darkness’; each of & them comes upon the other”. for the first part ofdarkness. the night is ﺮhotter than its Midnight. “The night reached the point when itslast stars shone.” Al-Sahar (Last Part of Night) VII. Al-Sahar ﺤ ﺴ ﻟ ا poured down upon small & same covered them with darkness.” “Fully dark.orThe Which appears black presenting like an obstacle.” the night darkness and the light arethe called bymountains one anditself the name because “The last part ofeach the night. The timeAl-Katheb of the night Dawn) III. Al-Ghasaq ﺴﻖdeparture اﻟﻜﺎذب اﻟﻐof Al-Fajr Al-Fajr Al-Katheb ﻔﺠﺮthe ( اﻟFalse of VIII. them comes upon V.VI. Al-Fahma ﻤﺮﺔthe ﺒاﻟﻟﮭﻔthe Al-Buhra ﺮﺤﺤةmountains اﻟother”. VII. Al-Sahar ﺴ ا and the coming of the day. The time of breathing of the dawn.” The night poured down upon the small & covered themDawn) with darkness.” “Fully dark. False dawn. “That which rises without extending laterally. Al-Saadeq IV.Al-Fajr Al-Sudfa اﻟﺴﺪﻓﺔcalledدقbecause IX. Al-Fajr Al-Saadeq ﻟﻔﺠﺮ اﻟﺼﺎof ( اTrue “The most intense ofThe thethe night: its heat; Midnight. “The night reached point when all its stars shone.” “The last part ofblackness the night. time of so the departure of the night Which appears black presenting itself like an obstacle.” “The commingling ofdawn. light Angela & darkness. the ‘light’ ‘the “That which appears rising, andor fills thedarkness’; horizon V. Al-Fahma ﺔthe اﻟﻔﺤﻤbreathing forcoming theTrue first of the night isMeaning hotter its last Fuller Heyde, violin and the ofpart theAl-Fajr day. The time of ofpart.” the dawn.” Al-Katheb ب ﻜﺎthan ﺠﺮthe ﻔcommences.” اﻟbecause IV. Al-Sudfa ﺔThe ﺴذﺪﻓ ااﻟﻟday or“The the darkness andVIII. the light called by one and same name because with are its whiteness. most intense blackness of the night: so called of its heat; VII. Al-Sahar ﺴﺤﺮextending اﻟviolin Marta Krechkovsky, False dawn. “That rises without laterally. “The commingling of part light & darkness. Meaning the ‘light’ IX. Al-Fajr Al-Saadeq ﺎدقits ﺼ اﻟlast ﻔﺠﺮpart.” ﻟor ‘ اthe darkness’; each ofwhich them comes upon the other”. for the first of the night is hotter than VI. Al-Buhra ة ﺮ ﮭ ﺒ ﻟ ا “The lastTrue part ofthe the night. The time ofب the of the VIII. Al-Fajr Al-Katheb ﺎذlike ﻟﻜand اdeparture ﺠﺮanﻔthe اﻟand Susan Gulkis Assadi, viola Which appears black presenting itself obstacle.” or the darkness and light are called by one same name because “That which appears rising, fills thenight horizon Midnight. “Thedawn. night reached the point when all its stars shone.” andFalse the coming of the day. The time of the breathing of the dawn.” dawn. “That which rises without extending laterally. each of them comes upon the other”. Charae Krueger, cello with V. its whiteness. Al-Fahma ةﺔThe ااﻟﻟﺒﻔﮭﺤﺮﻤday commences.” VI.presenting Al-Buhraitself Which appears black obstacle.” IX. Al-Fajr Al-Saadeq دقso ﺼﺎ ﻟlike ﺠﺮ اall ﻔan اﻟbecause “The most intense blackness of the night: called of its heat; Midnight. “The night reached the point when its shone.” VII. Al-Sahar ﺮ ﺤ ﺴ ﻟ ا VIII. Al-Fajr Al-Katheb ب ذ ﺎ ﻜ ﻟ ا ﺮ ﺠ ﻔ ﻟ اstars Truefor dawn. “That which appears rising, horizon V. Al-Fahma ﺤﻤﺔand ﻟﻔthan اfills INTERMISSION“The the first part of the night is hotter itsthe lastof part.” last part of the night. The time of the departure the night “That which without laterally. Al-Fajr Al-Saadeq قcommences.” ﺼﺎدextending اﻟcalled اﻟﻔﺠﺮbecause withIX. its whiteness. The “TheFalse most dawn. intense blackness ofrises the day night: of its heat; VII. Al-Sahar ﺴﺤso ﻟand اlike andTrue theWhich coming of thewhich day. The timerising, of ﺮitself the breathing of horizon the dawn.” appears black presenting an obstacle.” dawn. “That appears fills the for part the first part of the night is hotter than its last part.” VI. Al-Buhra ة ﺮ ﮭ ﺒ ﻟ ا Brahms “The last String Sextet No. 2 in G major, op. 36 (1864–1865) 37’ night. TheThe time ofcommences.” the departure of the night withofitsthe whiteness. day Midnight. “The night reached the point when all its stars shone.” and the coming of the day. The time of the breathing of the dawn.” VIII. Al-Fajr Al-Katheb اﻟاﻔﻟﻔﺠﺠﺮﺮاﻟاﻟﻜﺎذب (1833–1897) Allegro non troppo IX. Al-Fajr Al-Saadeq ق VI. Al-Buhra ﺼﺎﮭدﺮة اﻟﺒ False dawn. “That which rises without extending laterally. True dawn. “That which appears rising, and the horizon Scherzo: Allegro nonfills troppo—Presto Midnight. “The night reached the point when its stars shone.”giocoso VII. Al-Sahar ذاﻟبﺴﺤﺮlike VIII. Al-Fajr Al-Katheb ﺮ اﻟﻜﺎan ﺠall اﻟﻔobstacle.” Which appears black presenting itself with its whiteness. The day commences.” Adagio LMP0038 “The last part of the night. The time of the departure of the night False dawn. “That which rises without extending laterally. VII. Al-Sahar ﺮ ﺤ ﺴ ﻟ ا Poco Allegro and the coming of the day. The time of the breathing of the dawn.” Which appears black Al-Saadeq presenting itself IX. Al-Fajr اﻟﺼﺎدقlike ﻟﻔﺠﺮan اobstacle.” “The last part of the night. The time of the departure of the night True dawn. “That which appears rising, and fills the horizon Julian Rachlin, violin and the comingVIII. of Al-Fajr the day. The timeLMP0038 ofب of the dawn.” Al-Fajr Al-Katheb ﻟﻟﻜﺎbreathing دthe ﺼذﺎ ااﻟﻟﻔﻔﺠﺠﺮﺮ اا with IX. its whiteness. The day قcommences.” Marta Al-Saadeq Krechkovsky, violin Falsedawn. dawn.“That “Thatwhich whichappears rises without laterally. True rising, extending and fills the horizon Sarah McElravy, viola VIII. Al-Fajr Al-Katheb بlike ﺮ اﻟﻜﺎذan ﻔﺠobstacle.” اﻟ Which with appears black presenting itself its whiteness. The day commences.” LMP0038 Joan DerHovsepian, False dawn. “That which rises withoutviola extending laterally. Which appears blackAl-Saadeq presenting itself like Daniel Laufer, cello IX. Al-Fajr ق د ﺎ ﺼ ﻟ ا اﻟﻔﺠﺮan obstacle.” LMP0038 True dawn. “That which rising, Charaeappears Krueger, celloand fills the horizon IX.whiteness. Al-Fajr Al-Saadeq اﻟﻔﺠﺮ اﻟﺼﺎدق with its The day commences.” True dawn. “That which appears rising, and fills the horizon LMP0038 with its whiteness. The day commences.”
* COMMISSIONED BY GTMF, THIS PERFORMANCE MARKS THE WORLD PREMIERE OF THIS WORK. LMP0038
Sponsored by Louise & Ralph Haberfeld
106
LMP0038
Grand Teton Music Festival | SUMMER 2018 LMP0038
Program Notes
Arabic translator Edward William Lane, 1829 (plaster statue) by Richard James Lane. © National Portrait Gallery
STRING QUARTET NO. 1 “SHADES OF NIGHT” Born: May 6, 1971 in Damascus, Syria Duration: 20 minutes Date of Composition: 2018
Premiere: This performance marks the world premiere Instrumentation: Two violins, viola, and cello
COMPOSER’S NOTES BY KAREEM ROUSTOM
the work at hand. In the case of my first string quartet (aside from the triple string quartet I composed for Kronos Quartet and the Providence-based Community MusicWorks), I was inspired by
When a composer writes his or her own program notes there is always the risk of imposing a ‘meaning’ of a work on the audience. Perhaps it is better to describe what inspired
WEEK FI VE
Kareem Roustom
night, darkness, and by the words used to describe nighttime— specifically, the words of the Arabic language, my first spoken language, which are incredibly detailed and give us a sense of an era that preceded time-keeping devices. I chose nine of those words to represent and inspire each of the nine sections of this string quartet. I was inspired not only by the Arabic words but also by their translations into English, which are from the Arabic lexicon. Commonly known as Lane’s Lexicon, it was compiled by Edward William Lane (1801–76). Lane was an English-born Arabic language specialist who dedicated almost 20 years to the production of his lexicon. He managed to capture the subtlety, complexity, and multifarious meanings of the Arabic language in an almost poetic way. In some of his translations, as in the title of the third movement, Lane quotes a line of poetry to further expand upon the definition that he provides. Lane died after translating 19 of the 28 letters of the Arabic alphabet. The Lexicon was completed by his grandnephew and biographer, Stanley Lane Poole. Lane’s Lexicon is still considered one of the best ever produced. I feel that this work is the third in a trilogy preceded by Clarinet Concerto: Adrift on the Wine-dark Sea (2017) for clarinet and orchestra, and Rage Against the Tyrant(s) (2018) for mixed chorus and chamber orchestra. Both of these works are to be issued on CD in late 2018 and early 2019. GTMF.ORG | Season
57
107
"Sunset"(b. 1971) Kareem Roustom & obstructs the view of the aspects of things.” I. Al-Ghurub ( اﻟﻐﺮوب2018) String Quartet No. 1Grand Shades Al-Shafaq ﻖofﺸﻔNight اﻟMusic Festival Commissioned byII. the Teton "Sunset" Twilight “The beginning of the darkness of night. When the darkness becomes confused III. view Al-Ghasaq ﻖ ﺴ1971) اﻟﻐ Kareem Roustom & obstructs the of the(b. aspects things.” اﻟﺸﻔﻖof& theAl-Shafaq small mountains covered them with darkness.” “Fully dark. The night poured down upon II. I. Al-Ghurub ب و ﺮ ﻐ ﻟ ا Itof means Twilight “The beginning of darkness.” theby darkness night. When the darkness becomes confused Commissioned the Grand Teton Music Festival "Sunset" & obstructs theAl-Sudfa view of and the aspects of things.” bothIV. “the light” “the III. Al-Ghasaqاﻟ اﻐﻟﺴﺴﺪﻖﻓﺔ darkness”—they are called by one “The commingling of light & darkness. Meaning the ‘light’ or ‘thethem darkness’; the small & covered with darkness.” “Fully dark. The night poured down upon II. Al-Shafaq ﻖmountains اﻟﺸﻔ or the darkness and the light are called by one and the same name because and the same name because each I. Al-Ghurub اﻟﻐﺮوthe darkness becomes Twilight “The beginning of the darkness ofAl-Ghasaq night.بWhen confused III. ﻖ ﺴ ﻐ ﻟ ا each of of them comes upon the other”. "Sunset" them comes upon IV. Al-Sudfa ﺴﺪﻓﺔmountains اﻟthe & poured obstructs the view of aspects ofother. things.” down upon thethe small & covered them with darkness.” “Fully dark. The night “The commingling of light & darkness. Meaning the ‘light’ or ‘the darkness’; V.are Al-Fahma اﻟاﻔﻟﺤand the same name because MOVEMENT Continued or the darkness and the FIFTH Al-Shafaq ﺸ lightII. called byﻔﻤﺔﻖone IV. Al-Sudfa اﻟﺴdarkness “The beginning most intense blackness of the night: soﺪﻓﺔcalled because of its heat;confused Twilight “The ofeach the darkness of night. When becomes Al-Fahma is “the most ofIII. them comes upon other”. Al-Ghasaq ﻖ ﻟﻐﺴthe اthe “The commingling of light & darkness. Meaning the or ‘the darkness’; for the first part of the night is hotter than its ‘light’ last part.” & obstructs the view of the aspects of things.” intense blackness of the night,” The three works in this trilogy are poured and down & the covered darkness.” “Fully dark. The or night the darkness theupon lightthe aresmall calledmountains by one and samethem namewith because V.them Al-Fahma ﺔupon ﻤof ﻟﻔﺤits اthe so-called because heat: connected through both musical each of comes other”. VI.of Al-Buhra ﮭﺮةso اﻟﺒcalled because of its heat; “The most intense blackness the part night: ﺪﻓﺔof اﻟﺴthe “forIV. theAl-Sudfa first night is materials and an awareness Midnight. “The night reached the point when allitsitslast stars shone.” III. Al-Ghasaq ﻖ ﺴ ﻐ اﻟthe for the of first part thethan night islast hotter than “The of commingling light &ofdarkness. Meaning ‘light’ or part.” ‘the darkness’; hotter its part.” V. Al-Fahma ﺔ ﻤ ﺤ ﻔ ﻟ ا of the “Fully restlessdark. tides history. The night poured down upon the small mountains & covered them with darkness.” or the “The darkness and the light are called bynight: one and same name because of the so the called because of its heat; However, Shades of Night ismost a intense blackness VII. Al-Sahar ﺮ ﺤ ﺴ ﻟ ا VI. Al-Buhra ﮭﺮةthe اﻟﺒother”. each of them comes upon SIXTH MOVEMENT the the night is than its of last part.” “The lastfor part offirst thepart night. The time the departure night work that is much more intimate, IV.ofAl-Sudfa ﺔof ﺴﺪﻓhotter اﻟwhen Midnight. “The night reached the point its starsthe shone.” Al-Buhra is midnight: “theallnight and the coming of the day. The time of the breathing of the dawn.” commingling darkness. Meaning ‘light’ or ‘the darkness’; as it meditates “The on night as both of light & V. Al-Fahma ﺤﻤﺔwhen ﮭﺮةاﻟﻔthe اﻟﺒthe reached theAl-Buhra point stars name because the darkness and the light areofVI. called by one and thebecause same VII. Al-Sahar ﺮ ﺤ ﺴ ﻟ ا a metaphor and or a “The fact of nature. most intense blackness the night: so called of itsshone.” heat; Midnight. each “The night reached the point when all shone.” VIII. Al-Fajr Al-Katheb ﻜﺎذother”. اﻟﻔﺠﺮ اﻟitsofstars of them comes the last the night. The time of ب the departure the night for thepart firstofpart of the night isupon hotter than its last part.” The harmonic material“The isFalse based dawn. “That rises without extending laterally. and the coming of the which day.VII. The time of the of the dawn.” on a melody that is peppered Al-Sahar ﺤ اﺮbreathing ﺴ اﻟan obstacle.” MOVEMENT Which appearsSEVENTH black presenting itself like V. Al-Fahma ﺔ ﻤ ﺤ ﻔ ﻟ VI. Al-Buhra ة ﺮ ﮭ ﺒ ﻟ ا “Theintense last part ofAl-Sahar the night. The time of the departure of its theheat; night throughout the work inmost fragments, refers to so “the part “The blackness of the of VIII. Al-Fajr Al-Katheb بcalled ﻜﺎذlast اﻟall ﺠﺮbecause اﻟﻔstarsof Midnight. “The night reached thenight: point when its shone.” and the coming of the day. The time of the breathing the dawn.” but can be heard in its full IX. Al-Fajr Al-Saadeq ق د ﺎ ﺼ ﻟ ا ﺮ ﺠ ﻔ ﻟ ا for the first “That partofofthe thenight; night hotter its lastlaterally. part.” the timethan of the False dawn. which risesis without extending True dawn.appears “Thatdeparture which appears rising, and fills the horizon form in the first violin during of the night and the Which black presenting itself like an obstacle.” VII. Al-Sahar ﺮ ﺤ ﺴ ﻟ ا Al-Fajr Al-Katheb اﻟﻔﺠﺮ اﻟﻜﺎذب with itsVIII. whiteness. The day VI. Al-Buhra ﮭﺮةthe ﺒcommences.” اﻟdeparture the final section of the string “The last partdawn. of the“That night. The time of night coming of the day; the time of of thethe False which rises without extending laterally. Midnight. “Theofnight reached the point when all its stars shone.” IX. Al-Fajr Al-Saadeq ق د ﺎ ﺼ ﻟ ا ﺮ ﺠ ﻔ ﻟ ا quartet. Rhythmic elements of and the coming the day. The time of the breathing of the dawn.” breathing of the dawn.” Which appears black presenting itself like an obstacle.” True dawn. “That which appears rising, and fills the horizon the work utilize polyrhythms. VII. Al-Sahar بﺤﺮ ﺴcommences.” اﻟﻔﺠﺮ اﻟﻜﺎاذﻟ itsEIGHTH whiteness. The day VIII. Al-Fajr Al-Katheb MOVEMENT Al-Fajr Al-Saadeq قdeparture اﻟﻔﺠﺮ اﻟﺼﺎدof the night The polyrhythms represent twopartwith “The last of“That theIX. night. The time of theextending False dawn. which rises without laterally. Al-Fajr Al-Katheb is “false dawn” True dawn. “That which appears rising, and fills different time zones,and which are the coming of theblack day. presenting The time ofitself the breathing of the the horizon dawn.” Which appears like an obstacle.” with its whiteness. The day commences.” or, “that which rises without separated by seven hours. As String Quartet No. 1 Shades of Night (2018) extending laterally; which VIII. Al-FajrAl-Saadeq Al-Katheb ﻟﻔﻔﺠﺠﺮﺮاﻟاﻟﻜﺎذappears night begins in one time zone, IX. Al-Fajr بق ﺼﺎد اﻟا String Quartet No. 1 Shades of Night (2018) False dawn. “That which rises without extending black, presenting itself like morning approaches in the other. True dawn. “That which appears rising, and fills thelaterally. horizon Kareem Roustom (b. 1971) Whichitwith appears black presenting itself like an obstacle.” an obstacle.” its whiteness. The day commences.” InKareem our hyper-connected world Roustom (b. 1971) String Quartet No. Shades of Night (2018) Commissioned by the1 Grand Teton Festival is possible to inhabit anMusic emotional LMP0038 IX. Al-Fajr Al-Saadeq اﻟﻔﺠﺮ اﻟﺼﺎدق NINTH MOVEMENT space by within these Teton twoTrue time zones. Commissioned the Grand Music Festival dawn. “That which appears rising, fills the horizon The final movement, and Al-Fajr Kareem Roustom (b. 1971) with its whiteness. The day commences.” Al-Saadeq, refers to “true dawn” I. Al-Ghurub ﻐﺮوبof اﻟNight (2018) MOVEMENT String FIRST Quartet No. 1 Shades LMP0038 Commissioned by the Grand Teton Music Festival "Sunset" or, “that which appears rising, and I. Al-Ghurub اﻟﻐﺮوب The opening movement, Kareem Roustom (b. 1971) fills the horizon with its whiteness "Sunset" Al-Ghurub, represents sunset. LMP0038 II. Al-Shafaq اﻟﺸﻔﻖ … the day commences.” I. Al-Ghurub ب و ﺮ ﻐ ﻟ ا eginning of theSECOND darkness of Grand night. When darkness becomes confused Commissioned by the Teton Music Festival II.MOVEMENT Al-Shafaq اﻟﺸﻔﻖthe "Sunset" & obstructs the view of the aspects ofthe things.” beginning of the darkness of night. When darkness becomes Shades ofconfused Night was commissioned Al-Shafaq represents twilight, or & obstructs the view of the aspects of things.” by the Grand Teton Music Festival LMP0038 “theII.beginning of the darkness of I.Al-Shafaq Al-Ghurubﺸﻔﻖ اﻟﻐﺮواﻟب and is dedicated night; when the darkness ginning of the darkness of"Sunset" night. When III. Al-Ghasaq اﻟﻐﺴﻖthe darkness becomes confused to Music Director Donald Runnicles. & obstructs the view of the aspects becomes confused and ght poured down upon small mountains & covered them with darkness. ” III.the Al-Ghasaq ﻟﻐﺴﻖobstructs اof things.” the view of aspects II. Al-Shafaq اﻟﺸﻔﻖof things.” ight poured down upon thethe small mountains & covered them with darkness. LMP0038 ” IV. Al-Sudfa ﺴﺪﻓﺔWhen اﻟ beginning of the darkness of night. the darkness becomes confused Al-Ghasaq ﻖ ﺴ ﻐ THIRD MOVEMENT mingling&ofobstructs light &III. darkness. Meaning or ‘the darkness’; the of theﺔaspects of things.” IV.view Al-Sudfa اﻟ اﺴﻟﺪﻓthe ‘light’ ht poured down upon the small mountains & covered them with darkness.” kness and the light are called by one and the same name because Al-Ghasaq is “fully dark,” or, as mmingling of light & darkness. Meaning the ‘light’ or ‘the darkness’; each of them comes upon the other”. translated: “the night poured down arkness and the light are called by one and the same name because Al-Sudfa ﺔupon ﻖﺴﺪﻓ ﺴ اﻟthe III. Al-Ghasaq اﻟﻐother”. each ofIV. them comesmountains upon the small and ingling of light & darkness. Meaning the ‘light’ or ‘the darkness’; V. Al-Fahma ﺔ ﻤ ﺤ ﻔ ﻟ ا night poured down upon the small mountains & covered them with darkness.” covered them with darkness.” kness and the light are called by one and the same name because ost intense blackness of the night: so called because of its heat; V. Al-Fahma اﻟﻔﺤﻤﺔ each of them comes upon the other”. for the first part of the night is hotter than its last part.” ﺪﻓﺔso اﻟﺴcalled because of its heat; most intense blackness ofAl-Sudfa the night: FOURTHIV. MOVEMENT mmingling of light Meaning the ‘light’ ‘the darkness’; for the first part & of darkness. therefers night to is hotter than its lastor part.” Al-Sudfa “the V. Al-Fahma ﺔby ﻔﮭﺤﺮةﻤone اﻟاﺒﻟand the same name because VI. Al-Buhra arkness and the light are called commingling of light and ost intense of the night: so its heat; night. “Theblackness nightof reached the point allbecause its starsofshone.” each them comes upon VI. Al-Buhra ﺮةwhen ﮭcalled ﻟﺒthe اother”. for the first part of the night is hotter than its last part.” dnight. “The night reached the point when all its stars shone.” VII. V.Al-Sahar Al-Fahmaاﻟﻔاﻟﺤﺴﻤﺔﺤﺮ VI. Al-Buhra ةof ﺒﺮﮭﺮthe |اﺤﻟso emost last108part of the night. The time of theof night intense blackness the night: called2018 because its heat; VII.of Al-Sahar ﺴSUMMER اﻟdeparture Grand Teton Music Festival night. “The night reached the point when all its stars shone.” he coming of the day. The time of the breathing of the dawn.” first partnight. of theThe night is hotter its lastofpart.” he for lastthe part of the time of the than departure the night the coming of the day. The time of the breathing of the dawn.” VII. Al-Sahar اﻟﺴﺤﺮ WEEK FI VE
KAREEM ROUSTOM STRING QUARTET NO. 1 “SHADES OF NIGHT”
The Pines resTauranT
Exceptional Service
©Rebecca Vanderhorst Photography
Incredible Food
Horse Adoption Program, Inc. WEEK FI VE
Lunch • 19Th hoLe • Dinner ouTDoor seaTing avaiLabLe Public Welcome
Donate • Adopt • Foster • Volunteer
307.733.1005x1
www.tetonpines.com GTMF.ORG | Season
57
109
Festival Orchestra
Mendelssohn’s Violin Concerto FRIDAY, AUGUST 3 AT 8PM & SATURDAY, AUGUST 4 AT 6PM Julian Rachlin, conductor and violin
W.A. Mozart (1756–1791)
Overture from The Marriage of Figaro, K. 492 (1786)
Mendelssohn Violin Concerto in E minor, op. 64 (1844) (1809–1847) Allegro molto appassionato— Andante— Allegretto non troppo—Allegro molto vivace Julian Rachlin, violin
5’
26’
INTERMISSION
Barber (1910–1981)
Adagio for Strings, op. 11 (1936; 1938)
WEEK FI VE
W.A. Mozart Symphony No. 36 in C major, K. 425 “Linz” (1783) Adagio—Allegro spiritoso Andante Menuetto Finale: Presto
Join us for a Preconcert Talk hosted by Festival Musician Heather Kurzbauer prior to these performances. Details on page 21. Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Guest Conductor & Guest Artist Julian Rachlin sponsored by Ari Rifkin, in memory of Leonard Rifkin Performances sponsored by Elaine & Jim Wolfensohn, Al & Jayne Hilde, and Lou & John Furrer Corporate Support provided by Kellogg Hansen Todd Figel & Frederick PLLC and Mark C. Hansen
110
Grand Teton Music Festival | SUMMER 2018
8’
26’
Program Notes
Poster for the first performance of The Marriage of Figaro at the Vienna Burg theater on May 1, 1786. © De Agostini/Lebrecht
Wolfgang Amadeus Mozart OVERTURE FROM THE MARRIAGE OF FIGARO, K. 492
Most Recent GTMF Performance: July 29, 2015, conducted by Edo de Waart Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings
When Mozart’s The Marriage of Figaro was first performed, it created an astounding sensation. For it, the oldest Mozart opera in the standard repertory, Mozart used a libretto by Lorenzo da Ponte derived from Beaumarchais’ comedy of manners Le Mariage de Figaro, ou la Folle journée (The Marriage of Figaro, or the
Follies of a Day), a play that had generated sensational acclaim. The play was banned in Vienna as subversive because it was believed to reveal the excesses of the aristocracy. Nevertheless, da Ponte received permission from the Emperor, who heavily censored it to eliminate references to the monarchy.
