Bravo! Vail -- June 20-August 1, 2024

JUNE 20 - AUGUST 1, 2024

JUNE 20 - AUGUST 1, 2024

ONE RIVERFRONT 208 | Avon

1-bed | 1-bath | 736 sf | $1,390,000

Jack Affleck | 970.331.3686 | jack@slifer.net

Lissa Tyler | 970.390.7493 | ltyler@slifer.net

805 Potato Patch | Potato Patch

4-bed | 5-bath | 5,219 sf | Sold for $7,000,000 | Represented Seller Paul Gotthelf | 970.376.1775 | pgotthelf@slifer.net

The Valley Condo A22 | Buffehr Creek

3-bed | 2-bath | 1,355 sf | $1,495,000 The McSpadden Team | Steve and Hillary McSpadden 970.390.7632 | mcspadden@slifer.net

Kathleen Eck | 970.376.4516 | keck@slifer.net ONE RIVERFRONT 100, 206 & 507 | Avon 2-3-bed |

WELCOME TO THE 2024 SEASON

ANNE-MARIE M c DERMOTT Artistic Director

Welcome to the 37th season of the Bravo! Vail Music Festival. We are so happy to bring this incredible summer of music to you.

The 2024 Festival promises to be exhilarating and filled with joy. Together, we will share in the transformative and uplifting power of live music in one of the world’s most majestic natural settings. Whe ther listening to an orchestra at the Gerald R. Ford Amphithea ter, a string quartet in the Vail Chapel, or a small ensemble at the Gypsum Public Library, you will experience world-class artists bringing to life the unique emotional impact that only music can create. There is so much to take in throughout the course of this year’s Festival. We are thrilled to welcome back our internationally acclaimed resident orchestras the New York Philharmonic, The Philadelphia Orchestra, the Dallas Symphony Orchestra, led by Jaap van Zweden, Yannick NézetSéguin, and Fabio Luisi as well as the historic Bravo! Vail debut of Mexico’s Sinfónica de Minería, the first Latin-American orchestra presented at the Festival, led by their renowned Artistic Director Carlos Miguel Prieto. 2024 also marks the return of opera to the Bravo! Vail stage, with two performances of Puccini’s La bohème

In its earliest days, Bravo! Vail began with chamber music, and we continue to celebrate this intimate genre. Our Chamber Music Series presents iconic works with pianists Sergei Babayan and Daniil Trifonov, and additional guest artist performances by violinist Paul Huang, pianist Igor Levit, pianist and Artistic Director Anne-Marie McDermott, Dalí Quartet, New York Philharmonic String Quartet, and The Philadelphia Orchestra’s Principal Horn Jennifer Montone and Principal Clarinet Ricardo Morales. Whe ther you are brand new to experiencing chamber music, or a seasoned listener, you will be enthralled by these incredible programs.

CAITLIN MURRAY Executive

Director

HANK GUTMAN Board

Chair

In addition, we present several series with specific musical focuses that allow the audience to explore more and dive deeper. Immersive Experiences explores works from the prolific last year of Franz Schubert’s life, considered by some to be the most important year of composition in history before his tragic death at age 31. Classically Uncorked returns with two bold chamber music programs co-curated and presented by the Dublin Guitar Quartet.

At the heart of Bravo! Vail’s mission is providing access to extraordinary music to all. This season, we enthusiastically invite our community to more than 35 free concerts and programs, including Community Concerts, Little Listeners @ the Library, Music Box Concerts, Inside the Music, PreConcert Talks, and post-concert Meet the Artist Q&As. From Vail to Gypsum, we strive to make live music accessible to everyone. For the first time, Bravo! Vail will present a free Community Concert in partnership with our neighbors at the historic Tabor Opera House in Leadville.

At Bravo! Vail, we also place great value on the commissioning and presentation of new music. It is essential to continue building the classical music canon and offer opportunities for this new music to be heard and experienced. Now in the third year of our Symphonic Commissioning Project, we proudly present three Colorado premieres of works by Anna Clyne, Jeff Tyzik, and Joel Thompson. Eleven additional works by living composers receive Bravo! Vail premieres, all alongside the standard masterpieces you know and love.

We extend our deepest gratitude to our musicians, community leaders, music teachers, donors, sponsors, volunteers, and music lovers who contribute to Bravo! Vail’s impact every year. We hope experiencing the remarkable music this season brings you joy, and we look forward to seeing you throughout the valley. Thank you for celebrating the evolving world of classical music with us.

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A BOLD SEASON BECKONS

Photo courtesy VLMDAC/ Jack Affleck.

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SLEEPING BEAUTY

OCT. 4-13, 2024

THE NUTCRACKER

NOV. 30-DEC. 29, 2024

CASANOVA

JAN. 31-FEB. 9, 2025

ALICE (in wonderland)

MARCH 7-16, 2025

BALLET MASTERWORKS

APRIL 11-20, 2025

All the highs. None of the downsides. Winter Park in Grand County.

BOARD OF TRUSTEES

Hank Gutman, Chair

Diane Loosbrock, Vice Chair

Byron Rose. Secretary

Paul Rossetti, Treasurer

Charlie Allen

Paul Becker

Sarah Benjes

Barry Beracha

Bill Burns

Carol Cebron

John Dayton

Marijke de Vink

Julie Esrey

Cookie Flaum

Dan Godec

Mark Gordon

Linda Hart

Fred Hessler

Ann Hicks

ADVISORY COUNCIL

Pauline Araujo Agoitia

Marilyn Augur

Ronnie Baker

Joe Bankoff

Kathleen Brendza

Nick Budor

Edwina Carrington

Tim Dalton

Leo Dunn

Kathleen Eck

Michael Elsberry

Kabe ErkenBrack

Carole Feistmann

Harry Frampton

Joan Francis

Michael Glass

Martha Head

Becky Hernreich

Bratzo Horruitiner

Fred Kushner

Honey Kurtz

Robert LeVine

Brett Logan

Vicki Logan

Laura Marx

Tony Mayer

John Giovando FOUNDING

FROM THE FOUNDER

Peter Kitchak

Alan Kosloff

John Magee

Sarah Millett

Laurie Mullen

Margery Pabst Steinmetz

Steve Pope

Kalmon Post

Tom Rader

Michele Resnick

Jeris Romeo

Carole Segal

Beth Slifer

Randy Smith

Cathy Stone

Doug Tansill

Greg Walton

Michael Warren

Shirley McIntyre

Kate Mitchell

Matt Morgan

Bill Morton

Brad Quayle

Drew Rader

Terie Roubos

Adrienne Rowberry

Mike Rushmore

Lisa Schanzer

Pete Seibert

Chris Silversmith

Rod Slifer*

Marcy Spector

Tye Stockton

Susan Suggs

Lisa Tannebaum

Fred Tresca

Melina Valsecia

Carole Watters

Kyle Webb

Jim Willeford

Steve Yarberry

Aneta Youngblood

*in memoriam

It is a pleasure to welcome you to the 2024 season of the Bravo! Vail Music Festival, now in its 37th year of bringing great music to the Vail community and its summer visitors. Featuring a season of diverse programming from opera, pops, classical, and contemporary masterpieces, to chamber music and educational ensembles performed by esteemed American and international orchestras and musicians. Music shines a bright light on the world and is what brings us together.

My gratitude runs deep to each concert goer, musician, donor, volunteer, music teacher, and sta ff member which has made Bravo! Vail the Festival it is today. Thank you and enjoy the sounds of summer!

Enjoy the fantastic 2024 Festival!

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Suzi Apple & Gateway Real Estate

are celebrating their 31st year this summer. As one of the Vail Valley’s premier boutique Real Estate firms, Gateway Real Estate has built a reputation for excellence, often entrusted to list and sell the same properties over and over.

Not only is Suzi Apple the sole owner and founder of Gateway Real Estate, but she’s also passionate about providing exceptional service and helping clients find their perfect Vail Valley oasis. With a deep love for her community, Suzi makes the real estate process enjoyable and fun for everyone involved. Since establishing Gateway Real Estate in 1993, Suzi has been a driving force in the valley with the development of over 550 singlefamily homes. Her unparalleled product knowledge, commitment to excellence, and dedication to client satisfaction have earned her business primarily through repeat clients and numerous referrals.

Visit Gateway Real Estate’s Vail Village office, conveniently located above the International Bridge at 183 Gore Creek Drive, Suite 5. Meet Suzi and her exceptional team of brokers, poised to assist you in finding your ideal Vail Valley home. Contact Suzi directly at 970-376-5417.

BRAVO! VAIL SUMMER 2024 BRAVO! VAIL SUMMER 2024

JUNE 23

Sinfónica de Minería

6:00PM • GRFA

JUNE 24

Community Concert

6:00PM • BCP

JUNE 30

Dallas Symphony Orchestra

6:00PM • GRFA

JULY 7

JULY 14

Chamber Music

7:00PM • VPAC

JULY 1

Little Listeners

2:30 PM • APL

Dallas Symphony Orchestra

6:00PM • GRFA

JULY 8

JUNE 25

Chamber Music 7:00PM • DP

JUNE 19

Little Listeners

2:30 PM • APL

Community Concert 7:00PM • GTH

JUNE 26

Dallas Symphony Orchestra 6:00PM • GRFA

JULY 2

Community Concert 1:00PM • VIC

Chamber Music 7:00PM • DP

JULY 9

JULY 3

JULY 10

JULY 21

Nature Walk

9:30 & 11:00AM • WMSC

New York Philharmonic

6:00PM • GRFA

Little Listeners

2:30 PM • GPL

Linda & Mitch Hart Soirée

6:00PM

JULY 15

Immersive Experiences 7:00PM • DP

Community Concert

1:00PM • VIC

Inside The Music

1:00PM • VIC

Little Listeners

2:30 PM • EPL

The Philadelphia Orchestra 6:00PM • GRFA

JULY 16

Community Concert 1:00PM • VIC

Immersive Experiences 7:00PM • DP

JULY 22

JULY 28

JULY 17

Inside The Music 1:00PM • VIC

New York Philharmonic 6:00PM • GRFA

Community Concert

2:00PM • TOHL

Little Listeners

2:30 PM • GPL

Chamber Music

7:00PM • VPAC

JULY 23

Community Concert

1:00PM • VIC New York Philharmonic 6:00PM • GRFA

JULY 29

Community Concert

6:00PM • GTH

JULY 30 Inside The Music 1:00PM • VIC

JULY 24

Inside The Music

1:00PM • VIC

Little Listeners 2:30 PM • EPL

New York Philharmonic 6:00PM • GRFA

JULY 31

Classically Uncorked

7:00PM • DP

THURSDAY FRIDAY SATURDAY

JUNE 20

Little Listeners

2:30 PM • VPL

Sinfónica de Minería

6:00PM • GRFA

JUNE 27

Community Concert

1:00PM • VIC

Linda & Mitch Hart Soirée

6:00PM

Community Concert

6:00PM • EIC

JULY 4

The Philadelphia Orchestra

2:00PM • GRFA

JUNE 21

JUNE 22

Sinfónica de Minería

6:00PM • GRFA

JUNE 28

Dallas Symphony Orchestra

6:00PM • GRFA

JUNE 29

Dallas Symphony Orchestra 6:00PM • GRFA

JULY 5

The Philadelphia Orchestra 6:00PM • GRFA

JULY 11

Community Concert

1:00PM • VIC

Little Listeners

2:30 PM • VPL

The Philadelphia Orchestra

6:00PM • GRFA

JULY 18

Community Concert

1:00PM • VIC

Linda & Mitch Hart Soirée

6:00PM

JULY 25

JULY 12

JULY 6

The Philadelphia Orchestra 6:00PM • GRFA

Community Concert

1:00PM • VIC

Linda & Mitch Hart Soirée

6:00PM

AUGUST 1

Classically Uncorked

7:00PM • DP

JULY 13

The Philadelphia Orchestra

6:00PM • GRFA

JULY 19

New York Philharmonic

6:00PM • GRFA

JULY 26

Community Concert

11:00AM • EFH

Community Concert

6:00PM • SP

JULY 20

Nature Walk

9:30 & 11:00AM • WMSC

New York Philharmonic 6:00PM • GRFA

JULY 27

Community Concert 11:00AM • LCV

LOCATIONS

APL

Avon Public Library

BCP

Brush Creek Pavilion

DP

Donovan Pavilion

EFH

Edwards Field House Parking Lot

EIC

Edwards Interfaith Chapel

EPL

Eagle Public Library

GTH

Gypsum Town Hall

GPL

Gypsum Public Library

GRFA

Gerald R. Ford Amphitheater

LCV

Lake Creek Village, Edwards

SP

Singletree Pavilion

TOHL

Tabor Opera House, Leadville

VIC

Vail Interfaith Chapel

VPL

Vail Public Library

VPAC

Vilar Performing Arts Center

WMSC

Walking Mountains Science Center, Avon Cente

IS PROUD TO SUPPORT THE BRAVO

VAIL MUSIC FESTIVAL

CREATING MEANINGFUL CONNECTIONS TO MUSIC

EDUCATION & ENGAGEMENT

INSPIRING MUSICAL CURIOSITY ALL YEAR LONG

At the heart of Bravo! Vail’s mission is presenting extraordinary music, accessible to all. We provide extensive music education throughout our community, connect musicians and listeners, and celebrate the evolving world of classical music.

These programs, along with collaborative partnerships with community-serving organizations, ensure that great music and opportunities for lifelong learning are available to diverse audiences of all ages and abilities.

INSTRUCTION

Music Makers Haciendo Música gives students a solid foundation in music by teaching them to play an instrument, read music, and understand musical concepts. Bravo! Vail is proud to partner with the Eagle County and Lake County School Districts in serving hundreds of students in grades 2-12.

As a complement to after-school instruction, the two-week Summer Intensive offers both beginner and advanced string and piano players access to Festival artists and advanced studies.

Young Musicians Day brings together students from Bravo! Vail’s Music Makers Haciendo Música and other youth classical music organizations in Colorado to learn and perform challenging repertoire and create meaningful connections together.

ACCESS & ENRICHMENT

Community Concerts

Hour-long chamber music concerts and solo recitals performed by visiting ensembles and musicians in relaxed, accessible settings.

Little Listeners @ the Library 30-minute programs seek to cultivate and inspire the musician inside every child in an approachable way, featuring age-appropriate games developed to introduce music and instruments. Sponsored by Alpine Bank.

Inside the Music

These free informative talks, nature walks, and masterclasses offer music lovers the opportunity to get background and insights from musicians and experts. Expand your knowledge and gain unique perspectives into the music performed at Bravo! Vail Music Festival.

Music Box Concerts

In response to the global pandemic in 2020, Bravo! Vail created the Music Box, a mobile concert stage, to bring the music to all corners of the community. The Music Box continues every summer at select locales throughout the Vail Valley.

Community Collaborations

Through collaborative partnerships with local businesses and organizations, Bravo! Vail uses the arts to strengthen community, enhance understanding, and make music accessible to audiences outside the concert hall through innovative, interactive programs.

Music Education Month

Each October, Bravo! Vail presents free concerts and collaborative learning opportunities all month

long. By working in collaboration with community partners, Bravo! Vail offers new ways to engage with music.

PROFESSIONAL DEVELOPMENT

Bravo! Vail is proud to identify and showcase outstanding performers in the early stages of their careers. Bravo! Vail Piano Fellows and Chamber Musicians in Residence gain valuable opportunities to perform, teach, and learn side by side with renowned Festival musicians. The Jane & Gary Bomba Internship Program is unsurpassed in its reputation of advancing participants into successful careers in arts administration and nonprofit management with summer internships during the Festival.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

MAESTRO ($100,000+)

Town of Vail

FIRST CHAIR ($50,000+)

Jane and Gary Bomba and The Bomba Internship Program

Marijke and Lodewijk de Vink

Kathy and David Ferguson and The Ferguson Music

Makers Haciendo Música Fund

Ferrell and Chi McClean and The McClean Family Music

Teachers Fund

Carole A. Watters

ENSEMBLE ($30,000+)

Virginia J. Browning

IMPRESARIO ($25,000+)

Anonymous

Cathy Stone

VIRTUOSO ($20,000+)

Han Mu Kang and the June S. Kang Scholarship Fund

OVATION ($15,000+)

Carol and Harry Cebron

Sandi and Leo Dunn

ALLEGRO ($10,000+)

Katherine Clayborne and Thomas Shoup

Eagle County Lodging Tax Marketing Committee

Julie and Bill Esrey

Cookie and Jim Flaum

Diane and Lou Loosbrock

Barbie and Tony Mayer

Kathie Mundy and Fred Hessler

Beth Slifer

Jackie and Norm Waite

Xcel Energy Foundation

SOLOIST ($7,500+)

Town of Gypsum

Barbara Treat Foundation

CRESCENDO ($5,000+)

Alpine Bank

Lisa Tilley Anderson

David Bernstein

Doe Browning and Jack Hunn

Kathy Cole

Nancy and Andy Cruce

Kathy and Brian Doyle

Gallegos Corp.

Sue and Dan Godec

Kimberly Grillo Bernstein

Carolyn and Paul Landen and the Lynne Murray Sr.

Educational Fund

Renee Okubo

Drs. Julie and Robert Rifkin

Town of Avon

Martin Waldbaum

Vail Health

SCHEDULE AT A GLANCE

COMMUNITY CONCERTS

GREAT MUSIC, FOR FUN AND FOR ALL!

JUNE 19 ~ JULY 30 // 2024

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

Community Concerts connect Festival musicians with music-lovers in relaxed, accessible settings including the Bravo! Vail Music Box, a mobile performance stage. Little Listeners @ the Library is an ageappropriate musical introduction, and Inside the Music offers unique perspectives through informative talks, nature walks, and masterclasses.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

Anonymous

Alpine Bank

BDT & MSD Partners

Virginia J. Browning

Casa Dragones

Katherine Clayborne and Thomas Shoup

Eagle County Lodging Tax

Marketing Committee

Marijke and Lodewijk de Vink

Cookie and Jim Flaum

Four Seasons Resort and Residences Vail

The Judy and Alan Kosloff Artistic

Director Chair

Barbie and Tony Mayer

Kathie Mundy and Fred Hessler

National Endowment for the Arts

Beth Slifer

Cathy Stone

Town of Avon

Town of Eagle

Town of Gypsum

Town of Vail

Jackie and Norm Waite

Carole A. Watters

Vail Religious Foundation

MUSIC BOX SERIES

TRADITIONAL MUSIC FROM VENEZUELA

Bravo! Vail’s summer season opens with a free family-friendly concert in celebration of the Sinfónica de Minería, the first Latin American orchestra to perform at the Festival. World-renowned trumpet player Pacho Flores and La tin GRAMMY winner Héctor Molina join two members of the Sinfónica for an evening of traditional Venezuelan styles: salsa and merengue, rural dance forms originating in the llanos (or plains), Caribbean flavors and folkloric songs— vámonos!

Bravo! Vail Gratefully Acknowledges Support for This Evening’s Concert

BDT & MSD Partners

Casa Dragones

Marijke and Lodewijk de Vink

Eagle County Lodging Tax Marketing Committee

Four Seasons Resort and Residences Vail

The Judy and Alan Kosloff Artistic Director Chair

National Endowment for the Arts

Town of Gypsum

MUSIC BOX SERIES

GYPSUM TOWN HALL LAWN

Pacho Flores, trumpet Héctor Molina, cuatro Carlos Rodríguez, double bass Rodrigo Duarte, percussion

Selections to be announced from the stage.

Gregory Spears

Tracy K. Smith

July 13, 17, 26, 30

August 7, 13

Donizetti

The Righteous Illustration by Benedetto Cristofani

SCHEDULE AT A GLANCE

Bravo! Vail Opens with Beethoven’s Eroica 46

Prieto Conducts Ravel, Rodrigo & Falla 48

Sinfónica de Minería in Concert 50 JUN

DISTINCTIVE VERSATILITY

SINFÓNICA DE MINERÍA

IN RESIDENCE JUNE 20 ~ 23 // 2024

Sinfónica de Minería stands as one of Latin America’s most illustrious orchestras, celebrated not only for its musical prowess but also for its vibrant cultural impact and dedication to transformative social change through music.

Established in 1978, the orchestra has been under the guidance of GRAMMY awardwinning Music Director Carlos Miguel Prieto since 2006. During this time, it has earned significant accolades, including five GRAMMY nomina tions and a Latin GRAMMY for Best Classical Composition for their recording of Paquito D’Rivera’s Concierto Venezolano Notably, Sinfónica de Minería became the first Mexican orchestra to collaborate with the prestigious Deutsche Grammophon label.

At the core of Sinfónica de Minería’s philosophy is an unwavering commitment to musical brilliance. Since its inception, the orchestra has excelled in performing a wide repertoire, spotlighting both renowned and lesser-known works in Mexico. They have presented masterpieces such as Hector Berlioz’s Grande Messe des Morts and the complete orchestral works of Gustav Mahler. The orchestra has collaborated with an array of global talents, including Ka thleen Battle, Diana Damrau, Joshua Bell, Maureen Forrester, Hans RichterHasser, Gabriela Montero, Philippe Quint, Leonid Kogan, Pacho Flores, Francisco Araiza, Ramón Vargas, John Ogdon, Sonya Yoncheva, Fiorenza Cossotto, Nicanor Zabaleta, Elina Garanča, Juan Diego Flórez, Eugen Fodor, Anne-Marie McDermott, Jorge Federico Osorio, Nadine Sierra, JeanYves Thibaude t, and Vadim Gluzman.

Deeply rooted in its Latin heritage, Sinfónica de Minería has commissioned over 50 contemporary works that have become pillars of Mexican music, such as Gabriela Ortiz´s Suite voltaje, Mario Lavista’s Ficciones, and Carlos Sánchez Gutiérrez’s Gota de noche. The orchestra is currently undertaking an ambitious project: to record all orchestral pieces by Silvestre

Revueltas, many of which have never been recorded to such high standards before.

The impact of Sinfónica de Minería transcends beyond musical performances. It recognizes music’s unique power to connect, uplift, and ca talyze change, positioning itself as a symbol of inclusivity and societal engagement. During its traditional Temporada de verano, which includes nine programs throughout July and August at the legendary Sala

Nezahualcóyotl in Mexico City, the orchestra opens its rehearsals to the public, offering free access to the enriching world of high-caliber music. Renowned soloists from the ensemble regularly conduct masterclasses and educational initiatives, nurturing the next generation of musical talent.

In an era often marked by division, Sinfónica de Minería’s communityfocused projects exemplify how music can bridge cultural divides, mend spirits, and illuminate a hopeful future.

Bravo! Vail Gratefully Acknowledges Support from the Friends of Sinfónica de Minería

MAESTRO ($100,000+)

The Berry Charitable Foundation

BDT & MSD Partners

Casa Dragones

Four Seasons Resort and Residences Vail

The Rojas Family

FIRST CHAIR ($50,000+)

Anonymous

Mercedes and Elmer Franco

Mr. Claudio X. Gonzalez

Pilar and José Ignacio Mariscal

National Endowment for the Arts

ENSEMBLE ($30,000+)

Patricia and Patrick Kitchak

IMPRESARIO ($25,000+) del Valle Perochena Family

OVATION ($15,000+)

Gloria Amtmann A., Cristian Eversbusch A., and Ricardo Eversbusch A

Cathy Stone

ALLEGRO ($10,000+)

Shelby and Frederick Gans

Jann and John Wilcox

SOLOIST ($7,500+)

Ann and William Lieff

CRESCENDO ($5,000+)

Carole C. and CDR. John M. Fleming

Mary Lou Paulsen and Randy Barnhart

Susan and Albert Weihl

Vail Residency Sponsored by:

THURSDAY 6:00PM

ORCHESTRAL SERIES

GERALD R. FORD AMPHITHEATER

SINFÓNICA DE MINERÍA

Carlos Miguel Prieto, conductor

Anne-Marie McDermott, piano

BEETHOVEN

Piano Concerto No. 3 in C minor, Op. 37 (34 minutes)

Allegro con brio

Largo

Rondo: Allegro

I NTERMISSION

Symphony No. 3 in E-flat major, Op. 55, Sinfonia Eroica (47 minutes)

Allegro con brio

Marcia funebre: Adagio assai

Scherzo: Allegro vivace

Finale: Allegro molto—Poco andante Presto

BRAVO! VAIL OPENS WITH BEETHOVEN’S EROICA

THIS EVENING’S PERFORMANCE IS PRESENTED BY ANONYMOUS

BDT & MSD PARTNERS

CASA DRAGONES

AMY AND STEVE COYER

FOUR SEASONS RESORT AND RESIDENCES VAIL

THE ROJAS FAMILY

SPECIAL GRATITUDE TO The Berry Charitable Foundation

The Bravo! Vail Artistic Excellence Fund

The Friends of Sinfónica de Minería

The Lyn and Phillip Goldstein Maestro Society

The Judy and Alan Kosloff Artistic Director Chair

Yamaha

SPONSORED BY

Simon Hamui and SHS Solutions

Kathy and Al Hubbard

Sally and Byron Rose

J. Brian Stockmar

SOLOIST SPONSORS

Anne-Marie McDermott, piano, sponsored by Dr. David Cohen

Carlos Miguel Prieto, conductor, sponsored by Janet and Paul Lewis

Piano Concerto No. 3 in C minor, Op. 37 (1796-1803)

LUDWIG VAN BEETHOVEN (1770-1827)

Amusic-lover listening to Beethoven’s C-minor Piano Concerto may entertain recollections of an earlier C-minor Piano Concerto, the brooding, even despairing one that Mozart composed in 1786. During Mozart’s lifetime, however, it could be played only from manuscript parts. It was not published until 1800, the same year Beethoven brought the first movement of his own C-minor Piano Concerto into reasonably finished form. Beethoven was an admirer of the Mozart work. Walking with the pianist-and-composer Johann Baptist Cramer, he overheard an outdoor performance (or perhaps a rehearsal) of Mozart’s C-minor Concerto. He is reputed to have stopped in his tracks, called attention to a particularly beautiful motif, and exclaimed, with a mixture of admiration and despondency, “Cramer, Cramer! We shall never be able to do anything like that!” “As the theme was repeated and wrought up to the climax”— according to the account of Cramer’s widow—“Beethoven, swaying his body to and fro, marked the time and in

Funded

a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project, the National Endowment for the Arts, and the Town of Vail.

The Hythe, A Luxury Collection Resort, Vail is the official home of the Sinfónica de Minería while in residence at Bravo! Vail.

Sinfónica de Minería Sponsored by:

Vail Residency Sponsored by:

every possible manner manifested a delight rising to enthusiasm.”

On April 2, 1800, at Vienna’s Burgtheater, Beethoven undertook his first benefit concert (in those days, a benefit concert being understood to mean “for the benefit of the composer”). He planned to unveil his C-minor Piano Concerto on that high-profile occasion but managed to complete only the stormy first movement and a detailed sketch of the second by the time the date arrived. He stopped working on the piece until the opportunity for another prominent concert arose, which it did in 1802. But for some reason that concert was canceled, and again Beethoven devoted himself to other more immediately profitable projects rather than finish his concerto.

By the time he completed the noble second movement and the rather jaunty third, the composition of the C-minor Concerto stretched over some three and a half years, not including preliminary sketches, which reached back to 1796—plus a further year if you count the time it took him to actually write out the piano part, and yet another five beyond that until he wrote down the first-movement cadenza. Neither of these last two was necessary as long as Beethoven was the soloist; he knew how the piece should go, after all. Nonetheless, the fragmentary state of the piano score caused considerable stress for Beethoven’s colleague Ignaz von Seyfried, who served as page-tuner a t the premiere. “He gave me a secret glance whenever he was at the end of one of the invisible passages,” Seyfried reported, “and my scarcely concealable anxiety not to miss the decisive moment amused him greatly and he laughed heartily during the jovial supper which we ate afterwards.”

Symphony No. 3 in E-flat major, Op. 55, Sinfonia Eroica (1802-04)

Beethoven was a partisan of noble humanitarian principles, joining those who saw the democratic ideals of ancient Greece reflected in the aspirations of the Jacobins of post-Revolutionary France. At the head of the Jacobins was Napoleon Bonaparte, whom Beethoven viewed

as a repository of hope for the social enlightenment of humankind. At the urging of the future King of Sweden, Beethoven began contemplating a musical celebration of Napoleon as early as 1797. As his sketches coalesced into a symphony, he resolved not to simply dedicate his composition to Napoleon, but to name it after him. In the spring of 1804, just as he completed his symphonic tribute, news arrived that Napoleon had crowned himself Emperor, that the standard-bearer of republicanism had seized power as an absolutist dictator. Beethoven’s pupil Ferdinand Ries wrote: “He flew into a rage, shouting, ‘Is even he nothing but an ordinary man! Now he will also trample upon human rights and become a slave to his own ambition; now he will set himself above all other men and become a tyrant.’ Beethoven went to the table, grabbed the top of the title-page, tore it in two, and threw it to the floor. The first page was re-written and the symphony was then for the first time given the title of Sinfonia Eroica.”

When the piece was published, it was presented as Sinfonia Eroica ... per festeggiare il sovvenire di un grand Uomo (Heroic Symphony ... to Celebrate the Memory of a Great Man), and the work’s dedication, originally intended for Napoleon, was given instead to Beethoven’s patron Prince Lobkowitz. It became a leitmotif in Beethoven’s life that individuals would fail to live up to his idealizations, and

“As the theme was repeated and wrought up to the climax ...”

that he would prefer Mankind in the abstract to Man in the flesh.

At first, critical response was guarded. On February 13, 1805, readers of Leipzig’s Allgemeine musikalische Zeitung ingested this report: “The reviewer belongs to Herr van Beethoven’s sincerest admirers, but in this composition he must confess that he finds too much that is glaring and bizarre, which hinders greatly one’s grasp of the whole, and a sense of unity is almost completely lost.” The same critic maintained tha t the piece “lasted an entire hour” (italics his). Tha t comment was an exaggeration, but the Eroica was nonetheless the longest symphony ever written when it was unveiled.

“If I write a symphony an hour long,” Bee thoven is said to have countered, “it will be found short enough.”

Reviews of the piece quickly turned favorable, or at least respectful, as critics started to make sense of its more radical elements and accept it as one of the summit achievements in all of music.

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ACADEMY OF ST MARTIN IN THE FIELDS

Anne-Marie McDermott, piano

BEETHOVEN

Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)

Allegro con brio

Adagio

Rondo: Molto allegro

INTERMISSION

GIPPS

Seascape, Op. 53 (7 minutes)

HAYDN

Symphony No. 104 in D major, London (29 minutes)

Adagio—Allegro

Andante

Menuetto: Allegro—Trio Finale: Spiritoso

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Le tombeau de Couperin (1914-17/1919)

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APiano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)

LUDWIG VAN BEETHOVEN (1770-1827)

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Bt first exempted from World War I military service due to his stature and weight (fivefoot-three and 108 pounds), Ravel managed to get assigned to the front lines at Verdun in 1916 as a driver in the Army Motor Transport Corps. His eagerness to serve may have exceeded his skill behind the wheel, as his correspondence reveals several incidents of one-car fender-benders. After illness and depression forced his withdrawal from service, he gradually started composing again.

eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.

A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto

Le tombeau de Couperin embraced that period of his life. In a 1914 letter to his pupil Roland-Manuel, Ravel reported: “I’m beginning a French Suite—no, it’s not wha t you think—the Marseillaise doesn’t come into it at all but there’ll be a forlane and a jig; not a tango, though.” He la ter explained, “The homage is directed less in fact to Couperin himself than to French music of the eighteenth century.” The Couperin family of musicians spanned almost 150 years of French music history, but the “Couperin himself” to whom he referred was François Couperin (16681733), harpsichordist extraordinaire

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and court musician to Louis XIV.

By the time Ravel finished his suite—six movements for solo piano— what had started as a celebration of French musical tradition had become a personal memorial, its movements individually dedicated to friends lost in combat. In June 1919 he selected four of the suite’s movements for orchestral arrangements. It would be hard to argue that the piano originals come close to making the effect of the crystalline orchestral versions, in which, as Roland-Manuel observed, “strict necessity governs every move” and “with extreme economy and simplicity Ravel obtains translucence and variety of color throughout the whole work.”

Concierto de Aranjuez for Guitar and Orchestra (1939) JOAQUÍN RODRIGO (1901-99)

The Concierto de Aranjuez earned Joaquín Rodrigo a place on the list of classical music’s one-hit wonders. His Fantasía para un gentilhombre (1954), also for guitar and orchestra, is his only non-Aranjuez work you might encounter, but it runs a very distant second; and he also composed other concertos for one, two, and four guitars, as well as for cello, piano, violin, and flute—almost all of them ignored.

Blind since the age of three, Rodrigo began his musical studies in Valencia before moving to study in Paris. There he composed the Concierto de Aranjuez, which was inspired by a dinner where he encountered the noted guitarist Regino Sainz de la Maza. “All of a sudden,” Rodrigo recalled, “Regino, in that tone between unpredictable and determined which was so characteristic of him, said: ‘Listen, you have to come back with a Concerto for Guitar and Orchestra’—and to go straight to my heart, he added in a pa thetic voice: ‘It’s the dream of my life’—and resorting to a bit of flattery, he continued, ‘This is your calling, as if you were ‘the chosen one.’ I quickly swallowed two glasses of the best Rioja, and exclaimed in a most convincing tone, ‘All right, it’s a deal!’”

The concerto stands as a tribute from a Spanish composer to a Spanish

city rich in history. The medieval city of Aranjuez was widely known for its ancient palace. The composer wrote, “The Concierto de Aranjuez, a synthesis of classical and popular in both form and emotion, lies dreaming beneath the foliage of the park that surrounds the Baroque Palace, and only wishes to be as agile as a butterfly and as precise as a matador’s cape pass.”

El amor brujo (Love, the Sorcerer) (1914-16)

MANUEL DE FALLA (1876-1946)

As a young, indigent composer, Manuel de Falla turned out six zarzuelas (peculiarly Spanish operettas), only one of which reached the stage. Still, those early experiences prepared him to realize his first certifiable masterpiece, La vida breve (The Brief Life), a true opera, da ting from 1904-05. When plans to produce it fell through, Falla left in 1907 for where the action was—Paris. The outbreak of World War I forced his return to Spain, where he was invited to create a piece for the flamenco dancer-and-singer Pastora Imperio; she wanted a gitanería—a “Gypsy piece”—that she could perform as a

solo work. He settled on a scenario and libretto by Gregorio Martínez Sierra revolving around Candélas, a Romany woman in southern Spain obsessed by memories of her dead, no-good lover, whose image appears every time she embraces her new lover, Carmélo. Martínez Sierra compared Candélas’ obsession to “a hypnotic dream, a morbid, gruesome, maddening spell.” To rectify the situa tion, another girl is located to serve as a stand-in for Candélas, and while the girl diverts the attention of the dead lover, Candélas and Carmélo exchange a perfect kiss, after which the spell is broken and a new day dawns.

Constructed as a series of (mostly) brief songs, dialogues, and dances, El amor brujo featured Pastora Imperio and several members of her immediate family, accompanied by a small instrumental ensemble. It met with mixed success at its premiere, but Falla quickly revised it into a more typical ballet, excising the dialogue and expanding the orchestration. In that form it was a resounding triumph, and the orchestral suite he derived from the score quickly became a classic, no part more than the ultrapopular “Ritual Fire Dance.”

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GABRIELA ORTIZ

Clara (17 minutes)

Clara

Robert

My response

Robert’s subconscious

Always Clara (Played without pause)

GINASTERA

Variaciones concertantes, Op. 23 (23 minutes)

I NTERMISSION

PAQUITO D’RIVERA

Concierto Venezolano for Trumpet and Orchestra (16 minutes)

ARTURO MÁRQUEZ

Danzón No. 2 (10 minutes)

PACHO FLORES

Cantos y Revueltas for Trumpet, Cuatro, and String Orchestra (19 minutes)

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Clara (2022)

GABRIELA ORTIZ TORRES (B.1964)

After earning a Ph.D. in electro-acoustic composition from the City University in London, Gabriela Ortiz returned to her native Mexico City, where she has taught at the Universidad Nacional Autónoma de México since 2000. In 2016 she was awarded the prestigious Premio Nacional de Ciencias y Artes, in 2019 was inducted into the Academía de Artes, and in 2022 became the first woman composer inducted into the Colegio Nacional. She will serve as Carnegie Hall’s composer-inresidence for the upcoming season.

Clara is inspired by the relationship of composer Robert Schumann and Clara Wieck Schumann; Ortiz describes the latter as “in addition to being a splendid composer and one of the most important pianists of the 19th century, the editor of her husband’s complete works, as well as a teacher, mother, and wife.” The work’s five connected sections consider their

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partnership from different perspectives. “This piece,” writes Ortiz, “represents an acknowledgement of Clara, a tribute to her, and also signals my gratitude to all the women who, in their time, challenged the society they were raised in by manifesting their artistic oeuvre.”

Variaciones concertantes, Op. 23 (1953)

ALBERTO GINASTERA (1916-83)

Alberto Ginastera was entirely schooled in his native Argentina but spent portions of his career elsewhere due to his conflicts with the country’s repressive political regimes. He left definitively in 1969 and spent most of the rest of his life in Switzerland. He was always concerned about the gap that separated audiences from serious composition, proclaiming that the proper aspiration of a composer was “to be integrated into society, not stand apart from it.”

The Variaciones concertantes turns the spotlight on a succession of the orchestra’s principal players. The presentation of the theme (featuring cello and harp) is followed by an interlude for strings and then seven connected variations of differing character: Variazione giocosa (flute), Variazione in modo di scherzo (clarinet), Variazione drammatica (viola), Variazione canonica (oboe and bassoon), Variazione ritmica (trumpet and trombone), Variazione in modo di Moto Perpetuo (violin), and Variazione pastorale (horn). An interlude for strings cleanses the palate before a revisitation of the principal theme (double bass) and the Variazione finale with the whole orchestra.

Concierto Venezolano (2019) PAQUITO D’RIVERA (B.1948)

Paquito D’Rivera attended Havana Conservatory as a saxophonist and clarinetist, and with his friend Chucho Valdés co-founded the Orquesta Cubana de Música Moderna and the Irakere ensemble, which hybridized jazz, rock, classical, and traditional Cuban styles. Frustrated by government attacks on jazz, D’Rivera defected to the United States in 1980, earning acclaim as a soloist and as head of a Latin-jazz quintet.

Trumpeter Pacho Flores, a product of Venezuela’s El Sistema and now an exclusive Deutsche Grammophon recording artist, is on a commissioning crusade to increase his instrument’s concerto repertoire. The musicians performing today introduced D’Rivera’s entry in Mexico City in 2019. “When he called me to write this concerto,” D’Rivera stated, “it entered my mind straightaway to write something that had to do with Venezuela, with the tragedy that they are going through, which is similar to the one we have been living in Cuba now for six decades, but with the same joy of life that Cubans and Venezuelans share. In the end, that is wha t life is—a combination of joy and sadness.”

Danzón No. 2 (1994)

ARTURO MÁRQUEZ (B.1950)

Arturo Márquez, a native of Sonora, Mexico, completed advanced composition study in Mexico, the United States, and France before joining the faculty of the Escuela Nacional de Música. In 2006 he was honored with the Medalla de Oro de Bellas Artes, one of Mexico’s most prestigious cultural awards. Some of his works pursue heady avantgarde explorations; others build on accessible folk models and convey an immediately identifiable Mexican flavor, as in his pieces in the form of the danzón He observed: “I started to understand that the apparent lightness of the danzón is only like a

visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No. 2 is a tribute to the environment that nourishes the genre.”

Cantos y Revueltas (2018)

PACHO FLORES (B.1981)

As a child in western Venezuela, Pacho Flores began studying trumpet with his band-conductor father, progressed through Venezuela’s legendary El Sistema music education program, and won first prize in the 2006 Maurice André International Trumpet Competition, the world’s most prestigious competition for his instrument. Having served as principal trumpet of the Simón Bolívar Symphony Orchestra of Venezuela and the Saito Kinen Orchestra in Japan, he became much in demand as a recitalist and concerto soloist, appreciated for his skill in both classical and popular styles. His wideranging taste is evident in Cantos y Revueltas, which he subtitles a fantasía concertante for trumpet, Venezuelan cuatro, and string orchestra. “ Cantos means songs

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204

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CHAMBER ORCHESTRA OF EUROPE

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VAIL MUSIC FESTIVAL

The Bravo! Vail Music Festival is thrilled to announce the debut of Chamber Orchestra of Europe for a three-concert residency on June 19, 21, and 22, 2025, opening its 38th Festival season.

Comprised of top musicians from the European Union member states, the Chamber Orchestra of Europe will be led by German conductor and newly appointed music director of the Kansas City Symphony Matthias Pintscher. Additionally, the Orchestra will perform alongside internationally acclaimed guest artists including pianist Yefim Bronfman; cellist Alisa Weilerstein; and violinist Blake Pouliot.

Bravo! Vail will announce the full programming and the conductor joining the ensemble with the full details of the 2025 season this winter. The 38th season of Bravo! Vail will take place from June 19 – July 31, 2025.

“I am beyond excited that the Chamber Orchestra of Europe will make its Bravo! Vail Music Festival debut in 2025. The ensemble is truly unique. They first came together as a group of young professionals who were in the same European Youth Orchestra and decided to pursue projects of their choosing with colleagues they love to fill the roles of conductor and soloist. What could be better?”

Anne-Marie McDermott, artistic director of Bravo! Vail

Opening of the Casals Forum, Kronberg Academie Festival 2022

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Dior Quartet

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Kevin Lau, Joseph Haydn, and Robert Paterson share a humorous disposition that translates into masterful string quartets that do not take themselves too seriously. With wit and sophistication, they create exhilarating roller coasters of string quartet virtuosity For this program, we have paired two phenomenal contemporary composers with Haydn, the original creator of the format, for a thrilling musical joyride.

—Dior Quartet

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Dior Quartet

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Noa Sarid, violin

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KEVIN LAU

String Quartet No. 3 (13 minutes) I. Gliding

II. Winds of Change

HAYDN

String Quartet in C major, Op. 74, No. 1 (20 minutes)

Allegro moderato Andantino grazioso

Menuetto; Allegro Finale – Vivace

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String Quartet No. 3 (24 minutes)

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

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Rachmaninoff with Trifonov & Babayan 56

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TUESDAY 7:00PM

CHAMBER MUSIC SERIES

Sergei Babayan, piano

Daniil Trifonov, piano

RACHMANINOFF

Fantaisie (Tableaux), Suite No. 1 for Piano Duet, Op. 5 (24 minutes)

Barcarolle

La nuit L’amour (The Night The Love)

Les larmes (The Tears)

Pâques (Easter)

Suite No. 2 for Piano Duet, Op. 17 (25 minutes)

Introduction

Valse

Romance

Tarantelle

I NTERMISSION

Symphonic Dances, Op. 45 (30 minutes)

Non allegro

Andante con moto (Tempo di valse)

Lento assai—Allegro vivace—Lento assai. Come prima—Allegro vivace

RACHMANINOFF WITH TRIFONOV & BABAYAN

Fantaisie (Tableaux), Suite No. 1 for Piano Duet, Op. 5 (1893)

Suite No. 2 for Piano Duet, Op. 17 (1901)

Symphonic Dances, Op. 45 (1940)

SERGEI RACHMANINOFF (1873-1943)

When Sergei Rachmaninoff graduated from the Moscow Conservatory, in 1892, he was given the Great Gold Medal in composition, an honor that had been bestowed on only two students previously. Tchaikovsky, who was on the adjudicating panel, was so impressed that he gave Rachmaninoff the highest mark possible and then increased it by four plus-signs. Immediately following graduation, Rachmaninoff was signed

to a publishing contract, and one of his first published pieces—his Piano Prelude in C-sharp minor—became an instant hit. Further works flowed forth, including his first opera, Aleko, produced at the Bolshoi in May 1893, and his Fantaisie (Tableaux) for Piano Duet. He wrote to a friend that he was “working on a fantasy for two pianos consisting of a series of musical pictures,” and he headed the movements with quotations drawn from 19th-century writers: Mikhail Lermontov, Lord Byron, Fyodor Tyutchev, and Aleksey Khomyakov, respectively. The four pieces are not programmatic depictions of the literary texts, but they do reflect their general moods. Lermontov writes, “At dusk half-heard the dull wave laps beneath the gondola’s slow oar,” which inspired Rachmaninoff to compose a slow, moody Barcarolle. The spirit

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SERGEI BABAYAN

usage today. The Second Suite has no literary connections, its four movements tracing standard musical genres. The exuberant Introduction (marked Alla marcia) is followed by a spirited waltz that works in a sly reference of the funeral chant Dies irae, which would resurface as a fingerprint in multiple ensuing compositions. The Romance is a love song, and the concluding Tarantella leaps forth with an unmistakably Russian accent, even though Rachmaninoff said he borrowed the theme from a collection of Italian songs. The composer’s advance beyond the idiom of the First Suite is unmistakable. He had been through a crucible in the intervening years. He had reacted to the failure of his First Symphony, in 1897, by going silent as a composer, and the Suite No. 2 was one of the first pieces he wrote when coaxed back into action through psychological therapy.

orchestral setting and into a version for two pianos. In September 1940, his friend Vladimir Horowitz traveled out to Long Island for a visit, and there he joined Rachmaninoff in performing the piano-duet version for a private audience. Among the attendees was the composer’s old friend Michel Fokine, the one-time choreographer of the Ballets Russes, who immediately signaled his interest in using it for a ballet; regrettably, Fokine died in 1942 before he could make good on his intention.

does not change greatly for the second movement, for which Byron writes of a nocturnal nightingale. Bells seem to inhabit the remaining two movements—doleful funeral bells in “The Tears,” bells tolling the background to an Easter chant in the finale. Rimsky-Korsakov protested that the last movement would sound better without the bell effects, but perhaps he was grumpy because the piece rather resembled the Russian Easter Festival Overture he himself had written 15 years earlier. Tchaikovsky, on the other hand, was an enthusiast, happily accepting the work’s dedication and vowing to attend its public premiere—a promise aborted by his sudden death.

When Rachmaninoff produced his Suite No. 2, in 1901, people started calling the Fantaisie (Tableaux) his Suite No. 1, which remains common

The Symphonic Dances take us to the end of the composer’s career. He had left Russia in 1917, when the na tion collapsed into revolution, and lived the rest of his life elsewhere, principally in the United States though also passing extended periods of his later years at the lakeside villa he built in Switzerland. He toured busily as a soloist, gaining a reputation as one of his era’s supreme pianists, and he earned parallel acclaim as a composer and conductor. He spent the summer of 1940 at an estate near Huntington, Long Island, and it was there that his final work, the Symphonic Dances, came into being. He initially planned to name the piece Fantastic Dances, which would have underscored their vibrant personality. He also pondered titling the three movements “Noon,” “Twilight,” and “Midnight”—or, as his biographer Victor Seroff recounted the story, “Morning,” “Noon,” and “Evening,” meant as a metaphor for the three stages of human life. He scrapped those ideas in favor of the more objective name Symphonic Dances The spirit of the dance does indeed inhabit this work, if in a sometimes mysterious or mournful way.

Having completed his working score, he developed it in two directions more-or-less simultaneously—into the colorful

The opening march-like movement is powerful and assertive. Its coda presents a gorgeous theme. This melody has not been previously heard in this piece, but that doesn’t mean it was actually new; Rachmaninoff borrowed it from his First Symphony, which had remained unpublished and unperformed since its disastrous premiere so many years before, an autobiographical vindica tion of that early effort. A waltz follows, though more a doleful Slavic waltz than a lilting Viennese one. To conclude, Rachmaninoff offers a finale tha t includes quotations from Russian Orthodox liturgical chants and from his signature Dies irae. Both would seem odd allusions for wha t are, after all, identified as dances. But Rachmaninoff subsumes his borrowed material brilliantly into the general spirit of the Symphonic Dances, and near the end of the manuscript—the last pages he would ever complete—he inscribed, in Roman script, the word “Alliluya.”

Bravo! Vail Gratefully

the Support of the Following Patrons

Anonymous

The Sidney E. Frank Foundation

The Judy and Alan Kosloff

Artistic Director Chair

Town of Vail

Yamaha

DANIIL TRIFONOV

SCHEDULE AT A GLANCE

Trifonov Performs Mozart 60

American Broadway Songbook 68

Luisi Conducts Tchaikovsky’s Fifth 70

Huang Plays Brahms’ Violin Concerto with DSO 72

DALLAS SYMPHONY ORCHESTRA

IN RESIDENCE

JUNE 26 ~ JULY 1 // 2024

The Dallas Symphony Orchestra delivers uplifting, entertaining, and enriching musical experiences worldwide. This summer, the Orchestra returns with its trademark diverse lineup, celebrating classical masterworks and two of America’s most beloved musical voices.

The largest performing arts organization in the southwest United States, the Dallas Symphony Orchestra presents distinctive classical programs, inventive pops concerts, and innovative multimedia events to inspire the broadest possible audience. To date, the orchestra has been served as music director by Antal Doráti (1945-48), Walter Hendl (194958), Sir Georg Solti (1961-62), Anshel Brusilow (1970-73), Max Rudolf (197374), Eduardo Mata (1977-93), Andrew Litton (1994-2006), Jaap van Zweden (2008-18), and Fabio Luisi, who inaugurated his tenure in September 2020.

The Dallas Symphony Orchestra traces its origins to a concert given by a group of 40 musicians conducted by Hans Kreissig in 1900. The orchestra, like the city, evolved in both size and stature until it was in a position to appoint the eminent Hungarian conductor and composer Antal Doráti as music director in 1945. Doráti transformed the ensemble into a fully professional orchestra that won national attention through a series of RCA recordings, expanded repertoire, more concerts, and several national network radio broadcasts.

