2014 Program Book by Bravo! Vail

Photo Zach Mahone

dall as symphony orchestr a

new york philharmonic

june 27 - august 2, 2014

the phil adelphia orchestr a

the sound of extr aordinary |

june 27 - August 2, 2014

chamber music

p p u o s rter of d u o r P

Bravo! Vail After-School Piano Classes

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WELCOME TO THE SOUND OF EXTRAORDINARY Dear Friends: Welcome to the 27th Season of Bravo! Vail, the only festival in North America to host three of the worldâ&#x20AC;&#x2122;s finest orchestras in a single season. The Dallas Symphony Orchestra, The Philadelphia Orchestra, and New York Philharmonic take up residence in Vail every summer, featured in programs of the great classics, plus jazz and pops. A stellar line-up of world-renowned chamber music artists round out this extraordinary series, planned just for you. The musicianship is unsurpassed. The setting varies from the grandeur of the Gore Range embracing the Gerald R. Ford Amphitheater to intimate spaces throughout the Vail Valley. Best of all is sharing this incredible experience with friends, old and new. Summer 2014 is the best time ever to take advantage of all that Bravo! Vail has to offer. In addition to our three resident orchestras, wonderful featured artists, and core programs, the Festival is expanding around the Vail Valley to serve those interested in engaging with great music in a more relaxed format. Look for concerts and community engagement events in your own neighborhoods and at fine establishments all around town. Thanks to all of you, audiences, donors, volunteers, artists, and music lovers, for your support of Bravo! Vail and all it offers. We provide these programs to enrich the lives of thousands of citizens and students alike all year long. You always do your part to help make transformative moments like this concert possible and for that we are grateful. Without you, this celebration of life and the love of music in the Rocky Mountains would not be possible. Sincerely,

James W. Palermo President

Anne-Marie McDermott Artistic Director

Russell S. Molina Board Chair

Board of Trustees Russell Molina, Chair Craig J. Foley, Vice Chair Dan Godec, Treasurer Betsy Wiegers, Secretary Ronald Baker Barry Beracha Jenn Bruno Bill Burns Michael Byram Tim Dalton Glenn Davis Marijke de Vink Kristi Ferraro Cookie Flaum Ceil Folz Vicky Garza-Mohajer Jeanne Gustafson Linda Hart Argie Ligeros Gary Lutz Laura Marx Tony Mayer Shirley McIntyre Matt Morgan Davy Ratchford Michele Resnick Vicki Rippeto Margaret Rogers David Salvin Rachel Smiley Cathy Stone Frank Strauss Susan Suggs Doug Tansill Greg Walton Advisory Council David Anderson Adam Aron Paul Becker Dani Bedoni Jan Broman Doe Browning Kay Chester Bill Clinkenbeard Lucy Davis John Dayton Brian Doyle Gary Edwards Thomas Edwards Sallie Fawcett Harry Frampton Joan Francis John Galvin Mark Gordon Seeme Hasan Martha Head Karen Herman

Cheryl Holman Katie Kellen Alan Kosloff Jeremy Krieg Honey Kurtz Robert LeVine Richard Liebhaber Vicki Logan Patricia Lynch Bill Morton Laurie Mullen Sarah Nash Kalmon Post Brad Quayle Drew Rader Martha Rehm Susan Rogel Byron Rose Terie Roubos Carole Segal Jim Shpall Rod Slifer Marcy Spector Tye Stockton Sue Sturm Fred Tresca Paula Verity Steve Virostek Carole Watters CHAIRS Emeritus Kay Chester Kathleen Eck Pat Herrington Alan Kosloff Argie Ligeros Donna Meyer Steve Pope Mark Smith Dick Swank Doug Tansill Karin Weber Executive Director Emeritus John W. Giovando Artistic Directors Emeritus Ida Kavafian Eugenia Zukerman Trustee Emeritus Marge Burdick, In loving memory Mary Hesburgh Ann Sansbury Phil Smiley Thomas Steinberg L.W. Stolzer Luanne Wells 27

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Education & Community Engagement Pre-Concert Talks Learn from the experts! Prominent Colorado musicologists lead a series of afternoon talks, providing insight into the composers’ lives and the evening’s repertoire.

Little Listeners @ the Library Resident musicians present free and fun performances designed for younger children, aged 3 - 7. Presentations are usually focused on a specific instrument, and include a participatory musical activity, allowing kids to explore the music being presented.

Free Chamber Concert Series Free music sounds extraordinary all summer long, throughout the Vail Valley. This series includes afternoon chamber music every Tuesday and Thursday at the Vail Interfaith Chapel, evening concerts across the valley, and an exciting new series of World Music in Nottingham Park.

Bravo! Vail After Dark Designed specifically for the late night crowd and those interested in engaging with classical music in a more relaxed format, Bravo! Vail After Dark presents popular artists in informal and fun locations. Science Behind: Sound (July 16, 6:00PM) In this first-ever collaboration between Bravo! Vail and Walking Mountains Science Center, science educators will be joined by the ensemble Third Coast Percussion to explore and demonstrate concepts related to the science of sound in a fun and interactive program.

Instrument Petting Zoo Children get the chance to experiment with real orchestral instruments — percussion, brass, woodwinds, and strings. Look for mini Instrument Petting Zoos to take place at some Little Listeners @ the Library events as well!

Free Family Concert Bravo! Vail’s annual Family Concert is an exciting and informal introduction to symphonic music. Enjoy this year’s free performance of Peter and the Wolf on Thursday morning, July 10th, 2014, with The Philadelphia Orchestra, preceded by a full Instrument Petting Zoo.

Music on the Move During the Bravo! Vail’s 27th season music can happen anywhere, as a variety of musicians pop up and play throughout Lionshead Village, Vail Village, and Beaver Creek all summer long.

Please view the full calendar on the next page for specific program dates. 29

event calendar APL: Avon Public Library BCP: Brush Creek Pavilion DP: Donovan Pavilion EIC: Edwards Interfaith Chapel EPL: Eagle Public Library GPL: Gypsum Public Library GRFA: Gerald R. Ford Amphitheater

LH & BC: Lionshead & Beaver Creek Villages MSG: Moroles Sculpture Garden, Ford Park NPA: Nottingham Park, Avon VIC: Vail Interfaith Chapel VMS: Vail Mountain School TVPL: Town of Vail Public Library VV: Vail Village

Programs/Artists subject to change without notice. Tickets are non-refundable and non-transferable. Rain or shine, show goes on!

Sunday, June 29

Monday, June 30

Tuesday, July 1

•

1:00 PM | VIC Free Concert Series

•

6:00 PM | GRFA Dallas Symphony Orchestra

•

6:00 PM | GRFA Dallas Symphony Orchestra

•

2:00 PM | TVPL Little Listeners @ the Library

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6:00 PM | VMS Chamber Concert

SundAy, July 6

•

11:00 AM | VV Music on the Move

• 5:00 PM | MSG Pre-Concert Talk

• 6:00 PM | GRFA

Monday, July 7

•

1:00 PM | EPL Little Listeners @ the Library

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Tuesday, July 8

• 1:00 PM | VIC Free Concert

•

6:00 PM | GRFA The Philadelphia Orchestra

6:00 PM | DP Chamber Concert

Monday, July 14

Tuesday, July 15

The Philadelphia Orchestra

Sunday, July 13

• 1:00 PM | VIC

• 11:00 AM | VV

Free Concert

Music on the Move

• 5:30 PM

• 7:30 PM | EIC Free Concert

The Ritz-Carlton, Bachelor Gulch 27th Annual Bravo! Vail Gala Dinner, Dance, & Auction

Sunday, July 20

•

2:00 PM | TVPL Little Listeners @ the Library

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6:00 PM | DP Chamber Concert

Monday, July 21

Tuesday, July 22

•

1:00 PM | EPL Little Listeners @ the Library

•

11:00 AM | VV Music on the Move

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6:00 PM | GRFA New York Philharmonic

• 6:00 PM

Krasnow Residence Soirée Series

• 7:30 PM | BCP

• 1:00 PM | VIC Free Concert

•

6:00 PM | DP Chamber Concert

Free Concert

Sunday, July 27

•

11:00 AM | VV Music on the Move

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4:00 PM Lodge & Spa at Cordillera Free Concert

Monday, July 28

Tuesday, July 29

• 1:00 PM | VIC Free Concert

•

7:30 PM | DP Silver Oak & Twomey Series

Friday, June 27

• Orchestra • Chamber Music • Free Events • Linda & Mitch Hart Soirée Series • Education & Community Engagement Wednesday, July 2

Thursday, July 3

Saturday, June 28

• 5:00 PM | MSG • 6:00 PM | GRFA

Pre-Concert Talk

•

Dallas Symphony Orchestra

6:00 PM | GRFA Dallas Symphony Orchestra

Friday, July 4

Saturday, July 5

• 10:00 AM | LH & BC

• 1:00 PM | GPL

• 1:00 PM | VIC

Little Listeners @ the Library

• 2:00 PM | GRFA

Music on the Move

•

6:00 PM | GRFA Dallas Symphony Orchestra

Free Concert

Dallas Symphony Orchestra

6:00 PM | GRFA The Philadelphia Orchestra

Wednesday, July 9

Thursday, July 10

Friday, July 11

Saturday, July 12

•

10:30 AM | GRFA Instrument Petting Zoo

• 8:00 PM | GRFA

The Philadelphia Orchestra

•

11:30 AM | GRFA Free Family Concert 1:00 PM | VIC •Free Concert

• 1:00 PM | GPL Little Listeners @ the Library • 6:00 PM Walking Mountains Science Center Free Event

•

Pre-Concert Talk

• 6:00 PM | GRFA

The Philadelphia Orchestra

Thursday July 17

Friday, July 18

• 1:00 PM | VIC Free Concert

• 2:00PM | APL Little Listeners @ the Library

• 6:00 PM | NPA

• 6:00 PM | GRFA

Wednesday, July 23

Thursday, July 24

New York Philharmonic

Friday, July 25

• 1:00 PM | VIC

7:30 PM Gypsum Town Hall Free Concert

6:00 PM | GRFA New York Philharmonic

Wednesday, July 30

Thursday, July 31

Friday, August 1

•

Saturday, July 19

• 5:00 PM | MSG Pre-Concert Talk

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6:00 PM | GRFA New York Philharmonic

• 8:30 PM | Vail Ale House Saturday, July 26

• 10:00 AM | LH & BC Free Concert

7:30 PM | DP Silver Oak & Twomey Series

•

6:00 PM | GRFA The Philadelphia Orchestra

Bravo! Vail After Dark

• 5:00 PM | MSG

•

Music on the Move

Free Concert

New York Philharmonic

• 10:00 AM | LH & BC

6:00 PM Martin Residence Soirée Series

• 6:00 PM | GRFA

• 5:00 PM | MSG

• 6:00 PM | NPA Free Concert

Wednesday, July 16

•

2:00PM | APL Little Listeners @ the Library

•

• 1:00 PM | VIC Free Concert

•

7:30 PM | DP Silver Oak & Twomey Series

Pre-Concert Talk

•

6:00 PM Brownstein & Tannebaum Residence Soirée Series

Music on the Move

•

6:00 PM Amanda Precourt Residence Soirée Series

•

8:30 PM Crazy Mountain Brewery Bravo! Vail After Dark

Saturday, August 2

•

6:00PM Vilar Performing Arts Center Chamber Concert 31

ÂŠ Zach Mahone

Dallas Symphony Orchestra

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

Van Zweden was named Musical America Conductor of the Year 2012 in recognition of his work as Music Director of the Dallas Symphony and as a guest conductor with the most prestigious U.S. orchestras. For the Dallas Symphony’s DSO Live record label, Maestro van Zweden has released the symphonies of Tchaikovsky (Nos. 4 and 5), Beethoven (Nos. 5 and 7) and Mahler (Symphony No. 6), and the worldpremiere recording of Steven Stucky’s concert drama August 4, 1964, for which Stucky was nominated for a Grammy® Award.

During Mata’s tenure, the Dallas Symphony Orchestra saw the dedication of its permanent home, the Morton H. Meyerson Symphony Center.

Following Litton’s departure, the DSO named Jaap van Zweden as its new music director in February 2007. The 2013-2014 season marks van Zweden’s sixth with the Orchestra. In addition to his position with the Dallas Symphony, van Zweden is in his second season as Music Director of the Hong Kong Philharmonic Orchestra. Dallas Symphony performances conducted by Jaap van Zweden are regularly hailed by The Dallas Morning News as “exhilarating,” “revelatory,” and “as electrifying as you’ll hear anywhere.” In March 2013, van Zweden conducted a heralded two-week European tour with the Dallas Symphony in Eindhoven, Amsterdam, Vienna, Munich, Frankfurt, Hamburg and Hannover. He also led the Dallas Symphony in an appearance in the inaugural Spring for Music festival at Carnegie Hall in 2011.

In December of 1992, the Dallas Symphony Association named Andrew Litton to succeed Mata as music director. Litton launched the Dallas Symphony’s first television venture, the Amazing Music series, made numerous recordings with the DSO including Mahler’s Symphony No. 5 and Gramophone magazine’s Editor’s Choice Award-winning Rachmaninoff Piano Concertos, had several performances at Carnegie Hall, three European tours and inaugurated their summer residency here at Bravo! Vail.

Friends of the dallas symphony orchestra Bravo! Vail gratefully acknowledges the support of the following patrons PREMIER BENEFACTOR

Bronze ($5,000 and above)

($30,000 and above)

Alice and Dick Bass Peggy and Gary Edwards Cindy Engles Amy and Vernon Faulconer Rebecca and Ron Gafford Carol and Ronnie Goldman Carol and Jeff Heller Bobbi and Richard Massman Brenda and Joe McHugh Jane and Howard Parker The Rosewood Foundation Marcy and Stephen Sands Debbie and Ric Scripps Jere Thompson

Shirley and William S. McIntyre, IV

Platinum ($25,000 and above) Hill Foundation

Gold ($15,000 and above) Marilyn Augur Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

Silver ($10,000 and above) Diane and Hal Brierley Arlene and John Dayton Horizon Foundation Sammye and Mike Myers

Dallas Symphony Orchestra Jaap van Zweden Music Director The Louise W. and Edmund J. Kahn Music Directorship

Jeff Tyzik Principal Pops Conductor The Dot and Paul Mason Principal Pops Conductor’s Podium

Joshua Habermann Chorus Director

Richard Kaufman Pops Conductor Laureate FIRST VIOLIN Alexander Kerr, Concertmaster Michael L. Rosenberg Chair Nathan Olson, Co-Concertmaster Fanchon and Howard Hallam Chair Gary Levinson, Senior Principal Associate Concertmaster Emmanuelle Boisvert, Associate Concertmaster Motoi Takeda, Associate Concertmaster Robert E. and Jean Ann Titus Family Chair Diane Kitzman, Principal Violin Filip Fenrych Maria Schleuning Jan Mark Sloman, Principal Associate Concertmaster Emeritus Susan Ager-Breitbarth Lucas Aleman Arkady Fomin In memorium Mary Reynolds Andrew Schast Daphne Volle Bruce Wittrig Kaori Yoshida

SECOND VIOLIN Angela Fuller Heyde, Principal Barbara K. and Seymour R. Thum Chair 34

Alexandra Adkins, Associate Principal Sho-mei Pelletier, Associate Principal Bing Wang Bruce Patti Lauren Charbonneau Lilit Danielyan Miika Gregg Heidi Itashiki Andrzej Kapica Eunice Keem Shu Lee Aleksandr Snytkin Kaori Yoshida

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

CELLO Christopher Adkins, Principal Fannie and Stephen S. Kahn Chair Yuri Anshelevich, Associate Principal

Jolyon Pegis, Associate Principal Theodore Harvey Michael Coren Jeffrey Hood John Myers Kari Nostbakken Peter Steffens Nan Zhang

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

FLUTE Demarre McGill, Principal Joy and Ronald Mankoff Chair Deborah Baron, Associate Principal Kara Kirkendoll Welch

PICCOLO Deborah Baron

OBOE Erin Hannigan, Principal Nancy P. and John G. Penson Chair Willa Henigman, Associate Principal Brent Ross David Matthews

ENGLISH HORN David Matthews

CLARINET Gregory Raden, Principal Mr. and Mrs. C. Thomas May, Jr. Chair Paul Garner, Associate Principal and E-flat Stephen Ahearn Christopher Runk

BASS CLARINET

PERCUSSION

Christopher Runk

Doug Howard, Principal Margie and William H. Seay Chair Ronald Snider, Assistant Principal Daniel Florio

BASSOON Wilfred Roberts, Principal Irene H. Wadel and Robert I. Atha, Jr. Chair Scott Walzel, Associate Principal Peter Grenier

HARP Susan Dederich-Pejovich, Principal

CONTRABASSOON Peter Grenier

RESIDENT ORGANIST

FRENCH HORNS

Mary Preston Lay Family Chair

David Cooper, Principal Howard E. Rachofsky Chair David Heyde, Associate Principal Linda VanSickle Chair Haley Hoops John Turman Paul Capehart Gregory Hustis, Principal Horn Emeritus

STAFF KEYBOARD Anastasia Markina Classical Gabriel Sanchez - Classical Steven Harlos - Pops DSO League, Élan Circle and Innovators Chair

PERSONNEL MANAGER Scott Walzel

TRUMPET

PERSONNEL ASSISTANT

Ryan Anthony, Principal Diane and Hal Brierley Chair Russell Campbell, Associate Principal Kevin Finamore Thomas Booth, Assistant Principal

Tom Brekhus

TROMBONE

LIBRARIANS Karen Schnackenberg, Principal Mark Wilson, Associate Principal Katie Klich, Assistant Melanie Gilmore, Choral Librarian

John Kitzman, Principal Chris Oliver Darren McHenry

STAGE MANAGER

BASS TROMBONE

STAGE TECHNICIAN

Andrew Linhart

Darren McHenry

Marc Dunkelberg

TUBA

LIGHTING BOARD OPERATOR

Matthew Good, Principal Dot and Paul Mason Chair

TIMPANI Brian Jones, Principal Dr. Eugene and Charlotte Bonelli Chair Doug Howard, Assistant Principal

Franklin Horvath Rotating String Players are listed alphabetically

JAZZ GUITAR WITH JOHN PIZZARELLI

Dallas Symphony orchestra FRIday, june 27, 6:00pm

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: CATHY AND HOWARD STONE VAIL JAZZ FOUNDATION BARBARA AND DICK WENNINGER Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Argie Ligeros Artistic Director Chair

Sponsored By: Mrs. Frederick R. Mayer The Molina Family Vicki Rippeto

Soloist Underwriters: John Pizzarelli, guitar and vocals, underwritten by Susan and Martin Solomon

FRIday, JuNE 27, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

Dallas Symphony Orchestra Jeff Tyzik, conductor John Pizzarelli, jazz guitar and singer

RODGERS With a Song in My Heart This Can’t Be Love I Like to Recognize the Tune I Have Dreamed

JAZZ GUITAR WITH JOHN PIZZARELLI

GERSHWIN They Can’t Take That Away from Me Little Jazz Bird Isn’t It a Pity I Got Rhythm

— INTERMISSION — ARLEN Overture That Old Black Magic Somewhere Over the Rainbow I’ve Got the World on a String

ELLINGTON Satin Doll In a Mellow Tone Don’t Get Around Much Anymore/ East St. Louis Toodle-Oo C Jam Blues

Richard Rodgers (1902-1979) was the iconic composer of the American musical. Unlike Gershwin, who ventured into the worlds of concert and opera, or Arlen, who gained much of his fame through his popular songs, or Ellington, who was internationally celebrated as a bandleader, Rodgers worked almost entirely for Broadway and its 20th-century offspring, movies and television. He wrote 30 Broadway shows with the gifted Larry Hart between 1919 and 1942 (including Jumbo, On Your Toes, Pal Joey, Babes in Arms and The Boys from Syracuse) before Hart was forced into retirement by chronic drinking and failing health. Rodgers immediately formed a new partnership with lyricist Oscar Hammerstein II for Oklahoma! and they went on to create eight more shows that defined the modern American musical. Rodgers wrote five Broadway shows following Hammerstein’s death in 1960, nine months after The Sound of Music had opened, including No Strings to his own lyrics and Do I Hear A Waltz? to those of Stephen Sondheim, and in total received 14 Tonys, an Oscar, a Grammy, an Emmy and a Pulitzer Prize. Only he and Marvin Hamlisch have ever been similarly recognized. As much as any politician, artist or military leader, George Gershwin (1898-1937) represents the American spirit, embodying in his life and his music two of the most highly prized American attributes — youth and ambition. Youth is not so much a time of life as a state of mind: looking, confidently, to the future; eager for the day to begin; planning to make tomorrow better. All of Gershwin’s music, like that of Mozart, Schubert and Chopin, is the creation of a young man. Whether written for Carnegie Hall or the Alvin Theater, it exudes an infectious youthfulness, a youthfulness that is far more than simply a reflection of the exuberant times in which he lived — those years immediately after the First World War, when America joined for the first, self-assured time the world’s superpowers. Someone to Watch Over Me, Rhapsody in Blue and all the other timeless works that flowed from his pen during his brief 38 years still excite some quintessential American feeling, renewing our youthfulness and swelling our national pride. Gershwin, born Jakob Gershvin in Brooklyn, New York to a Russian immigrant father, rose

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from plugging songs in Tin Pan Alley as a teenager to become Broadway’s brightest light, the toast of Hollywood and one of society’s darlings. But that was not enough for him — he had to prove himself in the concert world as well. First there was the Rhapsody in Blue of 1924, which, according to Walter Damrosch, “made a lady out of jazz.” A year later came the Concerto in F. There followed An American in Paris (1928), A Cuban Overture (1932), and, in 1935, the masterful folk opera, Porgy and Bess. The wonderful legacy that Gershwin left is as fresh and invigorating today as when it was new. The words of the novelist John O’Hara written a few days after the composer’s death are still valid: “George Gershwin died last week. I don’t have to believe it if I don’t want to.” Harold Arlen (1905-1986), the son of a cantor in Buffalo, started playing piano in local movie houses and on Lake Erie excursion boats at age fifteen, and organized his own band during the 1920s in New York City, where he first gained notice as a composer with the song Get Happy in the 9:15 Revue of 1930. Arlen quickly established himself as a gifted songwriter with numbers for other Broadway revues and the legendary shows at Harlem’s Cotton Club (where the 17-year-old Lena Horne introduced his Stormy Weather in 1933), and he was summoned to Hollywood in 1933 to provide the songs for Columbia Pictures’ Let’s Fall in Love. For the next four decades, Arlen worked prolifically in both Hollywood, where Continued on page 180

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PREMIER BENEFACTOR

Bronze ($5,000 and above)

($30,000 and above)

Shirley and William S. McIntyre, IV

PLATINUM ($25,000 and above) Hill Foundation

GOLD ($15,000 and above) Marilyn Augur Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above)

GREAT AMERICAN SONGBOOK The Great American Songbook is comprised of songs generally written between 1900 and 1950. While there is no definitive list of official composers, the names Jerome Kern, Irving Berlin, George Gershwin, Richard Rodgers, Cole Porter, and Harold Arlen often come to mind. This glorious flourishing of American popular song is said to have ended with the advent of rock and roll, even though many songwriters continued writing in the style for cabaret, theater, film, and television. Classic in their lasting value and distinguished by their musical structure, content, phrasing, and sophisticated details of composition, Great American Songbook lyrics are witty with clever and sometimes suggestive rhymes, great harmonic subtlety, and ingenious winding modulations. The demise of the variety show genre and use of rock and pop influences on Broadway have cemented the Great American Songbook as a treasured yet bygone era of 20th century popular music.