GTMF.ORG | Season
57
WEEK FI VE
Born: January 27, 1756 in Salzburg, Austria Died: December 5, 1791 in Vienna, Austria Duration: 5 minutes Date of Composition: 1786 Premiere: May 1, 1786 in the Vienna Burg theater, Prague
The effervescent overture instantly sets the emotional tone for the opera’s mood and whirlwind humor. Although the overture, in a condensed sonata form, begins quietly, it grows to a fullblown orchestral motive almost before the listener realizes it, complemented by the brilliant force of trumpets and drums. Mozart had originally composed a slow middle section with a solo oboe carrying the theme but later decided not to break the overture into a tripartite structure. Subsequently, he eliminated the slow part. After the climax is reached, Mozart recapitulates the bubbling opening theme. Significantly, the themes of this overture are not the subjects that Mozart will take up in the opera— they do not appear anywhere in the opera at all, although they are definitely in the spirit of the work.
111
became the conductor of the Leipzig Gewandhaus Orchestra, he appointed David concertmaster, a post David kept for 37 years. As far back as 1838, Mendelssohn wrote to David, “I should like to write a violin concerto for you next winter. One in E minor is running through my head, and its opening gives me no peace.” Although David kept pressing him for it, Mendelssohn took five years to complete the work. During that time, the composer and violinist held many consultations over the work’s details. Mendelssohn sent the score to his publisher in December 1844, but then revised it further. In the end, David could take responsibility for much of the character of the violin writing. Speculatively, he probably wrote most of the cadenza.
Portrait of German violinist Ferdinand David, a friend of Felix Mendelssohn and dedicatee of his Violin Concerto, 19th century (lithograph) by Johann Georg Weinhold.
Felix Mendelssohn WEEK FI VE
VIOLIN CONCERTO IN E MINOR, OP. 64
112
Born: February 3, 1809 in Hamburg, Germany Died: November 4, 1847 in Leipzig, Germany Duration: 26 minutes Date of Composition: 1844 Most Recent GTMF Performance: July 25, 2014, conducted by Donald Runnicles with Simone Porter as soloist
Premiere: March 13, 1845 with Ferdinand David as soloist, and Niels Gade conducting the Gewandhaus Orchestra in Leipzig, Germany Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings
Mendelssohn’s Violin Concerto has a romantic feeling, a melodic polish, and a refinement that has made it one of the most performed and beloved of all violin concertos. Mendelssohn wrote this popular work, touted by some as the
“perfect” concerto, for his friend Ferdinand David (1810–1873). The two were born in the same apartment house in Hamburg less than a year apart, but did not meet until Mendelssohn was sixteen. In 1835, when Mendelssohn
Grand Teton Music Festival | SUMMER 2018
Unfortunately Mendelssohn was ill for the premiere, which featured David as the soloist, so the Danish composer Niels Gade conducted. Two weeks later, David wrote to Mendelssohn, “Your Violin Concerto … was unanimously declared to be one of the most beautiful compositions of its kind.”
FIRST MOVEMENT
The concerto features three movements played without pause. Mendelssohn deviated from the traditional lineaments of the Classical concerto form in writing it with such success that this work influenced the development and evolution of the concerto in the next century. The first movement, a melodious Allegro molto appassionato, begins highly originally, deviating from the convention that the orchestra first introduces the principal themes before the soloist enters. Here, the violinist immediately announces the theme. Encompassing the
highest, most brilliant range of the instrument in the first theme, the violin sings the lowest note in its range for the second theme. Again Mendelssohn changes the established structure of the concerto by placing the solo cadenza not at the very end of the movement as was then traditional, but places it before the recapitulation of the first theme.
SECOND MOVEMENT A single, sustained note on the bassoon connects the first movement to the next: a simple, beautiful Andante, like one of the Songs without Words that Mendelssohn composed for piano. In the development section, Mendelssohn introduces a contrasting theme that can only be characterized as restless and agitated.
THIRD MOVEMENT Composer Samuel Barber as a young man. © Lebrecht Music & Arts/Lebrecht
Samuel Barber ADAGIO FOR STRINGS, OP. 11 Born: March 9, 1910 in West Chester, Pennsylvania Died: January 23, 1981 in New York, New York Duration: 8 minutes Date of Composition: 1936; 1938 Premiere: November 5, 1938 in a radio
broadcast with Arturo Toscanini and the NBC Symphony Orchestra Most Recent GTMF Performance: August 17, 2001, conducted by Ling Tung Instrumentation: Violins, violas, cellos, and basses
Barber’s music has a conservative bent: his compositional technique is firmly grounded in the traditional vocabulary and technique he learned as a student, which did not prevent him from
composing works of fantasy and expressivity. He defended the neo-Romantic tendencies that some saw as his lack of distinctive style: “I write what I feel. I’m not a self-conscious composer … It is said GTMF.ORG | Season
57
WEEK FI VE
The second and third movements connect without a pause between them; a brief introduction, Allegretto non troppo, ushers in the brilliant finale, Allegro molto vivace. This final rondo begins with trumpet, horn, bassoon, and drums, with the violin joining in to answer them in arpeggios before declaring the first joyous theme. After the development section, the movement closes with melodic and rhythmic intensity.
113
SAMUEL BARBER ADAGIO FOR STRINGS, OP. 11 Continued that I have no style at all, but that doesn’t matter. I just go on doing, as they say, my thing. I believe this takes a certain courage.”
WEEK FI VE
His music is rich in texture, free in rhythm, and always melodic. The beautiful Adagio for Strings—his most popular, most-performed work and one of the most frequently performed compositions ever written by an American composer—is now most commonly heard as transcribed for string orchestra. Originally, it was composed as the slow movement of his String Quartet, opus 11.
114
Barber was inspired to write this work by a literary image; his wide-ranging interests led him to a passage from Virgil’s Georgics describing how a rivulet gradually becomes a large river. The programmatic idea does not in any way limit the Adagio for Strings’ emotional meaning, but rather influences the composite shape of the work so that it begins quietly, with a long spiraling theme built of stepwise intervals that slowly and richly develop, growing gradually to an intense climax before returning to calm at the end. Although the straightforward music of this onemovement work seems Romantic, Barber adds a Phrygian medieval church mode to it. That 15thcentury modality, the 19th-century Romanticism, and its 20th-century spirit make it unique—it sounds both direct and uncomplicated.
Grand Teton Music Festival | SUMMER 2018
Constanze Mozart (1762–1842), wife of Wolfgang Amadeus Mozart, 1782 (oil on canvas) by Joseph Lange. © Hunterian Museum and Art Gallery
Wolfgang Amadeus Mozart SYMPHONY NO. 36 IN C MAJOR, K. 425 “LINZ”
Born: January 26, 1756 in Salzburg, Austria Died: December 5, 1791 in Vienna, Austria Duration: 26 minutes Date of Composition: November 1–4, 1783 Premiere: November 4, 1783 in Linz, Austria
Most Recent GTMF Performance: July 29, 2011, conducted by Nicholas McGegan Instrumentation: Two oboes, two bassoons, two horns, two trumpets, timpani, and strings
In August 1782, when Mozart married Constanze Weber, his family saw her as their intellectual and social inferior but the composer hoped that taking his new wife to visit his father and sister in Salzburg would reconcile them to this important development in his life. He did not succeed in his aim—Mozart’s wife and sister developed a dislike for each other that endured their whole lives. On the couple’s journey home, they
stopped in Linz where Count Thun, whose daughter-in-law was one of Mozart’s faithful students and supporters, gave them a warm welcome. Mozart wrote to his father how comfortable he and his wife felt there: “I really cannot tell you what kindness the family is showering on us. On November 4, I am to give a concert here, and as I do not have a single symphony with
me, I am writing a new one, at breakneck speed, that must be finished by then.” For any other composer, completing a symphony in such short order would have been impossible—but Mozart managed to complete a symphony with ease in four days. On the day before the premiere, the orchestral parts were copied, and the musicians rehearsed the new work. Mozart certainly proved that he could flourish under pressure: brilliant, complex, and original, the “Linz” Symphony is one of his very finest works. Musicologists— puzzled at the remarkable speed with which Mozart composed it—concluded that it must have existed, more or less in completed form, in his head. As Robert Gutman remarks in his excellent biography, “Not even Mozart could, in a matter of four or five days, conceive, compose, copy (or
arrange to have copied), rehearse, and conduct the ‘Linz’ Symphony, a four-movement work on a grand scale and high level of inspiration.”
FIRST MOVEMENT Mozart’s simply-organized first movement begins with a slow introduction that he had never used before in a symphony but had learned to appreciate from studying Haydn’s works. This Adagio hints at what would come in the main section of the movement, Allegro spiritoso. The two principal subjects are complex three-part organisms, each part orchestrated uniquely and presented at different dynamic levels. The themes are only briefly developed and then restated, almost unchanged.
SECOND MOVEMENT The lyrical but somber slow movement, Andante, has a deep emotional urgency; its rich melody
again recalls Haydn’s music. It begins with strings alone— but here, unusually for a slow movement, Mozart adds trumpets and drums. Some critics have contended that Beethoven took his idea for using trumpets and drums in his First Symphony from this movement.
THIRD MOVEMENT The rhythmic play and vigorous counterpoint of the cheerful and courtly Menuetto is followed by a more rustic trio section, distinguished by the oboe playing an octave above the violins and the bassoon an octave below.
FOURTH MOVEMENT The symphony closes with a short, rushing Presto finale in which, here and there, the festive happiness seems momentarily clouded over with a hint of the melancholy of the slow movement.
GIVE A HOME TO YOUR
WEEK FI VE
Festival Orchestra This summer more than 200 musicians will travel to Jackson Hole to share their exceptional talents with our community. One of the Festival’s largest expenses is housing this wonderful orchestra. Please consider donating your home or guest home for musician housing. Our generous homeowners receive an in-kind tax deduction and ensure beautiful music continues in Jackson Hole.
To donate, please contact Housing & Artistic Associate Sean Campbell at sean@gtmf.org or 307.732.9968. PICTURED: VIOLIST PHILIPPE CHAO, FESTIVAL MUSICIAN OF 18 YEARS
GTMF.ORG | Season
57
115
“He is technically flawless—stunning in fact—and his eloquence is unfailingly persuasive.”
– GRAMOPHONE
FESTIVAL ORCHESTRA
Artist Biographies Julian Rachlin
WEEK FI VE
CONDUCTOR & VIOLIN
In the first three decades of Julian Rachlin’s career, he has established close relationships with many prestigious conductors and orchestras. Mr. Rachlin is Principal Guest Conductor of the Royal Northern Sinfonia and Turku Philharmonic Orchestra. He also leads the “Julian Rachlin & Friends Festival” in Palma de Mallorca. Highlights of Mr. Rachlin’s 2017–18 season include the opening of the St. Petersburg Philharmonic Orchestra season with Yuri Temirkanov; the opening of the Barcelona Symphony Orchestra season with Kazushi Ono; a tour with La Scala Filarmonica and Riccardo Chailly; his return to the Orchestra del Maggio Musicale with Zubin Mehta; and a residency at the Prague Spring Festival. He will also have his own cycle at the Vienna Musikverein. As conductor, he will tour Europe with the English Chamber Orchestra and will guest conduct, among others, the Royal Philharmonic Orchestra, State Academic Symphony Orchestra of Russia, Vienna Symphony Orchestra, Moscow Philharmonic Orchestra, Hungarian National Philharmonic, and Royal Liverpool Philharmonic Orchestra.
116
Grand Teton Music Festival | SUMMER 2018
Born in Lithuania, Mr. Rachlin immigrated to Vienna in 1978. He studied violin with Boris Kuschnir at the Vienna Conservatory, and with Pinchas Zukerman. After winning the Young Musician of the Year Award at the Eurovision Competition in 1988, he became the youngest soloist ever to play with the Vienna Philharmonic. At the recommendation of Mariss Jansons, Mr. Rachlin studied conducting with Sophie Rachlin. He is on the violin faculty at the Music and Arts University of the City of Vienna. Julian Rachlin plays the 1704 “ex Liebig” Stradivarius and a 1785 Lorenzo Storioni viola, on loan to him courtesy of the Dkfm Angelika Prokopp Privatstiftung. His strings are kindly sponsored by Thomastik-Infeld. Since his debut as a conductor in 1998, Julian Rachlin has collaborated in play/conduct performances with the Academy of St. Martin in the Fields, the Copenhagen Philharmonic, the English Chamber Orchestra, the Israel Philharmonic Orchestra, and the Lucerne Symphony Orchestra. Upcoming debuts include collaborations with the Camerata Salzburg, Die Deutsche Kammerphilharmonie, and the Moscow Virtuosi.
Festival Orchestra Roster FRIDAY, AUGUST 3 & SATURDAY, AUGUST 4
Violin I
Angela Fuller Heyde Jennifer Ross Marta Krechkovsky Ling Ling Huang Julie Coleman Karen Kinzie Rebekah Johnson Marina Brubaker Heather Kurzbauer Susanne Park Holly Mulcahy
Violin II
Eunice Keem Elizabeth Phelps Eva Cappelletti Chao Ikuko Takahashi Sarah Schwartz Barbara Scowcroft Jennifer Gordon Levin Dmitri Lazarescu Dan Rizner
Viola
Cello
Daniel Laufer Charae Krueger Thalia Moore Judith McIntyre Galecki Amy Leung Krisanthy Desby
Andrew Raciti Richard Barber Sidney King Fred Bretschger Gordon Hill
Flute
Julia Bogorad-Kogan Camille Churchfield
Oboe
Erin Hannigan Elizabeth Priestly Siffert
Clarinet
Gregory Raden Thomas LeGrand
Bassoon
Christopher Millard Sharon Kuster
Horn
Gail Williams Nancy Goodearl
WEEK FI VE
Susan Gulkis Assadi Paul Murphy Joan DerHovsepian Allyson Goodman Leslie Richards Anna Kruger Yang-Yoon Kim Rachel Swerdlow Kristin Linfante
Bass
Trumpet
Thomas Hooten Charles Daval
Timpani
Kenneth Every
Librarian Robert Stiles
Names in bold indicate principal chair All rosters are subject to change
GTMF.ORG | Season
57
117
Find concert descriptions and ticket info at ifsymphony.org Subscription Series
Free Events
Family Concerts*
Chamber Music Series*
*These concerts are not part of the Subscription Series and require additional ticket purchases.
PICTURED: KELLEY O'CONNOR
Week Six
FE ATURI NG
Violinist Benjamin Beilman Canadian Brass Mezzo-Soprano Kelley O’Connor GTMF Presents
Chamber Music with
August 7 at 8PM
August 9 at 8PM
Violinist Benjamin Beilman and Pianist Orion Weiss
Kelley O’Connor and Jessica Rivera
Free Family Concert
Festival Orchestra
August 8 at 12PM St. John’s Episcopal Church
August 10 at 8PM & August 11 at 6PM
Canadian Brass
Mahler’s Third Symphony
GTMF Presents
Canadian Brass August 8 at 8PM
GTMF.ORG | Season
57
119
GTMF Presents
Violinist Benjamin Beilman and Pianist Orion Weiss TUESDAY, AUGUST 7 AT 8PM Benjamin Beilman, violin Orion Weiss, piano
W.A. Mozart Violin Sonata No. 26 in B-flat major, K. 378 (1779) (1756–1791) Allegro moderato Andantino sostenuto e cantibile Rondo: Finale
21’
Frederic Rzewski Demons (2017) (b. 1938) Nervous Slow, measured but free Timeless (senza misura) ♩ = 126
25’
INTERMISSION
Beethoven Violin Sonata No. 10 in G major, op. 96 (1812) (1770–1827) Allegro moderato Adagio espressivo Scherzo: Allegro—Trio Poco allegretto Viennese Rhapsodic Fantasietta (1948)
W E EK SIX
Kreisler (1875–1962)
Sponsored by Ed & Marlies Artzt
120
Grand Teton Music Festival | SUMMER 2018
27’
9’
“Handsome technique, burnished sound, and quiet confidence showed why he has come so far so fast.” – THE NEW YORK TIMES
Benjamin Beilman VIOLIN
Benjamin Beilman is recognized as one of the fastestrising stars of his generation, winning praise for his passionate performances and deep, rich tone.
Mr. Beilman will make his Australian concerto debut with the Sydney Symphony, where he will perform Jennifer Higdon’s concerto, and debuts with the Scottish Chamber Orchestra and Trondheim Symphony. He will also perform the European premiere of Frederic Rzewski’s new work at the Heidelberg Spring Festival, and will return to the Wigmore Hall in recital. In the 2016–17 season, Mr. Beilman returned to the Philadelphia Orchestra performing Prokofiev’s
Mr. Beilman has received several prestigious awards including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant, and a London Music Masters Award. In 2010 he won the First Prize in the Young Concert Artists International Auditions. As First Prize Winner of the 2010 Montréal International Musical Competition and winner of the People’s Choice Award, Mr. Beilman recorded Prokofiev’s complete sonatas for violin in 2011.
W E EK SIX
Highlights of Mr. Beilman’s 2017–18 season include performances with the Houston Symphony, Oregon Symphony, North Carolina Symphony, Indianapolis Symphony, and Orchestra of St. Luke’s. In recital, he will premiere a new work written for him by Frederic Rzewski and commissioned by Music Accord, presented by Boston Celebrity Series and Shriver Hall.
First Violin Concerto with Yannick Nézet-Séguin in subscription, and on tour with the orchestra at Carnegie Hall. He also premiered a new work by Elizabeth Oganek as soloist on the Chicago Symphony’s new music series, and returned to the San Francisco Symphony with Juraj Valčuha.
Benjamin Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy. Mr. Beilman plays the “Engleman” Stradivarius from 1709, generously on loan from the Nippon Music Foundation. GTMF.ORG | Season
57
121
“When you’re named after one of the biggest constellations in the night sky, the pressure is on to display a little star power— and the young pianist Orion Weiss did exactly that.” – THE WASHINGTON POST
Orion Weiss PIANO
W E EK SIX
One of the most sought-after soloists of his generation, pianist Orion Weiss has performed with major American orchestras including the Chicago Symphony Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, and New York Philharmonic. His deeply felt and exceptionally crafted performances go far beyond his technical mastery, and have won him worldwide acclaim. Mr. Weiss' 2017–18 season opens with a performance of Beethoven’s Triple Concerto with the Saint Paul Chamber Orchestra, and ends with the Colorado Symphony and Mozart’s majestic Concerto in C major. In between, he will play with 11 orchestras, go on a recital tour with James Ehnes, and perform recitals around the country. Mr. Weiss was named the Classical Recording Foundation’s Young Artist of the Year in September 2010. In the summer of 2011, he made his debut with the Boston Symphony Orchestra at Tanglewood as a last-minute replacement for Leon Fleisher. In recent seasons, he has performed with the Los Angeles Philharmonic, San Francisco Symphony, and Philadelphia Orchestra. In 2005 he toured Israel with the Israel Philharmonic Orchestra conducted by 122
Grand Teton Music Festival | SUMMER 2018
Itzhak Perlman. In 1999—with less than 24 hours’ notice—Mr. Weiss stepped in to replace André Watts for a performance of Shostakovich’s Second Piano Concerto with the Baltimore Symphony Orchestra. He was immediately invited to return to the Orchestra for a performance of the Tchaikovsky Piano Concerto. Known for his affinity and enthusiasm for chamber music, Orion Weiss performs regularly with his wife, pianist Anna Polonsky; with violinists James Ehnes and Arnaud Sussman; and with cellist Julie Albers. As a recitalist and chamber musician, Mr. Weiss has appeared across the US at venues and festivals including Lincoln Center, the Ravinia Festival, and Sheldon Concert Hall. Mr. Weiss’ impressive list of awards includes the Gilmore Young Artist Award, an Avery Fisher Career Grant, the Gina Bachauer Scholarship at Juilliard, the William Petschek Recital Award at Juilliard, and the Mieczyslaw Munz Scholarship. Orion Weiss attended the Cleveland Institute of Music, where he studied with Paul Schenly, Sergei Babayan, and Edith Reed. He later graduated from The Juilliard School, where he studied with Emanuel Ax.
34TH ANNUAL
FA L L A R T S F E S T I VA L SEPTEMBER 5 – 16, 2018
Walk Festival Hall
Only steps away from music venue! • Early dinner • After concert dessert 307-733-4913 • www.mangymoose.com
EXPERIENCE ONE OF THE PREMIER CULTURAL EVENTS IN THE ROCKY MOUNTAIN WEST. Widely recognized by artists and enthusiasts, the Jackson Hole Fall Arts Festival features W E EK SIX
nationally and internationally acclaimed artists along with an exceptional array of events featuring music, cuisine, and wine.
3 0 7 . 7 3 3 . 3 3 1 6 + jacksonholechamber.com
GTMF.ORG | Season
57
123
GTMF Presents
Canadian Brass WEDNESDAY, AUGUST 8 AT 8PM
Caleb Hudson, trumpet Christopher Coletti, trumpet Jeff Nelsen, horn Achilles Liarmakopoulos, trombone Charles Daellenbach, tuba
Holborne (c. 1545–1602)
Muy Linda (1599)
1’
Dowland (1563–1626) (arr. Hudson)
Come Away, Come Sweet Love (1597)
3’
Monteverdi (1567–1643) (arr. Hudson)
Damigella tutta bella, SV 235 (1607)
3’
J.S. Bach (1685–1750) (arr. Romm)
“Little” Fugue in G minor, BWV 578 (1703–1707)
4’
W.A. Mozart (1756–1791) (arr. Watkin)
Overture from The Magic Flute, K. 620 (1791)
4’
Lennon/McCartney (1940–1980/b. 1942) (arr. Dedrick)
Penny Lane (1967)
3’
INTERMISSION
W E EK SIX
W.A. Mozart from Piano Sonata No. 11 in A major, K. 331/300i (c. 1783) (arr. Frackenpohl) III. Alla turca “Turkish Rondo” Bernstein (1918–1990) (arr. Gale)
Selections from West Side Story (1957)
Various (arr. Henderson)
Tribute to Jazz and Dixieland
Sponsored by Paul von Gontard
124
Grand Teton Music Festival | SUMMER 2018
4’ 10’
6’
“Canadian Brass is an institution: still sounding fresh, attracting young virtuosos and, above all, still having fun with the music.” – NPR
Canadian Brass With an international reputation as one of the most popular brass ensembles today, Canadian Brass has truly earned the distinction of “the world’s most famous brass group” since friends Chuck Daellenbach and Gene Watts first came together in 1970 to form a brass quintet.
Canadian Brass is an important pioneer in bringing brass music to mass audiences everywhere. They have sold well over two million albums worldwide and play to packed houses throughout the US, Canada, Japan, and Europe. They have toured Australia, the Middle East, the Soviet Union, and South America, and were the first brass ensemble from the West to perform in the People’s Republic of China—as well as the first brass group to take the main stage at the venerable Carnegie Hall. On numerous occasions, Canadian Brass has been invited by the Canadian government
Education plays a key role in the story of Canadian Brass and each member is uniquely attuned to training the next generation of players. Canadian Brass is currently Ensemble-in-Residence at the University of Toronto and has created an innovative brass summer course at the Eastman School of Music. Their support of education is also clearly viewed in their outreach and interaction with El Sistema, the acclaimed global music education program in Venezuela.
W E EK SIX
Masters of concert presentations, Canadian Brass has developed a uniquely engaging stage presence and rapport with audiences. Each of their concerts show the full range of their artistry, from trademark Baroque and Dixieland tunes to new compositions and arrangements created especially for them.
to play for visiting heads of states, becoming one of Canada’s greatest resources and musical ambassadors. Millions of television viewers have seen Canadian Brass in their homes due to appearances on The Tonight Show, Today, and Entertainment Tonight—and recently, to more than half a billion viewers for Chinese New Year on China’s most popular station. They have appeared as guest artists on Evening at Pops with John Williams and the Boston Pops, Beverly Sills’ Music Around the World, and numerous PBS specials including a celebrated appearance on Sesame Street.
With four decades under their belts, Canadian Brass continues to thrill audiences around the world. GTMF.ORG | Season
57
125
M U S IC DIRECTOR
W E EK SIX
Donald
126
Grand Teton Music Festival | SUMMER 2018
Join Music Director Donald Runnicles as he makes the following North American appearances. Current as of June 2018. All appearances and programs are subject to change.