When Mexican-born conductor Eduardo Mata was appointed music director in 1977, the orchestra embarked on its second major period of growth and success. Under Mata’s guidance the ensemble benefited from recording contracts with both RCA and Dorian, prominent national engagements in New York and Washington, and tours of Europe and South America. During his tenure the Dallas Symphony also saw the opening in 1989 of its permanent home, the Morton H. Meyerson Symphony Center.

Andrew Litton brought the Dallas Symphony unparalleled national and international exposure through recordings, telecasts and tours during his tenure from 1994 through 2006. He made 26 compact discs with the DSO for five different labels. He led the orchestra on three European tours and four trips to Carnegie Hall. He hosted and conducted national telecasts on PBS and A&E.

Jaap van Zweden took the helm as music director in 2008, and the

orchestra continued to flourish under his dynamic leadership. Named Musical America’s Conductor of the Year 2012, van Zweden completed his ten-year tenure at the DSO in May 2018.

The orchestra embarked on a bold new era in January 2018, when Kim Noltemy joined the Dallas Symphony Association (DSA) as Ross Perot President & CEO. Under her visionary leadership, the DSO has implemented numerous new initiatives. These include the Young Musicians education program, which offers free instruments and music lessons to all children in Southern Dallas, and the Women in Classical Music program. This has seen the establishment of an annual symposium and the appointments of Julia Wolfe, Angélica Negrón, and Sophia Jani as composers-in-

residence and of Gemma New as principal guest conductor.

In June 2018, the Dallas Symphony Orchestra named G RAMMY Award-winning Italian conductor Fabio Luisi as its next music director. Luisi has developed a close rapport with the orchestra through a series of acclaimed performances, and assumed the Louise W & Edmund J Kahn Music Directorship in September 2020. In the 2023-24 season, Luisi and the orchestra continued their recording cycle of the Brahms symphonies, recorded a new album of the oratorio of Franz Schmidt and embarked on the ensemble’s first European tour in over a decade.

Today the Dallas Symphony Orchestra enjoys superlative artistic and executive leadership in one of the world’s foremost concert halls.

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ENSEMBLE ($30,000+)

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OVATION ($15,000+)

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Foundation

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Charitable Trust

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Kathy and William Wiener

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JUN 22 THURSDAY 6:00PM

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Sarah Day-O’Connell (Skidmore College), speaker

ACADEMY OF ST MARTIN IN THE FIELDS

Anne-Marie McDermott, piano

BEETHOVEN

Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)

Allegro con brio

Adagio

Rondo: Molto allegro

INTERMISSION

GIPPS

Seascape, Op. 53 (7 minutes)

HAYDN

Symphony No. 104 in D major, London (29 minutes)

Adagio—Allegro

Andante

Menuetto: Allegro—Trio

Finale: Spiritoso

TRIFONOV PERFORMS MOZART

THIS EVENING’S PERFORMANCE IS PRESENTED BY

NORMA AND CHARLIE CARTER

THE FRANCIS FAMILY

RETURN OF ACADEMY OF ST MARTIN IN THE FIELDS

VI LIVING

BARB AND DICK WENNINGER

SPECIAL GRATITUDE TO

Piano Concerto No. 9 in E-flat major, K.271, Jenamy (1777) WOLFGANG AMADÈ MOZART (1756-91)

WThe Berry Charitable Foundation

THIS EVENING’S PERFORMANCE IS PRESENTED BY

The Friends of the Dallas Symphony Orchestra

NORMA AND CHARLES CARTER

FOUR SEASONS RESORT AND RESIDENCES VAIL

Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801) LUDWIG VAN BEETHOVEN (1770-1827)

The Lyn and Phillip Goldstein Maestro Society

VERA AND JOHN HATHAWAY

The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY

SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle

Fanchon and Howard Hallam

Berry Charitable Foundation

Bobbi and Richard Massman

The Francis Family

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The Judy and Alan Kosloff Artistic Director Chair

SOLOIST SPONSORS

Yamaha

BFunded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the

Funded in part by a generous grant from the Lyn and Phillip Goldstein

Daniil Trifonov, piano, sponsored by Gina Browning & Joe Illick and Aneta M. Youngblood

SPONSORED BY Ray Oglethorpe

Barbara and Carter Strauss

SOLOIST SPONSORS

Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross

eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.

hen Wolfgang Amadè Mozart wrote his Piano Concerto in E-flat major (K. 271), in January 1777, he was just turning 21. It opens with a surprise. In Mozart’s time, concertos invariably began with a stretch of material (usually including at least a couple of discrete themes) presented by the orchestra before the soloist first appeared. Here, however, the piano shares in the opening phrase of the work, providing a response to the orchestra’s introductory fanfare. The composer has put the listener on notice that this concerto will be no simple back-andforth alternation between orchestra and soloist, but rather a work in which the protagonists interweave with some complexity. The slow movement is also a breakthrough—a melancholy exercise in the hyper-emotive Sturm und Drang esthetic then popular. The opening theme incorporates a falling figure—at least a sigh, perhaps a sob —and the piano sometimes declaims

A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto

WOLFGANG AMADÉ MOZART

Piano Concerto Artist Project and Town of Vail.

The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

Town of Vail.

The Antlers at Vail, Manor Vail Lodge, and Lodge at Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

its sorrow in recitative-like passages. In the finale, Mozart again experiments with structure; in the midst of a highly energized rondo, he interpolates a leisurely, expressive minuet with four elegantly turned variations.

This may have been the first of Mozart’s piano concertos to be published, if it was the concerto advertised in an early catalog of the Parisian publishing house of François-Joseph Heina. Fortunately, Mozart provided two separate sets of written-out cadenzas for this concerto: two alternative versions for the first movement, two for the second. For the third movement he also offered three alternative suggestions each for two brief “lead-ins,” short improvisatory flourishes to introduce musical sections—far shorter than a full-fledged cadenza yet substantial enough to display creativity from extemporizing soloists.

This concerto became widely known by the nickname Jeunehomme That name dates from 1912, when two French scholars posited the existence of a Mademoiselle Jeunehomme who they imagined to be an obscure French pianist who visited Salzburg in the winter of 177677 and commissioned Mozart to write this concerto. Mozart did write a letter to his father in which he referred to a woman surnamed “Jenomy” in connection with this concerto, and his father referred to the same as “Madame genomai.” About twenty years ago, documents were unearthed in Vienna identifying that person as Louise Victoire Jenamy (1749-1812). An excellent pianist, she was a daughter of the dancer and balletmaster Jean-Georges Noverre, who was a friend of the Mozarts. There is no good reason to persist in calling this piece the Jeunehomme Concerto, and there is abundant reason not to. If we felt the need to attach a nickname to it, we would do better to call it the Jenamy Concerto rather than the entirely specious Jeunehomme.

Symphony No. 5 (1901-02)

GUSTAV MAHLER (1860-1911)

Throughout his career Gustav Mahler balanced the competing

demands of his dual vocation as a composer and conductor. He largely relegated his composing to summer months, which he typically spent as a near-hermit in some pastoral spot in the Austrian countryside. His getaway while writing his Fifth Symphony was Maiernigg, a speck on the map on the south shore of the Wörthersee in the southern Austrian region of Carinthia. He completed construction of his villa there while this work progressed during the summers of 1901 and 1902.

What Mahler achieved during those two summers marked his return to the purely instrumental symphony. His First Symphony had been strictly orchestral, but the three that followed it all used singers, whe ther as soloists or in chorus (or both). But if Mahler’s Fifth Symphony is not unusually radical in its forces, extensive though they be, his use of those forces is profoundly imaginative, and its structure is curious indeed. It unrolls over five movements (rather than the classic four of most symphonies), and they are grouped into three over-riding sections: the first and third sections both comprise two movements, while the Scherzo stands in the middle as a section unto itself. From its opening trumpet fanfare through to its majestic conclusion an hour and a quarter later (and a semitone higher, since the underlying tonality moves from C-sharp into D), Mahler’s Fifth

Symphony traces a vast panorama of human emotions.

The Adagietto is the most famous movement from any Mahler symphony. The conductor Willem Mengelberg claimed that it was an encoded love-letter from Gustav to his wife, Alma—a fact he insisted both parties had confirmed to him. Scored for only strings and harp, it stands apart in its basic sound; and its character—pensive, soulful, nostalgic, more resigned than mournful—renders it unique and memorable.

Notwithstanding its great popularity, the Adagietto represents only a fraction of the emotional spectrum of this symphony. Bruno Walter, Mahler’s assistant in both Hamburg (1894-96) and Vienna (beginning in 1901), witnessed the creation of the Fifth Symphony. He characterized it thus: “A work of strength and sound self-reliance, its face turned squarely towards life, and its basic mood one of optimism. A mighty funeral march, followed by a violently agitated first movement, a scherzo of considerable dimensions, an adagietto, and a rondo-fugue, form the movements.” In 1911, Mahler remarked that his Fifth Symphony had come to represent “the sum of all the suffering I have been compelled to endure at the hands of life.” For us, too, it may convey suffering, but also joy, hope, and a hundred other aspects of the human condition.

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

ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S. McIntyre, IV

Billie and Ross McKnight

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Margie and Chuck Steinmetz

OVATION ($15,000+)

Carole C. and CDR. John M. Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

The Sturm Family and ANB Bank

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Fanchon and Howard Hallam

Linda and Ronn Lytle

Patricia and Brian Ratner

Tom Woodell

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and Stephen Saldanha

Neal Groff

Kim and Greg Hext

Regina and John Magee

Debbie Engstrom Scripps

Sherry Sunderman and Tom Mueller

Bill and Katie Weaver

Charitable Trust

Gil and Dody Weaver

Foundation

Gena Whitten and Bob Wilhelm

Kathy and William Wiener

Carolyn Wittenbraker and Arkay Foundation

THURSDAY 1:00PM

COMMUNITY CONCERTS

VAIL INTERFAITH CHAPEL

Dior Quartet

(Bravo! Vail 2024 Chamber Musicians in Residence)

Noa Sarid, violin

Tobias Elser, violin

Caleb Georges, viola

Joanne Yesol Choi, cello

ROBERT PATERSON

String Quartet No. 1, Love Boat (24 minutes)

I. Fast and Sprightly

II. Logy

III. Sad, Luscious Adagio

IV. Energetic Polka

RAVEL

String Quartet in F major (29 minutes)

Allegro Moderato – Très doux

Assez vif – Très rythmé

Très lent

Vif et agité

COMMUNITY CONCERT II

Dior Quartet

Artist Insights

The first half of this program features Robert Paterson’s String Quartet No. 1, a ball of fire that reflects Paterson’s distinctive style of string quartet writing. He incorporates influences from Bartók and Berg while inserting American references, drawing from his childhood and cultural background. The composition juxtaposes a “serious modern” style with quotes from the “Love Boa t” theme song, southern tunes, and personal anecdotes from his childhood. This creates a complex, thought-provoking listen, in which the theatricality and comic relief can take you by surprise.

Ravel offers a contrast to the high energy and intensity of Paterson’s writing, presenting the soothing harmonies of French music from the early 20th century with musical techniques that mirror the colors and characteristics of impressionist art. Our intention in combining the two—Paterson’s sharp wit and the calming beauty of Ravel—is a program that results in a wholesome concert experience

—Dior Quartet

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Virginia J. Browning

Katherine Clayborne and Thomas Shoup

Marijke and Lodewijk de Vink

Eagle County Lodging Tax Marketing

Committee

Cookie and Jim Flaum

Barbie and Tony Mayer

Kathie Mundy and Fred Hessler

Beth Slifer

Cathy Stone

Town of Vail

Jackie and Norm Waite

Carole A. Watters

Vail Religious Foundation

DIOR QUARTET

COMMUNITY CONCERT III

Dior Quartet

Artist Insights

Composer Dinuk Wijeratne notes, “This virtuoso musical escapade for string quartet is inspired by the audacious, real-life theft of Leonardo da Vinci’s Mona Lisa from the Louvre Museum in 1911.” Maybe there is a nod to an old-time Hollywood heist movie, too. How often are we encouraged to laugh in a concert hall?

Hatzis’ second String Quartet is perhaps the furthest we could go from the first piece. Looking at human history filled with violent conflict, the composer asks us to listen to the sounds of ordinary life in the shadow of war. With cinematic, Mediterranean, and minimalist influences, Hatzis creates a work that is truly one of a kind.

—Dior Quartet

COMMUNITY CONCERTS

EDWARDS INTERFAITH CHAPEL

Dior Quartet

(Bravo! Vail 2024 Chamber Musicians in Residence)

Noa Sarid, violin

Tobias Elser, violin

Caleb Georges, viola

Joanne Yesol Choi, cello

DINUK WIJERATNE

The Disappearance of Lisa Gherardini (13 minutes)

Spoken word, choreography by Dior Quartet

CHRISTOS HATZIS

String Quartet No. 2, The Gathering (37 minutes)

Awakenings

Fleeting Moments

Nadir

Metamorphosis

DIOR QUARTET

Marijke and Lodewijk de Vink Eagle County Lodging Tax Marketing Committee

SCHEDULE AT A GLANCE

THE ESSENCE OF ELEGANCE

LINDA & MITCH HART SOIRÉE SERIES

JUNE 27 ~ JULY 25 // 2024

These stylish soirées are one-of-a-kind social, culinary, and musical experiences at magnificent private residences, featuring fine dining and intimate performances by some of the world’s most extraordinary musicians.

This season offers a sumptuous array of solo artistry and exquisite ensembles. Patrons enjoy uniquely personal connections with Festival musicians, including principal players from resident orchestras, featured soloists, and Bravo! Vail’s own Artistic Director Anne-Marie McDermott.

Bravo! Vail

Gratefully

Acknowledges the Support of the Following Patrons

Applejack Wine and Spirits

The Carrington Classical Guitar Fund

Joanne Cohen and Morris Wheeler

Georgia and Don Gogel

The Therese M. Grojean

Vocalist Fund

Linda and Mitch Hart

Jackson Family Wines

The Judy and Alan Kosloff

Artistic Director Chair

The Left Bank

Anne and Tom McGonagle

Mirabelle at Beaver Creek

Petals of Provence

Red Canyon Catering

Jonathan and Alysa Rotella

Vail Catering Concepts

Vintage Magnolia

Yamaha

SOIRÉE I

Armenian-American pianist Sergei Babayan is truly one of the most unique keyboard artists performing today. His meditative focus and rare stillness sustain both intensity and immediacy, resulting in performances that feel almost improvisatory. Babayan himself has observed that making music should be open to surprises and spontaneous insights, and that a recital should reveal a spiritual dimension. It is this astounding musicality that led music journalist and author Norman Lebrecht to marvel that “if all music was like this, there would be no sorrow in the world.”

Bravo! Vail Gratefully Acknowledges Support for This Evening’s Soirée

THIS EVENING’S HOSTS

Anne and Tom McGonagle

SPECIAL GRATITUDE

Linda and Mitch Hart

The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY Applejack Wine and Spirits

Jackson Family Wines

Red Canyon Catering

Vintage Magnolia

Yamaha

THE LINDA & MITCH HART SOIRÉE SERIES

MCGONAGLE RESIDENCE

Sergei Babayan, piano

Selections to be announced.

SERGEI BABAYAN

Catered by Red Canyon Catering

RED CANYON CATERING,LLC

FRIDAY 6:00PM

ORCHESTRAL SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA

Fabio Luisi, conductor

Karen Slack, soprano

Issachah Savage, tenor

GERSHWIN

Overture to Girl Crazy

RODGERS

“Oh, What a Beautiful Mornin,” from Oklahoma!

GERSHWIN

“My Man’s Gone Now,” from Porgy and Bess

ORNADEL

“If I Ruled the World,” from Pickwick

STYNE

Overture to Gypsy

RODGERS

“People Will Say We’re in Love,” from Oklahoma!

I NTERMISSION

DAWSON

Hope in the Night (Movement II from Negro Folk Symphony)

GERSHWIN

“The Man I Love,” from Lady, Be Good “It Ain’t Necessarily So,” from Porgy and Bess

ELLINGTON

“Don’t Get Around Much Anymore”

J.P. JOHNSON

Drums—A Symphonic Poem

The running time of this concert is approximately one hour and 35 minutes.

AMERICAN BROADWAY SONGBOOK

TOWN OF VAIL NIGHT

THIS EVENING’S PERFORMANCE IS PRESENTED BY

BARBARA AND BARRY BERACHA

TOM GROJEAN

LYDA HILL

MARY SUE AND MIKE SHANNON

THE STURM FAMILY AND ANB BANK

SPECIAL GRATITUDE TO

The Berry Charitable Foundation

The Bravo! Vail Artistic Excellence Fund

The Sidney E. Frank Foundation

The Friends of the Dallas Symphony Orchestra

The Lyn and Phillip Goldstein Maestro Society

The Therese M. Grojean Vocalist Fund

SPONSORED BY

Abbe and Adam Aron

Ray Oglethorpe

Angela and Tim Stephens

Barbara and Carter Strauss

SOLOIST SPONSORS

Fabio Luisi, conductor, sponsored by Debbie and Patrick Horvath

Karen Slack, soprano, sponsored by Valerie and Robert Gwyn

Overture to Girl Crazy (1930) GEORGE GERSHWIN (1898-1937)

In the George and Ira Gershwin show Girl Crazy which ran for 272 Broadway performances in 1930-31, a New York playboy is sent by his father to an isolated Arizona village far from Manhattan’s temptations. The place fills up with all manner of vices, and everybody heads off to Mexico for further fun. The show boosted Ginger Rogers to stardom, hosted Ethel Merman in her Broadway debut, and introduced some fine Gershwin tunes, five of which figure in the show’s Overture: “I Got Rhythm,” “Embraceable You,” “Land of the Gay Caballero,” “But Not for Me’,” and “Bronco Busters.”

Selections from Oklahoma! (1942-43)

“Oh, What a Beautiful Mornin” “People Will Say We’re in Love”

RICHARD RODGERS (1902-79)

LYRICS BY OSCAR HAMMERSTEIN II (1895-1960)

By the time Richard Rodgers and Oscar Hammerstein II first worked together, in 1943, they were both well established in their non-intersecting careers. Rodgers and his longtime

The Antlers at Vail, Manor Vail Lodge, and Lodge at Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

lyricist Lorenz Hart had been thinking about a show set in the American West, based on the 1930 play Green Grow the Lilacs by the Oklahoma native Lynn Riggs. As their partnership crumbled, Rodgers sounded out Hammerstein—and thus was born the show Oklahoma!, a benchmark of American musical theater. Set in 1906, as Indian Territory is about to gain statehood as Oklahoma, it centers on how the farm girl Laurey Williams navigates the courtship of rival suitors, the cowboy Curly McLain and the farmhand Jud Fry. Curly sings “Oh Wha t a Beautiful Mornin” to open the show, and later he joins Laurey in the duet “People Will Say We’re in Love,” in which they avoid admitting it themselves.

Selections from Porgy and Bess (1934-35)

GEORGE GERSHWIN

“My Man’s Gone Now” L YRICS BY DUBOSE HEYW ARD (1885-1940)

“It Ain’t Necessarily So” L YRICS BY IRA GERSHWIN (1896- 1963)

In 1926, George Gershwin read DuBose Heyward’s novel Porgy and asked permission to turn it into an opera libretto. When he finally obtained rights, Heyward suggested that Gershwin’s brother, Ira, assist with the song lyrics. Gershwin spent time observing the Gullah fishermen in their South Carolina communities, the better to capture the flavor of Heyward’s characters and their world. A bold idea surfaced: Porgy and Bess would feature an all-Black cast, a stroke of realism unusual at that time. Gershwin called it a “folk opera” but had it produced not in an opera house but rather on the musical-theater stage. During previews, the Boston audience was enthusiastic about this musical tale of good-hearted Porgy and his love for Bess, despite her propensity to cave in to the wicked influences of questionable characters who surround her. After it reached Broadway, in October 1935, it had a respectable run of 124 performances but its producers lost money. Gershwin never doubted the value of his opera but did not live to see its fortunes soar.

“If I Ruled the World,” from Pickwick (1963)

CYRIL ORNADEL (1924-2011)

LYRICS BY LESLIE BRICUSSE (1931-2021)

Based on Charles Dickens’ novel The Pickwick Papers, the musical Pickwick proved a big hit in London’s West End, but its appeal failed to translate to American audiences. It ran for only 56 performances after opening on Broadway in October 1965, earning a scathing review from The New York Times: “It has squeezed all the fun out of Dickens and has converted his unforgettable, joyous characters into vulgar cliches.” But there was one bright spot: “Mr. Pickwick’s ‘If I Ruled the World’ is a sentimental number that bears some correspondence to the sunny goodness of Dickens’ hero.”

Overture to Gypsy (1959)

JULE STYNE (1905-94)

Jule Styne’s musical Gypsy (lyrics by Stephen Sondheim) was based on the memoirs of burlesque star Gypsy Rose Lee. A tale of show-biz triumph and tragedy, it particularly focuses on her mother, Rose, a ferocious stage-mother who will do anything to promote her daughters’ careers. The compelling drama is highlighted by numerous hit songs, of which six were woven into what is sometimes called The Greatest Overture in Broadway History: “I Had a Dream,” “Everything’s

Coming Up Roses,” “You’ll Never Get Away from Me,” “Small World,” “Rose’s Turn,” and “Mr. Goldstone.”

Hope in the Night (Movement II from Negro Folk Symphony) (1934)

WILLIAM DAWSON (1899-1990)

Willam Dawson was a musical standout at Alabama’s Tuskegee Institute, at that time led by Booker T Washington. Following stints in Chicago and Kansas City, he returned to teach at Tuskegee, where he boosted the music program to international prominence. His fame rests especially on his Negro Folk Symphony, which incorporates spiritual-inspired themes (and quotes some actual spirituals) within the context of classical concert music. He said that its second movement portrays an “atmosphere of the humdrum life of a people whose bodies were baked by the sun and lashed with the whip for 250 years.”

“The Man I Love” from Lady, Be Good (1924)

GEORGE GERSHWIN

LYRICS BY IRA GERSHWIN

“The Man I Love” remains an evergreen among Gershwin’s songs, but it had trouble finding its context. It originally

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204

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ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S. McIntyre, IV

Billie and Ross McKnight

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Margie and Chuck Steinmetz

OVATION ($15,000+)

Carole C. and CDR. John M. Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

The Sturm Family and ANB Bank

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Fanchon and Howard Hallam

Linda and Ronn Lytle

Patricia and Brian Ratner

Tom Woodell

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and Stephen Saldanha

Neal Groff

Kim and Greg Hext

Regina and John Magee

Debbie Engstrom Scripps

Sherry Sunderman and Tom Mueller

Bill and Katie Weaver

Charitable Trust

Gil and Dody Weaver

Foundation

Gena Whitten and Bob Wilhelm

Kathy and William Wiener

Carolyn Wittenbraker and Arkay Foundation

6:00PM

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Sarah Day-O’Connell (Skidmore College), speaker

ACADEMY OF ST MARTIN IN THE FIELDS

Anne-Marie McDermott, piano

BEETHOVEN

Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)

Allegro con brio

Adagio

Rondo: Molto allegro

INTERMISSION

GIPPS

Seascape, Op. 53 (7 minutes)

HAYDN

Symphony No. 104 in D major, London (29 minutes)

Adagio—Allegro

Andante

Menuetto: Allegro—Trio

Finale: Spiritoso

in part by a generous grant from the

in part by a generous

LUISI CONDUCTS TCHAIKOVSKY’S FIFTH

THIS EVENING’S PERFORMANCE IS PRESENTED BY

MARILYN AUGUR

RETURN OF ACADEMY OF ST MARTIN IN THE FIELDS

BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT

NANCY AND ANDY CRUCE

NANCY GAGE AND ALLAN FINNEY

THIS EVENING’S PERFORMANCE IS PRESENTED BY

SPECIAL GRATITUDE TO

NORMA AND CHARLES CARTER

ATLAS for Solo Piano and Orchestra (2024; Co-commission of Bravo! Vail and the Dallas Symphony Orchestra)

ANNA CLYNE (B. 1980)

from the

The Berry Charitable Foundation

Virginia J. Browning

FOUR SEASONS RESORT AND RESIDENCES VAIL

The Bravo! Vail Artistic Excellence Fund

VERA AND JOHN HATHAWAY

The Friends of the Dallas

Symphony Orchestra

The Lyn and Phillip Goldstein

SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle

Maestro Society

The New Works Fund

Berry Charitable Foundation

The Francis Family

SPONSORED BY

Debbie and Jim Donahugh

Kay and Michael Johnson

The Judy and Alan Kosloff Artistic Director Chair Yamaha

Brenda and Joe McHugh

Alice Ruth and Ronald Alvarez

Donna and Randy Smith

SPONSORED BY Ray Oglethorpe

Mr. and Mrs. Steve Swalm

Barbara and Carter Strauss

SOLOIST SPONSORS

SOLOIST SPONSORS

Jeremy Denk, piano, sponsored by Patti Shwayder-Coffin and Steve Coffin

Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross

APiano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)

LUDWIG VAN BEETHOVEN (1770-1827)

Beethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.

nna Clyne is a native of London but has lived elsewhere for much of her career: in Scotland for her schooling at the University of Edinburgh, then in the United States, where she earned a master’s degree in composition at the Manhattan School of Music and gained attention for works of unusual breadth and vibrancy. During the 2023-24 season she has served as composerin-residence with Helsinki Philharmonic and BBC Philharmonic, and as artist-inresidence with the Symphony Orchestra of Castilla y León. These are the most recent of residencies that in preceding years have also included the Chicago Symphony, Baltimore Symphony, and Scottish Chamber Orchestra. In 2015, her composition Prince of Clouds, for two violins and orchestra, was nominated for a GRAMMY for Best Contemporary Classical Composition, and in 2016 she was awarded the Hindemith Prize by the Schleswig-

A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto

Funded

grant

Lyn and Phillip Goldstein Piano Concerto Artist Project and Town of Vail.

The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

Funded

Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail.

The Antlers at Vail, Manor Vail Lodge, and Lodge at Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

Holstein Music Festival in Germany. She collaborates on cross-genre creative projects, including with filmmakers, visual artists, and choreographers, having provided music for works at the Royal Ballet in London and the San Francisco Ballet. She often writes pieces in reaction to specific visual artworks and to pieces by canonical composers, which serve as points of departure or as material for musical commentary. Indeed, she composed ATLAS as a musical response to photographs. She explains: “Set in four movements, my first piano concerto is inspired by (and titled after) the monumental, fourvolume publication ATLAS, which maps the ideas, processes, and inspirations of the German artist Gerhard Richter. Conceived and closely edited by Richter himself, this comprehensive compendium cuts straight to the heart of the artist’s thinking, collecting more than 5,000 photographs, drawings, and sketches that he has compiled or created since the moment of his creative breakthrough in 1962.” She then provides guidance for listeners interested in delving more deeply into this connection: “My music responds to the imagery contained in these four volumes to create a musical montage and a lucid narrative. Examples of the imagery are listed below.”

VOLUME I (1962-1974)

Photographic Experiments 1969; Stars 1968; Spheres 1968; Fire 1968; Photographic Details of Colour Samples 1970; Cities (in Sketches of a Room) 1968; Clouds (in Sketches of a Room) 1970

VOLUME II (1966-1988)

Sketches (Constellations) 1967; Sketches (Numbers) 1978; Sketches (Colour Charts) 1966; Colour Fields 1973; Still Lifes (Skull) 1983; Abstract Pictures 1977; Still Lifes (Apples and Bottle) 1984-88

VOLUME III (1978-2006)

Various Motifs 1978/84/88; Cathedral Corner 1984/88; Sketches (Connecting Piece) 1989; Sketches (Frames) 1990; The Black Forest 1991; Railway Embankment 1990-94; Houses in the Snow (SilsMaria) 2004

VOLUME IV (2002-2013) Tree Trunks 2002; Beach and Tideland 2002; Sun 2002; Glass Planes 2006; Various Structures

and Silicate 2006; Structure “Pearls” 2006; Strip Studies 2010

Symphony No. 5 in E minor, Op. 64 (1888)

PYOTR ILYICH TCHAIKOVSKY

(1840-93)

Pyotr Ilyich Tchaikovsky spent the summer of 1888 at a vacation home he had built on a forested hillside at Frolovskoe, not far from his home base in Moscow. The idyllic locale apparently played a major role in his managing to complete this symphony in the short span of four months. He made a habit of keeping his patron, Nadezhda von Meck, informed about his compositions through detailed letters, and thanks to this ongoing correspondence we have a good deal of information about how the Fifth Symphony progressed during that summer. “I shall work my hardest,” he wrote to her. “I am exceedingly anxious to prove to myself, as to others, that I am not played out as a composer. Have I told you that I intend to write a symphony? The beginning was difficult, but now inspiration seems to have come. We shall see ....” His correspondence throughout those months brims with allusions to the emotional background to this piece, which involved resignation to fate, the designs of providence, murmurs of doubt, and similarly dark thoughts.

Critics blasted the symphony when he conducted its premiere, in 1888, due in part to the composer’s

limited skill on the podium; and yet the audience was enthusiastic. Always given to insecurity and vulnerable to criticism, he worried about “some over-exaggerated color, some insincerity of fabrication which the public instinctively recognizes. It was clear to me that the applause and ovations referred not to this but to other works of mine, and that the Symphony itself will never please the public.” And elsewhere, he wrote, “the organic sequence fails, and a skillful join has to be made ... I cannot complain of lack of inventive power, but I have always suffered from want of skill in the management of form.” These comments reveal considerable self-awareness; one might say that Tchaikovsky was wrong, but for all the right reasons. The work’s orchestral palette is indeed colorful, despite the fact that the composer employs an essentially Classical orchestra of modest proportions. And “the management of form,” never his strong suit, is certainly not as tight as in his Fourth Symphony, which he had unveiled a decade earlier. “If Bee thoven’s Fifth is Fate knocking at the door,” wrote a commentator when the piece was new, “Tchaikovsky’s Fifth is Fate trying to get out.” It nearly does so in a journey that threatens to culminate in a series of climactic

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204

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

ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S.

McIntyre, IV

Billie and Ross McKnight

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Margie and Chuck Steinmetz

OVATION ($15,000+)

Carole C. and CDR. John M.

Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

The Sturm Family and ANB Bank

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Fanchon and Howard Hallam

Linda and Ronn Lytle

Patricia and Brian Ratner

Tom Woodell

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and Stephen Saldanha

Neal Groff

Kim and Greg Hext

Regina and John Magee

Debbie Engstrom Scripps

Sherry Sunderman and Tom Mueller

Bill and Katie Weaver

Charitable Trust

Gil and Dody Weaver

Foundation

Gena Whitten and Bob Wilhelm

Kathy and William Wiener

Carolyn Wittenbraker and Arkay Foundation

SUNDAY 6:00PM

ORCHESTRAL SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA

Fabio Luisi, conductor

Paul Huang, violin

BRAHMS

Violin Concerto in D major, Op. 77 (36 minutes)

Allegro non troppo Adagio

Allegro giocoso, ma non troppo vivace— Poco più presto

I NTERMISSION

R. STRAUSS

Don Juan (18 minutes)

Suite from Der Rosenkavalier (21 minutes)

HUANG PLAYS BRAHMS’ VIOLIN CONCERTO WITH DSO

THIS EVENING’S PERFORMANCE IS PRESENTED BY

SHIRLEY AND WILLIAM S. MCINTYRE, IV

SPECIAL GRATITUDE TO The Berry Charitable Foundation

The Friends of the Dallas Symphony Orchestra

The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY

Kiwi and Landon Hilliard

Kari Johnsen Gyde

Alexia and Jerry Jurschak

Jan and Lee Leaman

Patricia and Brian Ratner

SOLOIST SPONSORS

Paul Huang, violin, sponsored by Kathy and Jonathan Zeschin

Violin Concerto in D major, Op. 77 (1878-79)

JOHANNES BRAHMS (1833-97)

Johannes Brahms was the figure who most fully adapted the models of Beethoven (via Mendelssohn and Schumann) to the evolving esthetics of the mid-to-late 19th century. He was reluctant to sign off on works in genres that invited direct comparison to Beethoven, especially string quartets and symphonies. He did, however, manage to bring his First Piano Concerto to completion in 1858. Between 1878 and 1881 he followed up with his Second Piano Concerto, and at about the same time he also set to work on his transcendent Violin Concerto. He numbered among his closest friends Joseph Joachim, one of the most eminent violinists of his time. Brahms consulted with him closely while writing

The Antlers at Vail, Manor Vail Lodge, and Lodge at Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

the piece and there is no question that Joachim’s influence on the final state of the violin part, and on the work’s orchestration overall, was substantial. Brahms spent the summer of 1878—the summer of the Violin Concerto—in Pörtschach, a bucolic lake town in southern Austria. When he wrote his Second Symphony there the summer before, he had remarked that beautiful melodies so littered the landscape that one merely had to scoop them up. Listeners today are likely to think that he scooped up quite a few for his Violin Concerto, too, but early listeners weren’t so sure. When it was presented by the Berlin Conservatory Orchestra, one newspaper complained that students should not be subjected to such “trash,” and Joseph Hellmesberger, Sr., who as one of Vienna’s leading violinists had much Brahmsian experience, dismissed it as “a concerto not for, but against the violin.” Brahms was a bit discouraged by the response and, to the regret of posterity, fed to the flames the draft he had already completed for his Violin Concerto No. 2. We can only mourn what must have been lost.

Don Juan (1888)

Suite from Der Rosenkavalier (1909-10/1944)

RICHARD STRAUSS (1864-1949)

Strauss began writing operas at about the time he stopped composing symphonic poems, illustrative singlemovement pieces developed from some literary or pictorial inspiration. After being introduced to this genre in the mid-1880s, Strauss wrote that this approach, “in which the poetic idea was really the formative element, became henceforward the guiding principle for my own symphonic work.” Don Juan (1888), written near the beginning of this procession, already revealed his distinct personality as a composer. The extramusical impetus for this work was the womanizer whose libertine exploits were chronicled in popular literature of the 17th century and then embroidered through generations of poets, playwrights, and novelists. Strauss based his symphonic poem on a version of the tale produced in 1844 by Austro-Hungarian poet Nikolaus Lenau. This Don Juan is a dreamer whose compulsion to seduce and desert a

succession of women derives not from mere male chauvinism but rather from a Romantic quest for the ever-elusive ideal—in this case, “to enjoy in one woman all women, since he cannot possess them as individuals.”

Don Juan is portrayed as heroic—a real swashbuckler at the piece’s opening, where the strings suggest his leaping into action, then later when a quartet of horns emphasizes his noble bearing, fortissimo and in unison. The musical storytelling is carried out with clarity: seductions and interruptions, several episodes of love music that convey the disparate characters of the women he conquers. He meets his inevitable doom in the end. A violent crash in the orchestra represents the thrust of a sword being run through him by a father avenging the death of one of the Don’s victims, and his life slips away via a discordant note on the trumpet. Thus the piece achieves its final tableau.

The fifth of Richard Strauss’s 15 operas, Der Rosenkavalier immediately captured the hearts of opera-goers when it was unveiled, in 1911. At the center of the plot, set in mid-18thcentury Vienna, is the Marschallin, a princess who is having an affair with Octavian, an attractive young count. Her boorish cousin, Baron Ochs, hopes to ensnare Sophie, the lovely daughter of a nouveau riche gentleman with

access to well-born circles. In an act of courtship, Octavian (disguised as a maid) is sent to offer Sophie a silver rose on behalf of Baron Ochs, but he and Sophie fall in love. The ardor of youth wins out: Ochs withdraws his bid for Sophie, realizing how ridiculously he has been behaving, and, with dignity and insight, the Marschallin accepts that young Octavian is better suited to love Sophie than a woman of her own advancing years.

The Viennese setting is suggested by the use of local dialect and seductive waltzes. The latter is an anachronism, since the action is set about a century before the “Waltz Era”—but, with music like this, who could complain? As one would expect from a commercial hit, the music was pressed into use through various arrangements and transcriptions. The first orchestral suite appeared in 1911, directly on the heels of the premiere, and quite a few others were released in ensuing decades.

Strauss himself created two separate “waltz sequences” using music from his opera, the first in 1911, the second in 1944. The Rosenkavalier Suite played here was made by an unidentified arranger in 1944; it is widely held to be (at least in large part) the work of the conductor Artur Rodzinski. Strauss approved this arrangement, and it was published in 1945 by the firm of Boosey & Hawkes.

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

ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S. McIntyre, IV

Billie and Ross McKnight

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Margie and Chuck Steinmetz

OVATION ($15,000+)

Carole C. and CDR. John M. Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

The Sturm Family and ANB Bank

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Fanchon and Howard Hallam

Linda and Ronn Lytle

Patricia and Brian Ratner

Tom Woodell

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and Stephen Saldanha

Neal Groff

Kim and Greg Hext

Regina and John Magee

Debbie Engstrom Scripps

Sherry Sunderman and Tom Mueller

Bill and Katie Weaver

Charitable Trust

Gil and Dody Weaver

Foundation

Gena Whitten and Bob Wilhelm

Kathy and William Wiener

Carolyn Wittenbraker and Arkay Foundation

MONDAY 6:00PM

ORCHESTRAL SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA

Jeff Tyzik, conductor

Rick Brantley, vocalist

Grace Leer, vocalist

Dean Berner, acoustic/dobro guitar

Andrew Sovine, electric/steel guitar

Bryan Dawley, bass

Ross McReynolds, drums

Brian Piper, piano

GABRIEL/HABERSHON

“Will the Circle be Unbroken”

as performed by the Carter Family

LINDE

“Callin’ Baton Rouge”

as performed by The Oak Ridge Boys

STEPHEN EARL/MIRANDA LAMBERT

“Kerosene” as performed by Miranda Lambert

WILLIE NELSON

“Crazy” as performed by Patsy Cline

CASH

“Folsom Prison Blues” as performed by Johnny Cash

L. SHAFER/S. SHAFER

“All My Exes Live in Texas” as performed by George Strait

JENNINGS/WILLIE NELSON

“Good Hearted Woman” as performed by Waylon & Willie

BOBBIE GENTRY

“Fancy”

as performed by Reba McEntire

GRETCHEN PETERS

“Independence Day” as performed by Martina McBride

NATALIE NICOLE HEMBY/ SHANE MCANALLY/KACEY LEE MUSGRAVES

“Rainbow” as performed by Kacey Musgraves

COUNTRY HITS: SONGS FROM NASHVILLE

THIS EVENING’S PERFORMANCE IS PRESENTED BY

BILLIE AND ROSS MCKNIGHT

SPECIAL GRATITUDE TO

The Berry Charitable Foundation

The Bravo! Vail Artistic Excellence Fund

The Sidney E. Frank Foundation

The Friends of the Dallas Symphony Orchestra

The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY

Sharron and Herbert Bank; Penny Bank

Ron Davis

Kathleen and Jack Eck

Kate and John Mitchell

The Stolzer Family Foundation; Ellen and Dan Bolen; Mary Kevin and Tom Giller

SOLOIST SPONSORS

Jeff Tyzik, conductor, sponsored by Joyce and Paul Krasnow

“Songs from Nashville” paints a picture of country music in America, transporting us to a honky tonk bar on Lower Broadway in Nashville. This transformative journey through the genre starts with the Carter Family’s rendition of the popular hymn “Will the Circle Be Unbroken,” passing the torch along the way to today’s legendary performers and artists like Kasey Musgraves, Alison Kraus, and The Chicks. Drawing on the magic of earnestness and the complexity of honest storytelling, country music is a timeless American art form that’s also a heck of a lot of fun.

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail.

The Antlers at Vail, Manor Vail Lodge, and Lodge at Vail are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S. McIntyre, IV

Billie and Ross McKnight

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Margie and Chuck Steinmetz

OVATION ($15,000+)

Carole C. and CDR. John M. Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

The Sturm Family and ANB Bank

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Fanchon and Howard Hallam

Linda and Ronn Lytle

Patricia and Brian Ratner

Tom Woodell

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and Stephen Saldanha

Neal Groff

Kim and Greg Hext

Regina and John Magee

Debbie Engstrom Scripps

Sherry Sunderman and Tom Mueller

Bill and Katie Weaver

Charitable Trust

Gil and Dody Weaver

Foundation

Gena Whitten and Bob Wilhelm

Kathy and William Wiener

Carolyn Wittenbraker and Arkay Foundation

DANIELS/CRAIN/DIGREGORIO/ FRED EDWARDS/CHARLES

HAYWARD/JAMES W. MARSHALL

“Devil Went Down to Georgia” as performed by The Charlie Daniels Band

JOHNNY CHRISTOPHER/ THOMPSON/MARK JAMES

“Always on My Mind” as performed by Willie Nelson

SUSAN LAURALEE GIBSON

“Wide Open Spaces” as performed by The Chicks

LEON BROOKS/DON KIRBY COOK/RONNIE DUNN

“Brand New Man” as performed by Brooks & Dunn

PAUL OVERSTREET/ DONALD ALAN SCHLITZ

“When You Say Nothing at All” as performed by Alison Kraus & Union Station

ALAN EUGENE JACKSON/ JIMMY RAY MCBRIDE

“Chattahoochee”

as performed by Alan Jackson

JIMMY WEBB

“Wichita Lineman” as performed by Glen Campbell

DOLLY PARTON

“Jolene”

“I Will Always Love You” “9 to 5” as performed by Dolly Parton

MARK DANIEL SAUNDERS/ TIA SILLERS

“I Hope You Dance” as performed by Lee Ann Womack

LEIBER/BILLY EDD WHEELER

“Jackson”

as performed by Johnny Cash and June Carter

A Schirmer Theatrical/Greenberg Artists co-production

Arrangements by Jeff Tyzik

Creative Consulting by Rick Brantley

The running time of this concert is approximately two hours.

COMMUNITY CONCERT IV

Alexander Kerr with Members of the DSO

By the time Schubert wrote the D. 471 String Trio, he was near the end of an unhappy period in his young life. He had finished school, was living in his family’s overcrowded home and teaching at his father’s school, but all he wanted to do was live independently and write music. Over the next three years, still in his la te teens, he wrote an astonishing amount of music. Like several of Schubert’s instrumental compositions, this trio is unfinished (the second movement contains only about 30-some measures) but the work that remains, sparkles.

On the other end of the “finished” spectrum, Mozart explores every conceivable set of instrumental relationships with his utterly masterful Clarinet Quintet. Somehow he manages to showcase the idiomatic character of the featured guest while setting it naturally within a chamber context with a balanced, blended ensemble, and also gives each individual instrument its moment in the spotlight. Meticulously structured and brilliantly balanced, this work truly exemplifies the radiant intimacy of chamber music.

Virginia J. Browning

Katherine Clayborne and Thomas Shoup

Marijke and Lodewijk de Vink

Eagle County Lodging Tax Marketing Committee

Cookie and Jim Flaum

Barbie and Tony Mayer

Kathie Mundy and Fred Hessler

Beth Slifer

Cathy Stone Town of Vail

Jackie and Norm Waite

Carole A. Watters

Vail Religious Foundation

TUESDAY 1:00PM

COMMUNITY CONCERTS

VAIL INTERFAITH CHAPEL

Members of the Dallas Symphony Orchestra Gregory Raden, clarinet Alexander Kerr, violin

Eunice Keem, violin

Meredith Kufchak, viola Theodore Harvey, cello

SCHUBERT

String Trio in B-flat major, D. 471 (9 minutes)

MOZART

Clarinet Quintet in A major, K. 581 (34 minutes)

Allegro Larghetto

Menuetto Allegretto con variazioni

2

7:00PM

CHAMBER MUSIC SERIES

Paul Huang, violin

Anne-Marie McDermott, piano

ARVO PÄRT

Spiegel im Spiegel for Violin and Piano (10 minutes)

PROKOFIEV

Violin Sonata No. 1 in F minor, Op. 80 (29 minutes)

Andante assai

Allegro brusco

Andante

Allegrissimo

NTERMISSION

MOZART

Violin Sonata in F major, K. 376 (374d) (17 minutes)

Allegro

Andante

Rondo: Allegretto grazioso

JOHN CORIGLIANO

Sonata for Violin and Piano (24 minutes)

Allegro

Andantino

Lento

Allegro

MCDERMOTT & HUANG IN CONCERT

Spiegel im Spiegel for Violin and Piano (1978)

ARVO PÄRT (b.1935)

The Estonian composer Arvo Pärt didn’t begin his professional preparation in a sustained way until he entered the Tallinn Conservatory in 1957, at the age of 22. Soon he was writing film scores reflecting the styles of Prokofiev, Shostakovich, and Bartók, and in the 1960s he earned the rebuke of Soviet authorities for flirting with serialism. By 1976 he landed on a tonal technique he dubbed “tintinnabuli,” referring to bell-like resonances. The tintinnabular parts articulate the three tones of a triad while the melody part moves slowly in simple patterns that gravitate around the fundamental pitch, often in scale patterns. The interaction of

tintinnabulation and melody parts is regulated by a distinct theoretical pattern devised for each composition. Spiegel im Spiegel (1978) was the last piece Pärt wrote before emigrating from Estonia to Berlin, where he lived until after the dissolution of the Soviet bloc. The title, meaning “Mirror(s) in the Mirror,” invites the image of the perpetual reflections one might glimpse when opposing mirrors reflect one another, as in a hair salon. Here the piano articulates rising tintinnabular triads against which the violin exhales its slow, contemplative descant. Mournful and hopeful at the same time, this deeply moving piece has been used in the soundtracks of perhaps 30 films and numerous dance and theater productions, marshaling the simplest of musical materials to impart profound calm and consolation.

DONOVAN PAVILION

PAUL HUANG

Violin Sonata No. 1 in F minor, Op. 80 (1938-46)

SERGEI PROKOFIEV (1891-1953)

On March 5, 1953, Sergei Prokofiev’s last act was upstaged by one of the few personalities capable of doing so: Soviet Premier Joseph Stalin, who followed him into eternity by only 50 minutes. All official attention would be turned towards Stalin’s obsequies. Not more than 50 people attended Prokofiev’s memorial service, at which violinist David Oistrakh and pianist Samuil Feynberg played the first and third movements from his F-minor Violin Sonata, which would have seemed appropriate in their troubled mien.

The mood of this episodic, relentlessly intense work recalls to some extent the style of late Beethoven or perhaps certain visionary items by Schubert. The piece, which lasts nearly a half hour, is divided more-or-less evenly into four movements. Prokofiev described the opening movement, with its “wind in the graveyard,” as “a kind of extended introduction to the second movement,” which has the unusual marking Allegro brusco. It does indeed

have a “brusque,” aggressive character, but out of its crusty contours suddenly soars a magnificent violin theme, marked eroica (heroic) that bears an unmistakable Prokofievian imprint of lyricism and passion. Following the haunting Andante, the finale seems all the more athletic, dashing on through a perplexing alternation of contrasting meters until, in its concluding coda, it revisits the “wind-in-the-graveyard” pseudo-scales of the opening movement and ends in perplexing quietude.

Violin Sonata in F major, K. 376 (374d) (1781)

WOLFGANG AMADÈ MOZART

(1756-91)

In November 1781, the firm of Artaria & Company published a group of six violin sonatas as Mozart’s Opus 2. The set bears a dedication to the composer’s piano pupil Josepha Barbara Auernhammer, who had an unrequited crush on him. He wrote to his father that he considered her “the most aggravating female I know.” Still, he esteemed her enough to dedicate these six sonatas to her, as well as (in 1785) his famous set of Variations on “Ah, vous dirai-je, Maman,” a rite of passage for generations of piano students. The “Op. 2” Sonatas circulated widely. A 1783 review in Cramer’s Magazin der Music, published in Hamburg, called them “rich in new ideas and traces of their author’s great musical genius.” Mozart’s early works in this genre are really keyboard sonatas at heart, with the violin being almost ancillary, but here, the review continued, “the violin accompaniment is so ingeniously combined with the keyboard part that both instruments are constantly kept in equal prominence.” Indeed, the two musicians work in elegantly balanced partnership in this tightly designed sonata, tossing ideas back and forth between them. A follow-up review the next year, filed from Italy, deemed the violin-writing to be “masterly,” though “very difficult to play”—a far from unique criticism of Mozart’s music when it was new.

Sonata for Violin and Piano (1962-63)

JOHN CORIGLIANO (b.1938)

John Corigliano heard lots of violinplaying as he grew up, since his father

was for 23 years the concertmaster of the New York Philharmonic. In fact, the score for his Violin Sonata carried the notation “Violin part edited and fingered by John Corigliano, Sr.” Following an early period when his music (he said) was a “tense, histrionic outgrowth of the ‘clean’ American sound of Barber, Copland, Harris, and Schuman,” he embraced a posture in which Romantic grandeur can rub elbows with an unmistakably modernist musical vocabulary, always aiming to connect with the audience. “Communication,” he insisted, “should always be a primary goal.” “The listener,” he wrote in a program note about this piece, “will recognize the work as a product of an American writer although this is more the result of an American writing music than writing ‘American’ music—a second-nature, unconscious action on the composer’s part. Rhythmically, the work is extremely varied. Meters change in almost every measure, and independent rhythmic patterns in each instrument are common. The Violin Sonata was originally entitled Duo, and therefore obviously treats both instruments as co-partners. Virtuosity is of great importance in adding color and energy to the work which is basically an optimistic statement, but the virtuosity is always motivated by musical means.”

Anonymous The Sidney E. Frank Foundation

The Judy and Alan Kosloff Artistic Director Chair Town of Vail Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

ANNE-MARIE MCDERMOTT

75th Anniversary Season

ONE OF THE WORLD’S TOP CLASSICAL MUSIC FESTIVALS, IN ASPEN SINCE 1949.

JUNE 26 - AUGUST 18, 2024

Classical stars join brilliant music students for eight weeks of fresh, joyful performances! Choose from over 200 events: orchestras, operas, chamber music, family events, recitals, lectures, and more.