Diane and Hal Brierley Arlene and John Dayton Horizon Foundation Sammye and Mike Myers This project funded in part by a generous grant from the Vail Valley Foundation. The Antlers at Vail and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

BEETHOVEN’S 9th

Dallas Symphony orchestra sATURday, june 28, 6:00pm

This Evening’s Performance Presented By: SHIRLEY AND WILLIAM S. McINTYRE, IV THE BETSY WIEGERS CHORAL FUND IN HONOR OF JOHN W. GIOVANDO Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

Sponsored By: George Family Foundation, Penny and Bill George Molly and Jay Precourt

Soloist Underwriters: Twyla Robinson, soprano, underwritten by Rose and Howard Marcus Duain Wolfe, Colorado Symphony Orchestra Chorus conductor, underwritten by Valerie and Bob Gwyn

SATurday, JUNE 28, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

Pre-Concert talk, 5:00pm Moroles Sculpture Garden, Ford Park Richard J. Agee (Colorado College) Beethoven’s Choral Fantasy To The Ninth Symphony

Dallas Symphony Orchestra Jaap van Zweden, conductor Twyla Robinson, soprano Tamara Mumford, mezzo-soprano Clifton Forbis, tenor Nathan Berg, baritone Colorado Symphony Orchestra Chorus Duain Wolfe, director

BEETHOVEN Symphony No. 9 in D minor, Op. 125 “Choral” (65 min) Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Finale, with soloists and chorus

BEETHOVEN’S 9th Symphony No. 9 in D minor, Op. 125, “Choral” (1822-1824) Ludwig van Beethoven (1770-1827) Friedrich Schiller published his poem An die Freude (“Ode to Joy”) in 1785 as a tribute to his friend Christian Gottfried Körner, and by 1790, when he was 20, Beethoven knew the poem. Schiller’s poem appears in Beethoven’s notes in 1798, but the earliest musical ideas for its setting are found among the sketches for the Seventh and Eighth Symphonies, composed simultaneously in 1811-1812. Though those sketches are unrelated to the finished Ode to Joy theme — that went through more than 200 revisions (!) before Beethoven was satisfied with it — they do show the composer’s continuing interest in the text and the gestating idea of setting it for chorus and orchestra. The Seventh and Eighth Symphonies were finished by 1812, and Beethoven immediately started making plans for his next work in the genre, settling on the key of D minor, but getting no further. It was to be another dozen years before he could bring this gestating vision to fulfillment. The first evidence of the musical material that was to figure in the finished Ninth Symphony appeared in 1815, when a sketch for the theme of the Scherzo emerged among Beethoven’s notes. He took up his draft again in 1817, and by the following year much of the Scherzo was sketched. It was also in 1818 that he considered including a choral movement, but as the slow movement rather than as the finale. With much still unsettled, Beethoven was forced to lay aside this vague symphonic scheme because of ill health, the distressing court battle to secure custody of his nephew, and other composing projects, most notably the monumental Missa Solemnis, and he was not able to resume work on the piece until the end of 1822. The 1822 sketches show considerable progress on the Symphony’s first movement, little on the Scherzo, and, for the first time, some tentative ideas for a choral finale based on Schiller’s poem. Most of the remainder of the opening movement was sketched during the early months of 1823. The Scherzo was finished in short score by August, eight years after Beethoven first conceived its thematic material, and the third movement sketched by October. With the first three movements nearing completion, Beethoven had one major obstacle to overcome before he could complete the Symphony: how to join together the instrumental and vocal

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movements. He decided that a recitative — the technique that had been used for generations to bridge from one operatic number to the next — would work perfectly, especially if the recitative included fragments of themes from earlier movements to unify the structure. Beethoven still had much work to do, as the sketches from the autumn of 1823 show, but he at last knew his goal, and the composition was completed by the end of the year. When the final scoring was finished in February 1824, it had been nearly 30 years since Beethoven first considered setting Schiller’s poem. The Symphony begins with the interval of a barren open fifth, suggesting some awe-inspiring cosmic void. Thematic fragments sparkle and whirl into place to form the riveting main theme. A group of lyrical subordinate ideas follows. After a great climax, the open fifth intervals return to begin the highly concentrated development section. A complete recapitulation and an ominous coda arising from the depths of the orchestra bring this eloquent movement to a close. The form of the second movement is a combination of scherzo, fugue and sonata that exudes a lusty physical exuberance and a leaping energy. The central trio is more serene in character but forfeits none of the contrapuntal richness of the Scherzo. The Adagio is one of the most sublime pieces that Beethoven, or anyone else, ever wrote. Its impression of solemn profundity is enhanced by being placed between two such extroverted movements as the Scherzo and the finale. Formally, Continued on page 180

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PREMIER BENEFACTOR

Bronze ($5,000 and above)

($30,000 and above)

Shirley and William S. McIntyre, IV

PLATINUM ($25,000 and above) Hill Foundation

GOLD ($15,000 and above) Marilyn Augur Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above) Diane and Hal Brierley Arlene and John Dayton Horizon Foundation Sammye and Mike Myers

HE COULDN’T HEAR A NOTE Completed when Beethoven was almost completely deaf, the 9th Symphony was premiered on Friday, May 7th, 1824 in Vienna. Beethoven insisted on conducting the premiere but the theater’s Kapellmeister instructed the musicians to ignore the almost totally deaf composer in order to keep the performance on track. When the work ended, Beethoven was several measures behind and still conducting, so the alto soloist had to walk over and turn the composer around to accept the cheers and adulation of the audience. Said one witness, “the public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creation with the most absorbed attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them.” Five standing ovations, handkerchiefs in the air, raised hands and hats, all demonstrated to Beethoven the audience’s appreciation of the musical miracle they had just witnessed.

This project funded in part by a generous grant from the Vail Valley Foundation. The Antlers at Vail and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

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RAVEL’S BOLÉRO

Dallas Symphony orchestra sunday, june 29, 6:00pm

This Evening’s Performance Presented By: PAT AND PETE FRECHETTE Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Debbie and Jim Donahugh Sallie and Robert Fawcett Holly and Ben Gill Lyn Goldstein

Soloist Underwriters: Stephen Hough, piano, underwritten by Christine and John Bakalar

SUNday, JUNE 29, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

Dallas Symphony Orchestra Jaap van Zweden, conductor Stephen Hough, piano

FAURÉ Suite from the Incidental Music to Maeterlinck’s Pelléas et Mélisande, Op. 80 (17 min) Prélude Fileuse Sicilienne de Pelléas et Mélisande Mort de Mélisande

LISZT Piano Concerto No. 1 in E-flat major (19 min) Allegro maestoso Quasi Adagio Allegretto vivace Allegro marziale animato Played without pause

— INTERMISSION — RAVEL Suite No. 2 from Daphnis et Chloé (16 min) Daybreak — Pantomime — General Dance

RAVEL

RAVEL’S BOLÉRO Suite from Pelléas et Mélisande, Op. 80 (1898) Gabriel Fauré (1845-1924) Gabriel Fauré, one of the great figures of French music at the turn of the twentieth century, was a student of Saint-Saëns, a master organist, teacher of Ravel, Enesco, Koechlin and Nadia Boulanger, director of the Paris Conservatoire, and a composer of immense skill and refinement. Among his few works for orchestra is the beautiful Suite from his incidental music to Maeterlinck’s symbolist play Pelléas et Mélisande, which he created for a production of the drama at the Prince of Wales Theatre, London in 1898. Robert Layton summarized the vague plot: “Pelléas is set in mythical Allemonde, the protagonists in the drama remain shadowy and we are left knowing little or nothing of their background. Prince Golaud out riding one day discovers Mélisande, weeping and lost in the forest, and takes her under his protection. Maeterlinck’s play charts her growing infatuation for his younger half-brother, Pelléas, and Golaud’s ensuing jealousy.”

Boléro (16 min) Piano Concerto No. 1 in E-flat major (1839-1849) Franz Liszt (1811-1886) Liszt sketched his two piano concertos in 1839, during his years of touring, but they lay unfinished until he became court music director at Weimar in 1848. The first ideas for the E-flat Concerto appeared in a notebook as early as 1830, but the score was not completed until June 1849; it was revised in 1853. The premiere was part of a week of gala concerts honoring the music of Hector Berlioz at the Grand Ducal palace in Weimar, thus allowing the French composer to conduct while the 19th-century’s greatest piano virtuoso played. A memorable evening! The Piano Concerto No. 1 comprises four continuous but distinct sections: an opening Allegro, built largely from the bold theme presented at the outset; an Adagio that grows from a lyrical, arched melody initiated by the low strings; a scherzolike section enlivened by the tintinnabulations of the triangle; and a closing Allegro marziale that gathers the motives of the preceding sections into a rousing conclusion.

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Suite No. 2 from Daphnis et Chloé (1909-1912) Maurice Ravel (1875-1937) Ravel’s masterful ballet Daphnis et Chloé opens in a meadow in mythical Greece bordering a sacred wood on the island of Lesbos. Greek youths and maidens enter with wreaths and flowers to place at the altar of the Nymphs as the shepherd Daphnis descends from the hills. His lover, Chloé, crosses the meadow to meet him. The girls are attracted to the handsome Daphnis and dance seductively around him. Chloé, in turn, becomes the object of the men’s advances, most particularly a crude one from the clownish goatherd Dorcon. Daphnis’ jealousy is now aroused, and he challenges Dorcon to a dancing contest, the prize to be a kiss from Chloé. Dorcon performs a grotesque dance, and is jeered by the onlookers. Daphnis easily wins Chloé’s kiss with his graceful performance. The crowd leads Chloé away, leaving Daphnis alone. His attention is suddenly drawn by the clangor of arms and shouts of alarm from the woods. Pirates have invaded and set upon the Greeks. Daphnis rushes off to protect Chloé, but cannot prevent her capture. In Scene Two, set on a jagged seacoast, the brigands enter their hideaway laden with booty. Chloé, hands bound, is led in. She pleads for her release. When the chief refuses, the sky grows dark and the god Pan, arm extended threateningly, appears upon the nearby mountains. The frightened pirates flee, leaving Chloé alone. Continued on page 180

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PREMIER BENEFACTOR

Bronze ($5,000 and above)

($30,000 and above)

Shirley and William S. McIntyre, IV

PLATINUM ($25,000 and above) Hill Foundation

GOLD ($15,000 and above) Marilyn Augur Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above)

FAURÉ: A LADIES’ MAN Although Fauré married Marie Fremiet, daughter of a leading sculptor, it was less than a perfect union. The marriage was cordial but Marie resented remaining at home with their two sons while her husband pursued a life almost entirely outside. The creative composer was frequently absent, and “his conquests were legion in the Paris salons.” Romantic attachments to the singer Emma Bardac, and fellow composer Adela Maddison were followed by a serious relationship with pianist Marguerite Hasselmans. The great French composer maintained an apartment in Paris for Hasselmans and was her open companion for the remainder of his life. A master of the French art song, Fauré wrote hundreds of works in the genre although he received no royalties for many of them. An original, this French romantic developed a musical idiom all his own, anticipated Impressionism, and favored precisely articulated melodic lines, creating the finest in French vocal music.

Diane and Hal Brierley Arlene and John Dayton Horizon Foundation Sammye and Mike Myers This project funded in part by generous grants from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Vail Valley Foundation. The Antlers at Vail and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

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COPLAND and BARBER

Dallas Symphony orchestra monday, june 30, 6:00pm

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: Mary Lynn and Warren Staley Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Sammye and Mike Myers Carole A. Watters

MONday, JUNE 30, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

Dallas Symphony Orchestra Jaap van Zweden, conductor James Ehnes, violin

BERNSTEIN Overture to Candide (4 min)

BARBER Violin Concerto, Op. 14 (22 min) Allegro Andante Presto in moto perpetuo

— INTERMISSION — COPLAND Third Symphony (44 min) Molto moderato (with simple expression) Allegro molto Andantino quasi allegretto Molto deliberato (Fanfare) — Allegro risoluto

COPLAND AND BARBER Overture to Candide (1956) Leonard Bernstein (1918-1990) Lillian Hellman conceived a theater piece based on Voltaire’s Candide as early as 1950, but it was not until 1956 that the project materialized. She originally intended the work to be a play with incidental music, which she asked Leonard Bernstein to compose, but his enthusiasm for the subject was so great that the venture swelled into a full-blown comic operetta; Tyrone Guthrie was enlisted as director and Richard Wilbur wrote most of the song lyrics. Candide was first seen in a pre-Broadway tryout at Boston’s Colonial Theatre on October 29, 1956 (just days after Bernstein’s appointment as co-music director of the New York Philharmonic had been announced for the following season), and opened at the Martin Beck Theatre in New York on December 1st. The Overture, largely drawn from the show, captures perfectly the wit, brilliance and slapstick tumult of the operetta. Violin Concerto, Op. 14 (1939) Samuel Barber (1910-1981) The 1939 Violin Concerto, with the warm lyricism of its first two movements and the aggressive rhythms and strong dissonances of its finale, is a microcosm of the stylistic evolution that Samuel Barber’s music underwent at the outbreak of World War II. The idiom of the works of his earlier years — Overture to “The School for Scandal” (1932), Essay for Orchestra (1937), Adagio for Strings (1938), those pieces that established his international reputation as a 20th-century romanticist — was soon to be augmented by the more modern but expressively richer musical language of the Second Symphony (1944), the Capricorn Concerto (1944) and the ballet for Martha Graham, The Serpent Heart (1946), from which the orchestral suite Medea was derived. The Violin Concerto’s opening movement, almost Brahmsian in its nostalgic songfulness, is built on two lyrical themes. The first one, presented immediately by the soloist, is an extended, arching melody; the other, initiated by the clarinet, is rhythmically animated by the use of the “Scottish snap,” a short–long figure also familiar from jazz idioms. The two themes alternate throughout the remainder of the movement, which follows a broadly drawn, traditional concerto form. The expressive

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cantabile of the first movement carries into the lovely Adagio. The oboe intones a plangent melody as the main theme, from which the soloist spins a rhapsodic elaboration to serve as the movement’s central section. Moto perpetuo — “perpetual motion” — Barber marked the finale of this Concerto, and the music more than lives up to its title. After an opening timpani flourish, the soloist introduces a fiery motive above a jabbing rhythmic accompaniment that returns, rondo-like, throughout the movement. Third Symphony (1944-1946) Aaron Copland (1900-1990) The Third Symphony of 1944-1946 brings together the two dominant strains of Copland’s musical personality: the modern, abstract style of his Symphony for Organ and Orchestra (1924) and Short Symphony (1933) is particularly evident in the first and third movements, while the influence of folk song and New England and Quaker hymnody familiar from Appalachian Spring, Billy the Kid, Rodeo, Lincoln Portrait and other works of the early 1940s is strongest in the second and fourth. The opening movement eschews traditional symphonic sonata form in favor of a structure in two large musical paragraphs with a benedictory coda. The first section presents the movement’s three themes: a smooth melody in wide-spread octaves for violins, clarinets and flute; a Continued on page 181

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PREMIER BENEFACTOR

Bronze ($5,000 and above)

($30,000 and above)

Shirley and William S. McIntyre, IV

PLATINUM ($25,000 and above) Hill Foundation

GOLD ($15,000 and above) Marilyn Augur Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above) Diane and Hal Brierley Arlene and John Dayton Horizon Foundation Sammye and Mike Myers

AN AMERICAN ROMANTIC Samuel Barber was a uniquely American 20th century composer, who never fully strayed into the experimental trends of his era, remaining in essence a lyrical composer who occasionally wrote music that was serial and more chromatic in nature. He came from a comfortable, educated, social, and distinguished American family and his aunt, Louise Homer, was a leading contralto at the Metropolitan Opera. It was Louise who is known to have influenced Barber’s interest in vocal music, and probably his lyrical style. Immediately recognized as a serious talent when he entered the Curtis Institute of Music in Philadelphia, the classical music world spotlight focused on Barber at a very young age. His Adagio for Strings was performed by the NBC Symphony Orchestra under the direction of Arturo Toscanini in 1938 when the composer was just 28 years old, after which the great Italian maestro commented, “Semplice e bella” (simple and beautiful).

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TUEsday, JULY 1, 1:00pM FREE CONCERT Series Vail interfaith chapel

CHAMBER DALLAS

Members of Dallas Symphony Orchestra Alexander Kerr, violin Nathan Olson, violin Christine Hwang, viola Theodore Harvey, cello Jeffrey Hood, cello

DVOŘÁK Early in his career, long before he became an internationally acclaimed composer and Bohemia’s most beloved musician, Dvořák supplemented the meager income from his works by playing organ at St. Adalbert’s Church in Prague and viola in the National Theater Orchestra. He soon left performing behind, but he liked to play viola occasionally in chamber music with friends, and in 1887 he wrote the Terzetto for Two Violins and Viola for himself, Josef Kruis, a chemistry student, amateur violinist and neighbor in Prague, and the young man’s teacher, Jan Pelikán, a violinist with the National Theater Orchestra. Anton Arensky, one of the many talented musical figures during the closing decades of Imperial Russia, composed his A minor String Quartet (1894) in memory of his friend Peter Tchaikovsky, using as thematic materials a traditional Russian psalm intonation, a song by Tchaikovsky, a funeral melody from the Orthodox Requiem service, and a well-known national hymn.

Terzetto for Two Violins and Viola in C major, Op. 74 Introduzione: Allegro ma non troppo — Larghetto Scherzo: Vivace Tema con Variazioni: Poco adagio — Molto allegro

ARENSKY Quartet for Violin, Viola and Two Cellos in A minor, Op. 35 Moderato Variations on a Theme of Tchaikovsky Finale: Andante sostenuto — Allegro moderato

Bravo! Vail Gratefully Acknowledges Support For This Afternoon’s Concert

The Argie Ligeros Artistic Director Chair Colorado Mountain Express FirstBank Sonnenalp Hotel Tippet Rise Fund of the Sidney E. Frank Foundation

Anton Arensky

CHAMBER music series

- up close and musical Bravo! Vail’s Chamber Music Series offers something for everyone, now on successive Tuesday nights throughout the summer, usually at the Donovan Pavilion. This diverse series of well-loved favorites and new finds offers audiences the opportunity to be in close proximity to the music and the musicians, and experience highly intimate, direct, and personal music making at its best. The 2014 Chamber Music Series opens on July 1st with members of the Dallas Symphony Orchestra, led by Jeff Tyzik, in Gershwin and Joplin: Chamber Jazz, featuring beloved works like Royal Garden Blues, Joplin rags, Rialto Ripples, and Five Preludes and Tunes for Clarinet by Jelly Roll Morton. It’s a wonderful marriage of jazz and classical music, created especially for Bravo! Vail audiences.

and expressive qualities, members of the ensemble present performances of new and interesting music. The August 2nd roster also includes virtuoso clarinetist Alexey Gorokholinsky featured in John Adams’s Gnarly Buttons, as well as McDermott, the Calder Quartet, and others in a collection of delightful baroque concertos, including J.S. Bach’s Concerto in C minor for Violin, Oboe, Strings, and Continuo, Vivaldi’s Concerto in D major for Guitar and Strings, featuring guitarist James Moore, and Bach’s Brandenburg Concerto No. 5 in D major.

Next, on July 8th, members of The Philadelphia Orchestra join Artistic Director and pianist Anne-Marie McDermott in a program whose centerpiece is Vivaldi’s iconic work, The Four Seasons. Le quattro stagioni (The Four Seasons) is a set of four violin concertos composed in 1723, part of a larger collection. Vivaldi’s best-known work, it is infused with character, wit, charm, and deep musical thought, and includes a variety of coloristic and percussive effects that reveal the considerable genius of its composer. McDermott is featured in Bach’s Concerto in D minor for Keyboard and Strings, BWV 1052. On July 15th, violinist Kerry McDermott and cellist Eileen Moon, both members of the New York Philharmonic, join Anne-Marie McDermott in two staples of the chamber music repertory—Beethoven’s Piano Trio in E-flat major, Op. 1 and Schubert’s Piano Trio in B-flat major, D.898. Chicago’s Third Coast Percussion joins McDermott and pianist Gilles Vonsattel on July 22nd in a program that pairs Bartók’s Sonata for Two Pianos and Percussion with contemporary American composer Steve Reich’s Sextet. Written in 1937, Bartók’s Sonata requires its two percussionists to perform on a total of seven different instruments. The work’s middle movement employs Bartók’s trademark “night music,” characterized by “eerie dissonances providing a backdrop to sounds of nature and lonely melodies.” The August 2nd closer is Baroque Concertos and More, featuring the instrumental ensemble Le Train Bleu, direct from New York, with their esteemed director Ransom Wilson. Chosen for their brilliance 53

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TUESday, JULY 1, 6:00PM Chamber MUSIC series VAIL MOUntain school, Vail

Jeff Tyzik, conductor Members of Dallas Symphony Orchestra

WILLIAMS/Arr. Tyzik

GERSHWIN AND JOPLIN: CHAMBER JAZZ Among the many New Orleans musicians who made their way to Chicago after Storyville, the city’s infamous red-light district, closed down in 1917, was pianist, composer and singer Spencer Williams (1889-1965). One of the most popular jazz venues in Chicago was the Royal Gardens, a large south-side dance hall where the Original Creole Band, the first New Orleans jazz band to tour widely, started performing in 1918. The following year, Williams wrote Royal Garden Blues for the band, and recordings by Bix Beiderbecke, Duke Ellington, Count Basie, Benny Goodman and many others secured its place as a Dixieland classic. Scott Joplin (1868-1917), the son of an ex-slave, was born in Texarkana, Texas on November 24, 1868. He showed early musical talent, and after his mother died, when he was 14, he traveled for three years through the Mississippi Valley playing piano in honkytonks. Joplin settled in St. Louis for eight years before moving to Chicago, where he formed a band to play in saloons and bawdy houses, and began noting down some compositions in the day’s most popular styles. He returned to St. Louis sometime around 1894, then worked as a pianist in Sedalia, Missouri at the Maple Leaf Club before settling in East St. Louis, where he quickly garnered a reputation as one of the town’s finest players of ragtime music. He issued his first piano rags in 1899; among Continued on page 192

Royal Garden Blues for Clarinet, Trumpet, Trombone and Chamber Ensemble

JOPLIN/Ed. Schuller Maple Leaf Rag for Piano and Ensemble

JOPLIN/Arr. Delisle/ Ed. Schuller The Entertainer

GERSHWIN/Arr. Tyzik Five Preludes for Clarinet and Ensemble Prelude No. 1 Prelude No. 2 (Blue Lullaby) Novelette in Fourths Prelude Rubato Prelude No. 3 (Spanish Prelude)

— INTERMISSION — JOPLIN/Arr. Stark/Ed. Schuller Cascades for Piano and Ensemble

JOPLIN & HAYDEN/ Arr. Stark/Ed. Schuller Sunflower Slow Drag for Piano and Ensemble

Arr. Tyzik Tribute to Jelly Roll Morton for Clarinet, Trumpet, Trombone and Chamber Ensemble Grandpa’s Spells Jungle Blues Black Bottom Stomp

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

The Argie Ligeros Artistic Director Chair Antlers at Vail The Lodge at Vail Tippet Rise Fund of the Sidney E. Frank Foundation

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HOLLYWOOD FILM SCORE CLASSICS

Dallas Symphony orchestra wednesday, july 2, 6:00pm

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: HILL FOUNDATION

TOWN OF VAIL NIGHT Special Gratitude To: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Letitia and Chris Aitken Dierdre and Ronnie Baker Sandy and John Black Mr. and Mrs. C. P. Steinmetz

Soloist Underwriters: Jeff Tyzik, conductor, underwritten by June and Peter Kalkus

WEDnesday, JULY 2, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

Dallas Symphony Orchestra Jeff Tyzik, conductor

arr. Tyzik The Great Westerns Suite Magnificent Seven (E. Bernstein) — How The West Was Won (A. Newman) — Silverado (Broughton) — Dances With Wolves (Barry)

HOLLYWOOD FILM SCORE CLASSICS

J. STRAUSS, JR. On the Beautiful Blue Danube, Op. 314

WILLIAMS Escapades from Catch Me If You Can Timothy Roberts, alto saxophone

BADELT/ arr. Ricketts Pirates of the Caribbean: The Curse of the Black Pearl

arr. Tyzik The Best of Bond Dr. No (Norman) — James Bond Theme (Norman) — Nobody Does It Better (Hamlisch) — Live and Let Die (McCartney) — For Your Eyes Only (Conti) — 007 Theme (Norman) — Thunderball (Barry)

— INTERMISSION — WILLIAMS March from Indiana Jones and the Raiders of the Lost Ark Suite from Jaws Tango from Scent of a Woman Nathan Olson, violin Suite from Far and Away Devil’s Dance from The Witches of Eastwick Main Theme from Star Wars