2019 January 10, 11, 13 Dallas Symphony Orchestra
Mozart: Symphony No. 38 “Prague” Mahler: Das Lied von der Erde
February 2, 6, 10, 14, 18, 22 Lyric Opera Of Chicago Richard Strauss: Elektra
February 8, 9 Cincinnati Symphony Orchestra Bruckner: Symphony No. 8
2018 July 14 Bravo! Vail Music Festival
Smetana: Overture to The Bartered Bride Rachmaninoff: Piano Concerto No. 1 Humperdinck: Selections from Hansel and Gretel Wagner: Overture to Tannhäuser
October 25, 27 Atlanta Symphony Orchestra Britten: War Requiem
November 1, 3 Atlanta Symphony Orchestra Mahler: Symphony No. 10
May 23, 25 Atlanta Symphony Orchestra Milhaud: Le boeuf sur le toit Canteloube: Songs of the Auvernge Debussy: Select Préludes Debussy: La Mer
May 29; June 1, 2 Atlanta Symphony Orchestra
Beethoven: Leonore Overture No. 3 Bernstein: Halil for Flute & Orchestra Beethoven: Symphony No. 3
June 19, 20, 22, 23 Toronto Symphony Orchestra Korngold: Violin Concerto Orff: Carmina Burana
GTMF.ORG | Season
W E EK SIX
Runnicles 57
127
Chamber Music with
Kelley O’Connor and Jessica Rivera THURSDAY, AUGUST 9 AT 8PM Duruflé
from Quatre Motets sur des thèmes grégoriens, op. 10 (1960)
(1902–1986) Poulenc
2’
II. Tota pulchra es
Litanies à la Vierge Noir, FP 82 (1936)
9’
Fauré
Cantique de Jean Racine, op. 11 (1865)
5’
(1845–1924)
Choristers of The Madeleine Choir School Adelle Eslinger Runnicles, piano
Chausson
Chanson perpétuelle, op. 37 (1898)
(1855–1899)
Kelley O’Connor, mezzo-soprano Elizabeth Phelps, violin Ling Ling Huang, violin Kristen Linfante, viola Thalia Moore, cello Adelle Eslinger Runnicles, piano
Michael Tilson Thomas
Street Song for Symphonic Brass (1988)
(b. 1944)
Thomas Hooten, trumpet Hunter Eberly, trumpet Charles Daval, trumpet Jennifer Marotta, trumpet/cornet Nancy Goodearl, horn Shelby Nugent, horn Matthew Annin, horn Joshua Phillips, horn David Binder, trombone Jay Evans, trombone Jared Rodin, bass trombone Craig Knox, tuba
Michael Mulcahy, conductor
W E EK SIX
(1899–1963)
INTERMISSION
Mezzo-soprano Kelley O’Connor and soprano Jessica Rivera sponsored by Dave & Ellen Raisbeck
128
Grand Teton Music Festival | SUMMER 2018
7’
16’
View biography for Kelley O'Connor on page 137.
Charles Rochester Young
The Song of the Lark (1989)
9’
(b. 1965) Song to the Waking Sun Flight Into Darkness
Christina Smith, flute Elisabeth Remy Johnson, harp
Barber
Knoxville: Summer of 1915, op. 24 (1947; 1950)
(1910–1981)
Christina Smith, flute Gregory Raden, clarinet Elizabeth Koch Tiscione, oboe Andrew Brady, bassoon Gail Williams, horn Shelby Nugent, horn Thomas Hooten, trumpet Elisabeth Remy Johnson, harp Eunice Keem, violin Yi Zhao, violin Ling Ling Huang, violin Olga Shpitko, violin Jennifer Thompson, violin Ikuko Takahashi, violin Marta Krechkovsky, violin Sha, violin Susan Gulkis Assadi, viola Paul Murphy, viola Whittney Thomas, viola Kristin Linfante, viola Stephen Balderston, cello Charae Krueger, cello David Garrett, cello David Schepps, cello Andrew Raciti, bass Fred Bretschger, bass
Jessica Rivera, soprano Jerry Hou, conductor
15’
W E EK SIX
GTMF.ORG | Season
57
129
We’re here to help you
entertain
ZACHARY COFFILL
KEVIN MCNAMARA, CSW
With 5 years in the wine and spirit industry, Zachary will not only assist you in finding the perfect bottle of wine, but also the best vodka or whiskey to fit your budget, occasion and palette. From classic Italian wines to New York bourbons, Zachary knows what should be on/in your bar, table, and cellar.
Kevin can help you select the perfect wine for any occasion. With over 14 years of experience, he understands all aspects of the wine trade and can help you find the best wines for the best value. As one of our buyers, Kevin takes great care to keep our store st stocked with both cult classics and the hottest new brands.
W E EK SIX
Wine Department & Key Accounts Manager
130
Grand Teton Music Festival | SUMMER 2018
Wine Department & Key Accounts Manager
Whether you are planning a large event or an intimate gathering, our concierge staff and sommeliers are pleased to work with you and your event planners to make sure your wine, liquor, and beer needs are met. Email our events team at events@wineliquorbeer.com to learn more about our complimentary special services. TLSofJH.com
“Effortless precision and tonal luster.” – SAN FRANCISCO CHRONICLE
Jessica Rivera SOPRANO
Grammy Award-winning soprano Jessica Rivera is one of today’s most creatively inspired vocal artists. The intelligence, dimension, and spirituality with which she infuses her performances has garnered Ms. Rivera unique artistic collaborations with many of today’s most celebrated composers—including John Adams, Osvaldo Golijov, Gabriela Lena Frank, Jonathan Leshnoff, and Nico Muhly—and has brought her together with such esteemed conductors as Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano, Bernard Haitink, and Michael Tilson Thomas.
Jessica Rivera has worked closely with John Adams throughout her career, and received international praise for the world premiere of Adams’ opera A Flowering Tree, singing the role of Kumudha in a production directed by Peter Sellars. Subsequently, she performed the role in her debut with the Berlin Philharmonic and Sir Simon Rattle. Under Adams’ baton, she has sung Kumudha with the San Francisco Symphony, Los Angeles Philharmonic, Orchestra of St. Luke’s, and the London Symphony Orchestra. GTMF.ORG | Season
57
W E EK SIX
During the 2017–18 season, Ms. Rivera travels throughout North and South America to perform a vast range of concert repertoire with leading orchestras. A proponent of Latin American culture and music, her season begins at the Grant Park Festival with Roberto Sierra’s Missa Latina conducted by Miguel Harth-Bedoya. Ms. Rivera then performs the Mozart Requiem with the San Diego Symphony under the baton of Markus Stenz, and with Roberto Abbado leading the Atlanta Symphony Orchestra (ASO), as well as the lush Brahms Requiem with the Kansas City Symphony. She has long championed contemporary vocal music, and this season she appears at the Ford Theater in association with Los Angeles Opera to reprise her performance of Paola Prestini’s multidisciplinary The Hubble Cantata.
In 2017, Ms. Rivera gave the world premiere of Gabriela Lena Frank’s Requiem with baritone Andrew Garland and the Houston Symphony conducted by Andrés Orozco-Estrada. She treasures a longstanding collaboration spanning a decade with Robert Spano and the Atlanta Symphony Orchestra, and was recently featured as soprano soloist in Brahms’ Ein deutsches Requiem and Jonathan Leshnoff ’s Zohar with the ASO at Carnegie Hall. Recent orchestral highlights include Barber’s Knoxville: Summer of 1915 with Karina Canellakis and the Detroit Symphony Orchestra; Falla’s Siete Canciones Populares with Nicholas Carter and the Dallas Symphony Orchestra; Górecki’s Third Symphony with Gustavo Dudamel and the Los Angeles Philharmonic; and Mahler’s Fourth Symphony with Franz Welser-Möst in Ms. Rivera’s debut with the Cleveland Orchestra.
131
Festival Orchestra
Mahler’s Third Symphony FRIDAY, AUGUST 10 AT 8PM & SATURDAY, AUGUST 11 AT 6PM Kelley O’Connor, mezzo-soprano Women of the Utah Symphony Chorus Barlow Bradford, director Madeleine Choir School Children’s Chorus Melanie Malinka, director Donald Runnicles, conductor
W E EK SIX
Mahler Symphony No. 3 (1893–1896; 1906) (1860–1911) Part 1. I. Kräftig. Entschieden Part 2. II. Tempo di Menuetto: Grazioso III. Comodo. Scherzando. Ohne Hast IV. Sehr langsam. Misterioso V. Lustig im Tempo und keck im Ausdruck VI. Langsam. Ruhevoll. Empfunden
Join us for a Preconcert Talk hosted by Festival Musician Heather Kurzbauer prior to these performances. Details on page 21. Maestro Donald Runnicles sponsored by Sylvia Neil & Dan Fischel Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Guest Artist Kelley O’Connor sponsored by Dave & Ellen Raisbeck Performances sponsored by Marilyn Nelson and Jon & Sue Rotenstreich
132
Grand Teton Music Festival | SUMMER 2018
99’
Text and Translations IV. SEHR LANGSAM. MISTERIOSO O Mensch! Gib Acht! Was spricht die tiefe Mitternacht? Ich schlief! Aus tiefem Traum bin ich erwacht! Die Welt ist tief! und tiefer als der Tag gedacht! O Mensch! Tief, tie fist ihr Weh! Lust tiefer noch als Herzeleid! Weh spricht: Vergeh! Doch alle Lust will Ewigkeit! will tiefe, tiefe Ewigkeit.
O man! Attend! What says the deep midnight? I slept! From a deep dream I have awoken! The world is deep! and deeper than the day has imagined! O man! Deep, deep is its suffering! Joy deeper still than heart’s sorrow! Suffering speaks: Perish! But all joy desires eternity! desires deep, deep eternity.
from Nietzsche, Also sprach Zarathustra
V. LUSTIG IM TEMPO UND KECK IM AUSDRUCK Three angels sang a sweet song, with blessed joy it rang in heaven. They shouted too for joy that Peter was free from sin! And as Lord Jesus sat at the table with his twelve disciples and ate the evening meal, Lord Jesus said: “Why do you stand there? When I look at you, you are weeping!” “And should I not weep, kind God? I have violated the ten commandments! I wander and weep bitterly! O come and take pity on me!” “If you have violated the ten commandments, then fall on your knees and pray to God! Love only to God for all time! So will you gain heavenly joy.” The heavenly joy is a blessed city the heavenly joy that has no end! The heavenly joy was granted to Peter through Jesus, and to all mankind for eternal bliss.
W E EK SIX
Es sungen drei Engel einen süßen Gesang, mit Freuden es selig in dem Himmel klang. Sie jauchzten fröhlich auch dabei: daß Petrus sei von Sünden frei! Und als der Herr Jesus zu Tische saß, mit seinen zwölf Jüngern das Abendmahl aß, da sprach der Herr Jesus: “Was stehst du denn hier? Wenn ich dich anseh’, so weinest du mir!” “Und sollt’ ich nicht weinen, du gütiger Gott? Ich hab’ übertreten die zehn Gebot! Ich gehe und weine ja bitterlich! Ach komm und erbarme dich über mich” “Hast du denn übertreten die zehen Gebot, so fall auf die Knie und bete zu Gott! Liebe nur Gott in all Zeit! So wirst du erlangen die himmlische Freud” Die himmlische Freud’ ist eine selige Stadt, die himmlische Freud’, die kein Ende mehr hat! Die himmlische Freude war Petro bereit’t, durch Jesum und allen zur Seligkeit. from Des Knaben Wunderhorn
GTMF.ORG | Season
57
133
Program Notes
Gustav Mahler’s composing hut in Steinbach/Lake Atter. © Thomas Ledl
Gustav Mahler SYMPHONY NO. 3
Born: July 7, 1860 in Kalischt, Bohemia Died: May 18, 1911 in Vienna, Austria Duration: 99 minutes W E EK SIX
Composition: 1893–1896; revised in 1906 Most Recent GTMF Performance: July 21, 2006, conducted by Donald Runnicles with Jennifer Larmore, mezzo-soprano, San Francisco Boys Chorus, and San Francisco Festival Chorale Premiere: The symphony was introduced in stages. Arthur Nikisch conducted the second movement, then entitled “Blumenstück” (“Flower Piece”), with the Berlin Philharmonic on November 9, 1896. Felix Weingartner presented the
134
Grand Teton Music Festival | SUMMER 2018
second, third, and sixth movements with the Royal Orchestra in Berlin, on March 9, 1897. Mahler conducted the first complete performance on June 9, 1902, at the Festival of the Allgemeiner Deutscher Musikverein in Krefeld, Germany. Instrumentation: Two piccolos, four flutes, four oboes, English horn, three B-flat clarinets, two E-flat clarinets, bass clarinet, four bassoons, contrabassoon, eight horns, four trumpets, four trombones, tuba, timpani, bass drum, snare drum, tambourine, triangle, tamtam, bells, cymbals, two harps, strings, solo alto, women’s chorus, and children’s chorus
Throughout his career, Mahler divided his energies between conducting and composing. Conducting occupied him during the winter, while his summers were devoted to composing. Because he needed a change of venue during the summer, he spent his vacations at Steinbach, a picturesque little town on Lake Atter in Austria, where he had a tiny hut built. There, he composed, undisturbed, with views of water and mountains as his companions—a seemingly perfect escape from the noise of civilization. Nature held great importance for Mahler as he composed: “My symphony will be something the like of which the world has never yet heard! In it the whole of nature finds a voice.” In fact, when Bruno Walter visited
him in Steinbach in 1896 and admired the view, Mahler said, “No need to look. I have composed all this already.” Around the time he finished his First Symphony in 1888, Mahler became attracted to Des Knaben Wunderhorn (The Youth’s Magic Horn), a large collection of German folk poetry gathered by Arnim and Brentano and published in 1805 and 1808. Wunderhorn exerted a powerful influence on Mahler’s music for many years; he created song settings from its poems and used several as the basis of instrumental and vocal movements in his Second, Third, and Fourth Symphonies.
FIRST MOVEMENT Mahler initially assigned the first movement the programmatic title, “The Awakening of Pan: Summer
This complex movement has extremely large proportions; it is longer than some Beethoven symphonies and serves as one of the largest opening movements of any symphony ever composed. Mahler, concerned about its length, wrote:
“It is terrible, the way this movement keeps growing and expanding so far beyond anything I have ever composed before— there are so many forces at work! First the secret growth of nature, awakening from her slumber, throwing off her chains; then the approach of summer with her flowers; what life, these innumerable sounds! Then the battle against hostile forces—it is a gigantic fresco.”
Eight unison horns announce the extensively developed opening theme. Later come tragicsounding woodwind figurations, funereal drumbeats, a muted trumpet fanfare, and a recitative for trombone—the longest, most dramatic trombone solo in the symphonic repertoire. Before the end of this sonata-form movement of contrasting light and dark elements, the opening material is recapitulated. Light triumphs. Mahler specifies the use of the post horn, an open trumpet-like instrument. Historically, it was commonly used to signal arrival or departure of carriages (postilions)
carrying mail. Some players have used a trumpet with a flugelhorn mouthpiece. Mahler directed that a trumpet be used, but that it be played like a post horn. Although Mahler’s post horn melody reminds one of Liszt’s Rhapsodie Espagnol, postilion drivers in Eastern Europe played this Spanish-sounding melody to identify their coaches’ arrival and departure. The next four movements are quite short character pieces.
SECOND MOVEMENT The second movement is a graceful, carefree minuet. Mahler explained: “Everything hovers in the air with grace and lightness, like flowers bending on their stems and being caressed by the wind.” Here, Mahler sandwiches what he identified as scherzos between delicately sentimental minuet sections, creating an unconventional structure. The first minuet begins with an oboe playing the theme over pizzicato strings. Mahler commented that the violins “play animated, winged, and smiling motives.” In the contrasting portion, the violins articulate a quick idea over harp accompaniment. Other instruments join in before the opening melody recurs in the violins. Suddenly, the scherzo begins, becoming faster and almost immediately march-like before oboes and clarinets play a whirling figure. The minuet returns with changes in instrumentation, then the scherzo is reprised with some modifications. In the first trio section, birds and beasts seem at play; in the second, the distant post horn call breaks the summer day’s peace. The minuet
GTMF.ORG | Season
W E EK SIX
Most commentators say that Mahler composed the Third Symphony in 1895–96, but he actually began to sketch some music for it in 1893 while finishing the Second Symphony. When he began writing the symphony in earnest, he quickly completed the middle movements but struggled with their order, composing the first movement last. The symphony’s evolution was complex: Mahler rearranged movements and often created, changed, and deleted movement titles. He feared that listeners might incorrectly draw correlations between the music and the inspiration, ultimately misinterpreting his intentions. Although he removed the programmatic titles before the first publication of the piece, the descriptions have survived and are useful in providing insight into what helped shape the symphony.
Marches in,” noting that the music “should indicate humorously subjective content. Summer is conceived as a conqueror advancing amidst all that grows and blooms, crawls and flies, hopes and desires, and finally everything we know by instinct. Above all, Eternal Love spins a web of light like rays of sun converging to a single burning point.”
57
135
is recapitulated, and the movement ends with the eruption of great sounds. When he finished this movement, Mahler realized with surprise that the basses play pizzicato throughout.
W E EK SIX
THIRD MOVEMENT The third movement resembles a large-scale scherzo with contrasting central sections, infused with humor but without much sense of dancing. High woodwinds emphasize the music’s playfulness. The movement has a major-minor rotation that mirrors the imagery of “Ablösung im Somme” (“Relief in Summer”), a lied from Des Knaben Wunderhorn: the cuckoo’s death (minor), the nightingale’s song (major), and then a reminder of the cuckoo’s fate (minor). Mahler alternates “Ablösung” with dances: first, a gigue-like idea and then a polka, growing from motives deep within the cuckoo’s melody. Mahler builds intensity before the orchestra descends chromatically, representing the cuckoo’s death before the nightingale sings. Near the scherzo’s end, the muted trumpet introduces a calm, pastoral interlude with a post horn’s lilting shepherd dance. In a memorable passage, the post horn is joined by four softly playing French horns. Mahler returns to the “Ablösung” for a last time preceding a brass recitative and fanfare.
FOURTH MOVEMENT The fourth movement introduces a soft human voice as Mahler sets the “Mitternachtslied” (“Midnight Song”) of Nietzsche’s Also sprach Zarathustra for contralto. This powerful setting sounds almost like a sensuous nocturne. Mahler inserts, almost as a refrain, “O Mensch!”
136
Grand Teton Music Festival | SUMMER 2018
(“O humankind!”). Short phrases from the text alternate with long pauses. Toward the movement’s end, at the words “all joys desire eternity,” the music briefly becomes lyrical. Low strings create a rocking feeling, punctuated occasionally by the harp. The fourth movement transitions directly into the fifth without break.
FIFTH MOVEMENT In the brief fifth movement, Mahler journeys from the sounds of midnight to the brightness of the angels and the bells of morning, taking another text from Des Knaben Wunderhorn, “Es sungen drei Engel” (“Three Angels Were Singing”), and adding “Du sollst ja nicht weinen” (“But you should not cry”)—Mahler’s own words. A women’s chorus sings a major portion, although the soloist returns. A children’s chorus, which first imitates the ringing of bells (“bimm, bamm”) joins later to enunciate, “Liebe nur Gott” (“Love God only”). For a while, the music’s peacefulness becomes less certain as orchestral dissonances and ominous sounds become evident. Perhaps because the angels feel certain of salvation, a major tonality and bell-like sounds return. This movement, in which the violins are silent, is connected to the sixth and final movement without pause.
SIXTH MOVEMENT The large-scale spiritual and lyrical final movement presents calmness and serenity. For Mahler it represents: “The peak, the highest level from which one can view the world … I could almost call the movement ‘What God Tells Me,’
in the sense that God can only be comprehended as Love. And so my work is a musical poem embracing all stages of development in progressive order. It begins with inanimate Nature and rises to the love of God!” From a quiet beginning, the protracted, poignant melodic theme slowly ascends. The last section begins with a flute’s variation of part of the main theme; offstage trumpets and trombones respond with a chorale. Finally, a cluster of climaxes bring this colorful movement to its powerful, jubilant conclusion with thundering timpani, ending as Mahler directed: “not with brute force [but] with rich, noble tone.” He reflected, “If a composer has forced on his listeners the feelings which overwhelmed him, then he has achieved his objective.”
“Kelley O’Connor proved a sort of musical oracle, enunciating lines as dusky and profound as they were beautiful.” – THE CLEVELAND PLAIN DEALER
FESTIVAL ORCHESTRA
Artist Biographies Kelley O’Connor MEZZO-SOPRANO
Sellars fully-staged production, under the batons of Gustavo Dudamel and Grant Gershon. She continues to be the eminent living interpreter of Peter Lieberson’s Neruda Songs.
During the 2017–18 season, the artist’s impressive symphonic calendar includes performances of Bernstein’s “Jeremiah” Symphony with Alan Gilbert and the New York Philharmonic, and with Jahja Ling and the San Diego Symphony. She returns to the stage of the Kennedy Center for performances of John Adams’ The Gospel According to the Other Mary, marking her first collaboration with Gianandrea Noseda. Ms. O’Connor gives the world premiere of a song cycle by Bryce Dessner at Carnegie Hall with Robert Spano leading the Orchestra of St. Luke’s and, later in the season, joins Robert Spano and the Atlanta Symphony Orchestra for the world premiere of a new work written for her by Michael Kurth.
With Christoph Eschenbach and the National Symphony Orchestra, Ms. O’Connor has sung excerpts from Roussel’s Padmâvatî and given the world premiere of a vocal work written for her by legendary Indian musician Zakir Hussain.
John Adams wrote the title role of The Gospel According to the Other Mary for Ms. O’Connor and she has performed the work, both in concert and in the Peter
With the Atlanta Symphony Orchestra, Ms. O’Connor joined Robert Spano for performances and a Grammy Award-winning recording of Ainadamar.
Ms. O’Connor has received unanimous international critical acclaim for her numerous performances as Federico García Lorca in Osvaldo Golijov’s Ainadamar. She created the role for the world premiere at Tanglewood, under the baton of Robert Spano, and subsequently joined Miguel Harth-Bedoya for performances of Golijov’s piece with the Los Angeles Philharmonic at the Walt Disney Concert Hall.
GTMF.ORG | Season
57
W E EK SIX
Possessing a voice of uncommon allure, Grammy Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation.
137
W E EK SIX
Women of the Utah Symphony Chorus
Barlow Bradford
Shortly after Maurice Abravanel began his famed association with the Utah Symphony, he set about finding a group of singers that could undertake the great choral masterworks with the orchestra. Mr. Abravanel turned to the University of Utah Music Department Chairman President Leroy J. Robertson, who agreed to let him use the University’s choirs to perform with the Symphony. Their first joint venture was Beethoven’s Ninth Symphony, performed on March 13, 1948 in the Salt Lake Tabernacle, with choirs prepared by John Marlowe Nielson. Since then, the relationship between the Chorus and the Symphony has flourished.
Over the course of his extraordinary musical career, Dr. Barlow Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, he co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim and award-winning recordings.
Over the years, the name of the Chorus has changed from The University Chorale to The University Civic Chorale, The Utah Chorale, and—finally—the Utah Symphony Chorus. John Marlowe Nielson (1948–62) was succeeded by Dr. Newell B. Weight (1962–82) as Music Director of the Chorus, followed by Dr. Edgar J. Thompson (1982–2003); Dr. Susanne Sheston (2004–13); and Dr. Barlow Bradford (2013–present). The chorus has sung under the baton of Utah Symphony Music Directors Maurice Abravanel, Varujan Kojian, Joseph Silverstein, Keith Lockhart, and Thierry Fischer, as well as numerous guest conductors including Robert Shaw, Stanisław Skrowaczewski, and many others. The Utah Symphony Chorus performs several concerts each season with the Utah Symphony, including choral masterworks, pops concerts, and the annual Messiah Sing-In.
138
Grand Teton Music Festival | SUMMER 2018
DIRECTOR
Utah Chamber Artists was featured on NPR’s The First Art, and performed with the Boston Pops and Utah Symphony. Under Dr. Bradford’s baton, Utah Chamber Artists also toured Israel with the Israel Chamber Orchestra and joined the Mormon Tabernacle Choir on their national television broadcast. His energetic conducting style led to his appointment as music director of the Orchestra at Temple Square in Salt Lake City and associate director of the Mormon Tabernacle Choir. Many of Dr. Bradford’s arrangements have been recorded by the Mormon Tabernacle Choir and performed regularly by ensembles such as the Dallas Symphony Chorus and the New York Choral Artists. As a teacher, Dr. Bradford taught courses in music theory, conducting, arranging, composition, private piano, and organ at the University of Utah and Brigham Young University–Hawaii. He received his doctorate of musical arts from the University of Southern California, studied conducting at the Aspen and Tanglewood music festivals, and received a Bachelor of Music in piano performance from the University of Utah. His teachers and mentors include Gustav Meier and Daniel Lewis.
Madeleine Choir School Children’s Chorus
Melanie Malinka
Located in Salt Lake City, the Madeleine Choir School (MCS) offers students strong character formation and a holistic approach to exceptional age-appropriate learning. Modeled after the historic cathedral schools in Europe, the Choir School music curriculum is unmatched, providing outstanding instruction in the humanities, mathematics, and the sciences as well as foreign languages, visual arts, theology, and athletics. Students graduate from MCS having received an exceptional music education, including intensive vocal training, music theory, music history, and a minimum of two years of violin study.
Melanie Malinka is a native of Stuttgart, Germany and has served as Director of Music at The Madeleine Choir School in Salt Lake City, UT since 2001. In this position, Ms. Malinka oversees the school’s rigorous choral program and leads preparations of the choristers for their extensive concert season, regular service commitments, international tours, and engagements with leading local arts organizations including Utah Symphony/Utah Opera. She regularly conducts the Cathedral Choir of The Cathedral of the Madeleine and has served as interim chorus master for several opera productions of the Utah Opera. She also regularly serves as guest conductor at youth choral festivals around the country, including Pueri Cantores festivals and the Notre Dame Children’s Choir Community Festival.