AMFS Music Director Robert Spano leads this spectacular anniversary season with a starry line-up that includes Joshua Bell, Renée Fleming, Gil Shaham, Midori, Mozart’s Marriage of Figaro, Daniil Trifonov, and Conrad Tao. BUY TICKETS

ONLINE aspenmusicfestival.com BY PHONE 970 925 9042

Joshua Bell AMFS alumnus

PETER HAY HALPERT FINE ART

Contemporary Fine Art Photography

Vail Valley / NY / Philadelphia By Appt. www.phh neart.com 646 220 8657

Exhibiting new work at the Vail Public Library, October 2024.

SEPTEMBER 29, 2024

PURCHASE TICKETS OR DONATE HIKEWINEDINE.COM | (970) 569-7766

The 16th annual Hike, Wine & Dine includes a fun, family-friendly 5-mile hike on Beaver Creek Mountain with tastings from several of the Vail Valley’s finest restaurants. Cap off the day with live music, dessert, and beverages at the Après Hike Party – all to benefit Vail Health Shaw Cancer Center and Jack’s Place.

VAILMOUNTAIN TEACO & COFFEE

SCHEDULE AT A GLANCE

4

5

6 JUL 10 JUL 12 JUL 11

Patriotic Concert 85

Alsop Conducts Gershwin and Bernstein 86

Holst’s The Planets Conducted by Alsop 88

Giacomo Puccini’s La bohème 98

Nézet-Séguin Conducts Rachmaninoff 102

Giacomo Puccini’s La bohème 98

THE FABULOUS PHILADELPHIANS

THE PHILADELPHIA ORCHESTRA

IN RESIDENCE

JULY 4 ~ 12 // 2024

The Philadelphia Orchestra is admired for a legacy of innovation and known for its keen ability to capture the hearts and imaginations of audiences. This Orchestra’s distinctive sound returns to Bravo! Vail for its 17th residency.

The world-renowned Philadelphia Orchestra strives to share the transformative power of music with the widest possible audience, and to create joy, connection, and excitement through music in the Philadelphia region, across the country, and around the world. Through innovative programming, robust education initia tives, a commitment to its diverse communities, and the embrace of digital outreach, the ensemble is creating an expansive and inclusive future for classical music, and furthering the place of the arts in an open and democratic society.

Yannick Nézet-Séguin is now in his 12th season with The Philadelphia Orchestra, serving as music and artistic director. He joins a remarkable list of music directors spanning the Orchestra’s 124 seasons: Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach. Widely recognized for his artistry and commitment, Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling and soughtafter talents of his generation. His collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike.

The Philadelphia Orchestra takes great pride in its hometown, performing for the people of Philadelphia year-round, in Marian Anderson Hall and around the community, in classrooms and hospitals, and over the airwaves and online. Beyond concerts at the Kimmel Center, the Orchestra also performs for Philadelphia audiences during the summer months at the Mann Center for the Performing Arts, as well as in venues across the region.

The Philadelphia Orchestra continues the tradition of educational and community engagement for all age groups. It launched its HEAR initiative in 2016 to become a major force for good in every community it serves. HEAR is a holistic approach to designing arts education programs

that promotes H ealth, champions the worth of arts E ducation, eliminates barriers of A ccess through exposure to art in all its forms, and provides muchneeded arts education R esources. The Orchestra’s award-winning education and community initiatives engage over 50,000 students, families, and community members through programs such as PlayINs; side-bysides; PopUP concerts; Our City, Your Orchestra Live; School Concerts; the School Partnership Program and School Ensemble Program; and All City Orchestra Fellowships.

The Orchestra’s free online video series, Our City, Your Orchestra (OCYO), uncovers and amplifies the voices, stories, and causes championed by unique Philadelphia organizations and businesses. Through thoughtful storytelling and musical collaboration, OCYO turns the spotlight on local organizations tha t advocate for change, sites of historical significance, and businesses that represent and serve resilient communities. Joining OCYO in connecting with the community is HearTOGETHER, a free monthly podcast featuring artists and activists who discuss music, social justice, and the lived experiences that inform the drive to create a more equitable and inclusive future for the arts.

Through concerts, national and international tours, residencies, and recordings, the Orchestra is a global ambassador and one of our

nation’s greatest cultural exports. It performs annually at Carnegie Hall, the Saratoga Performing Arts Center in New York, and the Bravo! Vail Music Festival. The Orchestra also has a rich history of touring, having first performed outside Philadelphia in the earliest days. The Philadelphia Orchestra was the first American orchestra to perform in the People’s Republic of China in 1973, launching a now-five-decade commitment of people-to-people exchange through music.

The Philadelphia Orchestra has presented the world or American premieres of many works that are today considered standard repertory, such as Mahler’s Symphony No. 8 (“Symphony of a Thousand”), Stravinsky’s The Rite of Spring, and Rachmaninoff’s Symphonic Dances. The Orchestra also made movie history by performing the soundtrack to Walt Disney’s legendary animated film Fantasia, with Stokowski.

The Orchestra makes live recordings available on popular digital music services. Under Yannick’s leadership the Orchestra returned to recording with 13 releases on the Deutsche Grammophon label, including the GRAMMY-winning Florence Price Symphonies Nos. 1 & 3. The Orchestra also reaches thousands of radio listeners with weekly broadcasts on WRTI-FM and SiriusXM. For more information, please visit www.philorch.org.

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

FIRST CHAIR ($50,000+)

Anonymous

ENSEMBLE ($30,000+)

Cathy Stone

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

OVATION ($15,000+)

Pam and Don Hutchings

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M.

Fleming

Donna and Patrick Martin

Sarah and Peter Millett

Marge and Phil Odeen

Teri Perry

Linda Farber Post and Kalmon D. Post

SOLOIST ($7,500+)

Dr. David Cohen

Kathy and Jonathan Zeschin

CRESCENDO ($5,000+)

Anonymous

Shannon and Todger Anderson

Dierdre and Ronnie Baker

Jeffrey D. Byrne

Laura and Jim Marx

Nancy and Douglas Patton

Susan and Richard Rogel

Sally and Byron Rose

Ernie Scheller

Elaine and Steven Schwartzreich

Susan and Steve Suggs

Tom Woodell

Nancy and Harold Zirkin

PATRIOTIC CONCERT

Each year on the Fourth of July, communities around the country gather to mark the adoption of the Declaration of Independence, and the birth of a new system of government. This founding document closes with a vow to “mutually pledge to each other our Lives, our Fortunes, and our sacred Honor.”

This stirring program draws on beloved musical traditions to pay tribute to people who fight for independence everywhere, to remember those who have sacrificed, and to honor the legacy of dedicated service. Bravo! Vail honors Jeff Tyzik’s 30th year at the Festival with the commission and Colorado premiere of his new work, Lift Off.

Bravo! Vail Gratefully

Acknowledges Support for this Afternoon’s Concert

THE VAIL VALLEY FOUNDATION

SPECIAL GRATITUDE

The Berry Charitable Foundation

The Sidney E. Frank Foundation

The Friends of the Fabulous Philadelphians

The Lyn and Phillip Goldstein

Maestro Society

The Judy and Alan Kosloff

Artistic Director Chair

4

THURSDAY 2:00PM

ORCHESTRAL SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA

Jeff Tyzik, conductor

JOHN WILLIAMS

Liberty Fanfare

SOUSA

Liberty Bell March

ARR. JEFF TYZIK

The Great Westerns Suite

COPLAND

“Hoe Down,” from Rodeo

JOHN WILLIAMS

“With Malice Toward None,” from Lincoln

ALFORD

Colonel Bogey March

JEFF TYZIK

Lift Off (Colorado Premiere)

SYMPHONIC COMMISSIONING PROJECT I NTERMISSION

BAGLEY

National Emblem March

ARR. JEFF TYZIK

Fantasy on American Themes

JOHN WILLIAMS

“The Patriot,” from The Patriot

JAMES BECKEL, Jr.

Gardens of Stone

Vail Veterans Program Narrator

ARR. JEFF TYZIK

Armed Forces Song Medley

SOUSA

The Stars and Stripes Forever March

Funded in part by a generous grant from the Town of Vail.

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

FRIDAY 6:00PM

ORCHESTRAL SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA

Marin Alsop, conductor

Conrad Tao, piano

GERSHWIN

Cuban Overture (10 minutes)

BERNSTEIN/ORCH. RAMIN & KOSTAL

Symphonic Dances from West Side Story (23 minutes)

I NTERMISSION

GERSHWIN

Piano Concerto in F major (29 minutes)

Allegro

Adagio—Andante con moto

Allegro agitato

ALSOP CONDUCTS GERSHWIN AND BERNSTEIN

THIS EVENING’S PERFORMANCE IS PRESENTED BY

KAREN AND JAY JOHNSON

KAREN AND MICHAEL HERMAN

KATHIE MUNDY AND FRED HESSLER

AMY AND HAL NOVIKOFF

SPECIAL GRATITUDE TO

The Berry Charitable Foundation

The Friends of the Fabulous Philadelphians

The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY

Marge and Phil Odeen

Mary Lou Paulsen and Randy Barnhart

Mimi and Keith Pockross

Carolyn and Steve Pope

Debbie and Jim Shpall

Brooke and Hap Stein

SOLOIST SPONSORS

Marin Alsop, conductor, sponsored by Virginia J. Browning

Conrad Tao, piano, sponsored by Anne and Joe Staufer

Cuban Overture (1932) GEORGE GERSHWIN (1898-1937)

Cuba was a hot destination for Americans of the smart set in the early 1930s, and had been for a decade. The island nation was closely connected to the United States back then, before the dictatorships of Fulgencio Batista and later Fidel Castro. In World War I it had committed troops to the side of the Allies (as it would again in World War II), and it allowed the United States to dominate its economy, industry, and finances during the 1920s. It was not just tropical breezes and beckoning palms that drew American tourists. Between 1920 and 1933, Cuba offered something the United States did not: booze. Prohibition certainly didn’t keep Americans from imbibing at home, but the allure of doing so in the open proved a boon to the travel industry. In February 1932, George Gershwin traveled to Cuba with a group of friends. “In Havana,” publisher Bennet Cerf recalled, “a 16-piece rhumba

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail.

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

band serenaded him en masse at four in the morning outside his room at the old Almendares Hotel. Several outraged patrons left the hotel the next morning. George was so flattered that he promised to write a rhumba of his own.” A few months after returning home, Gershwin made good on his promise, producing a Rumba for piano four-hands. He then orchestrated it for the New York Philharmonic to introduce before an audience of 18,000 at the city’s Lewisohn Stadium, with four percussionists playing Cuban instruments standing in front of the orchestra, rather than at their usual location at the back, so the audience could see their exotic instruments. Three months later the piece got its second airing, which the composer himself conducted at a benefit concert in the Metropolitan Opera House—now under the new title Cuban Overture.

Symphonic Dances from West Side Story (1961)

LEONARD BERNSTEIN (1918-90)

As early as 1949, Leonard Bernstein and his friends Jerome Robbins (the choreographer) and Arthur Laurents (the librettist) batted around the idea of creating a musical retelling of Shakespeare’s Romeo and Juliet set amid the tensions of rival social groups in modern New York City. The project took a long time to find its eventual form, finally opening in 1957 on Broadway, where it ran for 772 performances. “The radioactive fallout from West Side Story must still be descending on Broadway this morning,” wrote Walter Kerr, critic of the Herald Tribune. The show remains an essential chapter in the history of American theater, and its engrossing tale of young love against a background of spectacularly choreographed gang warfare has found a place at the core of Americans’ common culture.

In the opening weeks of 1961, Bernstein assembled nine sections of his score into what he called the Symphonic Dances. The impetus was a gala fundraising concert for the New York Philharmonic’s pension fund, to be held the evening before Valentine’s Day. (One wonders if West Side Story is really ideal Valentine’s Day fare, but no matter.) In the interest of efficiency, Bernstein’s colleagues Sid Ramin and

Irwin Kostal, who had just completed the orchestration of West Side Story for its film version, suggested appropriate sections of the score to Bernstein, who placed them not in the order in which they occur in the musical but instead in a new, uninterrupted sequence derived from a strictly musical rationale. Two of the most popular favorites of the musical’s songs are found in the pages of the Symphonic Dances: “Somewhere” and “Maria” (in the Cha-Cha section), though not the also-beloved “America,” “One Hand, One Heart,” “I Feel Pretty,” or “Tonight.”

Piano Concerto in F major (1925)

GEORGE GERSHWIN

Among the musicians in the audience at the fabled 1924 premiere of Gershwin’s Rhapsody in Blue was the conductor Walter Damrosch, who directed the New York Symphony from 1885 until its merger with the New York Philharmonic in 1928. He was so impressed that he immediately commissioned a concerto he could introduce with his orchestra. Gershwin happily accepted, but obligations on Broadway prevented him from buckling down on the project until 1925. That November, nervous about his skill as an orchestrator, he hired a 60-piece freelance orchestra for a run-through, after which he tightened the piece considerably, cutting expanses from each of the movements to yield a tighter work for the imminent premiere. The concert was completely sold out and

the audience cheered rapturously at the conclusion of the Concerto in F. “Many persons had thought that the Rhapsody was only a happy accident,” Gershwin remarked later. “Well, I went out, for one thing, to show them that there was plenty more where that had come from. I made up my mind to do a piece of absolute music. The Rhapsody, as its title implies, was a blues impression. The concerto would be unrelated to any program. And that is exactly how I wrote it.”

He provided a description of his new piano concerto for the New York Herald-New York Tribune to print prior to its premiere. “The first movement,” he stated, “employs the Charleston rhythm. It 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 horns, clarinets and violas. The principal theme is announced by the bassoon. Later, a second theme is introduced by the piano.”

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

FIRST CHAIR ($50,000+)

Anonymous

ENSEMBLE ($30,000+)

Cathy Stone

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

OVATION ($15,000+)

Pam and Don Hutchings

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M.

Fleming

Donna and Patrick Martin

Sarah and Peter Millett

Marge and Phil Odeen

Teri Perry

Linda Farber Post and Kalmon D. Post

SOLOIST ($7,500+)

Dr. David Cohen

Kathy and Jonathan Zeschin

CRESCENDO ($5,000+)

Anonymous

Shannon and Todger Anderson

Dierdre and Ronnie Baker

Jeffrey D. Byrne

Laura and Jim Marx

Nancy and Douglas Patton

Susan and Richard Rogel

Sally and Byron Rose

Ernie Scheller

Elaine and Steven Schwartzreich

Susan and Steve Suggs

Tom Woodell

Nancy and Harold Zirkin

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Sarah Day-O’Connell (Skidmore College), speaker

ACADEMY OF ST MARTIN IN THE FIELDS

Anne-Marie McDermott, piano

BEETHOVEN

Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)

Allegro con brio

Adagio

Rondo: Molto allegro

INTERMISSION

GIPPS

Seascape, Op. 53 (7 minutes)

HAYDN

Symphony No. 104 in D major, London (29 minutes)

Adagio—Allegro

Andante

Menuetto: Allegro—Trio

Finale: Spiritoso

Funded in part by a generous grant from the Town of Vail.

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and Town of Vail.

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

The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

HOLST’S THE PLANETS CONDUCTED BY ALSOP

RETURN

OF ACADEMY OF ST MARTIN IN THE FIELDS

THIS EVENING’S PERFORMANCE IS UNDERWRITTEN BY THE BETSY WIEGERS CHORAL FUND, IN HONOR OF JOHN W. GIOVANDO

PRESENTED BY

BILL FRICK

THIS EVENING’S PERFORMANCE IS PRESENTED BY

MARGIE AND CHUCK STEINMETZ

NORMA AND CHARLES CARTER

MARTIN WALDBAUM

FOUR SEASONS RESORT AND RESIDENCES VAIL

SPECIAL GRATITUDE TO

VERA AND JOHN HATHAWAY

The Berry Charitable Foundation

The Friends of the Fabulous Philadelphians

SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle

The Lyn and Phillip Goldstein Maestro Society

Berry Charitable Foundation

The Francis Family

SPONSORED BY

Jane and Michael Griffinger

The Judy and Alan Kosloff Artistic Director Chair

Marlys and Ralph Palumbo

Yamaha

Teri Perry

Ernie Scheller

RE|Member (2020-21) REENA ESMAIL (b.1983)

MPiano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)

LUDWIG VAN BEETHOVEN (1770-1827)

Buch of Reena Esmail’s work confronts and embraces her IndianAmerican heritage and seeks to create what she terms “equitable musical spaces.” In addition to her professors at Juilliard and Yale (where she earned her doctorate), she worked in India with leading Hindustani musicians. Esmail has served as artistin-residence at the Seattle Symphony and Los Angeles Master Chorale, and as composer-in-residence for LA-based Street Symphony. She is co-artistic director of Shastra, which promotes Indian and Western musical dialogue.

She originally envisaged

SPONSORED BY Ray Oglethorpe

Jann and John Wilcox

Barbara and Carter Strauss

SOLOIST SPONSOR

SOLOIST SPONSORS

Marin Alsop, conductor, sponsored by Virginia J. Browning

eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.

Catherine Sailer, choir director, Janice and William Woolford

Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross

RE|Member as the opening piece for the Seattle Symphony’s 2020 season, a cheerful return to the concert hall following summer break. She drew inspiration from two of her favorite overtures, Mozart’s for The Marriage of Figaro and Bernstein’s for Candide Then came Covid. “As the pandemic unraveled life as we knew it,” she says, “the ‘return’ suddenly took on much more weight.” When it was finally

A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto

premiered, a year later, she viewed the work differently. “Now the piece charts the return to a world forever changed ... writing the musicians back onto a stage that they left in completely uncertain circumstances, and that they are re-entering from such a wide variety of personal experiences of this time.”

She only noticed belatedly that the work’s title, RE|Member, begins with her own initials—a fortuitous signature. She meant the title to convey two meanings of the word “remember.” One sense is the re-assembling of the orchestra’s members: “The orchestra is re-membering, coalescing again after being apart. ... The second meaning of the word: that we don’t want to forget the perspectives which each of these individuals gained during this time, simply because we are back in a familiar situation. I wanted this piece to honor the experience of coming back together, infused with the wisdom of the time apart.”

Appalachian Spring Suite (1944/45)

AARON COPLAND (1900-90)

Aaron Copland and Martha Graham had flirted with collaborating as early as 1941, when Graham envisioned a ballet that might be described as Medea set in New England. When Copland didn’t show much enthusiasm, Graham’s thoughts turned instead to something imbued with the gentle spirit that had made such an impact in Thornton Wilder’s 1938 play Our Town. This would be the emotional heart of Appalachian Spring The first script Copland received from Graham began: “This is a legend of American living. It is like the bone structure, the inner frame that holds together a people.” The scenario would eventually weave several strands of American social history, all intersecting around the time of the Civil War in some generalized place in the American heartland. Eventually the setting coalesced in rural western Pennsylvania, a region well known to Graham, who had spent her childhood not far from Pittsburgh. A bride and bridegroom become acquainted, and members of their community, including a revivalist preacher, express their sentiments.

The couple grows more comfortable with the ritual of daily life that lies ahead, their humility underscored by Copland’s use of the Shaker tune “Simple Gifts,” and they greet the future with serenity. The “Simple Gifts” section of Appalachian Spring is the part that has lodged most insistently in popular memory, and Copland’s variations on that melody are indeed remarkable. Nonetheless, it is a curious inclusion in the context of the final scenario. Copland later remarked, “My research evidently was not very thorough, since I did not realize that there have never been Shaker settlements in rural Pennsylvania!” The balle t was premiered in 1944, and the following year Copland extracted eight sections, connected them without interruption, and expanded the original orchestration, which used only 13 instruments, into this version for full orchestra.

The Planets, Op. 32 (1914-16) GUSTAV HOLST (1874-1934)

At London’s Royal College of Music, Gustav Holst studied both composition and trombone, the latter providing a skill with which he could earn a living playing in brass bands and opera orchestras. A parallel position teaching at a girls’ school exhausted him, such that he became a weekend composer. While he was spending time in Greece and Turkey during World War I, an orchestral work was germinating that would thrust him to stardom. The

Planets, a set of seven self-contained orchestral “mood pictures,” has now maintained its renown for a century. Following its premiere, in 1918, Holst’s popularity became his nemesis. He was called upon to conduct performances of this and others of his works. Social engagements and press interviews ate into his precious composition time. Publishers, suspecting that his earlier pieces might suddenly prove marketable, kept him busy correcting proofs and revising works he had long since put out of his mind. He collapsed—literally: in 1923, he fell from the podium while conducting. He took steps to simplify his life, but health issues would increasingly dog him in the decade that remained. He offered this somewhat mysterious commentary about The Planets:

These pieces were suggested by the astrological significance of the planets. There is no program music in them, neither have they any connection with the deities of classical mythology bearing the same names. If any guide to the music is required, the subtitle of each piece will be found sufficient, especially if used in a broad sense. For instance, Jupiter brings jollity in the ordinary sense, and also the more ceremonial kind of rejoicing associated with religious or national festivities. Saturn brings not only physical decay, but also a vision of fulfillment. Mercury is the symbol of mind.

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

FIRST CHAIR ($50,000+)

Anonymous

ENSEMBLE ($30,000+)

Cathy Stone

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

OVATION ($15,000+)

Pam and Don Hutchings

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M.

Fleming

Donna and Patrick Martin

Sarah and Peter Millett

Marge and Phil Odeen

Teri Perry

Linda Farber Post and Kalmon D. Post

SOLOIST ($7,500+)

Dr. David Cohen

Kathy and Jonathan Zeschin

CRESCENDO ($5,000+)

Anonymous

Shannon and Todger Anderson

Dierdre and Ronnie Baker

Jeffrey D. Byrne

Laura and Jim Marx

Nancy and Douglas Patton

Susan and Richard Rogel

Sally and Byron Rose

Ernie Scheller

Elaine and Steven Schwartzreich

Susan and Steve Suggs

Tom Woodell

Nancy and Harold Zirkin

T he Left Bank

T he Left Bank

Contact us for your catering needs for your private event!

Open at 4:30pm Daily for Pre-Event Dining

Take-Out is Available

SOIRÉE II

Guitarist Jason Vieaux takes a broad-spectrum approach to his career, which so far has included excursions into classical literature as well as serious expeditions into pop, jazz, and traditional forms. “Whether I’m playing Bach or Albéniz, I try to play them the way I think the composer would like them to be heard.” This eclectic program travels the world with music from beloved composers of Brazil, Paraguay, and Argentina. Along the way, we will encounter Bach, one of Vieaux’s original works, and movements from Four Paths of Light by 20-time GRAMMY-winning American jazz guitarist/ composer Pat Metheny, dedicated to the performer.

8

THIS EVENING’S HOSTS

Joanne Cohen and Morris Wheeler

SPECIAL GRATITUDE

The Carrington Classical Guitar Fund Linda and Mitch Hart

6:00PM THE LINDA & MITCH HART SOIRÉE SERIES

WHEELER/COHEN RESIDENCE

Jason Vieaux, guitar

MOREL

Danza Brasilera

BARRIOS Vals in G major

BACH

Adagio and Fugue from Violin Sonata No. 1

PAT METHENY

Movements I and II from Four Paths of Light

JOBIM/DYENS

“A Felicidade”

JASON VIEAUX Home

BUSTAMANTE/MOREL

Misionera

JASON VIEAUX

Akropolis Reed Quintet

Artist Insights

This concert features Homage to Paradise Valley by Jeff Scott, commissioned with support from the Chamber Music America Classical Commissioning Program. The program opens with our most popular work to date: Splinter, composed by Marc Mellits, which has delighted audiences on its way to becoming an Akropolis trademark. We round out the program with Maktub by Willem Jeths, a gorgeous, mystical highlight from our most recent touring season.

—Akropolis Reed Quintet

Virginia J. Browning

Katherine Clayborne and Thomas Shoup

Marijke and Lodewijk de Vink

Eagle County Lodging Tax Marketing Committee

Cookie and Jim Flaum

Barbie and Tony Mayer

Kathie Mundy and Fred Hessler

Beth Slifer

Cathy Stone

Town of Vail

Jackie and Norm Waite

Carole A. Watters

Vail Religious Foundation

9

TUESDAY 1:00PM

COMMUNITY

VAIL INTERFAITH CHAPEL

Akropolis Reed Quintet (Bravo! Vail 2024 Chamber Musicians in Residence)

Tim Gocklin, oboe

Kari Landry, clarinet

Matt Landry, saxophone

Ryan Reynolds, bassoon

Andrew Koeppe, bass clarinet

MARC MELLITS

Splinter (17 minutes)

Scarlet Oak

Sugar Maple

Black Ash

Cherry

River Birch

Red Pine

WILLEM JETHS

Maktub (10 minutes)

JEFF SCOTT

Homage to Paradise Valley (26 minutes) Ghosts of Black Bottom Hastings Street Blues

Roho, Pumzika kwa Amani (Spirits, Rest Peacefully)

Paradise Theater Jump!

A LEGACY OF LIVE MUSIC STARTS WITH YOU

ENSURE OUR BRAVO! VAIL MUSIC FESTIVAL WILL BE HERE TO INSPIRE AND EXCITE FUTURE GENERATIONS.

We create something magical together here in Vail, Colorado: Live classical music for our entire community, year-round.

With your support, we have grown our Bravo! Vail Music Festival into its 37th Season and are continuing to expand our reach yearround by leading music education and outreach through our Music Makers Haciendo Música program and more. Bravo! Vail is building a bridge to the future.

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

THERE ARE MANY WAYS TO CREATE A LEGACY GIFT:

n A charitable gift in your will or living trust

n Naming Bravo! Vail as a beneficiary of your IRA or 401K

n Remembering us with a charitable remainder trust

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

TO LEARN MORE ABOUT CREATING A LEGACY GIFT, please visit us online at PlannedGiving.BravoVail.org.

QUESTIONS?

Contact Vice President of Philanthropy Jason Denhart at 877.812.5700 or jdenhart@BravoVail.org

INSIDE THE MUSIC

PUCCINI AND BOHÈME: BEYOND THE WORLD’S FAVORITE OPERA

Whether seeing an opera for the first or the hundredth time, we may be asking the same questions: Wha t IS this? Who are those people on stage pretending to be, and wha t are they asking me to believe? Why sing it in Italian instead of saying it in plain English? Author, opera expert and Sirius/XM Metropolitan Opera Radio host William Berger offers methods and tools to mine the veins of gold in La bohème and any other operatic masterpiece.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

WEDNESDAY

1:00PM

INSIDE THE MUSIC

VAIL INTERFAITH CHAPEL

William Berger, speaker and author of Puccini Without Excuses

WILLIAM BERGER

Eagle County Lodging Tax Marketing Committee

The Judy and Alan Kosloff Artistic Director Chair Town of Vail

Vail Religious Foundation

Classical Music Festivals of the West 2024

CALIFORNIA

Cabrillo Festival of Contemporary Music cabrillomusic.org

Santa Cruz, CA

July 29-August 11

Carmel Bach Festival bachfestival.org

Carmel, CA

July 13-27

In loving memory of Steve Friedlander

La Jolla Music Society SummerFest TheConrad.org

La Jolla, CA

July 26-August 24

Mainly Mozart All-Star Orchestra Festival mainlymozart.org

La Jolla, CA

June 20-29

Music@Menlo musicatmenlo.org

Atherton, CA

July 19-August 10

COLORADO

IDAHO

Aspen Music Festival and School aspenmusicfestival.com

Aspen, CO

June 26-August 18

Bravo! Vail Music Festival bravovail.org

Vail, CO

June 20-August 1

Colorado Music Festival coloradomusicfestival.org

Boulder, CO

July 5-August 4

Strings Music Festival stringsmusicfestival.com

Steamboat Springs, CO

June 21-August 25

Sun Valley Music Festival svmusicfestival.org

Sun Valley, ID

July 29-August 22

NEW MEXICO

Santa Fe Chamber Music Festival santafechambermusic.org

Santa Fe, NM

July 14-August 19

OREGON

Chamber Music Northwest Summer Festival

cmnw.org

Portland, OR

June 27-July 28

Oregon Bach Festival oregonbachfestival.org

Eugene, OR

June 28-July 14

WASHINGTON

Seattle Chamber Music Society Summer Festival seattlechambermusic.org

Seattle, WA

July 1-26

WYOMING

Grand Teton Music Festival

gtmf.org

Jackson, WY

June 27-August 17

Photo: Jenna Poppe

Photo: Chris Lee

Photo: Tom Cohen

Photo: Steven Ovitsky

Photo: J. Kat

Photography

Photo: Lovethearts

Photo: Eric Berlin

Savor the Colorado summer music experience

Any way you listen

Keep the music playing long after you’ve left the Ford Amphitheater. Let CPR Classical be your musical guide to world-class summer music festivals across Colorado, and hear the best of of Bravo! Vail with concert recordings and top-notch soloists all summer long. Listen to an audio postcard about Bravo! Vail

| On your smart speaker | cprclassical.org | Colorado Public Radio app

WEDNESDAY 6:00PM

JUN 22 THURSDAY 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Sarah Day-O’Connell (Skidmore College), speaker

ACADEMY OF ST MARTIN IN THE FIELDS

Anne-Marie McDermott, piano

BEETHOVEN

Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)

Allegro con brio

Adagio

Rondo: Molto allegro

INTERMISSION

GIPPS

Seascape, Op. 53 (7 minutes)

HAYDN

Symphony No. 104 in D major, London (29 minutes)

Adagio—Allegro

Andante

Menuetto: Allegro—Trio

Finale: Spiritoso

GIACOMO PUCCINI’S LA BOHÈME

LA BOHÈME PERFORMANCES ARE PRESENTED BY:

THE BERRY CHARITABLE FOUNDATION BETSY WIEGERS

SPECIAL THANKS TO MEMBERS OF THE LA BOHÈME CIRCLE

PREMIER BENEFACTOR

ALLEGRO

Kjestine and Peter Bijur

RETURN OF ACADEMY OF ST MARTIN IN THE FIELDS

Cathy Stone

FIRST CHAIR

John Dayton

THIS EVENING’S PERFORMANCE IS PRESENTED BY

The Betsy Wiegers Choral Fund, in Honor of John W. Giovando

NORMA AND CHARLES CARTER

FOUR SEASONS RESORT AND RESIDENCES VAIL

IMPRESARIO

VERA AND JOHN HATHAWAY

Anonymous

Dierdre and Ronnie Baker

Barbara and Barry Beracha

Doe Browning and Jack Hunn

Kathy Cole

Vivien and Andrew Greenberg

June and Peter Kalkus

Judy and Alan Kosloff

Wendi and Brian Kushner

Amy and Hal Novikoff

Amy and James Regan

Susan and Richard Rogel

Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)

Sally and Byron Rose

Eva and David Schoonmaker

Carole and Peter Segal

LUDWIG VAN BEETHOVEN (1770-1827)

Marilyn and James H. Steane, II

Dhuanne and Douglas Tansill

Carole A. Watters

Nancy and Harold Zirkin

SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle

BSPECIAL GRATITUDE TO

Gina Browning and Joe Illick

Virginia J. Browning

Berry Charitable Foundation

Ellie Caulkins

The Francis Family

Vera and John Hathaway

Marcy and Stephen Sands

The Judy and Alan Kosloff Artistic Director Chair

Yamaha

OVATION

Anne and Hank Gutman

SPONSORED BY Ray Oglethorpe

Jessica Levental and The Igor Levental Memorial Music Fund

Barbara and Carter Strauss

SOLOIST SPONSORS Anne-Marie

eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.

The Berry Charitable Foundation

The Sidney E. Frank Foundation

The Friends of the Fabulous Philadelphians

The Lyn and Phillip Goldstein Maestro Society

The Therese M. Grojean Vocalist Fund

A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s

Lyn and Phillip Goldstein Piano Concerto Artist Project and Town of Vail.

Funded in part by a generous grant from the Town of Vail.

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

Four bohemians—a poet, a painter, a musician, and a philosopher—are living together in 19th century Paris. One cold Christmas Eve, a girl knocks on their door looking for a candle light. She and the poet fall in love, and the rest is operatic history.

La bohème is a heartstopping masterpiece that revolves around the lives of these struggling artists and their tumultuous relationships. Based on Henry Murger’s novel Scènes de la vie de bohème, the opera follows Rodolfo and Mimì and their friends Marcello and Musetta, as they face the challenges of financial woes and Mimì’s declining health. A poignant musical exploration of the fleeting nature of happiness, La bohème is a timeless celebration of the artistic spirit, and a tale of tragic romance. “Men die and governments change,” the American inventor Thomas Edison wrote to Puccini in 1920, “but the songs of La bohème will live forever.”

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

FIRST CHAIR ($50,000+)

Anonymous

ENSEMBLE ($30,000+)

Cathy Stone

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

OVATION ($15,000+)

Pam and Don Hutchings

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M.

Fleming

Donna and Patrick Martin

Sarah and Peter Millett

Marge and Phil Odeen

Teri Perry

Linda Farber Post and

Kalmon D. Post

SOLOIST ($7,500+)

Dr. David Cohen

Kathy and Jonathan Zeschin

CRESCENDO ($5,000+)

Anonymous

Shannon and Todger Anderson

Dierdre and Ronnie Baker

Jeffrey D. Byrne

Laura and Jim Marx

Nancy and Douglas Patton

Susan and Richard Rogel

Sally and Byron Rose

Ernie Scheller

Elaine and Steven Schwartzreich

Susan and Steve Suggs

Tom Woodell

Nancy and Harold Zirkin

Akropolis Reed Quintet

Artist Insights

THURSDAY 1:00PM

COMMUNITY CONCERTS

VAIL INTERFAITH CHAPEL

Akropolis Reed Quintet (Bravo! Vail 2024 Chamber Musicians in Residence)

Tim Gocklin, oboe

Kari Landry, clarinet

Matt Landry, saxophone

Ryan Reynolds, bassoon

Andrew Koeppe, bass clarinet

RAVEL (Arr. Hekkema)

Le tombeau de Couperin (16 minutes)

Prelude

Fugue

Rigaudon

Menuet

Toccata

DERRICK SKYE

Movements 2, 3, and 4 from A Soulful Nexus (15 minutes)

GERSHWIN

An American in Paris (18 minutes)

This colorful program centers around A Soulful Nexus by Derrick Skye, a work completed in 2024 and commissioned with support from the Chamber Music America Classical Commissioning Program. A Soulful Nexus calls upon musical traditions of Persian Classical music in a hyper rhythmic but equally lyrical and improvisatory exploration. We pair this with An American in Paris, by George Gershwin, an arrangement in which we re-imagine the color and power of a full orchestra with our distinctive instrumentation. We open the program with a fantastic arrangement of Ravel’s take on a Baroque suite.

—Akropolis Reed Quintet

Virginia J. Browning

Katherine Clayborne and Thomas Shoup

Marijke and Lodewijk de Vink

Eagle County Lodging Tax Marketing Committee

Cookie and Jim Flaum

Barbie and Tony Mayer

Vail Religious Foundation Bravo! Vail Gratefully Acknowledges Support for This Afternoon’s Concert COMMUNITY CONCERT VI

Kathie Mundy and Fred Hessler

Beth Slifer

Cathy Stone

Town of Vail

Jackie and Norm Waite

Carole A. Watters

AKROPOLIS REED QUINTET

THURSDAY 6:00PM

ORCHESTRAL SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA

Yannick Nézet-Séguin, conductor

Gil Shaham, violin

MASON BATES

Nomad Concerto for Violin and Orchestra

(25 minutes)

Song of the Balloon Man

Magician at the Bazaar

Desert Vision: Oasis

Le Jazz manouche

NTERMISSION

RACHMANINOFF

Symphony No. 2 in E minor, Op. 27 (60 minutes)

Largo—Allegro moderato

Allegro molto

Adagio

Allegro vivace

NÉZET-SÉGUIN CONDUCTS RACHMANINOFF

THIS EVENING’S PERFORMANCE IS PRESENTED BY

VIRGINIA J. BROWNING

DONNA AND PATRICK MARTIN

KAY AND BILL MORTON

CATHY STONE

CAROL AND PAT WELSH

SPECIAL GRATITUDE TO The Berry Charitable Foundation

The Friends of the Fabulous Philadelphians

The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY

Julie and Bill Esrey

Shelby and Frederick Gans

Holly and Ben Gill

Sarah and Peter Millett

Carole and Peter Segal

Carole A. Watters

SOLOIST SPONSORS

Funded in part by a generous grant from the Town of Vail.

Yannick Nézet-Séguin, conductor, sponsored by Susu and George Johnson

Gil Shaham, violin, sponsored by Gina Browning and Joe Illick

Nomad Concerto for Violin and Orchestra (2023)

MASON BATES (b.1977)

Mason Bates studied composition with Schoenberg’s pupil Dika Newlin before pursuing degrees in composition from The Juilliard School and in English literature from Columbia University; earning a Ph.D. in composition from the University of California, Berkeley; and developing an individualistic voice that draws on both classical models and the sounds of electronica (the electronic sound production associated with the dance scene). He became enmeshed in the club culture of New York’s Lower East Side, and then of the Bay Area, gaining a reputation as a deejay under the name DJ Masonic.

His first opera, The (R)evolution of Steve Jobs has been mounted several times since its 2017 premiere, and the Metropolitan Opera co-commissioned his next opera for presentation in the 2025-26 season— The Amazing Adventures of Kavalier & Clay, after

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

the Pulitzer Prize-winning novel by Michael Chabon. He wrote the film scores for Gus Van Sant’s The Sea of Trees (2015) and Philharmonia Fantastique (2021), which he calls a “concerto for orchestra and animated film.” Named Musical America’s 2018 Composer of the Year, he has been composer-in-residence for the Chicago Symphony and the Kennedy Center, and for two seasons was the Pittsburgh Symphony’s “composer of the year.” He was given the Heinz Award for Arts and Humanities (2012) for his work with the Pittsburgh Symphony, the citation observing that “his music has moved the orchestra into the digital age and dissolved the boundaries of classical music.” While there, he introduced his Violin Concerto (2012); though not so-named, his new Nomad Concerto, premiered this past January by Gil Shaham and The Philadelphia Orchestra, is effectively his Violin Concerto No. 2. He observed of Nomad Concerto: “Each movement is exploring different kinds of traveling cultures, to pay tribute to the power of migratory ideas. ... I’d like listeners to both have the experience of a virtuosic piece that showcases one of the great musicians of our time [and] to think about the role of the nomad in cultures around the world.” Bates wrote the piece with Gil Shaham in mind, specifically inspired by the violinist’s 2013 album Nigunim: Hebrew Melodies. In fact, the concerto’s third movement (“Desert Visions: Oasis”) incorporates the folk song “Ani Ma’amin,” which expresses principles of Jewish faith. Before we get there, though, we pass through other scenes: in the first movement (“Song of the Balloon Man”), a balloon seller whose sad song is repeated by the residents of a village he passes through; and in the second (“Magician at the Bazaar”), a vivacious illusionist. After “Desert Visions: Oasis” comes the finale (“Le jazz manouche”), inspired by the music of Django Reinhardt, the famous guitaristcomposer of Romany heritage.

Symphony No. 2 in E minor, Op. 27 (1906-08)

SERGEI RACHMANINOFF

(1873-1943)

Sergei Rachmaninoff was very nearly undone by the mean-spirited criticism that greeted his First Symphony, unveiled in 1897—so much so that for the next three years he didn’t write a note and turned his focus instead to conducting. Daily visits with Dr. Nikolai Dahl, who was investigating psychological therapy through hypnosis, steered him back on track, and by 1906, feeling ready to confront whatever compositional demons were still lingering, he embarked on another symphony. He had recently moved with his wife and daughter to Dresden, hoping to escape some of the constant social and professional pressures that accompanied his mounting celebrity.

In February 1907 he wrote to a friend back in Russia: “A month ago, or more, I really did finish a symphony, but to this must be added the phrase ‘in draft.’ I have not announced it to ‘the world,’ because I want first to complete its final writing. While I was planning to put it in ‘clean’ form, it became terribly boring and repulsive to me. So I threw it aside and took up something else.” Nonetheless, word was out, and Rachmaninoff promptly received an invitation to conduct it during the upcoming season—before he was anywhere near polishing the piece. “I can tell you privately that I am displeased with it,” Rachmaninoff’s

le tter continued, “but that it really ‘will be,’ though not before autumn, as I shall not begin its orchestration until summer.” He toughed it out, finally vindica ting himself as a gifted symphonist. His Second Symphony scored a popular success at its premiere, which he conducted in St. Petersburg in early 1908, and that December it was honored with a prestigious Glinka Award for symphonic composition.

The Second Symphony is indeed imbued with Rachmaninoff’s recognizable fingerprints, right from its brooding outset. That introduction contains melodic material that reappears transformed as the surging first movement unrolls, and it comes back again at the end of the second movement, which is an often boisterous scherzo that demands athleticism from all players. In the scherzo’s coda he works in a reference to the Dies irae chant from the Mass for the Dead, a Rachmaninoff signa ture, if a macabre one.

In the third movement Adagio, he spins out a rhapsody par excellence The finale seems part tarantella and part march, with the tarantella winning out in the end. But the spirit of the dance is melded to Rachmaninoff’s trademark lyricism, which keeps the emotional pitch high right up to the final measure. There, the concluding rhythmic motif “TUM-ta-ta-taTUM” serves as a slight variation on Rachmaninoff’s usual sign-off of just “TUM-ta-ta-TUM.”

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

FIRST CHAIR ($50,000+)

Anonymous

ENSEMBLE ($30,000+)

Cathy Stone

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

OVATION ($15,000+)

Pam and Don Hutchings

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M.

Fleming

Donna and Patrick Martin

Sarah and Peter Millett

Marge and Phil Odeen

Teri Perry

Linda Farber Post and Kalmon D. Post

SOLOIST ($7,500+)

Dr. David Cohen

Kathy and Jonathan Zeschin

CRESCENDO ($5,000+)

Anonymous

Shannon and Todger Anderson

Dierdre and Ronnie Baker

Jeffrey D. Byrne

Laura and Jim Marx

Nancy and Douglas Patton

Susan and Richard Rogel

Sally and Byron Rose

Ernie Scheller

Elaine and Steven Schwartzreich

Susan and Steve Suggs

Tom Woodell

Nancy and Harold Zirkin

SUNDAY 7:00PM

CHAMBER MUSIC SERIES

Ricardo Morales, clarinet

Jennifer Montone, horn

Anne-Marie McDermott, piano

Dalí Quartet

Ari Isaacman-Beck, violin

Carlos Rubio, violin

Adriana Linares, viola

Jesús Morales, cello

ARRIAGA

String Quartet No. 1 in D minor (23 minutes)

Allegro

Adagio con espressione

Menuetto. Allegro

Adagio—Allegro—Allegretto

GINASTERA

String Quartet No. 1, Op. 20 (21 minutes)

Allegro violento ed agitato Vivacissimo

Calmo e poetico

Allegramente rustico

I NTERMISSION

DOHNÁNYI

Sextet in C major for Piano, Violin, Viola, Cello, Clarinet, and Horn, Op. 37 (1935) (31 minutes)

Allegro appassionato

Intermezzo (Adagio)

Allegro con sentimento—Presto, quasi l’istesso tempo—Meno mosso

Finale (segue): Allegro vivace—giocoso

DALÍ QUARTET, MCDERMOTT, MORALES & MONTONE

String Quartet No. 1 in D minor (1823)

JUAN CRISÓSTOMO DE ARRIAGA Y BALZOLA (1806-26)

One of the most remarkable of all prodigy composers, Juan Crisóstomo de Arriaga y Balzola was born in Bilbao 50 years to the day after the death of another, Wolfgang Amadè Mozart, and Arriaga inevitably got called “the Spanish Mozart,” and later “The Basque Mozart.” At the age of 11 he composed a chamber work titled Nada y mucho (Nothing and Much) for three violins and bass, the next year he completed an overture for chamber orchestra, and in 1819, at the age of 13, he wrote his opera Los esclavos felices (The Happy Slaves), which was produced in Bilbao the following year. Its title would not look great plastered on a marquee today, and there is little chance of

that happening since it survives only in fragments; still, orchestras do occasionally program its delightful Overture, which is complete. His is mostly a case of “what might have been,” since he died in Paris, of some pulmonary disease (officially a “condition of languor”), 10 days short of his 20th birthday.

For chamber music aficionados the name of Arriaga is synonymous with his three string quartets, which were published in Paris in 1824, a year after their composition—his only works to appear in print in his lifetime. He was 16 when he wrote them, and was studying at the Paris Conservatoire with the eminent Pierre Baillot (for violin) and François-Joseph Fétis (counterpoint and fugue), who promptly appointed him his teaching assistant. When Fétis published his encyclopedic Biographie universelle des musiciens (1835-44),

he offered this assessment of Arriaga’s string quartets: “It is impossible to imagine anything more original or elegant, or written with greater purity, than these quartets, which are not very well known. Every time they were performed by their young author they inspired the audience’s admiration.”

String Quartet No. 1, Op. 20 (1948)

ALBERTO GINASTERA (1916-83)

Born in Argentina into a family of Catalan and Italian roots, Alberto Ginastera was entirely schooled in his native country, principally at the National Conservatory of Music in Buenos Aires. Already as a teenager he produced numerous pieces with a distinctive flavor, often employing native Argentine rhythms or folk melodies. He did not flourish under the oppressive regime of Juan Perón. In 1945-47, he traveled to study in the United States, and after that his journeys abroad grew more frequent. After Perón was overthrown, in 1955, he assumed several political-academic posts in Argentina; but in 1969, exasperated with the

political situation in his country, he left Argentina definitively, and spent most of the rest of his life in Geneva, where he would die.

His chamber music includes a piano quintet (1963) and, most significantly, three string quartets; a fourth quartet, in which a baritone sings a text from Beethoven’s “Heiligenstadt Testament” was begun in 1974, but remained incomplete at his death. His interest in musical folklore is evident in his Quartet No. 1, which includes in its first and last movements references to the malambo, a competitive dance of the Argentine gauchos that turns up often in his early works, including in his much-performed ballet Estancia The third movement also has an unmistakably Spanish/Latin American touch. It begins with a chord familiar to everyone who has heard a guitar being tuned—that instrument’s six open strings, plucked from bottom to top, with the tones lingering—and above this the first violin traces mysterious phrases. When this quartet reached New York, in 1955, the New York Herald Tribune hailed it as “a work so fresh, brilliant, and esthetically forceful that it will surely follow a route into the working repertoire of chamber music.”

Sextet in C major for Piano, Violin, Viola, Cello, Clarinet, and Horn, Op. 37 (1935)

ERNST (ERNŐ) VON DOHNÁNYI (1877-1960)

Ernst von Dohnányi honed his skills as a pianist and composer at the Budapest Conservatory with such acumen that in 1896 (the year he graduated) his F-major Symphony won the Hungarian Millennium Prize, a prestigious national award and a terrific achievement for someone who was not yet 20. By that time, he had already won an important seal of approval from no less an eminence than Johannes Brahms, who in 1895 expressed deep admiration for Dohnányi’s C-minor Piano Quintet (Op. 1) and arranged for its premiere in Vienna. For the next two decades he led the busy life of a touring pianist with a special sympathy for Mozart, Beethoven, and Schubert. World War II brought tragedy: one of his two sons was killed in combat and the other was executed for participating in a plot to assassinate Hitler in July

“It is impossible to imagine anything more original or elegant ... ”

1944. Following the war, he emigrated across the Atlantic, first to Argentina, then (in 1949) to Tallahassee, Florida, where he spent many years fostering an extraordinary musical climate at Florida State University.

As a composer, Dohnányi tended to look back to what had been rather than ahead to unknown musical terrain. Chamber music was central to his output from the beginning. His last chamber piece, the Sextet deploys an unusual instrumentation, its assemblage of string and wind instruments—in addition to the piano—lending an almost symphonic richness. One should not overstate the Brahmsian element in his music, since he really did develop a distinct late-Romantic voice. Nonetheless, there is something recognizably Brahmsian in the expansiveness of the first movement, and maybe some harmonic touches redolent of Korngold or Richard Strauss. The good-spirited finale makes for fun listening as bits of a nostalgic waltz and then a few cinematic licks worthy of Nino Rota pass through before a final harmonic witticism.

Anonymous The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair Bravo!

Vail

DALI QUARTET

For over 15 years the Vail Interfaith Chapel has proudly hosted in partnership with Bravo! Vail Music Festival, multiple free concerts, master classes, and musical discussions at the chapel throughout each summer season.

For over 50 years, the Vail Interfaith Chapel has been the spiritual heart of the Vail Valley. The Chapel is home to six religious congregations: B’Nai Vail Congregation, Covenant Presbyterian, Episcopal Church of the Transfiguration, Mount of the Holy Cross, Mountain Community Church, and St. Patrick Catholic Church.

Our doors are open daily for reflection, religious and non-religious services, weddings, support groups, musical concerts, emergency shelter, community speakers, non-profit events, life events and much more.

DIVE INTO GREAT MUSIC

IMMERSIVE EXPERIENCES

JULY 15 ~ 16 // 2024

Bravo! Vail’s Immersive Experiences take the listener on a “deep dive” over multiple concerts into a whole body or oeuvre of music, with the musicians themselves serving as the guide.