Jazz After: The Dallas Jam Please join members of the Dallas Symphony Orchestra at Jazz After: The Dallas Jam, a presentation of the Vail Jazz Foundation following tonight’s concert at Larkspur restaurant. Ticket information available at vailjazz.org 58

John Williams (b. 1932) is one of America’s most widely known and highly respected composers. Born in New York in 1932, Williams moved with his family when he was 16 to Los Angeles, where his father worked as a studio musician. After serving in the Air Force, Williams returned to New York in 1954, working there as a jazz pianist in clubs and on recordings while attending the Juilliard School. He subsequently moved back to Los Angeles to enroll at UCLA and study privately with Mario Castelnuovo-Tedesco. By the early 1960s, he was composing music for feature films and television, as well as working as a pianist, arranger and conductor for Columbia Records. His music began to receive wide recognition during the 1960s, when he won Emmys for his scores for the television movies Heidi and Jane Eyre. Williams has since composed music and served as music director for well over 300 movies and television shows, including all of the Star Wars and Indiana Jones films, Jaws, E.T. (The Extra-Terrestrial), Close Encounters of the Third Kind, Superman, the Harry Potter movies, Catch Me If You Can, The Adventures of Tin-Tin, Lincoln and The Book Thief. Williams has received 49 Academy Award nominations (the most of any living person and second only to Walt Disney) and won five Oscars, 21 Grammys, four Golden Globes and four Emmys, as well as numerous gold and platinum records. In addition to his film music, Williams has written many concert works, including two symphonies, eight concertos and numerous chamber and orchestral works. From 1980 to 1993, he served as conductor of the Boston Pops and has also appeared as guest conductor with major orchestras. Among Williams’ many distinctions are 20 honorary degrees, induction into the Hollywood Bowl Hall of Fame, a Kennedy Center Honor (America’s highest award for artistic achievement), Golden Baton Award for Lifetime Achievement from the League of American Orchestras, and National Medal of Arts. The Blue Danube Waltz by Johann Strauss, Jr. (1825-1899) is woven inextricably into 2001: A Space Odyssey (1968), Stanley Kubrick’s visionary meditation on man’s place in the universe, though that was not the director’s original intention. Kubrick had commissioned a conventional score from the noted Hollywood composer Alex North (Cleopatra, Spartacus, The Rainmaker, The Agony and the Ecstasy),

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and he used some classical pieces as a temporary soundtrack to begin editing the film while he waited for North to finish his work. Kubrick decided that the concert music fit his ideas and images perfectly, however, so he created the entire soundtrack from compositions by Richard Strauss and Johann Strauss, Jr. (unrelated), Ligeti and Khachaturian. Roger Ebert, the late Pulitzer Prize-winning film critic of the Chicago Sun-Times, wrote, “North’s score is a good job of film composition, but it would have been wrong for 2001 because, like all scores, it attempts to underline the action — to give us emotional cues. The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.” In the film, The Blue Danube accompanies the graceful, almost languid docking of a shuttle at the space station. Hamburg-born Klaus Badelt (b. 1967) established a reputation in his native Germany composing for films and commercials before Oscar-winning composer (The Lion King) Hans Zimmer invited him to move his career to Hollywood in 1998. Badelt gained notice almost immediately by assisting Zimmer with the scores for the Oscar contenders Gladiator, The Thin Red Line and The Prince of Egypt, and he has since contributed music to some fifty feature films, including the soundtrack for Pirates of the Caribbean: The Curse of the Black Pearl, the top-grossing film of 2003. Continued on page 181

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PREMIER BENEFACTOR

Bronze ($5,000 and above)

($30,000 and above)

Shirley and William S. McIntyre, IV

PLATINUM ($25,000 and above) Hill Foundation

GOLD ($15,000 and above) Marilyn Augur Sallie and Robert Fawcett Linda and Mitch Hart Vicki Rippeto Carole A. Watters

SILVER ($10,000 and above)

MUSIC FROM TINSELTOWN While Hollywood is dominated by the film industry, Celluloid City has also had a huge impact on American music. Key early composers, refugees from Hitler and impending war in Europe or lured by the promise of Tinseltown, included classical masters like Max Steiner, Erich Wolfgang Korngold, and Franz Waxman. All rose to prominence due to their work in films, influencing the tradition of writing music for the screen. While composed to support the drama, tell a story, and engage the audience in the world that the story creates, film music has evolved to occupy an important artistic position, now finding its way into concert halls around the world. Symphonic film music was revitalized in part by composers like John Williams, whose scores to Jaws (1975), and especially the first Star Wars trilogy (1977–1983), influenced Hollywood’s recommitment to the romantic, orchestral medium.

Thursday, JULY 3, 1:00pM

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free concert series Vail interfaith chapel

Evans Choir Catherine Sailer, director Joe Galema, organ and piano

COPLAND Old American Songs Zion’s Walls (Revivalist Song)• At the River (Hymn Tune)† Ching-a-ring-chaw (Minstrel Song)* Arranged for chorus by Irving Fine* Arranged for chorus by Raymond Wilding-White† Arranged for chorus by Glenn Koponen•

whitacre Lux Arumque

FAURÉ Requiem, Op. 48 Introit et Kyrie (Requiem aeternam) (Chorus) Offertorium (O Domine Jesu Christe) (Chorus and Baritone) Sanctus (Chorus) Pie Jesu (Soprano) Agnus Dei (Chorus) Libera me (Baritone and Chorus) In Paradisum (Chorus)

FAURÉ’S REQUIEM Copland arranged five traditional 19th-century American songs for voice and piano on a commission from English composer Benjamin Britten and tenor Peter Pears in 1950 and added a second set two years later. In her study of Copland’s music, Julia Smith suggested that the Old American Songs form “a kind of vocal suite, the accompaniments, practical but exceedingly attractive, offer moods by turns nostalgic, energetic, sentimental, devotional and humorous.” They tap a deep, quintessentially American vein in their sturdy simplicity and plain words, qualities that Copland captured perfectly in his atmospheric settings. Fauré composed his Requiem of 1887-1888 following the death of his father in 1885 and of his mother two years later. Rather than a testament of dogmatic faith, the Requiem is a work to console and comfort the living — music, according to Emile Vuillermoz, “to accompany with contemplation and emotion a loved one to a final resting place.”

Bravo! Vail gratefully acknowledges support for this AFTERNOON’S concert from

Evergreen Lodge The Lodge at Vail

Gabriel Fauré

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FRIday, JULY 4, 2:00PM symphony series Gerald R. Ford amphitheater, vail

Dallas Symphony Orchestra Jeff Tyzik, conductor Evans Choir Catherine Sailer, director

SMITH

PATRIOTIC CONCERT

The Star-Spangled Banner

BAGLEY

National Emblem “The Second Day of July 1776, will be the most memorable Epocha, in the History of America. I am apt to believe that it will be celebrated, by succeeding Generations, as the great anniversary Festival. It ought to be commemorated, as the Day of Deliverance by solemn Acts of Devotion to God Almighty. It ought to be solemnized with Pomp and Parade, with Shews, Games, Sports, Guns, Bells, Bonfires and Illuminations from one End of this Continent to the other from this Time forward forever more. You will think me transported with Enthusiasm but I am not. I am well aware of the Toil and Blood and Treasure, that it will cost Us to maintain this Declaration, and support and defend these States. Yet through all the Gloom I can see the Rays of ravishing Light and Glory. I can see that the End is more than worth all the Means. And that Posterity will tryumph in that Days Transaction, even altho We should rue it, which I trust in God We shall not.” - John Adams, letter to his wife Abigail, July 3, 1776

COPLAND

Hoe-Down from Rodeo

COPLAND

Selections from Old American Songs for Voice and Orchestra

arr. Tyzik

American Celebration

WILLSON

76 Trombones from The Music Man

ALFORD

Colonel Bogey

ANDERSON

The Girl I Left Behind Me from the Irish Suite

— INTERMISSION — STEPHENSON

American Fanfare

SOUSA

The Thunderer This Afternoon’s Performance Presented By:

VAIL VALLEY FOUNDATION Bravo! Vail gratefully acknowledges support for this AFTERNOON’S concert from:

Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

BECKEL

Gardens of Stone for Narrator and Orchestra

arr. Tyzik

Armed Forces Song Medley

WILLIAMS

Hymn to the Fallen from Saving Private Ryan

Sponsored By:

Marilyn Augur US Bank Soloist Underwriters:

Jeff Tyzik, conductor, underwritten by Kelly and Sam Bronfman

GREENWOOD/ arr. Tyzik God Bless the USA

TCHAIKOVSKY

1812, Overture Solennelle, Op. 49

SOUSA

The Stars and Stripes Forever This project funded in part by generous grants from the Town of Vail and the Vail Valley Foundation. The Antlers at Vail and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

ÂŠ Chris Lee The Philadelphia Orchestra

The Philadelphia Orchestra

- the fabulous philadelphians The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of innovation in music-making. The Orchestra is inspiring the future and transforming its rich tradition of achievement, sustaining the highest level of artistic quality, but also challenging—and exceeding—that level, by creating powerful musical experiences for audiences at home and around the world. Music Director Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth artistic leader of The Philadelphia Orchestra in the fall of 2012. He follows an extraordinary history of artistic leaders in the Orchestra’s 113 seasons, including music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, who served as chief conductor from 2008 to 2012. Yannick’s highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble … has never sounded better.”

The Philadelphia Orchestra has long pushed the boundaries of convention in the classical music realm. Signature to such a reputation are world or American premieres of such important works as Mahler’s Symphony No. 8 (“Symphony of a Thousand”), Stravinsky’s The Rite of Spring, Schoenberg’s Gurrelieder, and Rachmaninoff’s Symphonic Dances. The Orchestra returned to recording under Yannick’s leadership with a newly-released CD on the prestigious Deutsche Grammophon label, which continues the Orchestra’s remarkable history in this area, having made its first recording in 1917. The Orchestra also makes live recordings available on popular digital music services. In Yannick’s inaugural season the ensemble has also returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

Through concerts, tours, residencies, presentations, and recordings, The Philadelphia Orchestra is a global ambassador for Philadelphia and for the U.S. The ensemble has a long history of touring, having first performed outside of Philadelphia in the earliest days of its founding, and was the first American orchestra to perform in the People’s Republic of China in 1973. In 2012 the Orchestra reconnected with its historical roots in China by launching a new partnership with the National Centre for the Performing Arts in Beijing, a pilot residency that united the Orchestra with young Chinese musicians and composers, bringing orchestral music to China’s major cities and also further into the provinces. The Orchestra returned to China in 2013 and again this past May-June for its 2014 Tour of Asia and China Residency, its first international tour with Yannick.

The Philadelphia Orchestra continues its decadeslong tradition of presenting learning and community engagement opportunities for listeners of all ages across the Delaware Valley. Today the Orchestra introduces music to a new generation of listeners through programs for children and adults.

Friends of the fabulous Philadelphians Bravo! Vail gratefully acknowledges the support of these patrons Premier Benefactor

Silver (continued)

($50,000 and above)

Laura and James Marx Teri and Tony Perry Susan and Rich Rogel Carole and Peter Segal Cathy and Howard Stone Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Town of Vail Betsy and George Wiegers

Gold ($25,000 and above) Karen and Michael Herman

Silver ($10,000 and above) Anonymous Shannon and Todger Anderson Arlene and John Dayton Dick Liebhaber

Bronze ($5,000 and above) Cookie and Jim Flaum Suzanne Helen Linda and Kalmon Post Mr. and Mrs. Ernest Scheller, Jr. Susan and Steve Suggs Dhuanne and Doug Tansill

the Philadelphia Orchestra Yannick Nﾃｩzet-Sﾃｩguin Music Director Walter and Leonore Annenberg Chair

Charles Dutoit Conductor Laureate

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

Booker Rowe Davyd Booth Paul Arnold Lorraine and David Popowich Chair Yumi Ninomiya Scott Dmitri Levin Boris Balter William Polk* Amy Oshiro-Morales

Viola Choong-Jin Chang, Principal Ruth and A. Morris Williams Chair Kirsten Johnson, Associate Principal Kerri Ryan*, Assistant Principal Judy Geist* Renard Edwards Anna Marie Ahn Petersen Piasecki Family Chair David Nicastro Burchard Tang Che-Hung Chen Rachel Ku* Marvin Moon Jonathan Chu*

Second Violin

Cello

Kimberly Fisher, Principal Peter A. Benoliel Chair Paul Roby, Associate Principal Sandra and David Marshall Chair Dara Morales, Assistant Principal Anne M. Buxton Chair Philip Kates Mitchell and Hilarie Morgan Family Foundation Chair

Hai-Ye Ni, Principal Albert and Mildred Switky Chair Yumi Kendall, Acting Associate Principal Wendy and Derek Pew Foundation Chair John Koen, Acting Assistant Principal Richard Harlow

Gloria dePasquale Orton P. and Noﾃｫl S. Jackson Chair Kathryn Picht Read Winifred and Samuel Mayes Chair Robert Cafaro Volunteer Committees Chair Ohad Bar-David Catherine R. and Anthony A. Clifton Chair Derek Barnes Mollie and Frank Slattery Chair Alex Veltman

Bass Harold Robinson, Principal Carole and Emilio Gravagno Chair Michael Shahan, Associate Principal Joseph Conyers, Assistant Principal John Hood Henry G. Scott David Fay Duane Rosengard Robert Kesselman

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

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

Clarinet

Tuba

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

Carol Jantsch, Principal Lyn and George M. Ross Chair

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

Percussion Bassoon Daniel Matsukawa, Principal Richard M. Klein Chair Mark Gigliotti, Co-Principal Angela Anderson Smith Holly Blake, Contrabassoon

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

Horn Jennifer Montone, Principal Gray Charitable Trust Chair Jeffrey Lang, Associate Principal Daniel Williams Jeffry Kirschen Denise Tryon Shelley Showers

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

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

Piano and Celesta Kiyoko Takeuti

Keyboard Davyd Booth Michael Stairs, Organ**

Harp Elizabeth Hainen, Principal Patricia and John Imbesi Chair Margarita Csonka Montanaro, Co-Principal

Librarians Robert M. Grossman, Principal Steven K. Glanzmann

Stage Personnel Edward Barnes, Manager James J. Sweeney, Jr. James P. Barnes

*On leave **Regularly engaged musician Some members of the string sections voluntarily rotate seating on a periodic basis.

JOSHUA BELL RETURNS

the philadelphia orchestra saturday, july 5, 6:00pm

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: ANN SMEAD AND MICHAEL BYRAM CRAIG FOLEY Special Challenge Grant Funding By: Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Special Gratitude To: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Argie Ligeros Artistic Director Chair

Sponsored By: Shannon and Todger Anderson Penny Bank and Family, Herbert Bank and Family Sally and Tom Gleason Laura and Jim Marx Dr. Agnes Hsu-Tang and Oscar Tang

Soloist Underwriters: Joshua Bell, violin, underwritten by Kathy and Roy Plum

Saturday, July 5, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

The Philadelphia Orchestra Cristian Măcelaru, conductor Joshua Bell, violin BRUCH Violin Concerto No. 1 in G minor, Op. 26 (23 min) Prelude: Allegro moderato — Adagio Finale: Allegro energico

— INTERMISSION — TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 (42 min) Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato (Allegro) Finale: Allegro con fuoco

JOSHUA BELL RETURNS Violin Concerto No. 1 in G minor, Op. 26 (1865-1866) Max Bruch (1838-1920) German composer, conductor and teacher Max Bruch, widely known and respected in his day, received his earliest music instruction from his mother, a noted singer and pianist. He began composing at 11, and by 14 had produced a symphony and a string quartet, the latter garnering a prize that allowed him to study with Reinecke and Hiller in Cologne. Bruch held various posts as a choral and orchestral conductor in Cologne, Koblenz, Sondershausen, Berlin, Liverpool and Breslau, and in 1883, he visited America to conduct concerts of his own compositions. From 1890 to 1910, he taught composition at the Berlin Academy and received numerous awards for his work, including an honorary doctorate from Cambridge University. The G minor Concerto, a work of lyrical beauty and emotional sincerity, opens with a dialogue between soloist and orchestra followed by a wide-ranging subject played by the violin. A contrasting theme reaches into the highest register of the violin. A stormy section for orchestra recalls the opening dialogue, which softens to lead directly into the Adagio, based on three important themes, all languorous and sweet, shared by soloist and orchestra. The finale begins with hints of the upcoming theme before the soloist proclaims the vibrant melody itself. A broad melody, played first by the orchestra alone before being taken over by the soloist, serves as the second theme. A brief development, based on the dance-like first theme, leads to the recapitulation. The coda recalls again the first theme to bring the work to a rousing close. Symphony No. 4 in F minor, Op. 36 (1877-1878) Peter Ilyich Tchaikovsky (1840-1893)

Peter Ilyich Tchaikovsky

The Fourth Symphony was a product of the most crucial and turbulent time of Tchaikovsky’s life — 1877, when he met two women who forced him to evaluate himself as he never had before. The first was the sensitive, music-loving widow of a wealthy Russian railroad baron, Nadezhda von Meck, who became not only the financial backer who allowed him to quit his irksome teaching job at the Moscow Conservatory to devote himself entirely to composition.

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Though they never met, her place in Tchaikovsky’s life was enormous and beneficial. The second woman to enter Tchaikovsky’s life in 1877 was Antonina Miliukov, an unnoticed student in one of his large lecture classes at the Conservatory who had worked herself into a passion over her professor. Tchaikovsky paid her no special attention, and he had quite forgotten her when he received an ardent love letter professing her flaming and unquenchable desire to meet him. Tchaikovsky (age 37), who should have burned the thing, answered the letter of the 28-year-old Antonina in a polite, cool fashion, but did not include an outright rejection of her advances. He had been considering marriage for almost a year in the hope that it would give him both the stable home life that he had not enjoyed in the 20 years since his mother died, as well as to help dispel the all-too-true rumors of his homosexuality. He believed he might achieve both these goals with Antonina. What a welter of emotions must have gripped his heart when, just a few weeks later, he proposed marriage to her! Inevitably, the marriage crumbled within days of the wedding amid Tchaikovsky’s searing self-deprecation. It was during May and June that Tchaikovsky sketched the Fourth Symphony, finishing the first three movements before Antonina began her siege. The finale was completed by the time he proposed. Because of this chronology, the program of the Continued on page 181

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR

SILVER (continued)

($50,000 and above)

Laura and James Marx Teri and Tony Perry Susan and Rich Rogel Carole and Peter Segal Cathy and Howard Stone Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Town of Vail Betsy and George Wiegers

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Shannon and Todger Anderson Arlene and John Dayton Dick Liebhaber

MAX BRUCH & WORLD WAR I Bruch’s concerto was premiered in April 1866 with the composer conducting. A brilliant musician but not businessman, Bruch unfortunately sold the score to a publisher for a paltry sum, with no subsequent rights, but kept an autographed copy for himself. Destitute at the age of 80 in 1918, Bruch was unable to collect royalties for his works during the chaotic aftermath of the war. His one priceless artifact was an original copy of the Violin Concerto, which he sent to Rose and Ottilie Sutro, the pianists for whom he had written his Concerto for Two Pianos just six years earlier. The aged composer asked the pair to sell the score and send him the muchneeded money, but he died before that happened. The score later found its way into Standard Oil heiress Mary Flagler Cary’s collection, and now resides at the Pierpont Morgan Public Library in New York.

Bronze ($5,000 and above) Cookie and Jim Flaum Suzanne Helen Linda and Kalmon Post Mr. and Mrs. Ernest Scheller, Jr. Susan and Steve Suggs Dhuanne and Doug Tansill

This project funded in part by generous grants from the Town of Vail and the Vail Valley Foundation. Antlers at Vail and Vail Cascade Resort & Spa are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

MAHLER’S 1ST

the philadelphia orchestra sunday, july 6, 6:00pm

This Evening’s Performance Presented By: KAREN AND MIKE HERMAN BETSY AND GEORGE WIEGERS Special Challenge Grant Funding By: Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Special Gratitude To: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Sponsored By: John McDonald and Rob Wright The Stolzer Family Foundation

Soloist Underwriters: Donald Runnicles, conductor, underwritten by Norma Lee and Morton Funger

SUNday, JULY 6, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

Pre-Concert Talk, 5:00PM Moroles Sculpture Garden, Ford Park Jack Sheinbaum (University of Denver) Mahler’s Heroic Journey

The Philadelphia Orchestra Donald Runnicles, conductor

MAHLER’S 1ST

MOZART Symphony No. 36 in C major, K. 425, “Linz” (30 min) Adagio — Allegro spiritoso Andante Menuetto Presto

— INTERMISSION — MAHLER Symphony No. 1 in D major (58 min) Langsam, schleppend — Immer sehr gemächlich Kräftig bewegt, doch nicht zu Schnell Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

Symphony No. 36 in C major, K. 425, “Linz” (1783) Wolfgang Amadeus Mozart (1756-1791) On August 4, 1782 in Vienna, Mozart married Constanze Weber — without the blessing of his father. Papa Leopold thought that the humble, uneducated girl was not worthy of his blazingly talented son, and made no secret of his opposition to the union. In an attempt to heal the family rift, the new Herr and Frau Mozart went to Salzburg the following summer for an extended stay. The visit changed little: Leopold spent the rest of his years telling his son what a poor choice of a wife he had made. Wolfgang tried to put a good face on the situation, but he was bitterly disappointed at the results of the Salzburg sojourn. He left the town of his birth on October 27, 1783 and never returned. The Mozarts journeyed back to Vienna via Linz, where they found a warm welcome. “When we arrived at the gates of Linz,” Mozart reported to his father, “a servant was waiting to conduct us to the palace of Count Thun [father-in-law of one of Mozart’s Viennese pupils]. I can’t tell you how they overwhelm us with kindness. On Thursday, November 4th, I am giving a concert, and since I haven’t a single symphony with me, I am up to my ears writing a new one.” That new Symphony, the “Linz,” was completed in the astonishing space of just five days. The Symphony begins with a slow introduction of chromatic inflections and strong emotions. The tempo quickens for the main theme, an energetic melody with martial overtones. The sweet complementary theme is played by the woodwinds. The development treats the second theme and a mock-fanfare motive derived from the principal theme. The thematic materials from the exposition are restated in the recapitulation. In the Adagio, Mozart created precisely the necessary pathos to balance the exuberant expression of the outer movements. The third movement is a cheerful Minuet with a gently swaying trio. The finale is a quicksilver affair, filled with dashing vitality and irresistible joie de vivre.

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Symphony No. 1 in D major (1883-1888) Gustav Mahler (1860-1911) Though he did not marry until 1902, Mahler had a healthy interest in the opposite sex, and at least three love affairs touch on the First Symphony. In 1880, he conceived a short-lived but ferocious passion for Josephine Poisl, the daughter of the postmaster in his boyhood home of Iglau, and she inspired from him three songs and a cantata after Grimm, Das klagende Lied (“Song of Lamentation”), which contributed thematic fragments to the gestation of the Symphony. The second affair, which came early in 1884, was the spark that actually ignited the composition of the work. Johanne Richter possessed a numbing musical mediocrity alleviated by a pretty face, and it was because of an infatuation with this singer at the Cassel Opera, where Mahler was then conducting, that not only the First Symphony but also the Songs of the Wayfarer sprang to life. The third liaison, in 1887, came as the Symphony was nearing completion. Mahler revived and reworked an opera by Carl Maria von Weber called Die drei Pintos (“The Three Pintos,” two being impostors of the title character) and was aided in the venture by the grandson of that composer, also named Carl. During the almost daily contact with the Weber family necessitated by the preparation of the work, Mahler fell in love with Carl’s wife, Marion. Mahler was serious enough to propose that he and Marion run away together, but at the last minute she had a sudden change of heart and left him standing, Continued on page 182

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR

SILVER (continued)

($50,000 and above)

Laura and James Marx Teri and Tony Perry Susan and Rich Rogel Carole and Peter Segal Cathy and Howard Stone Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Town of Vail Betsy and George Wiegers

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Shannon and Todger Anderson Arlene and John Dayton Dick Liebhaber

Bronze ($5,000 and above) Cookie and Jim Flaum Suzanne Helen Linda and Kalmon Post Mr. and Mrs. Ernest Scheller, Jr. Susan and Steve Suggs Dhuanne and Doug Tansill

MOZART’S MISERERE Mozart was visiting the Vatican during Holy Week at age 14 and heard the Sistine Chapel Choir performing Gregorio Allegri’s Miserere. Miserere mei, Deus, or “Have mercy on me, O God” is a setting of Psalm 50 composed sometime during the 1630s for exclusive use in the Sistine Chapel during Holy Week Tenebrae services. Miserere settings were forbidden to be transcribed and were intended only to be performed at particular services, adding mystery to the compositions. Transcribing or performing the music elsewhere was punishable by excommunication. Mozart first heard Allegri’s haunting masterpiece during the Wednesday service and the same day wrote the work down entirely from memory. Due to Mozart’s influence, Miserere was subsequently published, after which the ban was lifted. Summoned to Rome by the Pope, Mozart might have expected excommunication, but was greeted by the Pontiff who showered him with praise for his musical genius.