MCS is an elementary school for children in prekindergarten through grade eight. Established in 1996, the school continues the cathedral tradition of inspiring young people to become engaged scholars, effective communicators, dedicated liturgical musicians, and responsible world citizens who seek to build a civilization of justice, mercy, and love.
In addition, Ms. Malinka maintains a private voice studio focusing on boy sopranos and young adolescent voices. Ms. Malinka received a Bachelor of Music in voice performance from Westminster Choir College of Rider University in Princeton, NJ and a Master of Music in choral conducting from the University of Utah, where she studied with Dr. Barlow Bradford.
GTMF.ORG | Season
W E EK SIX
The choristers regularly assist with worship life at The Cathedral of the Madeleine and participate in the Annual Concert Series. During the academic year, they can be heard at the Cathedral’s weekday mass, and on Sundays at the 11AM mass. The students travel on international and national performance tours, and regularly collaborate with the Utah Symphony/ Utah Opera and other local arts organizations. The Choristers of MCS were honored to partner with the Utah Symphony on their recently released recording of Gustav Mahler’s Eighth Symphony, also featuring the Mormon Tabernacle Choir.
DIRECTOR
57
139
Gallatin Wealth Management Family / Strategy / Consultancy / Investment Advisory
A Private Multi-Family Office
The GTMF Administrative Has Moved Serving families of wealth since 2005 Laurent Roux lroux@gallatinwealthmgnt.com www.gallatinwealthmgnt.com
OUR NEW ADDRESS IS
W E EK SIX
175 South King Street Suite 200 PO Box 9117 Jackson, WY 83002 The Grand Teton Music Festival administrative office has relocated to the town of Jackson. The new office boasts a rehearsal studio and board room, both of which are available for community use.
The rehearsal studio piano is made possible by Gainor and Joe Bennett.
140
Grand Teton Music Festival | SUMMER 2018
Festival Orchestra Roster FRIDAY, AUGUST 10 & SATURDAY, AUGUST 11
Violin I
William Preucil Jennifer Ross Marta Krechkovsky Dennis O’Boyle Katherine Palyga Barbara Scowcroft Holly Mulcahy Jennifer Thompson Jay Christy Mary Corbett Sarah Schwartz Ikuko Takahashi Karen Kinzie Olga Shpitko Scott Mozlin
Violin II
Eunice Keem Yi Zhao Elizabeth Phelps Ling Ling Huang Chunyi Lu Anastasia Sukhopara Heather Kurzbauer Susanne Park Marina Brubaker Rebekah Johnson Sha Dmitri Lazarescu Jennifer Gordon Levin
Viola
Joel Noyes Christopher French David Garrett Stephen Balderston Judith McIntyre Galecki David Schepps Amy Leung Charae Krueger Thalia Moore Krisanthy Desby
Bass
Andrew Raciti Gordon Hill Richard Barber Corbin Johnston Sidney King Wilbur ‘Skip’ Edwards Fred Bretschger Susan Cahill
Flute
Christina Smith Carole Bean Caitlin Valovick-Moore Stephanie Mortimore
Piccolo
Stephanie Mortimore Caitlin Valovick-Moore Carole Bean Christina Smith
Oboe
Elizabeth Koch Tiscione Elizabeth Priestly Siffert Emily Brebach Lissa Stolz
English Horn Lissa Stolz
Clarinet
Gregory Raden Thomas LeGrand Shannon Orme Lee Livengood
Bass Trombone Jared Rodin
Tuba
Craig Knox
E-Flat Clarinet
Timpani
Bass Clarinet
Percussion
Victoria Luperi Lee Livengood
Shannon Orme
Bassoon
Andrew Brady Sharon Kuster Juan de Gomar Steven Braunstein
Contrabassoon Steven Braunstein
Horn
Gail Williams Robert Lauver Nancy Goodearl Gabrielle Webster Karl Pituch Matthew Annin Joshua Phillips Adam Unsworth Shelby Nugent
Edward Stephan Kenneth Every Richard Brown John Kinzie Brian Prechtl Matthew Strauss Wiley Arnold Sykes
Harp
Elisabeth Remy Johnson Matthew Tutsky
Librarian Robert Stiles
Names in bold indicate principal chair All rosters are subject to change
Trumpet
W E EK SIX
Susan Gulkis Assadi Brant Bayless Paul Murphy Yang-Yoon Kim Lucina Horner Kristen Linfante Rachel Swedlow Anna Kruger Phillip Stevens Whittney Thomas Leslie Richards
Cello
Thomas Hooten Hunter Eberly Charles Daval Jennifer Marotta
Trombone
Michael Mulcahy David Binder Jay Evans
GTMF.ORG | Season
57
141
LUBING LAW GROUP, LLC CIVIL LITIGATION, BUSINESS AND REAL ESTATE TRANSACTIONS PROVIDING PROFESSIONAL AND RESPONSIVE LEGAL REPRESENTATION THROUGHOUT THE INTERMOUNTAIN WEST SINCE 1985 ATTORNEYS LICENSED TO PRACTICE IN WYOMING, MONTANA AND IDAHO
W E EK SIX
WWW.LUBINGLAWGROUP.COM 307-733-7242 350 E BROADWAY ST., JACKSON, WY 83001 PO BOX 3894
142
Grand Teton Music Festival | SUMMER 2018
FE ATURI NG
Dover Quartet A Broadway Revue West Side Story GTMF Presents
Dover Quartet August 14 at 8PM
Free Family Concert
GTMF Woodwind Quintet August 15 at 2PM Teton County Library, Jackson
W E EK SIX
Closing Week
PICTURED: MEECHOT MARRERO
GTMF Presents
A Broadway Revue August 15 at 8PM
Chamber Music with
Soprano Meechot Marrero August 16 at 8PM
Festival Orchestra
West Side Story
August 17 at 8PM & August 18 at 6PM GTMF.ORG | Season
57
143
GTMF Presents
Dover Quartet TUESDAY, AUGUST 14 AT 8PM
Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello
Mendelssohn from Four Pieces for String Quartet, op. 81 (1843–1847) (1809–1847) I. Tema con variazioni: Andante II. Scherzo: Allegro leggiero
10’
Laks String Quartet No. 3 “On Polish Folk Themes” (1945) (1901–1983) Allegro quasi presto Poco lento—Sostenuto Vivace non troppo Allegro moderato—Guisto
20’
INTERMISSION
CLOS IN G W E EK
Dvořák String Quartet No. 14 in A-flat major, op. 105 (1895) (1841–1904) Adagio ma non troppo Molto vivace Lento e molto cantabile Allegro non tanto
Sponsored by Dean & Carol Spatz
144
Grand Teton Music Festival | SUMMER 2018
39’
“With their exceptional interpretative maturity, tonal refinement, and taut ensemble, the Dover Quartet is pulling away from their peers.” – THE STRAD
Dover Quartet The phenomenal Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff Competition. Recently named the Cleveland Quartet Award winner, and awarded the coveted Avery Fisher Career Grant, the Dover Quartet has become one of the most in-demand ensembles in the world. The Quartet serves as the Quartet-in-Residence for the Bienen School of Music at Northwestern University.
founding violist, Michael Tree, joined the Quartet on the recording. In addition, the group undertook three complete Beethoven quartet cycles, including the University at Buffalo’s famous “Slee Cycle,” which has featured the likes of the Budapest, Guarneri, and Cleveland Quartets. A five-city US tour with bassistcomposer Edgar Meyer, a tour of the West Coast with mandolinist Avi Avital, and a European tour rounded out the Quartet’s season.
In 2017–18 the Dover Quartet opens the season with performances for Texas Performing Arts, Chamber Music Houston, and Performance Santa Fe before appearing for the Kennedy Center, Philadelphia Chamber Music Society, Library of Congress, and throughout North America and Europe. The Quartet will perform together with superstar violinist Janine Jansen and pianist Jean-Yves Thibaudet in Carnegie Hall’s Stern Auditorium, and will also continue multi-year residencies for the Walton Arts Center’s Artosphere, the Peoples’ Symphony, and the Amelia Island Chamber Music Festival.
The Dover Quartet’s members studied at the Curtis Institute of Music and Rice University’s Shepherd School of Music, where they were mentored extensively by Shmuel Ashkenasi, James Dunham, Norman Fischer, Kenneth Goldsmith, Joseph Silverstein, Arnold Steinhardt, Michael Tree, and Peter Wiley. It was at Curtis that the Quartet first formed and its name pays tribute to Dover Beach, a piece by fellow Curtis alumnus Samuel Barber.
GTMF.ORG | Season
CLO SIN G WE E K
The 2016–17 season saw the release of the Dover Quartet’s all-Mozart debut recording, a nod to the 1965 debut album of the Guarneri Quartet—whose
The Dover Quartet is dedicated to sharing its music with under-served communities and is actively involved with Music for Food, an initiative enabling musicians to raise resources and awareness in the fight against hunger.
57
145
GTMF Presents
A Broadway Revue WEDNESDAY, AUGUST 15 AT 8PM Karen Kinzie, violin Ling Ling Huang, violin Lucina Horner, viola Amy Leung, cello
Marty Camino, bass Pam Phillips, piano Richard Brown, drums
Lerner/Lowe (1918–1986/1901–1988)
Almost Like Being in Love from Brigadoon (1947) 2’
Lerner/Lowe
If Ever I Would Leave You from Camelot (1960)
Andrew Lloyd Webber (b. 1948)
The Phantom of the Opera from The Phantom of the Opera (1986) 4’
Lerner/Lowe
C’est Moi from Camelot (1960)
Schönberg/Boublil (b. 1944/b. 1941)
I Dreamed a Dream from Les Misérables (1980) 4’
Schmidt/Jones (b. 1929/b. 1928)
Try to Remember from The Fantasticks (1960) 3’
Lerner/Lowe
I’ve Grown Accustomed to Her Face from My Fair Lady (1956)
Lerner/Lowe
On the Street Where You Live from My Fair Lady (1956)
Stephen Sondheim (b. 1930)
The Miller’s Son from A Little Night Music (1973)
Norman Reinhardt Tobias Greenhalgh Kristin Clayton Norman Reinhardt 4’
Ben Edquist Renée Tatum Jeff Smith 3’
Brian James Myer 3’
Jonny Stein 4’
Renée Tatum
Rodgers/Hammerstein (1902–1979/1895–1960)
Soliloquy from Carousel (1945)
Webber/Rice (b. 1948/b. 1944)
Don’t Cry for Me Argentina from Evita (1978)
7’
Theo Hoffman Meechot Marrero
CLOS IN G W E EK
INTERMISSION
146
3’
Grand Teton Music Festival | SUMMER 2018
5’
View artist biographies on page 156.
Loesser (1910–1969)
Fugue for Tin Horns from Guys and Dolls (1950)
2’
Jeff Smith Jonny Stein Brian James Myer Theo Hoffman Joseph Lattanzi
Harburg/Arlen (1896–1981/1905–1986)
Over the Rainbow from The Wizard of Oz (1939)
Schönberg/Boublil
Bring Him Home from Les Misérables (1980)
Robert David Grusin (b. 1934)
Stuff Like That There from For the Boys (1991)
Stephen Schwartz (b. 1948)
Corner of the Sky from Pippin (1972)
Rodgers/Hammerstein
Some Enchanted Evening from South Pacific (1949)
Jerry Herman (b. 1931)
Before The Parade Passes By from Hello, Dolly! (1964) 5’
Leslie Bricusse/Newley (b. 1931/1931–1999)
What Kind of Fool Am I from Stop the World—I Want to Get Off (1961) 5’
Leigh/Darion (1928–2014/1917–2001)
The Impossible Dream from Man of La Mancha (1964) 2’
Andrew Lloyd Webber
All I Ask of You from Phantom of the Opera (1986)
Loesser (1910–1969)
Guys and Dolls from Guys and Dolls (1950)
Dana Beth Miller 4’
Jeff Smith 3’
Kristin Clayton 3’
Jonny Stein 3’
Ben Edquist Gabrielle McClinton Joseph Lattanzi Theo Hoffman 5’
Kristin Clayton Joseph Lattanzi 3’
Jeff Smith Ben Edquist All That Jazz from Chicago (1975) 6’ Dana Beth Miller
GTMF.ORG | Season
57
CLO SIN G WE E K
Kander/Ebb (b.1927/1928–2004)
3’
147
CLOS IN G W E EK 148
Grand Teton Music Festival | SUMMER 2018
Chamber Music with
Soprano Meechot Marrero
View biography for Meechot Marrero on page 156.
THURSDAY, AUGUST 16 AT 8PM
Campos Parsi Canciones de Cielo y Agua, op. 1 (1947) (1922–1998) Los signos en el cielo El aguacero El arroyo Meechot Marrero, soprano Adelle Eslinger Runnicles, piano
10’
Prokofiev Sonata for Two Violins in C major, op. 56 (1932) (1891–1953) Andante cantabile Allegro Comodo (quasi allegretto) Allegro con brio Eunice Keem, violin Ling Ling Huang, violin
15’
Beethoven Seven Variations for Cello and Piano on “Bei Männern welche (1770–1827) Liebe fühlen” from The Magic Flute, WoO. 46 (1801)
9’
Webern Drei Kleine Stücke, op. 11 (1914) (1883–1945) Mäßige Sehr bewegt Äußerst ruhig Joel Noyes, cello Donald Runnicles, piano
3’
Strauss (1864–1949) (arr. Hasenöhrl)
Till Eulenspiegel, einmal anders! (1894–1895; 1954)
10’
Gregory Raden, clarinet Andrew Brady, bassoon Gail Williams, horn Jonathan Crow, violin Andrew Raciti, bass
INTERMISSION 33’
CLO SIN G WE E K
Brahms Piano Trio No. 1 in B major, op. 8 (1854; 1889) (1833–1897) Allegro con brio—Tranquillo—In tempo ma sempre sostenuto Scherzo: Allegro molto—Meno allegro Adagio Finale: Allegro Anastasia Sukhopara, violin Christopher French, cello Scott Holshouser, piano Soprano Meechot Marrero sponsored by Suzanne Salzmann
GTMF.ORG | Season
57
149
Festival Orchestra
West Side Story
FRIDAY, AUGUST 17 AT 8PM & SATURDAY, AUGUST 18 AT 6PM
Book by Arthur Laurents
Music by Leonard Bernstein
Lyrics by Stephen Sondheim
Original Production and Concept by Jerome Robbins Directed by David Lefkowich Conducted by Donald Runnicles Cast Maria.......................................................................................Meechot Marrero Tony......................................................................................Norman Reinhardt Anita.................................................................................. Gabrielle McClinton Riff........................................................................................Tobias Greenhalgh Bernardo.......................................................................................... Ben Edquist Rosalia.....................................................................................Dana Beth Miller Francisca.........................................................................................RenĂŠe Tatum Consuelo.................................................................................... Kristin Clayton Action..................................................................................................Jeff Smith Baby John..........................................................................................Jonny Stein Big Deal/Snowboy................................................................. Brian James Myer A-rab............................................................................................Theo Hoffman Diesel......................................................................................... Joseph Lattanzi Officer Krupke..............................................................................Andrew Munz Sharks............................................................................................ Katie Bertsch Kirsten Farney Linda Kaunitz Sarah Lamb Elizabeth Stromberg Cody Carlson Zachary Earl Mason MacDermaid Brennon Nelson Kort Zarbock
CLOS IN G W E EK
Join us for a Preconcert Talk hosted by Conductor Michael Griffith prior to these performances. Details on page 21.
150
Maestro Donald Runnicles sponsored by Sylvia Neil & Dan Fischel Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Production sponsored by Frances & Allan Tessler Performances sponsored by John Caddell and the Caddell Foundation and Jack & Carole Nunn Closing Night Stage Party sponsored by Fine Dining Restaurant Group
Grand Teton Music Festival | SUMMER 2018
ACT I Scene: The Neighborhood 1 Prologue (Instrumental) 2 Jet Song (Riff and Jets) Scene: A Back Yard 3 Something’s Coming (Tony) Scene: Dance at the Gym 4 Blues (Instrumental) 4a Promenade (Instrumental) 4b Mambo (Instrumental) 4c Cha-Cha (Instrumental) 4d Meeting Scene (Maria and Tony) 4e Jump (Instrumental) 5 Maria (Tony)
Musical Numbers
Scene: A Back Alley 6 Balcony Scene (Maria and Tony) 6a Only You (Maria and Tony) 7 America (Anita, Rosalia, and Shark Girls) Scene: The Drugstore 8 Cool (Riff and Jets) Scene: The Bridal Shop 9 One Hand, One Heart (Tony and Maria) Scene: The Neighborhood 10 Tonight (Maria, Tony, Anita, Riff, Bernardo, Jets, and Sharks) Scene: Under The Highway 11 The Rumble (Instrumental)
ACT II Scene: Maria’s Bedroom 12 I Feel Pretty (Maria, Francisca, Rosalia, and Consuelo) 13 Ballet Sequence (Tony and Maria) 13a Scherzo (Instrumental) 13b Somewhere (Instrumental) 13c Procession and Nightmare (Tony, Maria, and Entire Company) Scene: Another Alley 14 Gee, Officer Krupke (Action, Officer Krupke, and Jets)
CLO SIN G WE E K
Scene: Maria’s Bedroom 15 A Boy Like That (Maria and Anita) 15a I Have a Love (Maria and Anita) Scene: The Drugstore 16 Taunting Scene (Instrumental) Scene: The Neighborhood 17 Finale (Maria and Tony) GTMF.ORG | Season
57
151
Program Notes Born: August 25, 1918 in Lawrence, Massachusetts Died: October 14, 1990 in New York City, New York Duration: 85 minutes Composition: 1955–1957 Premiere: August 19, 1957 with the National Theater in Washington, DC. The Broadway performance opened September 26, 1957. The film premiered October 18, 1961 in New York. Instrumentation: Piccolo, three flutes, oboe, English horn, clarinet, E-flat clarinet, bass clarinet, bassoon, alto saxophone, tenor saxophone, baritone saxophone, two horns, three trumpets, two trombones, timpani, drum set, vibraphone, pitched drums, xylophone, bongos, cowbells, conga, timbales, snare drum, police whistle, gourd, suspended cymbals, castanets, maracas, finger cymbals, tambourines, small maracas, glockenspiel, woodblock, claves, triangle, temple blocks, chimes, tam-tam, ratchet, slide whistle, piano, electric guitar, Spanish guitar, mandolin, and strings
CLOS IN G W E EK
Photo of the balcony scene from West Side Story in 1957, featuring Larry Kert as Tony and Carol Lawrence as Maria. © Fred Fehl
152
Leonard Bernstein WEST SIDE STORY
Grand Teton Music Festival | SUMMER 2018
Leonard Bernstein was one of the 20th century’s most exemplary musicians, a rare genius who excelled at performing, composing, conducting, and teaching. The first of his Broadway musicals, On the Town, was a hit of the 1944 season, when he was only 26 years old. His next two musicals were Wonderful Town (1953) and Candide (1956). In 1949, the choreographer Jerome Robbins suggested to Bernstein and playwright Arthur Laurents that Bernstein should compose a “serious” musical: specifically, a musical converting Shakespeare’s Romeo and Juliet
into a contemporary American theatrical work. This idea inspired West Side Story, a project that Bernstein initially reacted to with apprehensiveness. Eight years later, when West Side Story was complete, it began its journey to becoming a celebrated and revered contemporary classic. West Side Story succeeded in revolutionizing the American musical, joining classical compositional procedures and popular melodies and rhythms together with dramatic narrative. Bernstein liked Robbins’ idea, which he originally thought might be entitled East Side Story, and which, in its first form, was to be set on New York’s Lower East Side during the Easter Passover season, with Juliet as a Jewish girl and Romeo as an ItalianAmerican Catholic. For the next six years, the idea languished as Bernstein became heavily preoccupied with conducting. Then, Laurents and Bernstein read several news articles about Chicano street riots in Los Angeles and decided that the warfare of rival White and Hispanic street gangs on the Upper West Side of New York City could be a more successful foundation for the updated Romeo and Juliet plot (the predominant Hispanic population of New York at that time was Puerto Rican). The idea triggered Bernstein’s imagination and he quickly built up enthusiasm and excitement about the new concept: “I hear rhythms and pulses and—most of all—I can sort of feel the form.”
With a firm grasp on every part of the creation, Bernstein gave the work the unity and cohesion of an opera—not only dramatically and melodically, but also in the conception of the music. One example is frequently noted: creating very different songs, he employed the same melodic interval, the tritone, referred to as Diabolus in music (the Devil in music). This extremely dissonant interval was taboo for centuries, considered dangerous and actually forbidden in church music. Bernstein was inspired to write both the perilous and threatening music of the Prologue and the music of the endearing love song “Maria,” using the tritone to aid in creating musical thematic unity. The interval has an unstable, rootless feel, making it a perfect fit for the rocky relationship between Tony and Maria and the unstable nature of the Jets and Sharks. Bernstein boldly used it to begin a love song, and perhaps even more
audaciously (and brilliantly) used it in many places throughout the score to signify mounting tensions between the two rival gangs.
Based on an ancient story that is best known as Shakespeare told it, West Side Story is the tale of a young boy and girl whose love is thwarted by the enmity of the people around them. In West Side Story, direct thematic parallels to Romeo and Juliet are abundant. The feuding families of Shakespeare’s play, the Montagues and the Capulets, are transformed into two rival street gangs, the Jets and the Sharks, and the action is transferred from the streets of Verona, Italy to Manhattan’s west side. Maria, Juliet’s counterpart, and Tony, Romeo’s counterpart, meet and immediately fall in love. Bernardo, Maria’s brother (who parallels Tybalt), kills Tony’s best friend, Riff (who is the Mercutio figure). Tony takes revenge by murdering Bernardo—then tragically dies in Maria’s arms. Rhythm—in particular constantly changing meters—became one of the most important elements of Bernstein’s music; he employed it to accentuate the Hispanic background of the Puerto Rican Sharks. Dance forms, such as the mambo and cha-cha, are used in tandem with distinctly “American” musical genres such as the blues. When West Side Story opened on Broadway, after two difficult years of rewriting and getting financing, reviews were mixed— ranging from passionate raves to angry protests about the depiction of gang warfare, despair, and prejudice as well as the near-record number of killings the musical contained. Many, however, declared it a landmark in American theater and a major leap toward a new, original kind GTMF.ORG | Season
57
CLO SIN G WE E K
Bernstein immediately set to work, seamlessly joining melodic, harmonic, and rhythmic styles encompassing swing, bop, cool jazz, Latin music, ballads, and jive. With his singular gift for
composing in a novel, purely American way, he fused classical and popular music into a powerful musical whole, which—joined by his unique dramatic authenticity— would create a new American genre somewhere between the traditional musical and opera. Bernstein’s first choice for lyricists was the team of Betty Comden and Adolf Green, but the duo was under contract in Hollywood. Laurents knew a possible lyricist, the 25-year-old Stephen Sondheim, and suggested he audition for Bernstein. Sondheim was engaged to write the lyrics, and the work began to take shape. Typically the composer of a musical did not usually write the dance music, but Bernstein decided to tackle all the dances, displaying his expressive control.
153
of theatrical conception. Bernstein had speculated much earlier that a genuine, indigenous form of serious American musical theater would eventually grow from what had been understood as musical comedy and that it would embrace elements of European stage traditions.
CLOS IN G W E EK
Soon after the premiere, Bernstein wrote about the lengthy gestation between the show’s original conception and its completion. Part of his “agony” was the decision “not to cast ‘singers.’” Sounding more professional would inevitably sound more experienced, and Bernstein feared that the “kid” quality would vanish. Regardless, Bernstein did successfully include some very strong operatic moments for his singers. One is Anita and Maria’s duet, “A Boy Like That/I Have a Love.” Bernstein made one song
154
Grand Teton Music Festival | SUMMER 2018
evolve from another, allowing Anita’s protests against the killings metamorphose into Maria’s eloquent expression of love, using the same note and nearly the same rhythm.
Bernstein derived another significant operatic device from Wagner’s use of the leitmotif (a melodic phrase or figure that accompanies the reappearance of an idea, person, or situation) as a dramatic unifier; his use of the tritone, beginning in the Prologue, repeats throughout the work in an emblematic way. Bernstein eagerly infused classical music techniques too, especially injecting a fugue in “Cool” and thus embedding a difficult classical form into vernacular music. From America, Bernstein drew the many idiomatic jazz and Latin figurations he used. Although he conceived of Broadway musicals
evolving into a distinctive American opera, he did not abandon the structural elements of earlier Broadway shows. He did, however, introduce innovative features in West Side Story: he incorporated more dance than any musical, and he also included more violence, including deaths onstage at the end of each act.
West Side Story was nominated for six Tony Awards in 1957; in the Best Musical category, it lost to Meredith Wilson’s The Music Man. The 1961 film adaptation— starring Natalie Wood, Richard Beymer, and Rita Moreno—won 10 of its 11 Oscar nominations including the Academy Award for Best Picture.