The 2024 series explores works from the prolific last year of Franz Schubert’s life, which has been called “the most miraculous year in music history.” This exhilarating pair of concerts is curated and performed by Anne-Marie McDermott, soprano Susanna Phillips, the Dalí Quartet, and principal players of The Philadelphia Orchestra and the New York Philharmonic.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

Bravo! Vail Artistic Excellence Fund

The Therese M. Grojean Vocalist Fund

The Judy and Alan Kosloff

Artistic Director Chair

Town of Vail

IMMERSIVE EXPERIENCES

Susanna Phillips, soprano

Jennifer Montone, horn

Ari Isaacman-Beck, violin

Jesús Morales, cello

Anne-Marie McDermott, piano

SCHUBERT

Auf dem Strom (On the River), for Soprano, Horn, and Piano, D. 943 (11 minutes)

Fantaisie in C major, D. 934 (24 minutes)

I NTERMISSION

Piano Trio No. 2 in E-flat major, D. 929 (43 minutes)

Allegro moderato

Andante un poco mosso

Scherzo: Allegro

Rondo: Allegro vivace

SCHUBERT’S LAST YEAR I

Auf dem Strom (On the River), for Soprano, Horn, and Piano, D. 943 (1828)

Fantaisie in C major, D. 934 (1828)

Piano Trio No. 2 in E-flat major, D. 929 (1828)

FRANZ SCHUBERT (1797-1828)

Franz Schubert was one of ten friends who gathered in a Vienna apartment on New Year’s Eve to bring in the new year of 1828 with a toast of Malaga wine. He did not know that 1828 would be his last year, of course; but neither would he have been completely surprised. It appears that in 1822 he had contracted syphilis, an incurable disease at the time, and he knew that the span between diagnosis and death rarely exceeded ten years and often fell short of that. In 1824 he wrote despairingly to a friend: “Imagine a man whose health will never be right again and ... whose most brilliant hopes have been perished.” In the end, that was not what killed him; his death

was probably the immediate result of typhus or typhoid fever. In any case, he persevered under the shadow of compromised health, challenging himself to grow as an artist.

Although he met with scant commercial success as a composer, Schubert was blessed with a wonderful circle of friends who delighted in his music at private gatherings. These “Schubertiads” naturally focused on intimately scaled works—songs, piano pieces, chamber music—that fit comfortably in domestic surroundings. His more imposing compositions went largely unheard. Of the ten operas he completed, only two made it to the stage during his lifetime, one for seven performances, the other for eight. His symphonies were played only by amateur or semi-pro assemblages in middle-class parlors; not until a month after his death was one heard in a concert hall.

A few of his more famous admirers included his music in their more formal recitals. That happened with his

DONOVAN PAVILION

C-major Fantaisie for Violin and Piano. Schubert wrote it in December 1828 for his violinist friend Josef Slavyk, who introduced it on a mid-day recital with pianist Karl Maria von Bocklet on January 20, 1828, at Vienna’s Landhaussaal, which could hold up to 800 listeners. Listeners found the piece intimidating; one critic reported that “the hall emptied gradually, and the writer confesses that he too is unable to say anything about the conclusion of this piece of music.” Probably the most memorable expanse of this full-scale piece is the set of variations at its center, its theme being an alteration of the lied “Sei mir gegrüsst,” which Schubert probably composed in 1822 to a poem by Friedrich Rückert (it was published the ensuing April). After working through sections of escalating bravura, the music resolves into a more lyrical variation and then a swaggering finale, into which “Sei mir gegrüsst” raises its voice one last time near the end.

So, too, did his Piano Trio in E-flat major receive its first airing thanks to fellow musicians—the string quartet headed by violinist Ignaz Schuppanzigh. Two members of his foursome (which

had midwifed Beethoven’s quartets as well as one of Schubert’s) introduced this trio, with Bocklet again as pianist, in a recital on December 26, 1827, at Zum Roten Igel (At the Red Hedgehog), a café and performance hall overseen by the Society of the Friends of Music. Schubert lived next door, sharing an apartment at Zum Blauen Igel (At the Blue Hedgehog).

Like the Fantaisie, this trio unrolls over a very generous span of time, usually running more than forty minutes. The composer himself sensed that it could use some editing, and he effected a lengthy cut in the finale, the longest of the four movements. Though this material was restored by the editors of the complete edition of Schubert’s works, it is rarely played today. The slow movement is magical, sounding from the outset quite like a Schubert song in which the cello sings the minor-key melody against the grim staccato of the piano’s accompaniment. In fact, the melody is adapted from a song, though not one by Schubert—a Swedish song named “Se solen sjunker” (See the Sun Setting), which Schubert heard performed in Vienna in 1827. This

memorable tune returns for two further appearances in the finale.

In the winter of 1828, Schubert was persuaded to present a public concert consisting entirely of his own music. It took place (again at Zum Roten Igel) at 7 p.m. on March 26, 1828, the first anniversary of Beethoven’s death, and offered six solo songs, the first movement from an unidentified “new string quartet,” a repeat of the Piano Trio in E-flat major, the “Ständchen” for solo contralto and girls’ choir, a choral piece for double men’s choir, and the premiere of “Auf dem Strom,” a solo song with obbligato horn composed expressly for the event to a text by Ludwig Rellstab. “Auf dem Strom” is a masterpiece of nocturnal moodpainting, with the horn and voice meandering over relaxed musical terrain, the piano’s relentless triplets suggesting the flowing river. A quarter the way through, the tonality shifts into the minor, and, at the words “‘Und so trägt mich denn die Welle” (And so the waves bear me off), Schubert quotes the Funeral March from Beethoven’s Eroica Symphony—a tribute to the departed predecessor he so admired and probably never met, though he had been a torch-bearer in Beethoven’s funeral procession.

The packed concert brought in a handsome profit but had no other effect on Schubert’s career. Any enduring influence it might have generated became moot when Schubert died less than eight months later, at the age of only 31.

Bravo! Vail Gratefully

Acknowledges the Support of the Following Patrons

SUSANNA PHILLIPS

Bravo! Vail Artistic Excellence Fund

The Therese M. Grojean Vocalist Fund

The Judy and Alan Kosloff Artistic Director Chair Town of Vail

TUESDAY 1:00PM

COMMUNITY CONCERTS

VAIL INTERFAITH CHAPEL

Janice Carissa, piano (Bravo! Vail 2024 Piano Fellow)

Ariel Lanyi, piano (Bravo! Vail 2024 Piano Fellow)

SCHUBERT

Eight Variations on a Theme from Hérold’s Marie, D. 908 (13 minutes)

Allegro in A minor, Lebensstürme, D. 947 (12 minutes)

Rondo in A major, D. 951 (11 minutes)

Fantasie in F minor, D. 940 (19 minutes)

Allegro molto moderato

Largo Scherzo. Allegro vivace Finale. Allegro molto moderato (Played without pause)

COMMUNITY CONCERT VII

Piano Fellows

Ariel Lanyi & Janice Carissa

As with most other mediums he set his hand to, Schubert left a large legacy of music for piano four-hands, mostly composed for private enjoyment at the ‘Schubertiads’ hosted by the composer’s Viennese friends. The selections on today’s program were all written in the last two years of the composer’s life, and together serve as a companion piece to Bravo! Vail’s Immersive Experiences series, “Schubert’s Last Year.”

The charming Variations are on a theme from the opera Marie by Ferdinand Hérold, which had been a success at the Opéra-Comique in Paris several years before. Although Lebensstürme (“life’s storms”) was probably titled by the publisher for commercial reasons, it does seem apt for such a highly dramatic work. In contrast, the Rondo is warm and lyrical, filled with elegant flourishes. Dedicated to the Countess Caroline Esterhazy, to whom Schubert once claimed that, in his own mind, all his works were dedicated, the magnificent Fantasie constitutes a true masterpiece.

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Anonymous

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Eagle County Lodging Tax Marketing

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Cookie and Jim Flaum

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Beth Slifer

Cathy Stone

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Jackie and Norm Waite

Carole A. Watters

Vail Religious Foundation

ARIEL LANYI

JANICE CARISSA

7:00PM

IMMERSIVE EXPERIENCES

DONOVAN PAVILION

Susanna Phillips, soprano

Ricardo Morales, clarinet

Carter Brey, cello

Anne-Marie McDermott, piano

Dalí Quartet

Ari Isaacman-Beck, violin

Carlos Rubio, violin

Adriana Linares, viola

Jesús Morales, cello

SCHUBERT

Der Hirt auf dem Felsen (The Shepherd on the Rock), for Soprano, Clarinet, and Piano, D. 965 (12 minutes)

Piano Sonata in B-flat major, D. 960 (40 minutes)

Molto moderato

Andante sostenuto

Scherzo: Allegro vivace con delicatezza

Allegro ma non troppo

— I NTERMISSION —

String Quintet in C major, D. 956 (45 minutes)

Allegro ma non troppo

Adagio

Scherzo: Presto—Trio: Andante sostenuto Allegretto

SCHUBERT’S LAST YEAR II

Der Hirt auf dem Felsen (The Shepherd on the Rock), for Soprano, Clarinet, and Piano, D. 965

Piano Sonata in B-flat major, D. 960

String Quintet in C major, D. 956

FRANZ SCHUBERT (1797-1828)

“It is arguable,” wrote Benjamin Britten in 1964, “that the richest and most productive eighteen months in our musical history is the time when Beethoven had just died, when the other nineteenthcentury giants, Wagner, Verdi, and Brahms had not begun; I mean the period in which Franz Schubert wrote his Winterreise, the C-major Symphony, his last three piano sonatas, the C-major Quintet, as well as a dozen other glorious pieces. The very creation of these works in that space of time seems hardly credible; but the standard of inspiration, of magic, is miraculous and past all explanation.”

Of the more than six hundred lieder penned by Schubert, “Der Hirt auf dem Felsen” (The Shepherd on the Rock) was the last. In fact, it was the last piece Schubert completed in any genre, composed in October 1828, a month before he died. He wrote it expressly for Anna Milder-Hauptmann, who had created the title role of Beethoven’s opera Leonore (in 1805) and its successor version, Fidelio (in 1814). She repeatedly asked Schubert to write a Goethe setting for her to introduce, but instead she got this song, to a text he cobbled together from two disparate poems, “Der Berghirt” by Wilhelm Müller (the poet of his song cycles Die schöne Müllerin and Winterreise) and “Liebesgedanken” by Helmina von Chézy (for whose play Rosamunde he had composed incidental music). The lied with obbligato instrument is a distinct but singularly appealing musical subgenre, the love-child of chamber music and art song. Schubert wrote only two, “Auf dem Strom” (heard yesterday) and “Der

Hirt auf dem Felsen,” and they feature the two instruments most in tune with the sound-world that colored the Germanic Romantic movement, the horn and the clarinet. This final song is an anthem to Romantic sensibilities, evoking such central concerns as singing in nature (yodeling, even), the vastness of the picturesque landscape (replete with towering rock, distant vale, and echoing chasm), lovers desolate in their separation, and images of forest, night, springtime, and wandering.

It came on the heels of his Piano Sonata in B-flat major (D. 960), which he completed on September 26. As Britten noted, it is one of three piano sonatas that date from Schubert’s last year. It was preceded during that same month by those in C minor and A major, and the fact that Schubert marked “Sonata III” on the manuscript of his last clarified that he was thinking of them as a triptych. (We might add to Britten’s roster further essential keyboard works from Schubert’s last year: his Four Impromptus, D. 935, and his F-minor Fantasie for piano four-hands.) Many of the characteristics we cherish most in Schubert coincide in this work. It is

at once monumental and lyrical, and it seems to have arrived at greater peace overall than its emotionally conflicted predecessors. It is entirely unhurried, beginning almost hesitatingly, as if Schubert were humming to himself offhandedly; but its emotional climate darkens quickly when a subterranean rumble interrupts the opening phrase, suggesting that happiness will not continue unimpeded. The rumble takes the form of a pianissimo trill in the bass, a shivering on the note G-flat. That pitch belongs to the key of B-flat minor rather than the sonata’s overall key of B-flat major. It reappears almost obsessively, injecting ominous moments and expanding the tonic key to embrace both the major and minor modes—a Schubertian fingerprint, a mixture of sunlight and shadows.

The broadening of the tonic key similarly adds to the emotional intensity of the String Quintet for two violins, viola, and two cellos—the composer’s only piece for these forces (his beloved Trout Quintet employing a differently constituted ensemble of five players).

A word about Schubert’s mastery of musical texture. The piece begins in apparent simplicity with a C-major

chord swelling from piano to forte, at which point it is transformed into an ambiguous and ominous diminishedseventh chord and then recedes back to piano before proceeding on and coming to rest on a G-major chord, the dominant, eerily high-pitched. That is imaginative in its own right, but what is most striking, perhaps, is that in these opening measures Schubert employs only one of his two cellos; his quintet begins as a standard string quartet. Then, in the eleventh measure, he responds with a second phrase that mirrors the first, but moved into the depths of the ensemble, with the first violin sitting it out while the second violin (playing on its lowest string), viola, and the two cellos make a sound that contrasts starkly with the opening. A pianissimo figure is then batted back and forth for a couple of measures between two instrumental units: viola and two cellos on one hand, viola and two violins on the other—with the viola’s double duty tricking the listener into imaging that a string sextet is at work. And so it goes in this subtle masterpiece of chamber music.

The second movement is the soul of this piece. Words fall short in suggesting the “time-stands-still” sublimity of this Adagio. The pianist Arthur Rubinstein, the cellist Alfredo Piatti, and the novelist Thomas Mann all expressed the desire that they might die while listening to this movement. Some in today’s audience may be similarly inclined—but just not quite yet, please.

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Acknowledges the Support of the Following Patrons

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The Judy and Alan Kosloff

Artistic Director Chair Town of Vail

ANNE-MARIE MCDERMOTT AND SUSANNA PHILLIPS

BRAVO! VAIL MUSIC MAKERS

Bravo! Vail Music Makers Haciendo Música is an afterschool program teaching piano, violin, and chamber ensemble classes across Eagle and Lake counties. With nearly 300 students from grade 2-12, Music Makers Haciendo Música cultivates and inspires the musician inside every child through weekly classes and performance opportunities throughout the school year.

WHO Beginner students entering grades 2-5. Intermediate or advanced students contact Education@BravoVail.org for placement.

WHAT Weekly group classes cover the fundamentals of instrument training, musical concepts, performance skills, and reading music.

Intermediate and advance ensemble classes cover collaboration with peers, diverse music, and community outreach.

WHEN September – April

WHERE Several locations from Vail to Gypsum

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

COST $195 - $210 for 27-31 weeks of instruction, including recitals. Instrument and tuition scholarships are available based on financial need. Applications are available at BravoVail.org/ MusicMakers.Bravo!

ENROLL Online Enrollment August 19-23, 2023

HACIENDO MÚSICA

Bravo! Vail Music Makers Haciendo Música es un programa extracurricular que enseña clases de piano, violín, y conjunto de cámara en los condados de Eagle y Lake. Con más de 300 estudiantes de 2 a 12 grado, Music Makers Haciendo Música cultiva e inspira al músico que lleva dentro cada niño a través de clases semanales y oportunidades de actuación durante todo el año escolar.

QUIÉN Estudiantes principiantes que ingresan a los grados 2-5. Los estudiantes de nivel intermedio o avanzado se ponen en contacto con Education@ BravoVail.org para la colocación.

QUÉ Las clases grupales semanales cubren cubren los fundamentos del entrenamiento de instrumentos, conceptos musicales, habilidades de interpretación y lectura de música.

Las clases de conjunto intermedio y avanzado cubren la colaboración con compañeros, la música diversa y el alcance comunitario.

CUÁNDO septiembre – abril

DÓNDE Varias ubicaciones, desde Vail hasta Gypsum

TIEMPO Las clases tienen una duración de 45 minutos y se desarrollan entre las 3:15 – 7:00PM. Los tiempos específicos están determinados por la experiencia y la capacidad del estudiante.

COSTO $195 - $210 por 27-31 semanas de instrucción, incluyendo recitales. Las becas de instrumentos y matrícula están disponibles en función de la necesidad financiera. Las solicitudes están disponibles en BravoVail.org/MusicMakers.

MATRICULA Matrícula 19 agosto-23 agosto

WEDNESDAY 1:00PM

INSIDE THE MUSIC

SCHUBERT’S LAST YEAR: A LOOK AT SCHUBERT’S IMPROMPTUS

Schubert’s Impromptus are among his most often heard (and played) piano works, and represent a massive contribution to the piano literature. Bravo! Vail Artistic Director Anne-Marie McDermott examines the particular genius of Schubert at the keyboard, with his exquisite melodies and sophisticated accompaniment, demonstrating and explaining along the way.

VAIL INTERFAITH CHAPEL

Anne-Marie McDermott, speaker and piano

SCHUBERT

Selections from Four Impromptus, D. 935 and other works to be announced.

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Eagle County Lodging Tax Marketing Committee

The Judy and Alan Kosloff Artistic Director Chair Town of Vail Vail Religious Foundation

EDUCATION CHALLENGE CAMPAIGN

DOUBLE YOUR IMPACT TODAY!

It is our goal to provide extensive music education for everyone in our community. With this mission in mind, there are more than 70 concerts this summer. Bringing the power of music to all corners of the Vail Valley creates meaningful impact and is made possible because of Bravo! Vail’s dedicated supporters, like you.

This year, a generous friend of the Festival, Han Mu Kang, has provided a matching challenge for Bravo! Vail’s Education & Engagement Programs. Every gift matters, and right now, every gift will be DOUBLED.

There is no better time than right now to make your gift to the Education & Engagement Programs and double what we can do together!

These programs, along with collaborative partnerships with community-serving organizations, ensure that great music and opportunities for lifelong learning are available to diverse audiences of all ages and abilities, all year long.

YOUR GIFT SUPPORTS:

n Chamber Musicians in Residence

n Free Community Concerts

n Inside the Music

n Little Listeners @ the Library

n Music Box Concerts

n Music Education Month

n Music Makers Haciendo Música

n Piano Fellows

n Pre-Concert Talks and Artist Q&A’s

n Spring Collaboration with Opera Colorado and Eagle County School district

n Jane and Gary Bomba Internship Program

n Summer Intensive

n A winter and spring series of Little Listeners @ the Library

n Winter residencies of Sinfónica de Míneria musicians and Akropolis Reed Quartet

Every gift matters, and for a limited time, every gift will be DOUBLED. Do not miss this opportunity to increase the impact of your gift and help create meaningful connections

Sometimes we go outside to go inside.

SCHEDULE AT A GLANCE

Hilary Hahn Plays Beethoven 122

Van Zweden Conducts Mendelssohn 130

New York Philharmonic Plays Brahms 134

Broadway Showstoppers 138

Augustin Hadelich Plays Shostakovich 144

Gershwin’s Rhapsody In Blue 148

PRECISION, POWER, SOUL

NEW YORK PHILHARMONIC

IN RESIDENCE JULY 17 ~ 24 // 2024

The New York Philharmonic celebrates 21 years at Bravo! Vail with a six-concert residency packed with an extraordinary range of brilliant artistry.

The New York Philharmonic plays a leading cultural role in New York City, the United States, and the world. Each season the Orchestra connects with millions of music lovers through live concerts in New York and beyond, as well as broadcasts, recordings, and education programs.

The 2023-24 season has built on the Orchestra’s transformation reflected in the new David Geffen Hall, unveiled in October 2022. In his farewell season as music director, Jaap van Zweden has spotlighted composers he has championed, from Mahler and Mozart to Steve Reich and Joel Thompson, and led several programs featuring NY Phil musicians as soloists. The Orchestra also delved into overlooked history through the US Premiere of Émigré, composed by Aaron Zigman, with a libretto by Mark Campbell and additional lyrics by Brock Walsh; marked György Ligeti’s centennial; given world, U.S., and New York premieres of 14 works; and celebrated the 100th birthday of the beloved Young People’s Concerts.

The Phil for All: Ticket Access Program builds on the Orchestra’s commitment to serving New York City’s communities that lies behind the long-running Concerts in the Parks, Presented by Didi and Oscar Schafer, and the Free Memorial Day Concert, Presented by the Anna-Maria and Stephen Kellen Foundation. The Philharmonic engages with today’s cultural conversations through programming and initiatives such as EARTH (2023, an examination of the climate crisis centered on premieres of works by Julia Wolfe and John Luther Adams) and NY Phil Bandwagon (free, outdoor, “pull-up” concerts that brought live music back to New York City during the height of the COVID-19 pandemic).

The Philharmonic has commissioned and/or premiered works by leading composers since its founding in 1842, from Dvořák’s New World Symphony and Gershwin’s Concerto in F to two Pulitzer Prize winners: John Adams’s On the Transmigration of Souls and Tania León’s Stride, commissioned through Project 19, commissions of works by 19

women composers. The Orchestra has released more than 2,000 recordings since 1917, most recently the live recording of Julia Wolfe’s GRAMMYnominated Fire in my mouth conducted by Jaap van Zweden. In 2023 the NY Phil announced a partnership with Apple Music Classical, the new standalone music streaming app designed to deliver classical music lovers the optimal listening experience. The Orchestra’s extensive history is available free online through the New York Philharmonic Shelby White & Leon Levy Digital Archives.

A resource for its community and the world, the Orchestra complements annual free concerts across the city with education projects, including the New York Philharmonic Very Young Composers Program and the Very Young People’s Concerts. The Orchestra has appeared in 436 cities in 63 countries, including Pyongyang, DPRK, in 2008, the first visit there by an American orchestra.

Founded in 1842 by local musicians, the New York Philharmonic is one of the oldest orchestras in the world. Notable figures who have conducted the Philharmonic

include Tchaikovsky, Richard Strauss, Stravinsky, and Copland. Jaap van Zweden became music director in 2018-19, succeeding musical leaders including Bernstein, Toscanini, and Mahler. Gustavo Dudamel will become music director designate in the 202526 season, before beginning his tenure as music and artistic director in 2026.

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6:00PM

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Sarah Day-O’Connell (Skidmore College), speaker

ACADEMY OF ST MARTIN IN THE FIELDS

Anne-Marie McDermott, piano

BEETHOVEN

Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)

Allegro con brio

Adagio

Rondo: Molto allegro — INTERMISSION —

GIPPS

Seascape, Op. 53 (7 minutes)

HAYDN

Symphony No. 104 in D major, London (29 minutes)

Adagio—Allegro

Andante

Menuetto: Allegro—Trio

Finale: Spiritoso

HILARY HAHN PLAYS BEETHOVEN

RETURN OF ACADEMY OF ST MARTIN IN THE FIELDS

SPECIAL THANKS AND APPRECIATION TO LENI AND PETER MAY

THIS EVENING’S PERFORMANCE IS PRESENTED BY

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

NORMA AND CHARLES CARTER

FOUR SEASONS RESORT AND RESIDENCES VAIL

VERA AND JOHN HATHAWAY

SPECIAL GRATITUDE TO The Berry Charitable Foundation

SPECIAL GRATITUDE TO

The Friends of the New York Philharmonic

Academy of St Martin in the Fields Circle

Violin Concerto in D major, Op. 61 (1806)

LUDWIG VAN BEETHOVEN (1770-1827)

Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)

BLUDWIG VAN BEETHOVEN (1770-1827)

BBerry Charitable Foundation

The Lyn and Phillip Goldstein Maestro Society

The Francis Family

The Judy and Alan Kosloff Artistic Director Chair

The Judy and Alan Kosloff Artistic Director Chair

Yamaha

SPONSORED BY Martha Head

SPONSORED BY Ray Oglethorpe

SOLOIST SPONSORS

Barbara and Carter Strauss

Hilary Hahn, violin, sponsored by Becker Violin Fund and Gina Browning & Joe Illick

SOLOIST SPONSORS

Jaap van Zweden, conductor, sponsored by Sheika Gramshammer

Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross

eethoven’s Violin Concerto has long been considered one of the most essential works of its genre, but it earned its reputation only after a slow start. It made little effect at its premiere, in Vienna in 1806, surely not helped by the fact that the composer finished it only two days earlier, leaving the orchestral musicians little time to prepare what is at heart a very symphonic concerto. At least the soloist, Franz Clement, seems to have acquitted himself with distinction, since a review noted, “To the admirers of Beethoven’s muse it may be of interest that this composer has written a violin concerto—the first, so far as we know—which the beloved local violinist Klement [sic] ... played with his usual elegance and luster.” Clement hedged his bets with the audience by also programming a set of variations, probably of his own composition, that

eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.

A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto

HILARY HAHN

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and Town of Vail.

The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

Funded in part by a generous grant from the Town of Vail.

The Antlers at Vail, Lodge at Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

he played on a single string while holding his violin upside down. It may be that Clement had already gotten to know the concerto as a work-inprogress. One hopes so, since the solo writing involves extended work in the upper positions, which would not have been at all standard for violinists at the time. Nonetheless, Beethoven’s manuscript shows that he wrote so hastily that he left some of the notation of the solo part on the sketchy side; he didn’t fill in the blanks until it came time to publish it. Not until 1844, when Felix Mendelssohn conducted it with the London Philharmonic, with 12-yearold Joseph Joachim as soloist, did this concerto score a triumph. Beethoven did not write out cadenzas for this piece, and the ones proposed by Joachim remain the most commonly heard, although many other violinists have written competing versions. (Hilary Hahn will play those of Fritz Kreisler.)

The Concerto’s opening sounds are strange indeed: five beats sounded quietly on the timpani, the last coinciding with the entrance of the other orchestral instruments. It hardly qualifies as a melody, but Beethoven was a master of exploring the musical implications of even the most modest motifs. The strings pick up the rhythm right away, and it returns often in the course of the first movement. A year after the Violin Concerto was premiered, Beethoven altered it into a version for solo piano with orchestra (again unsuccessful), and for that he did supply a first-movement cadenza— not for solo piano, as one would expect, but for piano plus timpani, the latter making much use of its five-note figure. The first movement, imposing and monumental in character, is balanced by the second, poignant and heartfelt; and the rollicking finale, which follows without a complete break, is designed for fun and bravura.

Third Symphony (1942-46)

AARON COPLAND (1900-90)

Aaron Copland had already produced two symphonies, in 1924/28 and 1934, when in March 1944 the conductor Serge Koussevitzky extended a commission for another major orchestral work, which he hoped to introduce at the outset of the Boston

Symphony Orchestra’s 1946 season. Copland had been thinking about writing such a piece for some time—his friends Elliott Carter, David Diamond, and Arthur Berger kept urging him in that direction—but he kept the new commission secret for quite a while. “I did not want to announce my intentions until it was clear in my own mind what the piece would become (at one time it looked more like a piano concerto than a symphony). The commission from Koussevitzky stimulated me to focus my ideas and arrange the material I had collected into some semblance of order.”

In the summer of 1944, he retreated to the remote village of Tepoztlán, Mexico, to work on the symphony’s first movement in relative isolation. The second movement waited until the following summer, which he spent in Bernardsville, New Jersey. “By September, I was able to announce to [the composer] Irving Fine, ‘I’m the proud father—or mother—or both—of a second movement. Lots of notes—and only eight minutes of music—such are scherzi! ... Having two movements finished gave me the courage to continue, but the completion seemed years off.” In the fall of 1945, he retreated

to a rented property in Ridgefield, Connecticut. “Again, I told almost no one where I could be found. I felt in self-exile, but it was essential if I was to finish the symphony.” A stay at the MacDowell Colony in New Hampshire, and then a stint in the Berkshire Mountains, allowed him to put the last movement into place. He had a head start on that finale, having decided that it would incorporate the Fanfare for the Common Man, which he had written three years before. Here, it appears as an introduction to the rest of the movement, although its general contours do pervade a fair amount of the symphony’s material. (Copland, by the way, employed the locution Third Symphony as a specific title for this work, preferring it to the more generic implication of “Symphony No. 3.”) He viewed this instance of selfborrowing not as a short-cut but rather as a way to intensify what he hoped to communicate. “I used this opportunity to carry the Fanfare material further and to satisfy my desire to give the Third Symphony an affirmative tone,” he wrote. “After all, it was a wartime piece— or more accurately, an end-of-war piece—intended to reflect the euphoric spirit of the country at the time.”

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SYMPHONY ($40,000+)

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ENSEMBLE ($30,000+)

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IMPRESARIO ($25,000+)

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ALLEGRO ($10,000+)

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Susan Dobbs

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Carole C. and CDR. John M.

Fleming

Martha Head

Cynnie and Peter Kellogg

Dr. and Mrs. Frederick Kushner

Donna and Patrick Martin

Ray Oglethorpe

Linda Farber Post and Kalmon D. Post

Ann and Tom Rader

Carole and Peter Segal

Dr. Kim Schilling

Barbara and Carter Strauss

COMMUNITY CONCERT VIII

Piano Fellows Ariel Lanyi & Janice Carissa

An elaborate solo piano arrangement of the beautiful third movement from Rachmaninoff’s Cello Sonata, as transcribed by the Russian-born French pianist Arcady Volodos, opens this enchanting program.

Scriabin reputedly thought his Third Sonata the absolute masterpiece of his earlier sonatas. Subtitled “States of the Soul,” as he described to the musicologist Lev Vasilyevich, the work opens with “The soul, free and wild, thrown into the whirlpool of suffering and strife,” moves through “illusory respite” and “a sea of feelings,” before coming to a somewhat hesitant end, “plunging into the abyss of non-being.”

Of Schubert’s 12 complete solo piano sonatas (and almost as many incomplete sonata fragments), only three saw publication during the composer’s lifetime. D. 894 was the last, and was hailed by Schumann as being Schubert’s “most perfect in form and conception.”

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Carole A. Watters

Vail Religious Foundation

COMMUNITY CONCERTS

VAIL INTERFAITH CHAPEL

Janice Carissa, piano (Bravo! Vail 2024 Piano Fellow)

Ariel Lanyi, piano (Bravo! Vail 2024 Piano Fellow)

RACHMANINOFF (transcr. Volodos)

Andante from Cello Sonata, Op. 19 (7 minutes)

Ms. Carissa

SCRIABIN

Piano Sonata No. 3 in F-sharp minor, Op. 23 (20 minutes)

Drammàtico

Allegretto

Andante

Presto con fuoco

Ms. Carissa

SCHUBERT

Piano Sonata in G major, D. 894 (35 minutes)

Molto moderato e cantabile

Andante

Menuetto: Allegro moderato

Allegretto

Mr. Lanyi

ARIEL LANYI

JANICE CARISSA

SOIRÉE III

Longtime collaborators, devoted colleagues, and beloved by Bravo! Vail audiences, Susanna Phillips and Anne-Marie McDermott bring an extraordinary warmth to their performances together. From lieder to parlor songs, opera to Broadway, this is sure to be an enchanting evening of wit, grace, and musical friendship.

18

Bravo! Vail Gratefully Acknowledges Support for This Evening’s Soirée

THIS EVENING’S HOSTS

Georgia and Don Gogel

SPECIAL GRATITUDE

The Therese M. Grojean Vocalist Fund

Linda and Mitch Hart

The Judy and Alan Kosloff Artistic Director Chair SPONSORED

Concepts

THURSDAY

6:00PM

THE LINDA & MITCH HART SOIRÉE SERIES

GOGEL RESIDENCE

Susanna Phillips, soprano Anne-Marie McDermott, piano

Selections to be announced.

Catered by Vail Catering Concepts

ANNE-MARIE MCDERMOTT AND SUSANNA PHILLIPS

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

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

FRIDAY 6:00PM

ORCHESTRAL SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC

Jaap van Zweden, conductor

Christopher Martin, trumpet

Igor Levit, piano

PROKOFIEV

Symphony No. 1 in D major, Op. 25, Classical (14 minutes)

Allegro

Larghetto

Gavotte: Non troppo allegro

Finale: Molto vivace

SHOSTAKOVICH

Concerto No. 1 in C minor for Piano, Trumpet, and Strings, Op. 35 (21 minutes)

Allegretto

Lento

Moderato

Allegro con brio

(Played without pause)

I NTERMISSION

MENDELSSOHN

Symphony No. 3 in A minor, Op. 56, Scottish (38 minutes)

Andante con moto — Allegro un poco agitato

Vivace non troppo

Adagio

Allegro vivacissimo — Allegro maestoso assai

VAN ZWEDEN CONDUCTS MENDELSSOHN

THIS EVENING’S PERFORMANCE IS PRESENTED BY

CAROLE C. AND CDR. JOHN M. FLEMING

VERA AND JOHN HATHAWAY

ANN HICKS

JUDY AND ALAN KOSLOFF

ANN AND ALAN MINTZ

LINDA FARBER POST AND KALMON D. POST

JUNE AND PAUL ROSSETTI

SPECIAL GRATITUDE TO The Berry Charitable Foundation

The Friends of the New York Philharmonic

The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY Dr. Kim Schilling

SOLOIST SPONSOR

Igor Levit, piano, sponsored by David Hsieh

Symphony No. 1 in D major, Op. 25, Classical (1916-17) SERGEI PROKOFIEV (1891-1953)

Sergei Prokofiev’s conducting professor at the St. Petersburg Conservatory, Nikolai Tcherepnin, adored the music of the Classical era and encouraged his students to immerse themselves in the works of Haydn and Mozart to see what inspiration they could extract for their own compositions. A happy result was Prokofiev’s Symphony No. 1, meticulously worked out in 1916-17 and premiered the following year, just before the composer left his politically explosive homeland for a very extended residence in America and Western Europe. (The year of the Classical Symphony’s completion was also the year of the Czar’s abdication, the October Revolution, and Lenin’s ascent to political power.)

Prokofiev later explained that his intent was to translate musical

Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail.

The Antlers at Vail, Lodge at Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

Classicism into a specifically 20thcentury idiom. “It seemed to me that if Haydn had lived into this era, he would have kept his own style while absorbing things from what was new in music. That’s the kind of symphony I wanted to write: a symphony in the Classical style.” His decision to give the work its familiar nickname seems to have derived from two impetuses: on one hand, it is a logical reference to its sources; on the other, the composer explained that he “secretly hoped that in the course of time it might itself turn out to be a classic.”

This was the first major work that Prokofiev, a superb pianist, composed without the intermediary of the keyboard. “I was intrigued with the idea of writing an entire symphonic piece without the piano,” he recounted. “A composition written this way would probably have more transparent orchestral colors.” The Classical Symphony is transparent indeed, as transparent as a fine diamond. Set in the “sunny” 18th-century key of D major, it employs the forces of a Classical orchestra to crisp effect.

Concerto No. 1 in C minor for Piano, Trumpet, and Strings, Op. 35 (1933)

DMITRI SHOSTAKOVICH (1906-75)

Shostakovich composed his Piano Concerto No. 1 in the aftermath of the censure he received from Soviet apparatchiks for his opera The Nose following its staging in early 1930. Stung by the attack, he realized that he had no option but to atone, or at least behave in a way that could be interpreted as such; but his efforts seemed only to make things worse. During this period of turmoil he all but ceased appearing as a concert pianist, which had been an essential strand of his earlier musical persona, but in early 1933 he began focusing on the keyboard again, at first producing a series of Twenty-four Preludes (Op. 34) and, immediately on the heels of that cycle, his First Piano Concerto. At about this time he told a friend that he was considering giving up composing and returning to his career as a concert pianist, an understandable temptation in light of the problems his compositions had caused him. Fortunately, the Concerto proved to be wildly successful and quickly entered

the repertoire as a must-play piece.

Shostakovich wisely refused to comment on the “inner meaning” of this work—not that he wasn’t asked. This left the delighted listeners to simply revel in its optimistic bonhomie and its understated references to Bach, Haydn, Beethoven, Mahler, and various styles of popular music; and it left the critics without anything to attack, for a change. He did explain that when he started working on this piece he envisioned it as a trumpet concerto, that he gradually began imagining a supporting piano part, and that by the time he finished, the instruments’ roles had become reversed, making this a piano concerto with an unusually prominent role for the trumpet.

Symphony No. 3 in A minor, Op. 56, Scottish (1840-42)

FELIX MENDELSSOHN (1809-1847)

Although Felix Mendelssohn did not begin focusing on his Symphony No. 3 until 1840, its genealogy dates back to 1829, when he made his first trip to the British Isles—his first of ten, it would turn out. After taking in the cultural swirl of London, he and a friend left for three weeks in Scotland, which Mendelssohn documented through

drawings and sketches: Edinburgh, the Highlands, the islands of Staffa and Iona, Glasgow. On July 30, he visited the Palace of Holyrood in Edinburgh and wrote to his family in Berlin: “In the evening twilight we went today to the palace where Queen Mary lived and loved. ... The chapel close to it is now roofless, grass and ivy grow there, and at that broken altar Mary was crowned Queen of Scotland. Everything round is broken and mouldering and the bright sky shines in. I believe I have found today in that old chapel the beginning of my Scottish Symphony.” Then he jotted down 16 measures of music in piano score with notations indicating instrumentation; and a decade later they would indeed grow into the Andante con moto introduction of the Scottish Symphony. Mendelssohn does not draw on Scottish melodies in his score, but listeners have been happy to hear its flavor as authentically Scottish in spirit, replete with pentatonic melodies, bass drones (suggesting bagpipes), parallel progressions of open-spaced chords, and sparkling rhythms (including

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204

Bravo! Vail Gratefully Acknowledges Support from the Friends of the New York Philharmonic

FIRST CHAIR ($50,000+)

Marijke and Lodewijk de Vink

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June and Paul Rossetti

SYMPHONY ($40,000+)

Barbie and Tony Mayer

ENSEMBLE ($30,000+)

Vera and John Hathaway

Billie and Ross McKnight

Ann and Alan Mintz

Kay and Bill Morton

Cathy Stone

IMPRESARIO ($25,000+)

Jayne and Paul Becker

Sarah Friedle and

Michael Towler

Penny and Bill George

Tom Grojean

Didi and Oscar Schafer

Dhuanne and Douglas Tansill

Carol and Pat Welsh

VIRTUOSO ($20,000+)

Kjestine and Peter Bijur

Jean and Harry Burn

Amy and Steve Coyer

Nancy and Andy Cruce

Julie and Tim Dalton

Bill Frick

Karen and Jay Johnson

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OVATION ($15,000+)

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Nancy and Harold Zirkin

ALLEGRO ($10,000+)

Suzanne Caruso and Stephen Saldanha

Susan Dobbs

Kathleen and Jack Eck

Carole C. and CDR. John M. Fleming

Martha Head

Cynnie and Peter Kellogg

Dr. and Mrs. Frederick Kushner

Donna and Patrick Martin

Ray Oglethorpe

Linda Farber Post and Kalmon D. Post

Ann and Tom Rader

Carole and Peter Segal

Dr. Kim Schilling

Barbara and Carter Strauss

Excellence

Proud to support the Bravo! Vail Music Festival

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

NATURE WALK

These nature walks bring music to an outdoor setting. Take a hike with The Westerlies and enjoy insights and sounds with the stunning backdrop of the Colorado Rockies.

JUL

20

SATURDAY 9:30AM, 11:00AM

INSIDE THE MUSIC

WALKING MOUNTAINS SCIENCE C ENTER, AVON

JUL

21

SUNDAY 9:30AM, 11:00AM INSIDE THE MUSIC

WALKING MOUNTAINS SCIENCE C ENTER, AVON

The Westerlies

Riley Mulherkar and Chloe Rowlands, trumpet Andy Clausen and Addison Maye-Saxon, trombone

6:00PM

JUN 22 THURSDAY

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Sarah Day-O’Connell (Skidmore College), speaker

ACADEMY OF ST MARTIN IN THE FIELDS

Anne-Marie McDermott, piano

BEETHOVEN

Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)

Allegro con brio

Adagio

Rondo: Molto allegro INTERMISSION

GIPPS

Seascape, Op. 53 (7 minutes)

HAYDN

Symphony No. 104 in D major, London (29 minutes)

Adagio—Allegro

Andante

Menuetto: Allegro—Trio

Finale: Spiritoso

NEW YORK PHILHARMONIC PLAYS BRAHMS

RETURN OF ACADEMY OF ST MARTIN IN THE FIELDS

THIS EVENING’S PERFORMANCE IS PRESENTED BY

JAYNE AND PAUL BECKER

THIS EVENING’S PERFORMANCE IS PRESENTED BY

Prelude to Act I of Die Meistersinger von Nürnberg (1862-67)

RICHARD WAGNER (1813-83)

KJESTINE AND PETER BIJUR

GEORGIA AND DON GOGEL

NORMA AND CHARLES CARTER

LYN GOLDSTEIN

Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801) LUDWIG VAN BEETHOVEN (1770-1827)

BARBIE AND TONY MAYER

FOUR SEASONS RESORT AND RESIDENCES VAIL

DIDI AND OSCAR SCHAFER

VERA AND JOHN HATHAWAY

MARCY AND GERRY SPECTOR

SPECIAL GRATITUDE TO

SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle

BDBerry Charitable Foundation

The Bravo! Vail Artistic Excellence Fund

Virginia J. Browning

The Francis Family

The Friends of the New York Philharmonic

The Judy and Alan Kosloff Artistic Director Chair

Yamaha

The Lyn and Phillip Goldstein Maestro Society

The New Works Fund

SPONSORED BY Ray Oglethorpe

SPONSORED BY

Barbara and Carter Strauss

Mr. and Mrs. Arthur Kelton, Jr.

SOLOIST SPONSORS

SOLOIST SPONSOR

eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.

Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross

Jaap van Zweden, conductor, sponsored by Sheika Gramshammer

ie Meistersinger, premiered in 1868, was Richard Wagner’s only mature attempt at comic opera although, clocking in at four-and-a-half hours, its rib-tickling elements are possibly diffuse to a point where levity may not strike a listener as a constant feature. Set in 16th-century Nuremberg, Die Meistersinger tells the story of the dashing young nobleman Walther von Stolzing and Eva, the daughter of a goldsmith. Learning that Eva is to be married to the winner of an upcoming song contest sponsored by the Mastersingers Guild, Walther applies for Guild membership (a prerequisite for participating in the contest) but is denied membership due to backstage politics—principally the scheming of the town clerk Beckmesser, who hopes to win the contest (and Eva’s hand) himself. The wise cobbler Hans Sachs

A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto

Funded in part by

generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and Town of Vail.

The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

Funded in part by a generous grant from the Town of Vail.

The Antlers at Vail, Lodge at Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

comes to the lovers’ assistance and helps Walther pen a song that may triumph. Beckmesser steals a copy of the song and performs it himself at the competition—dismally. Walther then sings it so beautifully that he wins the contest by popular acclaim and thus gains entry into the Guild as well as betrothal to Eva.

The opening music from the opera, the Prelude to Act I, is one of Wagner’s most immediately irresistible pieces. In this Prelude we hear five principal themes that will recur in the ensuing opera attached to specific characters or events: the opening march of the Mastersingers Guild, some gentle rhapsodizing signifying the love between Walther and Eva, a theme relating to the banner of the Mastersingers, the song with which Walther will win his bride, and another melody suggested the ardor of the lovers’ passion. In the movement’s development section Wagner interlaces all five themes in ingenious and somewhat comical counterpoint before moving on to a blazingly triumphant conclusion.

To See the Sky (2023; Joint Commission of The American Composers Forum, New York Philharmonic, Atlanta Symphony, Aspen Music Festival, and Bravo! Vail)

JOEL THOMPSON (b.1988)

Born to Jamaican parents in the Bahamas, Joel Thompson is completing his doctorate in composition at the Yale School of Music. His music often addresses topics involving social justice. Breakthrough works include his choral composition Seven Last Words of the Unarmed, which sets words of seven Black men who suffered police brutality in the United States, and To Awaken the Sleeper, which sets texts by James Baldwin. Following the premiere of his opera A Snowy Day (based on Ezra Jack Keats’ beloved children’s book) at Houston Grand Opera, that company appointed him to a five-year term as its first composer-in-residence. “My identity as a Black man,” he has said, “is inherently political in this country, and to be able to bring my identity to bear in this genre and idiom of music that I love so much, it means so much to me. If we all reckon with our current circumstance

and get to see each other—and I think music is a perfect vehicle for us to be able to see each other—I think we can move toward that more perfect union for sure.”

To See the Sky was inspired by the line, “Sometimes you have to gaze into a well to see the sky,” from Cécile McLorin Salvant’s song “Thunderclouds.” Thompson segments this sentence into three parts, which give rise to the piece’s three movements. “This line,” he explained “asked me to examine the circumstances in which one’s head could be so craned towards the ground that you would have to look into a well in order to see the reflection of the sky. It asked me to engage in an active introspection that’s even greater than what I usually engage with as an artist looking inward.” This is the second work by Joel Thompson that the New York Philharmonic has premiered, the first being The Places We Leave, a setting of texts by former U.S. Poet Laureate Tracy K. Smith, which Jaap van Zweden conducted in January 2022.

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

JOHANNES BRAHMS (1833-97)

With his Fourth Symphony, Johannes Brahms achieved a work of almost mystical transcendence born of opposing emotions: melancholy and joy, severity and rhapsody, solemnity and exhilaration. His friend and musical confidant Clara Schumann recognized this play of duality already in the first movement, observing, “It is as though one lay in springtime among the blossoming flowers, and joy and sorrow filled one’s soul in turn.”

Although it is cast in the same classical four-movement plan as his earlier symphonies, Brahms’ Fourth seems more tightly unified throughout (largely through the pervasive insistence on the interval of the minor third), and its movements proceed with a terrific sense of cumulative power. The opening movement is soaring and intense, and the second is by turns agitated and serene. The Allegro giocoso represents the first time Brahms included a real

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204

Bravo! Vail Gratefully Acknowledges Support from the Friends of the New York Philharmonic

FIRST CHAIR ($50,000+)

Marijke and Lodewijk de Vink

Georgia and Don Gogel

Lyn Goldstein

Mr. Claudio X. Gonzalez

Linda and Mitch Hart

Leni and Peter May

Amy and James Regan

June and Paul Rossetti

SYMPHONY ($40,000+)

Barbie and Tony Mayer

ENSEMBLE ($30,000+)

Vera and John Hathaway

Billie and Ross McKnight

Ann and Alan Mintz

Kay and Bill Morton

Cathy Stone

IMPRESARIO ($25,000+)

Jayne and Paul Becker

Sarah Friedle and

Michael Towler

Penny and Bill George

Tom Grojean

Didi and Oscar Schafer

Dhuanne and Douglas Tansill

Carol and Pat Welsh

VIRTUOSO ($20,000+)

Kjestine and Peter Bijur

Jean and Harry Burn

Amy and Steve Coyer

Nancy and Andy Cruce

Julie and Tim Dalton

Bill Frick

Karen and Jay Johnson

June and Peter Kalkus

Judy and Alan Kosloff

Ferrell and Chi McClean

Margaret and Alex Palmer

Marcy and Gerry Spector

Lisa Tannebaum and Don Brownstein

Anne and Chris Wiedenmayer

OVATION ($15,000+)

Ron Davis

Liz and Tommy Farnsworth

Mr. and Mrs. Arthur Kelton, Jr.

Carolyn and Steve Pope

Terie and Gary Roubos

Sue and Marty Solomon and P&S Equities, Inc.

Nancy and Harold Zirkin

ALLEGRO ($10,000+)

Suzanne Caruso and Stephen Saldanha

Susan Dobbs

Kathleen and Jack Eck

Carole C. and CDR. John M. Fleming

Martha Head

Cynnie and Peter Kellogg

Dr. and Mrs. Frederick Kushner

Donna and Patrick Martin

Ray Oglethorpe

Linda Farber Post and Kalmon D. Post

Ann and Tom Rader

Carole and Peter Segal

Dr. Kim Schilling

Barbara and Carter Strauss

$34 MILLION IN DIRECT ECONOMIC IMPACT TO EAGLE COUNTY

You have an incredible impact on Eagle County’s economy! By buying your tickets to Bravo! Vail Music Festival, buying a drink at concessions, staying at a hotel, having dinner after the concert, shopping before the performance, you have made a difference.

In 2023, Bravo! Vail – the audience, musicians, volunteers, and staff - brought in $34 million in direct economic impact to Eagle County and the state of Colorado. This includes $1.5 million in sales tax revenue generated by the spending of 49.229 concert attendees and 527 musicians during the 2023 Festival.

“...Colorado’s Rockies are alive with the sound of music grandiose and intimate.”

- BBC Music Magazine

“ This is the most high-profile — and high al titude — mountain music festival in America.” - THE TIMES

IN

THE TOWN OF VAIL ALONE, YOU SPENT MORE THAN $19.9 MILLION, POSITIVELY IMPACTING THE COMMUNITY.

THIS INCLUDED:

n $634,373 in sales tax

n $5.8 million spent on food and beverage

n $8.9 million spent on lodging — approximately 21,123 rooms

Bravo! Vail’s $34 million impact figure is a significant increase from 2022 figure of $26.6 million, which shows the strong economic growth that continues both in the organization and in the county.

Thank you for helping Bravo! Vail continue to be an indispensable economic driver in Eagle County and Colorado. We are proud to underscore Vail as a premier destination for arts and culture and boost the local economy, benefiting everyone who lives and visits this beautiful place.

“The

delightfully friendly Bravo! Vail is an entirely different kind of affair.”

- The New York Times

SUNDAY 6:00PM

ORCHESTRAL SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC

Ted Sperling, conductor

Ashley Brown, vocalist

Ryan Silverman, vocalist

RODGERS/HAMMERSTEIN

Overture to South Pacific

Prelude and “The Sound of Music” from The Sound of Music

PORTER

“Where is the Life that Late I Led” and “So in Love” from Kiss Me, Kate

“I Happen to Like New York” from The New Yorkers

LOESSER

“Luck be a Lady” from Guys and Dolls

BERNSTEIN

“Times Square: 1944” from Three Dance Episodes from On the Town

SONDHEIM

“Being Alive” from Company

BERLIN

“Old-Fashioned Wedding” from Annie Get Your Gun

I NTERMISSION

ADAM GUETTEL

Overture and “The Light in the Piazza” from The Light in the Piazza

STEPHEN SCHWARTZ

“Lost in the Wilderness” from Children of Eden

JEANINE TESORI/DICK SCANLAN

“Gimme, Gimme” from Thoroughly Modern Millie

JASON ROBERT BROWN

“I’d Give it All to You” from Songs for a New World

STEPHEN FLAHERTY/LYNN AHRENS

“Back to Before” from Ragtime

BROADWAY SHOWSTOPPERS

THIS EVENING’S PERFORMANCE IS PRESENTED BY

SUZANNE CARUSO AND STEPHEN SALDANHA

JULIE AND TIM DALTON

MARGARET AND ALEX PALMER

SUE AND MARTY SOLOMON AND P&S EQUITIES, INC.