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Serving Dinner: Monday-Saturday 6-10 pm

Located in the renovated old Farmhouse at the entrance to Beaver Creek www.mirabelle1.com (970) 949-7728 Major Credit Cards Accepted

BRAHMS SYMPHONY NO. 3

the philadelphia orchestra monday, july 7, 6:00pm

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: THE FRANCIS FAMILY Special Challenge Grant Funding By: Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Special Gratitude To: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Susan and Van Campbell Terri and Tom Grojean Carolyn and Gene Mercy

Soloist Underwriters: Anne-Marie McDermott, piano, underwritten by Linda and Kalmon Post

moNday, JULY 7, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

The Philadelphia Orchestra Donald Runnicles, conductor Anne-Marie McDermott, piano

BRITTEN “Four Sea Interludes” from Peter Grimes, Op. 33a (15 min) Dawn Sunday Morning Moonlight Storm

MOZART Piano Concerto No. 27 in B-flat major, K. 595 (31 min) Allegro Larghetto Allegro

— INTERMISSION — BRAHMS Symphony No. 3 in F major, Op. 90 (40 min) Allegro con brio Andante Poco allegretto Allegro

BRAHMS SYMPHONY NO. 3 “Four Sea Interludes” from Peter Grimes, Op. 33a (1944-1945) Benjamin Britten (1913-1976) The story of Britten’s opera deals with Grimes’ relationship to his community. Grimes, a fisherman, has had one apprentice die under suspicious circumstances and, though a court trial has officially cleared him of guilt, the rumors in the village continue. One of the few who support him is the schoolmistress, Ellen Orford, and Grimes believes all will be well if he could only marry her. Grimes takes another apprentice and, despite Ellen’s pleadings, treats the boy roughly. The villagers decide to take the law into their own hands, and their march on Peter’s shack produces such excitement that the boy, in running to assess the trouble, slips over the cliff to his death. Balstrode, Grimes’ only other friend, arrives ahead of the mob, and advises Peter to sail his boat into the sea and scuttle it, taking his secrets and his unhappiness to a watery grave. Dawn describes the somber atmosphere of the little fishing village at daybreak as the men begin their day’s work. Sunday Morning portrays, with a certain sullen numbness, the call to worship on the day of rest. Moonlight paints the scene of the village at night with music of troubled restlessness. Storm describes not only the frightening wind and waves crashing upon the shore, but also the tempest raging in Peter’s troubled soul. Piano Concerto No. 27 in B-flat major, K. 595 (1791) Wolfgang Amadeus Mozart (1756-1791) The genre of the piano concerto was central to Mozart’s public image during his first five years in Vienna, since it presented him as both composer and pianist in the concerts he promoted for his own benefit. After 1786, when he no longer enjoyed sufficient public attention to give a concert on his own, the need for concertos vanished, and he composed only two more for piano during his last five years. The second one, this B-flat Concerto, was written for a concert in Vienna given by the clarinetist Josef Bähr, at the restaurant of Ignaz Jahn, one of the caterers to the court. Since Mozart’s sister-in-law, Aloysia Lange, also participated in the concert as a singer, it is not impossible that she helped arrange this bit of work for him.

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The orchestra presents the important thematic materials of first movement before the soloist enters to elaborate upon them: a flowing main theme over a rustling accompaniment; a tiny fanfare from the woodwinds; a short, chromatically inflected phrase; a turn figure in the flute. The central section is one of Mozart’s most subtle and imaginative developments in its exploration of the expressive possibilities of the themes. The recapitulation is begun by the orchestra alone, but the piano soon joins in to further examine the themes. The Larghetto, in a large threepart form (A–B–A), has a gentle, almost ethereal quality. The finale is a sonata-rondo, with several extensive areas of thematic development. Symphony No. 3 in F major, Op. 90 (1882-1883) Johannes Brahms (1833-1897) Six years passed after Brahms completed the Second Symphony before he began its successor, when he was nearly 50 and recovering from a spell of feeling that he was “too old” for creative work. It seems likely — though such matters always remained in the shadows where Brahms was concerned — that his creative juices were stirred anew by a sudden infatuation with “a pretty Rhineland girl.” This was Hermine Spiess, a talented contralto who was 26 when Brahms first met her in January 1883. A cordial, admiring friendship sprang up between the two, but this affair, like Continued on page 182

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR

SILVER (continued)

($50,000 and above)

Laura and James Marx Teri and Tony Perry Susan and Rich Rogel Carole and Peter Segal Cathy and Howard Stone Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Town of Vail Betsy and George Wiegers

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Shannon and Todger Anderson Arlene and John Dayton Dick Liebhaber

Bronze ($5,000 and above) Cookie and Jim Flaum Suzanne Helen Linda and Kalmon Post Mr. and Mrs. Ernest Scheller, Jr. Susan and Steve Suggs Dhuanne and Doug Tansill

PETER GRIMES AND LA Peter Grimes was conceived in Los Angeles, far from the English seaside of Britten’s childhood. Leaving war-torn England in 1941, and finding George Crabbe’s 18th century collection of poems, The Borough, in a second-hand bookshop in Los Angeles, Britten imagined its transformation into what would become his second opera. “In a flash I realised two things: that I must write an opera, and where I belonged”, said Britten, who returned to England the next year to write the opera, which premiered in 1945. The story is of a tragic, lonely fisherman, volatile and misunderstood. Often called “a powerful allegory of homosexual oppression”, the composer saw it as a “struggle of the individual against the masses. The more vicious the society, the more vicious the individual”. Britten’s Peter Grimes is a victim of both cruel fate and society, and his intrinsic ambiguity has captivated audiences since the opera’s premiere.

This project funded in part by generous grants from the Lyn and Phillip Goldstein Piano Concerto Artist Project, the Town of Vail and the Vail Valley Foundation. Antlers at Vail and Vail Cascade Resort & Spa are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

TUEsday, JULY 8, 1:00pM

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free concert series Vail interfaith chapel

Hai-Ye Ni, cello Jon Koen, cello Alex Veltman, cello

BEETHOVEN Trio in C major for Three Cellos, Op. 87 (originally for Two Oboes and English Horn) Allegro Adagio Menuetto: Allegro molto, Scherzo Finale: Presto

Chamber Philadelphia During his first years after arriving in Vienna in 1792 from his hometown of Bonn, Beethoven studied with the venerable Joseph Haydn, who had heard one of his cantatas on a visit to Bonn, composed pieces for solo piano, chamber ensembles and wind groups, and gained significant notice as a pianist. In catering to the aristocratic audience, he took on the air of a dandy for a while, dressing in smart clothes, learning to dance (badly), buying a horse and even sporting a powdered wig. This phase of his life did not outlast the 1790s, but in his biography of the composer, Peter Latham described Beethoven at the time as “a young giant exulting in his strength and his success, and youthful confidence gave him a buoyancy that was both attractive and infectious.” The infectious C major Trio of 1794-1795 was among the works that reflect Beethoven’s youthful spirit of those years.

Bravo! Vail gratefully acknowledges support for this AFTERNOON’S concert from

FirstBank The Sebastian-Vail

Ludwig van Beethoven

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TUESday, JULY 8, 6:00PM Chamber MUSIC series Donovan pavilion, Vail

Anne-Marie McDermott, piano David Kim, violin Members of The Philadelphia Orchestra

J.S. BACH

VIVALDI’S FOUR SEASONS The Four Seasons, Op. 8, Nos. 1-4 (ca. 1720) Antonio Vivaldi (1678-1741) The Gazette d’Amsterdam of December 14, 1725 announced the issuance by the local publisher Michele Carlo Le Cène of a collection of twelve concertos for solo violin and orchestra by Antonio Vivaldi (1678-1741) — Il Cimento dell’Armonia e dell’Inventione, or “The Contest between Harmony and Invention,” Op. 8. The works were printed with a flowery dedication typical of the time to the Bohemian Count Wenzel von Morzin, a distant cousin of Haydn’s patron before he came into the employ of the Esterházy family in 1761. Vivaldi probably met Morzin when he worked in Mantua from 1718 to 1720 for the Habsburg governor of that city, Prince Philipp of Hessen-Darmstadt, and apparently provided the Bohemian Count with an occasional composition on demand. (A bassoon concerto, RV 496, is headed with Morzin’s name.) As the first four concertos of the Op. 8 Concertos, Vivaldi included musically onomatopoetic depictions of the seasons of the year:

Keyboard Concerto in D minor, BWV 1052 (23 min) Allegro Adagio Allegro

— INTERMISSION — VIVALDI The Four Seasons for Violin and Orchestra, Op. 8, Nos. 1-4 (40 min) Spring (R. 269): Allegro — Largo e pianissimo sempre — Danza Pastorale (Allegro) Summer (R. 315): Allegro non molto — Adagio — Presto Autumn (R. 293): Allegro — Adagio — Allegro Winter (R. 297): Allegro non molto — Largo — Allegro

Continued on page 192

Bravo! Vail gratefully acknowledges support for this evening's concert from

The Arrabelle at Vail Square Manor Vail Lodge Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail Antonio Vivaldi

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Disney FANTASIA

the philadelphia orchestra wednesday, july 9, 8:00pm

Live in Concert This Eveningâ&#x20AC;&#x2122;s Performance Presented By: ANGELA AND PETER DAL PEZZO Special Challenge Grant Funding By: Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Special Gratitude To: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Mr. and Mrs. Ernest Scheller, Jr. Carole and Peter Segal Sandra and Greg Walton Wells Fargo Private Bank

Soloist Underwriters: Cristian MÄ&#x192;celaru, conductor, underwritten by Liz and Tommy Farnsworth and Cookie and Jim Flaum

wednesday, JULY 9, 8:00PM

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symphony series Gerald R. Ford amphitheater, vail

The Philadelphia Orchestra Cristian Măcelaru, conductor

TCHAIKOVSKY The Nutcracker Suite (1940)

BEETHOVEN Symphony No. 5 (2000)

BEETHOVEN

Disney FANTASIA — Live in Concert

Symphony No. 6, “Pastoral” (1940)

STRAVINSKY The Firebird Suite (2000)

— INTERMISSION — PONCHIELLI Dance of the Hours, from La Gioconda (1940)

ELGAR Pomp and Circumstance (2000)

DUKAS The Sorcerer’s Apprentice (1940)

Presentation licensed by Disney Concerts © Disney 80

Walt Disney, one of Hollywood’s greatest innovators, began his career in Kansas City, where he set up the “Laugh-O-Gram” studio to make short animated films. He produced several silent cartoons on fairy tale themes before making Alice’s Wonderland in 1923, which integrated live-action footage with animation (and featured the 22-year-old Disney in the opening scenes). Laugh-O-Gram went under the following year, so Walt followed his older brother, Roy, a banker, to Los Angeles, where they established the Disney Brothers Cartoon Studio to carry on the Alice series. They produced more than fifty Alice silent shorts over the next four years before introducing the character of Mickey Mouse in 1928 in the sevenminute Steamboat Willie, the first cartoon with synchronized sound. Mickey was a smash hit. A Mickey Mouse Club was formed in theaters, the character began appearing in comic strips across the country, a steady series of Mickey cartoons was released, and the Disney Empire was born. In 1929, Disney initiated the “Silly Symphonies” animated series, featuring a changing cast of human and anthropomorphic characters, and three years later began producing them in Technicolor. The studio’s success encouraged him to produce the first feature-length animated film — Snow White and the Seven Dwarfs was released in 1937 and within two years it had become the highest-grossing film to that time. Disney used the profits to build a new 51-acre studio in Burbank (still the company’s headquarters) and to finance the feature-length Pinocchio, which was the first animated film to win an Oscar (for its music). By 1936, Mickey’s popularity had begun to fade, so Disney decided to feature him in an elaborate animated short set to Paul Dukas’ orchestral tone poem The Sorcerer’s Apprentice, an idea of integrating classical music and cartoons he had tried with some of the early Silly Symphonies. At a chance meeting at Chasen’s restaurant in Hollywood with Leopold Stokowski, Disney pitched the idea that the long-time Music Director of The Philadelphia Orchestra should conduct the soundtrack for The Sorcerer’s Apprentice. Stokowski was so excited by the concept that he offered to conduct for free. By the time the recording took place with 85 of Hollywood’s finest musicians on a soundstage in Culver City on January 9, 1938,

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production costs had soared, but Disney “saw this trouble in the form of an opportunity. This was the birth of a new concept, a group of separate numbers put together in a single presentation. It turned out to be a concert — something novel and of high quality.” Disney, with Stokowski’s enthusiastic encouragement, decided to turn the musical short into a feature film as a series of classical pieces set to carefully animated sequences — “sheer fantasy unfolds ... action controlled by a musical pattern has great charm in the realm of unreality,” Disney said — each introduced by music critic Deems Taylor, commentator for the radio broadcasts of the New York Philharmonic. Taylor and Stokowski headed a group choosing the music for the film (Disney claimed only limited knowledge of classical music), which selected Bach’s Toccata and Fugue in D minor, Tchaikovsky’s Nutcracker Suite, The Sorcerer’s Apprentice, Stravinsky’s The Rite of Spring, Beethoven’s “Pastoral” Symphony, Ponchielli’s Dance of the Hours, Mussorgsky’s Night on Bald Mountain and Schubert’s Ave Maria. Fantasia would have both abstract (Toccata and Fugue) and representational animation (dinosaurs in The Rite of Spring, dancing hippos in Dance of the Hours); Disney considered using an experimental 3D process for the Toccata and Fugue and releasing the scent of incense during the Impressionistic religious procession of Schubert’s Ave Maria, but abandoned both ideas. He did not, however, compromise on Fantasia’s music. He engaged Stokowski’s Continued on page 184

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR

SILVER (continued)

($50,000 and above)

Laura and James Marx Teri and Tony Perry Susan and Rich Rogel Carole and Peter Segal Cathy and Howard Stone Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Town of Vail Betsy and George Wiegers

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Shannon and Todger Anderson Arlene and John Dayton Dick Liebhaber

Bronze ($5,000 and above) Cookie and Jim Flaum Suzanne Helen Linda and Kalmon Post Mr. and Mrs. Ernest Scheller, Jr. Susan and Steve Suggs Dhuanne and Doug Tansill

MICKEY MOUSE’S COMEBACK Disney’s Fantasia was originally conceived as a comeback for Mickey Mouse, who had been declining in popularity by the late 1930s. A chance dinner meeting of Walt Disney and Leopold Stokowski at Chasen’s changed musical history. Disney told The Philadelphia Orchestra maestro of his plans to set “The Sorcerer’s Apprentice” and other classical music selections to animation. Disney was stunned when the famous Stokowski responded by saying, “I would like to conduct that for you”. It was an offer he couldn’t resist. Disney envisioned state of the art technology for the film, and created Fantasound, a pioneering reproduction system that made Fantasia the first commercial release employing stereophonic sound. “Music emerging from one speaker behind the screen sounds thin, tinkly and strainy. We wanted to reproduce such beautiful masterpieces ... so that audiences would feel as though they were standing at the podium with Stokowski”.

Thursday, JULY 10, 11:30AM

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free concert series Gerald R. Ford amphitheater, vail

Gates Open 10:30AM Instrument Petting Zoo and other activities for the whole family.

The Philadelphia Orchestra Cristian Măcelaru, conductor Michael Boudewyns, actor/narrator Sara Valentine, actor/narrator

MOZART Eine kleine Nachtmusik (Serenade No. 13 in G major), K. 525 Allegro Romanza: Andante Menuetto: Allegretto Rondo: Allegro

IBERT Divertissement Introduction Valse Parade Finale

FREE FAMILY CONCERT The Philadelphia Orchestra’s Associate Conductor, Cristian Măcelaru, leads a family-focused program featuring Peter and the Wolf, Sergei Prokofiev’s musical tale that has entertained and educated audiences for nearly 80 years. The enchanting Michael Boudewyns and Sara Valentine, co-founders and members of the storytelling theater troupe Really Inventive Stuff, breathe life into the beloved characters of this children’s classic. You’ll hear the instruments of the orchestra transformed into the spirited young Peter, his grumbling grandfather, and the menacing wolf. Mozart’s familiar Eine kleine Nachtmusik and Ibert’s quirky—and at times irreverent—Divertissement round out the program. This concert is a great introduction to the orchestra!

PROKOFIEV Peter and the Wolf, Symphonic Tale for Children, Op. 67

Bravo! Vail gratefully acknowledges support for this morning’S concert from

BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT Special Challenge Grant Funding By:

Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers Special Gratitude To:

Friends of the Fabulous Philadelphians Lyn and Phillip Goldstein Maestro Society Sponsored by:

Nancy and Ted Reynolds This project funded in part by generous grants from the Town of Vail and the Vail Valley Foundation. Antlers at Vail and Vail Cascade Resort & Spa are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

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THURSday, JULY 10, 1:00pM free concert series Vail interfaith chapel

Marvin Moon, viola Anne-Marie McDermott, piano

SCHUBERT

Chamber Philadelphia II The “arpeggione,” devised by the Viennese inventor Georg Staufer around 1823, was a curious hybrid instrument about the size of a modern cello but with a smooth waist, a series of some twodozen frets fixed to the fingerboard (like a guitar), six strings tuned in fourths, and an elaborately carved scroll (like the old viola da gamba). The instrument could either be bowed or strummed. It went out of fashion almost immediately, and Schubert’s “Arpeggione” Sonata is the only one piece known to have been composed for it. Brahms’ F minor Sonata was originally written for Richard Mühlfeld, the principal clarinetist of the Meiningen Court Orchestra (“absolutely the best I know,” said Brahms), which he also published in a version for viola. Schubert’s song Litany for the Feast of All Souls’ Day sets a text by Johann Georg Jacobi: Rest in peace, all you souls Who have finished with anxious torment. All souls rest in peace!

Sonata for Viola and Piano in A minor, D. 821, “Arpeggione” Allegro moderato Adagio — Allegretto

BRAHMS Sonata for Viola and Piano in F minor, Op. 120, No. 1 Allegro appassionato Andante un poco Adagio Allegretto grazioso Vivace

SCHUBERT/ARR. PRIMROSE Litany for the Feast of All Souls’ Day for Viola and Piano, D. 343

Bravo! Vail gratefully acknowledges support for this AFTERNOON’S concert from

Sitzmark Lodge

Franz Schubert

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THURSday, JULY 10, 6:00pM free concert series nottingham park, avon

Tito Del Barrio Malaga

AVON PRESENTS: BRAVO! VAIL FLAMENCO FUSION WITH TITO DEL BARRIO MALAGA Born Samir El Yesfi in Tetouan, Morocco, the world has come to know this phenomenal musician as Tito Del Barrio Malaga. Malaga has created his own unique fusion of music, a distinctive hybrid of cultures and various styles, but began his musical journey as a 16-year-old playing the Arabic lute. Since then, he’s mastered musical styles from Latin American, Native American, Spanish, African, Islamic and Arabic cultures and melded them with traditional Moroccan folk music (G’nawa). The intoxicating blend of Moroccan and Andalusian flamenco sounds reflect the rich cultural and musical diversities which are brought by the other members of Malaga’s band, whose members share more than half a century of experience. Tito and his band will mix it up in Nottingham Park. Flamenco, gypsy, rumba, bolero, and salsa music from all over the world comes to Avon. It’s a fun, multicultural collision of musical styles that will keep you dancing all night long.

Bravo! Vail gratefully acknowledges support for this evening's concert from

Town of Avon The Argie Ligeros Artistic Director Chair The Christie Lodge Tito Del Barrio Malaga

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BEETHOVEN’S EROICA

the philadelphia orchestra friday, july 11, 6:00pm

This Evening’s Performance Presented By: PEGGY FOSSETT Special Challenge Grant Funding By: Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Special Gratitude To: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Susan and John Dobbs Susan and Harry Frampton

Soloist Underwriters: Yannick Nézet-Séguin, conductor, underwritten by Sally and Wil Hergenrader

friday, JULY 11, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

PRE-CONCERT TALK, 5:00PM Moroles Sculpture Garden, Ford Park Steven Bruns (University Of Colorado) Beethoven and Strauss: The Composer As Hero?

The Philadelphia Orchestra Yannick Nézet-Séguin, conductor

BEETHOVEN Symphony No. 3 in E-flat major, Op. 55, “Eroica” (50 min) Allegro con brio Marcia funèbre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

— INTERMISSION — STRAUSS Ein Heldenleben, Op. 40 (43 min) The Hero The Hero’s Adversaries The Hero’s Companion The Hero’s Battlefield The Hero’s Works of Peace The Hero’s Retreat from the World, and Fulfillment Played without pause

BEETHOVEN’S EROICA Symphony No. 3 in E-flat major, Op. 55, “Eroica” (1803-1804) Ludwig van Beethoven (1770-1827) The “Eroica” (“Heroic”) is a work that changed the course of musical history. There was much sentiment at the turn of the 19th century that the expressive and technical possibilities of the symphonic genre had been exhausted by Haydn, Mozart, C.P.E. Bach and their contemporaries. It was Beethoven, and specifically this majestic Symphony, that threw wide the gates on the unprecedented artistic vistas that were to be explored for the rest of the century. For the first time, with this music, the master composer was recognized as an individual responding to a higher calling. After Beethoven, the composer became regarded as a visionary — a special being lifted above mundane experience — who could guide benighted listeners to loftier planes of existence through his valued gifts. The modern conception of an artist — what he is, his place in society, what he can do for those who experience his work — stems from Beethoven. Romanticism began with the “Eroica.” The vast first movement opens with a summons of two mighty chords. At least four thematic ideas are presented in the exposition. The development is a massive essay progressing through many moods, all united by a sense of titanic struggle. It is in this central portion of the movement and in the lengthy coda that Beethoven broke through the boundaries of the 18th-century symphony to create a work not only longer in duration but also more profound in meaning. The beginning of the “Marcia funebre” (“Funeral March”), with its plaintive themes intoned over a mock drum-roll in the basses, is the touchstone for the expression of tragedy in instrumental music. A development-like section, full of remarkable contrapuntal complexities, is followed by a return of the opening threnody. The third movement is a lusty scherzo; the central section is a rousing trio for horns. The finale is a large set of variations on two themes, the first of which forms the bass line to the other. The second theme, introduced by the oboe, also appears in Beethoven’s ballet The Creatures of Prometheus, Contradanse No. 7 and Variations and Fugue, Op. 35. The variations accumulate energy, and, just as it seems the movement is whirling toward its final climax, the music comes to a full stop before launching into an Andante section that explores first the tender and then the majestic

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possibilities of the themes. A brilliant Presto led by the horns concludes this epochal work. Ein Heldenleben (“A Hero’s Life”), Op. 40 (1898) Richard Strauss (1864-1949) Early in 1898, Strauss undertook a musical overview of the heroic spirit (his, of course) in a tone poem. He painted six aspects of this spirit in Ein Heldenleben. The first three sections portray the participating characters: The Hero (“his pride, emotional nature, iron will, richness of imagination, inflexible and well-directed determination supplant low-spirited and sullen obstinacy” noted the modest composer); His Adversaries (Strauss said nothing about them — the cackling, strident music speaks for itself); and His Beloved (“It’s my wife I wanted to show. She is very complex, very feminine, a little perverse, a little coquettish”). The fourth section, in which the hero girds his loins to do battle against his enemies, was considered the height of modernity when it was new. Section five is an ingenious review of at least thirty snippets selected by Strauss from nine of his earlier works. The finale tells of the hero’s withdrawal from the earthly struggles to reach “perfection in contemplative contentment,” in the obscure words of the composer. For Strauss’ appearance as guest conductor with the New York Philharmonic in 1921, Lawrence Gilman prepared the following Continued on page 184

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR

SILVER (continued)

($50,000 and above)

Laura and James Marx Teri and Tony Perry Susan and Rich Rogel Carole and Peter Segal Cathy and Howard Stone Dr. Agnes Hsu-Tang and Oscar Tang

Ann Smead and Michael Byram Peggy Fossett Town of Vail Betsy and George Wiegers

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Shannon and Todger Anderson Arlene and John Dayton Dick Liebhaber

Bronze ($5,000 and above) Cookie and Jim Flaum Suzanne Helen Linda and Kalmon Post Mr. and Mrs. Ernest Scheller, Jr. Susan and Steve Suggs Dhuanne and Doug Tansill

MRS. STRAUSS Pauline de Ahna married Richard Strauss at the age of 31 in 1894. Daughter of a German general, Mrs. Strauss was also a celebrated soprano for whom Strauss wrote several operatic roles. In spite of the fact that de Ahna was famous for being difficult, eccentric, and outspoken, the Strausses supposedly had a wonderful marriage with Pauline serving as muse for her famous husband. In Ein Heldenleben, Strauss readily acknowledges that his Hero’s Helpmate is actually his wife, portrayed here in all her confounding perplexity by the solo violin. “She is very complex, a trifle perverse, a trifle coquettish, never the same, changing from minute to minute.” Listen for the paradox of Mrs. Strauss and the obvious love her husband felt for her. Richard Strauss died in September 1949, devastated by the destruction of his homeland in World War II, and his beloved Pauline followed only eight months later.