Program notes by Susan Halpern © Susan Halpern 2018
“First Republic gave us a loan in 1990 to build the home we still live in today. In all that time, the service hasn’t wavered.” K e n J o n e s , Chairman, Sea Hawk Capital s i g n e K i m L au r i d s e n -J o n e s , Attorney
CLO SIN G WE E K
Opening December 2018 at 545 West Broadway, Jackson (855) 886-4824 | firstrepublic.com | New York Stock Exchange symbol: FRC MEMbER FDIC aND Equal HouSINg lENDER
GTMF.ORG | Season
57
155
“A revelation … a young Puerto Rican star with a great career ahead.” – EL NUEVO DÍA
FESTIVAL ORCHESTRA
Artist Biographies Meechot Marrero MARIA
CLOS IN G W E EK
Puerto Rican soprano Meechot Marrero is a recent master’s degree recipient of the Yale School of Music and joined the Deutsche Oper Berlin ensemble after being awarded the American-Berlin Scholarship from the Opera Foundation. At Deutsche Oper Berlin, Ms. Marrero performed the roles of Frasquita in Carmen; Giannetta in L’elisir d’amore; Papagena in Die Zauberflöte; Belinda in Purcell’s Dido and Aeneas; and Bianca and Gabriela in La Rondine. At the Savannah Voice Festival during the 2016–17 season she performed as Juliette in Romeo and Juliet.
156
Ms. Marrero has also performed extensively in Puerto Rico, with the Festival Casals as Trujamán in de Falla’s El retablo del Maese Pedro; Despina in Così fan tutte with the Teatro de la Opera; and Fiordiligi in Così fan tutte at the Conservatorio de Música de Puerto Rico. Concert engagements have included soprano soloist with the Festival Casals in Menotti’s Muero porque no muero; de Falla’s Siete Canciones Populares Españolas; Villa-Lobos’ Bachianas Brasileiras Grand Teton Music Festival | SUMMER 2018
No. 5; and Mendelssohn’s A Midsummer Night’s Dream with the Orquesta Sinfónica de Puerto Rico. Professionally and during her education at Yale School of Music, Ms. Marrero performed Tytania in Britten’s A Midsummer Night’s Dream; Lauretta in Gianni Schicchi; and Susanna in Le nozze di Figaro with Yale Opera. She also performed as Despina in Così fan tutte and as Zerlina in Don Giovanni with the Savannah Voice Festival; Norina in Don Pasquale at Opera in Williamsburg; and Mimi in La bohème with the Savannah Philharmonic. A native of Corozol, Puerto Rico, Ms. Marrero is the recipient of the Phyllis Curtin Career Entry Prize from the Yale School of Music. She began her musical studies with the San Juan Children’s Choir, and after completing a Bachelor of Science in molecular biology at the University of Puerto Rico, received further training from the Puerto Rico Music Conservatory and Yale Opera at the Yale School of Music.
“Norman Reinhardt is merely magnificent… arguably a definitive Lensky. His glorious tenor never sounded more mellow, graceful or sincere.” – HOUSTON CHRONICLE
Norman Reinhardt TONY
Norman Reinhardt continues to enjoy a growing reputation on both sides of the Atlantic in the lyric and bel canto repertoire.
Current season highlights include role debuts as Belmonte (Die Entführung aus dem Serail) at Semperoper Dresden and as Robert, Earl of Leicester (Maria Stuarda) at Theater an der Wien. Norman Reinhardt works with some of the world’s leading conductors and stage directors including James Conlon, Jesús López Cobos, Laurent Pelly, Christoph Marthaler, and Jürgen Flimm. CLO SIN G WE E K
Since graduating from the Houston Grand Opera Studio, Mr. Reinhardt’s ongoing relationship with the company has included Ferrando (Così fan tutte), Bénédict (Béatrice et Bénédict), Lysander (A Midsummer Night’s Dream), Ernesto (Don Pasquale), Jacquino (Fidelio), and Cassio (Otello). As a member of the ensemble at Oper Leipzig he extended his repertoire to include Alfredo (La traviata), Lensky (Eugene Onegin), Conte Almaviva (Il barbiere di Siviglia), Don Ottavio (Don Giovanni), Tom Rakewell (The Rake’s Progress), and Tamino (Die Zauberflöte), all of which he performed under Ulf Schirmer.
Pollione (Norma) alongside Bartoli at both Théâtre des Champs-Élysées and at Festspielhaus Baden-Baden, and he returned to the Salzburg Whitsun Festival last season as Rodrigo di Dhu in La donna del lago, and as Lurcanio in Christoph Loy’s new production of Ariodante.
Norman Reinhardt made his debut at the Salzburg Whitsun Festival and at the Salzburg Festival as Tony (West Side Story) alongside Cecilia Bartoli and conducted by Gustavo Dudamel. He sang his first GTMF.ORG | Season
57
157
Gabrielle McClinton
Tobias Greenhalgh
After performing the role of Anita in the Houston Grand Opera’s 2018 production of West Side Story, Gabrielle McClinton is thrilled to reprise the role at the Grand Teton Musical Festival.
Baritone Tobias Greenhalgh is a versatile singer on the rise. This season, he joins the Glyndebourne Opera Tour for performances of Figaro in Il barbiere di Siviglia, Festival d’Aix-en-Provence for the title role in Dido and Aeneas, and returns to Theater an der Wien for Cecil in Maria Stuarda and Demetrius in A Midsummer Night’s Dream. He also returns to Palm Beach Opera as Maximilian in Candide, joins the Cecilia Chorus of New York in Smyth’s The Prison at Carnegie Hall, and sings a recital at Weill Recital Hall at Carnegie Hall. Upcoming engagements include Malatesta in Don Pasquale with Opéra national de Montpellier; his company and role debut as Don Giovanni with Virginia Opera; Falke in Die Fledermaus in a return to Palm Beach Opera; and further performances of Tom Joad in Gordon’s The Grapes of Wrath with Michigan Opera Theatre.
ANITA
Currently, you can catch Ms. McClinton on Broadway in the musical Chicago, where she plays Annie and understudies the role of Velma Kelly. She also understudied the role of the Leading Player in the 2013 Tony Award-winning musical Pippin. After covering the role for almost a year, she took over the role of the Leading Player for the First National Broadway touring company. Other roles include Whatsername in the First National Broadway tour of Green Day’s American Idiot, Molly in Peter and The Starcatcher at South Coast Repertory, and other roles at theaters including the Alliance, St. Louis Muny, Pittsburgh Civic Light Opera, and the Oregon Shakespeare Festival.
CLOS IN G W E EK
Ms. McClinton has performed in many readings and workshops in New York City under the direction of Jeff Calhoun, Charles Randolph Wright, Chris Messina, Joe Ricci, and Josh Rhodes. She has also guest starred on The Mentalist and has had roles in the films Fun Size and Won’t Back Down, starring Viola Davis and Maggie Gyllenhaal.
158
Originally from Los Angeles, CA, Ms. McClinton moved to Pittsburgh, PA, where she earned her BFA in music theater and acting from Carnegie Mellon School of Drama. She now resides in New York City. Grand Teton Music Festival | SUMMER 2018
RIFF
Last season, Mr. Greenhalgh sang Tom Joad in Gordon’s The Grapes of Wrath with Opera Theatre of Saint Louis; Belcore in L’elisir d’amore with the Orlando Philharmonic; and Sam in Pirates of Penzance with Palm Beach Opera. He also joined Charlottesville Opera for Jud Fry in Oklahoma!; Teatro São Pedro-São Paolo in Brazil for a gala concert; and sang with the Brooklyn Art Song Society for an all-German recital. Other recent performances include Ned Keene in Peter Grimes and Littore and Tribuno in L’incoronazione di Poppea at the Theater an der Wien; Escamillo in Carmen and the Father in Hänsel und Gretel at the Wiener Kammeroper; and Doctor Falke in Die Fledermaus at the Franz Lehár Festival in Bad Ischl, Austria.
Ben Edquist
Dana Beth Miller
American baritone Ben Edquist, a recent graduate of the distinguished Houston Grand Opera Studio, was named one of Opera Now’s “10 Young Opera Singers to Watch” in 2016. With Houston Grand Opera, Mr. Edquist originated the roles of Sir Walter Raleigh in Gregory Spears’ O Columbia and Edward Kynaston in Carlisle Floyd’s new opera Prince of Players.
Dana Beth Miller is rapidly establishing herself as one of the most promising and exciting dramatic mezzosopranos on the stage today. She has been engaged by the leading opera houses around the world including the Metropolitan Opera, Lyric Opera of Chicago, Deutsche Oper Berlin, San Francisco Opera, and Washington National Opera, among many others.
In the summer of 2017, Mr. Edquist returned to Wolf Trap Opera as a Filene Young Artist to perform the roles of William in The Fall of the House of Usher and the Father in The Juniper Tree. Following those performances, he returned to the Houston Grand Opera to perform Marchese d’Obigny in La traviata and the leading role of Older Thompson in Cipullo’s Glory Denied. Other highlights with the Houston Grand Opera included Belcore in L’elisir d’amore; the leading role of the Pilot in The Little Prince; Wagner in Faust; Jigger Craigin in Carousel; the Captain in Eugene Onegin; and Sciarrone in Tosca.
Ms. Miller opens her 2017–18 season as Santuzza in Cavalleria Rusticana with New Orleans Opera. She then makes her debut in the United Kingdom with the English National Opera as Amneris in a new production of Aïda at the London Coliseum. Her season continues with Erda in Das Rheingold at Arizona Opera, the mezzo-soprano soloist in the Verdi Requiem with the Oregon Symphony, and Dame Quickly in Falstaff with Opera Colorado.
BERNARDO
A native of Lake Jackson, TX, Ben Edquist received his Master of Music degree from Rice University and his Bachelor of Music degree from Vanderbilt University.
Last season, Ms. Miller performed with the National Taiwan Symphony as the contralto soloist in Mahler’s Das Lied von der Erde. She then made a critically acclaimed debut with Washington Concert Opera, in Washington, DC, in the title role of Massenet’s Hérodiade. Ms. Miller won first place in both the 2006 Classical Singer National Vocal Competition and the 2004 Jensen Foundation Voice Competition. She holds a Bachelor of Music degree in vocal performance from the University of North Texas College of Music. She continued her education with master’s studies at the Cincinnati Conservatory of Music and post-graduate work at the Academy of Vocal Arts in Philadelphia. GTMF.ORG | Season
57
CLO SIN G WE E K
Mr. Edquist made his Glimmerglass Festival Opera debut in 2014 as Jigger Craigin in Carousel, and returned to the festival the following season to perform Papageno in a new production of Die Zauberflöte. Other performances include Sid in Albert Herring with Rice University and Guglielmo in Così fan tutte with Vanderbilt Opera Theatre.
ROSALIA
159
Renée Tatum
Kristin Clayton
Noted for her “commanding and dramatic presence” by Opera News, mezzo-soprano Renée Tatum is rapidly gaining critical acclaim on the most prestigious opera stages in the United States. This season’s engagements include Flosshilde in Das Rheingold with Tanglewood Music Festival; Flosshilde in Das Rheingold and Götterdämmerung and Waltraute in Die Walküre with San Francisco Opera; Jenny in Threepenny Opera with Boston Lyric Opera; and Flower Maiden in Parsifal at the Metropolitan Opera. Ms. Tatum also performs Das Rheingold in concert with the New York Philharmonic at Lincoln Center.
American soprano Kristin Clayton has filled venues around the world for over two decades. Ms. Clayton created a sensation when she starred in the world premiere of Jake Heggie’s and Terrance McNally’s one-woman opera At the Statue of Venus for the grand opening of Denver’s Ellie Caulkins Opera House. She also debuted the leading role of Beatrice, opposite Frederica von Stade, in Jake Heggie’s opera Three Decembers, which he composed specifically for them.
FRANCISCA
A recent alumna of the Lindemann Young Artist Development Program, Ms. Tatum made her Metropolitan Opera debut as Inez in Il Trovatore, conducted by Marco Armiliato. Additional performances at the prestigious house include Second Lady in Die Zauberflöte conducted by Jane Glover; Second Woodsprite in Rusalka led by Yannick NézetSéguin; and Unborn in Die Frau ohne Schatten with Vladimir Jurowski.
CLOS IN G W E EK
Earlier in her career, Ms. Tatum was featured as Háta in Smetana’s The Bartered Bride in a new production by Stephen Wadsworth, and in the roles of Flosshilde and Grimgerde in San Francisco Opera’s cycle of The Ring, conducted by Donald Runnicles.
160
Ms. Tatum holds degrees from The Juilliard School and the Manhattan School of Music. Her discography includes releases of the Metropolitan Opera LIVE: in HD broadcasts of Otello and Rusalka, as well as Le grand macabre with the New York Philharmonic. Grand Teton Music Festival | SUMMER 2018
CONSUELO
Ms. Clayton has enjoyed a long relationship with the San Francisco Opera, starting with her 1994 debut singing Julie in the world premiere of Susa’s The Dangerous Liaisons. Her main stage performances at San Francisco Opera included singing the Young Babylonian in Massenet’s Herodiade with Placido Domingo and Renée Fleming. In 1995, she was the featured soprano in the United Nations 50th Anniversary Celebration Concert, performing for President Bill Clinton and the First Lady. Ms. Clayton’s orchestral engagements with the San Francisco Symphony have included a critically acclaimed tribute to Leonard Bernstein and a semi-staged revival of On the Town conducted by Michael Tilson Thomas. In San Diego, she sang a solo recital accompanied by Maestro Donald Runnicles, and in Santa Monica, Ms. Clayton performed a duet recital with Frederica von Stade to open Dustin Hoffman’s Broad Stage Theater. Ms. Clayton’s recent engagements include the role of Kitty Hart with Opera Parallele in Jake Heggie’s and Terrance McNally’s Dead Man Walking.
Jeff Smith
Jonny Stein
Based in New York, Jeff Smith is originally from Abilene, TX and studied music and acting at Texas Tech University. Some of his credits include the film Festivals of Patience; West Side Story (presented on national tour at the Hollywood Bowl with the Philadelphia Orchestra); On the Town at Marriott Theatre; First Date at Mason Street Warehouse; Show Boat at Asolo Repertory Theatre; Seven Brides for Seven Brothers at Ogunquit Playhouse; The Best Little Whorehouse in Texas at Theatre under the Stars; Cats at Gateway Playhouse; West Side Story at Paramount Theatre; and Man of La Mancha at the Arts Center of Coastal Carolina. He is also a director for The Network, NYC.
Jonny Stein most recently appeared in Newsies at the Marriott Theater in Chicago, IL. Other credits include Carousel with the Lyric Opera of Chicago; Mike in A Chorus Line at the Secret Theater; Baby John in West Side Story at the Paramount Theater; and Johnny Boyle in Juno at the Timeline Theater.
ACTION
BABY JOHN
CLO SIN G WE E K
GTMF.ORG | Season
57
161
Brian James Myer
Theo Hoffman
In 2018, Brian James Myer makes his Hawaii Symphony debut as baritone soloist in Carmina Burana, his Henderson Symphony debut as Maximilian in Candide, and rejoins Opera Las Vegas as Dandini in La Cenerentola. Mr. Myer’s 2017 activity included his debut with Opera Naples as Papageno in The Magic Flute; his debut with Hawaii Opera Theater as Le Dancaïre in Carmen; a return to Opera Orlando as Schaunard in La bohème; and his return to Opera San José as the Minister in the US premiere of Alma Deutscher’s Cinderella.
Theo Hoffman is quickly establishing himself as one of the most diverse classical artists of his generation. The baritone was most recently seen as Maximilian in Francesca Zambello’s acclaimed production of Candide at the Los Angeles Opera, and at the Los Angeles Philharmonic in the US premiere of Andrew Norman’s opera A Trip to the Moon. He also recently performed the starring role of Josef K. in the critically acclaimed US premiere of Philip Glass’ The Trial with Opera Theatre of Saint Louis. Next season, Mr. Hoffman will return to the Los Angeles Opera in addition to making his debut at the Mozartwoche in Salzburg.
BIG DEAL/SNOWBOY
During the 2016–17 season, Mr. Myer was engaged as a Resident Artist with Opera San José, performing Figaro in Il barbiere di Siviglia; Ponchel in the West Coast premiere of Kevin Puts’ Silent Night; and Schaunard in La bohème.
CLOS IN G W E EK
On the concert platform, Mr. Myer has appeared as soloist in Mozart’s Requiem and Coronation Mass; Milhaud’s Cantate de Psaumes; and Bach’s Magnificat and Christmas Oratorio in venues across North America.
162
Mr. Myer’s achievements and recognitions on the vocal competition circuit include two Young Artist Encouragement Awards from Chautauqua Opera; first place prizes in the National Association of Teachers of Singing (NATS) competitions in both Ohio and his native Nevada; and the Albert Rees Davis Scholarship from the Singers Club of Cleveland. He was also a regional finalist in the NATS Artist Award Competition and a semifinalist in the Meistersinger Competition of the American Institute of Musical Studies. Grand Teton Music Festival | SUMMER 2018
A-RAB
This season, Mr. Hoffman debuts at Kennedy Center in a solo recital with Vocal Arts DC, accompanied by Bradley Moore. He can also be heard at Chamber Music Northwest in Bright Sheng’s The Silver River, as well as at Des Moines Metro Opera in Jonathan Dove’s Flight. Mr. Hoffman just finished a two-season contract as a Domingo-Colburn-Stein Young Artist with the Los Angeles Opera, where he performed roles in their 2016–17 season productions of Macbeth, Salome, and Les Contes d’Hoffmann, as well as their 2017–18 productions of Carmen and Rigoletto. Theo Hoffman has concertized with the New York Philharmonic, Portland Symphony Orchestra, and the Winston-Salem Symphony, as well as at Caramoor, Chautauqua Institution, and Lyric Opera of Kansas City. He is also a regular with the New York Festival of Song. Theo Hoffman was a Grand Finalist in the 2016 Metropolitan Opera National Council Auditions.
Joseph Lattanzi
Andrew Munz
Baritone Joseph Lattanzi is gaining notice for his “robust vocalism,” “unmistakable charisma,” and “undeniable star potential.” A 2017 Sullivan Foundation Award recipient, Mr. Lattanzi established himself as a young singer to watch with his portrayal of Hawkins Fuller in the world premiere of Greg Spears’ Fellow Travelers with the Cincinnati Opera.
Andrew Munz was born in Catskill, NY and grew up in Jackson Hole, WY. He has been a long-standing and dedicated member of Jackson’s theatre and writing communities, and is a current board member of Riot Act, Inc. theatre company. Mr. Munz achieved national recognition as the writer and director of the Jackson-based theatrical trilogy I Can Ski Forever, which includes two sketch variety shows and a fulllength musical. He is also the playwright of Raincoat, Those Days, Second Guesses, Tröllaskagi (The Troll Peninsula), and Three-Step Rug. He is an alumnus of the improv and sketch comedy programs at iO Theater, Second City, and Annoyance Theatre in Chicago, IL.
DIESEL
The 2017–18 season brought a series of debuts for Mr. Lattanzi. He began the season with his Virginia Opera debut as Sonora in La fanciulla del West, and later returned to the company as Demetrius in Britten’s A Midsummer Night’s Dream. Following performances as Hawkins Fuller at the PROTOTYPE Festival in New York City, he debuted at the Lyric Opera of Chicago in the same role in their production of Fellow Travelers. He finished the season with his return to the Atlanta Opera as Anthony in Sondheim’s Sweeney Todd. Upcoming engagements include a debut with the Atlanta Symphony Orchestra and a return to the Arizona Opera as Lieutenant Audebert in Silent Night.
OFFICER KRUPKE
An avid traveler to Iceland, Mr. Munz has worked as a whale-watching guide in Akureyri and a sous chef and baker in a remote, rural fishing village. In 2017, Mr. Munz presented at TEDx Jackson Hole, speaking about his experience battling depression in a piece entitled “Edge of the Fjord.” Earlier this year, he was voted Best Actor by Planet Jackson Hole’s “Best of JH” reader poll, beating out Harrison Ford (who placed second). As a novelist, he is represented by Bradford Literary Agency.
CLO SIN G WE E K
GTMF.ORG | Season
57
163
“Lefkowich created moments that breathed with freshness … splendid theatre.” – OPERA NEWS
David Lefkowich
CLOS IN G W E EK
STAGE DIRECTOR
164
David Lefkowich is an accomplished stage director, choreographer, and fight director who has enjoyed success with varied companies including the Metropolitan Opera, Teatro alla Scala, New York City Opera, San Francisco Opera, Florida Grand Opera, Minnesota Opera, and Glimmerglass Opera.
Manon at Glimmerglass Opera. He was also thrilled to fight-direct the world premieres of Philip Glass’ Appomattox at the San Francisco Opera, Miss Lonelyhearts at the Juilliard Opera Center, La fanciulla del west at the New York City Opera, and the New York off-Broadway run of A Clockwork Orange.
Directing credits include Don Giovanni, Idomeneo, Le Nozze di Figaro, and L’Histoire du Soldat at the Ravinia Music Festival with the Chicago Symphony Orchestra and Maestro James Conlon conducting. Mr. Lefkowich also directed L’Histoire du Soldat at The Juilliard School, with Maestro Conlon. He made his European debut directing Le Portrait de Manon at the Gran Teatre Liceu in Barcelona, Spain, and followed with The Rake’s Progress at La Monnaie in Brussels, Belgium. Other credits include directing and choreographing Carmen at the Anchorage Opera; Simon Boccanegra at the Kentucky Opera; La bohème, La fille du regiment, and Acis and Galatea at the Madison Opera; Roméo et Juliette at the Florida Grand Opera; Tosca at Boston Lyric Opera; and Le Portrait de
David Lefkowich is a guest artist and performs master classes at several Young Artist programs and universities including the Atelier Lyrique de l’Opéra de Montréal, Florida Grand Opera Young Artist Program, Glimmerglass Opera Young American Artist Program, The Juilliard School, McGill School of Music, and Ithaca College. A graduate from Northwestern University with a Bachelor of Science degree in theatre, Mr. Lefkowich has a certificate from École Jacques-Lecoq in Paris, France. He is currently the Artistic Director of the Mill City Summer Opera in Minneapolis, MN, where he directed the company’s inaugural production of Pagliacci, following with The Barber of Seville, Daughter of the Regiment, Tosca, and Sweeney Todd.
Grand Teton Music Festival | SUMMER 2018
Festival Orchestra Roster FRIDAY, AUGUST 17 & SATURDAY, AUGUST 18
Violin
Jonathan Crow Olga Shpitko Jay Christy Elizabeth Phelps Katherine Palyga Dennis O’Boyle Jennifer Ross Karen Kinzie Sha Eunice Keem Ling Ling Huang Jennifer Thompson Marta Krechkovsky Scott Mozlin Heather Kurzbauer Yi Zhao Marina Brubaker Sarah Schwartz Barbara Scowcroft Anastasia Sukhopara Chunyi Lu
Cello
Joel Noyes Christopher French David Garrett Stephen Balderston Amy Leung David Schepps
Bass
Paul Ellison Andrew Raciti Richard Barber Wilbur ‘Skip’ Edwards
Flute
Elizabeth Koch Tiscione
Percussion
English Horn
Elizabeth Koch Tiscione
Richard Brown John Kinzie Matthew Strauss Wiley Arnold Sykes
Clarinet
Guitar
Gregory Raden Victoria Luperi Thomas LeGrande
E-Flat Clarinet Victoria Luperi
Bass Clarinet Thomas LeGrande
Bassoon
Andrew Brady
Michael Wheeler
Keyboard
Scott Holshauser
Librarian
Crozet Duplantier Names in bold indicate principal chair All rosters are subject to change
Saxophone James Forger Daron Bradford Brian Booth
Horn
Gail Williams Gabrielle Webster
Trumpet
Mark Inouye Thomas Hooten Jennifer Marotta
Trombone
Michael Mulcahy Jared Rodin
Timpani
Edward Stephan CLO SIN G WE E K
Christina Smith Carole Bean Stephanie Mortimore
Oboe
Piccolo
Stephanie Mortimore
GTMF.ORG | Season
57
165
25 YEARS Kristen Sonneborn BASSOON
Krisanthy Desby CELLO
CELEBRATING
with the Grand Teton Music Festival
Raymond Leung VIOLIN
Gabrielle Webster 166
Grand Teton Music Festival | SUMMER 2018
HORN
Raymond Leung VIOLIN
inspired to reach the summit of artistry. The spectacular natural beauty, the friendships, and the music are all animated by joy. It’s the closest thing to paradise I’ve ever known.
housemates. Our themed cooking “throw-downs” are legendary! We have raised our families together, shared endless laughs, and sent glorious music into the atmosphere. Who could ask for more?
Kristen Sonneborn
Gabrielle Webster
Although this is officially my 25th Grand Teton Music Festival season, it was almost my 26th. My son was born in July 2005—a valid excuse to skip one year! I could also say it’s my 27th season, since I was lucky enough to come here when the Festival included a student training seminar. My family vacationed in the area when I was young, which obviously left a big impression on me because I keep returning!
Twenty-eight years ago, my husband and I had the great luck to visit Grand Teton National Park after immigrating from Australia. We fell in love with the Tetons at first sight. We got up before dawn to photograph the sunrise, and kept our young children up after their bedtime to watch the sun set behind the mountains, hoping to see animals—preferably bears! Little did we know that this magical spot was to become such an important place in our lives, and such an enormous source of joy.