SPECIAL GRATITUDE TO The Berry Charitable Foundation

The Sidney E. Frank Foundation

The Friends of the New York Philharmonic

The Lyn and Phillip Goldstein Maestro Society

The Therese M. Grojean Vocalist Fund

SPONSORED BY

Liz and Tommy Farnsworth

Dr. and Mrs. Frederick Kushner

Ann and Tom Rader

SOLOIST SPONSORS

Ted Sperling, conductor, sponsored by Margo and Terence Boyle

The bright lights of Broadway have long been a beacon, drawing artists, dreamers, and audiences from around the world to the heart of Manhattan, and this musical journey brings the Great White Way to the Vail Valley. From the 1950s to the present day, musical theater has woven a rich tapestry that reflects the changing cultural, social, and political landscape of America, along with the full spectrum of what it is to be human. With sassy humor, haunting intimacy, lovelorn melancholy, and boundary breaking innovation, these beloved Broadway musicals mirror our lives and fill our hearts.

Did you know? Adam Guettel, who won two Tony Awards for The Light in the Piazza, is the grandson of Richard Rodgers, the first EGOT winner in history (EGOT being an acronym of the Emmy, GRAMMY, Oscar, and Tony Awards).

Bravo! Vail Gratefully Acknowledges Support from the Friends of the New York Philharmonic

FIRST CHAIR ($50,000+)

Marijke and Lodewijk de Vink

Georgia and Don Gogel

Lyn Goldstein

Mr. Claudio X. Gonzalez

Linda and Mitch Hart

Leni and Peter May

Amy and James Regan

June and Paul Rossetti

SYMPHONY ($40,000+)

Barbie and Tony Mayer

ENSEMBLE ($30,000+)

Vera and John Hathaway

Billie and Ross McKnight

Ann and Alan Mintz

Kay and Bill Morton

Cathy Stone

IMPRESARIO ($25,000+)

Jayne and Paul Becker

Sarah Friedle and

Michael Towler

Penny and Bill George

Tom Grojean

Didi and Oscar Schafer

Dhuanne and Douglas Tansill

Carol and Pat Welsh

VIRTUOSO ($20,000+)

Kjestine and Peter Bijur

Jean and Harry Burn

Amy and Steve Coyer

Nancy and Andy Cruce

Julie and Tim Dalton

Bill Frick

Karen and Jay Johnson

June and Peter Kalkus

Judy and Alan Kosloff

Ferrell and Chi McClean

Margaret and Alex Palmer

Lisa Tannebaum and Don Brownstein

Marcy and Gerry Spector

Anne and Chris Wiedenmayer

OVATION ($15,000+)

Ron Davis

Liz and Tommy Farnsworth

Mr. and Mrs. Arthur Kelton, Jr.

Carolyn and Steve Pope

Terie and Gary Roubos

Sue and Marty Solomon and P&S Equities, Inc.

Nancy and Harold Zirkin

ALLEGRO ($10,000+)

Suzanne Caruso and Stephen Saldanha

Susan Dobbs

Kathleen and Jack Eck

Carole C. and CDR. John M.

Fleming

Martha Head

Cynnie and Peter Kellogg

Dr. and Mrs. Frederick Kushner

Donna and Patrick Martin

Ray Oglethorpe

Linda Farber Post and Kalmon D. Post

Ann and Tom Rader

Carole and Peter Segal

Dr. Kim Schilling

Barbara and Carter Strauss

BENJ PASEK & JUSTIN PAUL

“Waving Through a Window” from Dear Evan Hansen

STEPHEN SCHWARTZ

“Defying Gravity” from Wicked

The running time of this concert is approximately one hour and 35 minutes.

Funded in part by a generous grant from the Town of Vail.

The Antlers at Vail, Lodge at Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

7:00PM

CHAMBER MUSIC SERIES

Igor Levit, piano

New York Philharmonic String Quartet

Frank Huang, violin

Alina Kobialka, violin

Cynthia Phelps, viola

Carter Brey, cello

DVOŘÁK

String Quartet No. 11 in C major, Op. 61 (35 minutes)

Allegro

Poco adagio e molto cantabile

Scherzo

Finale: Vivace — I

NTERMISSION —

Piano Quintet in A major, Op. 81 (36 minutes)

Allegro ma non troppo

Dumka: Andante con moto

Scherzo (Furiant): Molto vivace—Trio: Poco

tranquillo

Finale: Allegro

NYP STRING QUARTET & IGOR LEVIT

String Quartet No. 11 in C major, Op. 61 (1881)

Piano Quintet in A major, Op. 81 (1887)

ANTONÍN DVOŘÁK (1841-1904)

Antonín Dvořák composed the 11th of his 14 string quartets on request from the Hellmesberger Quartet, led by the renowned Viennese concertmaster Josef Hellmesberger, Sr. On October 1, 1881, he wrote to Hellmesberger promising to carry out the commission “with all enthusiasm and mustering all my ability and insight to the endeavor in order to provide you with something good and solid.” Hellmesberger scheduled the premiere but apparently failed to communicate that fact to Dvořák, who was busy working on his opera Dimitrij. Dvořák wrote to a friend on November 5: “I have read in the newspapers that on December 15, Hellmesberger is playing my new quartet, which I have not yet in any way

completed. There is no choice but to set aside the opera in order to write the quartet.” He proceeded with haste; this quartet, which usually runs 35-40 minutes in performance materialized in perhaps three weeks. As it happened, the Vienna Ringtheater, where the event was to take place, suffered a catastrophic fire, and the concert was postponed. When Hellmesberger hadn’t gotten around to programming it by the end of January, Dvořák wrote a perturbed letter to his publisher, Fritz Simrock: “Isn’t the Quartet dedicated to Hellmesberger? He sure is a lowdown patron!” “The new Quartet is in fact very difficult,” Simrock responded. Dvořák sent a copy to the Joachim Quartet in Berlin, which played it there on November 2, 1882—the work’s first documented performance.

Here Dvořák’s voice is less overtly nationalistic than in such coeval works as his Sixth Symphony or Legends for piano four-hands. Perhaps the sudden deadline explains why Dvořák derived

several of the quartet’s themes from pre-existing sketches and compositions: the beginning of the second movement grew from a sketch for his F-major Violin Sonata of the preceding year, and the principal themes of the third and fourth movements employ motifs from his A-major Polonaise for Cello and Piano. The first movement, however, is entirely new, its triadic themes embodying a swaggering, heroic quality (though they are sometimes rendered tenderly).

The second movement may recall Schubert in its relaxation. Its lyrical cantilena melody (with a dollop of major-minor ambivalence) is often heard against murmuring figures in the accompaniment, sometimes enlivened by intriguing cross-rhythms. In the Scherzo, Beethovenian vigor and intensity rub shoulders with contrasting expanses of broad lyricism, and the Finale turns somewhat nationalistic through a dance rhythm that suggests the skočná, a Czech “leaping-dance.”

Chamber music figured prominently among the best of Dvořák’s early work. One of the first pieces he wrote after deciding to commit full-time to composition was a piano quintet, a three-movement work in A major that came into being in 1872. Dvořák destroyed his manuscript, but 15 years

later, in 1887, he borrowed a score from a friend who had kept a copy and set about revising it. In the end, he seems to have found it unsalvageable. It was eventually published posthumously—in 1959—as his Op. 5 and is occasionally played today as a long-winded curiosity.

But in the course of the revision, he became hooked again on the medium, and he soon embarked on his new Piano Quintet, Op. 81, again in A major, one of the finest piano quintets ever written. It is a relatively long piece by chamber-music standards, clocking in at about forty minutes, but it passes quickly thanks to its elegantly constructed dramatic logic. Dvořák’s most endearing characteristics are encapsulated here: rhythmic vitality, elegant scoring, arresting melodies with distinct but well-balanced personalities, and a broad emotional palette. In this work Dvořák also gives free reign to his nationalistic tendencies. Folkflavored touches abound throughout: quick alternation of major and minor modes, smile-provoking rhythmic displacements (as in the principal theme of the polka-like Finale), phrases that depart from the foursquare.

The cello proposes the lyrical subject of the first movement, and a nostalgic second subject is announced

by the viola. Throughout the movement, major and minor modes alternate with such natural ease that one begins to sense a tonic key that encapsulates both—a characteristic of many modal folk musics, and certainly of the Bohemian songs and dances Dvořák loved. His nationalistic leanings are most insistent in the two ensuing movements. The second movement is a dumka, an ancient and melancholy Slavonic (originally Ukrainian) folk ballad. In this case, the rather gloomy melody alternates with sunnier sections to form a musical palindrome: A-B-AC-A-B-A. The rich-toned viola and cello reign over the principal melody (along with the piano), and the brighter violins grow more prominent in the contrasting sections.

Dvořák subtitles the ensuing Scherzo a Furiant, though with some poetic license, since it is more a quick waltz than a proper furiant, which is an energetic Bohemian folk dance marked by the alternation of duple and triple meters. In folk usage, furiants often followed dumkas; at the very least, Dvořák recaptures the spirit of the furiant’s function in such a coupling, which is to eradicate the melancholy of the slow movement. Though the Finale is not cast in any specific “folk form,” it embodies a vigorous spirit of earthy good humor. Rather than toss it off as a mere exercise in peasant jollity, however, Dvořák works a learned fugue into the movement’s development section and builds up into a joyful secular chorale near the end.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

Anonymous

The Sidney E. Frank Foundation

IGOR LEVIT

COMMUNITY CONCERT IX

Piano Fellows Ariel Lanyi & Janice Carissa

With this program, three works each explore the nature of artistic inspiration as one composer pays tribute to another. Such was Sergei Rachmaninoff’s admiration for the last of Bach’s violin partitas that he arranged three of its seven movements (Prelude, Gavotte, and Gigue) for solo piano.

In 1796, when Beethoven composed his second Piano Sonata, the Classical era was still dominated by Haydn (the work’s dedicatee) and the memory of Mozart. However, young Beethoven is already looking towards Romanticism as heard in this solemn, hymn-like Largo movement.

Max Reger’s Variations and Fugue on a Theme by Bach dates from the summer of 1904, a year that also saw the premieres of Madama Butterfly and Mahler’s Symphony No. 5. Modernism was on the horizon, but still modulating from its Romantic roots. Reger seems determined to create as epic a sound from the piano as possible, drawing on the chromaticism of Liszt and Wagner, the rhythmic tension and dense textures of Brahms, and the architectural mastery of Bach himself.

Anonymous

Virginia J. Browning

Katherine Clayborne and Thomas Shoup

Marijke and Lodewijk de Vink

Eagle County Lodging Tax Marketing

Committee

Cookie and Jim Flaum

Barbie and Tony Mayer

Kathie Mundy and Fred Hessler

Beth Slifer

Cathy Stone

Town of Vail

Jackie and Norm Waite

Carole A. Watters

Vail Religious Foundation

TUESDAY 1:00PM

COMMUNITY CONCERTS

VAIL INTERFAITH CHAPEL

Janice Carissa, piano (Bravo! Vail 2024 Piano Fellow)

Ariel Lanyi, piano (Bravo! Vail 2024 Piano Fellow)

BACH/RACHMANINOFF

Suite from Partita in E major for Violin (19 minutes)

Ms. Carissa

BEETHOVEN

Largo appassionato from Piano Sonata No. 2 in A major, Op. 2, No. 2 (7 minutes)

Ms. Carissa

REGER

Variations and Fugue on a Theme by Bach, Op. 81 (35 minutes)

Mr. Lanyi

ARIEL LANYI

JANICE CARISSA

6:00PM

JUN 22 THURSDAY

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK 5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Sarah Day-O’Connell (Skidmore College), speaker

ACADEMY OF ST MARTIN IN THE FIELDS

Anne-Marie McDermott, piano

BEETHOVEN

Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)

Allegro con brio

Adagio

Rondo: Molto allegro INTERMISSION

GIPPS

Seascape, Op. 53 (7 minutes)

HAYDN

Symphony No. 104 in D major, London (29 minutes)

Adagio—Allegro

Andante

Menuetto: Allegro—Trio

Finale: Spiritoso

in part by a generous grant from the

AUGUSTIN HADELICH PLAYS SHOSTAKOVICH

RETURN OF ACADEMY OF ST MARTIN IN THE FIELDS

THIS EVENING’S PERFORMANCE IS PRESENTED BY

Semiramide Overture (1822)

GIOACHINO ROSSINI (1792-1868)

THIS EVENING’S PERFORMANCE IS PRESENTED BY

JEAN AND HARRY BURN

NORMA AND CHARLES CARTER

MR. CLAUDIO X. GONZALEZ

FERRELL AND CHI MCCLEAN

Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801) LUDWIG VAN BEETHOVEN (1770-1827)

AMY AND JAMES REGAN

FOUR SEASONS RESORT AND RESIDENCES VAIL

BVERA AND JOHN HATHAWAY

LISA TANNEBAUM AND DON BROWNSTEIN

SPECIAL GRATITUDE TO

DHUANNE AND DOUGLAS TANSILL

BAcademy of St Martin in the Fields Circle

SPECIAL GRATITUDE TO

Berry Charitable Foundation

The Berry Charitable Foundation

The Francis Family

The Friends of the New York

Philharmonic

The Judy and Alan Kosloff Artistic Director Chair

Yamaha

The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY Ray Oglethorpe

SOLOIST SPONSORS

eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.

Barbara and Carter Strauss

Augustin Hadelich, violin, sponsored by Gina Browning and Joe Illick

SOLOIST SPONSORS

Santtu-Matias Rouvali, conductor, sponsored by Alexandra and Robert Linn

Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross

y 1822, when Gioachino Rossini composed his opera Semiramide in the course of 33 days, all but this last of his Italian operas were behind him. He spent the 1822 season in Vienna (getting married on the way), and in late 1823 he traveled to London, where he had agreed to lead several of his operas, growing rich in the process. On the way there he had spent time in Paris, which held sway as the most glittering cultural capital of Europe. After completing his London obligations, he moved to Paris for good, composing a few more operas (in French) and then effectively retiring, at the age of 37, to live the life of a well-placed socialite and well-fed gourmand.

Semiramide falls at precisely the moment of transition when Rossini was “going international.” He composed it during the autumn of 1822, just on the heels of his visit to Vienna. The plot

A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and Town of Vail.

The Antlers at Vail and The Hythe, A Luxury Collection Resort, Vail are the official homes of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

Funded

Town of Vail.

The Antlers at Vail, Lodge at Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

involves politically fraught love affairs, the threat of incest, and murders of both the regicide and matricide variety. The title character is the Queen of Babylon, sung at the premiere by Rossini’s new wife, Isabella Colbran.

The Semiramide Overture is unusual among Rossini overtures in that it incorporates some music that will occur later in the opera itself—a practice that modern listeners may assume was always standard but in fact was far from customary at that time. A few pages of skittering Allegro vivace lead to a spacious Andantino introduced by the burnished sounds of a four-part horn choir; in the opera this theme appears when subjects pledge their allegiance to the Queen. Premonitions of other moments in the action are heard in the principal theme of the later Allegro section that forms the bulk of the Overture.

Violin Concerto No. 1 in A minor, Op. 99 (1947-48)

DMITRI SHOSTAKOVICH (1906-75)

Dmitri Shostakovich’s official approval ratings had already soared and plummeted several times when, in 1948, he was condemned along with many composer-colleagues for “formalist perversions and antidemocratic tendencies in music, alien to the Soviet people and its artistic tastes” (as the official “Zhdanov Decree” phrased it). He responded with a pathetic acknowledgement of guilt, and the next year he redeemed himself with a nationalistic oratorio that gained him a Stalin Prize.

He was working on his Violin Concerto No. 1 throughout these scary proceedings. He told his friend Isaak Glikman that every evening when he returned from the Zhdanov sessions he distracted himself by working on the Concerto’s third movement. One of his pupils asked him where he was in the score when the Zhdanov Decree was published. “He showed me the exact spot,” the student recalled. “The violin played 16th-notes before and after it. There was no change evident in the music.” Nonetheless, the whole business left Shostakovich unnerved, and the Concerto waited until 1955 to be premiered, by violinist David Oistrakh and the Leningrad Philharmonic, Yevgeny Mravinsky conducting.

In March 1948, Venyamin Basner, a violinist, attended Shostakovich’s last class at the Leningrad Conservatory, during which the composer “played for us for the very first time his newly finished Violin Concerto.” He continued: “The Concerto is a relentlessly hard, intense piece for the soloist. The difficult Scherzo is followed by the Passacaglia, then comes immediately the enormous cadenza which leads without a break into the Finale. The violinist is not given the chance to pause and take breath.” Oistrakh begged him to alter the score to allow him eight measures of silence, “so at least I can wipe the sweat off my brow”—which the composer did at the outset of the finale.

Symphony No. 5 in B-flat major, Op. 100 (1944)

SERGEI PROKOFIEV (1891-1953)

World War II was in full swing while Prokofiev worked on this symphony, during the summer of 1944, but he was sheltered from the hostilities, living in an artists’ retreat 150 miles northeast of Moscow. “I regard the Fifth Symphony as the culmination of a long period of my creative life,” he wrote shortly after its premiere. “I conceived of it as glorifying the grandeur of the human

spirit ... praising the free and happy man—his strength, his generosity, and the purity of his soul.” The opening movement, somewhat slower than traditional symphonic first movements, conveys a sense of grandeur and heroism, followed by one of the composer’s most irrepressible scherzos. Its opening melody seems to begin in lighthearted menace and to conclude, just a few measures later, somewhere near Tin Pan Alley. The third movement is a study in elegant lyricism, though not without tragic overtones; and the finale, after reminiscing about some material alluding to the first movement, pours forth with giddy high spirits and optimistic affirmation.

It scored a huge success at its premiere, on an all-Prokofiev program that also included the Classical Symphony and Peter and the Wolf. Its wide-ranging but broadly optimistic spirit combined with the circumstances of wartime patriotism to create a perfect storm of enthusiasm on Soviet stages, and it wasted no time whipping up similar excitement in the

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204

Bravo! Vail Gratefully Acknowledges Support from the Friends of the New York Philharmonic

FIRST CHAIR ($50,000+)

Marijke and Lodewijk de Vink

Georgia and Don Gogel

Lyn Goldstein

Mr. Claudio X. Gonzalez

Linda and Mitch Hart

Leni and Peter May

Amy and James Regan

June and Paul Rossetti

SYMPHONY ($40,000+)

Barbie and Tony Mayer

ENSEMBLE ($30,000+)

Vera and John Hathaway

Billie and Ross McKnight

Ann and Alan Mintz

Kay and Bill Morton

Cathy Stone

IMPRESARIO ($25,000+)

Jayne and Paul Becker

Sarah Friedle and

Michael Towler

Penny and Bill George

Tom Grojean

Didi and Oscar Schafer

Dhuanne and Douglas Tansill

Carol and Pat Welsh

VIRTUOSO ($20,000+)

Kjestine and Peter Bijur

Jean and Harry Burn

Amy and Steve Coyer

Nancy and Andy Cruce

Julie and Tim Dalton

Bill Frick

Karen and Jay Johnson

June and Peter Kalkus

Judy and Alan Kosloff

Ferrell and Chi McClean

Margaret and Alex Palmer

Marcy and Gerry Spector

Lisa Tannebaum and Don Brownstein

Anne and Chris Wiedenmayer

OVATION ($15,000+)

Ron Davis

Liz and Tommy Farnsworth

Mr. and Mrs. Arthur Kelton, Jr.

Carolyn and Steve Pope

Terie and Gary Roubos

Sue and Marty Solomon and P&S Equities, Inc.

Nancy and Harold Zirkin

ALLEGRO ($10,000+)

Suzanne Caruso and Stephen Saldanha

Susan Dobbs

Kathleen and Jack Eck

Carole C. and CDR. John M. Fleming

Martha Head

Cynnie and Peter Kellogg

Dr. and Mrs. Frederick Kushner

Donna and Patrick Martin

Ray Oglethorpe

Linda Farber Post and Kalmon D. Post

Ann and Tom Rader

Carole and Peter Segal

Dr. Kim Schilling

Barbara and Carter Strauss

WEDNESDAY 1:00PM

VAIL INTERFAITH CHAPEL

Janice Carissa, piano (Bravo! Vail 2024 Piano Fellow)

Ariel Lanyi, piano (Bravo! Vail 2024 Piano Fellow)

Anne-Marie McDermott, coach

Selections to be announced from the stage.

The running time of this event is approximately two hours.

INSIDE THE MUSIC

MASTERCLASS

Each year, Artistic Director Anne-Marie McDermott invites two young pianists to live, learn, and perform in Vail for two weeks during the Festival season. These up-and-coming artists benefit immeasurably by performing throughout the Vail community.

Today Ms. McDermott coaches Piano Fellows Janice Carissa and Ariel Lanyi through solo repertoire in front of a live audience. Aspiring classical musicians and their teachers consider masterclasses to be one of the most effective means of musical development, and watching a young artist’s musicianship evolve is a rare and fascinating opportunity.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

Anonymous Eagle County Lodging Tax Marketing Committee

The Judy and Alan Kosloff Artistic Director Chair Town of Vail Vail Religious Foundation

SUPPORT BRAVO VAIL’S EDUCATION & ENGAGEMENT PROGRAMS

ONLINE AUCTION & PADDLE RAISE JULY 12 – 26

Your online bid has real world impact. Bid on and win incredible experiences and unique items this July! Proceeds from the auction support Bravo! Vail’s mission-critical Education & Engagement Programs. These programs provide access, instruction, enrichment, and professional development opportunities, year-round.

ITEMS FOR BIDDING INCLUDE:

n Opportunity to Conduct the New York Philharmonic

n Exclusive Experiences with Festival Musicians

n Unique Adventure Experiences... and more!

JULY 12 – JULY 26

n Bid early, bid often!

n Inspire and support our music-loving community

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

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

SCAN THE CODE TO VIEW ITEMS AND TO PLACE YOUR BID

This QR code goes live on July 10 to view a preview of the items available for bidding! The auction will officially open on July 12.

WEDNESDAY 6:00PM

ORCHESTRAL SERIES

GERALD R. AMPHITHEATER

NEW YORK PHILHARMONIC

Santtu-Matias Rouvali, conductor

Jean-Yves Thibaudet, piano

Lisa Anderson, special guest conductor

BIZET

Les toréadors, from Carmen Suite No. 1 (2 minutes)

FARRENC

Overture No. 2 in E-flat major, Op. 24 (8 minutes)

GERSHWIN

Rhapsody in Blue for Piano and Orchestra (17 minutes)

I NTERMISSION

DVOŘÁK

Symphony No. 8 in G major, Op. 88 (38 minutes)

Allegro con brio

Adagio

Allegretto

Allegro ma non troppo

GERSHWIN’S RHAPSODY IN BLUE

THIS EVENING’S PERFORMANCE IS PRESENTED BY

SARA FRIEDLE AND MICHAEL TOWLER

PENNY AND BILL GEORGE

JUNE AND PETER KALKUS

ANNE AND CHRIS WIEDENMAYER

NANCY AND HAROLD ZIRKIN

SPECIAL GRATITUDE TO The Berry Charitable Foundation

The Sidney E. Frank Foundation

The Friends of the New York Philharmonic

The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY Susan Dobbs

in

SOLOIST SPONSORS

Jean-Yves Thibaudet, piano, sponsored by Gina Browning and Joe Illick

Les toréadors, from Carmen Suite No. 1 (1875)

GEORGES BIZET (1838-75)

Georges Bizet is remembered chiefly as an opera composer—and, for that matter, chiefly as the composer of one opera, Carmen Generations of music-lovers have recognized Carmen as the near-perfect opera, combining as it does an exotic setting in southern Spain with a tale of violent passion and a sublime musical score that offers hit after memorable hit. Its success seemed far from assured when it was new; in fact, many people assumed it would be quietly forgotten along with the rest of Bizet’s output. The tide turned quickly, but Bizet did not live to see that, as he died just three months after the premiere, at the age of 37. Within three years, however, Carmen became embraced internationally as a masterpiece, and as it grew in

Funded

part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail.

The Antlers at Vail, Lodge at Vail, and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

popularity orchestras began presenting suites drawn from the score by various editors. The Carmen Suite No. 1 mostly comprises excerpts that were originally symphonic stretches within the opera. The suite closes with Les toréadors, but it is the music that opens the opera: the festive Act I Prelude, which sets the scene for a sunny day in Seville and a bullring that is never far from the tragedy of Carmen.

Overture No. 2 in E-flat major, Op. 24 (1834)

LOUISE FARRENC (1804-75)

Louise Farrenc (née Dumont) entered the upper echelon of Parisian musicians at a time when French composers normally sought their fortune in the realm of opera, accepting that large-scale instrumental writing was a German domain. Farrenc, however, wrote no operas and instead produced highly esteemed chamber music and orchestral works. Her three symphonies, all produced during the 1840s, received multiple performances in Paris as well as in Brussels, Geneva, and Copenhagen. She had entered the Paris Conservatoire at the age of 15 to study with Antonín Reicha, teacher to Berlioz, Liszt, Gounod, and Franck. She later joined the Conservatoire faculty herself for a three-decade run beginning in 1842, gaining such respect that she convinced the school to pay her on a par with her male colleagues. A virtuoso pianist, she also collaborated with her husband on Le trésor des pianistes, an influential 23-volume collection of keyboard music from earlier times. In 1834 she composed a pair of overtures—one in the minor mode, one in the major (played here). She may have written these symphonic concert overtures—unconnected to stage works—to add to a flurry of discussion in the press concerning Mendelssohn’s concert overtures. One hears in this captivating piece traits we may consider Mendelssohnian or Schubertian; but while such analogies may help contextualize this work, they threaten to discount Farrenc’s individualism.

Rhapsody in Blue for Piano and Orchestra (1924; orch. 1926 by F. Grofé)

GEORGE

GERSHWIN (1898-1937)

On January 3, 1924, George Gershwin read in a newspaper that bandleader Paul Whiteman would shortly present a concert in New York to broaden concertgoers’ conception of what serious American music could be.

“George Gershwin is at work on a jazz concerto,” the article stated—which was news to Gershwin. A phone call elicited Whiteman’s explanation that he had been planning such a concert for some time in the future; but a rival conductor had suddenly announced plans for a similar program of pieces drawing on classical and jazz styles, which forced Whiteman to move up his schedule if he didn’t want to look like a copycat. Given the short lead-time, a full-length concerto was out of the question. But Gershwin would commit to a free-form work, a rhapsody of some sort, that would spotlight him as pianist backed by Whiteman’s band, expanded for the occasion by quite a few instruments. Since Gershwin was uneasy about his skill in orchestrating his piece, Whiteman assigned his staff arranger Ferde Grofé to the task. Everything

fell together in time for Whiteman’s concert on February 12, the “Experiment in Modern Music.” The word “blue” in Gershwin’s title evokes “the Blues,” and, by extension, jazz; but at heart this work’s ancestry lies more in the direction of Liszt and Rachmaninoff than Jelly Roll Morton and W.C. Handy.

Symphony No. 8 in G major, Op. 88 (1889)

ANTONÍN DVOŘÁK (1841-1904)

A late bloomer among composers, Dvořák remained little played outside his native Bohemia until the 20th century. In the Czech lands, however, Dvořák had earned considerable respect by the time he got around to his Eighth Symphony, in 1889, and the following year he dedicated it “for my installation as a member of the Czech Academy of the Emperor Franz Joseph for Sciences, Literature, and Arts,” which inducted him shortly after the premiere. When Dvořák finished this work, his longtime publisher, Fritz Simrock, offered him only 1000 marks, just a third of the fee for his preceding symphony.

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 205

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FIRST CHAIR ($50,000+)

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SYMPHONY ($40,000+)

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ENSEMBLE ($30,000+)

Vera and John Hathaway

Billie and Ross McKnight

Ann and Alan Mintz

Kay and Bill Morton

Cathy Stone

IMPRESARIO ($25,000+)

Jayne and Paul Becker

Sarah Friedle and Michael Towler

Penny and Bill George

Tom Grojean

Didi and Oscar Schafer

Dhuanne and Douglas Tansill

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VIRTUOSO ($20,000+)

Kjestine and Peter Bijur

Jean and Harry Burn

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June and Peter Kalkus

Judy and Alan Kosloff

Ferrell and Chi McClean

Margaret and Alex Palmer

Marcy and Gerry Spector

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OVATION ($15,000+)

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Liz and Tommy Farnsworth

Mr. and Mrs. Arthur Kelton, Jr.

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ALLEGRO ($10,000+)

Suzanne Caruso and Stephen Saldanha

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Fleming

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Ann and Tom Rader

Carole and Peter Segal

Dr. Kim Schilling

Barbara and Carter Strauss

COMMUNITY CONCERT X

The Westerlies

Artist Insights

The rich tradition of shape-note music, a body of work written with a notation system designed to facilitate congregational and social singing, is utterly fascinating. With this program, we present kaleidoscopic arrangements of traditional shape-note hymns alongside original compositions inspired by the musical properties of shape-note singing. Combining concert hall precision with folklike approachability, this approach charts a new course across the vast expanse of the American musical landscape.

—The Westerlies

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Virginia J. Browning

Katherine Clayborne and Thomas Shoup

Marijke and Lodewijk de Vink

Eagle County Lodging Tax Marketing Committee

Cookie and Jim Flaum

Barbie and Tony Mayer

Kathie Mundy and Fred Hessler

Beth Slifer

Cathy Stone

Town of Vail

Jackie and Norm Waite

Carole A. Watters

Vail Religious Foundation

THURSDAY 1:00PM

VAIL INTERFAITH CHAPEL

The Westerlies

Riley Mulherkar and Chloe Rowlands, trumpet

Andy Clausen and Addison Maye-Saxon, trombone

Selections to be announced from the stage.

SOIRÉE IV

Two principal players of the New York Philharmonic join Bravo! Vail Artistic Director Anne-Marie McDermott for an evening of chamber music, or as Mozart called it, “music of friends.”

Appropriately enough for a soirée, the finale to Beethoven’s lighthearted trio features a theme-and-variations finale on a popular tune of the time, Pria ch’io l’impegno (“Before beginning this awesome task, I need a snack”). Having enjoyed an illustrious career, Brahms declared it finished: “I have worked enough; now let the young folks take over.” In early 1891, however, he encountered the clarinet playing of Richard Mühlfeld and was inspired to compose once again, writing four final chamber works, all featuring the clarinet. This trio is perhaps less well known than others (notably the beloved Clarinet Quintet) but is nonetheless a masterpiece of thematic variation, lyrical invention, and elegance.

THIS EVENING’S HOSTS

Alysa and Jonathan Rotella

SPECIAL GRATITUDE

at Beaver Creek Bravo! Vail Gratefully Acknowledges Support for This Evening’s Soirée

Linda and Mitch Hart

The Judy and Alan Kosloff Artistic Director Chair

THURSDAY 6:00PM

THE LINDA & MITCH HART SOIRÉE SERIES

ROTELLA RESIDENCE

Anthony McGill, clarinet Carter Brey, cello Anne-Marie McDermott, piano

BEETHOVEN Piano Trio in B-flat major, Op. 11 (22 minutes)

Allegro con brio

Adagio

Tema con variazioni

BRAHMS Clarinet Trio in A minor, Op. 114 (27 minutes)

Allegro

Adagio

Andantino grazioso

Allegro

Catered by Mirabelle at Beaver Creek

ANTHONY MCGILL

CARTER BREY ANNE-MARIE MCDERMOTT

FRIDAY 11:00AM

MUSIC BOX SERIES

EDWARDS FIELD HOUSE PARKING LOT, EDWARDS

JUL

FRIDAY 6:00PM MUSIC BOX SERIES

SINGLETREE PAVILION, EDWARDS

The Westerlies

Riley Mulherkar and Chloe Rowlands, trumpet

Andy Clausen and Addison Maye-Saxon, trombone

Selections to be announced from the stage.

MUSIC BOX SERIES

THE WESTERLIES

Taking its name from the prevailing winds that travel from the west to the east, the ensemble known as The Westerlies explores jazz, roots, and chamber music influences. From Carnegie Hall to Coachella to Edwards, the group engages listeners of all ages and abilities with their innovative mission: “to create a bold and personal chamber music experience imbued with the spirit of improvisation, using their four horns to amplify unheard voices, paint new sonic landscapes, and cultivate a global community.”

Edwards Field House performance presented in partnership with the Eagle Valley Community Foundation.

Marijke and Lodewijk de Vink Eagle County Lodging Tax Marketing Committee Bravo! Vail Gratefully Acknowledges Support for These Concerts

27

SATURDAY 11:00AM

MUSIC BOX SERIES

LAKE CREEK VILLAGE, EDWARDS

The Westerlies

Riley Mulherkar and Chloe Rowlands, trumpet

Andy Clausen and Addison Maye-Saxon, trombone

Selections to be announced from the stage.

THE WESTERLIES

2:00PM

COMMUNITY CONCERTS

TABOR OPERA HOUSE, LEADVILLE

The Westerlies

Riley Mulherkar and Chloe Rowlands, trumpet

Andy Clausen and Addison Maye-Saxon, trombone

Selections to be announced from the stage.

COMMUNITY CONCERT XI

The Westerlies

Artist Insights

Since our ensemble formed in 2011, we have been steadfast in our mission to expand the canon of brass chamber music through original compositions and arrangements. In this “Songbook” program, we offer our own works alongside arrangements from a diverse range of songwriters including Woody Guthrie, Duke Ellington, Judee Sill, Randy Newman, and The Golden Gate Quartet, painting a personal and inclusive picture of American music over the past century.

—The Westerlies

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Marijke and Lodewijk de Vink

Lyric Theatre of Leadville Tabor Opera House Preservation Foundation Bravo!

COMMUNITY CONCERT XII

The Westerlies

Artist Insights

This program features music from our latest critically-acclaimed albums

Move and Wherein Lies the Good. Traditional expectations of brass repertoire are turned on their heads as the lines between jazz, classical, and folk traditions are blurred. Our goal is to craft a sound that is warm and tactile, bold and expressive, at once familiar and completely our own.

—The Westerlies

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GYPSUM TOWN HALL

The Westerlies

Riley Mulherkar and Chloe Rowlands, trumpet

Andy Clausen and Addison Maye-Saxon, trombone

Selections to be announced from the stage.

Marijke and Lodewijk de Vink

Eagle County Lodging Tax Marketing Committee Town of Gypsum

INSIDE THE MUSIC

discovering classical guitar with the dublin guitar quartet

While their instruments might be traditional Spanish-style classical guitars, their approach is anything but traditional. The first classical guitar quartet entirely devoted to new music, the members of the Dublin ensemble bring their unique perspective on one of the oldest of instruments to Bravo! Vail audiences.

Guitar Quartet’s international touring is supported by Culture Ireland

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

TUESDAY 1:00PM

INSIDE THE MUSIC

VAIL INTERFAITH CHAPEL

Dublin Guitar Quartet

Brian Bolger

Pat Brunnock

Chien Buggle

Thomas O’Durcain

Mountain Pride is a nonprofit dedicated to embracing, strengthening, celebrating, and supporting our diverse LGBTQIA+ communities and allies across the mountains of Colorado.

Dublin

The Carrington Classical Guitar Fund Eagle County Lodging Tax Marketing Committee Town of Vail Vail Religious Foundation

ARTISTRY IN ABUNDANCE

CLASSICALLY UNCORKED

JULY 31 ~ AUGUST 1 // 2024

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

Dublin Guitar Quartet headlines the bold 2024 season of Classically Uncorked with an all-Philip Glass program, and an electrifying arrangement of Stravinsky’s groundbreaking Rite of Spring

Bravo! Vail Gratefully

Acknowledges the Support of the Following Patrons

Applejack Wine and Spirits

The Carrington Classical Guitar Fund

Jackson Family Wines

The Judy and Alan Kosloff

Artistic Director Chair

Town of Vail

WEDNESDAY 7:00PM

CLASSICALLY UNCORKED SERIES

DONOVAN PAVILION

Dublin Guitar Quartet

Brian Bolger

Pat Brunnock

Chien Buggle

Thomas O’Durcain

PHILIP GLASS

String Quartet No. 3, Mishima (20 minutes)

I. 1957: Award Montage

II. November 25—Ichigaya

III. Grandmother and Kimituke

IV. 1962: Body Building

V. Blood Oath

VI. Mishima/Closing

String Quartet No. 2, Company (9 minutes)

I. �� = 96

II. �� = 160

III. �� = 96

IV �� = 160

— I NTERMISSION —

Selections from Etudes for Solo Piano (35 minutes)

All transcriptions by Brian Bolger and the Dublin Guitar Quartet

CLASSICALLY UNCORKED I

Dublin Guitar Quartet’s international touring is supported by Culture Ireland expanse through incremental changes in sustained sounds; or, alternatively, their individual sounds might themselves be sustained far longer than the ear was accustomed to. In either case, the effect could be at once static and energized, the sounds vivid and eminently apprehensible. Some listeners complained that Minimalism was too easy; and yet, in the context of the serial complexity that dominated academic new music at that time, it was refreshing to the ear, as cleansing to the sonic psyche as a spoonful of sorbet between courses of intricately spiced dishes.

This evening’s wine provided by Applejack Wine and Spirits and Jackson Family Wines

PHILIP GLASS (B. 1937)

String Quartet No. 3, Mishima (1985)

String Quartet No. 2, Company (1983)

Selections from Etudes for Solo Piano (1994-95 and 2012)

Philip Glass remains the most popularly recognized of the Minimalist composers who came of age in the late 1960s. The materials of classic Minimalist music were reduced to bare essentials; its composers reveled in doing much with little. Early Minimalist works might typically involve pulsating rhythmic and/or melodic repetitions that transformed gradually over a long

Glass’s teachers included Vincent Persichetti, Darius Milhaud, and William Bergsma, and in the early 1960s he spent two years studying

with Nadia Boulanger in Paris, where he also worked with the sitar virtuoso Ravi Shankar. He was well schooled in traditional methods of composition but, buoyed by sounds he encountered while traveling in India and Africa, he embraced the Minimalist esthetic, principally unveiling his new works through his own group, the Philip Glass Ensemble—seven musicians playing keyboards and wind instruments, with electronic mixing and amplification. Even at that time he was not enamored of the term Minimalist, preferring to speak of “music with repetitive structures.”

Many of Glass’s works display a large-scale conception, such as his 14 symphonies, 13 concertos for various instruments, nine string quartets, and 15 full-scale operas (including such established classics such as Einstein on the Beach, Satyagraha, Akhnaten, and The Voyage). A niche of his catalog is devoted to film scores, including The Thin Blue Line and The Hours, in

addition to the Qatsi trilogy directed by Godfrey Reggio: Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi. He has been much honored for his achievements, with awards including membership in the Ordre des Arts et des Lettres (as Chevalier) and the American Academy of Arts and Letters, the Praemium Imperiale of Japan, the National Medal of Arts, and the Glenn Gould Prize. In 2018 he was recognized with the Kennedy Center Honors.

His String Quartet No. 3, Mishima (1985) comprises six movements arranged from his score for Paul Schrader’s film Mishima: A Life in Four Chapters, a stylized treatment of the life of the 20th-century author Yukio Mishima, who, after directing a failed coup against Japan’s Armed Forces, committed ritual suicide. Glass wrote: “The film follows a complex narrative structure which divides the life of this famous contemporary Japanese novelist into 3 parts—his childhood, his mature years, and the last day of his life. These subjects were intercut to produce a shifting kaleidoscopic vision of Mishima’s life. The scenes of his childhood were filmed in black and white and scored for string quartet. At the time of writing the film music, I anticipated the string quartet section would be extracted from the film score and made into a concert piece in its own right.”

String Quartet No. 2, Company, was derived from music Glass wrote for an adaptation of Samuel Beckett’s 1979 autobiographical novella (or prose poem) of that name; the adaptation was made by actor-director Frederick Neumann for the experimental performance group Mabou Mines, of which he and Glass were both members and with which Glass has been affiliated for more than half a century. Unlike the Third Quartet, the Second makes no explicit reference to the narrative of its source. In fact, Glass labels its four movements in the most objective way possible, identifying them simply with metronome markings. Glass commented: “I liked the idea of using the medium of the string quartet that would allow for both an introspective and passionate quality well suited to the text. Beckett picked four places in the work which he referred to as the ‘interstices, as it were.’ Not surprisingly

these four short movements have turned out to be a thematically cohesive work which now, as my String Quartet No. 2, has taken on a life of its own.”

As an emerging composer, Glass formed the Philip Glass Ensemble in 1968 to perform his works. The group consisted of amplified wood-winds and keyboards, singers, and (beginning in 1970) an indispensable sound engineer. He himself served as a keyboard player, and he began writing etudes as personal exercises for advancing his keyboard technique. His friend Dennis Russell Davies, a conductor-and-pianist who had been championing his music, was so taken by the idea that in 1994 he commissioned Glass to compose a set of six piano etudes; and that project then expanded to ten—the Études for Solo Piano, Book One. A second set of ten was premiered in 2012 and published two years later—the Études for Solo Piano, Book Two. Book One focuses on specific techniques generally required for rendering the composer’s music, such as adhering to unvarying tempos or playing repetitive figures over long time spans without inducing muscular fatigue. Book Two tends toward pieces of more wideranging conception and, arguably, of greater difficulty. The Études for Solo Piano have proved popular with choreographers, and pianists have embraced them not just as studies to address technical matters but as rewarding concert pieces in their own right.

Bravo! Vail Gratefully

Acknowledges the Support of the Following Patrons

Applejack Wine and Spirits

The Carrington Classical

Guitar Fund

Jackson Family Wines

The Judy and Alan Kosloff

Artistic Director Chair

Town of Vail

DUBLIN GUITAR QUARTET

THURSDAY 7:00PM

CLASSICALLY UNCORKED SERIES

DONOVAN PAVILION

Dublin Guitar Quartet

Brian Bolger

Pat Brunnock

Chien Buggle

Thomas O’Durcain

KILAR

Orawa (10 minutes)

LIGETI

Inaktelki nóták (Notes from Inaktelke) (5 minutes)

Sej, hideg sincsen (Hey, it’s not even cold)

Úri bicsok, nincsen nyele (Sir, you have no handle)

Én az uccán már végig se mehetek (I can’t even walk down the street any more)

Reprise: Úri bicsok

Mátraszentimrei dalok (Songs from Mátraszentimre) (5 minutes)

Három hordó (Three barrels)

Igaz szerelem (True love)

Gomb, gomb (Button, button)

Erdőbe, erdőbe (To the forest, to the forest)

NIKITA KOSHKIN

Changing the Guard (10 minutes)

CLASSICALLY UNCORKED II 1

NTERMISSION

STRAVINSKY

The Rite of Spring (35 minutes)

Part One: The Adoration of the Earth

Introduction

Augurs of Spring (Dance of the Adolescent Girls)

Mock Abduction

Spring Rounds

Ritual of Rival Tribes

Procession of the Sage

The Adoration of the Earth (the Sage)

Dance of the Earth

Part Two: The Sacrifice

Introduction

Mystical Cycle of the Young Girls

Glorification of the Chosen One

Evocation of the Ancestors

Ritual Action of the Ancestors

Sacrificial Dance (the Chosen One)

All works except Koshkin transcribed by Brian Bolger and the Dublin Guitar Quartet

Dublin Guitar Quartet’s international touring is supported by Culture Ireland

Orawa (1986)

WOJCIECH KILAR (1932-2013)

Born in Lwów, Poland (now Lviv, Ukraine), Wojciech Kilar studied at the State Academy of Music in Katowice before continuing with graduate work in composition at the analogous conservatory in Kraków. A work of his was included in the first Warsaw Autumn Festival in 1956, the event that gave Poles their first exposure to where modern music had traveled in recent decades. He expanded his horizons through study at the Darmstadt Summer Courses (an avant-garde hotbed) and with Nadia Boulanger in Paris. He also became active as a film composer, writing more than a hundred soundtracks and achieving international acclaim through his music for Francis Ford Coppola’s Bram Stoker’s Dracula, Jane Campion’s The Portrait of a Lady, and Roman Polanski’s The Pianist, among

other productions. His absorption of Minimalism is evident in Orawa (1986), its title referring to a region of the Carpathian Mountains in southern Poland that provided folk inspiration. Originally scored for string orchestra, it has been arranged for numerous other ensembles. Kilar avoided commenting about his works—“This may be because I am afraid to anticipate the listener’s own reaction,” he explained—but he did allow this much in a 1997 interview: “Orawa is the only piece in which I wouldn’t change a single note, though I have looked at it many times.”

Inaktelki nóták (Notes from Inaktelke, 1953)

Mátraszentimrei dalok (Songs from Mátraszentimre, 1955)

GYÖRGY LIGETI (1923-2006)

Growing up in a Jewish family in Hungary in turn dominated by Hitler and Stalin, György Ligeti

nonetheless managed to acquire a firm musical education, spending the years immediately following World War II at the Budapest Academy of Music. While producing the stream of folk-based choral music that was de rigueur in Hungary at the time, he also worked on experimental pieces, which he prudently kept to himself. He became part of the Hungarian exodus of 1956 and settled in Germany, where he soaked up the thriving culture of contemporary music. He emerged as one of the leading lights of contemporary music, producing a large catalog of surpassing imagination. But that lay in the future when he wrote the pieces arranged here from his original choral settings of folk songs. He harbored personal affection for the folk music of his region. “I grew up in a Hungarian-speaking environment in Transylvania,” he wrote. “I was three when I first encountered Romanian folk music, an alpenhorn player in the Carpathian Mountains.” After graduating from conservatory, he spent some months collecting Transylvanian folk music and wrote a scholarly paper analyzing its elements. In this concert we hear two sets of his arrangements of

short folk songs from specific villages— three (plus a repeat of one of them) from Inaktelke (a.k.a. Inucu) in northwest Romania, four from Mátraszentimre in north-central Hungary.

Changing the Guard (1994)

NIKITA KOSHKIN (B.1956)

Growing up in Moscow, Nikita Koshkin listened to what most of his friends did: rock music. But when he was 14, he received from his grandfather the gift of a guitar and a recording of Andrés Segovia. This re-oriented his musical taste and led to guitar instruction at the Moscow College of Music (he graduated in 1977) and the famous Gnesin Institute, where he also took composition lessons. He developed a touring career as a soloist, which continues to this day, but he also focused on writing music for his own instrument, often crafting programmatic pieces exploring various narratives. By the 1980s, his guitar compositions were being taken up by other notable performers, including guitarist John Williams, the Assad Duo, and the Amsterdam Guitar Trio. He has produced a substantial body of works for solo guitar, for variously constituted guitar ensembles, and for guitar in combination with other instruments or voice. His Usher-Waltz (1984), inspired by Edgar Allan Poe’s tale The Fall of the House of Usher, has entered the roster of essential guitar repertoire. As its title suggests, his Changing the Guard evokes the sounds of a parade ground, with the four players achieving unusual instrumental effects, from brash angularity and violent chords to quiet pointillism.

The Rite of Spring (1911-13)

IGOR STRAVINSKY (1882-1971)

Igor Stravinsky was famous before May 29, 1913, but the premiere that day of the ballet The Rite of Spring catapulted him, and 20th-century music, onto a path of modernism from which there was no turning back. It was an all-star event produced by Serge Diaghilev’s trend-setting Ballets Russes, whose press release, printed in several Paris newspapers, tantalized through references to “frenetic human clusters wrenched incessantly by the

This

most astonishing polyrhythm ever to come from the mind of a musician,” promising “a new thrill which will surely raise passionate discussions, but which will leave all true artists with an unforgettable impression.” The danced portrayal was in itself shocking, but the music was unlike anything heard before, embracing fierce dissonance, barbaric rhythms, and pagan eroticism. A large orchestra brought all of these into play, plus imaginative orchestration, constantly changing meters, and a nearly unbearable sense of tension—in the ballet’s second part, depicting a pagan sacrifice in ancient Russia. Audible protests accompanied the performance from the opening bars, but things stayed somewhat under control until halfway into the Introduction—which is to say, for about the first minute of the score. Then, to quote Stravinsky, they escalated into “demonstrations, at first isolated, [which] soon became general, provoking counter-demonstrations and very quickly developing into a terrific uproar.” Thus was history made.

DUBLIN GUITAR QUARTET

TOGETHER MAKE MEMORIES

2024

BURNING SPEAR

WED | JUNE 5

BRIT FLOYD The World’s Greatest Pink Floyd Experience

SUN | JUNE 30

MON | JULY 1

TANYA TUCKER

FRI | JULY 5

ADAM TRENT The Next Generation of Magic

SAT | JULY 6

BOB REYNOLDS GROUP Presented in the May Gallery

TUE | JULY 9

BLACKBERRY SMOKE

WED | JULY 10

THU | JULY 11

Comedian TOM PAPA

FRI | JULY 12

STRAIGHT NO CHASER Summer: The 90s

FRI | JULY 19

BEN FOLDS Paper Airplane Request Tour

TUE | AUG 6

HAIRBALL A Bombastic Celebration of Arena Rock THU | AUG 8

CLINT BLACK 35th Anniversary of Killin’ Time

FRI | AUG 9

BERNADETTE PETERS with Members of the Colorado Symphony THU | AUG 22

Comedian COLIN JOST

FRI | AUG 23

GEORGE THOROGOOD & The Destroyers

WED | AUG 28

PUPPY PALS LIVE!