RACHMANINOFF AND BRAHMS

the philadelphia orchestra saturday, july 12, 6:00pm

This Evening’s Performance Presented By: KAY LAWRENCE TIPPET RISE FUND OF THE SIDNEY E. FRANK FOUNDATION Special Challenge Grant Funding By: Ann Smead and Michael Byram Peggy Fossett Betsy and George Wiegers

Special Gratitude To: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

Sponsored By: Pamela and David Anderson Barbara and Barry Beracha Nancy and Richard Lubin Teri and Tony Perry Susan and Rich Rogel

Soloist Underwriters: Hélène Grimaud, piano, underwritten by Barbara and Jack Woodhull

SATurday, JULY 12, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

The Philadelphia Orchestra Yannick Nézet-Séguin, conductor Hélène Grimaud, piano

BRAHMS Piano Concerto No. 1 in D minor, Op. 15 (47 min) Maestoso Adagio Rondo: Allegro non troppo

— INTERMISSION — RACHMANINOFF Symphonic Dances, Op. 45 (34 min) Non allegro Andante con moto (Tempo di valse) Lento assai — Allegro vivace

Jazz After: The philly Jam Please join members of The Philadelphia Orchestra at Jazz After: The Philly Jam, a presentation of the Vail Jazz Foundation following tonight’s concert at Larkspur restaurant. Ticket information available at vailjazz.org.

RACHMANINOFF AND BRAHMS Piano Concerto No. 1 in D minor, Op. 15 (1854-1859) Johannes Brahms (1833-1897) In 1854, Brahms set out to produce a symphony in D minor as his first major orchestral work, and, to that end, he sketched three movements in short score. The first movement was orchestrated, but Brahms was not satisfied with the result, and he decided to transform his short score into a sonata for two pianos, but this still did not fulfill his vision — the ideas were too symphonic in breadth to be satisfactorily contained by just pianos, yet too pianistic in figuration to be completely divorced from the keyboard. He was stuck. In 1857, the composer Julius Otto Grimm, a staunch friend, suggested that his 24-year-old colleague try his sketch as a piano concerto. Brahms thought the advice sound, and he went back to work. He selected two movements to retain for the concerto and put aside the third, which emerged 10 years later as the chorus Behold All Flesh in The German Requiem. Things proceeded slowly but steadily and only after two more years of work was the Piano Concerto No. 1 ready for performance. The Concerto’s stormy first movement follows the Classical model of double-exposition form, with an extended initial presentation of much of the important thematic material by the orchestra alone (“first exposition”). The soloist enters and leads through the “second exposition,” which includes a lyrical second theme, not heard earlier, played by the unaccompanied piano. The central section begins with the tempestuous main theme, a Romantic motive filled with snarling trills and anguished melodic leaps. The recapitulation enters on a titanic wave of sound. The lovely second theme returns (played again by the solo piano), but eventually gives way to the foreboding mood of the main theme. The Adagio is a movement of transcendent beauty, of quiet, twilight emotions couched in a mood of gentle melancholy — of “something spiritual” in Clara Schumann’s words. The main theme of the rondoform finale is related to the lyrical second subject of the opening movement by one of those masterful strokes that Brahms used to unify his large works. Among the episodes that separate the returns of the rondo theme is one employing a carefully devised fugue that

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grew from Brahms’ thorough study of the music of Bach. After a brief, restrained cadenza, the coda turns to the brighter key of D major to provide a stirring conclusion to this Concerto, a work of awesome achievement for the 26-year-old Brahms. Symphonic Dances, Op. 45 (1940) Sergei Rachmaninoff (1873-1943) World War I, of course, was a trial for Rachmaninoff and his countrymen, but his most severe personal adversity came when the 1917 Revolution smashed the aristocratic society of Russia — the only world he had ever known. He was forced to flee his beloved country, leaving behind family and financial security. He pined for his homeland the rest of his life, and did his best to keep the old language, food, customs and holidays alive in his own household. “But it was at best synthetic,” wrote American musicologist David Ewen. “Away from Russia, which he could never hope to see again, he always felt lonely and sad, a stranger even in lands that were ready to be hospitable to him. His homesickness assumed the character of a disease as the years passed, and one symptom of that disease was an unshakable melancholy.” By 1940, when he composed the Symphonic Dances, he was worried about his daughter Tatiana, who was trapped in France by the German invasion (he never saw her again), and had been weakened by a minor operation in May. Still, Continued on page 185

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

Ann Smead and Michael Byram Peggy Fossett Town of Vail Betsy and George Wiegers

GOLD ($25,000 and above) Karen and Michael Herman

SILVER ($10,000 and above) Anonymous Shannon and Todger Anderson Arlene and John Dayton Dick Liebhaber

SILVER (continued) Laura and James Marx Teri and Tony Perry Susan and Rich Rogel Carole and Peter Segal Cathy and Howard Stone Dr. Agnes Hsu-Tang and Oscar Tang

Bronze ($5,000 and above) Cookie and Jim Flaum Suzanne Helen Linda and Kalmon Post Mr. and Mrs. Ernest Scheller, Jr. Susan and Steve Suggs Dhuanne and Doug Tansill

BRAHMS VS. WAGNER? On one side was Johannes Brahms, musical torchbearer of Beethoven’s legacy; and the other was Richard Wagner, avant-garde innovator, and classical music bad boy. On opposite sides of a famous 19th century squabble between musical conservatives and progressives of the “New German School”, both composers looked back to Beethoven as their hero, but for different reasons. For Wagner, Beethoven signaled a new beginning, casting aside rules and traditions in pursuit of novel art. But Brahms saw Beethoven as an unsurpassable classic peak. While Brahms and the violinist/composer/ conductor Joseph Joachim wrote a manifesto against the music of Wagner and Liszt, it was Liszt whose music Brahms most disliked. And when Brahms heard of Wagner’s death during a choral rehearsal he stopped, saying, “Today we sing no more, for a master has died.” The work being rehearsed was prophetic - the ‘Gesang der Parzen’ (‘Song of the Fates’).

SUN, JulyJuly 13, 5:30PM SUNDAY, 13, 5:30PM free series 27thconcert Annual Gala The The Ritz-Carlton, Ritz-Carlton, Bachelor Bachelor Gulc Gulch

Honoring Cathy and Howard Stone Gala Co-Chairs Laura and Jim Marx Susan and Steven Suggs

5:30PM Cocktail Reception and Silent Auction

27th Annual Gala - Dinner, Dance, and Auction

7:00PM Dinner, Live Auction and Dancing Entertainment by Tunisia

FOR MORE INFORMATION & TO PURCHASE TICKETS Contact the box office at 877.812.5700 or ticketing@bravovail.org Raising funds to support Bravo! Vail’s Education and Community Engagement Programs.

Special Thanks to bravo! vail’s Individual Gala Underwriters Dierdre and Ronnie Baker Doe Browning James W. Palermo Sandi and Greg Walton

Bravo! Vail Gratefully Acknowledges Support for the 27th Annual Gala From

Alpine Bank Breckenridge Vodka Crazy Mountain Brewing Company Kent Pettit Photography Vintage Magnolia West Vail Liquor Mart 94

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Monday, JULY 14, 7:30pM free concert series edwards interfaith chapel

Third Coast Percussion Sean Connors Robert Dillon Peter Martin David Skidmore

RHYTHMS AND RESONANCES

CONDON

Drums have been around since the dawn of civilization for use in dancing, ceremonies and signaling. Timpani had become a customary member of the orchestra by the mid-18th century, the prominence and variety of percussion instruments grew throughout the Romantic Age, and they were featured in works by Strauss, Debussy, Stravinsky, Bartók and others early in the 20th century, but there had never been a serious piece written for percussion ensemble until Edgard Varèse completed Ionisation in 1931. Unlike such other late-developing ensembles as the brass quintet, however, percussion did not lend itself to transcriptions of earlier music, so an entire new repertory of concert works has been developed in recent decades by such pioneering groups as Third Coast Percussion, which has commissioned and premiered 15 works, including Augusta Reed Thomas’ Resounding Earth, and just launched an Emerging Composers Partnership Program “to connect young composers with professional performers in a meaningful collaborative experience.”

LUNSQUI

Fractalia

Shi

BROSTROM Twilight

SKIDMORE Ritual Music

THOMAS Resounding Earth Prayer—Star Dust Orbits

CAGE Third Construction

Bravo! Vail gratefully acknowledges support for this evening's concert from

The Lifthouse Condominiums Kathy and David Ferguson and their children Kelsey, Devon and Darby Third Coast Percussion

TUEsday, JULY 15, 1:00pM

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free concert series Vail interfaith chapel

Third Coast Percussion Sean Connors Robert Dillon Peter Martin David Skidmore

MELLITS Gravity

PÄRT Fratres

REICH Pieces of Wood

REICH Mallet Quartet, III

MIKI Marimba Spiritual, II

Gravity “Percussion” comes from the Latin percutere — “to strike forcibly” — and a percussion performance is as much visual as aural. Not only are percussionists’ arm and body movements more evident than those for other instruments, but a large modern percussion section can take up a lot of space on stage and performers often need to adjust them, shuttle among them or move them. Since anything that resonates when struck is a potential percussion instrument, their number and kind can be breathtaking: Magnus Lindberg’s percussion concerto, Kraft, stipulates that random items collected from a local junkyard be used for the piece — a recent performance by the New York Philharmonic supplemented the usual percussion section with brake drums, a car hood advertising “Rapid Sewer Cleaning,” table legs, plastic tubes, bowls filled with water, and a shiny steel tank labeled “Refrigerated Liquid Nitrogen” that were placed onstage and around the hall. Listen carefully to — and watch intently — Third Coast Percussion.

Bravo! Vail gratefully acknowledges support for this AFTERNOON’S concert from

FirstBank Vail Cascade Resort & Spa

Marc Mellits

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TUESday, JULY 15, 6:00PM Chamber MUSIC series Donovan pavilion, Vail

Kerry McDermott, violin Eileen Moon, cello Anne-Marie McDermott, piano

BEETHOVEN

MCDERMOTT AND MEMBERS OF THE PHILHARMONIC Piano Trio in E-flat major, Op. 1, No. 1 (1793-1795) Ludwig van Beethoven (1770-1827) On his return to Vienna in July 1792 from his first triumph in London, Joseph Haydn stopped at Bonn, where he met a young pianist and composer in the employ of the Electoral court. Ludwig van Beethoven, who had built a local reputation largely as a keyboard virtuoso, told Haydn, then the most famous musician in Europe, that his greatest ambition was to make his mark in the world as a composer, so Haydn encouraged him to move to Vienna and promised to take him as a student if he did. With the generous help of the Elector Maximilian Franz and Count Ferdinand Waldstein, Beethoven left for the Imperial City in November, and almost immediately began counterpoint lessons with Haydn. Mutual dissatisfaction with the pedagogical relationship sprang up, however — Haydn was too busy, Beethoven was too bullish — but Beethoven remained eager to have his teacher’s advice, so he invited Haydn to a private concert of his music late in 1793 at the Viennese palace of Prince Karl Lichnowsky, who had taken on the young composer as a protégé and given him room, board, encouragement and entrée to the aristocracy. Beethoven chose to perform three new piano trios

Trio for Piano, Violin and Cello in E-flat major, Op. 1, No. 1 (32 min) Allegro Adagio cantabile Scherzo: Allegro assai Finale: Presto

— INTERMISSION — SCHUBERT Trio for Piano, Violin and Cello in B-flat major, D. 898 (38 min) Allegro moderato Andante un poco mosso Scherzo: Allegro Rondo: Allegro vivace

Continued on page 193

Bravo! Vail Gratefully Acknowledges Support for this Evening’s Concert From

Destination Resorts Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail Anne-Marie McDermott

wednesday, JULY 16, 6:00pM

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free concert series walking mountains science center, Avon

Third Coast Percussion Sean Connors Robert Dillon Peter Martin David Skidmore

THE SCIENCE BEHIND: SOUND Walking Mountains Science Center, in collaboration with Bravo! Vail, presents “The Science Behind: Sound,” which gives audience members the opportunity to explore the scientific principles of acoustics in a fun and interactive manner. Members of the innovative ensemble, Third Coast Percussion, elicit music from everyday objects as well as standard instruments, while presenters from Walking Mountains lead a discussion behind the science of sound. Indulge your curiosity, and join in to learn what makes “sound” sound.

Bravo! Vail gratefully acknowledges support for this evening’s concert from

Walking Mountains Science Center

Third Coast Percussion

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wednesday, JULY 16, 6:00PM Linda & mitch hart SoirÉe Series Martin Residence, Edwards

Kerry McDermott, violin Paul Neubauer, viola Eileen Moon, cello

J. S. BACH

STRING TRIO SOIRÉE This Bravo! Vail Soirée demonstrates the apparently limitless expressive possibilities of the string instruments. The selections span the better part of three centuries, from the G major Cello Suite of Bach, written around 1720, when the cello was just beginning to establish itself as a solo instrument, to the bluegrassflavored Jig for Violin and Viola that American fiddle master Mark O’Connor derived from the concerto he wrote for himself in 1993. Three Madrigals for Violin and Viola by Czech composer Bohuslav Martinů likewise spans the musical ages, finding inspiration in one of the most characteristic Renaissance vocal genres for a piece he wrote in 1947 in New York for the American brother-sister virtuosos Joseph and Lillian Fuchs. The chronological middle ground in this concert is occupied by the youthful Trio in G major for Violin, Viola and Cello that Ludwig van Beethoven composed five years after coming to Vienna in 1792.

Suite No. 1 for Unaccompanied Cello in G major, BWV 1007 Prélude Allemande Courante Sarabande Minuets I and II Gigue

MARTINŮ Three Madrigals for Violin and Viola Poco allegro Poco andante Allegro

O’CONNOR F.C.’s Jig for Violin and Viola

BEETHOVEN Trio for Violin, Viola and Cello in G major, Op. 9, No. 1 Adagio — Allegro con brio Adagio, ma non troppo, e cantabile Scherzo: Allegro Presto

Catered by Daniel Joly Mirabelle at Beaver Creek Executive Chef

Bravo! Vail gratefully acknowledges support for this evening's concert from

Linda and Mitch Hart The Argie Ligeros Artistic Director Chair Donna and Pat Martin Sponsored By:

Crazy Mountain Brewing Company Mirabelle at Beaver Creek Kent Pettit Photography Vintage Magnolia West Vail Liquor Mart 99

Thursday, JULY 17, 1:00pM

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free concert series Vail interfaith chapel

Third Coast Percussion Sean Connors Robert Dillon Peter Martin David Skidmore

ANDRES Austerity Measures

DE MAY Table Music

SKIDMORE Trying

Austerity Measures Third Coast Percussion member David Skidmore carries on one of music’s most hallowed traditions at this concert with his In Contact — the virtuoso-composer. The lineage is impressive — Corelli, Bach, Handel, Mozart, Beethoven, Brahms, Bartók, Liszt and Paganini of course, Mahler and Bernstein as conductors, Rachmaninoff as musical polymath, all wrote challenging works for their own performances. With the rise of the specialist conductor and performer in the 20th century, however, the line diminished somewhat, and it is only in recent years that a younger generation of musicians is once again nurturing careers as virtuoso-composers. In addition to embracing all the conventional classical genres, many of these enterprising musicians are devoted to expanding the repertory for their own media, so today, thanks to David Skidmore and his composing-performing colleagues, there is a virtual explosion of pieces for such previously underappreciated instruments as bluegrass fiddle, Chinese pipa, banjo, mandolin — and percussion.

Bravo! Vail gratefully acknowledges support for this AFTERNOON’S concert from

Vail Mountain Lodge and Spa

Timo Andres

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THURSday, JULY 17, 6:00pM free concert series Nottingham Park, Avon

Avon presents: bravo! Vail CELTIC JAM WITH COLCANNON

Colcannon, celtic group Mick Bolger Jean Bolger Mike Fitzmaurice Cynthia Jaffe Brian Mullins

Authentic and joyous, Colcannon’s distinctive, contemporary musical style keeps in firm touch with the heart and essence of traditional Irish music. The band’s appeal crosses lines of age, gender and ethnic background. For while its musical focus is on the beautiful wealth of traditional Irish music - all acoustic instrumentation, traditional as well as original tunes and songs, with some of the songs in the Irish language - Colcannon’s true message is the story of the resilient and joyous human spirit. Colcannon’s concerts are renowned for their energy, for singer/ frontman Mick Bolger’s irrepressible sense of humor and sly wit, and, of course, for the music. Formed in Boulder in 1984, Colcannon’s reputation has grown steadily over the years with the release of eight CDs on the Oxford Road Records label, the Emmy®-award winning PBS special, “Colcannon in Concert”, and its many performances. Named ensemble-in-residence at The Colorado College, Colcannon is the first non-classical musical group to be awarded this position.

Bravo! Vail gratefully acknowledges support for this evening's concert from

Town of Avon The Christie Lodge

Colcannon

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ÂŠ Chris Lee

New York Philharmonic

- precision, power & soul -

Alan Gilbert began his tenure as Music Director in September 2009, the latest in a distinguished line of musical giants that has included Lorin Maazel (2002–09); Kurt Masur (Music Director 1991–2002); Music Director Emeritus since 2002); Zubin Mehta (1978–91); Pierre Boulez (1971–77); and Leonard Bernstein (appointed Music Director in 1958; given the lifetime title of Laureate Conductor in 1969). Since its inception, the Orchestra has championed the new music of its time, commissioning or premiering many important works, such as Dvořák’s Symphony No. 9, “From the New World”; Rachmaninoff’s Piano Concerto No. 3; Gershwin’s Concerto in F; and Copland’s Connotations, in addition to the U.S. premieres of works such as Beethoven’s Symphonies Nos. 8 and 9 and Brahms’s Symphony No. 4. This tradition continues to the present day, with works of major contemporary composers regularly scheduled each season, including John Adams, Melinda Wagner, Wynton Marsalis, Christopher Rouse, John Corigliano, and Magnus Lindberg. A combined total of 17 New York, U.S., and World Premieres have been presented at CONTACT!, the Philharmonic’s new-music series. The roster of composers and conductors who have led the Philharmonic includes such historic figures as Theodore Thomas, Antonín Dvořák, Gustav Mahler (Music Director, 1909–11), Otto Klemperer, Richard Strauss, Willem Mengelberg (Music Director, 1922–30), Wilhelm Furtwängler, Arturo Toscanini (Music Director, 1928–36), Igor Stravinsky, Aaron Copland, Bruno Walter (Music Advisor, 1947–49), Dimitri Mitropoulos (Music Director, 1949–58), Klaus Tennstedt, George Szell (Music Advisor, 1969–70), and Erich Leinsdorf. Renowned worldwide, the Philharmonic has appeared in 431 cities in 63 countries on five continents. Building on its long-running Young People’s Concerts, which began in 1924, the Philharmonic has developed a wide range of education programs that thrive today. The New York Philharmonic radio broadcasts, begun in 1922, are currently syndicated nationally 52 weeks per year and available on nyphil.org. On television, in the 1950s and ‘60s, the Orchestra inspired an entire generation through Bernstein’s Young People’s

Concerts on CBS. Its television presence has continued with annual appearances on Live From Lincoln Center on PBS. In 2004 the New York Philharmonic was the first major American orchestra to offer downloadable concerts, recorded live. Since 1917 the Philharmonic has made almost 2,000 recordings, with more than 500 currently available. In 2004 it became the first major American orchestra to offer downloadable concerts, recorded live; and the Philharmonic’s selfproduced recordings continue with Alan Gilbert and the New York Philharmonic.

Founded in 1842 by a group of local musicians led by American-born Ureli Corelli Hill, the New York Philharmonic is by far the oldest symphony orchestra in the United States, and one of the oldest in the world.