BASSOON
I look forward to coming to the Grand Teton Music Festival every year. It is like going to music camp when I was younger—I love being in an environment where everyone wants to make music and make the impossible possible! It is wonderful to see so much community support and it feels good to be welcomed back to Jackson each season. At the end of each summer, I miss the people, the beautiful mountains, and even the Namibian goat that gave me a kiss at the County Fair last year! Thank you for all the Grand Teton Music Festival has done.
Krisanthy Desby CELLO
Joy is the invisible element that makes the Grand Teton Music Festival special. It is more than a pretty place with great musicians. It’s in the air—I felt it the moment I first arrived. Joy infuses every moment, whether a reunion with friends, a hike in the mountains, or—best of all—playing the music we love. We live as our best selves,
Teton Village and Jackson have changed a lot since then. At the heart of everything, though, the Festival remains a highlight. Many exquisite performances have brought me to tears. There is something magical about being in the mountains, away from my normal routine, where my spirit is renewed through sound and fellowship. Happy spirits make beautiful music! My GTMF friends are my family (hiking countless hours together is the true test)! My most special friends are in the bassoon section— past and present. I’m grateful to Charles Ullery for jumpstarting my musical journey here, and to my
HORN
Looking back on 25 years with GTMF, I think about how our children grew up here, and how they now come back with their own children. I marvel at how lucky I’ve been to make great music with, live with, hike with, and celebrate with such a closeknit family of friends. We rejoice when the Festival starts, are devastated at the end of the last concert, and count the days until we are together again. To spend every summer in one of the most beautiful places on Earth, with like-minded friends both on and offstage, is indeed a privilege. GTMF.ORG | Season
57
167
INTRODUCING YOUR
Festival Orchestra Concertmasters JONATHAN CROW
JOAN CATALDO
Toronto Symphony Orchestra, Concertmaster GTMF 1 year
Kennedy Center Opera House Orchestra GTMF 24 years
ANGELA FULLER HEYDE
EVA CAPPELLETTI CHAO
Dallas Symphony Orchestra, Principal Second GTMF 13 years
Baltimore Symphony Orchestra; Kennedy Center Opera House Orchestra; National Symphony Orchestra; QuinTango GTMF 16 years
WILLIAM PREUCIL Cleveland Orchestra, Concertmaster GTMF 2 years
JOAN CHRISTENSON San Antonio Symphony; Musical Offerings, Artistic Director GTMF 20 years
JEFF THAYER San Diego Symphony, Concertmaster; Camera Lucida Chamber Music, UC San Diego GTMF 6 years
Violins
Principal Second Chair sponsored by The Augé Family in memory of Earle and Barbara Augé MARINA BRUBAKER Houston Symphony GTMF 20 years
JAY CHRISTY Atlanta Symphony Orchestra, Assistant Principal Second; Emory University GTMF 16 years
JULIE COLEMAN Oregon Symphony GTMF 16 years
MARY CORBETT The Florida Orchestra GTMF 19 years
168
Grand Teton Music Festival | SUMMER 2018
JUDITH COX
LING LING HUANG
Atlanta Symphony Orchestra; Lyra String Quartet GTMF 26 years
Houston Grand Opera Orchestra, Substitute; Houston Symphony Orchestra, Substitute GTMF 3 years
GINA DAVIS
LINDA HURWITZ
Tulsa Opera Orchestra, Co-Concertmaster; Tulsa Symphony Orchestra, Assistant Concertmaster GTMF 23 years
Virginia Symphony; Virginia Opera GTMF 27 years
TRACY DUNLOP
TOMOKO IGUCHI
Sphinx Foundation; Michigan Freelance Musician GTMF 18 years
Kansas City Symphony GTMF 16 years
BRUNO EICHER
DORRIS DAI JANSSEN
Metropolitan Opera Orchestra, Assistant Concertmaster GTMF 10 years
Kansas City Symphony GTMF 17 years
LOIS FINKEL
REBEKAH JOHNSON
Brown University GTMF 32 years
New Jersey Symphony Orchestra; Leonore Trio GTMF 24 years
ALESSANDRA JENNINGS FLANAGAN
EUNICE KEEM
Colorado Symphony GTMF 1 year
Dallas Symphony Orchestra, Associate Concertmaster GTMF 2 years
ANNA GENEST
CAROLYN KESSLER
Jacksonville Symphony Orchestra GTMF 17 years
Baltimore Opera Orchestra GTMF 19 years
RUSSELL HERSHOW
KANA KIMURA
Chicago Symphony Orchestra GTMF 21 years
Houston Grand Opera Orchestra GTMF 8 years
GTMF.ORG | Season
57
169
Your Festival Orchestra Violins Continued
170
KAREN KINZIE
LOUISE MORRISON
Colorado Symphony Orchestra GTMF 19 years
Nashville Symphony GTMF 6 years
MARTA KRECHKOVSKY
SCOTT MOZLIN
Pittsburgh Symphony Orchestra GTMF 3 years
Cincinnati Symphony, Assistant Principal Second GTMF 9 years
HEATHER KURZBAUER
HOLLY MULCAHY
Netherlands Radio Chamber Philharmonic; University of Amsterdam; Sinfonia Rotterdam GTMF 33 years
Chattanooga Symphony & Opera, Concertmaster GTMF 16 years
DIMITRI LAZARESCU
PATRICK NEAL
Phoenix Symphony, Acting Associate Principal Second GTMF 28 years
Naples Philharmonic, Assistant Principal; Florida Gulf Coast University GTMF 13 years
RAYMOND LEUNG
DENNIS O’BOYLE
Atlanta Symphony Orchestra GTMF 25 years
Pittsburgh Symphony Orchestra, Assistant Principal Second GTMF 13 years
JENNIFER GORDON LEVIN
KATHERINE PALYGA
Iris Orchestra; Los Angeles Studio Musician GTMF 19 years
Montreal Symphony Orchestra GTMF 20 years
CHUNYI LU
SUSANNE PARK
Phoenix Symphony GTMF 19 years
Pittsburgh Symphony Orchestra GTMF 19 years
Grand Teton Music Festival | SUMMER 2018
ELIZABETH PHELPS
SHA
North Carolina Symphony, Principal Second GTMF 2 years
Shanghai City Symphony Orchestra, Concertmaster; Shanghai University School of Music, Associate Dean and Artistic Director GTMF 14 years
DEREK POWELL
SIMON SHIAO
United States Army Strings GTMF 1 year
University of North Florida GTMF 20 years
CHRISTOPHER PULGRAM
OLGA SHPITKO
Atlanta Symphony Orchestra GTMF 1 year
Atlanta Symphony Orchestra GTMF 12 years
REBECCA RACUSIN
ANASTASIA SUKHOPARA
San Francisco Ballet Orchestra, Substitute; Inscape Chamber Orchestra; Eclipse Chamber Orchestra; Baltimore Symphony Orchestra, Substitute GTMF 2 years
Houston Symphony GTMF 1 year
DAN RIZNER
IKUKO TAKAHASHI
DePauw University, Professor Emeritus GTMF 38 years
Malaysian Philharmonic Orchestra GTMF 15 years
JENNIFER ROSS
ANNE-MARIE TERRANOVA
Pittsburgh Symphony Orchestra, Principal Second (former) GTMF 37 years
Naples Philharmonic GTMF 21 years
SARAH SCHWARTZ
MARLYSE MARTINEZ THAYER
San Diego Symphony, Substitute GTMF 16 years
San Diego Freelance Musician GTMF 3 years
BARBARA SCOWCROFT
JENNIFER THOMPSON
Utah Symphony; Utah Youth Symphony, Music Director; University of Utah GTMF 21 years
Toronto Symphony Orchestra GTMF 17 years
GTMF.ORG | Season
57
171
Your Festival Orchestra Violins Continued YI ZHAO
CHIARA KINGSLEY DIEGUEZ
Colorado Symphony Orchestra, Assistant Concertmaster GTMF 2 years
Baltimore Chamber Orchestra, Principal; National Symphony Orchestra, Substitute; Baltimore Symphony Orchestra, Substitute GTMF 15 years
Violas
CAROLINE GILBERT SUSAN GULKIS ASSADI Seattle Symphony, Principal GTMF 20 years
Buffalo Philharmonic, Principal GTMF 1 year
ALLYSON GOODMAN BRANT BAYLESS Utah Symphony, Principal GTMF 17 years
Kennedy Center Opera House Orchestra, Principal GTMF 4 years
LUCINA HORNER CLAUDINE BIGELOW Brigham Young University GTMF 19 years
Alabama Symphony Orchestra; Alabama School of Fine Arts GTMF 28 years
YANG-YOON KIM PHILIPPE C. CHAO Kennedy Center Opera House Orchestra; George Mason University GTMF 18 years
JOAN DERHOVSEPIAN Houston Symphony, Associate Principal; Rice University, Shepherd School of Music GTMF 19 years
Atlanta Symphony Orchestra; Peachtree String Quartet GTMF 4 years
ANNA KRUGER San Francisco Ballet Orchestra, Acting Principal; New Century Chamber Orchestra, Principal; Sacramento State University GTMF 21 years
SUZANNE LEFEVRE Houston Grand Opera Orchestra; River Oaks Chamber Orchestra; University of Houston GTMF 13 years
172
Grand Teton Music Festival | SUMMER 2018
KRISTEN LINFANTE
WHITTNEY THOMAS
Apollo’s Fire Baroque Orchestra, Co-Principal; Chamber Music Pittsburgh, Executive Director GTMF 22 years
Utah Symphony GTMF 1 year
PAUL MURPHY Atlanta Symphony Orchestra, Associate Principal; Emory University; Kennesaw State University GTMF 10 years
GEORGE OHLSON Washington Conservatory GTMF 26 years
Cellos STEPHEN BALDERSTON DePaul University, Professor; Chicago Symphony, Assistant Principal (former) GTMF 6 years
THOMAS CARPENTER Atlanta Symphony Orchestra GTMF 1 year
CHARLES PIKLER Chicago Symphony Orchestra, Principal (retired); Midwest Young Artists GTMF 16 years
GREGORY CLINTON Omaha Symphony, Associate Principal GTMF 27 years
RITA PORFIRIS University of Hartford, The Hartt School; Miller-Porfiris Duo GTMF 14 years
KRISANTHY DESBY Strobe GTMF 25 years
MADELINE SHARP Atlanta Symphony Orchestra GTMF 2 years
KARI JANE DOCTER Metropolitan Opera Orchestra GTMF 13 years
PHILLIP STEVENS Colorado Symphony Orchestra; Metropolitan State University of Denver GTMF 1 year
KAREN FREER Atlanta Symphony Orchestra, Assistant Principal GTMF 13 years
RACHEL SWERDLOW Seattle Symphony, Viola & Assistant Librarian; Fulton Street Chamber Players, Co-Founder GTMF 17 years
CHRISTOPHER FRENCH Houston Symphony, Associate Principal GTMF 6 years
GTMF.ORG | Season
57
173
Your Festival Orchestra Cellos Continued JUDITH MCINTYRE GALECKI
STEVEN LAVEN
Colorado Symphony Orchestra, Acting Principal GTMF 7 years
Boston Pops; Rhode Island Philharmonic; Rhode Island College GTMF 26 years
DAVID GARRETT
AMY LEUNG
Los Angeles Philharmonic; California State University, Long Beach GTMF 5 years
San Francisco Bay Area Freelance Musician GTMF 16 years
DEBORAH NITKA HICKS
DAVID MOLLENAUER
Fort Wayne Philharmonic, Assistant Principal GTMF 26 years
San Antonio Symphony, Assistant Principal; SOLI Chamber Ensemble; Trinity University GTMF 14 years
JENNIFER HUMPHREYS
THALIA MOORE
Dallas Symphony Orchestra GTMF 5 years
San Francisco Opera Orchestra, Associate Principal; San Francisco Ballet Orchestra GTMF 19 years
CHARAE KRUEGER
JOEL NOYES
Atlanta Opera Orchestra, Principal; Atlanta Ballet Orchestra, Principal; Kennesaw State University GTMF 6 years
Metropolitan Opera Orchestra, Assistant Principal GTMF 5 years
ANDREW LARSON
MARCIA PECK
Utah Symphony GTMF 2 years
Minnesota Orchestra GTMF 48 years
DANIEL LAUFER
DAVID SCHEPPS
Atlanta Symphony Orchestra, Associate Principal GTMF 7 years
174
Grand Teton Music Festival | SUMMER 2018
University of New Mexico; New Mexico Philharmonic; Opera Southwest, Principal GTMF 26 years
BARRETT SILLS
CHARLES DERAMUS
Houston Grand Opera Orchestra, Principal; Houston Ballet Orchestra, Principal; Camerata Ventapane, Artistic Director GTMF 16 years
Gothenburg Symphony Orchestra; University of Gothenburg Academy of Music and Drama GTMF 6 years
DARIUSZ SKORACZEWSKI
DEBORAH DUNHAM
Baltimore Symphony Orchestra, Principal GTMF 1 year
Mercury Baroque, Principal; Ars Lyrica Houston, Principal; Houston Early Music, Executive Director GTMF 16 years
YAO ZHAO
WILBUR ‘SKIP’ EDWARDS
San Diego Symphony, Principal; San Diego State University GTMF 1 year
Basses
Columbus Symphony Orchestra, Associate GTMF 29 years
PAUL ELLISON RICHARD BARBER National Symphony Orchestra, Assistant Principal; University of Maryland; Eclipse Chamber Orchestra GTMF 11 years
ROBERT BARNEY Baltimore Symphony Orchestra, Principal GTMF 12 years
PATRICK BILANCHONE Jacksonville Symphony Orchestra; St. Augustine Music Festival; Peninsula Music Festival GTMF 23 years
FRED BRETSCHGER Saint Paul Chamber Orchestra, Assistant Principal (former); Freelance Musician GTMF 28 years
SUSAN CAHILL Colorado Symphony; University of Denver; Colorado College Summer Music Festival GTMF 4 years
Rice University, Shepherd School of Music, String Department Chair GTMF 32 years
ERIK GRONFOR Houston Grand Opera Orchestra, Assistant Principal GTMF 19 years
DONALD HERMANNS Oregon Symphony GTMF 18 years
GORDON HILL Auckland Philharmonia, Principal GTMF 13 years
CORBIN JOHNSTON Utah Symphony, Associate Principal GTMF 14 years
GTMF.ORG | Season
57
175
Your Festival Orchestra Basses Continued ROBIN KESSELMAN
JULIA BOGORAD-KOGAN
Houston Symphony, Principal GTMF 2 years
Saint Paul Chamber Orchestra, Principal; University of Minnesota GTMF 40 years
SIDNEY KING
CAMILLE CHURCHFIELD
University of Louisville; Louisville Orchestra, Assistant Principal (retired) GTMF 26 years
University of Ottawa; National Arts Centre Orchestra GTMF 16 years
JOHN PELLEGRINO
ANGELA JONES-REUS
Pro Musica Chamber Orchestra, Principal; Columbus Symphony Orchestra, Assistant Principal; Peninsula Music Festival, Principal; Music on the Hill, Artistic Director GTMF 15 years
ANDREW RACITI Milwaukee Symphony Orchestra, Associate Principal; Northwestern University GTMF 10 years
WILLIAM RITCHIE Omaha Symphony, Assistant Principal GTMF 33 years
Flutes & Piccolos
Principal Flute sponsored by O’Ann Fredstrom & Stuart Sugarman CAROLE BEAN National Symphony Orchestra GTMF 23 years
176
Grand Teton Music Festival | SUMMER 2018
University of Georgia GTMF 11 years
KOREN MCCAFFREY Metropolitan Opera Orchestra GTMF 1 year
STEPHANIE MORTIMORE Metropolitan Opera Orchestra, Principal GTMF 16 years
CHRISTINA SMITH Atlanta Symphony Orchestra, Principal; Kennesaw State University; Emory University GTMF 4 years
CAITLYN VALOVICK-MOORE Utah Symphony GTMF 7 years
ALICE KOGAN WEINREB
ELIZABETH KOCH TISCIONE
National Symphony Orchestra; Eclipse Chamber Orchestra GTMF 18 years
Atlanta Symphony Orchestra, Principal; Kennesaw State University GTMF 10 years
Oboes & English Horns JAREN ATHERHOLT Louisiana Philharmonic Orchestra, Principal; University of North Carolina School of the Arts GTMF 11 years
Clarinets
Principal Clarinet sponsored by Barbara & Stan Trachtenberg MARCI GURNOW Atlanta Symphony Orchestra GTMF 2 years
EMILY BREBACH Atlanta Symphony Orchestra GTMF 4 years
ERIN HANNIGAN Dallas Symphony Orchestra, Principal; Southern Methodist University; Artists for Animals, Co-Founder GTMF 1 year
STEPHANIE KEY San Antonio Symphony, Assistant Principal; SOLI Chamber Ensemble GTMF 14 years
THOMAS LEGRAND Houston Symphony, Associate Principal GTMF 33 years
SAMUEL NEMEC Atlanta Symphony Orchestra GTMF 1 year
LEE LIVENGOOD Utah Symphony GTMF 6 years
MARTIN SCHURING Arizona State University GTMF 35 years
ELIZABETH PRIESTLY SIFFERT Houston Grand Opera Orchestra, Principal; Houston Ballet Orchestra GTMF 3 years
LISSA STOLZ
VICTORIA LUPERI Pittsburgh Symphony Orchestra, Associate Principal GTMF 5 years
EUGENE MONDIE National Symphony Orchestra, Acting Principal; Peabody Institute; Catholic University of America GTMF 2 years
Utah Symphony GTMF 2 years
GTMF.ORG | Season
57
177
Your Festival Orchestra Clarinets Continued SHANNON ORME
CHRISTOPHER MILLARD
Detroit Symphony Orchestra; Wayne State University GTMF 8 years
National Arts Centre Orchestra, Principal GTMF 15 years
GREGORY RADEN
KRISTEN SONNEBORN
Dallas Symphony Orchestra, Principal; Southern Methodist University GTMF 18 years
Naples Philharmonic, Principal GTMF 25 years
Bassoons & Contrabassoons ANDREW BRADY
BRIAN BOOTH
Atlanta Symphony Orchestra, Principal GTMF 2 years
University of Utah GTMF 15 years
STEVEN BRAUNSTEIN
DARON BRADFORD
San Francisco Symphony GTMF 16 years
Utah Symphony; Brigham Young University; Orchestra at Temple Square GTMF 4 years
JUAN DE GOMAR
JAMES FORGER
Atlanta Symphony Orchestra GTMF 18 years
Michigan State University, College of Music GTMF 22 years
SUE HEINEMAN National Symphony Orchestra, Principal GTMF 8 years
SHARON KUSTER San Antonio Symphony, Principal; Olmos Ensemble GTMF 28 years
178
Saxophones
Grand Teton Music Festival | SUMMER 2018
Horns
Principal Horn sponsored by Gainor & Joe Bennett MATTHEW ANNIN Milwaukee Symphony Orchestra, Principal GTMF 6 years
MICHAEL GAST
KARL PITUCH
Minnesota Orchestra, Principal GTMF 9 years
Detroit Symphony Orchestra, Principal; Wayne State University GTMF 6 years
NANCY GOODEARL
EDMUND ROLLETT
Houston Symphony GTMF 28 years
Utah Symphony, Acting Principal GTMF 1 year
KEVIN HASELTINE
ADAM UNSWORTH
Dallas Symphony Orchestra GTMF 1 year
University of Michigan GTMF 1 year
HALEY HOOPS
JESSICA VALERI
Dallas Symphony Orchestra; Southern Methodist University GTMF 12 years
San Francisco Symphony GTMF 4 years
ROBERT LAUVER
GABRIELLE WEBSTER
Pittsburgh Symphony Orchestra GTMF 19 years
Chicago Freelance Musician GTMF 25 years
MICHAEL LEWELLEN
GAIL WILLIAMS Chicago Chamber Musicians; Northwestern University; Chicago Symphony Orchestra, Associate Principal (retired); World Orchestra for Peace GTMF 26 years
Fort Wayne Philharmonic, Principal; Indiana-Purdue University Fort Wayne GTMF 19 years
SHELBY NUGENT Phoenix Symphony GTMF 1 year
Trumpets BARBARA BUTLER
JOSH PHILLIPS Milwaukee Symphony Orchestra GTMF 7 years
Rice University, Shepherd School of Music; Music of the Baroque; Chicago Chamber Musicians; Music Academy of the West, Faculty GTMF 37 years
GTMF.ORG | Season
57
179
Your Festival Orchestra Trumpets Continued CHARLES DAVAL
DAVID BINDER
Pittsburgh Ballet Orchestra, Principal; University of Illinois GTMF 27 years
Detroit Symphony Orchestra GTMF 1 year
HUNTER EBERLY
JAY EVANS
Detroit Symphony Orchestra, Principal GTMF 1 year
Alabama Symphony Orchestra, Principal; Music of the Baroque, Principal Alto Trombone GTMF 13 years
CHARLES GEYER
CRAIG MULCAHY
Rice University, Shepherd School of Music; Chicago Symphony Orchestra; Lyric Opera of Chicago Orchestra; Houston Symphony; Chicago Chamber Musicians GTMF 36 years
National Symphony Orchestra, Principal GTMF 16 years
THOMAS HOOTEN Los Angeles Philharmonic, Principal; University of Southern California GTMF 12 years
Chicago Symphony Orchestra; Northwestern University; Australian World Orchestra, Principal; Australian National Academy of Music GTMF 27 years
MARK INOUYE
STEVE NORRELL
San Francisco Symphony, Principal; San Francisco Conservatory of Music GTMF 6 years
JENNIFER MAROTTA
MICHAEL MULCAHY
Metropolitan Opera Orchestra; Manhattan School of Music GTMF 15 years
ROGER OYSTER
University of Southern California; Music of the Baroque GTMF 12 years
Kansas City Symphony, Principal GTMF 29 years
MATTHEW SONNEBORN
JARED RODIN
Naples Philharmonic, Principal GTMF 14 years
180
Trombones
Grand Teton Music Festival | SUMMER 2018
Indianapolis Chamber Orchestra, Principal; Butler University; Music of the Baroque GTMF 14 years
Tubas JĂ TTIK CLARK
KEITH CARRICK
Oregon Symphony, Principal; Oregon State University; Portland State University GTMF 18 years
Utah Symphony, Principal GTMF 2 years
CAROL JANTSCH
RIELY FRANCIS
Philadelphia Orchestra, Principal GTMF 1 year
San Antonio Symphony, Principal Percussion & Assistant Principal Timpani GTMF 15 years
CRAIG KNOX
CRAIG HAUSCHILDT
Pittsburgh Symphony Orchestra, Principal; Carnegie Mellon University; Curtis Institute of Music GTMF 24 years
University of Houston; Houston Grand Opera Orchestra, Substitute GTMF 15 years
Timpani
JOHN KINZIE MICHAEL CRUSOE Seattle Symphony, Principal (retired); University of Washington GTMF 9 years
KENNETH EVERY Jacksonville Symphony Orchestra, Principal; Iris Orchestra, Principal GTMF 27 years
EDWARD STEPHAN San Francisco Symphony, Principal GTMF 4 years
Colorado Symphony Orchestra, Principal; University of Denver GTMF 29 years
BRIAN PRECHTL Baltimore Symphony Orchestra GTMF 27 years
MATTHEW STRAUSS Houston Symphony GTMF 1 year
WILEY ARNOLD SYKES
Percussion
Principal Percussion sponsored by Sue Sullivan RICHARD BROWN
Philidor Percussion Group; Greensboro Symphony Orchestra, Principal; Guilford College; Eastern Music Festival GTMF 17 years
Houston Grand Opera Orchestra, Principal; Rice University, Shepherd School of Music (retired) GTMF 40 years
GTMF.ORG | Season
57
181
Your Festival Orchestra Harps
ADELLE ESLINGER RUNNICLES Deutsche Oper Berlin GTMF 12 years
ELISABETH REMY JOHNSON Atlanta Symphony Orchestra, Principal; Emory University; Georgia State University; Kennesaw State University GTMF 3 years
ANDREW PALMER TODD Grand Teton Music Festival, President & CEO GTMF 5 years
RACHEL VAN VORHEES KIRSCHMAN Louisiana Philharmonic Orchestra, Principal; New Orleans Opera, Principal; Loyola University GTMF 39 years
Guitar MICHAEL WHEELER
ANNE PREUCIL LEWELLEN Fort Wayne Philharmonic, Principal; Indiana-Purdue University, Fort Wayne GTMF 20 years
MATTHEW TUTSKY Portland Opera, Principal; Colorado Springs Philharmonic, Principal; Oregon Ballet Theate GTMF 5 years
Keyboards
Principal Keyboard sponsored by Ann & Dick O’Leary JASON HARDINK Utah Symphony, Principal GTMF 11 years
University of Houston GTMF 1 year
Librarians GARY CORRIN Toronto Symphony Orchestra, Principal GTMF 17 years
CROZET DUPLANTIER Shreveport Symphony Orchestra; Britt Classical Festival; Barbados Classical/Pops Festival Orchestra GTMF 14 years
ROBERT STILES SCOTT HOLSHOUSER Houston Symphony, Principal; University of Houston GTMF 18 years
KIMI KAWASHIMA Westminster College; NOVA Chamber Music, Executive Director GTMF 4 years 182
Grand Teton Music Festival | SUMMER 2018
Detroit Symphony Orchestra, Principal Librarian & Substitute Bass GTMF 19 years
Associate Conductor JERRY HOU Rice University, Shepherd School of Music, Associate Conductor GTMF 3 years
GR OC ER Y STO R E & WIN E S H OP SOMMELIER, TAMMY ALBERT is available to help you with your cellar selections. grocery store and the NY Times.