SUN | SEPT 8

RODRIGO Y GABRIELA

TUE | SEPT 10

ELI YOUNG BAND SAT | SEPT 21

WILD WOLVES OF YELLOWSTONE National Geographic Live SUN | SEPT 22

SINFÓNICA DE MINERÍA

Carlos Miguel Prieto

Artistic Director

FIRST VIOLINS

Shari Mason, Concertino

Eva Liebhaber

Carlos Gandara

Ekaterine Martinez

Olga Pogodina

Roberto Bustamante

Carlos Lot

Mariana Andrade

Franklin Bolivar

Ksenia Matelinayte

SECOND VIOLINS

Mariana Valencia, Principal

Juan Sosa

David Ramos

Patricia Cole

Isaí Pacheco

Maria Belmonte

Angeles Escalante

Donaji Espinosa

VIOLAS

Gerardo Sanchez, Principal

Erika Ramirez

Carlos Guadarrama

Judith Reyes

Marisol Gonzalez

Olga Aragón

CELLOS

William Molina Cestari, Principal

Fabiola Flores

Roberto Herrera

Rodrigo Duarte

BASSES

Jesús Bustamante, Principal

Carlos Rodríguez

FLUTES AND PICCOLO

Alethia Lozano, Principal

Erika Flores

Ernesto Diez de Sollano

OBOES AND ENGLISH HORN

Claire Kostic, Principal

Rolando Cantu

CLARINETS AND BASS CLARINET

Hector Noriega, Principal

Luis Zamora

Rodrigo Garibay

BASSOONS

David Ball, Principal

Katia Osorio

HORNS

Gerardo Diaz, Principal

Mateo Ruiz

Armando Lavariega

Orlando Segovia

Julie Rochus

TRUMPETS

James Ready, Principal

Juan Luis Gonzalez

Jesus Flores

TROMBONES AND TUBA

Iain Hunter, Principal

Alejandro Santillan

Diego Fonseca

Eric Fritz, Principal

TIMPANI AND PERCUSSION

Gabriela Jimenez, Principal

Samir Pascual

Javier Perez

Miguel Hernandez

Topacio Ortiz

Victor Ruiz

HARP

Caroline Bembia, Principal

PIANO AND CELESTA

Edith Ruiz, Principal

TOUR MANAGER

Claudia Hinojosa

LIBRARIAN AND LOGISTICS

Armando Castillo

Alfredo Lozada

ARTISTIC COORDINATOR

Robert Schwendeman

Rosa Maria Navarrete, Assistant

DALLAS SYMPHONY ORCHESTRA

Fabio Luisi

Music Director

Louise W. & Edmund J. Kahn Music Directorship

Jeff Tyzik

Principal Pops Conductor

Dot & Paul Mason Podium

Enrico Lopez-Yañez

Principal Conductor of Dallas Symphony Presents

Nancy A. Nasher & David J. Haemisegger Chair

Maurice Cohn

Assistant Conductor

Marena & Roger Gault Chair

Anthony Blake Clark

Chorus Director

Jean D. Wilson Chair

Ellie Lin

Dallas Symphony Children’s Chorus Artistic Director

Sophia Jani

Composer-in-Residence

VIOLIN I

Alexander Kerr

Concertmaster

Michael L. Rosenberg Chair

Nathan Olson ** Co-Concertmaster

Fanchon & Howard

Hallam Chair

Emmanuelle Boisvert

Associate Concertmaster

Robert E & Jean Ann

Titus Family Chair

Eunice Keem

Associate Concertmaster

Marcella Poppen Chair

Diane Kitzman

Principal

Filip Fenrych

W. Paul Radman, DDS & Jane Vandecar Chair

Maria Schleuning

Norma & Don Stone Chair

Lucas Alemán

Dallas Symphony Orchestra

League Chair

Jenna Barghouti **

Marie A. Moore Chair

Gary Levinson

Senior Principal Associate

Concertmaster Emeritus

Enika Schulze Chair

Mary Reynolds

Andrew Schast

Nelly Crooks Bigham Chair

VIOLA

Meredith Kufchak

Principal

Hortense & Lawrence S.

Pollock Chair

Matthew Sinno

Associate Principal

Sarah Sung

Associate Principal

Pamela Askew **

Thomas Demer

Valerie Dimond **

Dr. James E. Skibo Chair

Christine Hwang

Keith Verges Chair

Sarah Kienle **

Xiaohan Sun **

Maisie Heiken Chair

David Sywak

Anonymously Endowed Chair

Pedro Pablo Mendez

Torrealba ^

DJ Cheek +

Ute Miller +

Eve Tang +

CELLO

Christopher Adkins

Principal

Fannie & Stephen S.

Kahn Chair

Theodore Harvey

Associate Principal

Holly & Tom Mayer Chair

Jolyon Pegis **

Associate Principal

Joe Hubach Chair

Jeffrey Hood

Greg & Kim Hext Chair

Jennifer Yunyoung Choi

Wolfe Gruber Chair

Kari Kettering

Donna & Herbert Weitzman

Chair, in honor of Juanita & Henry S. Miller, Jr.

Minji Kim

Zexun (Jason) Shen

Lev Aronson Chair, Endowed by Betty Taylor Cox

Nan Zhang **

Keeon Guzman ^ **

Noémie Golubovic +

Marie-Thaïs Oliver + Emileigh Vandiver +

Motoi Takeda

Associate Concertmaster

Emeritus

Daphne Volle

Bruce Wittrig

Susan & Woodrow Gandy Chair

Giyeon Yoon

Kaori Yoshida *

VIOLIN II

Angela Fuller Heyde

Principal

Barbara K. & Seymour

R. Thum Chair

Alexandra Adkins

Associate Principal

Sho-mei Pelletier **

Associate Principal

Bing Wang

Bruce Patti *

Rita Sue & Alan Gold Chair

Mariana Cottier-Bucco **

Debra & Steve Leven Chair

Lilit Danielyan

Hyorim Han

Shu Lee

Jimin Lim

Nora Scheller **

Aleksandr Snytkin *

Lydia Umlauf **

Jina Lee-Alemán +

Samantha Bennett*+

Willa Henigman

Associate Principal

Brent Ross

David Matthews

+ English Horn

Karen & Jim Wiley Chair

CLARINET

Gregory Raden

Principal

Mr. & Mrs. C. Thomas May, Jr. Chair

Vacant

Associate Principal + E-Flat

Robert E. & Ruth Glaze Chair

Stephen Ahearn

Second Clarinet + Acting

Associate Principal + E-flat

Courtney & Andrew Nall Chair

Stephanie Key

Vacant

Bass Clarinet + Utility

Marci Gurnow +

Bass Clarinet + Utility

BASSOON

Ted Soluri

Principal

Irene H. Wadel &

Robert I. Atha, Jr. Chair

Scott Walzel **

Associate Principal

Barbara & Robert P. Sypult Chair

Tom Fleming

Peter Grenier

+ Contrabassoon

Jaquain Sloan ^

HORN

Daniel Hawkins

Principal

Howard E. Rachofsky Chair

David Heyde **

Associate Principal

Linda VanSickle Chair

Alexander Kienle

Assistant Principal + Utility

Haley Hoops

Becky & Brad Todd Chair

Yousef Assi **

Kevin Haseltine **

Reese Farnell +

Patrick Hodge +

Stacie Mickens +

Russell Rybicki +

BASS

Nicolas Tsolainos

Principal Anonymously Endowed Chair

Roger Fratena

Associate Principal

Paula Holmes Fleming

Brian Perry

Caleb Quillen

Clifford Spohr

Principal Emeritus

Thomas Lederer **

Co-Principal Emeritus

FLUTE

David Buck

Principal

Joy & Ronald Mankoff Chair

Hayley Grainger

Associate Principal

Barbara Rabin Chair

Kara Kirkendoll Welch

Caroline Rose Hunt Chair

James Romeo

Piccolo

Jung-Wan Kang +

OBOE

Erin Hannigan

Principal

Nancy P. & John G.

Penson Chair

TRUMPET

Stuart Stephenson

Principal

Diane & Hal Brierley Chair

L. Russell Campbell

Associate Principal

Yon Y. Jorden Chair

Kevin Finamore

Assistant Principal

Ryan Anthony Chair

Elmer Churampi

Graham & Brenda Gardener Chair

TROMBONE

Barry Hearn Principal

Cece & Ford Lacy Chair

Christopher Oliver

Associate Principal

Brian Hecht

Utility Trombone

Darren McHenry Bass Trombone

TUBA

Matthew Good Principal

Dot & Paul Mason Chair

TIMPANI

Brian Jones

Principal

Dr. Eugene & Charlotte

Bonelli Chair

Robert O’Brien

Assistant Principal

PERCUSSION

George Nickson

Principal

Margie & William H. Seay Chair

Daniel Florio

Associate Principal

Robert O’Brien

David DePeters +

Brad Wagner +

HARP

Emily Levin

Principal

Elsa von Seggern Chair

Michelle Gott +

ORGAN

Bradley Hunter Welch **

Resident Organist Lay Family Chair

KEYBOARD

Jeanne R. Johnson Chair

Gabriel Sanchez

Classical

Anastasia Markina **

Classical

Brian Piper

Pops

GUITAR

Ethan Stalbaum

SAXOPHONE

Scott Plugge + Tim Roberts +

Wil Swindler +

LIBRARY

Karen Schnackenberg

Principal

Jessie D. & E. B.

Godsey Chair

Mark Wilson

Associate Principal

Robert Greer **

Assistant

Melanie Gilmore **

Choral

PERSONNEL MANAGEMENT

Nishi Badhwar

Olga & Yuri Anshelevich

Manager of Orchestra

Personnel

Scott Walzel

Consultant for Community Development & Outreach

Christopher Oliver

Auditions Coordinator

STAGE

Shannon Gonzalez

Stage Manager

Alan Bell

Assistant Stage Manager

Kenneth Winston

Lighting Board Operator

KEY

* Performs in both Violin I and Violin II sections

** On leave

+ Guest Artist

^ 2023-24 Season DSO

Diversity Fellow

THE PHILADELPHIA ORCHESTRA

Yannick Nézet-Séguin

Music and Artistic Director

Walter and Leonore Annenberg Chair

Nathalie Stutzmann

Principal Guest Conductor

Ralph and Beth Johnston Muller Chair

Austin Chanu and Tristan Rais-Sherman

Assistant Conductors

Joseph Conyers

Education and Community Ambassador

Mark and Tobey Dichter Chair

Charlotte Blake Alston

Storyteller, Narrator, and Host

Osagie and Losenge Imasogie Chair

Frederick R. Haas

Artistic Advisor

Fred J. Cooper Memorial Organ Experience

FIRST VIOLINS

David Kim, Concertmaster

Dr. Benjamin Rush Chair

Juliette Kang, First Associate Concertmaster

Joseph and Marie Field Chair

Christine Lim, Associate Concertmaster

Marc Rovetti, Assistant Concertmaster

Dr. James F. Dougherty Chair

Barbara Govatos

Robert E. Mortensen Chair

Jonathan Beiler

Hirono Oka

Richard Amoroso

Robert and Lynne

Pollack Chair

Yayoi Numazawa

Jason DePue

Larry A. Grika Chair

Jennifer Haas

Miyo Curnow

Elina Kalendarova

Daniel Han

Julia Li

William Polk Mei Ching Huang

SECOND VIOLINS

Kimberly Fisher, Principal

Peter A. Benoliel Chair

Paul Roby, Associate Principal Sandra and David Marshall Chair

Dara Morales, Assistant Principal

Anne M. Buxton Chair

Philip Kates

Peter A. Benoliel Chair

Davyd Booth

Paul Arnold

Joseph Brodo Chair, given by Peter A. Benoliel

Boris Balter

Amy Oshiro-Morales

Yu-Ting Chen

Jeoung-Yin Kim

Willa Finck

VIOLAS

Choong-Jin Chang, Principal

Ruth and A. Morris

Williams, Jr., Chair

Kirsten Johnson, Associate Principal

Kerri Ryan, Assistant Principal

Judy Geist

Renard Edwards

Anna Marie Ahn Petersen

Piasecki Family Chair

David Nicastro

Burchard Tang

Che-Hung Chen

Rachel Ku

Marvin Moon

Meng Wang

CELLOS

Hai-Ye Ni, Principal

Priscilla Lee, Associate Principal

Yumi Kendall, Assistant Principal

Elaine Woo Camarda and A. Morris Williams, Jr., Chair

Richard Harlow

Orton P. and Noël S.

Jackson Chair

Kathryn Picht Read

Robert Cafaro

Volunteer Committees

Chair

Ohad Bar-David

John Koen

Derek Barnes

Alex Veltman

BASSES

Joseph Conyers, Principal

Carole and Emilio Gravagno Chair

Gabriel Polinsky, Associate Principal

Nathaniel West, Acting Assistant Principal

David Fay

Duane Rosengard

Michael Franz

Christian Gray

Some members of the string sections voluntarily rotate seating on a periodic basis.

FLUTES

Jeffrey Khaner, Principal

Paul and Barbara Henkels Chair

Patrick Williams, Associate Principal

Rachelle and Ronald Kaiserman Chair

Olivia Staton

Erica Peel, Piccolo

OBOES

Philippe Tondre, Principal

Samuel S. Fels Chair

Peter Smith, Associate Principal

Jonathan Blumenfeld

Edwin Tuttle Chair

Elizabeth Starr Masoudnia, English Horn

Joanne T. Greenspun Chair

CLARINETS

Ricardo Morales, Principal

Leslie Miller and Richard Worley Chair

Samuel Caviezel, Associate Principal

Sarah and Frank Coulson Chair

Socrates Villegas

Paul R. Demers, Bass Clarinet

Peter M. Joseph and

Susan Rittenhouse

Joseph Chair

BASSOONS

Daniel Matsukawa, Principal

Richard M. Klein Chair

Mark Gigliotti, Co-Principal

Angela Anderson Smith

Holly Blake, Contrabassoon

HORNS

Jennifer Montone, Principal Gray Charitable Trust Chair

Jeffrey Lang, Associate Principal

Hannah L. and J. Welles

Henderson Chair

Christopher Dwyer

Chelsea McFarland

Ernesto Tovar Torres

Shelley Showers

TRUMPETS

(position vacant) Principal

Marguerite and Gerry Lenfest Chair

Jeffrey Curnow, Associate Principal

Gary and Ruthanne Schlarbaum Chair

Anthony Prisk

TROMBONES

Nitzan Haroz, Principal

Neubauer Family Foundation Chair

Matthew Vaughn, Co-Principal

Blair Bollinger, Bass Trombone

Drs. Bong and Mi Wha

Lee Chair

TUBA

Carol Jantsch, Principal

Lyn and George M. Ross Chair

TIMPANI

Don S. Liuzzi, Principal

Dwight V. Dowley Chair

Angela Zator Nelson, Associate Principal

PERCUSSION

Christopher Deviney, Principal

Charlie Rosmarin, Associate Principal

Angela Zator Nelson

PIANO AND CELESTA

Kiyoko Takeuti

KEYBOARDS

Davyd Booth

HARP

Elizabeth Hainen, Principal

LIBRARIANS

Nicole Jordan, Principal

Holly Matthews

STAGE PERSONNEL

Dennis Moore, Jr., Manager

Francis “Chip” O’Shea III

Aaron Wilson

NEW YORK

PHILHARMONIC

JAAP van ZWEDEN

Music Director

Leonard Bernstein

Laureate Conductor, 1943–1990

Kurt Masur

Music Director Emeritus, 1991–2015

VIOLINS

Frank Huang

Concertmaster

The Charles E. Culpeper Chair

Sheryl Staples

Principal Associate Concertmaster

The Elizabeth G. Beinecke Chair

Michelle Kim

Assistant Concertmaster

The William Petschek

Family Chair

Quan Ge

Hae-Young Ham

The Mr. and Mrs. Timothy M.

George Chair

Lisa GiHae Kim

Kuan Cheng Lu

Kerry McDermott

Su Hyun Park+

Anna Rabinova

Fiona Simon

The Shirley Bacot

Shamel Chair

Audrey Wright

Sharon Yamada

Elizabeth Zeltser+

The William and Elfriede Ulrich Chair

Andi Zhang

Yulia Ziskel

The Friends and Patrons Chair

Qianqian Li+

Principal

Lisa Eunsoo Kim*

In Memory of Laura Mitchell

Soohyun Kwon

The Joan and Joel I. Picket Chair

Duoming Ba

Hannah Choi

The Sue and Eugene Mercy, Jr. Chair

I-Jung Huang

Dasol Jeong

Alina Kobialka

Hyunju Lee

Kyung Ji Min

Marié Schwalbach

Na Sun

The Gary W. Parr Chair

Jin Suk Yu+

David Southorn++

Jungsun Yoo++

VIOLAS

Cynthia Phelps

Principal

The Mr. and Mrs. Frederick P. Rose Chair

Rebecca Young*

The Joan and Joel Smilow Chair

Cong Wu**

The Norma and Lloyd Chazen Chair

Dorian Rence

Sofia Basile

Leah Ferguson

Katherine Greene

The Mr. and Mrs. William J. McDonough Chair

Vivek Kamath

Peter Kenote

Kenneth Mirkin

Tabitha Rhee

Robert Rinehart

The Mr. and Mrs. G. Chris Andersen Chair

CELLOS

Carter Brey

Principal

The Fan Fox and Leslie R. Samuels Chair

Matthew Christakos*

The Paul and Diane

Guenther Chair

Patrick Jee

Elizabeth Dyson

The Mr. and Mrs. James E. Buckman Chair

Alexei Yupanqui Gonzales

Claire Kim

Maria Kitsopoulos

The Secular Society Chair

Sumire Kudo

John Lee

Qiang Tu

Nathan Vickery+

Ru-Pei Yeh

The Credit Suisse Chair in honor of Paul Calello

Michael Katz++

BASSES

Timothy Cobb

Principal

Max Zeugner*

The Herbert M. Citrin Chair

Blake Hinson**

Satoshi Okamoto

Randall Butler

The Ludmila S. and Carl B. Hess Chair

David J. Grossman

Isaac Trapkus

Rion Wentworth

FLUTES

Robert Langevin

Principal

The Lila Acheson

Wallace Chair

Alison Fierst*+

Yoobin Son

Mindy Kaufman

The Edward and Priscilla Pilcher Chair

Lauren Scanio++

PICCOLO

Mindy Kaufman

OBOES

Liang Wang+

Principal

The Alice Tully Chair

Sherry Sylar*

Robert Botti

The Lizabeth and Frank Newman Chair

Ryan Roberts

ENGLISH HORN

Ryan Roberts

CLARINETS

Anthony McGill

Principal

The Edna and W. Van

Alan Clark Chair

Benjamin Adler*

The Honey M. Kurtz

Family Chair

Pascual Martínez Forteza

Barret Ham

E-FLAT CLARINET

Benjamin Adler

BASS CLARINET

Barret Ham

BASSOONS

Judith LeClair

Principal

The Pels Family Chair

Julian Gonzalez*

Roger Nye

The Rosalind Miranda Chair in memory of Shirley and Bill Cohen

CONTRABASSOON

Billy Hestand++

HORNS

Principal

Richard Deane*

R. Allen Spanjer

The Rosalind Miranda Chair

Leelanee Sterrett

Tanner West

The Ruth F. and Alan J. Broder Chair

TRUMPETS

Christopher Martin

Principal

The Paula Levin Chair

Matthew Muckey*+

Ethan Bensdorf

Thomas Smith

TROMBONES

Joseph Alessi

Principal

The Gurnee F. and Marjorie L. Hart Chair

Colin Williams*

David Finlayson

The Donna and Benjamin M. Rosen Chair

BASS TROMBONE

George Curran

The Daria L. and William C. Foster Chair

TUBA

Alan Baer

Principal

TIMPANI

Markus Rhoten

Principal

The Carlos Moseley Chair

Kyle Zerna**

PERCUSSION

Christopher S. Lamb+

Principal

The Constance R. Hoguet

Friends of the Philharmonic Chair

Daniel Druckman*

The Mr. and Mrs. Ronald J. Ulrich Chair

Kyle Zerna

Matthew Decker++

Joseph Tompkins++

HARP

Nancy Allen

Principal

Stacey Shames++

KEYBOARD

In Memory of Paul Jacobs

HARPSICHORD

Paolo Bordignon+

PIANO

Eric Huebner

The Anna-Maria and Stephen Kellen Piano Chair

Benjamin Pawlak++

ORGAN

Kent Tritle+

LIBRARIANS

Lawrence Tarlow

Principal

Sara Griffin*

ORCHESTRA PERSONNEL

DeAnne Eisch

Orchestra Personnel Manager

STAGE REPRESENTATIVE

Joseph Faretta

AUDIO DIRECTOR

Lawrence Rock

* Associate Principal

** Assistant Principal

*** Acting Associate Principal + On Leave

++ Replacement / Extra

The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster.

HONORARY MEMBERS OF THE SOCIETY

Emanuel Ax

Deborah Borda Zubin Mehta

NEW YORK PHILHARMONIC

Peter W. May, Oscar L. Tang, Board Co-Chairmen

Gary Ginstling, President & CEO

Adam Z. Gerdts, Senior Vice President, Philanthropy

Patrick Castillo, Vice President, Artistic Planning

Adam Crane, Vice President, External Affairs

Julie Kim, Vice President, Production

Elizabeth Helgeson, Director, Artistic Planning & Adminsitration

Dinah Lu, Director, Public Relations

Brendan Timins, Director, Touring and Operations

Galiya Valerio, Assistant to the Music Director

Robert Kahn, Residency Assistant Conductor

Robert W. Pierpont, Stage Crew

Robert Sepulveda, Stage Crew

Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund

Steinway is the Official Piano of the New York Philharmonic.

Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the National Endowment for the Arts, the National Endowment for the Humanities, and the New York State Council on the Arts, with the support of the Office of the Governor and the New York State Legislature.

Friday, July 26, 7:30pm Opening Night

Starting at $32.00

Saturday, July 27, 7:30pm Dance Theatre of Harlem

Starting at $32.00

Sunday, July 28, 6:00pm UpClose with Damian Woetzel

Starting at $32.00

Monday, July 29, 7:30pm Myths by Legends

Starting at $32.00

Tuesday, July 30, 7:30pm Dance for $20.24

$10.24 & $20.24

Wednesday, July 31, 11:00am Watching Dance with Heather Watts

$30.00

Wednesday, July 31, 6:00pm Dorrance Dances

Starting at $50.00

Thursday, August 1, 5:30pm Dancing in the Park Free

Friday, August 2, 7:30pm

Saturday, August 3, 5:00pm & 8:00pm International Evenings of Dance I, II & III

Starting at $32.00

Sunday, August 4, 6:00pm Colorado Dances

Starting at $65.00

Monday, August 5, 7:30pm NOW: Premieres

Starting at $32.00

Performances take place at the Gerald R. Ford Amphitheater, Vilar Performing Arts Center, Vail Mountain School and Avon Performance Pavilion at Nottingham Park.

Sara Mearns, 2024 Artist-In-Residence. Photo by Christopher Duggan.

THE EVANS CHOIR

Catherine Sailer

Director

Krista Beckman

Stephanie Benton

Lauren Black

Nora Cullinan

Caroline Elbert

Beryl Fanslow

Jennifer Ferguson

Melissa Flail

Sara Garza

Hayden Gibb

Caroline Heck

Casey Hennigan

Ashley Hoffman

Lily Horst

Abby McDonald

Sarah Roth

Kathleen Schmidt

Jordon Schultze

Donna Wickham

Athena Wilkinson

ARTISTS & ENSEMBLES

Akropolis Quintet (reed quintet) , the first reed quintet to make the Billboard Charts, consists of five University of Michigan alumni. It has performed at chamber music festivals including Oneppo (Yale University), Chamber Music San Antonio, Phillips Collection (Washington, D.C.), Summerwinds Münster (Germany), and Flagler Museum (Palm Beach). Winner of seven national chamber music prizes, including the 2014 Fischoff Gold Medal, Akropolis hosts the Detroit-based festival, Together We Sound, dedicated to new wind music in collaboration with Detroit youth. In 2024, the ensemble is set to release its sixth full-length album.

Marin Alsop (conductor) is chief conductor of the ORF Vienna Radio Symphony Orchestra; artistic director & chief conductor of the Polish National Radio Symphony; principal guest conductor of London’s Philharmonia Orchestra; and the first chief conductor and curator of the Ravinia Festival.

Following 14 years directing the Baltimore Symphony, she was named music Director Laureate and OrchKids Founder. Alsop led the Cabrillo Festival of Contemporary Music for 25 years and is the first conductor to receive a MacArthur Fellowship. She founded the Taki Alsop Concordia Conducting Fellowship (renamed in her honor) to nurture female conductors. In fall 2024, she begins a threeseason term as principal guest conductor of The Philadelphia Orchestra.

Sergei Babayan (piano) , Armenian-born and now living in New York, holds first prizes from several major international competitions including the Cleveland International, the Hamamatsu, and the Scottish International piano competitions. A regular at notable venues including the Amsterdam Concertgebouw, Carnegie and Wigmore halls, he has been a featured soloist with the London Symphony, Cleveland, and Rotterdam Philharmonic-Gergiev Festival orchestras, among many others. As a Deutsche Grammophon exclusive artist, his recordings have received accolades including BBC’s Recording of the Month and CHOC Classica for his latest release, Rachmaninoff (DG 2020).

William Berger (speaker) is the author of several books on opera, including Wagner Without Fear, Verdi With a Vengeance, Puccini Without Excuses, and Speaking of Wagner: Talking to Audiences About The Ring Of The Nibelung, and the compendium Seeking the Sublime Cache (2021). Broadcast commentator for the Metropolitan Opera and writer of its “Opera Quiz”, he hosted WNYC’s “Overnight Music,” and “El Salón: Hispanics in Music.” Lecturing frequently throughout the U.S. and Canada on artistic, political, and other topics, he supports and creates new music in genres from classical to metal.

Dean Berner (acoustic/dobro guitar) , photographer and musician, currently lives in Nashville, Tennessee. Originally from Nashville, Berner was a member of the country music group Eden’s Edge from 2006 to 2013. Consisting of himself and fellow Arkansas-natives, Hannah Blaylock and Cherill Green, the group was signed to Big Machine Records in April 2010. They released a self-titled studio album in 2012 which reached number 9 on Billboard Magazine’s Top Country Albums chart. He holds a Master of Fine Arts in Photography from the University of Hartford.

Rick Brantley (vocalist) was born and raised in Macon, Georgia. The son of a Southern Baptist preacher, he grew up around the gospel tradition and was greatly influenced by singer-songwriters like Bruce Springsteen and Billy Joel. In addition to solo shows, he has toured with John Hiatt, Kiefer Sutherland, and Zac Brown. His most recent projects include two single albums, Brooklyn Ramble (2022) and Nola (2023), and an appearance at The Brooklyn Variety Ramble show at The Bell House in New York City.

Carter Brey (cello) is the New York Philharmonic’s Principal Cello, The Fan Fox and Leslie R. Samuels Chair. A frequent soloist with the New York Philharmonic, Brey most recently performed Haydn’s Cello Concerto in C major at David Geffen Hall and at the Bravo! Vail Music Festival. His honors include the Gregor Piatigorsky Memorial Prize, Avery Fisher Career Grant, and Young Concert Artists’ Michaels Award. A member of the New York Philharmonic String Quartet, he has collaborated regularly with the Tokyo and Emerson String Quartets.

Ashley Brown (vocalist) , a graduate of the Cincinnati Conservatory of Music, originated the title role in Mary Poppins on Broadway. She holds the 2010 Garland Award for Best Performance in a Musical and a PBS Telly Award for her PBS special, “Ashley Brown: Call Me Irresponsible.” She has collaborated with orchestras such as the Boston, New York, and Cincinnati Pops Orchestras, the BBC Orchestra, The Philadelphia Orchestra, and Indianapolis, Seattle, Vancouver, and Houston Symphonies. Her 2024 season includes performances in Toronto, Jacksonville (Florida), and Indianapolis (Indiana).

Ismel Campos (viola) , principal viola with the Simon Bolivar Symphony Orchestra and the Sinfónica de Minería, is a member of the Simon Bolívar String Quartet. He has served as guest violist with renowned orchestras including the Los Angeles Philharmonic, Frankfurt Radio Symphony, Radio France Philharmonic, and Spanish National Orchestra.

Janice Carissa (piano) , a Gilmore Young Artist and 2018 winner of Salon de Virtuosi, made her debut with The Philadelphia Orchestra at 16. She has since appeared as soloist with orchestras throughout the country and appeared at festivals such as Marlboro, North Shore, and Ravinia. An active chamber musician, she has performed at the Brooklyn Chamber Music Society and Jupiter Chamber Concert Series, collaborating with prominent musicians such as Paul Neubauer, Jennifer Johnson Cano, and David Shifrin. Originally from Surabaya, Indonesia, she studies with Robert McDonald at Juilliard. Carissa is a 2024 Bravo! Vail Piano Fellow.

Dalí Quartet (string quartet) , comprises members from Venezuela, Puerto Rico, and the U.S. It is the Faculty Quartet in Residence at West Chester University’s Wells School of Music and is an Iris Collective Resident Ensemble. Recent accolades include the 2023 Susan McIntosh Lloyd Award, Chamber Music America’s Guarneri String Quartet Residency, silver medal in the inaugural Piazzolla Music Competition, and the Atlanta Symphony’s Aspire Award. Dedicated to promoting Latin American music, it established an International Music Festival in 2004, to help nurture the performance skills of young musicians.

© CHRIS LEE

Bryan Dawley (bass) is a multi-instrumentalist, writer, and producer currently living in Nashville. His two-person pop-country music group, Native Run, from Northern Virginia, has released two EPs and two singles with producer Luke Laird. He holds a degree in classical bass and recently toured with Ruston Kelly on the 29-city Shape and Destroy Tour.

Jeremy Denk (piano) , winner of the MacArthur Fellowship (2013) and Avery Fisher Prize (2014), is also the author of Every Good Boy Does Fine, a New York Times bestseller. He gave the world premiere of Anna Clyne’s piano concerto, ATLAS, (a Bravo! Vail co-commission) with the Dallas Symphony Orchestra in March. This season also included a residency at London’s Wigmore Hall, an appearance with the Danish String Quartet at its festival, Series of Four, and a recital tour celebrating female composers. Denk is a frequent collaborator of artists such as Joshua Bell and Steven Isserlis.

Dior Quartet (string quartet) , with members hailing from Israel, Canada, Saint Lucia, and the U.S., currently serves as the Quartet-in-Residence at Toronto’s Royal Conservatory of Music. Silver prize winners in the 2021 Chesapeake Chamber Music Competition and bronze medalists in the 2019 Fischoff National Chamber Music Competition, the Quartet was established in 2018 at Indiana University’s Jacobs School of Music and named after the French word “D’or” meaning gold. Its repertoire explores the immigrant experience, reflecting their multicultural backgrounds and values.

Rodrigo Duarte (cello) , a member of the Sinfónica de Minería since 2004, specializes in Latin American folk music. He has collaborated with ensembles like Nauhyotzin String Quartet and toured extensively in Latin America, Europe, and the United States with Signos Ensemble.

Dublin Guitar Quartet , formed in 2001 at the Dublin Conservatory of Music and Drama, has performed at prestigious venues all over the world including London’s Wigmore Hall, the Brooklyn Academy of Music, The Phillips Collection Washington, New York’s Lincoln Center, and Boston’s Celebrity Series. With a passion for new music, it has premiered works for guitar quartet by composers Philip Glass, Nico Muhly, and Michael Gordon, among many others.

Esperanza Fernandez (flamenco singer) was born in Seville into a family of flamenco singers, guitarists, and dancers. A self-proclaimed “Gypsy,” she made her stage debut at age 16 in a staged production by the noted Spanish choreographer Mario Maya. Known particularly for her performances of Manual de Falla’s works, including El Amor Brujo, she has performed with the Symphony Orchestras of Valencia, Galicia, the City of Granada, the National Orchestra of Brazil, and the Spanish National Orchestra. She has three recorded albums and holds a “Giraldillo del cante” Award for Best Performance of Traditional and Contemporary Flamenco.

Pacho Flores (trumpet) , a three-time Latin GRAMMY nominee, won first prizes in the Maurice André, Philip Jones, and Cittá di Porcia International Trumpet Contests, and a gold medal at the Global Music Awards. A Deutsche Grammophon recording artist, he has played with orchestras such as the Simón Bolívar Symphony Orchestra, NHK Orchestra, Philharmonic Orchestra of Kiev, and the Arctic Philharmonic Orchestra. He writes his own music and has collaborated on new works for trumpet with composers Paquito D’Rivera, Roger Boutry, and Giancarlo Castro. He is the Founding Director of the Latin-American Trumpet Academy in Venezuela.

Carlos Gándara (violin) , principal second violin with both the Sinfónica de Minería and the National Autonomous University of Mexico Philharmonic Orchestra, holds the 2014 First Prize in the Saint Petersburg Quartet Academy’s International Violin Competition. He is currently on faculty at the Ollin Yoliztli Music School of Mexico City.

Augustin Hadelich (violin) , born in Italy to German parents, has performed with all the major American orchestras as well as the London Philharmonic Orchestra, Wiener Symphoniker, Danish National Symphony Orchestra, São Paulo Symphony, and Sydney Symphony Orchestra. He is the 2016 GRAMMY winner for Best Classical Instrumental Solo. During recent seasons he served as artist-inresidence of the WDR Sinfonieorchester Köln, and made appearances in Amsterdam, Aspen, Bonn, Hamburg, London, Lucerne, Salzburg, and throughout South Korea. He serves on the violin faculty of the Yale School of Music.

Hilary Hahn (violin) , a native of Virginia, is a three-time GRAMMY Award winner and winner of the 2024 Avery Fisher Prize. During the 2023-24 season, she served as artist-in-residence with the Chicago Symphony and the New York Philharmonic, Visiting Artist at The Juilliard School, and Curating Artist of the Dortmund Festival. An avid supporter of new music, Hahn has personally commissioned over 30 new works. Recent performances include those with Deutsche Kammerphilharmonie Bremen, the Israel and Los Angeles Philharmonics, and the National, St. Louis, and Swedish Radio Symphony Orchestras in addition to several solo recitals and small-ensemble performances.

Theodore Harvey (cello) , a member of the Dallas Symphony Orchestra since 2008, has performed throughout North America, South America, and Europe. Having studied under Janos Starker and Helga Winold (Indiana University) and Joel Krosnick (The Juilliard School), he has appeared as a soloist with the New World Symphony, the Camerata Orchestra (Bloomington, Indiana), and the Indianapolis Symphony. Mr. Harvey has participated in the Aspen, Sarasota, SchleswigHolstein, Spoleto USA, Tanglewood, Verbier, Music in the Mountains, and Tafelmusik Baroque Summer Institute (Toronto) music festivals.

Frank Huang (violin) is the New York Philharmonic’s Concertmaster, The Charles E. Culpeper Chair. His solo engagements have included New York, Los Angeles, and NDR Radio Philharmonic orchestras and The Cleveland, The Saint Paul Chamber, and Indianapolis Symphony orchestras. He has performed at London’s Wigmore Hall, Paris’s Salle Cortot, The Kennedy Center, and New York’s Alice Tully Hall. A member of the New York Philharmonic String Quartet, he has performed at the Marlboro, Ravinia, Seattle Chamber, and Caramoor music festivals, and toured with Musicians from Marlboro.

Paul Huang (violin) was born in Taiwan and received both an Avery Fisher Career Grant (2015) and the Lincoln Center Award for Emerging Artists (2017). He has been a guest soloist with the Chamber Orchestra Vienna-Berlin, Rotterdam and Seoul philharmonics, and the Baltimore, Vancouver, and San Francisco symphonies. His 2023-24 season includes the release of his debut album, Kaleidescope as well as appearances at the Chamber Music Society of Lincoln Center, Lucerne Festival, and his own Paul Huang & Friends Chamber Music Festival in Taipei, Taiwan. He is currently on the faculty of Taipei National University of the Arts.

Eunice Keem (violin) has been a member of the Dallas Symphony Orchestra since 2011. A native of Chicago, she received first and top prizes at the Irving M. Klein International, Schadt International, Corpus Christi International, and Kingsville International competitions, as well as a Paganini Prize at the seventh International Violin Competition of Indianapolis. An avid chamber musician, she has won first place at the Fischoff National Chamber Music Competition twice—once with the Fine Arts Trio and once with the Orion Piano Trio. She is an adjunct violin professor at the University of North Texas.

James Keller (program annotator) is the author of Chamber Music: A Listener’s Guide and a contributor to books including American Mavericks, George Crumb and the Alchemy of Sound, and Leonard Bernstein, American Original. He recently completed his 24th season as program annotator of the San Francisco Symphony, a title he formerly held with the New York Philharmonic. He is a writer-editor at The New Yorker and a critic for the Santa Fe New Mexican. He has curated major museum exhibitions in California and New Mexico about historical popular music relating to those states.

Alexander Kerr (violin) , concertmaster of the Dallas Symphony Orchestra since 2011, has previously served as the concertmaster of the Royal Concertgebouw Orchestra in Amsterdam and currently serves as the Linda and Jack Gill Chair in Music as Professor of Violin at the Indiana University Jacobs School of Music. Originally from Virginia, Kerr has collaborated with artists such as Martha Argerich, Joshua Bell, Yefim Bronfman, Edgar Meyer, and Maxim Vengerov and has performed at festivals in Santa Fe (New Mexico), Caramoor (New York), La Jolla (California), and Stavanger (Norway).

Alina Kobialka (violin) , who joined the New York Philharmonic in 2022, made her solo debut at age 14 with the San Francisco Symphony, and her Asian debut with the Macau Youth Symphony for its New Year’s concert in 2015. She was named a laureate of the 2016 Irving M. Klein International Competition and received the grand prize at the Mondavi Center National Young Artists Competition. An avid chamber musician, Kobialka has been an artist at the Marlboro Music Festival, where she performed with pianist Mitsuko Uchida.

Meredith Kufchak (viola) , the youngest in a family of musicians, joined the Dallas Symphony Orchestra as principal viola in 2019. Previously, she held positions with the Fresno Philharmonic, the Santa Rosa Symphony, and performed frequently with the San Francisco Symphony. Having studied under Jodi Levitz, she holds a master’s degree in chamber music performance from the San Francisco Conservatory of Music. She has appeared at festivals, including Yellow Barn, Sun Valley Music Festival, Olympic Music Festival, and Tanglewood Music Center.

Ariel Lanyi (piano) is the 2023 recipient of the Prix Serdang (Switzerland) and first prize winner of the 2018 Grand Prix Animato (France) and 2017 Dudley International Piano Competitions (UK). He has performed at venues including Wigmore Hall, Alte Oper Frankfurt, Perth Concert Hall, and Merkin Hall, collaborating with artists such as Maria João Pires and Marina Piccinini. Upcoming highlights include performances with the Mahler Chamber Orchestra and a tour to China. Jerusalem-born, Lanyi studied with Murray Perahia, Leon Fleisher, and Imogen Cooper. He is a 2024 Bravo! Vail Piano Fellow.

Grace Leer (vocalist) was born in California and now lives in Nashville. She placed within the top 10 contestants in the 18th season of American Idol. Inspired by the pop, soul, R&B, and country music of the 90s, Leer’s self-titled debut EP was released in 2022, and her newest single, “Best Friend for Life,” was released in February 2024.

Igor Levit (piano) serves as Curator of the Lucerne Festival’s Piano Fest and Co-Artistic Director of Heidelberg Spring Music Festival. He holds the Gilmore Artist Award (2018), Musical America’s Recording Artist of the Year award (2020) and Gramophone’s Instrumental Classical Music and Artist of the Year Awards (2020). A passionate social activist, he has appeared as a soloist with the Los Angeles, New York and Vienna philharmonics, and the Cleveland and Royal Concertgebouw orchestras, among others. Born in Russia and raised in Germany, Levit is on faculty at his alma mater, the Hochschule for Music, Theater and Media in Hannover.

Fabio Luisi (conductor) , a GRAMMY award winner, began his tenure as the Louise W. & Edmund J. Kahn Music Director of the Dallas Symphony Orchestra (DSO) in 2020. In addition, he serves as principal conductor for both the Danish National and the NHK Symphony orchestras. He served for six seasons as principal conductor of the Metropolitan Opera and nine seasons as general music director of the Zurich Opera. His 2024-25 season with the DSO includes a presentation of Wagner’s complete cycle Der Ring des Nibelungen

Christopher Martin (trumpet) , the New York Philharmonic’s Principal Trumpet, The Paula Levin Chair, made his New York Philharmonic solo debut in 2016. Other solo appearances include the 2012 world premiere of Christopher Rouse’s concerto Heimdall’s Trumpet; Panufnik’s Concerto in modo antico, with Riccardo Muti; and more than a dozen performances of Bach’s Brandenburg Concerto No. 2. His discography includes a solo in John Williams’s film score to Lincoln, the National Brass Ensemble’s Gabrieli album, and recordings for Chicago Symphony Orchestra’s CSO Resound label.

Shari Mason (violin) , the concertmaster of the National Symphony Orchestra of Mexico and Sinfónica de Minería, regularly performs as a soloist with several of Mexico’s prominent orchestras. An active chamber musician, she has collaborated with artists such as Vadim Gluzman, Paul Huang, Roberto Díaz, and more.

Anne-Marie McDermott (piano) has been Bravo! Vail’s Artistic Director since 2011. Last summer, she and her colleagues Ilya Shmukler and Anna Geniushene performed the complete Prokofiev Piano Sonatas in Bravo! Vail’s Immersive Experiences, a project she undertook herself at Lincoln Center. She regularly performs with the Chamber Music Society of Lincoln Center, where she has been a member since 1995, and has recorded extensively for Bridge Records, including the complete Prokofiev Piano Sonatas, Bach’s English Suites and Partitas, and Gershwin’s Complete Works for Piano and Orchestra with the Dallas Symphony Orchestra. She is the recipient of an Honorary Doctorate from the Manhattan School of Music.

Anthony McGill (clarinet) became the first African American principal player of the New York Philharmonic in 2014 when he joined the Orchestra as Principal Clarinet, The Edna and W. Van Alan Clark Chair. A Curtis Institute of Music alumnus, he previously served as principal clarinet of The Metropolitan Opera Orchestra and associate principal clarinet of the Cincinnati Symphony Orchestra. An avid chamber musician, he regularly performs for the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society. Currently on the faculty of The Juilliard School and the Curtis Institute of Music, he is the artistic director of the Music Advancement Program at Juilliard.

Ross McReynolds (drums) has worked in both live performance and in studio sessions with artists including Colbie Callait, Cory Wong, and Paul Allen, as well as producer Claude Kelly (Whitney Houston, Bruno Mars, Ariana Grande). A self-described member of the “New Nashville” school of sound, he has worked in diverse genres spanning from jazz and pop to Americana and experimental.

Héctor Molina (cuatro) , two-time Latin GRAMMY winner, has collaborated with musicians such as Gustavo Dudamel, Oscar D’ León, Carlos Vives, and Guaco. He has appeared with the Simón Bolívar Symphony Orchestra and Symphony Orchestra of Venezuela, among many others. As a founding member of the Venezuelan music ensemble, Los Sinvergüenzas, and current member of the C4 Trio he has toured in Europe and the Americas. The C4 Trio’s 2014 album was awarded seven Pepsi Music Awards including Best Album of the Year and Best Collaboration of the Year.

Jennifer Montone (horn) , GRAMMY award winner and principal horn of The Philadelphia Orchestra since 2006, currently serves on faculty at the Curtis Institute of Music and The Juilliard School. Previously, she was a member of the Saint Louis Symphony, Dallas Symphony Orchestra, and the New Jersey Symphony. An active soloist and chamber musician, she has appeared with the National Symphony, Polish National Radio Symphony, and Warsaw National Philharmonic as well as the Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society, and Santa Fe Chamber Music Festival, among others.

Ricardo Morales (clarinet) is a native of San Juan, Puerto Rico. He has been principal clarinet of The Philadelphia Orchestra since 2003 and a guest soloist with the Chicago, Cincinnati, and Indianapolis symphonies, the Flemish Radio Orchestra, and the Seoul Philharmonic. A passionate chamber musician, he has performed at the Philadelphia Chamber Music Society, Santa Fe Chamber Music Festival, and the Seattle Chamber Music Summer Festival. He serves on the faculty of Temple University and is a visiting professor at the Shanghai Conservatory of Music.

Yannick Nézet-Séguin (conductor) holds the positions of music and artistic director of The Philadelphia Orchestra, music director of the Metropolitan Opera, and artistic director and principal conductor of Montreal’s Orchestre Métropolitan. He is an honorary member of the Chamber Orchestra of Europe and serves as an honorary conductor for the Rotterdam Philharmonic. A Montreal native, he attended Montreal’s Conservatory of Music before continuing tutelage under Carlo Maria Guilini. An exclusive Deutsche Grammophon recording artist, he is Musical America’s 2016 Artist of the Year and has been awarded nine honorary doctorates.

Amaryn Olmeda (violin) was born in Australia and made her Carnegie Hall debut at the age of 14. Currently studying under Miriam Fried at the New England Conservatory, she has made solo appearances with The Philadelphia Orchestra, the Seattle, Richmond, and Stockton symphonies, and the San Francisco Chamber Orchestra. Her 2023-24 season includes debuts with the Houston, Cleveland, Des Moines, Springfield, and Grand Rapids Symphonies as well as recitals at Classical KDFC SKY Concerts with pianist Lara Downes, Music at Gretna, and at the Salon De Virtuosi in New York City.

Cynthia Phelps (viola) is the New York Philharmonic’s Principal Viola, The Mr. and Mrs. Frederick P. Rose Chair. Her New York Philharmonic highlights range from the world premiere of Sofia Gubaidulina’s Two Paths in 1999 and the New York premiere of Julia Adolphe’s Unearth, Release in 2016 to multiple performances of Mozart’s Sinfonia concertante, most recently last month. She is a member of the New York Philharmonic String Quartet, performs with the Chamber Music Society of Lincoln Center, and is in demand at major chamber music festivals across the country.

Susanna Phillips (soprano) , a native of Huntsville, Alabama, has appeared with the Metropolitan Opera, Lyric Opera of Chicago, Cincinnati, Dallas, Minnesota, Boston Lyric operas, as well as Gran Teatro del Liceu and Oper Frankfurt. She has appeared with the Royal Stockholm Philharmonic, the Chicago Symphony, Dallas Symphony, Philadelphia, and Gulbenkian orchestras, the Huntsville, San Francisco and Santa Fe symphonies, and the Chamber Music Society of Lincoln Center. Her 2023-24 season includes engagements with Music of the Baroque, Musica Sacra, Oratorio Society of New York, Boston Baroque, and Houston Symphony.

Brian Piper (piano) , a multi-faceted musician and newly-appointed Dallas Symphony Orchestra pops pianist, has performed and recorded with artists including Willie Nelson, Cab Calloway, Natalie Cole, Jimmy Buffet, and Andrea Bocelli. Currently serving as the Director of Worship and Arts at Grace Bible Church in Dallas, he has performed with ensembles including the Fort Worth Symphony Orchestra, the Plano and Irving Symphonies, and many more. A regular with Broadway Dallas, Winspear Opera House and Bass Performance Hall, and has played shows including Wicked, Chicago, The Producers, and many more.

Carlos Miguel Prieto (conductor) , Musical America’s 2019 Conductor of the Year is the artistic director of Sinfónica de Minería and music director of the North Carolina Symphony. An alum of both Princeton and Harvard, he has also served as music director of both the Orquesta Sinfónica Nacional de México and the Louisiana Philharmonic Orchestra. Recent engagements include the London Philharmonic Orchestra, Frankfurt Radio Symphony, Royal Liverpool and Strasbourg philharmonics, the BBC National Orchestra of Wales, and a BBC Proms debut with the National Youth Orchestra of Great Britain.

Gregory Raden (clarinet) , principal clarinet of the Dallas Symphony Orchestra since 1999, has appeared as a concerto soloist with ensembles including the National Symphony, Grand Teton Music Festival, Mainly Mozart Festival, and New York String orchestras. An active chamber musician, he has performed with members of the Juilliard, Guarneri, Cavani, and Arianna String quartets and recently collaborated with cellist Yo-Yo Ma at the Grand Teton Music Festival. He is currently an adjunct associate professor of clarinet at Southern Methodist University and on the clarinet faculty at the University of North Texas.

Carlos Rodríguez (double bass) serves on faculty of the Simón Bolívar Music Conservatory and the Latin American Double Bass Academy. He has played under conductors Gustavo Dudamel and Sir Simon Rattle and collaborated with Daniel Barenboim, Augustin Hadelich, Alekséi Igudesman, Lang Lang, and Yuja Wang. He currently serves as associate principal double bassist of the Philharmonic Orchestra of the School of Music and Dance of Monterrey, guest double bassist for the Simón Bolívar Symphony Orchestra of Venezuela and is a member of the Sinfónica de Minería.

Santtu-Matias Rouvali (conductor) , principal conductor of Philharmonia Orchestra and chief conductor of Gothenburg Symphony, regularly appears as guest conductor with the Münchner and Berliner Philharmonikers, Deutsches Symphonie-Orchester Berlin, Royal Concertgebouw Orchestra, Orchestre Philharmonique de Radio France, and New York Philharmonic. Winner of the Gramophone Editor’s Choice award, the Choc de Classica, and the prestigious French Diapason d’Or ‘Decouverte’ for his 2019 recording of Sibelius’ Symphony No. 1 and En saga, his 2023-24 season includes a return to the BBC Proms, residencies in Vienna and Salzburg, and an extensive European tour.