Friends of the new york philharmonic Bravo! Vail gratefully acknowledges the support of these patrons Platinum ($30,000 and above)

GOLD (continued)

Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Cynnie and Peter Kellogg Honey Kurtz Vicki and Kent Logan Leni and Peter May Amy and James Regan Helen and Vincent Sheehy Dr. Agnes Hsu-Tang and Oscar Tang Town of Vail Carol and Pat Welsh Betsy and George Wiegers

Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

Gold ($20,000 and above) Jayne and Paul Becker Amy and Steve Coyer Stephanie and Larry Flinn Mr. and Mrs. Claudio Gonzalez Linda and Mitch Hart Judy and Alan Kosloff Barbie and Tony Mayer Ann and Alan Mintz

Silver ($15,000 and above) Judy and Howard Berkowitz Marlene and John Boll Jan Broman Lisa Tannebaum and Don Brownstein Jeri and Charlie Campisi Georgia and Don Gogel Martha Head and John Feagin, M.D. Dick Liebhaber Karen and Walter Loewenstern Carolyn and Gene Mercy Kay and Bill Morton Margaret and Alex Palmer June and Paul Rossetti Terie and Gary Roubos Slifer, Smith and Frampton Real Estate Sarah Nash and Michael Sylvester

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new york Philharmonic Alan Gilbert Music Director

Case Scaglione Assistant Conductor

Joshua Weilerstein Assistant Conductor

BASS

Leonard Bernstein Laureate Conductor, 1943–1990

Kurt Masur Music Director Emeritus VIOLIN

Glenn Dicterow, Concertmaster+ The Charles E. Culpeper Chair Sheryl Staples, Principal Associate Concertmaster The Elizabeth G. Beinecke Chair Michelle Kim, Assistant Concertmaster The William Petschek Family Chair Carol Webb Yoko Takebe+ Quan Ge The Gary W. Parr Chair Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair Lisa GiHae Kim Kuan Cheng Lu Newton Mansfield+ The Edward and Priscilla Pilcher Chair Kerry McDermott Anna Rabinova Charles Rex The Shirley Bacot Shamel Chair Fiona Simon Sharon Yamada Elizabeth Zeltser+ The William and Elfriede Ulrich Chair Yulia Ziskel The Friends and Patrons Chair Marc Ginsberg, Principal Lisa Kim* In Memory of Laura Mitchell Soohyun Kwon The Joan and Joel I. Picket Chair Duoming Ba

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Eileen Moon* The Paul and Diane Guenther Chair Eric Bartlett Maria Kitsopoulos Elizabeth Dyson The Mr. and Mrs. James E. Buckman Chair Alexei Yupanqui Gonzales Patrick Jee Sumire Kudo Qiang Tu Nathan Vickery Ru-Pei Yeh+ The Credit Suisse Chair in honor of Paul Calello Wei Yu Joel Noyes++

Marilyn Dubow The Sue and Eugene Mercy, Jr. Chair Martin Eshelman+ Judith Ginsberg Hyunju Lee Joo Young Oh Daniel Reed Mark Schmoockler+ Na Sun Vladimir Tsypin Shanshan Yao Minyoung Baik++ Jennifer Kim++ Marta Krechkovsky++ Angela Lee++ Hansaem Lim++ Cecee Pantikian++ Sarah Pratt++ David Southorn++ Jin Suk Yu++

VIOLA

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

CELLO

Carter Brey, Principal The Fan Fox and Leslie R. Samuels Chair

Timothy Cobb, Principal The Redfield D. Beckwith Chair Satoshi Okamoto*** The Herbert M. Citrin Chair Orin O’Brien+ Max Zeugner*** The Herbert M. Citrin Chair William Blossom The Ludmila S. and Carl B. Hess Chair Randall Butler David J. Grossman Blake Hinson Rex Surany++ Matthew Frischman++

FLUTE

Robert Langevin, Principal The Lila Acheson Wallace Chair Sandra Church* Yoobin Son Mindy Kaufman

PICCOLO

Mindy Kaufman

OBOE

Liang Wang, Principal The Alice Tully Chair Sherry Sylar* Robert Botti The Lizabeth and Frank Newman Chair Pedro Díaz++

ENGLISH HORN Pedro Díaz++

CLARINET

Stephen Williamson, Principal The Edna and W. Van Alan Clark Chair Mark Nuccio* The Honey M. Kurtz Family Chair Pascual Martínez Forteza Amy Zoloto++

E-FLAT CLARINET Mark Nuccio

BASS CLARINET Amy Zoloto++

BASSOON

Judith LeClair, Principal The Pels Family Chair Kim Laskowski*

Roger Nye The Rosalind Miranda Chair in memory of Shirley and Bill Cohen Arlen Fast

CONTRABASSOON Arlen Fast

HORN

Philip Myers, Principal The Ruth F. and Alan J. Broder Chair Michael Gast++*** R. Allen Spanjer The Rosalind Miranda Chair Leelanee Sterrett Howard Wall Audrey Flores++

TRUMPET

Philip Smith, Principal+ The Paula Levin Chair Matthew Muckey* Ethan Bensdorf Thomas V. Smith Kenneth DeCarlo++

TROMBONE

Joseph Alessi, Principal The Gurnee F. and Marjorie L. Hart Chair Jörgen van Rijen++*** 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 David DePeters++

HARP

Nancy Allen, Principal The Mr. and Mrs. William T. Knight III Chair

KEYBOARD

In Memory of Paul Jacobs

HARPSICHORD

Paolo Bordignon+

PIANO

Eric Huebner

ORGAN

Kent Tritle+

LIBRARIANS

Lawrence Tarlow, Principal Sandra Pearson** Sara Griffin**

ORCHESTRA PERSONNEL MANAGER Carl R. Schiebler

STAGE REPRESENTATIVE Joseph Faretta

AUDIO DIRECTOR Lawrence Rock

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

NEW YORK PHILHARMONIC

Gary W. Parr, Chairman Matthew VanBesien, Executive Director

ADMINISTRATION Edward Yim, Vice President, Artistic Planning Miki Takebe, Vice President, Operations

James Eng, Operations Assistant Katherine E. Johnson, Director, Public and Media Relations Valerie Petrov, Orchestra Personnel Assistant/Auditions Coordinator Brendan Timins, Director, Touring and Operations Galiya Valerio, Assistant to the Music Director Pamela Walsh, Artistic Administrator

Stage Crew

Robert W. Pierpont Michael Pupello * 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. Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.

MIDORI PLAYS TCHAIKOVSKY

New York philharmonic friday, july 18, 6:00pm

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: LENI AND PETER MAY Friends of the New York Philharmonic Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society The Argie Ligeros Artistic Director Chair

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FRIday, JULY 18, 6:00PM

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symphony series Gerald R. Ford amphitheater, vail

New York Philharmonic Alan Gilbert, conductor Midori, violin

NIELSEN Overture to Maskarade (5 min)

TCHAIKOVSKY Violin Concerto in D major, Op. 35 (36 min) Allegro moderato Canzonetta: Andante — Finale: Allegro vivacissimo

— INTERMISSION — GRIEG Selections from the Incidental Music to Ibsen’s Peer Gynt, Op. 46 (20 min) Morning Mood Solvejg’s Song The Death of Åse Anitra’s Dance In the Hall of the Mountain King

LISZT Les Préludes (17 min)

MIDORI PLAYS TCHAIKOVSKY Overture to Maskarade (1906) Carl Nielsen (1865-1931) Ludwig Holberg (1684-1754) is generally acknowledged as the founder of the Danish/Norwegian school of literature. During the opening decade of the 20th century, when he was enjoying his first flush of recognition as a composer, Carl Nielsen struck upon the idea of making an operatic setting of one of Holberg’s comedies, and sketched a scenario based on the playwright’s Maskarade. He enlisted the Danish poet and man of letters Vilhelm Andersen to flesh out the libretto, began the opera during Christmas 1904, and worked on the score intermittently over the next year-and-a-half. Maskarade evokes the life and manners of 18th-century Danish society. The plot concerns two young people who meet at a masked ball and fall in love only to discover that they are the very couple their parents had been attempting to match, an arrangement the youngsters had stubbornly resisted. All ends happily. A carnivalbright main theme opens the Overture to Maskarade; contrast is provided by a sprightly folk-dance melody initiated by the violins. The center of the work is occupied by aerial transformations of the second theme and a busy fugue constructed upon fragments of the opening motives. A bounding presentation of the main theme rounds out the Overture, which comes to a close with a brazen coda led by the trumpets. Violin Concerto in D major, Op. 35 (1878) Peter Ilyich Tchaikovsky (1840-1893) In the summer of 1877, Tchaikovsky undertook the disastrous marriage that lasted less than three weeks and resulted in his emotional collapse and attempted suicide. He decided that travel outside Russia would be a balm to his spirit, and he duly installed himself at Clarens on Lake Geneva in Switzerland soon after the first of the year. In Clarens, he had already begun work on a piano sonata when he heard the colorful Symphonie Espagnole by the French composer Edouard Lalo. He was so excited by the possibilities of a work for solo violin and orchestra that he set aside the sonata and immediately began a concerto of his own. Tchaikovsky’s Violin Concerto opens quietly with a tentative introductory tune. After a

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few unaccompanied measures, the violin presents the lovely main theme. The second theme begins a long buildup leading into the development, launched with a sweeping presentation of the main theme. A flashing cadenza serves as a link to the recapitulation. The Andante suggests the music of a Gypsy fiddler. The finale is imbued with the propulsive spirit of a dashing Trepak. Selections from Peer Gynt, Opp. 46 and 55 (1874-1875) Edvard Grieg (1843-1907) Peer Gynt is the central character of Ibsen’s dramatic fantasy. Grieg outlined the plot: “Peer Gynt, the only son of poor peasants, is drawn by the poet as a character of morbidly developed fancy and a prey to megalomania. In his youth, he has many wild adventures — comes, for instance, to a peasants’ wedding where he carries the bride up to the mountain peaks. There he leaves her so that he may roam about with wild cowherd girls. He then enters the land of the Mountain King, whose daughter falls in love with him and dances for him. But he laughs at the dance and its droll music, whereupon the enraged mountain folk wish to kill Continued on page 185

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Gold (continued)

Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

NIELSEN THE SHOPKEEPER Lucky for us the parents of Denmark’s most famous composer never had their way. Carl Nielsen was the seventh of 12 children, raised in a poor family on the island of Funen. While they noticed his obvious musical abilities at an early age, his parents thought the boy needed a better way to make a living, so they apprenticed him to a shopkeeper from a nearby village at the age of 14. By midsummer the shopkeeper had gone bankrupt and Carl had to go home to his parents. At that same time he took a job as a bugler and alto trombonist in the 16th Battalion at nearby Odense, and began studies on the violin, later attending the Royal Conservatory in Copenhagen. In 1889, just eight years after beginning to play the violin, Nielsen became a member of the Royal Danish Orchestra, while simultaneously seriously pursuing composition.

This project funded in part by generous grants from the Town of Vail and the Vail Valley Foundation. Credit Suisse is the Global Sponsor of the New York Philharmonic. Antlers at Vail and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

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BRONFMAN PLAYS BEETHOVEN’S EMPEROR

New York philharmonic saturday, july 19, 6:00pm

This Evening’s Performance Presented By: Friends of the New York Philharmonic Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

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symphony series Gerald R. Ford amphitheater, vail

Pre-Concert talk Moroles Sculpture Garden, Ford Park Kristin Taavola (University of Denver) Viennese Beethoven, Napoleonic Beethoven

New York Philharmonic Alan Gilbert, conductor Yefim Bronfman, piano

BRONFMAN PLAYS BEETHOVEN’S EMPEROR

BEETHOVEN Overture to Fidelio, Op. 72c (6 min)

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

— INTERMISSION — BEETHOVEN Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor” (37 min) Allegro Adagio un poco mosso — Rondo: Allegro

Overture to Fidelio, Op. 72c (1814) Ludwig van Beethoven (1770-1827) Beethoven devoted a decade (1804-1814) to his only opera, Fidelio, and the most visible remnants of his extensive revisions are the quartet of overtures he composed for Fidelio. The first version of the opera, written between January 1804 and early autumn 1805, was initially titled Leonore after the heroine, who courageously rescues her husband from his wrongful incarceration. For that production, Beethoven wrote the Leonore Overture No. 1, utilizing themes from the opera. The composer’s early biographer Anton Schindler recorded that Beethoven rejected that first attempt after hearing it privately performed at Prince Lichnowsky’s palace before the premiere. (Another theory, supported by recent examination of the paper on which the sketches were made, holds that this work was written in 1806-1807 for a projected performance of the opera in Prague that never took place, thus making Leonore No. 1 the third of the Fidelio overtures.) Beethoven then composed a second overture, Leonore No. 2, and that piece was used at the first performance, on November 20, 1805. (The management of Vienna’s Theater-an-der-Wien, site of the premiere, insisted on changing the title from Leonore to Fidelio to avoid confusion with Ferdinand Paër’s Leonore.) The opera foundered. Not only was the audience, largely populated by French officers of Napoleon’s army, which had invaded Vienna exactly one week earlier, unsympathetic, but there were also problems with Fidelio’s dramatic structure. Beethoven was encouraged by his aristocratic supporters to rework the opera and present it again. That second version, for which the magnificent Leonore Overture No. 3 was written, was presented in Vienna on March 29, 1806, but met with only slightly more acclaim than its forerunner In 1814, some members of the Court Theater approached Beethoven, by then Europe’s most famous composer, about reviving Fidelio. The idealistic subject of the opera had never been far from his thoughts, and he agreed to the project. The libretto was revised yet again, and Beethoven rewrote all the numbers in the opera and changed their order to enhance the work’s dramatic impact. The

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new Fidelio Overture, the fourth he composed for his opera, was among the revisions. The Fidelio Overture, whose themes do not derive from those of the opera, opens with an introduction comprising a rousing fanfare for full orchestra and a darkly colored harmonic passage in slow tempo. The work’s compact sonata form begins with the announcement by the solo horn of the main theme, based on the fanfare motive from the introduction. The fleet second theme is presented quietly by the strings following an energetic climax. The tiny central section, based on the fanfare motive, is less a true development than a transition to the recapitulation of the themes. A coda, separated from the body of the Overture by a return of the slow harmonies of the introduction, brings this noble work to a stirring close.

BEETHOVEN THE PIANIST Piano Concerto No. 1 in C major, Op. 15 (1795) Ludwig van Beethoven Beethoven came to Vienna for good in 1792, having made an unsuccessful foray in 1787, and he quickly attracted attention Continued on page 185

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000 and above)

Gold (continued)

Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

Beethoven distinguished himself not only as a composer but as virtuoso pianist. While popular myth asserts his pianism was “rough,” other reports point to “a certain magic in his expression, aside from the beauty and originality of his ideas and his genial way of presenting them.” Firsthand accounts speak to his ability “to make such an impression on every listener that frequently there was not a single dry eye.” Beethoven complained about “the pianists of today, who only run up and down the keyboard with passages they have learned by heart—putch, putch, putch! What does that mean? Nothing! The real piano virtuosos, when they played, gave us something interconnected, a whole. When it was written out it could at once be accepted as a well-composed work. That was piano playing, the rest is nothing!” As Beethoven’s deafness progressed, the impairment forced him to abandon his career as a performer.

This project funded in part by generous grants from the Lyn and Phillip Goldstein Piano Concerto Artist Project, the Town of Vail and the Vail Valley Foundation. Credit Suisse is the Global Sponsor of the New York Philharmonic. Antlers at Vail and Manor Vail Lodge are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

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TCHAIKOVSKY’S ROMEO & JULIET

New York Philharmonic sunday, july 20, 6:00pm

This Evening’s Performance Presented By: Friends of the New York Philharmonic Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

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symphony series Gerald R. Ford amphitheater, vail

New York Philharmonic Alan Gilbert, conductor Liang Wang, oboe

STRAUSS Don Juan, Tone Poem after Nikolaus Lenau, Op. 20 (19 min)

STRAUSS Till Eulenspiegel’s Merry Pranks, after the Old-Fashioned Roguish Manner, Op. 28 (17 min)

—INTERMISSION— ROUSE Oboe Concerto (25 min)

TCHAIKOVSKY Romeo and Juliet, Fantasy-Overture (20 min)

TCHAIKOVSKY’S ROMEO AND JULIET Don Juan, Op. 20 (1888) Richard Strauss (1864-1949) For the program of his tone poem inspired by Don Juan, Strauss went not to da Ponte, the librettist of Mozart’s Don Giovanni, or the Spanish authors who were the source of the fantastic character, but to the 19th-century Hungarian poet Nikolaus Lenau. Lenau’s Don Juan was not a rakish extrovert but rather a vain, sensual idealist who meets his death in a sword duel with the father of one of the women he has seduced. Disillusioned and empty, tired of life, he drops his guard and welcomes his fate. Strauss’ tone poem is built from themes associated with the lover and his conquests. The vigorous opening strain and a stentorian melody majestically proclaimed by the horns near the mid-point of the work belong to Don Juan. The music depicting the women in his life is variously coquettish, passionate and ravishing. In the closing pages, an enormous crescendo is suddenly broken off by a long silence. A quivering chill comes over the music. A dissonant note on the trumpets marks the fatal thrust. Quietly, without hope of redemption, the libertine dies. Till Eulenspiegel’s Merry Pranks, Op. 28 (1894-1895) Richard Strauss Till Eulenspiegel was a well-known character of German folklore, a “rude mechanical” born in Brunswick in 1283, according to the account of 1515 by a Franciscan monk, Thomas Murner. Olin Downes wrote, “Till, they say, was a wandering mechanic who lived by his wits, turning up in every town and city. He was a lord of misrule, a liar and villain, whose joy it was to plague honest folk and play foul jests upon them…. Till is freedom and fantasy; his is the gallant, mocking warfare of the One against the Many and the tyranny of accepted things. He is Puck and Rabelais, and [he inspired] quicksilver in Strauss’ music.” Strauss’ tone poem opens with a “once upon a time” phrase played by the strings and a bounding theme for the horn, from which most of the work is spun. Unlike the historical Till, who reportedly died in bed of the plague, Strauss sentenced his scoundrel to swing for his crimes amid threatening rolls on the drums and great blasts from the

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trombones. The closing pages, however, revive the impish specter of the physically departed Till, as if to say that his insouciant spirit remains always among us. Oboe Concerto (2004) Christopher Rouse (born in 1949) Christopher Rouse, a native of Baltimore, was largely self-taught in music before entering the Oberlin Conservatory in 1967; he received his bachelor’s degree there in 1971. Following two years of private study with George Crumb in Philadelphia, he enrolled at Cornell, where his teachers included Karel Husa and Robert Palmer. He graduated from Cornell in 1977 with both master’s and doctoral degrees, and a year later joined the faculty of the University of Michigan. Rouse also taught at the Eastman School of Music, and has been on the composition faculty of The Juilliard School since 1997. Among his distinctions are a Pulitzer Prize, a Grammy, American Academy of Arts and Letters Award in Music, Friedheim Award of Kennedy Center, election to the American Academy of Arts and Letters, and recognition as Musical America’s Continued on page 186

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000 and above)

Gold (continued)

Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

MUSICALLY ROMEO & JULIET Shakespeare’s tale of star-crossed lovers is one of the most celebrated theater works of all time, and its effect on music continues. At least 27 operas have been based on Romeo and Juliet, as well as numerous orchestral works, ballets, and even popular songs. Peggy Lee’s defining rendition of “Fever” includes these lyrics: “Romeo loved Juliet; Juliet, she felt the same; When he put his arms around her; He said Julie, baby, you’re my flame; Thou givest fever...” The best-known operas include Gounod’s 1867 Roméo et Juliette and Bellini’s I Capuleti e i Montecchi (The Capulets and the Montagues). Berlioz’s dramatic symphony Roméo et Juliette and Prokofiev’s ballet are staples in the repertory. Nino Rota’s love theme from the 1968 film is one of contemporary America’s most famous tunes, but the most successful musical theatre adaptation is West Side Story with music by Leonard Bernstein and lyrics by Stephen Sondheim.

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monday, JULY 21, 6:00PM Linda & mitch hart SoirÉe Series Krasnow Residence, Cordillera

Bramwell Tovey, piano Catered by Jean-Michel Chelain The Left Bank Executive Chef

AN EVENING WITH BRAMWELL TOVEY A raconteur, according to the New Oxford American Dictionary, is “a person who tells anecdotes in a skillful and amusing way.” The NOAD goes on to include a description of the raconteur by Suleiman Osman, George Washington University faculty member and an authority on the history and culture of the American city, as “a master artist who concentrates on the aesthetics of the story and the emotions it evokes in the listener. To hear a raconteur tell a story is like listening to a virtuoso musician skillfully playing with tempo and dynamics.” Bramwell Tovey is a world-class raconteur on all these counts, not just in his spoken commentaries but also in the care and insight with which he builds his programs and in the infectious narrative qualities of his performances. This Bravo! Vail Soirée offers a special evening of music and conviviality with one of today’s most engaging musical personalities.

Bravo! Vail gratefully acknowledges support for this evening's concert from

Linda and Mitch Hart Joyce and Paul Krasnow Sponsored By:

Crazy Mountain Brewing Company The Left Bank Restaurant Kent Pettit Photography Vintage Magnolia West Vail Liquor Mart

Bramwell Tovey

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monday, JULY 21, 7:30pM

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free concert series Brush Creek PAvilion, Eagle

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

BEETHOVEN String Quartet No. 16 in F major, Op. 135 Allegretto Vivace Lento assai, cantante e tranquillo Grave ma non troppo, tratto — Allegro

MENDELSSOHN String Quartet No. 4 in E minor, Op. 44, No. 2 Allegro assai appassionato Scherzo: Allegro di molto Andante Presto agitato

Music by Mendelssohn and Beethoven “Beethoven’s F major Quartet is the work of a man who is fundamentally at peace,” wrote J.W.N. Sullivan. “It is the peace of a man who has known conflict, but whose conflicts are now reminiscent. There is no real conflict depicted in the last movement; the portentous question meets with a jovial, almost exultant answer, and the ending is one of perfect confidence. It would appear that at the end of his life, the Beethoven who expressed himself in music was content.” The E minor Quartet of 1837 was a product of the busiest time of Mendelssohn’s life, when he was serving as music director of the Leipzig Gewandhaus concerts, touring, guest conducting and composing incessantly. It was created during the happy time between his marriage to Cécile Jeanrenaud on March 28 and the work’s first performance, on November 19 at the Gewandhaus led by Ferdinand David, for whom Mendelssohn wrote his Violin Concerto seven years later.

Bravo! Vail gratefully acknowledges support for this evening’s concert from

Eagle County Eagle Ranch Homeowners Association Kathy and David Ferguson and their children Kelsey, Devon and Darby Felix Mendelssohn

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Tuesday, JULY 22, 1:00pM free concert series vail interfaith chapel

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

String Quartets from Austria Czech composer Victor Ullmann spent the last two years of his life in the concentration camp at Theresienstadt, an hour north of Prague, where the Nazis encouraged an active musical life to mollify the inmates and to deflect international criticism of its ghastly racial policies. Ironically, Ullmann blossomed creatively in this most unlikely of situations, completing more than twenty known works, including three piano sonatas, a string quartet, song cycles, choral arrangements of Hebrew and Yiddish songs, and his masterpiece, the opera Der Kaiser von Atlantis. (Detailed information about Ullmann and Theresienstadt may be found in the complete program notes on the Bravo! Vail website.) Despite the 24 years difference in their ages, Haydn and Mozart were close and admiring friends. Mozart’s greatest tribute to Haydn is the set of six superb string quartets he composed between 1782 and 1785 and dedicated to his senior colleague upon their publication.

ULLMANN String Quartet No. 3, Op. 46 Allegro moderato Presto Tempo I Largo Rondo-Finale Played without pause

MOZART String Quartet in E-flat major, K. 428 (K. 421b), “Haydn No. 3” Allegro non troppo Andante con moto Menuetto: Allegro Allegro vivace

Bravo! Vail gratefully acknowledges support for this afternoon's concert from

FirstBank Westwind at Vail

Viktor Ullmann

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TUESday, JULY 22, 6:00PM Chamber MUSIC series Donovan pavilion, Vail

Third Coast Percussion Anne-Marie McDermott, piano Gilles Vonsattel, piano

BARTÓK

BARTÓK AND REICH Sonata for Two Pianos and Percussion, Sz. 110 (1937) Béla Bartók (1881-1945) Bartók first met the Swiss conductor Paul Sacher in the summer of 1929, when they were both in Basel for performances by the International Society for Contemporary Music. Bartók returned frequently and gladly to Basel, and he developed important associations in the city: the Basel chapter of the ISCM commissioned the Music for Strings, Percussion and Celesta from him in 1936 and the Sonata for Two Pianos and Percussion the following year. In 1939, when the rise of the Nazis to power had made life unendurable for Bartók in Budapest (two years before, he and Kodály, who had done more to unearth the treasury of Hungarian folksong than anyone else in that country’s history, were accused by Nazi sympathizers in the press of an “insufficiency of nationalism”), Sacher, realizing the toll that the political upheaval in Hungary was taking on his creativity, invited him to move into a chalet in Switzerland.

Sonata for Two Pianos and Percussion, Sz. 110 (24 min) Assai lento — Allegro molto Lento, ma non troppo Allegro non troppo

— INTERMISSION — REICH Sextet for Percussion, Two Pianos and Two Synthesizers (26 min)

Bartók wrote of the Sonata for Two Pianos and Percussion, composed in 1937 for the tenth anniversary of the Swiss chapter of the ISCM, “The first movement opens with a slow introduction which anticipates a motive of the Allegro. The Allegro movement itself is in sonata form. The exposition presents the principal subject group, consisting of two themes (the second of which Continued on page 194

Bravo! Vail gratefully acknowledges support for this evening's concert from

Joyce and Judson Green Dr. Albert Lichtmann Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail Steve Reich

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AMERICAN FAVORITES

New York Philharmonic wednesday, july 23, 6:00pm

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: Friends of the New York Philharmonic Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

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symphony series Gerald R. Ford amphitheater, vail

New York Philharmonic Bramwell Tovey, conductor Doe Browning, special guest conductor Mark Nuccio, clarinet

Gershwin/ arr. Robert R. bennett Oh, I Can’t Sit Down, from Porgy and Bess Doe Browning, special guest conductor

COPLAND Fanfare for the Common Man (4 min)

GERSHWIN/Arr. Rose Strike Up the Band, from Strike Up the Band (7 min)

COPLAND Clarinet Concerto (14 min) Slowly and expressively — Cadenza — Rather fast

— INTERMISSION — GROFÉ Grand Canyon Suite (31 min) Sunrise Painted Desert On the Trail Sunset Cloudburst

AMERICAN FAVORITEs Fanfare for the Common Man (1942) Aaron Copland (1900-1990) In the first volume of his autobiography (Copland, 1900 through 1942, St. Martin’s/Marek, 1984), Copland recounted the genesis of his popular Fanfare for the Common Man: “Eugene Goossens, conductor of the Cincinnati Symphony Orchestra, had written to me at the end of August [1942] about an idea he wanted to put into action for the 1942-43 concert season. During World War I, he had asked British composers for a fanfare to begin each orchestral concert. It had been so successful that he thought to repeat the procedure in World War II with American composers. Goossens wrote: ‘It is my idea to make these fanfares stirring and significant contributions to the war effort, so I suggest you give your fanfare a title, as for instance, ‘A Fanfare for Soldiers, or for Airmen or Sailors.’ After I decided on Fanfare for the Common Man and sent the score to Goossens, I think he was rather puzzled by the title. He wrote, ‘Its title is as original as its music, and I think it is so telling that it deserves a special occasion for its performance. If it is agreeable to you, we will premiere it 14 March [sic] 1943 at income tax time....’ [The income tax deadline was changed to April after the war.] I was all for honoring the common man at income tax time. I later used the Fanfare in the final movement of my Third Symphony.” Strike Up the Band, from Strike Up the Band (1927) George Gershwin (1898-1937)

Jazz After: The New York Jam The New York Jam, a presentation of the Vail Jazz Foundation following tonight’s concert at Larkspur restaurant. Ticket information available at vailjazz.org.