3 07 -7 34-00 7 0 www.mangymoose.com
GTMF.ORG | Season
57
183
2018 Donors & Sponsors THE FOLLOWING DONATIONS WERE MADE BETWEEN MAY 1, 2017 AND MARCH 31, 2018.
The Grand Teton Music Festival acknowledges the generous contributions of our loyal donors. Nearly 600 individuals provide financial support for more than 100 performances and events throughout the year, including the Summer Festival, the Met Opera: Live in HD broadcasts, and the Winter Festival, as well as educational programs that reach the young music lovers in our community. Over the past year, the 2017 Summer Festival reached 15,700 audience members, up 60% since 2014. We’ve broadened our musical offerings, with increasingly diverse guest artists, new venues, an increasing number of free community concerts in the spring and fall, and an annual Winter Festival. GTMF is putting Jackson Hole on the map as a destination for the best in classical music today. Individual contributions account for almost 60% of the Festival’s annual budget. Thank you to those who play their part to ensure the Festival’s success. For more information about making a donation, including benefits and sponsorship opportunities, please contact Anna Mattson, Director of Development, at 307.732.9967 or anna@gtmf.org.
Guarantor Project Sponsors Guarantor Project Sponsors underwrite important Festival initiatives and programming— individual concerts, series, soloists, conductors, and principal orchestra chairs. The philanthropic spirit of those listed below ensures exhilarating Festival performances year-round and enables the Festival to maintain its dedication to the highest artistic ideals.
$250,000 + Anonymous
$150,000 +
Marge & Gil Ordway
$100,000 +
Sylvia Neil & Dan Fischel Christine & Ross Hartley Kellogg Hansen Todd Figel & Frederick PLLC and Mark C. Hansen Neal, Gerber & Eisenberg LLP and Marshall E. Eisenberg Ellen & David Raisbeck Ari Rifkin Frances & Allan Tessler Barbara & John Vogelstein Walk Family Jackson Hole Housing Fund
$50,000 +
The Heather James Foundation Sandy Masur & Scott Spector
$25,000 +
Anonymous (2)
184
Katherine Brooks & George Beller Center of Wonder Jacqui & Chris Erdman Louise & Ralph Haberfeld Barbara & Pat McCelvey * Donald & Adelle Runnicles StoneRiver Foundation Arnold & Barbara Silverman Mary Linn & Bill Wecker * Mark & Laura Yockey
$15,000 +
Gainor & Joe Bennett Peter A. Benoliel & Willo Carey Janet & John Costello Anne & Joel Ehrenkranz Lou & John Furrer * Hotel Terra Dick & Patty Jaquith Marilyn Nelson Dick & Ann O’Leary Trina & Mike Overlock Susan & Jon Rotenstreich Mary & Stanley Seidler Charlotte Stifel Kenneth & Caroline Taylor Stanford and Barbara Trachtenberg Donor Advised Fund of the Community Foundation of Jackson Hole Elaine & Jim Wolfensohn
$10,000 +
Bonnie & Mert Bell John Caddell, and The Caddell Foundation Jayne & Al Hilde, Jr. Nick & Bonnie Hopkins Mackenzie Family Fund Dick & Pam Niner Carole & Jack Nunn Maggie & Dick Scarlett Karla L. Sherman Don & Mary Shockey Carol & Dean Spatz
Grand Teton Music Festival | SUMMER 2018
Robert & Nancy Spetzler Andy & Cammie Watson Whitmire Family Fund of the Community Foundation of Jackson Hole
$6,000 +
Ed Artzt & Marlies Hessel Artzt David Augé and Teton Motors Pauline & William Egan Goodman Family Foundation The Jerry S. Handler Family Penney & A.C. Hubbard Carole & Bob Hummel Dale & Jay Kaplan Julie & William Obering Susan & Peter Ordway Suzanne R. Salzmann O’Ann Fredstrom & Stuart Sugarman Paul von Gontard
Guarantors $3,500 +
Idith & Yuval Almog Emily & Jim Ambler Aspens Market Mary Jane & John D’Arcy Becker * Berrien Becks, Jr. & Kathleen Becks Larry K. Berlin Cindy Booth Tom & Judy Bowser Faye & Bill Campbell Carney Logan Burke Champagne Pommery Christine Coleman * The Sage Foundation, Roberta & Steven Denning Donovan Family Foundation Mary Weber & Robert Duggan Larry & Jan Finch Scott & Petria Fossel Ann and Gordon Getty Foundation Joan & David Goldfarb Mrs. Carter Gray
The Grupp Family Suzanne & George Harris Gary & Melissa Harvey Mr. Todd Hohman Dale & Jay Kaplan Dr. Michael & Ellen Karpf Tim Kellogg and Meeteetse Chocolatier Jay & Karen Kemmerer Jerry & Diana Kitchen Ted & Beedee Ladd Remy Levy & Catherine Kehr Lightner Sams Foundation of Wyoming Gretchen Long Dee & Fred Lyons Margery & Edgar Masinter Doyen McIntosh Devra Davis & Richard Morgenstern Richard P. & Claire W. Morse Foundation John & Chris Nyheim Fran & Doug Ober Carol & Jere Overdyke Robin & Bob Paulson Shirley & Paul Piper Lucy & Toby Rankin Robert P. Schuster Beverly & Larry Scott Philip Sherringham Donald & Diane Siegel Jamie & Steve Snyder Barbara & Edmund Terry Walt & Joan Thulin Andrew Palmer Todd TriLipid Research Institute, LLC Margot Flagg von Gontard Mr. & Mrs. William D. Weiss Suzanne & John Whitmore Pat Wilson
Friends $2,500 +
Henry Armour & Natalie Clark
Myrna & Stephen Greenberg Cynthia Hogan Lee & Roger Kintzel Irene & Alan Lund Claudia C. Nettle * Diane Schafer Sarah Billinghurst Solomon & Howard Solomon Teton Village Association Teresa & Bill Waterman Cynthia Winslow
$1,000 +
Aron & Susan Ain Marcia Kunstel & Joe Albright Deborah & Randolph Barker Mark & Yumee Bodenhamer Theresa & Les Brunker Lynne & Dick Cheney Skip Daynes and Daynes Music Jane & Jeff Deming Domaine Drouhin Sarita & Brent Eastman Tania & Tom Evans Anne & Eugene Fife Marcia Allen & Gary Finkel Lisa & Chuck Fleischman Grand Teton Music Festival Auxiliary Vicki & Alan Henderson Henikoff Family Fund Barbara & Chuck Herz Leslie & David Hill Nada & Sanjay Jain Terry & Del Johnson Gisela Kenyon The Kessler Fund Dominique & Eric Laffont The David & Catherine Loevner Family Fund Adrienne & John Mars Anna Mattson Marshall & Debbie Matz Ruth & Bill McClure Susie McDowell & McDowell Foundation Steven and Sheila Miller Foundation Susan & Stephen Morriss Melanie & Larry Nussdorf Frank A. O’Neil Family Foundation * Shirley & Michael Pearson Bill & Nancy Pettus Lynn Fleisher & John Roberts Doug Ross & Joyce Frye Nancy Salden John A. Sherman, Jr. Barbara & Richard Silverman Edwin J. Thomas II & Karen Skaggs Edmund Spivack & Mary Kathleen Ernst Glenn & Lisa Steele Douglas V. Thomas III Irene Draesel & Chris Todd Sandra & Bruce Tully Allison Wood von Maur Karen & Peter Warshaw
$500+
8VA Music Consultancy Anonymous Carol Baker & Mark Stein Pilar Bass Nannette Beckley Charles S. Berney & Family The Brooks Foundation Diana Burrow
Lora & Dick Childs Barbara Clinger Jeffrey R. Cohen Robert & Dagmar Deason Naomi & Roy Flack Dan & Jeanne Gainer Ilene & Howard Garber Penny & Jeff Gilbert Theresa Godchaux Gigi & Mike Halloran Lynda & Anthony Hitschler Karen & Richard Hobbins Maggie & Jim Hunt Alison & Dick Jones Matthew Korioth Dennis & Alice Krieger Marlene & Peter Lang Patty & Don Mac Naughton Holly McCollister Michael & June McCollister Victor Muenzer Susan Neumann Leonard & Linda Newblom Persephone Bakery Kasey & Len Purkis Dr. Paula Szypko & Dr. Marty Quadland Susie Rauch Sam Collins & Karen Rockey Mr. & Mrs. David S. Ruder Ann & Ben Ruehr Bridget Mullen & Michael Stern Heather & Tom Sturgess Teri & Dan Tyree Nancy Eaton-van Ee & Jeff van Ee Martha & Warren Van Genderen Berta & Carroll Wetzel Ted & Jo Ann Wong
$250 +
Cecilia & Frank Bellinghiere Jim Bjorken Irene Beardsley & Dan Bloomberg Martha Brace & Thomas Bowen Nancy Bull Rich & Jimmie Cogburn Kim & George Cornelson Rose-Marie & Michel Crouzillat Susan Erickson & James Dannenberg Shawn & Mike Daus Peggy & Kirk Davenport El Abuelito Mexican Restaurant Martha Feagin Julie & Fred Gaston John & Martha Gilmore Caroline Janda & Michel Glouchevitch Dr. Leslie Gold & John Spain Natalie & Eliot Goss Carol & John Harkness Betsy & Jim Hesser Elaine & Joe Infanger Sen. Herbert H. Kohl Warren Levy Debra Cafaro & Terrance Livingston Andy & Clark MacKenzie Linda A. Mars Carol & Mike Marshall Roberta & James Mathieu Robert Meier Betty & Chuck Mulcahy Chris M. Niblett Julie Parsons & Frank Nowell Linda & Don Pennell Terry & Bert Romberg
Chris & Louisa Sandvig * Thomas Savage David & Martha Schwartz Mike Sellet Snake River Grill * Robert Strawbridge Katherine Swartz & Frank Levy Betty & Chuck Terrill Shirley & Wes Timmerman John & Jane Valenstein William E. Wecker Associates Inc. Alice Kogan Weinreb & Michael Weinreb Chad & Wendy Weiss Whiteley Wheeler Beth Ann & James Williams David Williamson Dana Olson & John Wright Joan & Michael Yogg
$100 +
Virginia & Michael Adler Fraida & Bob Aland Dr. Charles & Brenda Allen AmazonSmile Janet & Larry Anderson Anonymous (2) Barbara & Jerry Aronowitz Peggy & Gordon Bare Cathy & Jim Bierman David & Cathy Blankenship Becca & Ryan Block Audie Bock Jim Bonham Patrick Bradley & Patty A. Carney-Bradley Gordon & Molly Brown Nancy & Alan Brumsted Marion W. Buchenroth Barbara & Jerry Carlson Sarah & John Chapoton Rick & Jan Cohen Karen Connelly Crane Creek Graphics Inc. John & Margaret Culbertson Reade & David Dornan Crozet Duplantier Roxanne & Tom Factor Amanda Flosbach Mr. George W. Ford Zaidee & Robbie Fuller Robyn & Jay Gaskill Kate Gilbane Elizabeth dePasquale Giordano & Mathiew Giordano Donna & George Glass Kirsti & Matthew Goodwin Uschi & Jochen Grocke Samuel & Marjorie Gulkis Lyndon Haddock Ed Hahn & Pamela Jones Julie Ann Giacobassi & Zach Hall Molly & James Harris Lenore Jonasson & Stephen Hoff Dawn & John Hummel Chris & Bill Iams Zita & Joseph Izzo Beth & Randy Judd Ella Kedan Pam & Bob Kennedy Gudrun Rice & Charles Kerr Peggy & Dieter Knecht Hooper & Shauna Knowlton Jim & Jane Knox Heather & Peter Kocubinski
Anna Kokotovic Margaret Kuechle Senator Grant and Maralyn Larson Fund Carole & Ed Liebzeit Alex Lilley Dr. Elizabeth Ridgway & Dr. James Little Sherry & John Lyle Joni Mack Kathy & Bob Mahoney Sheryl Marshall Mary McCarthy Angela & Michael McGrath Michael & Theresa McNicholas Irene & Moe Mellion Elinor & Scott Miller Celia Morgan & Jean Herrington Shelley Mulitz Christine & David Murdoch Maxine & Ted Murnick Darlene & James O’Brien Nancy Orgeman Doug Pace & Aida Farag Biba & Jon Parker Foundation Silvana & Christopher Pascucci Nancy & Bruce Pasfield Robert Paulson Jay & Beverly Pieper Lisa & Scott Pierson Elise Prayzich Carol & Stan Pugmire Thelma & Orville Quasdorf Bob Weiss & Maggie Radford Nancy Resor Julie Rosenfeld Grant Schettler Michael & Claudia Schrotz Dean Scofield Dr. & Mrs. Shafi Shafaieh Nicole Sheehan Patricia & Lawrence Shekell Priscilla & Barry Sibson Al & Ann Simpson Smith’s Community Rewards Mimi & Bobby Stein Richard & Barbara Szefc Karla Tessler, Matt Deehan, & Chase Collins Jill Veber Dr. Sheldon & Judith Wagman Susan Walter Betty & Jim Walton Susan Watts Juanita Weckerlin Maryjo & Gary Weissman Ali & Henry Wheeler Alice Widdess Gail Williams Barbara Ann & Gary Winter Debby & Robert Wood Cindy & Dale Woodling Carmen & Andrew Yung
$25 +
Judith Ablon Karen Aigeldinger Marianne & Robert Anderson Shawn & Andrew Ankeny Anonymous (6) Elinor Assadi Sarah Baab Patricia Berlin Elke & Erhard Bieber
GTMF.ORG | Season
57
185
Donors & Sponsors CONTINUED
Helen & Dave Bishop Hedy & Gerald Boelte Lea Bonnecaze & Ian Levenson Stephen Brossette Diana & James Brown Heather Burcham Ken Burnes Theresa Zacharias & Frank Byrne Sally & James Byrne Wendy Carlson-Koll Susan Caspar Geneva Chong & David Barnett Marty & Hilary Camino Penny Oslund & Billy Chow Littrell Clark Gert & Diane Coburn Bruning Greta Cohen, 2017 Diaper Derby Champion Karen Cohen Robert Coleman Mary Frances Coleman Kathy Cook Stanley Cook Don Cushman Owain Davies Christopher Davis Kirsten Lindahl & Johann Deisenhofer Kenneth E. Devore & Associates Debbie Dorsett Catherine C. Douglas Bob & Jane Downer Steve Dunbar Susanne Dwyer Rod Everett Charlotte Farrar Suzy & Matt Floyd Suze Fobert Jayann Fordon Janna Rankin & Art Frakt Daisy Friedman Jane Frisch Robert Earl Gardner Peggy Gilday & Maho Hakoshima Kathy & Richard Graham Margi & Tim Griffith Sharon Gunberg Michael Hagburg Mari Allan, Dillon, Andrew & Todd Hanna Christine Hayes Deana Henn Mike & Peggy Hinman Karen Jerger Sally & Frank Johnson Robert Johnson Daniel Jorgensen JPMorgan Chase Foundation Maurine Karabatsos Candace Kempf Diana & Robert Kiefer Cornelius Kinsey Bill Klyn David Knight Doug Kunz Frances Pollak & Ernest LaBelle Varvara Laird Lydia & Matthew Leitch The Liljestrom Family
186
Mary Long Carole Mackin Lin & Kip MacMillan Ann Masciarotte Jim & Susan Matheson Jane Matthews Georgia Mayer Gail & Kenneth Mayland Beverly & Ed McIlnay Kim McIntyre Kelly Cornell Mecartney & Dune Mecartney Donald Meylor Bertha & Kenneth Mount Regina Mullen Anne & Mike Newman Clary Olmstead & Kathleen Heenan Anna & Jeff Olson Jessie Orozco Jonathan Peacock Ricardo Perez Claybourne Petrey, Jr. Pam Phillips Patsy & David Raaum Elta Ratliff M R Rebenstorf David Rempe Laura Resnikoff Patty & Bill Ritchie * Barbara Roberts Julie Rocherolle Ann Ruttle Amy Ryan Carol & Craig Schwender Margaret Singleton Nancy Smanko Adrienne Smith James Smith Janice Smith Jeanie & Fred Staehr Diana Osuna & Tom Stallings Lory Stimson K. O. Strohbehn Elizabeth Thebaud Marie & Robert Tyler Ross Waggoner Lou Walsh Robert Warner Ron Weston & Margie Singleton Christine, Jeff & Alexandra Willemain Darlene Zillmer * These donors support the annual Patriotic Pops concert
Gifts in Memoriam Cecilia & Frank Bellinghiere, in memory of Chuck Webber, Clarinetist Cecilia & Frank Bellinghiere, in memory of Robert Romweber Gordon & Molly Brown, in memory of John Wither
Grand Teton Music Festival | SUMMER 2018
Rose-Marie & Michel Crouzillat, in memory of Mme. C. Michau & Christian Crouzillat Shawn & Mike Daus, in loving memory of Ellen & Alan Daus Daisy Friedman, in memory of Zoë Hardy Elizabeth dePasquale Giordano & Mathiew Giordano, in memory of Joseph dePasquale Goodman Family Foundation, in memory of Roy & Barbara Goodman The Jerry S. Handler Family, in memoriam Anna Kokotovic, in memory of my mother, Dorothy Bergman Holly McCollister, in memory of Paul & Esther McCollister Michael & June McCollister, in memory of Paul & Esther McCollister Celia Morgan & Jean Herrington, in memory of Zoë Tracy Hardy Claudia C. Nettle, in memory of Robert Nettle Frank A. O’Neil Family Foundation, in memory of Frank A. O’Neil Robert Paulson, in memory of Ling Tung Shirley & Michael Pearson, in memory of George A. Alcorn Thelma & Orville Quasdorf, in memory of fellow ushers Caroline Janney & Zoë Hardy Ari Rifkin, in memory of Leonard Rifkin Al & Ann Simpson, in memory of Margaret Burnett “Nanny” Simpson Douglas V. Thomas III, in memory of Judith Ann Koerner Juanita Weckerlin, in memory of Barbara Lynn Augé
Laura Resnikoff, in honor of Sue Morris Sam Collins & Karen Rockey, in honor of Tom & Shelley Botts Nancy Salden, in honor of Dina & Eric Winter Thomas Savage, in honor of Noah & Annette Osnos Arnold & Barbara Silverman, in honor of A.C. Hubbard Arnold & Barbara Silverman, in honor of Sylvia Neil Sarah Billinghurst Solomon & Howard Solomon, in honor of Barbara & John Vogelstein Edmund Spivack & Mary Kathleen Ernst, in honor of Scott Spector & Sandy Masur Andrew Palmer Todd, in honor of Andy Mahoney Ross Waggoner, in honor of Martha Waggoner Susan Walter, in honor of Barbara & Chris Hoeft Susan Walter, in honor of Pam Niner Darlene Zillmer, in honor of our troops
Grants Center of Wonder Town and County Arts for All
Programs are funded in part by a grant from the Community Foundation of Jackson Hole
Gifts in Honor Aron & Susan Ain, in honor of Andrew Palmer Todd Cecilia & Frank Bellinghiere, in honor of Lydia Leitch Rick & Jan Cohen, in honor of Trudi & Heinz Walter The Kessler Fund, in honor of Richard Brown Debbie Dorsett, in honor of Sharon Kuster Sylvia Neil & Dan Fischel, in honor of the wedding of Karla Tessler & Matt Deehan Sylvia Neil & Dan Fischel, in honor of Bob Whitmire’s 75th Birthday Shelley Mulitz, in honor of Charlie Feldman Susan Neumann, in honor of Cammie & Andy Watson Shirley & Michael Pearson, in honor of Barbara & Pat McCelvey
Programs are supported in part by an award through the Wyoming Arts Council through funding from the National Endowment for the Arts
Old Bill’s Fun Run On a Saturday morning in September, the Jackson Hole community gathers for the philanthropic celebration of Old Bill’s Fun Run. Over the past 21 years, this event has helped raise over $130 million for local charities and has touched thousands of lives. We are grateful for this event, to the 2017 Old Bill’s Fun Run Co-Challengers and Friends of the Match, and to those listed below who designate their gifts to the Grand Teton Music Festival.
Virginia & Michael Adler Fraida & Bob Aland Marcia Kunstel & Joe Albright Dr. Charles & Brenda Allen Idith & Yuval Almog Anonymous (3) Natalie Clark & Henry Armour Barbara & Jerry Aronowitz Peggy & Gordon Bare Pilar Bass Bonnie & Mert Bell Cecilia & Frank Bellinghiere Helen & Dave Bishop Jim Bjorken Becca & Ryan Block Audie Bock Jim Bonham Lea Bonnecaze & Ian Levenson Diana & James Brown Nancy & Alan Brumsted Theresa & Les Brunker Heather Burcham Ken Burnes Theresa Zacharias & Frank Byrne Wendy Carlson-Koll Lora & Dick Childs Geneva Chong & David Barnett Penny Oslund & Billy Chow Barbara Clinger Greta Cohen, 2017 Diaper Derby Champion Christine Coleman * Community Foundation of Jackson Hole Karen Connelly Kim & George Cornelson Crane Creek Graphics Inc. Don Cushman Shawn & Mike Daus Peggy & Kirk Davenport Kirsten Lindahl & Johann Deisenhofer Reade & David Dornan Mary Weber & Robert Duggan Pauline & William Egan Tania & Tom Evans Rod Everett Roxanne & Tom Factor Martha Feagin Marcia Allen & Gary Finkel Naomi & Roy Flack Lisa & Chuck Fleischman Amanda Flosbach Suzy & Matt Floyd Jayann Fordon Janna Rankin & Art Frakt Zaidee & Robbie Fuller Ilene & Howard Garber Julie & Fred Gaston Penny & Jeff Gilbert Peggy Gilday & Maho Hakoshima Donna & George Glass Caroline Janda & Michel Glouchevitch Theresa Godchaux Joan & David Goldfarb Natalie & Eliot Goss Myrna & Stephen Greenberg Margi & Tim Griffith Uschi & Jochen Grocke Sharon Gunberg Julie Ann Giacobassi & Zach Hall Mari Allan, Dillon, Andrew & Todd Hanna
Carol & John Harkness Molly & James Harris Vicki & Alan Henderson Barbara & Chuck Herz Betsy & Jim Hesser Leslie & David Hill Lynda & Anthony Hitschler Lenore Jonasson & Stephen Hoff Nick & Bonnie Hopkins Maggie & Jim Hunt Zita & Joseph Izzo Sally & Frank Johnson Diana & Robert Kiefer Cornelius Kinsey Lee & Roger Kintzel Peggy & Dieter Knecht Marlene & Peter Lang Senator Grant and Maralyn Larson Fund Lydia & Matthew Leitch Remy Levy & Catherine Kehr Warren Levy Carole & Ed Liebzeit The Liljestrom Family Dr. Elizabeth Ridgway & Dr. James Little Debra Cafaro & Terrance Livingston Mary Long Andy & Clark MacKenzie Lin & Kip MacMillan Jane Matthews Georgia Mayer Gail & Kenneth Mayland Ruth & Bill McClure Holly McCollister Michael & June McCollister Susie McDowell & McDowell Foundation Angela & Michael McGrath Beverly & Ed McIlnay Kelly Cornell Mecartney & Dune Mecartney Irene & Moe Mellion Elinor & Scott Miller Betty & Chuck Mulcahy Christine & David Murdoch Dick & Pam Niner Clary Olmstead & Kathleen Heenan Anna & Jeff Olson Doug Pace & Aida Farag Biba & Jon Parker Foundation Persephone Bakery Pam Phillips Lisa & Scott Pierson Shirley & Paul Piper Carol & Stan Pugmire Kasey & Len Purkis Dr. Paula Szypko & Dr. Marty Quadland Thelma & Orville Quasdorf Patsy & David Raaum Susie Rauch Lynn Fleisher & John Roberts Terry & Bert Romberg Chris & Louisa Sandvig Diane Schafer Claudia & Michael Schrotz Carol & Craig Schwender Dean Scofield Mike Sellet Priscilla & Barry Sibson Jeanie & Fred Staehr Diana Osuna & Tom Stallings Mimi & Bobby Stein
Bridget Mullen & Michael Stern Robert Strawbridge K. O. Strohbehn Heather & Tom Sturgess Betty & Chuck Terrill Karla Tessler, Matt Deehan, & Chase Collins Elizabeth Thebaud Edwin J. Thomas II & Karen Skaggs Shirley & Wes Timmerman Sandra & Bruce Tully Marie & Robert Tyler Teri & Dan Tyree Nancy Eaton-van Ee & Jeff van Ee Martha & Warren Van Genderen Larry & Barbara Van Genderen Jill Veber Betty & Jim Walton William E. Wecker Associates Inc. Chad & Wendy Weiss Maryjo & Gary Weissman Ali & Henry Wheeler Beth Ann & James Williams Gail Williams Cynthia Winslow Barbara Ann & Gary Winter Elaine & Jim Wolfensohn Dana Olson & John Wright
The Sullivan Society
The Sullivan Society was created to honor the generosity of Mr. and Mrs. Pike Sullivan. In 2013 the Grand Teton Music Festival received a bequest from Pike that was added to the Festival’s endowment. The Sullivan Society honors those who create bequests, charitable trusts, and other planned gifts to leave lasting legacies for the Grand Teton Music Festival. Planned gifts, whether large or small, demonstrate your deep commitment to the Grand Teton Music Festival. Through their thoughtful foresight and generosity, members of the Sullivan Society play a key role in long-term growth and continued success. Those listed here have pledged their support of the Grand Teton Music Festival through planned gifts. If you have also included GTMF in your estate plans or would like to discuss planned giving, please contact Anna Mattson, Director of Development, at 307.732.9967 or anna@gtmf.org.