Catherine Sailer (director, The Evans Choir) , a winner of Chorus America’s 2005 Robert Shaw Fellowship Award, is the current director of choral studies at the University of Denver. She is also conductor of the Lamont Chorale, associate conductor of the Colorado Ballet Orchestra, and music director of the Littleton Symphony Orchestra. Having conducted in festivals and masterclasses in Carnegie Hall, across Europe, and in Brazil and China, she has collaborated as chorus master with the musical leaders Marin Alsop, Tan Dun, Hans Graf, Yannick Nézet-Séguin, Robert Spano, Bramwell Tovey, Jeff Tyzik, and Eric Whitacre.

Pablo Sáinz-Villegas (guitar) , winner of the Andrés Segovia, Francisco Tárrega, and Christopher Parkening awards, has played with leading orchestras including the Berlin, Los Angeles, and New York philharmonics, San Francisco Symphony, and the Philadelphia, Israel Philharmonic, and Chicago Symphony orchestras. A passionate proponent of classical guitar repertoire, he has premiered compositions by John Williams, Tomás Marco, Jesús Torres, María Dolores Malumbres, David del Puerto, and Sergio Assad, among others. He is currently the artistic director of La Rioja Festival, a project of his own conception that showcases his home region to the world.

Issachah Savage (tenor) , winner of the first prize, Audience Prize, and Orchestra Favorite Award in the 2014 Seattle International Wagner Competition, has performed with the Metropolitan, Los Angeles, Seattle, and Houston Grand Operas, as well as Lyric Opera of Chicago and Opéra National de Bordeaux. A prolific concert soloist, he has appeared with the Los Angeles and New York philharmonics, San Francisco Symphony, and the National, Chicago, and Dallas symphony orchestras. His 2023-24 season includes engagements with Théâtre du Capitole Toulouse and the Houston Symphony Orchestra, among others.

Gil Shaham (violin) , GRAMMY Award winner for Best Classical Instrumental Solo in 2022, has appeared as a soloist with orchestras including the Berlin, Israel, Los Angeles, and New York philharmonics, and the Boston and Chicago symphonies. Aa a recording artist, he has more than two dozen concerto and solo CDs to his name, garnering a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice, among other awards. Born in Champaign-Urbana, Illinois and raised in Israel, recent highlights include the recording and performances of Bach’s complete sonatas and partitas for violin.

Ryan Silverman (vocalist) has made soloist appearances with the New York and Cincinnati pops, Seattle and Houston symphonies, and the Cleveland and Philadelphia orchestras, among others. His stage credits include Tony in West Side Story (West End, London), Georgio in Passion (Classic Stage Company, New York), Billy Flynn in Chicago (The Ambassador Theatre, Broadway), and Raoul in Phantom of the Opera (The Majestic Theatre, Broadway). Other credits include Cry-Baby on Broadway, Finian’s Rainbow (Irish Repertory Theater), and New York City Opera’s The Most Happy Fella. He has received multiple Drama Desk Award nominations.

Karen Slack (soprano) , 2022 recipient of the Sphinx Medal of Excellence, serves as artistic advisor for Portland Opera, and is on faculty at Banff Center for Arts and Creativity. She has appeared with the Metropolitan, Washington National, San Francisco, and Scottish Operas, as well as Lyric Opera of Chicago, Opera Theatre of St. Louis, and Opera Philadelphia. Dedicated to premiering works by black composers, she is set to premiere her 2024 commissioning project African Queens, featuring works by composers Jasmine Barnes, Damien Geter, Jessie Montgomery, Shawn Okpebholo, Dave Ragland, Carlos Simon, and Joel Thompson.

Andrew Sovine (electric/steel guitar) is also a writer and producer based in Georgia. He has worked with artists including Ashley McBryde, Ian Noe, Jaime Wyatt, Kelsey Waldon, Jace Everett, Daphne Parker Powell, Hannah Dasher, and Side Pony. His work with Ashley McBryde has received multiple GRAMMY nominations. He has collaborated with producers Bunky Hunt (Detroit) and Jim Reilly (Nashville). Recent projects include a solo release, Good Honest Work, Daphne Parker Powell’s The Starter Wife, and Joseph Shipp’s Free, For A While

Ted Sperling (conductor) is also an orchestrator and multi-instrumentalist. He is the artistic director of MasterVoices and music director of the recent Broadway productions of My Fair Lady, Fiddler on the Roof and The King and I. Off-Broadway credits include the premieres of Striking 12 and See What I Wanna See, among others. Tony Award winner for his orchestrations of The Light in the Piazza, he has collaborated with artists including Anne Hathaway, Joshua Bell, Kristin Chenoweth, and many more. Former principal conductor of the Westchester Philharmonic, he has recently conducted the Chicago, Baltimore, and San Diego symphonies, and The Philadelphia Orchestra.

Conrad Tao (piano) , born in Illinois is also a sought-after composer. He has appeared as a soloist with major orchestras including the Los Angeles, New York, and Naples philharmonics, as well as the Chicago, Cincinnati, San Francisco, and Finnish Radio symphonies. A recipient of the 2012 Avery Fisher Career Grant and the Gilmore Young Artist, Tao has been featured as a composer by the New York, Naples, and Tampere philharmonics, the Junction Trio, and The Westerlies. His 2023-24 season includes a subscription debut with the Chicago Symphony Orchestra, performances at 92NY, and a celebration of Rachmaninoff’s 150th birthday at Germany’s Klavierfestival Ruhr.

Jean-Yves Thibaudet (piano) is the first-ever artist-in-residence at the Colburn School. Born in Lyon, France, he has appeared on more than 70 albums and six film scores. His awards include first prizes at the Premier Prix du Conservatoire, induction into the Hollywood Bowl Hall of Fame, and the title of Chevalier of the Ordre des Arts et des Lettres. He is also an alum of Young Concert Artists. The highlights of his 2023-24 season include a tour of Europe, a recorded performance of Khachaturian’s Piano Concerto with Gustavo Dudamel and the Los Angeles Philharmonic, and a U.S. tour with longtime collaborators Gautier Capuçon and Lisa Batiashvili.

Isaac Tovar (flamenco dancer) , originally from Seville, Spain, has served as soloist of the National Ballet of Spain, Andalusian Dance Company, Aída Gómez Company, and New York’s Flamenco Vivo. Winner of Amería’s International Competition, and the Pearl of Cádiz and Ubrique National competitions, he has premiered two original solo productions at Madrid’s Teatro Real and been featured in Bizet’s Carmen at Lincoln Center. He is a regular at festivals including Festival Flamenco at the Aga Khan Museum (Toronto) and Chicago Flamenco Festival. His 2023-24 season includes a tour through America and Europe.

Daniil Trifonov (piano) , a GRAMMY Award winner and Russian native, won first prize in the 2011 Rubinstein Competition (Tel Aviv) and the first and grand prix prizes in the 2011 Tchaikovsky Competition (Moscow). An exclusive Deutsche Grammophon artist, he was Gramophone Magazine’s 2016 Artist of the Year, Musical America’s 2019 Artist of the Year, and was made a Chevalier de l’Ordre des Arts et des Lettres in 2021. His 2023-24 season includes European tours with The Philadelphia Orchestra and cellist Gautier Capuçon, and a solo recital tour of Europe and the US.

Jeff Tyzik (conductor/composer/arranger) has been the principal pops conductor of the Dallas Symphony Orchestra for 10 seasons and has served in the same role with the Detroit Symphony, Florida Orchestra, Oregon Symphony, and the Rochester Philharmonic Orchestra. He has composed and produced music for major television networks and released six of his own albums, including the GRAMMY Award-winning The Tonight Show Band with Doc Severinson, Vol. 1. This summer, he celebrates his 30th summer at the Bravo! Vail Music Festival. His composition, Lift Off, will receive its Colorado premiere on the July 4 Patriotic Concert featuring The Philadelphia Orchestra.

Vail Veterans Program (narrator) fills an essential role in the annual Patriotic Concert. Since the inaugural performance of Gardens of Stone by James Beckel, a “wounded warrior” has performed the narration. All proceeds from the concert benefit Vail Veterans, which provides military injured and their families free therapeutic programs designed to build confidence and create life-long relationships in a healing mountain environment. reciting the text of Gardens of Stone by James Beckel. Since its inaugural performance, a “wounded warrior” has filled this essential role.

Jason Vieaux (guitar) is a native of Buffalo. Winner of the GRAMMY Award for Best Instrumental Solo, he has performed in venues from Lincoln Center to Amsterdam’s Concertgebouw and the Seoul Arts Center. As a concerto soloist has appeared with the Cleveland Orchestra, and the Columbus, Houston, St. Louis and Toronto symphony orchestras. A proponent of new music, he has premiered works by Jeff Beal, Avner Dorman, and Vivian Fung, among others. He is co-founder of the guitar department at the Curtis Institute of Music and has been on faculty of the Cleveland Institute of Music for 25 years.

The Westerlies (brass quartet) is comprised of four childhood friends from Seattle: Riley Mulherkar and Chloe Rowlands on trumpet, and Andy Clausen and Willem de Koch on trombone. Now New York-based, the ensemble’s recent engagements include Bay Chamber Concerts, Earshot Jazz Festival, and Noe Valley Chamber Music, among others. Past collaborations include artists such as Fleet Foxes, Vieux Farka Touré, Common, and Dave Douglas. Formed in 2011 and named for the prevailing winds that travel from west to east, The Westerlies’ 2024 season will include a tour across the United States.

Jaap van Zweden (conductor) , who became music director of the New York Philharmonic in 2018, holds that title at the Seoul Philharmonic and in 2026 will take on that post at the Orchestre Philharmonique de Radio France, having concluded his tenure at the Hong Kong Philharmonic. His New York Philharmonic tenure has included the reopening of David Geffen Hall and the premieres of 32 works. His 2023-24 farewell season has celebrated his connection with the Orchestra’s musicians and revisited composers he has championed, from Mozart and Mahler to Steve Reich and Joel Thompson.

THE GOLDEN CIRCLE

The Golden Circle acknowledges annual cumulative gifts from generous donors whose support provides vital funding for the Festival. Each donor is gratefully and sincerely appreciated.

MAESTRO ($100,000 and above)

Bacca Foundation

The Berry Charitable Foundation** BDT & MSD Partners

Virginia J. Browning**

Fiona and Marvin Caruthers

Casa Dragones

Marijke and Lodewijk de Vink****

Four Seasons Resort and Residences Vail

Mr. Claudio X. Gonzalez****

Linda and Mitch Hart*

Billie and Ross McKnight**

The Rojas Family*

June and Paul Rossetti**

Cathy Stone******

Town of Vail*******

Betsy Wiegers******

FIRST CHAIR ($50,000 and above)

Anonymous***

Anonymous* (2)

Jayne and Paul Becker******

Barbara and Barry Beracha***

Jane and Gary Bomba and The Bomba Internship Program

Gina Browning and Joe Illick**

John Dayton****

Kathy and David Ferguson and The Ferguson Music Makers Haciendo Música Fund*

Mercedes and Elmer Franco*

Georgia and Don Gogel***

Lyn Goldstein*****

Vera and John Hathaway***

Ann Hicks*

Judy and Alan Kosloff*****

Pilar and José Ignacio Mariscal

Leni and Peter May*****

Barbie and Tony Mayer******

Ferrell and Chi McClean and The McClean Family Music Teachers Fund***

Kathie Mundy and Fred Hessler*

National Endowment for the Arts*

Amy and James Regan******

Marcy and Stephen Sands***

Carole A. Watters***

The Betsy Wiegers Choral Fund, in Honor of John W. Giovando******

SYMPHONY ($40,000 and above)

Carole C. and CDR. John M. Fleming*

The Francis Family******

Tom Grojean******

ENSEMBLE ($30,000 and above)

Anonymous

Dierdre and Ronnie Baker***

Kjestine and Peter Bijur

Doe Browning and Jack Hunn***

June and Peter Kalkus******

Patricia and Peter Kitchak*

Shirley and William S. McIntyre, IV****

Ann and Alan Mintz*****

Kay and Bill Morton******

Amy and Hal Novikoff

The Sturm Family and ANB Bank**

Dhuanne and Douglas Tansill*****

Vail Valley Foundation*******

Nancy and Harold Zirkin*

IMPRESARIO ($25,000 and above)

Anonymous*

Becker Violin Fund

Ellie Caulkins*

Nancy and Andy Cruce*****

del Valle Perochena Family

Sara Friedle and Michael Towler

Penny and Bill George*****

Karen and Michael Herman****

Lyda Hill****

Sally and Byron Rose***

Didi and Oscar Schafer****

Martin Waldbaum****

Carol and Pat Welsh*****

Barb and Dick Wenninger***

VIRTUOSO ($20,000 and above)

Marilyn Augur*****

Jean and Harry Burn**

Edwina P. Carrington and Carrington Classical Guitar Fund****

Norma and Charlie Carter*****

Suzanne Caruso and Stephen Saldanha

Amy and Steve Coyer****

Julie and Tim Dalton****

Julie and Bill Esrey******

Bill Frick*****

Nancy Gage and Allan Finney**

Karen and Jay Johnson***

Han Mu Kang and the June S. Kang

Scholarship Fund

The Judy and Alan Kosloff Artistic Director Chair*

Donna and Patrick Martin**

Margaret and Alex Palmer**

Linda Farber Post and Kalmon D. Post****

Carole and Peter Segal***

Mary Sue and Mike Shannon

Sue and Marty Solomon and P&S

Equities, Inc.****

Marcy and Gerry Spector***

Margie and Chuck Steinmetz*****

Lisa Tannebaum and Don Brownstein**

Anne and Chris Wiedenmayer**

Tom Woodell**

OVATION ($15,000 and above)

Anonymous*

Gloria Amtmann A., Cristian Eversbusch A., and Ricardo Eversbusch A.

Carol and Harry Cebron*

Kathy Cole***

Ron Davis*

Debbie and Jim Donahugh***

Sandi and Leo Dunn****

Liz and Tommy Farnsworth*****

Susan and Harry Frampton******

Holly and Ben Gill****

GMC*

Jane and Michael Griffinger*****

The Therese M. Grojean Vocalist Fund

Anne and Hank Gutman**

Kiwi and Landon Hilliard

Pam and Don Hutchings

Alexia and Jerry Jurschak**

Mr. and Mrs. Arthur Kelton, Jr.******

Dr. and Mrs. Frederick Kushner**

Jan and Lee Leaman**

Jessica Levental and The Igor Levental

Memorial Music Fund**

LIV Sotheby’s International Realty**

Bobbi and Richard Massman****

Brenda and Joe McHugh*****

Marlys and Ralph Palumbo**

Mary Lou Paulsen and Randy Barnhart**

Carolyn and Steve Pope****

The Sidney E. Frank Foundation**

Susan and Richard Rogel*****

Terie and Gary Roubos*****

Beth Slifer**

Donna and Randy Smith*

J. Brian Stockmar

Stolzer Family Foundation, Ellen and Dan Bolen, and Mary Kevin and Tom Giller*****

Mr. and Mrs. Steve Swalm

Jane and Tom Wilner*

ALLEGRO ($10,000 and above)

Anonymous

Alpine Bank****

Abbe and Adam Aron

Sharron and Herbert Bank, Penny Bank****

Katherine Clayborne and Thomas Shoup

Caryn Clayman***

Joanne Cohen and Morris Wheeler

Susan Dobbs

Eagle County Lodging Tax Marketing Committee

Kathleen and Jack Eck****

Cookie and Jim Flaum****

Lisa Gallagher and Jim Shives

Shelby and Frederick Gans*

Sheika Gramshammer*****

Vivien and Andrew Greenberg*

Fanchon and Howard Hallam*

Simon Hamui and SHS Solutions*

Martha Head*****

Kathy and Al Hubbard*

Kari Johnsen Gyde

Kay and Michael Johnson*

Cynnie and Peter Kellogg*****

Wendi and Brian Kushner***

Ann and William Lieff****

Diane and Lou Loosbrock*

Linda and Ronn Lytle

Anne and Tom McGonagle

Sarah and Peter Millett*

Kate and John Mitchell

Marge and Phil Odeen**

Ray Oglethorpe*

Teri Perry*****

Mimi and Keith Pockross*****

Ann and Tom Rader*

Wendy and Paul Raether*

Patricia and Brian Ratner

Alysa and Jonathan Rotella

Amy L. Roth, PhD and Jack Van Valkenburgh**

Alice Ruth and Ronald Alvarez

Suzanne and Bernard Scharf****

Ernie Scheller****

Dr. Kim Schilling

Eva and David Schoonmaker

Debbie and Jim Shpall**

Marilyn and James H. Steane, II

Brooke and Hap Stein*****

Angela and Tim Stephens

Barbara and Carter Strauss*

Nancy Traylor******

Debbie and Fred Tresca**

Vi Living

Jackie and Norm Waite**

Jann and John Wilcox

Xcel Energy Foundation

Aneta M. Youngblood

ORCHESTRAL UNDERWRITING

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

THE FRIENDS OF SINFÓNICA DE MINERÍA

MAESTRO ($100,000 and above)

The Berry Charitable Foundation**

BDT & MSD Partners

Casa Dragones

Four Seasons Resort and Residences Vail

The Rojas Family*

FIRST CHAIR ($50,000 and above)

Anonymous*

Mercedes and Elmer Franco*

Mr. Claudio X. Gonzalez****

Pilar and José Ignacio Mariscal

National Endowment for the Arts*

ENSEMBLE ($30,000 and above)

Patricia and Peter Kitchak*

IMPRESARIO ($25,000 and above)

del Valle Perochena Family

OVATION ($15,000 and above)

Gloria Amtmann A., Cristian Eversbusch A., and Ricardo Eversbusch A

Cathy Stone******

ALLEGRO ($10,000 and above)

Shelby and Frederick Gans*

Jann and John Wilcox

SOLOIST ($7,500 and above)

Ann and William Lieff****

CRESCENDO ($5,000 and above)

Carole C. and CDR. John M. Fleming*

Mary Lou Paulsen and Randy Barnhart**

Susan and Albert Weihl***

FORTISSIMO ($3,000 and above)

Kathy and Dick McCaskill, Jr.

THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA

ENSEMBLE ($30,000 and above)

Linda and Mitch Hart*

Shirley and William S. McIntyre, IV****

Billie and Ross McKnight**

Marcy and Stephen Sands***

IMPRESARIO ($25,000 and above)

Lyda Hill****

VIRTUOSO ($20,000 and above)

Marilyn Augur*****

Margie and Chuck Steinmetz*****

OVATION ($15,000 and above)

Carole C. and CDR. John M. Fleming*

Alexia and Jerry Jurschak**

Jan and Lee Leaman**

Bobbi and Richard Massman****

Brenda and Joe McHugh*****

Donna and Randy Smith*

The Sturm Family and ANB Bank**

Carole A. Watters***

ALLEGRO ($10,000 and above)

John Dayton****

Fanchon and Howard Hallam*

Linda and Ronn Lytle

Patricia and Brian Ratner

Tom Woodell**

CRESCENDO ($5,000 and above)

Edwina P. Carrington****

Suzanne Caruso and Stephen Saldanha

Neal Groff******

Kim and Greg Hext

Regina and John Magee

Debbie Engstrom Scripps***

Sherry Sunderman and Tom Mueller

Gil and Dody Weaver Foundation***

Bill and Katie Weaver Charitable Trust***

Gena Whitten and Bob Wilhelm**

Kathy and William Wiener

Carolyn Wittenbraker and Arkay Foundation**

FORTISSIMO ($3,000 and above)

Susan and Gordon Coburn*

Diane Folsom Frank

Jane and Stephen Friedman*

Karen and Steve Livingston*****

Patty and Denny Pearce***

CONCERTO ($1,500 and above)

Amy and Steve Coyer****

Constanza and Jose Slim

Debbie and Fred Tresca**

Tom Woodell**

SONATA ($750 and above)

Carmen and Juan Creixell

Alberta and Reese Johnson*

James Stanley Ogsbury, III*

OVERTURE ($350 and above)

Anonymous (2)

Denise and Michael Finley****

Jeri and Brian Hanly*

PRELUDE ($100 and above)

Carlota and Enrique Azcarraga

Linda Lee

CONCERTO ($1,500 and above)

Larry Abston*

Bank of America Matching Gifts

Jan and George Grubbs, Jr.*

Margot Perot*

Jane and Chuck Schultz*

Susan and Bruce Smathers***

SONATA ($750 and above)

Anonymous

Helen Neuhoff Butler*

Francie and Gary Little

Marshall Gordon*

Linda and Jim Montgomery*

Dr. and Mrs. Robert Nathan**

OVERTURE ($350 and above)

Anonymous*

Anonymous

Beverly and Mike Ellis

Kerri and Rick Lacher

Stephen Penrose*

Dianna and Tom Unis

PRELUDE ($100 and above)

Mary Ann and Dirk Gralka*

ORCHESTRAL UNDERWRITING

THE FRIENDS OF THE

FABULOUS

PHILADELPHIANS

FIRST CHAIR ($50,000 and above)

Anonymous***

ENSEMBLE ($30,000 and above)

Cathy Stone*****

IMPRESARIO ($25,000 and above)

Virginia J. Browning**

Karen and Michael Herman****

OVATION ($15,000 and above)

Pam and Don Hutchings

ALLEGRO ($10,000 and above)

John Dayton****

Carole C. and CDR. John M. Fleming*

Donna and Patrick Martin**

Sarah and Peter Millett*

Marge and Phil Odeen**

Teri Perry*****

Linda Farber Post and Dr. Kalmon D. Post****

SOLOIST ($7,500 and above)

Dr. David Cohen*

Kathy and Jonathan Zeschin**

CRESCENDO ($5,000 and above)

Anonymous***

Shannon and Todger Anderson**

Dierdre and Ronnie Baker***

Jeffrey D. Byrne

Laura and Jim Marx***

Nancy and Douglas Patton***

Susan and Richard Rogel*****

Sally and Byron Rose***

Ernie Scheller****

Elaine and Steven Schwartzreich*

Susan and Steve Suggs***

Tom Woodell**

Nancy and Harold Zirkin*

FORTISSIMO ($3,000 and above)

Barbara Earnest**

Cathy and Graham Hollis**

Peter Huddleston*

Michele and Jeffrey Resnick***

Gail and Solly Toussier*

CONCERTO ($1,500 and above)

Mark Brown and Stephen Brint*

Suzanne Caruso and Stephen Saldanha

Patricia and Lawrence Herrington*

Sue and Tony Krausen*

THE FRIENDS OF THE NEW YORK PHILHARMONIC

FIRST CHAIR ($50,000 and above)

Marijke and Lodewijk de Vink****

Georgia and Don Gogel***

Lyn Goldstein*****

Mr. Claudio X. Gonzalez****

Linda and Mitch Hart*

Leni and Peter May*****

Amy and James Regan******

June and Paul Rossetti**

SYMPHONY ($40,000 and above)

Barbie and Tony Mayer******

ENSEMBLE ($30,000 and above)

Vera and John Hathaway***

Billie and Ross McKnight**

Ann and Alan Mintz*****

Kay and Bill Morton******

Cathy Stone******

IMPRESARIO ($25,000 and above)

Jayne and Paul Becker******

Sarah Friedle and Michael Towler

Penny and Bill George*****

Tom Grojean******

Didi and Oscar Schafer****

Dhuanne and Douglas Tansill*****

Carol and Pat Welsh*****

VIRTUOSO ($20,000 and above)

Kjestine and Peter Bijur

Jean and Harry Burn**

Amy and Steve Coyer****

Nancy and Andy Cruce*****

Julie and Tim Dalton****

Bill Frick*****

Karen and Jay Johnson***

June and Peter Kalkus******

Judy and Alan Kosloff*****

Ferrell and Chi McClean***

Margaret and Alex Palmer**

Marcy and Gerry Spector***

Lisa Tannebaum and Don Brownstein**

Anne and Chris Wiedenmayer**

OVATION ($15,000 and above)

Ron Davis*

Liz and Tommy Farnsworth*****

SONATA ($750 and above)

Karen Lechner and Mark Murphy*

Bert Mobley

Judy and John Stovall*

OVERTURE ($350 and above)

Anonymous (2)

Dr. and Mrs. Gary Drizin

Anne and Thomas Eller

Carla and Mark Ewing

Phyllis and Gary Finkelstein

Jane and Gerald Gamble

Karen Hedlund

Marsha Hunter and Brian K. Johnson

IMB Corporation**

Carol and Russ Meyer

William Mohrman

Dan Rader and David Hood

Ximena and Rafael Robles Miaja

Pat and Tom Vernon*

PRELUDE ($100 and above)

Sandra Godfrey

Christine Lane

Diana Mathias

Dr. and Mrs. Kenneth B. Reynard*

Hermann Staufer

Susan and Bill Tracy

Mr. and Mrs. Arthur Kelton, Jr.******

Carolyn and Steve Pope****

Terie and Gary Roubos*****

Sue and Marty Solomon and P&S Equities, Inc.****

Nancy and Harold Zirkin*

ALLEGRO ($10,000 and above)

Suzanne Caruso and Stephen Saldanha

Susan Dobbs

Kathleen and Jack Eck****

Carole C. and CDR. John M. Fleming*

Martha Head*****

Cynnie and Peter Kellogg*****

Dr. and Mrs. Frederick Kushner**

Donna and Patrick Martin**

Linda Farber Post and Kalmon D. Post****

Ann and Tom Rader*

Carole and Peter Segal***

Dr. Kim Schilling

Barbara and Carter Strauss*

Bravo! Vail expresses its most sincere gratitude to the generous donors whose support has made La bohème possible.

PRESENTER ($250,000 and above)

The Berry Charitable Foundation** Betsy Wiegers******

PREMIER BENEFACTOR ($100,000 and above)

Cathy Stone******

FIRST CHAIR ($50,000 and above)

John Dayton****

The Betsy Wiegers Choral Fund, in Honor of John W. Giovando******

IMPRESARIO ($25,000 and above)

Anonymous*

Dierdre and Ronnie Baker***

Barbara and Barry Beracha***

Gina Browning and Joe Illick**

Virginia J. Browning**

Ellie Caulkins*

Vera and John Hathaway***

Marcy and Stephen Sands***

OVATION ($15,000 and above)

Anne and Hank Gutman**

Jessica Levental and The Igor Levental

Memorial Music Fund**

ALLEGRO ($10,000 and above)

Kjestine and Peter Bijur

Doe Browning and Jack Hunn***

Kathy Cole***

Vivien and Andrew Greenberg*

June and Peter Kalkus******

Judy and Alan Kosloff*****

Wendi and Brian Kushner***

Amy and Hal Novikoff

Amy and James Regan******

Susan and Richard Rogel*****

Sally and Byron Rose***

Eva and David Schoonmaker

Carole and Peter Segal***

Marilyn and James H. Steane, II

Dhuanne and Douglas Tansill*****

Carole A. Watters***

Nancy and Harold Zirkin*

EDUCATION AND ENGAGEMENT PROGRAMS

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

MAESTRO ($100,000 and above)

Town of Vail*******

FIRST CHAIR ($50,000 and above)

Jane and Gary Bomba and The Bomba Internship Program

Marijke and Lodewijk de Vink****

Kathy and David Ferguson and The Ferguson Music Makers Haciendo Música Fund*

Ferrell and Chi McClean and The McClean

Family Music Teachers Fund***

Carole A. Watters***

ENSEMBLE ($30,000 and above)

Bravo! Vail Guild*******

Virginia J. Browning**

IMPRESARIO ($25,000 and above)

Anonymous*

Cathy Stone******

VIRTUOSO ($20,000 and above)

Han Mu Kang and the June S. Kang Scholarship Fund

OVATION ($15,000 and above)

Carol and Harry Cebron*

Sandi and Leo Dunn****

ALLEGRO ($10,000 and above)

Katherine Clayborne and Thomas Shoup

Eagle County Lodging Tax Marketing Committee

Julie and Bill Esrey******

Cookie and Jim Flaum****

Diane and Lou Loosbrock*

Barbie and Tony Mayer******

Kathie Mundy and Fred Hessler*

Beth Slifer**

Jackie and Norm Waite**

Xcel Energy Foundation

SOLOIST ($7,500 and above)

Town of Gypsum****

Barbara Treat Foundation

CRESCENDO ($5,000 and above)

Alpine Bank****

David Bernstein*

Doe Browning and Jack Hunn***

Kathy Cole***

Nancy and Andy Cruce*****

Kathy and Brian Doyle**

Gallegos Corp.*

Sue and Dan Godec***

Kimberly Grillo Bernstein*

Patricia and Peter Kitchak*

Carolyn and Paul Landen and the Lynne

Murray Sr. Educational Fund*

Renee Okubo**

Drs. Julie and Robert Rifkin*

Town of Avon

Martin Waldbaum****

Vail Health

FORTISSIMO ($3,000 and above)

Sarah Benjes and Aaron Ciszek*

Maureen Cross*

Mercedes Dauphinais and William Mathison

El Pomar Foundation

Marilyn Rauland Kidder Foundation

Caitlin and Dan Murray*

Terie and Gary Roubos*****

Tom Woodell**

CONCERTO ($1,500 and above)

Anonymous*

Mia and Bill Benjes*

Michelle Fitzgerald and Jonathan Guyton*

Helmut Fricker Scholarship

Julie Grimm-Reeves and Rich Reeves*

Kimberly and Dr. John Hoffman

Ann and William Lieff****

Lyric Theatre of Leadville

Sarah and Peter Millett*

Larry Moskow

Patti and Drew Rader***

Slifer Smith & Frampton Foundation****

Tabor Opera House Preservation Foundation

US Bank****

Vail Rotary Club

Wall Street Insurance**

ARTISTIC EXCELLENCE FUND

Bravo! Vail is committed to presenting the greatest musicians and finest orchestras and has established the Artistic Excellence Fund to uphold that legacy. Bravo! Vail expresses its gratitude to all who have made gifts to the Artistic Excellence Fund, allowing the Festival to dream farther into the future.

MAESTRO ($100,000 and above)

June and Paul Rossetti

ENSEMBLE ($30,000 and above)

Billie and Ross McKnight

IMPRESARIO ($25,000 and above)

Barbara and Barry Beracha

Sam B. Ersan

Dr. and Mrs. Frederick Kushner

Sandra and Greg Walton

VIRTUOSO ($20,000 and above)

Marcy and Stephen Sands

ALLEGRO ($10,000 and above)

Carole and Peter Segal

Aneta M. Youngblood

SONATA ($750 and above)

Edwina P. Carrington****

John Dayton****

Jill and Loyal Huddleston**

Tiffany and David Oestreicher**

Michele and Jeffrey Resnick***

Town of Eagle

Monica and Dan White*

Janice and Dee Wisor*

Musette and William Young

OVERTURE ($350 and above)

Anonymous

Marilyn Augur*****

Linda Boyne

Janie and Bill Burns**

Deborah and Daniel Clarke

Holly Eastman

Edwards Rotary

The Francis Family******

Esperanza and Mark Griffith

Jane E. Hall

Christy and Geoff Hoyl

Dr. Susan Rae Jensen and Tom Adams Trainer*

Allison Krausen and Kyle Webb*

Laura and Jim Marx***

Susie Rhodes and James Jirak

Melissa and Jeris Romeo

Monica and Mark Perin**

Martha and Kent Petrie****

David Regele

Donna and Randy Smith*

Dhuanne and Douglas Tansill*****

Judy and Bob Wilner

PRELUDE ($100 and above)

Anonymous**

Pamela and Richard Alexander

Jeannette Anderson

Kathryn Benysh**

Fara and Jason Denhart*

Angela and José Esteve

Henry and Lonetia Gerkin

Sue and Brian Gordon*

Dana and Dan Heffez

Carolyn Holmgren

Karen and Patrick Kiernan and Kiernan Fischer LLC

Rob LeVine*

Christiana and Richard Maxwell

Andria and John Welch

CRESCENDO ($5,000 and above)

Kathie Mundy and Fred Hessler

Margie and Chuck Steinmetz

CONCERTO ($1,500 and above)

Wolfgang Mairhofer

Marlys and Ralph Palumbo

OVERTURE ($350 and above)

Janie and Bill Burns

JoAnn G. Hickey

PRELUDE ($100 and above)

Linda and Eugene Davidson

Annabel Widney

FESTIVAL SUPPORT

The gifts listed below represent charitable donations to Bravo! Vail for the 2024 season through May 10, 2024. The Board of Trustees expresses its sincere thanks to each supporter for making it possible for Bravo! Vail to achieve its mission.

RESTRICTED FUNDS

The Artistic Excellence Fund

Becker Violin Fund

Best Friends of the Bravo! Vail Endowment

The Berry Charitable Foundation

The Jane and Gary Bomba Internship Program

The Carrington Classical Guitar Fund

The Ferguson Music Makers Haciendo Música Fund

The Lyn and Phillip Goldstein Maestro Society

The Lyn and Phillip Goldstein Piano Concerto Artist Project

The Therese M. Grojean Vocalist Fund

The Judy and Alan Kosloff Artistic Director Chair

The Igor Levental Memorial Music Fund

The McClean Family Music Teachers Fund

The New Works Fund

The Betsy Wiegers Choral Fund, in Honor of John W. Giovando

MAESTRO ($100,000 and above)

Bacca Foundation

The Berry Charitable Foundation** BDT & MSD Partners

Virginia J. Browning**

Fiona and Marvin Caruthers

Casa Dragones

Marijke and Lodewijk de Vink****

Four Seasons Resort and Residences Vail

Mr. Claudio X. Gonzalez****

Linda and Mitch Hart*

Billie and Ross McKnight**

The Rojas Family*

June and Paul Rossetti**

Cathy Stone******

Town of Vail*******

Betsy Wiegers******

FIRST CHAIR ($50,000 and above)

Anonymous***

Anonymous* (2)

Jayne and Paul Becker******

Barbara and Barry Beracha***

Jane and Gary Bomba and The Bomba Internship Program

Gina Browning and Joe Illick**

John Dayton****

Kathy and David Ferguson and The Ferguson Music Makers Haciendo Música Fund*

Mercedes and Elmer Franco*

Georgia and Don Gogel***

Lyn Goldstein*****

Vera and John Hathaway***

Ann Hicks*

Judy and Alan Kosloff*****

Pilar and José Ignacio Mariscal

Leni and Peter May*****

Barbie and Tony Mayer******

Ferrell and Chi McClean and The McClean

Family Music Teachers Fund***

Kathie Mundy and Fred Hessler*

National Endowment for the Arts*

Amy and James Regan******

Marcy and Stephen Sands***

Carole A. Watters***

The Betsy Wiegers Choral Fund, in Honor of John W. Giovando******

SYMPHONY ($40,000 and above)

Carole C. and CDR. John M. Fleming*

The Francis Family******

Tom Grojean******

ENSEMBLE ($30,000 and above)

Anonymous

Dierdre and Ronnie Baker***

Kjestine and Peter Bijur

Doe Browning and Jack Hunn***

June and Peter Kalkus******

Patricia and Peter Kitchak*

Shirley and William S. McIntyre, IV****

Ann and Alan Mintz*****

Kay and Bill Morton******

Amy and Hal Novikoff

The Sturm Family and ANB Bank**

Dhuanne and Douglas Tansill*****

Vail Valley Foundation*******

Nancy and Harold Zirkin*

IMPRESARIO ($25,000 and above)

Anonymous*

Becker Violin Fund

Ellie Caulkins*

Nancy and Andy Cruce*****

del Valle Perochena Family

Sara Friedle and Michael Towler

Penny and Bill George*****

Karen and Michael Herman****

Lyda Hill****

Sally and Byron Rose***

Didi and Oscar Schafer****

Martin Waldbaum****

Carol and Pat Welsh*****

Barb and Dick Wenninger***

VIRTUOSO ($20,000 and above)

Marilyn Augur*****

Jean and Harry Burn**

Edwina P. Carrington and Carrington

Classical Guitar Fund****

Norma and Charlie Carter*****

Suzanne Caruso and Stephen Saldanha

Amy and Steve Coyer****

Julie and Bill Esrey******

Bill Frick*****

Nancy Gage and Allan Finney**

Karen and Jay Johnson***

Han Mu Kang and the June S. Kang

Scholarship Fund

The Judy and Alan Kosloff Artistic Director Chair*

Donna and Patrick Martin**

Margaret and Alex Palmer**

Linda Farber Post and Kalmon D. Post****

Carole and Peter Segal***

Mary Sue and Mike Shannon

Sue and Marty Solomon and P&S Equities, Inc.****

Marcy and Gerry Spector***

Margie and Chuck Steinmetz*****

Lisa Tannebaum and Don Brownstein**

Anne and Chris Wiedenmayer**

Tom Woodell**

OVATION ($15,000 and above)

Anonymous*

Gloria Amtmann A., Cristian Eversbusch A., and Ricardo Eversbusch A.

Carol and Harry Cebron*

Kathy Cole***

Ron Davis*

Debbie and Jim Donahugh***

Sandi and Leo Dunn****

Liz and Tommy Farnsworth*****

Susan and Harry Frampton******

Holly and Ben Gill****

GMC*

Jane and Michael Griffinger*****

The Therese M. Grojean Vocalist Fund

Anne and Hank Gutman**

Kiwi and Landon Hilliard

Pam and Don Hutchings

Alexia and Jerry Jurschak**

Mr. and Mrs. Arthur Kelton, Jr.******

Dr. and Mrs. Frederick Kushner**

Jan and Lee Leaman**

Jessica Levental and The Igor Levental Memorial Music Fund**

LIV Sotheby’s International Realty**

FESTIVAL SUPPORT

Bobbi and Richard Massman****

Brenda and Joe McHugh*****

Marlys and Ralph Palumbo**

Mary Lou Paulsen and Randy Barnhart**

Carolyn and Steve Pope****

The Sidney E. Frank Foundation**

Susan and Richard Rogel*****

Terie and Gary Roubos*****

Beth Slifer**

Donna and Randy Smith*

J. Brian Stockmar

Stolzer Family Foundation, Ellen and Dan

Bolen, and Mary Kevin and Tom Giller*****

Mr. and Mrs. Steve Swalm

Jane and Tom Wilner*

ALLEGRO ($10,000 and above)

Anonymous

Alpine Bank****

Abbe and Adam Aron

Sharron and Herbert Bank, Penny Bank****

Katherine Clayborne and Thomas Shoup

Caryn Clayman***

Joanne Cohen and Morris Wheeler

Susan Dobbs

Eagle County Lodging Tax Marketing Committee

Kathleen and Jack Eck****

Cookie and Jim Flaum****

Lisa Gallagher and Jim Shives

Shelby and Frederick Gans*

Sheika Gramshammer*****

Vivien and Andrew Greenberg*

Fanchon and Howard Hallam*

Simon Hamui and SHS Solutions*

Martha Head*****

Kathy and Al Hubbard*

Kari Johnsen Gyde

Kay and Michael Johnson*

Cynnie and Peter Kellogg*****

Wendi and Brian Kushner***

Ann and William Lieff****

Diane and Lou Loosbrock*

Linda and Ronn Lytle

Anne and Tom McGonagle

Sarah and Peter Millett*

Kate and John Mitchell

Marge and Phil Odeen**

Ray Oglethorpe*

Teri Perry*****

Mimi and Keith Pockross*****

Ann and Tom Rader*

Wendy and Paul Raether*

Patricia and Brian Ratner

Alysa and Jonathan Rotella

Amy L. Roth, PhD and Jack Van Valkenburgh**

Alice Ruth and Ronald Alvarez

Suzanne and Bernard Scharf****

Ernie Scheller****

Dr. Kim Schilling

Eva and David Schoonmaker

Debbie and Jim Shpall**

Marilyn and James H. Steane, II

Brooke and Hap Stein*****

Angela and Tim Stephens

Barbara and Carter Strauss*

Nancy Traylor******

Debbie and Fred Tresca**

Vi Living

Jackie and Norm Waite**

Jann and John Wilcox

Xcel Energy Foundation

Aneta M. Youngblood

SOLOIST ($7,500 and above)

Anonymous**

Margo and Terence Boyle**

Dr. David Cohen*

Sallie Dean and Larry Roush******

Sue and Dan Godec***

Valerie and Robert Gwyn*****

Debbie and Patrick Horvath**

David Hsieh

Susu and George Johnson*

Joyce and Paul Krasnow*****

Janet and Paul Lewis

Alexandra and Robert Linn*

Patti Shwayder-Coffin and Steve Coffin*

Anne and Joe Staufer*****

Town of Gypsum****

Barbara Treat Foundation

Janice and William Woolford*

Kathy and Jonathan Zeschin**

CRESCENDO ($5,000 and above)

Anonymous***

Michael Abrams and Rita Numerof *

Shannon and Todger Anderson**

Arrowhead Association

Barbara Baldrey*

Marcine and Michael Balk

David Bernstein*

Mr. and Mrs. Edward J. Blieszner

Pat and Mike Booker

Kelly and Sam Bronfman, II***

Jeffrey D. Byrne

Elizabeth Chambers and Ronald Mooney*

Renee and Kerry Chelm

Sally and Kevin Clair

Coca-Cola Foundation

Paige and Chris Cumming

Mr. and Mrs. Robert Damico*

Wendy and Peter DeLuca

Dr. Fred W. Distelhorst**

Kathy and Brian Doyle**

Janet and Jim Dulin**

Catherine and Philip Edwards

Ellie Fund

Holly and Buck Elliott*****

Gail and Jim Ellis**

Craig J. Foley

Mikki and Morris Futernick******

Gallegos Corp.*

Dr. and Mrs. Ty H. Goletz*

Sue and Brian Gordon*

Kimberly Grillo Bernstein*

Neal Groff******

Mary A Hagopian and Wright B. George**

Kim and Greg Hext

Suzi Hill and Eric Noreen*

Helen J. Hodges**

Kelly Family Foundation*

Allison Krausen and Kyle Webb*

Pamela Kross and Michael Watters**

Carolyn and Paul Landen and the Lynne

Murray Sr. Educational Fund*

Sue and Robert Latham**

David and Katherine Lawrence Foundation****

Teri and Joe LeBeau

Jane and Robert Lipnick*

Jane Ann and Jim Lockwood

Regina and John Magee

Genevieve and Jay Mahoney*****

Laura and Jim Marx***

Jean and Tom McDonnell****

MentorMore Foundation*

Mika Nakamura and Gary Wood

Donna and Paul Newmyer*

Renee Okubo**

Obermeyer

Sally and Richard O’Loughlin***

Mary Beth and Charlie O’Reilly**

Nancy and Douglas Patton***

Karin and Philip Pead

Kathy and Roy Plum******

Jackie and James Power*****

Michele and Jeffrey Resnick***

Drs. Julie and Robert Rifkin*

Jane and Dan Roberts*

Sue and Michael Rushmore*

Kathleen Scanlan

Lisa and Ken Schanzer**

Elaine and Steven Schwartzreich*

Peggy and Tony Sciotto****

Debbie Engstrom Scripps***

Kathie and Bob Shafer*

Judy and Martin Shore**

Lynn P. and Raymond J. Siegel**

Susan and Steve Suggs***

Sherry Sunderman and Tom Mueller

Bea Taplin****

Deann Thoms and Richard Bross

Town of Avon

Drs. Pamela and Peter Triolo

Vail Health

Paula and Will Verity

Mrs. W. E. Walker, Jr.*

Wall Street Insurance**

Gil and Dody Weaver Foundation***

Bill and Katie Weaver Charitable Trust***

Susan and Albert Weihl***

Shelly and Ken Weisbacher

Kathy and William Wiener

Gena Whitten and Bob Wilhelm**

Thelma and James Willeford

Williams Weese Pepple & Ferguson

Ann and Phil Winslow**

Carolyn Wittenbraker and Arkay Foundation**

FORTISSIMO

($3,000 and above)

Anonymous* (2)

Anonymous

Sarah Benjes and Aaron Ciszek*

Rhoda and Howard Bernstein

Cathy and Bill Bethke

Gretchen Brigden and Christian Haeusermann*

Sunny and Phil Brodsky***

Allie and Marc Camens

Robin and Dan Catlin*

Toko and Bill Chapin***

Susan and Gordon Coburn*

Rebecca and Leon Colafrancesco

Janet and David Cooper

Maureen Cross*

Lucinda and Andy Daly**

Mercedes Dauphinais and William Mathison

Nancy and Ken Deline

Pamela G. Doray and J. Frederick Merz Jr.***

Barbara Earnest**

El Pomar Foundation

Carole and Pete Feistmann****

Susan and William Fink

Diane Folsom Frank

Beverly and Phil Freedman

Jane and Stephen Friedman*

Suzanne Frossard and Jeff Morten

Greer and Jack Gardner

Margie and Tom Gart**

Juli Robbins Greenwald

Debra Herz**

Pamela and Richard Hinds*

Cathy and Graham Hollis**

Jennifer and Don Holzworth**

Peter Huddleston*

Lynn and Dr. Andrew B. Kaufman***

Rosalind A. Kochman******

Margaret and Edward Krol**

Mr. and Mrs. Lawrence H. Kyte****

Ms. Beth Ladin and Mr. Lance Goldberg

Ellen Lautenberg and Doug Hendel*

Joan and Bob Levine

Karen and Steve Livingston*****

Ginnie Maes and the Kanter Kallman Foundation*

Marilyn Rauland Kidder Foundation

Meg and Peter Mason*

Kathy and Dick McCaskill, Jr

Ellen Mitchell***

Laurie and Tom Mullen*

Caitlin and Dan Murray*

Karen Nold and Robert Croteau**

Priscilla O’Neil******

Patty and Denny Pearce***

Ronnie Potter******

Patti and Drew Rader***

Etty and Alberto Rimoch*

Kathleen and William Roe*

Nancy and Robert Rosen**

Gussie Ross

Cassie and Wesley Sinor

Timothy E. Slattery

Dr. and Mrs. Barry Strauch***

Gail and Solly Toussier*

Sabrina and Robert Triplett*

Ellen and Ray Vanderhorst**

Jill and Joe Van Horn

Annette and Seth Werner

WESTAF

Ellen and Bruce Winston***

Jane and David Yarian

CONCERTO ($1,500 and above)

Anonymous* (3)

Anonymous

Larry Abston*

Janet and Bill Adler**

Adobe

Coleen and George Ball

Bank of America Matching Gifts

Bonnie and Stan Beard

Sandy and Stephen Bell*

Mia and Bill Benjes*

Laura and Len Berlik

Sally Blackmun and Michael Elsberry*

Anne and John Blair*

The Bowers Foundation

Mr. and Mrs. Marion P. Brawley, III*

Linda and Joe Broughton***

Mark Brown and Stephen Brint*

Patricia and Rex Brown**

Martha Chamberlin*

Karen and Nate Cheney**

Cincinnati Insurance

Lynn Cohagan**

Community First Foundation

Alix and John Corboy*

Silvia and Alan Danson**

Veronica and Jonathan Davies

Mary Beth and Neil Dermody*

Mary and Rodgers Dockstader****

Meg and Jamie Duke*

Jana Edwards and Rick Poppe**

Jane Eisner and Sam Levy**

Cindy and Dr. Jeff Ernst

Diane and Larry Feldman *

Marisol and Frank Ferraiuoli**

Michelle Fitzgerald and Jonathan Guyton*

Nancy and Clark Fitzmorris*

Jenny and John Fleming

Helmut Fricker Scholarship

Bonnie and Gary Goldberg

Goldman Sachs & Co.