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Strike Up the Band was George and Ira Gershwin’s first attempt at political satire in musical comedy. Producer Edgar Selwyn engaged George S. Kaufman to write the book, and Kaufman devised a barbed story about the United States and Switzerland going to war over a trade dispute involving cheese that pilloried militarism, American big business, politics, international relations and “Babbittry,” the self-satisfied attitude with conventional middleclass ideas and ideals and material success of the title character of a popular 1922 novel by Sinclair Lewis. The original 1927 show closed after just two weeks, but a greatly revised 1929 version played for 191 performances on Broadway before being taken on a national tour and then returning for yet another stint in New York. Soon, I’ve Got a Crush On You and the title song filled sheet music racks

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across the country, and the entire musical was published in score. The show was a harbinger of the political musical satires that filled theaters for the next decade. Clarinet Concerto (1947-1948) Aaron Copland (1900-1990) Clarinetist Benny Goodman made his reputation as “The King of Swing” but he was also a concert artist of considerable accomplishment: he commissioned Béla Bartók to write the Contrasts for Clarinet, Violin and Piano in 1938, played the Mozart Concerto with the New York Philharmonic two years later, made recordings of music by Stravinsky, Gould and Bernstein, and in 1947 commissioned a clarinet concerto from Aaron Copland. Copland’s Clarinet Concerto is disposed in two movements — slow–fast — which are connected by a solo cadenza. Though the piece largely grew from the populist expression of Copland’s post-1936 works (i.e., El Sálon Mexico), Arthur Berger noted that some of the Clarinet Concerto’s episodes that “evoke the sharp-edged, controlled, motoric style of Goodman’s old sextet are often the ones recalling most strongly the stark, dissonant Continued on page 186

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000 and above)

Gold (continued)

Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

FERDE GROFÉ: MEDIA MAN Long before the Internet, Ferde Grofé used modern technology to earn a unique living. After studying music abroad as a young man, Ferde returned to perform as a violist with the Los Angeles Philharmonic. His background provided perfect credentials to become first an arranger of other people’s music, then a composer in his own right. Grofé began playing in Paul Whiteman’s orchestra in 1920, and served as his chief arranger for over a decade. His most famous arrangement is of George Gershwin’s Rhapsody in Blue, which catapulted him to his own form of musical stardom. Grofé even had his own radio show during the 1930s and his “On the Trail” movement from Grand Canyon Suite was used for many years as the “musical signature” for other radio programs. Grofé later served at The Juilliard School as conductor and faculty member where he taught orchestration.

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wednesday, JULY 23, 7:30pM

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free concert series gypsum town hall

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

SCHUBERT String Quartet No. 8 in B-flat major, D. 112 Allegro ma non troppo Andante sostenuto Menuetto: Allegro Presto

SHOSTAKOVICH String Quartet No. 3 in F major, Op. 73 Allegretto Moderato con moto Allegro non troppo Adagio — Moderato

Dover Quartet in Gypsum The B-flat major Quartet, written during the week of September 5-13, 1814, is a musical snapshot of Franz Schubert at seventeen: overflowing with melodic ideas, warm in expressive character, adventurous in harmonic language, prolix, and eagerly learning the disciplines of large forms and thematic development. In writing of Schubert’s teenage quartets, Maurice Brown noted, “These works are excellent examples of early Schubert, which, with all their faults of exuberance, occasional weak organization, and imitations of Haydn and Mozart, are alive from first to last.” Shostakovich’s Third Quartet was written immediately after the close of World War II, when the euphoric thrill of victory that swept the Soviet Union was tempered by the realization that the political machinations Stalin had exercised so ruthlessly in previous years would continue. The Quartet No. 3, Shostakovich’s only important work of 1946, is at once cautionary and caustic, profound and naive, unsettled and unsettling.

Bravo! Vail gratefully acknowledges support for this evening’s concert from

Eagle County Kathy and David Ferguson and their children Kelsey, Devon and Darby Town of Gypsum Dover Quartet

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thursday, JULY 24, 1:00pM free concert series vail interfaith chapel

Beethoven and Beach The year of the completion of the six Op. 18 String Quartets — 1800 — was a crucial time in Beethoven’s creative development. He had achieved notoriety as a flamboyant pianist and a gifted if eccentric composer since arriving in Vienna eight years before, but at that same time the first signs of his fateful deafness appeared, and he began the titanic struggle that became one of the gravitational poles of his life. Amy Beach was among the artistic avant-garde of the early 20th century — the most prominent female American composer and one of the leading keyboard artists of her day, the first native woman composer to earn recognition abroad, the first woman musician to receive her entire professional training in this country, the first to write a symphony. The Piano Quintet of 1908 is among Beach’s most significant achievements.

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

BEETHOVEN String Quartet in D major, Op. 18, No. 3 Allegro Andante con moto Allegro Presto

BEACH Quintet for Piano and String Quartet in F-sharp minor, Op. 67 Adagio — Allegro moderato Adagio espressivo Allegro agitato — Adagio come prima — Presto

Bravo! Vail gratefully acknowledges support for this afternoon’s concert from

Vail Marriott Mountain Resort and Spa

Amy Marcy Cheney Beach

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BROADWAY NIGHT WITH THE PHILHARMONIC: THE MUSIC OF FRANK LOESSER

New York Philharmonic thursday, july 24, 6:00pm

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: Friends of the New York Philharmonic Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

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symphony series Gerald R. Ford amphitheater, vail

New York Philharmonic Ted Sperling, conductor Victoria Clark, vocalist Laura Osnes, vocalist Santino Fontana, vocalist A Broadway program featuring the works of Frank Loesser. Works to be announced from the stage.

BROADWAY NIGHT WITH THE PHILHARMONIC: THE MUSIC OF FRANK LOESSER Frank Loesser Born June 29, 1910 in New York City Died there July 28, 1969 Frank Loesser was born in New York on June 29, 1910, grew up on W. 107th Street, and died from lung cancer just across Central Park at Mt. Sinai Hospital (with a half-finished pack of Camels on his bedside table), but he spent most of his 59 years three miles south, in the theaters and music publishing houses ringing Times Square, and 3,000 miles west, contributing to more than 60 feature films and writing several of Hollywood’s most memorable songs.

Victoria Clark

Laura Osnes

Santino Fontana

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Loesser was raised in a musical household. His German-born father was a noted accompanist and piano teacher — Frank’s older halfbrother, Arthur, became a renowned concert pianist, musicologist, critic and long-time faculty member of the Cleveland Institute of Music (each brother joshed that the other was “the evil of two Loessers”) — and Frank wrote his first song lyric when he was six, though his classically trained father was not pleased with its popular style. Frank refused traditional instruction and taught himself music, immersing himself in the day’s hit tunes, learning harmonica and piano, and becoming fascinated with the way words and music fit together. He dropped out of high school when he was 15 but managed to study for a year at the City of College of New York, where he contributed songs to school shows but flunked almost all of his courses. Loesser gave up school for good when his father died in 1926 (“I wasn’t in the mood to learn,” he explained), and supported himself for several years with a variety of odd jobs — running errands for a jewelry shop, drawing caricatures in a vaudeville act, selling ads for Women’s Wear Daily, screwing caps on bottles of insecticide, and (his favorite) serving as city editor of a short-lived newspaper in New Rochelle — before getting a chance to write the lyrics for some songs at a New Rochelle Lions Club dinner. The songs were well received so he decided to try writing lyrics for a living. He landed a forty-dollar-a-week job in New York with music publisher

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Leo Feist, who issued his first song (I’m in Love with a Memory of You) in 1931; its music was by William Schuman, later a Pulitzer Prize-winning classical composer and president of Juilliard. Loesser continued to write lyrics for Feist while supplementing his income playing and singing pop songs with pianist-composer Irving Actman in a 52nd Street nightclub, and in 1936 he and Actman were asked to contribute five songs to The Illustrator’s Show, the annual theatrical revue presented by the Society of Illustrators. The production proved to be pivotal for Loesser, since the cast included illustrator Otto Soglow, who was then working in Hollywood making animated shorts based on his “Little King” character, and through his West Coast contacts the ambitious young lyricist was offered a six-month contract at Universal Studios. Loesser headed west and scored his first hit with Moon of Manakoora, written with Alfred Newman for the 1937 Dorothy Lamour picture Hurricane. (Newman’s score was nominated for an Oscar.) Loesser made his debut as a composer two years later with the Paramount film Seventeen, but his Hollywood career was soon sidetracked by World War II, when he spent three years in the U.S. Army writing songs and shows for troops, including Praise the Lord and Pass the Ammunition. Loesser returned to Hollywood Continued on page 188

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000 and above)

Gold (continued)

Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

A MOST REMARKABLE FELLA Frank Loesser was born in New York City and given a strong musical upbringing. His father and brother were classical musicians, but Frank chose popular music. The Loesser family would remark that Frank’s songs were “very nice, but of course they’re not music.” Flunking out of college, he tried his hand at other professions then moved to Hollywood to pursue music. Loesser forged a reputation as one of the greatest lyricists of his day, but was most interested in Broadway. “Songwriting is a little thing and I settled for a big thing.” The “big thing” was the Broadway musical, and Loesser surprised his critics with hits like Where’s Charley?, Guys and Dolls, The Most Happy Fella, and How to Succeed in Business Without Really Trying. Frank Loesser earned the esteem of colleagues, among them Bob Fosse, who regarded Guys and Dolls as simply “the greatest American musical of all time.”

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RUSSIAN CLASSICS

New York Philharmonic friday, july 25, 6:00pm

This Eveningâ&#x20AC;&#x2122;s Performance Presented By: Friends of the New York Philharmonic Special Gratitude To: The Lyn and Phillip Goldstein Maestro Society

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symphony series Gerald R. Ford amphitheater, vail

Pre-Concert Talk Moroles Sculpture Garden, Ford Park Ryan Bañagale (Colorado College) Russian Visions and Revisions

New York Philharmonic Bramwell Tovey, conductor Joyce Yang, piano

RUSSIAN CLASSICS

SHOSTAKOVICH

Dmitri Shostakovich (1906-1975) composed his Festive Overture for a concert on November 7, 1954 commemorating the 37th anniversary of the Russian Revolution, but its jubilant nature suggests it may also have been conceived as an outpouring of relief at the death of Joseph Stalin one year earlier. One critic suggested that the Overture was “a gay picture of streets and squares packed with a young and happy throng.” As its title suggests, the Festive Overture is a brilliant affair, full of fanfare and bursting spirits. It begins with a stentorian proclamation from the brass as preface to the racing main theme of the piece. Contrast is provided by a broad melody initiated by the horns, but the breathless celebration of the music continues to the end.

Festive Overture, Op. 96 (7 min)

RACHMANINOFF Piano Concerto No. 1 in F-sharp minor, Op. 1 (28 min) Vivace Andante Allegro vivace

— INTERMISSION — MUSSORGSKY/ arr. RimskyKorsakov Night on Bald Mountain (11 min)

RACHMANINOFF Vocalise, Op. 34, No. 14 (7 min)

TCHAIKOVSKY Waltz of the Flowers from The Nutcracker, Op. 71a (6 min)

TCHAIKOVSKY Marche Slave, Op. 31 (10 min)

While still a student at the Moscow Conservatory in 1890, Sergei Rachmaninoff (1873-1943) began a Piano Concerto in F-sharp minor, completing the first movement quickly but not finishing the rest until the following year. He gave the premiere on a student concert at the Moscow Conservatory on March 17, 1892, but the Concerto enjoyed little success and he undertook its revision in October 1917 — just as the Russian Revolution erupted in the streets around his Moscow flat. “I sat at the writing table all day without troubling about the rattle of machine guns and rifle shots,” he noted in his diary. In December, he fled to Finland with other members of the aristocracy, supported himself for a year in Scandinavia by giving concerts, and settled in the United States in 1918. The opening movement, in traditional concerto form, is characterized by both Rachmaninoff’s characteristic melancholy and his virtuosic pianism. The brief Andante is rhapsodic in spirit and lyrical in style, with the soloist strewing sweeping arabesques upon the subdued orchestral accompaniment. The finale is aggressive and virtuosic, with a quiet center section to provide contrast. The mountain referred to in the title of Night on Bald Mountain (1867) by Modest Mussorgsky (1839-1881), well known in Russian legend, is Mount Triglav, near Kiev, reputed to be the site of the annual witches’ sabbath that occurs on St. John’s Night, June 23-24, the eve of the Feast of St. John the Baptist. The sinister god Chernobog, the devil himself in disguise, presides over the demonic revelries. The score contains the following synopsis of the action: “Subterranean sounds of supernatural voices ... Appearance

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of the spirits of darkness, followed by that of Satan himself ... Glorification of Satan and celebration of the Black Mass ... The Sabbath Revels ... At the height of the orgies the bell of the village church, sounding in the distance, disperses the spirits of darkness ... Daybreak.” The mood of Night on Bald Mountain is dark, unearthly and more than a little weird. The Op. 34 Songs of 1912, written when Rachmaninoff was in demand as a pianist and conductor, and composing as suited his desire, reflect his general tranquility and optimism at the time, though they are also indelibly flavored with his characteristic wistful nostalgia. Oskar von Riesemann, editor of Rachmaninoff’s memoirs, wrote of the Vocalise, Op. 34, No. 14, originally a wordless melody for voice, “The wonderfully curved melodic arch spans the song from beginning to end in one unbroken line.... We find in it a resemblance, without any similarity of notes, to Bach’s Air on the G String, which moves in the same clarified atmosphere of divine tranquility.” In the beloved ballet (1891-1892) by Peter Ilyich Tchaikovsky (1840-1893), the Nutcracker that Clara has received as a Christmas gift springs to life in a dream-like sequence and leads Continued on page 188

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000 and above)

Gold (continued)

Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

MUSICAL FRIGHT NIGHT Mussorgsky conceived of Night on Bald Mountain as a single movement orchestral composition inspired by Russian literary works and legends. The witches’ sabbath, occurring on St. John’s Eve, is the subject matter of this colorful, grotesque, and unique work that the composer completed that very night, June 23rd, 1867. A youthful composition, Mussorgsky’s peers shunned Night on Bald Mountain, after which he reworked the material several times without ever hearing it performed during his lifetime. Rimsky-Korsakov took remnants of Mussorgsky’s unfinished material after the composer’s death in 1886, refashioning it into a work he described as a “fantasy for orchestra.” Premiering in Saint Petersburg in 1886, the new work became an instant hit. It garnered great fame through Disney’s animated classic Fantasia (1940), in an arrangement by The Philadelphia Orchestra’s then Music Director Leopold Stokowski. Mussorgsky’s tone poem was not published in its original form until 1968.

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saturday, july 26, 6:00PM Linda & mitch hart SoirÉe Series Amanda Precourt Residence, Lake Creek

HAYDN AND WEBER SOIRÉE Haydn’s String Quartet in G major of 1796-1797 is among the works that culminated nearly four decades of experience composing in the chamber medium. “The eight quartets he completed [Op. 76, Nos. 1-6, Op. 77, Nos. 1-2] show no signs of flagging powers,” wrote Rosemary Hughes in her study of Haydn’s chamber music. “In that last great wave of energy, he gathers up all the efforts and conquests, all the explorations, all the personal idiosyncrasies too, of nearly half a century of unbroken creative life.” Carl Maria von Weber spent so much of his life on the road that Lucy and Richard Stebbins titled their book about him Enchanted Wanderer. During a stop in Munich in 1811, Weber met Heinrich Bärmann, clarinetist in the Court Orchestra, and wrote two concertos for him on royal command. Four years later Weber presented his Clarinet Quintet to Bärmann as a birthday gift.

Dover Quartet Joel Link Bryan Lee Milena Pajaro-van de Stadt Camden Shaw Stephen Williamson, clarinet

HAYDN String Quartet in G major, Op. 76, No. 1 Allegro con spirito Adagio sostenuto Menuetto — Presto Allegro ma non troppo

WEBER Quintet for Clarinet, Two Violins, Viola and Cello in B-flat major, Op. 34 Allegro Fantasia: Adagio Menuetto: Capriccio presto Rondo: Allegro giocoso

CATERED BY Tracey Van Curan Foods of Vail Executive Chef

Bravo! Vail gratefully acknowledges support for this evening's concert from

Linda and Mitch Hart Amanda Precourt Sponsored By:

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

Carl Maria von Weber

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Sunday, JULY 27, 4:00pM

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free concert series lodge and spa at cordillera

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

JANÁČEK String Quartet No. 1, “After Tolstoy’s The Kreutzer Sonata” Adagio/Con moto Con moto Con moto — Vivo — Andante Con moto (Adagio)

SCHUBERT String Quartet in A minor, D. 804, “Rosamunde” Allegro ma non troppo Andante Menuetto: Allegretto Allegro moderato

JANÁČEK AND SCHUBERT Janáček’s extraordinary String Quartet No. 1 found its source in Leo Tolstoy’s 1889 short story The Kreutzer Sonata, which was inspired by that author’s exposure to Beethoven’s Violin Sonata No. 9 in A major, Op. 47. The story’s main character, Pózdnyshev, a cynic about love and marriage, becomes so jealous after seeing his wife and another man perform Beethoven’s work that he is eventually overcome by an uncontrollable frenzy and stabs her with his “curved Damascus dagger.” (See the complete program notes on the Bravo! Vail website for details.) Schubert turned during the last years of his pitiably brief life to writing such largescale instrumental compositions as the “Rosamunde” Quartet of 1824. The Quartet takes its soubriquet from the lovely melody of the second movement, which he originally composed for the incidental music to Rosamunde, a play by the irrepressible Wilhelmine von Chézy that flopped the preceding December.

Bravo! Vail gratefully acknowledges support for this AFTERNOON’S concert from

Leoš and Zdenka Janáček

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Eagle County Kathy and David Ferguson and their children Kelsey, Devon and Darby Valerie and Noel Harris and Wall Street Insurance Lodge and Spa at Cordillera

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tuesday, JULY 29, 1:00pM free concert series vail interfaith chapel

Anne-Marie McDermott, piano

J.S. BACH

McDermott Solo Recital The term “suite” derives from the French for “something that follows, a sequel or sequence” and has two meanings in music: in the modern sense, episodes from a larger work (i.e., Suite from The Nutcracker); in the 18th-century understanding, a sequence of movements in dance forms and styles, usually introduced by a dignified prelude. Bach wrote some three dozen works of this type, many of them when he was Music Director at the court of Anhalt-Cöthen (1717-1723), including the six so-called English Suites, whose name has never been satisfactorily explained. Prokofiev’s Sixth Sonata was a product of the years after he had returned to Russia in 1933 from the West and dedicated himself to composing music in a lyrical and expressive style “in which one could speak of Soviet life.” It also marked the happy time when he was beginning his relationship with the young writer who would become his second wife.

English Suite No. 2 in A minor, BWV 807 Prélude Allemande Courante Sarabande et les agréments de la même Sarabande Bourrée I — Bourrée II — Bourrée I Gigue

PROKOFIEV Sonata No. 6 in A major, Op. 82 Allegro moderato Allegretto Tempo di valzer lentissimo Vivace

Bravo! Vail gratefully acknowledges support for this afternoon’s concert from

FirstBank Four Seasons Resort Vail Valerie and Noel Harris and Wall Street Insurance Yamaha Anne-Marie McDermott

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ÂŠ Casey Davis

silver oak & Twomey series

- resonances between old & new The Silver Oak & Twomey Series is designed to create an intimate and elegant listening experience surrounded by the beauty of the outdoors. Seating is cabaret style, with the performers in close proximity to the audience. This relaxed arrangement encourages audiences to enjoy great food and Silver Oak and Twomey wines, creating a sense of openness, receptivity and good spirit - the essence of a great chamber music performance.

part theatrical, by contemporary Dutch composerconductor Reinbert de Leeuw. Im Wunderschönen Monat Mai is a postmodern take on songs by Schubert and Schumann, recomposed around a theatrical delivery of the texts and some of the original melodies. Lieder become cabaret songs, linking Schubert and Schumann’s romantic era with that of Austro-German Expressionism. The result is a riveting and hauntingly beautiful work, given a rare American performance.

The Silver Oak & Twomey Series explores the resonances and interplay between the “new” in music and the “old,” spanning five centuries. And it creates an ongoing dialogue with audiences to connect great music from all eras with present day experiences. The first concert on July 29th features the ensemble Le Train Bleu with its director, Ransom Wilson, and the Calder Quartet in a thoughtful program that pairs works by the great French master Maurice Ravel with those of contemporary American composer Christopher Rouse. Ravel’s shimmering Introduction and Allegro for Harp, String Quartet, Flute and Clarinet pairs beautifully with Rouse’s 1996 Compline for Harp, String Quartet, Flute and Clarinet, written for the same instrumental forces. Rouse’s String Quartet No. 1 from 1982 is heard after intermission and the program closes with Ravel’s Quartet in F major for Strings, a beloved staple in the string quartet repertory because of its impressionistic and ethereal harmonies.

The final concert on July 31st features Le Train Bleu, soprano Mary Mackenzie and the Calder Quartet in a program of German romantic works, and works inspired by German romanticism. Mackenzie opens the concert with various songs by Schubert and Schumann, who represent the pinnacle of the romantic German art song genre. Next we hear Schubert’s great Adagio and Rondo Concertante for string quartet and piano, featuring McDermott as pianist with the Calder Quartet, and the program closes with Le Train Bleu in a fascinating work, part musical,

July 30th finds solo works for piano and guitar. Artistic Director and pianist Anne-Marie McDermott shares the stage and the concert with guitarist James Moore. The concert begins with McDermott bookending two delightful keyboard sonatas of Franz Joseph Haydn around contemporary American composer Charles Wuorinen’s Fourth Piano Sonata. James Moore then performs a diverse array of guitar works by American composers Lou Harrison, Eric Zorn, and Larry Polansky as well as J.S. Bach.

Bravo! Vail gratefully acknowledges the support of Amy and Charlie Allen Claggett/Rey Gallery The Argie Ligeros Artistic Director Chair Silver Oak and Twomey Three Tomatoes Catering Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail Vintage Magnolia 141

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SILVER OAK & TWOMEY SERIES DONOVAN PAVILION, Vail

Calder Quartet Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello Members of Le Train Bleu Ransom Wilson, flute Alexey Goroholinsky, clarinet Bridget Kibbey, harp

RAVEL Introduction and Allegro for Harp, Flute, Clarinet and Strings (11 min)

ROUSE Compline for Flute, Clarinet, Harp and String Quartet (20 min)

— INTERMISSION — ROUSE String Quartet No. 1 (16 min) Variazioni I: Molto allegro Fantasma di Bartók I: Meno mosso, ma allegro Variazioni Piccoli: Allegro Fantasma di Bartók II: Più allegro Variazioni II: Molto allegro Epilogo: Lento Played without pause

RAVEL String Quartet in F major (26 min) Allegro moderato Assez vif, très rythmé — Lent — Tempo I Très lent Vif et agité

MUSIC OF RAVEL AND ROUSE Introduction and Allegro for Harp, Flute, Clarinet and Strings (1905) Maurice Ravel (1875-1937) Ravel composed his Introduction and Allegro in 1905 on commission from the recently founded Parisian harp-making firm of Pleyel, which was trying to win some business from the longestablished Érard et Compagnie. The Introduction, limpid and atmospheric, previews some of the thematic material that returns later in the work. The Allegro is in three-part form: two themes are presented in the opening section and repeated at the close, while the melody of the introduction and the second theme are elaborated in the central portion.