Marlies & Ed Artzt Gainor & Joe Bennett Joyce & John Caddell and the Caddell Construction Company Inc. Mary Ann & Harold Feldman Melissa & Mark Grosvenor Carol & John Harkness Christine & Ross Hartley Jayne & Al Hilde, Jr. Mary & Stanley Seidler Susan & Pike Sullivan Andrew Palmer Todd
Landlords One of the largest expenses for the Festival is housing our exceptional musicians. We are very grateful to our homeowners, with whom we have built important relationships and who graciously provide housing during the Festival. To inquire about renting or donating your home, please contact Sean Campbell at sean@gtmf.org. The Brillhart Family Ed & Peggy Eifert Gary & Syd Elliott Don & Sue Gronberg Martin & Anne Horner Kate Jensen Shoshana Kobrin Jim Outland Marshall & Jean McBean Ed & Syndi Reynolds Lynne & Harvey Scholfield Lee & Kirk Shadrick Walter Shah Amy & Steve Unfried Tom Westbrook
Home on the Range Stanley Seidler and Margot Walk, Campaign Co-Chairs In 2010 GTMF embarked on a capital campaign to purchase housing for our musicians. We gratefully recognize the loyal and generous donors whose combined gifts topped $2M. Thank you for providing our musicians with homes on the range!
BUFFALO | $250,000 + Ari Rifkin, in memory of Leonard Rifkin Mary & Stanley Seidler Shooting Star
MOOSE | $100,000–$249,999 Christine & Ross Hartley Sylvia Neil & Dan Fischel Margaret & Gilman Ordway Maggie & Dick Scarlett
BEAR | $50,000–$99,999 Marion Buchenroth Joyce & John Caddell and The Caddell Foundation
GTMF.ORG | Season
57
187
Donors & Sponsors CONTINUED
Jayne & Al Hilde, Jr. Penney & A.C. Hubbard Adrienne & John Mars Robin & Bob Paulson Kenneth & Caroline Taylor Family Foundation Christy Walton William E. Weiss Foundation Elaine & Jim Wolfensohn
DEER | $25,000–$49,999
Beth & David Augé and Teton Motors Gainor & Joe Bennett Peter A. Benoliel & Willo Carey Carol & Peter Coxhead Jan & Larry Finch Lynne & Jack Fritz Sharon & Dale Hilpert Shirley & Paul Piper Barbara & John Vogelstein Suzanne & John Whitmore
ANTELOPE | $10,000–$24,999 Marlies Hessel Artzt & Ed Artzt Bonnie & Merton Bell Betsy & Pete Forster Lou & John Furrer C&N Foundation Carole & Norman Hofley Carole & Bob Hummel Thomas Mangelsen, Inc. Claire & Dick Morse Pam & Dick Niner Chris & John Nyheim Jerry Rose Linda & John A. Sherman, Jr. Jean & Scott Spangler Joyce & Bill Sullivan Sue & Pike Sullivan
COUGAR | $5,000–$9,999
Larry Berlin & Berlin Architects Joan & Macon Brock Janet & John Costello Anne & Joel Ehrenkranz Carol & Robin Farkas Cynthia Fayard & Stephen Trickey Georgia & Doug Inglis The Jaquith Family Foundation Dale & Jay Kaplan Marlene & Peter Lang Margery & Edgar Masinter Carole & Jack Nunn Susan & Peter Ordway Patricia Russell Ann & Al Simpson Mr. & Mrs. Henry G. Stifel Cammie & Andy Watson Janet & Bob Whitmire James Wunsch Family
FOX | $2,500–$4,999
Marcia Allen & Gary Finkel Cecilia & Frank Bellinghiere Brent Blue, M.D. Cheryl Brown, Jessica, Chloe, & Gabrielle
188
Christine Coleman Helen Farrell O’Ann Fredstrom & Stuart Sugarman Joan & David Goldfarb Gisela Kenyon Jane & Jim Knox Drs. Denny & Ilse-Marie Lee Judy Leopold & Alan Orloff Abigail S. Moore & Howard J. Henderson Susan & Stephen Morriss Mr. & Mrs. Lester S. Morse, Jr. Bridget Mullen & Michael Stern Melanie & Larry Nussdorf Ann & Ben Ruehr Alvrone & Ronald Sater Mary & Don Shockey Barbara & Richard Silverman Barbara & Stan Trachtenberg
EAGLE | $1,000–$2,499
Virginia & Michael Adler Auxiliary of the Grand Teton Music Festival Pat & Dan Baker Deborah & Randolph Barker Barbara Butler & Charles Geyer Carole Bean & Ken Leffler Cathryn Brodie & Doug Lowham Susan & Richard Brown Mary Lou & Dennis Brydon Barbara Casey Sophie Echeverria In memory of Thelma Conner, from Roxanne & Tom Factor Emma Jane Gersack Natalie & Eliot Goss Leslie I. Gold & John Spain Louise & Ralph Haberfeld Carol & John Harkness Antonia C. Hartley Hillary Hartley, Anna Gregory, & Wyatt Hartley Will R. Hartley In memory of Mary Helen Harutun Barbara & Chuck Herz Tracy, Tim, Malayna, & Connor Jacobson Annabelle & Bob Lerch Carole & Ed Liebzeit Ann & John Lyle Debbie & Marshall Matz Barbara & Pat McCelvey Elinor & Scott Miller Betty & Chuck Mulcahy Anne & Tom Muller Dorothy Ann & Joe Palmer Lynne Marie & Richard Palmer Lucy & Toby Rankin Katrina Weiss Ryan Carol & Craig Schwender In honor of Mary & Stanley Seidler Dr. Frank & Lynda Sharbrough Susan Shepard & Leonard Kleiman Diane & Donald Siegel Martha & Warren Van Genderen Polly & Dick Vaughan
Grand Teton Music Festival | SUMMER 2018
In memory of George C. Weldon Cindy & Dale Woodling Alan & Janice Zuckert, in honor of Mary & Stanley Seidler
SWAN | $500–$999
Emily & Jim Ambler Anonymous Helen & Dave Bishop The Brooks Foundation Nancy Eaton & Jeff van Ee Mary Ann & Harold Feldman Arthur Frakt & Janna Rankin Bob Graham & Karen Terra Carter Gray Carolynn & Bruce Hawtin Kit Hughes Alison & Richard Jones Kelly McDermott & Mark Daverin Sue & Lewis Nerman Ann & Dick O’Leary Beverly Parenti Herbert & Judith Paul, in honor of Carol & Robin Farkas Shirley & Michael P. Pearson, in honor of Barbara & Pat McCelvey Jim Rosenfield, in honor of Sue & Alan Morris Fallon & Matt Ryan, in honor of Margaret & Cal Mathieu Carla & David Satinsky, in honor of Barbara & Pat McCelvey Katherine Swartz & Frank Levy
CHICKADEE | UP TO $499
Anonymous (2) Barbara Aronowitz Dr. Kenneth & Mrs. Helen Begelman Lea Bonnecaze & Ian Levenson Lisa & Bain Campbell Jackie & Gary Childress Anna & John Dobbins Phyllis Eliot & Earle Kaufman Peter Fenton Amanda Flosbach Shelly & Art Fuerte Joanna Giesek, in loving memory of friend & colleague Ling Tung Susan Gorder Sorel & Kurt Gottfried Sharon Gunberg Sarah & John Gushee Laurie & Jim Hagenbarth Caroline & John Hall, in memory of Ling Tung Hawtin Jorgensen Architects Lenore & Scott Henninger, in memory of Ling Tung Karen & Richard Hobbins K.A. & C.E. Hoffmann, D.D.S. Christal & Rafe Holmes Terri & Bob Holzworth Elaine Infanger Judy Ingold Jim Joseph Pam & Bob Kennedy
Kristin King Lee & Roger Kintzel Hale Knox Anna Kruger Sheila McCann Dr. John & Denise McCarthy Irene & Moe Mellion Kristin Morrison Donna Paulsen & Thomas Press, in honor of Mary & Stanley Seidler Carolyn Reeve & Andy Ripps Cary & Michael Rose Peter Selkowitz Vicki & Bob Stamp Cordelia & Peter Stearns Mike Swanson Maryjo & Gary Weissman, in honor of the wedding of Catherine Tallichet & Tim Oakley Mary Ann & Jerry Tapp, in memory of Ling Tung Jennifer & Michael Tennican Barbara & Edmund Terry Gail van den Berg Alice & Michael Weinreb Barbara Ann & Gary Winter
For A Sound Future Al Hilde, Jr. & Stanley Seidler, 2000 Endowment Campaign Co-Chairs We gratefully recognize the donors who contributed over $10M in gifts and bequests—more than quintupling the original Endowment Fund and almost doubling the campaign goal.
GRAND TETON | $500,000 + Joyce & John Caddell, Caddell Construction Company, Inc. Jan & Larry Finch Jayne & Al Hilde, Jr. Susan & Pike Sullivan Frances & Allan Tessler Mrs. Marguerite A. Walk & The Maurice Walk Fine Arts Foundation, in honor of Felix Buchenroth and the Buchenroth Family. Robin & Bill Weiss
MT. OWEN | $250,000– $499,999 Marlies & Ed Artzt
MT. MORAN | $100,000– $249,999
“The Love of My Life and Partner of My Dreams” Muffie Van Camp Becks – Her loving husband, Hank Becks Gainor & Joe Bennett *
Joy & Tony Greene Melissa & Mark Grosvenor Berte & Alan Hirschfield Penney & A.C. Hubbard & T. Rowe Price Associates Foundation The Jackson State Bank and Trust— Dick & Maggie Scarlett with a grant from the Robert S. & Grayce B. Kerr Foundation Diann & Tom Mann Margery & Edgar M. Masinter In memory of Dick Moore by Ann C. Moore Ann Matthews O’Leary, Chair for Keyboard Instruments Abby & George O’Neill Margaret & Gilman Ordway Robin & Bob Paulson Sally G. Phinny Mary & Stanley Seidler John A. Sherman, Jr.
TEEWINOT MT. | $50,000– $99,999
Carol & Peter C. Coxhead, in memory of Kathleen Nichols Coxhead Mary Anne & Richard Cree Lou & John Furrer Christine & Ross Hartley Jayne & Dick Johnston * Robin & Sam Lightner, Camille & James Brunker, Sam Lightner, Jr., & The Lightner Sams Foundation of WY, Inc. Margery & Edgar M. Masinter Sally & Rick Mogan * Caroline & Ken Taylor Georgene & John Tozzi Barbara & Stan Trachtenberg, in memory of Ellen & Alan Daus *
CLOUDVEIL MT. | $25,000– $49,999
The Augé Family & Teton Motors, in memory of Anneliese Augé Ann & Chuck Baker Muriel & Chuck Chidsey Roberta D. Bowman & Steven A. Denning Anne & Joel Ehrenkranz Linda & Bob Ewing Mary Ann & Harold Feldman Bob Graham, Karen Terra, & Real Estate of Jackson Hole Carole & Norman Hofley Dale & Jay Kaplan Mark Owen Mintel Claire W. & Richard P. Morse Ed Opler, in loving memory of Pat Opler Mary Thom & Ray Osborne Laurance S. Rockefeller Ron Saypol & Florence Lemle Joyce & Bill Sullivan Evelyn Twigg-Smith Polly & Dick Vaughan *
NEZ PERCE MT. | $10,000– $24,999
Marion Buchenroth Peter A. Benoliel & Willo Carey Mr. John Deuss Margot & Paul von Gontard
Barbara & Roy Goodman Clarene & Creed Law, Elk Country Motels Gretchen Long Dinny & Lester Morse Diane & Donald Siegel Margaretha Walk & Jerry Freeland Wyoming Arts Council, through funding from the NEA & the WY State Legislature
BEDROCK | $500–$9,999
Jean & Sals Adams * Larry K. Berlin & Berlin Architects Mrs. Gertrude W. Brennan, in memory of Maurice Walk Eliza & Tom Chrystie * Anne-Marie & Jimmy Dobbs, III Carol & Robin Farkas Nancy & James A. Grim, in honor of LaFon & Bill Ward Sandy & Ron Harrison Tracy & Tim Jacobson Rosemarie & Steve Johnson Kaki & Bob Knight Vikki L. & Robert M. Lane Mr. & Mrs. Eugene Lang, in honor of Carol & Robin Farkas Jeanne Maher Edna & Norm Mason Doyen McIntosh Elinor & C. Scott Miller Devra Davis & Richard Morgenstern Erika & Julius Muschaweck Squirrel Rork Mr. & Mrs. James R. Salzmann Mr. & Mrs. Henry G. Stifel Alice & Frank Werner Hiroshi & Fumiko Yamashita * Donor-directed fund of the Community Foundation of Jackson Hole
Walk Festival Hall Preservation Project Bob Paulson & Margot Walk, 2006 Campaign Co-Chairs We gratefully recognize the donors whose gifts raised over $5M to complete the Walk Festival Hall Preservation Project.
$250,000 +
In honor of Baroness Consuelo von Gontard & Felix Buchenroth, Jr. Maurice Walk Fine Arts Foundation Ann & Dick O’Leary
$100,000 +
Lynne & Jack Fritz Christine & Ross Hartley Jayne & Al Hilde, Jr. Penney & A.C. Hubbard Carolyn & Chuck Miller Robin & Bob Paulson Maggie & Dick Scarlett and The Jackson State Bank & Trust Mary & Stanley Seidler Caroline & Ken Taylor Margot Walk & Jerry Freeland
$50,000 +
Gainor & Joe Bennett Christine Coleman, in loving memory of my parents, Ed & Winnie Coleman, who instilled in me a love of music Carol & Peter Coxhead Lou & John Furrer, in memory of Barbara Furrer Goodman Senator Roy Goodman, in memory of Barbara Furrer Goodman Sally & Rick Mogan Susan & Jon Rotenstreich Maggie & Dick Scarlett Mr. & Mrs. Henry G. Stifel
$25,000 +
Beth & David Augé & Teton Motors Peter A. Benoliel & Willo Carey Berlin Architects Mary Anne & Richard Cree Roberta & Steven Denning Jay & Dale Kaplan Kemmerer Family Doris & Gerald Laubach Sylvia Neil & Dan Fischel Carole & Jack Nunn Abby & George O’Neill Shirley & Paul Piper John A. Sherman, Jr. Diane & Donald Siegel Joanne & David Stokes Stan & Barbara Trachtenberg
$10,000 +
Gertrude Brennan Jackie & Gary Childress Mark Daverin & Kelly McDermott Elizabeth & Charles duPont Cynthia Fayard & Stephen Trickey Jan & Larry Finch David B. Ford Four Seasons Resort Jackson Hole Becky & Carl Goldfischer Bob Graham & Karen Terra Louise & Ralph Haberfeld Suzanne & George Harris Terry Hazen & Honey-Do!, Inc. Barker Hickox Sharon & Dale Hilpert Stephen A. Kaplan & Alyce K. Sigler Emily & Carl Knobloch Robin & Sam Lightner Gretchen Long Deborah & David MacKenzie Diann & Tom Mann Margery & Edgar Masinter Marilyn & Charles S. Mechem, Jr. Dinny & Lester Morse Marilyn & Glen Nelson Laura & Ed Opler Pamela & Jerry Rankin Phyllis & Chuck Savidge Margot Snowdon & Yves Desgouttes Susie & Dave Spackman Joyce & Bill Sullivan Frances & Allan Tessler Thanksgiving Foundation Joan & Walt Thulin Polly & Dick Vaughan Barbara & John Vogelstein
Robin & Bill Weiss Dr. & Mrs. Frank D. Werner Wiancko Family Fund
$5,000 +
Jean Adams Marieluise Hessel Artzt & Edwin Artzt Bel Air Investment Advisors Virginia C. Boswell, in loving memory of Richard H. Boswell George H. Breed Marion W. Buchenroth Muriel & Chuck Chidsey Raffaella & Alberto Cribiore Elizabeth & Eben Dorros Ehrenkranz Family Foundation Carol & Robin Farkas Susan & Robert Gardner Joan & David Goldfarb Heidi, Danny, Oliver, & August Jost Clarene & Creed Law Peter Lawton Mr. & Mrs. W. Parker Lee Jodi & Jack Livingood Margaret & Cal Mathieu Betty & Hamilton E. McRae, III Lenore & David Nichols Sally Phinny Gaby & Mercer Reynolds Mary & Don Shockey Snow King Resort Susan & Pike Sullivan
$2,500 +
Anonymous, in honor of Margot Walk Cecilia & Frank Bellinghiere Carol & Bill Chittenden William L. & Lucy C. Conley Tania & Tom Evans Mary Ann & Harold Feldman George W. & Serena E. Ford Barbara & Allan Goodman Carole T. & Robert C. Hummel Georgia & Doug Inglis KitchenAid Beedee & Ted Ladd Jean & Jim Lewis Carole, Ed, & Jason Liebzeit Abigail S. Moore; Moore, Myers & Garland Chris & John Nyheim Julie & Willaim Obering Dorothy Ann & Joe Palmer Rachel Ravitz Rotary Club of Jackson Hole Barbara & Arnold Silverman Jose Troncoso, M.D., & Carl Schreier The Wunsch Family
$1,000 +
Louis J. Appignani & Laurie Pallot Pat & Dan Baker Alice & Chris Barreca Louise & Harry Bartley Lea Bonnecaze & Ian Levenson Brooks Foundation Mary Lou & Dennis Brydon Faye & William Campbell Jackie & Gary Childress, in memory of Kip Wallace Joan & Philip Cory
GTMF.ORG | Season
57
189
Donors & Sponsors CONTINUED
Dan L. Curtis, M.D., Patricia Curtis, & Brittany Shawn & Michael Daus Tacie Dejanikus, in honor of Carolyn Scott Dejanikus Katherine & Frank Forelle O’Ann Fredstrom & Stuart Sugarman W.H. Baird Garrett Natalie & Eliot Goss, in memory of Mrs. Anne Woolsey LaFarge Carter Gray, in memory of Gordon Gray Peggy & Richard D. Greenfield, in honor of Carol & Robin Farkas Gigi & Mike Halloran Carol & John Harkness Deane & Dick Henderson Cy & Virginia Holden The Jaquith Family Foundation Jorgensen Associates, P.C. Liz Kintz Viesia & Jerry Kirk Senator & Mrs. Grant Larson Joan & Charles Lazarus, in honor of Carol & Robin Farkas Val & George LeFebre Barbara & Downs Mallory Mr. & Mrs. John F. Mars Claude W. Martin Patrica Martin Robert H. & Robert J. Meier Elinor & C. Scott Miller Richard Morgenstern & Devra Lee, Davis Charitable Foundation Sue & Alan Morris Louisa Myrin Happy & Bob Nettle Melanie & Larry Nussdorf Lucy & Toby Rankin Phyllis & Sidney Reisman, in honor of Carol & Robin Farkas J. Robert & Anne W. Robertson Robert J. & Mary C. Rohr, III Ann & Ben Ruehr David Sankaran & Antonette Ginochio Ron Saypol & Florence Lemle Dean Scofield Ann W. Seibert Linda & John Sherman, Jr., in memory of Kip Wallace Ann V. Shesne Gisela Siwek & Crazy Horse Carol & Dean Spatz Adrea & Jack Sukin Barbara & Ed Terry Jean Louise & Mike Thieme Martha & Warren Van Genderen Normie & Paul Voillequé Dr. Robert & Ann Volz William Wallace, in memory of Kip Wallace Joni & Rob Weed Janet & Bob Whitmire Patricia & Gregory Wright Dava Karen Zucker
190
$500 +
Maryann & Stuart Abrahams Emily & Jim Ambler Dr. & Mrs. B.R. Blackwell Susan & Richard Brown Eliza & Tom Chrystie Adelaide & Ted Donnan, in memory of Benji Podmaniczky Cree & Frazer Durrett Ruth & Nyles Ellefson Anne Fish Betty B. Garrett Ed Henze Janet & Larry Hiler Dee & Ken Hoffmann Tracy, Tim, Malayna, & Connor Jacobson Caroline & Ron Janney Alison & Dick Jones Diana & Robert Kiefer Marlene & Peter Lang Irene & Moe Mellion Mr. & Mrs. David Ruder Peter Selkowitz Cordelia & Peter Stearns Adrienne Sugarman Mary Ann & Jerry Tapp, in memory of Francie Corbett Byron Tomingas Erica & George Tremblay Rilla & Jay Varley Shanna Varley & Roy Varley Adrienne & Peter Ward Douglas Whatmore & Kimmon Richards, in memory of Julia Modro Dominique & Gerard Yvernault
Business Friends We recognize these local businesses that generously provide discounts to our musicians throughout the 2018 Summer Festival Season. Adventure Sports at Dornan’s Alpenhof Bistro & Alpenrose Restaurant Bar J Chuckwagon Bar T 5 Barker-Ewing Scenic Float Trips Boyer’s Indian Arts & Crafts The Bunnery The Country Woman DogJax Dornan’s Wine Shoppe Exum Mountain Guides GaperGuide Happy Tails Pet Resort Hertz Rent-a-Car Hole Bowl Jackson Hole Children’s Museum Jackson Hole Cinemas Jackson Hole Historical Society & Museum Jackson Hole Whitewater
Grand Teton Music Festival | SUMMER 2018
Jackson Mercantile Jared Power Craniosacral Therapy & Structural Integration Il Villaggio Osteria Indians of the Greater Yellowstone Museum Lee’s Tees Leek’s Pizzeria & Marina National Museum of Wildlife Art O’Ryan Cleaners Sharron Chapman Pilates Shirt Off My Back Signal Mountain Lodge Snake River Brewery & Restaurant Snake River Grill Teton Healing Massage & Wellness Teton Mountain Bike Tours Teton Pines Country Club & Resort Teton Sports Club Westbank Anglers Wilson Backcountry Sports
DISCOVER LIVE MUSIC AT
A PROJECT OF
Center of Wonder advocates for the arts in Jackson Hole and empowers its creative leaders.
PO Box 2058 | 240 S. Glenwood Street | Suite 103 | Jackson, WY 83001 | 307-413-1800 | calendar@dailywonder.org GTMF.ORG | Season
57
191
Advertiser Index PLEASE THANK OUR PROGRAM ADVERTISERS WITH YOUR PATRONAGE.
Altamira Fine Art................................................... 148 Bank of Jackson Hole................................................. 2 Berlin Architects.................................................... 154 Bessemer Trust......................................................... 17 Carney Logan Burke Architects............................... 17 Cathedral Voices....................................................... 22 Center for the Arts................................................... 30 Center of Wonder.................................................. 191 Classical Music Festivals of the West....................... 54 Community Foundation of Jackson Hole......... 52, 142 Dancers’ Workshop................................................... 91 Daynes Music......................................................... 142 Diehl Gallery............................................................ 49 First Republic Bank................................................ 155 Four Seasons Resort and Residences Jackson Hole.... 18 Foxtail Books & Library Services............................. 30 Gallatin Wealth Management................................ 140 Geittmann Larson Swift LLP................................ 104 Grand Teton Floor & Window Coverings............... 27 HAPI Trails............................................................ 109 Heather James Fine Art............................................ 18 Hertz...................................................................... 183 Idaho Falls Symphony............................................ 118 Income Focus Portfolio Management........Back Cover Jackson Hole Art Auction........................................ 94 Jackson Hole Chamber of Commerce.................... 123 Jackson Hole Classical Academy............................ 104 Jackson Hole Resort Lodging................................ 140 Legacy Lodge at Jackson Hole............................... 109 Live Water Properties............................................... 22 Long Reimer Winegar Beppler LLC..................... 130 Lubing Law Group................................................ 142 Mangy Moose Grocery Store & Wine Shop......... 183 Mangy Moose Restaurant...................................... 123 MD Nursery & Landscaping................................... 52 192
Grand Teton Music Festival | SUMMER 2018
National Museum of Wildlife Art............................ 66 Outpost...................................................................... 4 Shooting Star.................................Inside Front Cover South Dakota Trust Company................................. 78 Spackmans & Associates.......................................... 17 Spur Catering............................................................. 6 St. John’s Medical Center............................52, 84, 104 Sun Valley Summer Symphony.............................. 183 Teton County Library.............................................. 30 The Pines Restaurant at Teton Pines ..................... 109 Teton Thai................................................................ 22 The Clear Creek Group............................................ 98 The Liquor Store.................................................... 130 The Nature Conservancy.......................................... 27 Trilipiderm............................................................... 96 US Bank................................................................. 123 Westside Wines & Spirits........................................ 36 Wyoming Public Media........................................... 36
GRAND TETON MUSIC FESTIVAL
The Donald Runnicles Musical Arts Scholarship Competition In 2017, the Festival received an anonymous gift to create The Donald Runnicles Musical Arts Scholarship Competition. Open to high school seniors in Wyoming, Idaho, and Montana who are pursuing a degree in music, the competition awards $40,000 in total scholarships to the top three applicants annually.
The inaugural competition was held on June 9, 2018 and featured eight students competing for prizes of $20,000, $12,500, and $7,500.
For the 2018 results, visit gtmf.org/about/#scholarship