Mari Jo and Gene Grace*

Julie Grimm-Reeves and Rich Reeves*

Rhonda and Glen Gross

Jan and George Grubbs, Jr.*

Dana Dennis Gumber*

Rebecca Hernreich*

Patricia and Lawrence Herrington*

Kimberly and Dr. John Hoffman

Nancy and Carrick Inabnett*

Susan and Bill Kirkpatrick

Bonnie and Larry Kivel****

Sue and Tony Krausen*

Nancy and Carl Kreitler**

Jane and Tod Linstroth*

Lyric Theatre of Leadville

Wolfgang Mairhofer*

Evi and Evan Makovsky**

Cheryl and Richard Marks*

M. Elaine and Carl E. Martin****

Linda and Chris Mayer*

Marcia and Tom McCalden****

Anna Menz

Liz and Luc Meyer**

Microsoft

Kathy and Bob Moore

Larry Moskow

Hazel and Matthew Murray**

Weesie and Tradd Newton

Rosanne and Gary Oatey

Margot Perot*

Pam and Ben Peternell

Mary Pat and Keith Rapp

Mary Reisher and Barry Berlin**

Melissa and Jeris Romeo

Jo Dean and Juris Sarins*

Gretchen and Mark Schar

Laura and Dr. Michael Schiff**

David Schlendorf*

Ambassador Alvin and Susan Schonfeld

Carole Schragen*****

Jane and Chuck Schultz*

Harriet and Bernard Shavitz**

Gail and Ronny Shoss

FESTIVAL SUPPORT

Helen A. Sims and Glenn Newkirk

Slifer Smith & Frampton Foundation****

Constanza and Jose Slim

Marty Sloven****

Susan and Bruce Smathers***

Rhonda and Marc Strauss*

Elissa Stein and Richard Replin*

Tabor Opera House Preservation Foundation

Linda and Mark Truitt

US Bank****

Vail Rotary Club

Lois and John Van Deusen****

George Ann and Buzz Victor

Gail and Thomas Viele*

Barbara Wallace*

Katie and Michael Warren*

Lori Weiner and Lorne Polger**

Susanna Weiss

Laura and Howard Willard

Linda and Neal Wilson

Ellen Wiss

Betty and Michael Wohl*

Rosalind and Dr. Larry Wolff**

Rosalie Wooten****

Jim Wright

Deborah and Stephen Yurco

Diane and Michael Ziering*

SONATA ($750 and above)

Anonymous*

Anonymous (5)

Melinda and Glenn Adams

Joanne and Richard Akeroyd*

Mercedes and Alfonso Alvarez**

Robert Barry

Francesca and Edward Beach

Nancy Bedlington and Robert Elkins**

Rosalind and Mervyn Benjet

Judy B. Biondini**

Adriana and David Bombard

David J. Borns*

Vicki and Jack Box*

Janie and Bill Burns**

Helen Neuhoff Butler*

Kim L. and Dr. John J. Callaghan

Kay Chester****

Esther and Daniel Claassen

Margie and Asa Clark

Jenny and Terry Cloudman

Megan and Mike Cohen

Anne Collier and Tyler Ray

Jean and Paul Corcoran

Pam and Jim Crane

Carmen and Juan Creixell

Kara and Mike Curran

Saskia and Dionisio D’Aguilar

Jill and Michael Dardick

Candace and Tad Decker

Robin Deighan

Sharon and Bill Donovan

Julie and Barney Feinblum*

Leslie Fielden and Jeff Seidel

Regina and Kyle Fink***

John Forester**

Jeanne Fritch and Ella Lyons*

Sheila and Robert Furr

Linda Galvin******

Betty Ann and Robert Gaynor**

Gail and Arnold Gelfand

Marshall Gordon*

Grappa Fine Wine and Spirits

Alison and Michael Greene***

Donna and Rob Gregg

Nancy Mezey Groff

Denise and Ken Gurrentz

Dr. Mary E. Guy*

Patricia Hammon

Colleen M. and David B. Hanson****

Alicia and Steve Harris

Amber and Peter Herron*

Maggie and John Hillman

Jill and Loyal Huddleston**

Karen Hurst and James Tuleya**

Julie and Steven Johannes

Alberta and Reese Johnson*

Deborah and Todd Johnson

Donna and Ward Katz*

Elizabeth S. Keay

Barbara Keller

Karen and Patrick Kiernan and Kiernan Fischer LLC

Drs. Georgeanna and Bill Klingensmith*

Deirdre and David Kopel

Lainey and Merv Lapin**

Dr. Nancy and Richard Lataitis*

Harrel Lawrence and Jerry McMahan***

Karen Lechner and Mark Murphy*

Terry Ann and John Leopold

Nancy and John Lindahl***

Francie and Gary Little

Eleanor and John Lock

Debbie and Ed Mace

Felice Mancini

Linda McKinney**

BJ and Bud Meadows**

Dr. Michael A. Mertens*

Mindy H. Miller

Bert Mobley

Linda and Jim Montgomery*

Jeanne and Dale Mosier**

Dr. and Mrs. Robert A. Nathan**

Ceci and Andres Nevares

Nancy Nottingham

Tiffany and David Oestreicher**

James Stanley Ogsbury, III*

Gerry and Ed Palmer**

Gina and Rick Patterson

Alice and John Norman Patton*

Cathy Pollard and Alan Markowitz

Amy Poole and Douglas Putney

Sandy and Timothy Powell

Mary and Ron Pressman

Jane E. Rosenbaum*

Howard Rosenbloom

Linda and Shaun Scanlon***

Andrea and Stuart Shatken*

Stanley Shuman

Kenny Slutsky

Gregory D. Smith

Jennifer Smith and Peter Ragauss

Patricia M. Smith

Edward L. Soll, MD

Ann Sperling

Ms. Jill R. Stewart and Mr. Michael E. Huotari*

Judy and John Stovall*

Phyllis and Steve Straub*

Janet and Hugh Thompson

Town of Eagle

Sharon and Tom Trumble

Kathy and Bob Valleau

Kim and Bill Wachtel

Elyce and David Walthall*

Monica and Dan White*

Clare Anne and Jonathan Whitfield*

Joan T. Whittenberg******

Janice and Dee Wisor*

Musette and William Young

Monica and Alejandro Zapata

Emily M. Zeigler

Mrs. Kathleen and Dr. Marvin Zelkowitz*

OVERTURE ($350 and above)

Anonymous* (2)

Anonymous (10)

Ellen Arnovitz**

B6 Fund at Rose Community Foundation*

Elaine and Steve Bachenheimer

Sheri Ball*

Jo-Ann and Lowry Barfield

Jennifer Bater

Susan J. Beasley

Emogene Bedrosian

Sally and Michael Belkin

Angela Alonso Bileca and Steven Bileca

Heather and Kirk Blackmon

John S. Blue*

Pamela and Brooks Bock

Patty and David Bomboy*

Rachel and David Bondelevitch

Carolyn Rose Borus*

Linda Boyne

Gina Erickson and Clark Brook

Mr. and Mrs. Caleb Burchenal*

Meaghan and Sean Burns

Althea T. Callaway

Dr. Anna Marie Campbell and Andrew McElhany*

Connie and Miles Carson

Michael Joseph Cerrone, III

Carolyn and Paul Clark

Deborah and Daniel Clarke

Rhoda and Larry Coben

Mr. and Mrs. Les Cole*

Marla and George Coleman

John Connell and Eric Versch*

Nancy H. and Timothy G. Cook

Drs. Andrea Cramer and Andrew Cole

Diana L. Crew

Derek Davis

Suzanne DeFrancis and Phil Wakelyn

Fara and Jason Denhart*

Barbara and Andrew Dobrot

Robin Dow and Howard Siegel

Dr. and Mrs. Gary Drizin

Paulette and David Dubofsky

Dr. Kelsey Dworkis and Mr. Zachary Dworkis

Holly Eastman

Ebert Appraisal Service

Edwards Rotary

El Vecino Tex Mex Dallas

Anne and Thomas Eller

Beverly and Mike Ellis

Jackie Ernst and Matthew Echert

Anne Esson

Carla and Mark Ewing

Marty and Tim Farrell

Lisa and Buzzah Feingold

Barbara and Larry Field******

Paul Finkel

Phyllis and Gary Finkelstein

Denise and Michael Finley****

Eleanore and Tom Flynn

Victoria Frank*

Nan and Robert Franklin

Dr. and Mrs. Alan L. Freeman*

Jane and Gerald Gamble

Laura and Warren Garbe

Dot and Luther Gause

Marty and Marc Geman

Patty and Terry Gibbs

Andrea and Michael Glass*

Doris and Matthew Gobec

Karen and Barry Goldberg

Tracy and Mark Gordon

Esperanza and Mark Griffith

Mario Guerrero

Bonnie and Dr. Robert Guss

Jane E. Hall

Jeri and Brian Hanly*

Dr. Oliver Harper

Cynthia Harris and Johannes Rudolph

Nesa Hassanein

Elizabeth and Phil Hawkins

James P. Heaney

Karen Hedlund

JoAnn G. Hickey

Joel High*

Peter Hillback

Pam and Tom Hopkins

Christy and Geoff Hoyl

Margie and Dave Hunter*

Marsha Hunter and Brian K. Johnson

IBM Corporation**

Jeanine and Marc Ingber

Dr. Susan Rae Jensen and Tom Adams Trainer*

Gloria and Frank Kalman

Gerry Karkowsky*

Phoenix Cai and Martin Katz

Cindy and John Kelleher

Susan Kendall

Julie and Mike Kirk*

Ann L. and D. Collier Kirkham

Cynthia Kruse

Kerri and Rick Lacher

Dr. and Mrs. Robert Landgren*****

Claudia and Gregg Laswell*

Monique and Peter Lathrop****

Bettan Laughlin

Carol L. Laycob

Lori Lecocq

Pamela R.L. Lessing and Dr. Judith Landau

Polly and Mark Lestikow

Rob LeVine*

A. Michele Lier*

Linda and Paul Monticciolo

Peter L. Macdonald*****

Beverly and Dr. Mordecai Magencey

Joanne and Douglas Mair*

Leslie and Jack Manes*

Karen and Mark Marder

The McClean Family Foundation

Jan and Gary McDavid**

Yana and Warren McFatter

Maeve Vickers McGrath

Katherine McKay

John McNett

Carol and Russ Meyer

Olivia and Rod Miller

William Mohrman

Pamela H. Moore*

Drs. Colleen Murphy and Peter Kennealey

Judith and Barry Nelson

Maria and Peter Nutson

Sharmon O’Brien and Don Mock

Debbie and Bruce Payne

Glenna and Bruce Pember*

Stephen Penrose*

Monica and Mark Perin**

Martha and Kent Petrie****

Christy and Brad Pierce

Mrs. Margaret Pisko, Dr. John Pisko, and Dr. James Pisko

Cathy and Theodore Pomeroy

Mary Pownall*

Mandy and Adam Quinton

Dan Rader and David Hood

Laura and Matt Raymond

David Regele

Anne and Albert Reynolds*

Marilyn Rhodes

Susie Rhodes and James Jirak

Mrs. Helen Richards

Ximena and Rafael Robles Miaja

Coralie and Bruce Rogers

Margaret and Rick Rogers

RK Rowland

Zoe and Ron Rozga

Gray and Mel Rueppel*

Lana and Steven Russell

Connie S. and Paula E.*

Cheryl and Harvey Saipe

Nina Saks and Richard B. Robinson

Susan and Fred Schantz

Arlene and Jack Schierholz

Mary and Helmut Schneider

Jonathan Schwartz****

Ingrid Seade

Jeffrey Selby

Carol and Jon Shanser

Christina Simpson and David Lippman

Cynthia and Matthew Skeen

Carolyn D. Smith******

Kelley and James Smith

Colleen and John Sorte*

Drs. Michella and Michael Stiles

Ronald Strong

Paula and John Temperilli

Margot and Ned Timbel

Anne and Robert Trumpower

Rosie and Bob Tutag

Dianna and Tom Unis

Sarah Valente

Pat and Tom Vernon*

Jill Vesty

Cheryl and Jeffrey Wall*

Jill and Bob Wagner

Deborah Webster and Stephen Blanchard*****

Enid and Stephen Wenner**

Karen and John Weslar

Sheila Whitman***

LaDonna and Gary Wicklund*

Maggie and Hans Wiemann

Stacy and John Wilkirson*

Claudie Williams

Judy and Bob Wilner

Kendall and Rick Wilson

S. Winter

Nancy and Fred Wolfe

FESTIVAL SUPPORT

PRELUDE ($100 and above)

Anonymous**

Anonymous* (2)

Anonymous (6)

Sandi and Larry Agneberg****

Pamela and Richard Alexander

Jeannette Anderson

Nancy Andrews

Susan and Sandy Avner

Carlota and Enrique Azcarraga

Kay Barber

Nancy and Joel Becker

Barbara Behrendt

Kathryn Benysh**

Pat and Brian Blood*

Tom Brix

Linda and George Brodin

Ruth and Rob Brown

Charlyn Canada***

Meg and Fred Carr

Chevron

Liane Clasen

Sander Cohen Scholarship Foundation

Jacqueline Cohen

Cathy Collins

Sharon and Martin Coloson

Mr. and Mrs. Al Demarest, III*

Alitza and Dwight Devon*

Sherry Dorward

Deb and Drex Douglas*

Betsy and Cliff Edwards

Delight and John Eilering****

Margaret Enright

Angela and José Esteve

Claire and R. Marshall Evans*****

Annette Fante

Kathy and Jerrell Farr

James E. Fell, Jr.**

Gail Ferry

Prof. Tom Franks

Laura and Peter Frieder*****

Grace and Peter Gehret

Henry and Lonetia Gerkin

Lynn and James Gilbert

Sandra Godfrey

Mary Ann and Dirk Gralka*

Marian and Larry Greher

Ron and Susan Gruber****

Dana and Dan Heffez

Matt Heimerich

Leslie Heins

Dwight Henninger**

Cathey A. Herren

Serena and Mike Highum

Jenny Hochtl

Michelle and Douglas Hofmeister

Elizabeth Holland

Anne Hollingsworth

Carolyn Holmgren

Nan and Charles Holt*

Hongli Jiang

Susan and David Joffe**

Karen Kaplan*

Jerry Katz

Rachel Krantz and Edward Goldstein

Kroger Community Rewards*

Sarah and Steve Kumagai*

Dr. and Mrs. J. David Lambeth

Letty and Pete Landa

Christine Lane

Brooke H. Lee

Linda Lee

Mary and Herrick Lidstone

May Chu and William Lightfoot

Linda and Bob Llewellyn*

Gretchen and Charles Lobitz

MaryLamb Lucas

Barbara and Ed Lukes*

Teresa Madigan and Michael Baskins

Ms. Eleanor F. Manzi

Diana Mathias

Christiana and Richard Maxwell

Sharon E. McKay-Jewett**

Nancy and Mike McKeever

Alan McLean

Francie and Eric Mendelsohn

Lynda and Steve Meshkov

Marilyn and Kurt Metzl

Dr. Laura Meyers

Susan Milhoan

Sara Newsam***

Hope and Greg Oquin

Peg and Gary Pantzer

Susan Parker and Saul Hoffman

Nancy G. Peller

Barbara and Don Phillipson

Diane Pincus and Tomas Berl*

Grace Poganski

Mindy and Jay Rabinowitz**

Dr. and Mrs. Kenneth B. Reynard*

John Riehle

Beverly and Timothy Roble

Coleen and Klaus Roggenkamp*

Dena and Mark Rosenkrantz

M and Warren Rothstein*

Lynn and Richard Russell**

Susan and John Ryzewic

Aline and Richard Sandomire

Robin and David Savitz

Sheila and Bernard Shair

Elizabeth Shavitz

Ricki and Steve Sherlin*

Charlie Sherwood

Lisa Siegert-Free and Nate Free

Eileen and Michael Sinneck

Adi Slifer, Slifer Smith and Frampton Foundation

William Snyder

Carol and Roger Sperry*

Yancey Spruill

Hermann Staufer

Drs. Arlene and Bob Stein

Jacqueline Taylor and Steven Sobol

Eileen and Skip Thurnauer

Susan and Bill Tracy

Robert Tregemba

Lucile Uhlig

Dr. and Mrs. Milan Uremovich

Linda and William Vigor

Irit and Art Waldbaum

Jan Weiland and Alan Gregory**

Andria and John Welch

Kenneth Zarecor

IN HONOR OF

Bravo! Vail Staff

Julie and Steven Johannes

Sue and Dan Godec

Jean and Paul Corcoran

Jane and Michael Griffinger

Kim and Bill Wachtel

Shelly and Chris Jarnot

Joanne and Douglas Mair

Caleb Kiernan

Karen and Patrick Kiernan

David Kim

Pat and Tom Vernon

Diane Loosbrock

Marla and George Coleman

Sarah Millett

Kenny Slutsky

Carole and Peter Segal

Shelby and Frederick Gans

Shira Samuels-Shragg

Lisa Tilley Anderson

Mark Winer and David Newman

Beverly and Dr. Mordecai Magencey

IN MEMORY OF

Dorothy and Stanley Bondelevitch

Rachel and David Bondelevitch

Captain and Deputy Chief Sander B. Cohen

Sander Cohen Scholarship Foundation

John Hull Dobbs

Fara and Jason Denhart

Susan Dobbs

Ann B. Finkelstein

Phyllis and Gary Finkelstein

Laura Frick

Fara and Jason Denhart

Bill Frick

Caitlin and Dan Murray

Helen and Bob Fritch

Jeanne Fritch and Ella Lyons

FESTIVAL SUPPORT

Michael Goldberg

Dena and Mark Rosenkrantz

Pepi Gramshammer

Sheika Gramshammer

Michael Gundzik

Fara and Jason Denhart

Caitlin and Dan Murray

Lawrence Herrington

Fara and Jason Denhart

Susan and Harry Frampton

John W. Giovando

Joan Francis

Patricia Herrington

Vicki and David Judd

Patricia and Peter Kitchak

Leni and Peter May

Patti and Drew Rader

Sally and Byron Rose

Peggy and Tony Sciotto

Debbie and Jim Shpall

Ann Smead and Michael Byram

June S. Kang

Han Mu Kang

Mike Kaplan

Karen Kaplan

James Carter Kubik

Anonymous

Dorothy Logan

Betsy and Cliff Edwards

Ginny Mancini

Felice Mancini

Lynne Mazza

Bravo! Vail Board of Trustees and Advisory Council

Fara and Jason Denhart

Pete Halpert

Caitlin and Dan Murray

Hal Novikoff

Fara and Jason Denhart

Amy Novikoff

Caitlin and Dan Murray

T. Larry Okubo

Renee Okubo

Parents and Grandparents

Jenny Shiao

Roberta Scheller

Fara and Jason Denhart

Caitlin and Dan Murray

Ernie Scheller

NEW WORKS FUND

Bravo! Vail expresses its sincere thanks to all who have made gifts to the New Works Fund. This fund serves two purposes: to underwrite future premieres of new music and to present music that may be unfamiliar to Vail audiences.

MAESTRO ($100,000 and above)

Town of Vail

ENSEMBLE ($30,000 and above)

The Berry Charitable Foundation

National Endowment for the Arts

IMPRESSARIO ($25,000 and above)

Virginia J. Browning

FORTISSIMO ($3,000 and above)

Judy and Alan Kosloff

Shirley and William S. McIntyre, IV

June and Paul Rossetti

CONCERTO ($1,500 and above)

Jayne and Paul Becker

Marijke and Lodewijk de Vink

Kathleen and Jack Eck

New Music USA

SONATA ($750 and above)

Amy and Charlie Allen

Dierdre and Ronnie Baker

Barbara and Barry Beracha

Doe Browning

Cookie and Jim Flaum

Susan and Harry Frampton

Joan Francis

Linda and Mitch Hart

Patricia and Peter Kitchak

Dr. and Mrs. Frederick Kushner

Diane and Lou Loosbrock

Barbie and Tony Mayer

Linda Farber Post and Dr. Kalmon D. Post

Sally and Byron Rose

Carole and Peter Segal

Donna and Randy Smith

Cathy and Howard Stone

Dhuanne and Douglas Tansill

Debbie and Fred Tresca

Carole A. Watters

OVERTURE ($350 and above)

Carol and Harry Cebron

John Dayton

Peggy and Gary Edwards

Sue and Dan Godec

Anne and Hank Gutman

Eleanor and John Lock

MaryAnn Scherpf

Marla and Barry Shainman

Ric Scripps

Debbie Engstrom Scripps

Rae Silberman

Gail and Ronny Shoss

Rod Slifer

Bravo! Vail Board of Trustees and Advisory Council

Fara and Jason Denhart

John W. Giovando

Caitlin and Dan Murray

Adi Slifer

Beth Slifer

Phil Smiley

Joan Francis

Dr. Alan L. Smith

Carla and Mark Ewing

Tom Stamper

Linda Stamper Boyne

Gary Turner

Bravo! Vail Staff

Caitlin and Dan Murray

Barbara Treat

Charlyn Canada

Vicki and Kent Logan

Sarah and Peter Millett

Caitlin and Dan Murray

Carolyn and Steve Pope

Patti and Drew Rader

Ann and Tom Rader

Michele and Jeffrey Resnick

Terie and Gary Roubos

Jacqueline Taylor and Steven Sobol

PRELUDE ($100 and above)

Sarah Benjes and Aaron Ciszek

Edwina P. Carrington

Fara and Jason Denhart

Kathy and Brian Doyle

Kabe ErkenBrack

Tracy and Mark Gordon

Ronda Combs

Rob LeVine

Regina and John Magee

Laurie and Tom Mullen

Brian Nestor

Melissa and Jeris Romeo

Lisa and Ken Schanzer

Jerry and Nancy Stevens

Susan and Steven Suggs

Katie and Michael Warren

Monica and Dan White

ENCORE SOCIETY AND ENDOWMENT

THE BRAVO! VAIL ENCORE SOCIETY

Members of Bravo! Vail’s Encore Society have made a bequest to the Festival and Bravo! Vail thanks them sincerely. Including Bravo! Vail in your estate plans ensures that your support of the Festival will continue to have an impact on tomorrow’s audiences. If you have included Bravo! Vail in your estate plans, please let us know so we may recognize you in this elite group.

$1,000,000 and above

Anonymous (2)

Vicki and Kent Logan

$100,000 and above

Anonymous

Anne and Donald* Graubart

Maryan and K Hurtt*/Lockheed Martin

Corporation Directors Charitable Award Fund

Lynn and Dr. Andrew B. Kaufman

Judy and Alan Kosloff

Linda McKinney

Michael Napoli

Dhuanne and Doug Tansill

Susan and Albert Weihl

$50,000 and above

Rosalind A. Kochman

$20,000 and above

Steven and Julie Johannes

Peter Vavra

$10,000 and above

John W. Giovando

Jeanne and Craig White

$7,500 and above

Susan Stearns*

Encore Society Members

Anonymous

Marilyn Augur

Kathryn Benysh

Virginia J. Browning

Janie and Bill Burns

Edwina Carrington

Norma and Charles Carter

Fara and Jason Denhart

Sandi and Leo Dunn

Carole and Peter Feistmann

Cookie and Jim Flaum

Linda and John* Galvin

Sue and Dan Godec

Mari Jo and Gene Grace

Jeanne and Jim Gustafson

Anne and Hank Gutman

Lowell Hahn

Noel Harris

Valerie Harris

Cathey A. Herren

Elaine and Art Kelton

Patricia and Peter Kitchak

Joyce and Paul Krasnow

Dr. and Mrs. Frederick Kushner

Margie and Larry Kyte

Laurie and Tom Mullen

Kathie Mundy and Fred Hessler

Caitlin and Dan Murray

Marge and Phil Odeen

Teri and Tony* Perry

Martha Dugan Rehm and Cherryl Hobart

Sally and Byron Rose

June and Paul Rossetti

Carole Schragen

Carole and Peter Segal

Beth and Rod* Slifer

Shaundel Smathers

Betty Smith Josey*

Margie and Chuck Steinmetz

Brian Stockmar

Cathy and Howard* Stone

Peggy Thompson and Wade White

Debbie and Fred Tresca

Martin Waldbaum

Betsy and George Wiegers

Gena Whitten and Bob Wilhelm

* Denotes In Remembrance

GIFTS TO THE ENDOWMENT

The Bravo! Vail Endowment Fund ensures the Festival’s long-term financial security and the continuance of the highest quality of music for generations to come. These endowed funds are professionally managed with oversight by the Bravo! Vail Investment Committee and are held in support of the Festival’s mission. The Festival expresses its deep gratitude to all who have made gifts to the endowment.

LEADERSHIP GIFTS

$100,000 and above

Maryan and K Hurtt

Leni and Peter May

Betsy and George Wiegers

MILLENNIUM GROUP

$50,000 and above

Anonymous

Jean and Dick Swank

$40,000 and above

Ralph and Roz Halbert

Gilbert Reese Family Foundation

BEST FRIENDS OF THE MILLENNIUM

$20,000 and above

Jayne and Paul Becker

Jan Broman

The Cordillera Group/Gerry Engle

Linda and Mitch Hart

Fran and Don Herdrich

The Mercy Family

Susan and Rich Rogel

BEST FRIENDS OF THE ENDOWMENT

$10,000 and above

Mr. and Mrs. Elton G. Beebe, Sr.

Mary Ellen and Jack Curley

The Francis Family

Merv Lapin

Amy and Jay Regan

$5,000 and above

Margo and Roger Behler/FirstBank

Carolyn and Gary Cage

Jeri and Charlie Campisi

Kay and E.B. Chester in Memory of Louise and Don Hettermann

Millie and Vic Dankis

Susan and Harry Frampton

Linda and John Galvin

Sheika and Pepi Gramshammer

Nita and Bill Griffin

Becky Hernreich

Bob Hernriech

Mary and Jim Hesburgh

Bruce Jordan

Gretchen and Jay Jordan

Kensington Partners

Alexandra and Robert Linn

Gerard P. Lynch

Priscilla O’Neil

Patricia O’Neill and John Moore

Joan and Richard Ringoen Family Foundation, Inc.

Terie and Gary Roubos/Roubos Foundation

Seevak Family Foundation

Helen and Vincent Sheehy

The Smiley Family

Claudia Smith

Mark Smith

Cathy and Howard Stone

Stewart Turley Foundation

TRUSTEES’ MILLENNIUM FUND

$2,000 and above

Sallie and Robert Fawcett

Mr. and Mrs. Lawrence Flinn, Jr.

Mrs. Jean Graham-Smith and Mr. Philip Smith

June and Peter Kalkus/Kalkus Foundation

Karen and Walter Loewenstern

John McDonald and Rob Wright

Jean and Thomas McDownell

The Merz Family

Zoe and Ron Rozga

Dr. and Mrs. William T. Seed

Carole J. Schragen

Deb and Rob Shay

Estate of Betty Smith Josey

Karin and Bob Weber

Anne and Dennis Wentz

Barbara and Jack Woodhull

Carol and Bob Zinn

BRAVO! VAIL EMERITUS SOCIETY

Judy and Howard Berkowitz

Marlene and John Boll

Jeri and Charlie Campisi

Sharon and Bill Donovan

Sallie and Robert Fawcett

Stephanie and Lawrence Flinn, Jr.

Vicki and Kent Logan

Molly and Jay Precourt

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THE LYN AND PHILLIP GOLDSTEIN MAESTRO SOCIETY

Lyn and Phillip Goldstein have provided a substantial gift to support the artistic expenses associated with Bravo! Vail’s resident conductors. This gift will be recognized in perpetuity.

THE LYN AND PHILLIP GOLDSTEIN PIANO CONCERTO ARTIST PROJECT

The quality of individual performers sets Bravo! Vail apart from all other festivals. This generous gift from Lyn and Phillip Goldstein supports artistic expenses associated with the Festival’s piano concerto artists. This gift will be recognized in perpetuity.

THE JUDY AND ALAN KOSLOFF ARTISTIC DIRECTOR CHAIR

Bravo! Vail gratefully acknowledges this gift, underwritten by Judy and Alan Kosloff, which supports Artistic Director Anne-Marie McDermott in her vision of bringing exciting and innovative programming and performing artists to Bravo! Vail.

THE SIDNEY E. FRANK FOUNDATION

Bravo! Vail is grateful to The Sidney E. Frank Foundation for its generous underwriting of the Virtual Access and Digital Content Project which creates video content and audio recordings.

KANG CHALLENGE FOR MUSIC EDUCATION

Bravo! Vail gratefully acknowledges Han Mu Kang and the June S. Kang Scholarship Fund for their support of the Festival’s Education & Engagement Programs. Thanks to this generous matching challenge, donations to Education & Engagement Programs were doubled.

THE BERRY CHARITABLE FOUNDATION

Bravo! Vail gratefully acknowledges the generosity of the Berry Charitable Foundation for the purposes of presenting international ensembles, audience development, future planning to promote the growth of the Festival, and more.

TOWN OF VAIL

Bravo! Vail acknowledges the vision of the Town of Vail and its Council members for their most generous underwriting of the Bravo! Vail Music Festival. Their support of Bravo! Vail since its inception has ensured the Festival’s continued success.

THE LINDA AND MITCH HART SOIRÉE SERIES

Linda and Mitch Hart provide unique and invaluable support to the soirée series, helping to underwrite the highest level of musical excellence.

THE CARRINGTON CLASSICAL GUITAR FUND

Bravo! Vail is grateful to Edwina Carrington for the creation of The Carrington Classical Guitar Fund. This fund underwrites the 2024 Festival’s exciting classical guitar programs.

BECKER VIOLIN FUND

Bravo! Vail gratefully acknowledges the Becker Violin Fund, underwritten by Jayne and Paul Becker, allowing the Festival to ensure the appearance of the highest level of internationally known violinists each season.

REHEARSAL SPACE

Antlers at Vail, FirstBank of Vail, Vail Interfaith Chapel and Vail Mountain School all provide invaluable rehearsal space. Thank you for this unique gift.

MEDIA ACKNOWLEDGEMENTS

The Festival is pleased to acknowledge support from Alpine Bank, CMNM, Colorado Public Radio, Town of Vail, Vail Daily, Vail Valley Partnership, Vail Local Marketing District Advisory Committee, Vail Resorts, Vail Town Council, and Vail Committee on Special Events.

BRAVO! VAIL MUSIC AWARD

The Bravo! Vail Music Award supports and extends opportunities for students to pursue musical studies of the highest caliber. The goal of the award is to provide financial assistance to a student in their pursuit of serious high-level music studies in an accredited program, camp, academic institution, or another similar setting, or to assist with the costs of instruments, software, or other materials essential to the student’s continued musical studies.

THE THERESE M. GROJEAN VOCALIST FUND

Bravo! Vail gratefully acknowledges The Therese M. Grojean Vocalist Fund, underwritten by Tom Grojean in memory of Therese M. Grojean who was a life-long lover of music and a long-time friend of the Festival. This multi-year fund allows Bravo! Vail to present world-class vocalists during our various concert series’ each summer.

SPECIAL GIFTS

THE FERGUSON MUSIC MAKERS HACIENDO MÚSICA FUND

The Bravo! Vail Education and Engagement Committee gratefully acknowledges The Ferguson Music Makers Haciendo Música Fund, generously provided by Kathy and David Ferguson, long-time supporters of piano and violin instruction in our community. The fund underwrites Bravo! Vail’s three-year strategic plan to grow and expand these important music education programs for local youth in our community.

THE IGOR LEVENTAL MEMORIAL MUSIC FUND

Bravo! Vail is grateful to Jessica Levental and the Levental Family for the creation of The Igor Levental Memorial Music Fund, established to honor the memory of Igor Levental. This fund will annually underwrite an artistic program or project at the Festival each summer.

THE MCCLEAN FAMILY MUSIC TEACHERS FUND

Bravo! Vail gratefully acknowledges The McClean Family Music Teachers Fund, underwritten by Ferrell and Chi McClean and the McClean Family, This multi-year fund supports the teachers of Bravo! Vail’s Music Makers Haciendo Música program.

THE JANE AND GARY BOMBA INTERNSHIP PROGRAM

The Festival gratefully acknowledges The Jane and Gary Bomba Internship Program, underwritten by Jane and Gary Bomba. This multi-year fund supports the Festival’s endeavors to provide interns with unparalleled opportunities to develop their skills sets, network with successful professionals, and work on diverse projects.

THE BETSY WIEGERS CHORAL FUND, IN HONOR OF JOHN W. GIOVANDO

Bravo! Vail gratefully acknowledges this fund, created by Betsy Wiegers to honor Festival Founder John Giovando, and will underwrite the performance of a choral work each year for ten years.

LOCAL TRANSPORTATION

The Festival acknowledges Epic Mountain Express and B-Line Xpress for its generous support in assisting Festival artists with local transportation to and from airports in both Denver and Eagle.

HOUSING HOSTS

Bravo! Vail is grateful to the individuals who donate their residence for the use by musicians during their stay at the Festival.

CORPORATE & GOVERNMENT SUPPORT

Bravo! Vail is indebted to the Town of Vail, the Vail Town Council, and the Festival’s many corporate, government, and community partners for their financial support.

MAESTRO ($100,000 and above)

The Berry Charitable Foundation**

BDT & MSD Partners

Casa Dragones

Four Seasons Resort and Residences Vail

Town of Vail*******

FIRST CHAIR ($50,000 and above)

National Endowment for the Arts*

ENSEMBLE ($30,000 and above)

The Sturm Family and ANB Bank**

Vail Valley Foundation*******

OVATION ($15,000 and above)

GMC*

The Sidney E. Frank Foundation**

LIV Sotheby’s International Realty**

ALLEGRO ($10,000 and above)

Alpine Bank****

Eagle County Lodging Tax Marketing Committee

Vi Living

Xcel Energy Foundation

Obermeyer is proud to support Bravo! Vail and its mission of presenting extraordinary music, accessible to all.

Guiding You Toward Financial Peace of Mind. Experienced Investors. Thoughtful

By:

SOLOIST ($7,500 and above)

Town of Gypsum****

Barbara Treat Foundation

CRESCENDO ($5,000 and above)

Arrowhead Association

Coca-Cola Foundation

Gallegos Corp.

Obermeyer

Town of Avon

Vail Health

Wall Street Insurance

Williams Weese Pepple & Ferguson

FORTISSIMO ($3,000 and above)

El Pomar Foundation

WESTAF

CONCERTO ($1,500 and above)

Adobe Bank of America Matching Gifts

Cincinnati Insurance

Goldman Sachs & Co.

Lyric Theatre of Leadville

Microsoft

Slifer Smith & Frampton Foundation****

Tabor Opera House Preservation Foundation

US Bank

Vail Rotary Club

SONATA ($750 and above)

Town of Eagle

OVERTURE ($350 and above)

Edwards Rotary

IBM Corporation**

PRELUDE ($100 and above)

Chevron

Kroger Community Rewards*

Sinfónica de Minería US Tour Sponsored

CANYON CATERING,LLC

Bravo! Vail is grateful for all who make an impactful gift through donated products, housing, rehearsal space, goods and services, and more.

MAESTRO ($100,000 and above)

The Antlers at Vail

The Hythe, a Luxury Collection Resort, Vail Vail Valley Foundation

FIRST CHAIR ($50,000 and above)

Four Seasons Resort and Residences Vail

Lodge at Vail

Town of Vail

Vail, Beaver Creek and EpicPromise

SYMPHONY ($40,000 and above)

Eagle County School District

IMPRESARIO ($25,000 and above)

BDT & MSD Partners

Casa Dragones

FirstBank of Vail

Manor Vail Lodge

VIRTUOSO ($20,000 and above)

Applejack Wine and Spirits

Jackson Family Wines

OVATION ($15,000 and above)

Alpine Bank

The Christie Lodge

ALLEGRO ($10,000 and above)

Dr. David Cohen

Joanne Cohen and Morris Wheeler

Georgia and Don Gogel

Anne and Hank Gutman

Vera and John Hathaway

The Left Bank

Anne and Tom McGonagle

Shirley and William S. McIntyre, IV

Mirabelle at Beaver Creek

Red Canyon Catering

Jonathan and Alysa Rotella

Vail Catering Concepts

SOLOIST ($7,500 and above)

Sonnenalp Hotel

CRESCENDO ($5,000 and above)

Gloria Amtmann A., Cristian Eversbusch A., and Ricardo Eversbusch A.

Shirley and Jeff Bowen

Anne Collier and Tyler Ray

Epic Mountain Express

Cealy Fellman

Gallegos Corp.

Carolyn and Paul Landen

LIV Sotheby’s International Realty

Alejandra Milmo

Kathleen and Michael Moore

Vail’s Mountain Haus

FORTISSIMO ($3,000 and above)

Lake County School District

Sweet Basil

Vail Religious Foundation

SONATA ($750 and above)

Patty and Earle Bidez

D’Addario Foundation

Foods of Vail

Luther Strings

Petals of Provence

Vintage Magnolia

OVERTURE ($350 and above)

Edwina P. Carrington

RED

ORCHESTRA NOTES

Program Notes ©2024 James M. Keller

June 23, Continued From Page 51

from the workers with animals,” he says, “and revueltas is one particular style of Venezuelan joropo. Joropo is like a national dance, an adaptation of baroque music originally from Spain.” Descended from the fourstring Renaissance guitar of Spain, the cuatro somewhat resembles the modern ukulele and is effectively Venezuela’s national instrument. The trumpet soloist here plays on several instruments—a standard trumpet, a cornet, and the deep-voiced flugelhorn.

June 28, Continued From Page 69

figured in Lady, Be Good, which ran as a satirical show in Philadelphia, but Gershwin kept re-writing it and ended up deleting this song before that work went to Broadway. Attempts to find a place for it in the shows Strike Up the Band (1927) and Rosalie (1928) proved futile. It only became popular when Gershwin’s English friend Lady Mountbatten convinced her favorite band, the Berkeley Square Orchestra, to start playing it in London.

“Don’t Get Around Much Anymore” (1940/42)

DUKE ELLINGTON (1899-1974)

LYRICS BY BOB RUSSELL (1914-70)

Edward Kennedy “Duke” Ellington occupied a respected place as a pianist and bandleader at New York’s Cotton Club when he wrote “Don’t Get Around Much Anymore,” in 1940. It was initially titled “Never No Lament,” which is how it appeared when Ellington’s orchestra recorded it as an instrumental number that year. Its popularity soared when Bob Russell fitted it with lyrics two years later. In 1943 it occupied the top spot on the Billboard R&B chart twice—once for Ellington’s original instrumental record, once for the vocal version featuring The Ink Spots.

Drums—A Symphonic Poem (ca.1942)

JAMES P. JOHNSON (1894-1955)

Growing up in New Jersey and New York, James P. Johnson developed as a pianist through both classical study and exposure to ragtime practitioners. His career flourished in the 1920s, when he made many virtuosic stride recordings, and soon he was recording with such eminent blues singers as Ethel Waters and Bessie Smith. He composed, or contributed to, 16 shows for Broadway or its Harlem equivalents (his first included his epoch-defining hit “The Charleston”). One of these, Harlem Hotcha (1932), included the song “Drums,” which he expanded about a decade later into this vivacious symphonic poem.

June 29, Continued From Page 71

B-major chords. But notwithstanding the frequent interruption of audience applause at that point, the adventure continues to a conclusion that is to some extent ambiguous: four closing E-major chords that we may hear as triumphant but may just as easily sound ominous.

July 19, Continued From Page 131

so-called “Scotch snaps,” consisting of a quick note on an accented beat followed by a longer note on an unaccented one). The Caledonian association will be inalienable to many audiences today thanks to the work’s use in George Balanchine’s kilted ballet setting, under the title Scotch Symphony, a staple in the dance repertoire since it was unveiled in 1952.

July 20, Continued From Page 135

scherzo in a symphony, quite a contrast to the lighter, even wistful allegretto intermezzos that had served as the third movements of his first three. And for his finale, Brahms unleashes a gigantic passacaglia, a neo-Baroque structure in which an eight-measure progression, derived from the last movement of Bach’s Cantata No. 150, is subjected to 32 variations of widely varying character. He composed this work during two summers he spent in the picturesque Austrian town of Mürzzuschlag, at the eastern edge of the Alps. The community conservatory there is the Johannes Brahms Musikschule, the hiking route the composer followed is now the Brahmsweg, and the town square sports a statue of the composer setting off on one of those hikes. There is a Brahms Museum “in the genuine summer residence of Johannes Brahms,” which contains memorabilia relevant to his vacations and sponsors innumerable mostly-Brahms concerts— before or after which you can refresh yourself at the Brahms-Bar.

July 23, Continued From Page 145

United States. On November 19, 1945, a week after Serge Koussevitzky led the Boston Symphony Orchestra in the American premiere, Prokofiev’s picture graced the cover of Time magazine. The magazine’s lengthy profile of him quoted Koussevitzky’s assessment:

“[The Fifth Symphony is] the greatest musical event in many, many years. The greatest since Brahms and Tchaikovsky! It is magnificent! It is yesterday, it is today, it is tomorrow.”

July 24, Continued From Page 149

Dvořák was so insulted that he had the piece published instead by the London firm of Novello—a flagrant breach of his contract with Simrock, although eventually they reconciled.

Compared to Dvořák’s somber Seventh Symphony (in D minor), the Eighth is decidedly genial and upbeat. And yet, if we listen carefully, we may be surprised by how much minor-key music actually inhabits this major-key symphony, beginning with the richly scored, rather mournful introduction in G minor, which the composer added as an afterthought. But even here joyful premonitions intrude, thanks to the birdcall of the solo flute. This develops into the ebullient principal theme of the movement; and yet, the mournful music of the introduction keeps returning as the movement progresses.

BRAVO! VAIL STAFF

ARTISTIC DIRECTOR

Anne-Marie McDermott

EXECUTIVE DIRECTOR

Caitlin Murray

EXECUTIVE FOUNDER

John W. Giovando

ARTISTIC FOUNDER

Ida Kavafian

ARTISTIC

Director of Artistic Planning

Jacqueline Taylor

Artistic Liaison

Shannon Murray

ADMINISTRATION & FINANCE

Vice President of Finance & Human Resources

Monica White

Executive Assistant

Hannah Ploughman

Human Resources

& Volunteer Coordinator

Tiona Whilby

Office Manager

Jeff Herring

EDUCATION & ENGAGEMENT

Senior Director of Education & Engagement

Aileen Pagán-Rohwer

Education & Engagement

Programs Coordinator

Emily Waldman

BRAVO! VAIL MUSIC MAKERS

HACIENDO MÚSICA TEACHING STAFF

Cindy Allard

Celesta Cairns

Scott Carroll

Kinsey Corby

Lauren Emerson

Lindsay Erickson

Jeff Herring

Susan Reid

Jenny Roussel

Hannah Terrell

INSTITUTIONAL ADVANCEMENT

Vice President of Philanthropy

Jason Denhart

Senior Director of Development

Jackie Ernst

Senior Director of Marketing & Communications

Parker Owens

Director of Business Intelligence & Systems

David Judd

Database Manager

Beth Pantzer

Development Associate

Emily McPherson

Digital Media Associate

Henry Smith

Development Manager

Ian Grask

Events Coordinator

Maggie Lashley

Project Manager & Communications

Specialist

Linda Stamper Boyne

Project Coordinator

Kimberly Camunez

Sales Manager

Nancy Stevens

Patron Services Assistant Manager

Jonny Stevens

Patron Services Associates

Emma Cerovich

Jeane Gelo

Carolyn Gentling

OPERATIONS AND TECHNICAL PRODUCTION

Director of Artistic Operations

Elli Monroe

Technical Director

Jake Cacciatore

Audio Engineers

Marty Bierman

Z Craven

Taylor Sobol

Production Crew Manager

Robert Pastore Jr.

Production Crew

Jeremy Almeter

Todd Bethune

Paul Casey

Benjamin Kust

Aaron Weitkemper

Piano Technician

Mike Toia

JANE AND GARY BOMBA

INTERNSHIP PROGRAM

Institutional Advancement Interns

Nashida Asadulla - Georgia State University

Emmy Henderson - Florida State University

Sarah Smith - Indiana University

Mari Stanton - Florida State University

Education & Engagement Intern

Charlotte Kazalski - Ithaca College

Operations Intern

Alexander Tada - University of Rochester

Audio & Technical Interns

Matthew Sousa - University of Denver

Maximillian St. George - Baldwin Wallace University

RESIDENT ORCHESTRA PHYSICIAN

Steve Yarberry, MD

RESIDENT ORCHESTRA PHYSICAL THERAPIST

Jennifer Martin, PT, DPT, OCS, FAAOMPT

MARKETING AND DEVELOPMENT CONTENT

Managing Editor

Alice Kornhauser

Public Relations

8VA Music Consultancy

Communications & Grants Specialist

Christy Pierce

FILMMAKING

Director

Tristan Cook

PHOTOGRAPHY

Tomas Cohen

GRAPHIC DESIGN

Edgellworks

Sarah Edgell

This program is published by: The Publishing House, Westminster, CO.

Publisher

Angie Flachman Johnson

Vice President of Sales

Scott Kaplan

Production Manager

Stacey Krull

President Emeritus

Wilbur E. Flachman

For advertising, call 303-428-9529 or email sales@pub-house.com

ColoradoArtsPubs.com

GUILD & SPECIAL NOTES

GUILD

Bruce & Linda Alper

Janet Beals

Pat Blood

Deborah Bolon-Feeney

Carol Bosserman

Barbara Bower

Carol Brannigan

Natalie Bullard

Judy & David Carson

Nancy Collins

Bob & Jan Cope

Jim Crine

Pamela Crine

Bruce Crow

Carol & Greg Dobbs

Debbie Durben

Ann & Sandy Faison

Eleanor Finlay

Elizabeth Claire Forsyth

Jack & Greer Gardner

Colleen Gauron

Sharon Hankins

Irene Hayes

Jim & Kathy Hill

Don Hoolihan

Nina Holmquist

Elizabeth Janowitz

SPECIAL NOTES

Bravo! Vail will follow all health and safety protocols in place as determined by local and state health officials.

The use of cell phones and electronic devices is prohibited during concerts. Sound recording, photographing, or videoing of concerts is strictly prohibited.

Concerts start punctually at the time indicated. Latecomers may be admitted at the discretion of our ushers, either between movements or between pieces. Please respect our volunteer ushers. We ask that adults accompany young children at all times.

Artists and programs are subject to change without prior notice and such changes are not cause for a refund.

Please save your program book for the duration of the Festival and recycle unwanted materials. You may also access information contained in the printed program book on our website, BravoVail.org.

Shari Johnson

Jane Jones

Carol Kelly

Julie Kenfield

Betty Kerman

Ellen Keszler

Wendy Klein

Marion & Don Laughlin

Charlene Koegel

Vicky Litchev

Jim & Diane Luellen

Maureen (Mo) McCullough

Suzanne McKenna

Carole Ann McNeill

Ferol & Bruce Menzel

Kevin & Martha Milbery

Sandy Morrison

Rita Neubauer

Suzette Newman

Annette Parsons

George Person

Sandra & Tim Powell

Joanne Rock

Teri Ross

Mike & Nancy Rowe

Tom Russo

George & Nancy Sanders

Bravo! Vail

Bravo! Vail and the Bravo! Vail logo are trademarks of Bravo! Colorado @ Beaver Creek-Vail, Inc in the United States. Information is subject to change without notice. © 2024 Bravo! Vail. All rights reserved.

Bravo! Vail Program Book © 2024

Mail/Administration

2271 N Frontage Rd W, Suite C Vail, CO 81657

970.827.5700 | 877.812.5700 toll free Fax 970.827.5707

Tickets

Online: BravoVail.org

Phone: 877.812.5700

Email: ticketing@BravoVail.org

Box Office: 2271 N Frontage Rd W, Suite C, Vail, CO 81657

Concerts take place rain or shine, unless otherwise specified in event details. The GRFA, community amphitheaters, and

Gary & Lou Scanlon

Scott Schaefer

Andy Searls

Charlie Sherwood

Lisa Simek

Eileen Sordi

Kathryn Sramek

Joseph Staron

Judy & Michael Turtletaub

Ken & Meg Wagner

Carol Walker

Karla Wall

Julia Watson

Patrick Willing

Steven & Cathryn Willing

Dean & Linda Wolz

Allison Wright

Brian & Chiann-Yi Yawitz

Ceci Zak

Bravo! Vail Music Box events are openair venues. Refunds are not given due to weather unless a concert is canceled in its entirety with no performance rescheduled.

No refund or exchange. Event dates and times are subject to change. All rights reserved. If the event for which this ticket is issued is rescheduled or canceled, the holder shall not be entitled to a refund except as otherwise required by law and will instead will have the right only to attend the rescheduled event, or if an event is not rescheduled, to exchange the ticket for another of equal value. By attending this event you consent to photography, audio and/or video recording and its/their release, publication, exhibition, and/or reproduction to be used for advertising or promotional purposes, or any other purpose by Bravo! Vail Music Festival and its affiliates and representatives. See full ticketing policy details and more at BravoVail.org.

WAYS TO GIVE

JOIN OUR COMMUNITY OF DONORS

There are many ways to join our community of arts supporters and make an impact.

Bravo! Vail relies on the generosity of our incredible donors to continue our legacy of musical excellence and to fulfill our mission to present extraordinary music, accessible to all. When you give to Bravo! Vail, you’ll receive exclusive benefits that bring you even closer to the music. Benefits are offered depending on your level of giving. Please visit our website, BravoVail.org, to learn more about giving levels and benefits.

Ways to Designate Your Annual Gift

General Operating Support: Your gift ensures that world-class music continues to resound throughout the Vail Valley. Remember to check if your company offers matching gifts.

Orchestral Underwriting: Become a friend of an orchestra by designating your gift to support one of the Festival’s four world-class resident orchestras.

Education & Engagement Programs: Support Bravo! Vail’s mission to make music accessable to all by underwriting the year-round programs that make music accessible to all.

New Works Project: The New Works Project’s goal is to commission and premiere brand-new music during the Festival, while also presenting the incredible wealth of music written by the leading composers of the 20th and 21st centuries.

Tribute and Memorial Gifts: Assign your contribution and give a meaningful gift to a music lover or honor the memory of a loved one.

ARTISTIC EXCELLENCE FUND

This designated fund eliminates the limitations inherent to an annual fundraising cycle and allows us to dream farther into the future to draw the most talented artists in classical music to the Festival.

“WE GIVE TO BRAVO! VAIL to ensure our granddaughter will have the same opportunity to experience incredible music in this beautiful place we call home.”

— Bravo! Vail Donor

DIRECT CONTRIBUTION

Give directly to the Festival via check, credit card, or cash.

GIFTS OF STOCK

Donating stock and securities can maximize your tax benefits.

QUALIFIED CHARITABLE DISTRIBUTION

If you are aged 70½ or older, you can donate directly to Bravo! Vail from your IRA and receive tax benefits.

DONATE A VEHICLE

Instead of selling, trading, or storing your old vehicle, donate it to Bravo! Vail and receive a tax deduction.

IN - KIND GIFTS

Donations of products, housing, rehearsal space, goods, and services are an impactful way to support Bravo! Vail.

DONATE AN AUCTION ITEM

Donate use of your home, an experience, or an item we can put into the annual Online Auction.

ONLINE AUCTION & PADDLE RAISE

Support Bravo! Vail’s year-round Education & Engagement Programs by participating in the annual Online Auction & Virtual Paddle Raise each summer.

For more information, please email

CORPORATE PARTNERSHIP

Position your business as a supporter of the arts. Enjoy sponsor recognition and the benefits associated with your giving level.

PLANNED GIVING

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

BECOME A HOUSING HOST

Do you own a house, condo, or private guest apartment that is available for any length of time during the Festival? Become a Housing Host for a Festival musician or seasonal Bravo! Vail employee, receive donor benefits, and make an impact!

For more information, contact Director of Artistic Operations Elli Monroe at emonroe@BravoVail.org.

A New Era of Fine Jewelry

Located in the heart of Vail Village, Squash Blossom owners Hilary and Kevin Magner are paying homage to the values instilled in the store since the 1970s, with a modern and re ned approach. The boutique features the nest contemporary jewelers as well as vintage pieces, like the client-favorite turquoise Squash Blossom pieces from the boutique’s original collection.

The store hosts seasonal events, o ers permanent jewelry, ne jewelry piercings and private shopping by appointment.