Compline for Flute, Clarinet, Harp and String Quartet (1996) Christopher Rouse (born in 1949) Christopher Rouse, a native of Baltimore, was largely self-taught in music before entering the Oberlin Conservatory in 1967; he received his bachelor’s degree in 1971. Following two years of private study with George Crumb in Philadelphia, he enrolled at Cornell, where his teachers included Karel Husa and Robert Palmer. He graduated from Cornell in 1977 with both master’s and doctoral degrees, and a year later joined the faculty of the University of Michigan. Rouse also taught at the Eastman School Continued on page 195

Bravo! Vail gratefully acknowledges support for this evening’S concert from

Christopher Rouse

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Amy and Charlie Allen Claggett/Rey Gallery The Argie Ligeros Artistic Director Chair Silver Oak and Twomey Three Tomatoes Catering Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail Vintage Magnolia

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WEDnesday, JULY 30, 7:30PM SILVER OAK & TWOMEY SERIES DONOVAN PAVILION, Vail

Anne-Marie McDermott, piano James Moore, national resonator guitar

HAYDN

SOLO WORKS FOR PIANO AND GUITAR Piano Sonata in G major, Hoboken XVI:40 (1784) Piano Sonata in C major, Hoboken XVI:50 (1794-1795) Joseph Haydn (1732-1809) From his earliest clavichord divertimentos to his last set of three piano sonatas written in London, Haydn composed more than sixty solo keyboard sonatas, mostly for students, friends and amateurs, though some were intended for performing virtuosos. The Sonata in G major (H. XVI:40) was one of a set of three such works that Haydn wrote in 1784, when he was up to his ears composing, producing concerts and operas, and overseeing the bustling musical establishment at Esterháza. The first of the Sonata’s two movements alternates strains in major and minor keys, with the opening motive returning several times in varied form. The Presto is a whirlwind rondo with some brilliant passagework at the close. Haydn’s final set of three keyboard sonatas (H. XVI:50-52) was written in London in 1794 or 1795 for the gifted pianist Therese Bartolozzi, a native of Aachen, Germany who had settled in London to study with Clementi. The C major Sonata (H. XVI:50) begins with a boundlessly inventive fantasia in sonata form grown Continued on page 196

Piano Sonata in G major, Hoboken XVI:40 (11 min) Allegro innocente Presto

WUORINEN Fourth Piano Sonata (20 min) I. quarter note = 112 II. dotted eighth note = 128 III. quarter note = 36 IV. eighth note = 192

HAYDN Piano Sonata in C major, Hoboken XVI:50 (14 min) Allegro Adagio Allegro molto

— INTERMISSION — HARRISON Three Pieces for Guitar (9 min) Serenade for Frank Wigglesworth Music for Bill and Me Avalokiteshvara

ZORN Selections from The Book of Heads, 35 Etudes for Guitar

POLANSKY Selections from Songs and Toods

Bravo! Vail gratefully acknowledges support for this evening’S concert from

Amy and Charlie Allen Claggett/Rey Gallery Silver Oak and Twomey Three Tomatoes Catering Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail Vintage Magnolia

James Moore

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thursday, JULY 31, 1:00pM

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free concert series Vail interfaith chapel

Calder Quartet Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello

SCHUBERT Quartet in D minor, D. 810, “Death and the Maiden” Allegro Andante con moto Scherzo: Allegro molto Presto

Calder Quartet at the Vail Interfaith Chapel The sobriquet of the D minor Quartet — “Death and the Maiden” — is derived from the source of the theme of its second movement, a song that Schubert composed on a poem of that title by Matthias Claudius in February 1817. Claudius’ brief text contrasts the terror of a young girl (“Pass by, horrible skeleton! Do not touch me!”) with the mock-soothing words of death (“I am your friend. Be of good cheer! I am not fierce! You shall sleep softly in my arms!”). The song begins with a piano introduction depicting the solemn tread of death, continues with the maiden’s music of panic and fear, and ends with the words of death set to the strains of the introduction. It is from the opening and closing sections of the song that Schubert borrowed the theme for the Quartet, which he worked as a set of five variations.

Bravo! Vail gratefully acknowledges support for this AFTERNOON’S concert from

Vail Racquet Club

Calder Quartet

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Thurday, JULY 31, 7:30PM SILVER OAK & TWOMEY SERIES DONOVAN PAVILION, Vail

SCHUBERT SONGS AND ADAGIOS Songs by Franz Schubert (1797-1828) and Robert Schumann (1810-1856) Early in 1827, Schubert, always alert for poetry that he could wrap with music, discovered a four-year-old copy of the Leipzig periodical Urania that contained twelve poems collectively titled Die Winterreise — “The Winter’s Journey” — by Wilhelm Müller, whose Die Schöne Müllerin (“The Beautiful Maid of the Mill”), a narrative poetic cycle about youthful love turned tragic, he had set in 1823. Winterreise, unlike Die Schöne Müllerin, does not tell a story. It is instead a series of two dozen contemplations of despair and longing for death through evocations of frozen nature, of loneliness, of lost love, of pointless wandering, of vain hope, of painful memory. At the end of this motionless journey, the wanderer is lured by the poignant drones of Der Leiermann (“The Organ-Grinder”) to try his songs in the uncertain next world. Schumann met Heinrich Heine only once, in Munich in May 1828, when 18-year-old Robert was touring the country before beginning his studies in Leipzig. Schumann expected the poet to be an “ill-tempered, misanthropic man,” but instead found in him “a human Anacreon [an ancient Greek writer of love poems and drinking songs] who shook my hand in a most friendly way…. Only around his mouth is there a bitter, ironic smile; he laughs Continued on page 197

Bravo! Vail gratefully acknowledges support for this evening’S concert from

Amy and Charlie Allen Claggett/Rey Gallery Silver Oak and Twomey Three Tomatoes Catering Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail Vintage Magnolia

Le Train Bleu Jennifer Grim, flute Claire Brazeau, oboe Alexey Goroholinsky, clarinet Anton Rist, bass clarinet Saxton Rose, bassoon Laura Weiner, horn Bridget Kibbey, harp James Johnston, piano Katie Hyun, violin Alex Shiozaki, violin Andy Lin, viola Colin Stokes, cello Brian Ellingsen, bass Mary Mackenzie, soprano Ransom Wilson, conductor Eric Byers, cello, Calder Quartet Anne-Marie McDermott, piano

SCHUBERT

Der Leiermann from Winterreise, D. 911 (4 min)

SCHUMANN

Im wunderschönen Monat Mai from Dichterliebe, Op. 48 (2 min)

SCHUBERT

Gretchen am Spinnrade, D. 118 (3 min)

SCHUBERT

Adagio and Rondo Concertante for Violin, Viola, Cello and Piano in F major, D. 487 (13 min)

— INTERMISSION — R. de LEEUW

Im wunderschönen Monat Mai, dreimal sieben Lieder nach Schumann und Schubert for Vocalist and Ensemble (60 min) Im wunderschönen Monat Mai Gute Nacht Die Rose, die Lilie, die Taube, die Sonne Im Dorfe Gretchen am Spinnrade Lied der Mignon Meeresstille Ich grolle nicht Letzte Hoffnung Die Nebensonnen Rastlose Liebe Ich hab’ im Traum geweinet Der Erlkönig Der Doppelgänger Der Leiermann Kennst du das Land? Ein Jüngling liebt ein Mädchen Ständchen Heidenröslein Wehmut Die alten, bösen Lieder 145

FRIday, august 1, 6:00PM

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Linda & mitch hart SoirÉe Series Brownstein & Tannebaum Residence, Buffehr Creek

Ransom Wilson, flute Jonathan Moerschel, viola Bridget Kibbey, harp

D’RIVERA Bandoneon for solo harp

BRUCE Caja de Musica for solo harp

J.S. BACH Sonata for Flute and Harp in E-flat major, BWV 1031 Allegro moderato Siciliano Allegro

DEBUSSY Sonata for Flute, Viola and Harp Pastorale Interlude Finale

CATERED BY Eric Berg Vail Catering Concepts Executive Chef

THE FRENCH IMPRESSIONIST The harp is among the most ancient of instruments. Its existence in Mesopotamia is documented as far back as 3,000 B.C., and it was known virtually from the dawn of recorded history in Egypt, Israel and Greece. Harps were common throughout Christian Europe; it is still the heraldic symbol of Ireland. The instrument remained essentially unchanged in its construction until about 1810, when the Parisian piano maker Sébastien Érard introduced a system of pedals to chromatically alter the pitches of the open strings. Though this instrument could effectively negotiate every note within its range, it was demanding to operate and various attempts were made to simplify the harp’s mechanics (Debussy composed his Danse Sacrée et Danse Profane in 1904 for an illfated instrument that devoted a single string to each chromatic note), but it is Érard’s double-action pedal harp that remains the standard instrument to this day.

Bravo! Vail gratefully acknowledges support for this evening’S concert from

Linda and Mitch Hart Lisa Tannebaum and Don Brownstein Sponsored By:

Claude Debussy

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

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saturday, august 2, 6:00PM chamber series Vilar Performing Arts Center, Beaver Creek

BAROQUE CONCERTOS AND MORE Gnarly Buttons for Clarinet and Small Orchestra (1996) John Adams (born in 1947) John Adams, one of today’s most acclaimed composers, wrote of Gnarly Buttons, “‘Gnarly’ means knotty, twisted or covered with gnarls. The ‘buttons’ are probably lingering in my mind from Gertrude Stein’s Tender Buttons, but my evoking them here also acknowledges our modern lives as being largely given over to pressing buttons of one sort or another. Each of the three movements is based on a ‘forgery’ or imagined musical model. The Perilous Shore is a trope on a Protestant shape-note hymn found in a 19th-century volume, The Footsteps of Jesus. Hoedown (Mad Cow) is a version of the traditional Western hoedown that addresses the fault lines of international commerce from a distinctly American perspective. Put Your Loving Arms Around Me is based on a Sixties pop song, supple and firm up front, gnarled and crabbed at the end.” Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060R (1736) Johann Sebastian Bach (1685-1750) Bach’s violin music was written as part of his duties at the court of Anhalt-Cöthen, where he was “Court Kapellmeister and Director Continued on page 198

Bravo! Vail gratefully acknowledges support for this evening’S concert from

Amy and Charlie Allen The Christie Lodge Tippet Rise Fund of the Sidney E. Frank Foundation Westin Riverfront Resort & Spa

Calder Quartet Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello Le Train Bleu Alexey Goroholinsky, solo clarinet Claire Brazeau, English horn Saxton Rose, bassoon Matthew McDonald, trombone James Moore, guitar/banjo/mandolin James Johnston, piano Katie Hyun, violin Alex Shiozaki, violin Andy Lin, viola Colin Stokes, cello Brian Ellingsen, bass Ransom Wilson, conductor/flute Anne-Marie McDermott, piano

ADAMS Gnarly Buttons for Clarinet and Small Orchestra (25 min) Perilous Shore Hoedown (Mad Cow) Put Your Loving Arms Around Me

— INTERMISSION — J.S. BACH Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV 1060R (14 min) Allegro Adagio Allegro VIVALDI Concerto in D major for Guitar and Strings, R. 93 (10 min) Allegro Largo Allegro J.S. BACH Brandenburg Concerto No. 5 for Flute, Violin, Harpsichord, Strings and Continuo in D major, BWV 1050 (17 min) Allegro Affettuoso Allegro

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Colorado Symphony Orchestra Chorus Duain Wolfe Founder and Chorus Director

Alto II

Mary Louise Burke Associate Chorus Director

Eric Israelson Chorus Manager

Barbara Porter Assistant Chorus Manager

Laurie Kahler Principal Accompanist Soprano I Jamie Brown Lindsay R. Campbell Denelda Causey LeEtta H. Choi Gretchen Colbert Sarah Dirksen Laura Dukeshier Jenifer D. Gile Lori C. Gill Kate A. Gordon Susan Graber Jennifer Harpel Elizabeth Hedrick Lauren Hendee Lynnae C. Hinkley Mary E. Kirschner Marina Kushnir Cathy Look Anne Maupin Wendy L. Moraskie Barbara A. Porter Lori A. Ropa Kelly G. Ross Nancy C. Saddler Roberta A. Sladovnik Stephanie A. Solich Kelly Sowell Nicole J. Stegink Stacey L. Travis Linda K. Wood

Soprano II Claire E. Benson Jude Blum Alex S. Bowen Margot L. Brauchli 148

Gabriella D. Groom Pat Guittar Melissa J. Holst Kaia M. Hoopes Carol E. Horle Annie Kolstad Deanna Kraft Susan McWaters Cassandra M. Murray Ginny Passoth Mary B. Thayer Pat Virtue Sara Wise Heather Wood Judith M. Wyatt

Athanasia Christus Ruth A. Coberly Kerry H. Cote Claudia Dakkouri Lacey Eberl Esther J. Gross Rebecca Harrold Connie Hilgefort Shelley E. Joy Ilene L. Nova Christine M. Nyholm Jeannette R. O’Nan Donneve S. Rae Rebecca Rattray Shirley J. Rider Lynne M. Snyer Susan K. Von Roedern Marcia L. Walker Sherry L. Weinstein Kirsten Wells Sandy Woodrow

Alto I Priscilla P. Adams Myrna G. Berlin Kay A. Boothe Lois F. Brady Emily M. Branam Kimberly Brown Amy Buesing Jayne M. Conrad Jane A. Costain Aubri K. Dunkin Jamie L. Earhart Kirsten D. Franz Sharon R. Gayley Daniela Golden

Marilyn B. Adkins Martha E. Cox Sheri L. Daniel Barbara R. Deck Joyce Dominguez Carol A. Eslick Carole Herold Hansi Hoskins Olivia Isaac Brandy H. Jackson Ellen D. Janasko Carole A. London Joanna Maltzahn Barbara J. Marchbank Beverly D. Mendicello Marge A. Mieger Kelly T. Millar Jane B. Moore Leslie M. Nittoli Deborah R. Norris Sally W. Ochsner Carol L. Rust Pamela R. Scooros Ginny Trierweiler

Tenor I Dustin Dougan Joel C. Gewecke Frank Gordon Forrest Guittar David K. Hodel Richard A. Moraskie Garvis J. Muesing Timothy W. Nicholas William O’Donnell William G. Reiley David Snook John P. Van Milligan Ryan Waller Kenneth A. Zimmerman

Tenor II Gary E. Babcock Mac Bradley Dusty R. Davies Ted Fiorino Roger A. Fuehrer John H. Gale Kenneth E. Kolm Brett A. Kostrzewski Taylor S. Martin Brandt J. Mason

Tom A. Milligan James Pettigrew Ronald L. Ruth Jerry E. Sims Daniel L. Wyatt

Bass I John G. Adams Jeffrey E. Boe Travis D. Branam Grant H. Carlton George Cowen Robert E. Drickey Benjamin Eickhoff Matthew Gray Douglas D. Hesse Donald Hume Thomas J. Jirak Nalin J. Mehta Frank Y. Parce Trevor B. Rutkowski Chad Thofson

Benjamin M. Williams Brian W. Wood.

Bass II Perry W. Bell Jonathan S. Fletcher Bob Friedlander John A. Gallagher Dan Gibbons Eric W. Israelson Terry L. Jackson Roy A. Kent Robert F. Millar, Jr. Kenneth Moncrieff Greg A. Morrison Chuck Nelson Eugene J. Nuccio John R. Phillips Russell R. Skillings Wil W. Swanson Tom G. Virtue Miles D. Williams

Evans Choir Dr. Catherine Sailer Director Soprano

Tenor

Gracie Carr Beryl Fanslow Melissa Flail Joann Gudvangen-Brown Cindy Henning Camille Jasensky Ellen Leslie Katy Lushman Rachel Padworski Cyrissa Robertson Jill Scroeder-Dorn Chloe Scull Ana Spadoni

Kyle Fleming Kevin Gwinn David Heck Patrick Heck Tanner Kelly Brett Kostrzewski Paul Lannon Brad Larson Taylor Martin Blake Nawa’a Julian Ramirez Tyson Repke Amra Tomsic Ken Zimmerman

Alto Krista Beckman Sharon Billings Monika Coleman Abby Fanslow Ali Fanucchi Jennifer Ferguson Teleri Gee Jackie Gessert Heather R. Kohl Michelle Mendozza Greer Oharah Terra Salazar Heidi Schmidt Kimberly M Schultz Cassidy Smith Myranda Whitesides Donna Wickham

Baritone Bradley Becker Donald Billings (Chorus Manager) Miles Canady Tony Domenick Zamir Hall Eric Israelson Brady Loyd Chris Maunu David Moffett Tanner Oharah Kevin Padworski Nathan Payant Brandon Rocco-McKeel Alek Viatkin Joseph Williams

Joshua Bell (violin) Grammy Award-winning violinist Joshua Bell has been captivating audiences around the globe for more than 20 years. Mr. Bell first came to national attention at age 14 when he made his highly acclaimed orchestral debut with Riccardo Muti and The Philadelphia Orchestra. A Carnegie Hall debut, an Avery Fisher Career Grant, and a recording contract soon followed. In addition to his concert career, Mr. Bell was recently named Music Director of the Academy of St. Martin in the Fields and serves on the Artist Committee of the Kennedy Center Honors. (joshuabell.com)

Calder Quartet Comprised of Benjamin Jacobson and Andrew Bulbrook (violin), Jonathan Moerschel (viola), and Eric Byers (cello), the Calder Quartet is known for its boundarydefying repertoire and collaborations. The Calder is at home playing the standard string quartet repertoire (from Mozart to Bartók and beyond), working on scores by composers such as Thomas Adès, Terry Riley, and Christopher Rouse, appearing with indie rock bands creating multi-media works, commissioning new music, and recording. In spring of 2013, the Calder recorded Mozart Piano Concertos for string quartet and piano with Anne-Marie McDermott. (calderquartet.com)

Yefim Bronfman (piano) Grammy Award-winning pianist Yefim (“Fima”) Bronfman has won consistent acclaim and enthusiastic audiences worldwide for his solo recitals, orchestral engagements and expanding catalog of recordings. Currently the Mary and James G. Wallach Artist-in-Residence with the New York Philharmonic, Mr. Bronfman is a recipient of the prestigious Avery Fisher Prize. He has given numerous solo recitals in North America, Europe, and the Far East, including debuts at Carnegie Hall in 1989 and Avery Fisher Hall in 1993, and has been celebrated for collaborations with artists including Pinchas Zukerman, Isaac Stern, and mezzo-soprano Magdalena Kožená. (yefimbronfman.com)

Nathan Berg (bass) Canadian Nathan Berg is renowned for his versatility, with a career that encompasses a wide range of styles and repertoire. He performs regularly with many of the world’s top opera companies and major symphony orchestras including Chicago, New York, Berlin, Cleveland, Concertgebouw, Budapest Festival, Houston, Philadelphia, and San Francisco, as well as with period groups such as Les Arts Florissants and The Orchestra of the Age of Enlightenment. Mr. Berg is a three-time Grammy nominated, Juno Award winning, and 2014 Juno nominated artist. (nathanberg.com)

Victoria Clark (vocalist) Equally at home in plays and musicals, on the concert stage, and on screens large and small, Victoria Clark maintains a diverse career as performer and director. In 2005, Ms. Clark won the Tony Award for Best Leading Actress in a Musical, a Drama Desk Award, an Outer Critics Circle Award, and the Joseph Jefferson Award for her performance in the musical The Light in the Piazza. She can be heard on a number of Broadway cast albums and other recordings, including her solo album, Fifteen Seconds of Grace. (victoriaclarkonline.com)

Colorado Symphony Chorus (Duain Wolfe, director) Founded by Grammy award winner Duain Wolfe, the Colorado Symphony Orchestra Chorus has grown into a nationally respected ensemble. The chorus joins the Colorado Symphony each season for numerous performances and has performed at noted music festivals including the Aspen Music Festival, the Colorado Music Festival, the Grand Teton Music Festival, and has collaborated with many renowned Colorado arts ensembles. In addition to serving as founder-director of the CSOC, Mr. Wolfe is director of the Chicago Symphony Chorus. (coloradosymphony. org for Colorado Symphony Chorus, cso.org for Duain Wolfe) 149

Dover Quartet Formed at the venerated Curtis Institute of Music in 2008, when its members were just 19 years old, the Dover Quartet swept the 2013 Banff International String Quartet Competition, winning the Grand Prize as well as all three Special Prizes. In addition, the Quartet has been named the first Quartet-in-Residence at Curtis and the Ernst Stiefel String Quartet-In-Residence for the 2013-2014 season of the Caramoor Festival. The Dover is also an active member of Music for Food, an initiative by musicians to help fight hunger in their home communities. (doverquartet.com)

James Ehnes (violin) Grammy award-winner James Ehnes is an acclaimed soloist, founder of the Ehnes Quartet, and artistic director of the Seattle Chamber Music Society. Mr. Ehnes made his orchestral debut with Orchestre Symphonique de Montréal at 13 and has since won numerous awards and prizes, including the first-ever Ivan Galamian Memorial Award, the Canada Council for the Arts’ Virginia Parker Prize, and a 2005 Avery Fisher Career Grant. In 2007, Mr. Ehnes became the youngest person ever elected as a Fellow to the Royal Society of Canada. (jamesehnes.com)

Santino Fontana (vocalist) Recently acclaimed as the voice of Hans in Disney’s animated film Frozen, Santino Fontana made his Broadway debut in Sunday in the Park with George in 2007. Since then he has originated the role of Tony in the Broadway production of Billy Elliot, was awarded the 2010 Drama Desk Award for Best Featured Actor in a Play for his work in Brighton Beach Memoirs, and starred as Prince Topher in Rodgers & Hammerstein’s Cinderella on Broadway, for which he was nominated for a Tony Award for Best Leading Actor in a Musical.

Clifton Forbis (tenor) In the current season, Mr. Forbis performs in the title role of Tristan und Isolde at the Kennedy Center with the Washington National Opera, and makes his return to Nashville Opera as the title role in Verdi’s Otello. Last season, Mr. Forbis was heard as Florestan in Fidelio with Seattle Opera. He returned to Seattle for performances of Beethoven’s Symphony No. 9 with the Seattle Symphony, before he made his company debut with Teatro Petruzelli in Bari, Italy as Otello. He was heard as Samson with San Diego Opera, and sang Siegmund in performances of Act I of Die Walküre with the Dallas Symphony and Music Director Jaap Van Zweden.

Evans Choir (Catherine Sailer, director) The Evans Choir is comprised of professional singers as well as students from the University of Denver Lamont School of Music. Under the direction of founder-conductor Catherine Sailer, the ensemble performs repertoire from the Renaissance to the avant-garde. Dr. Sailer also conducts the Lamont Chorale and Lamont Women’s Chorus. She is the Associate Conductor of the Colorado Ballet Orchestra and was named the winner of the Robert Shaw Fellowship in 2005, chosen by Chorus America. Her other awards include first place at the American Choral Director’s Association Conducting Competition.

Alan Gilbert (conductor) Music Director of the New York Philharmonic since 2009, Alan Gilbert has ushered in a new era through initiatives including Composer-in-Residence and Artist-inResidence positions and CONTACT!, the new-music series. He also holds positions at The Juilliard School, Royal Stockholm Philharmonic Orchestra, and Hamburg’s NDR Symphony Orchestra, and has guest conducted leading orchestras, including the Berlin Philharmonic and Boston Symphony Orchestra, as well as The Metropolitan Opera. His recordings have garnered accolades including two Grammy Awards. Other awards include an Honorary Doctor of Music degree from Curtis Institute of Music and Columbia University’s Ditson Conductor’s Award. (alangilbert.com)

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Stephen Hough (piano) Since winning first prize in the Naumburg International Piano Competition in 1983, Stephen Hough has appeared regularly with most of the major American and European orchestras under a range of leading conductors. His extensive list of recordings has garnered four Grammy nominations and eight Gramophone Awards— including two ‘Record of the Year’ awards. In 2001, Mr. Hough became the first classical performing artist to win a MacArthur Foundation Fellowship. Then in 2014, he was made a Commander of the Order of the British Empire in the New Year’s Honours List. (stephenhough.com)

Hélène Grimaud (piano) Hélène Grimaud was accepted into the Paris Conservatoire at 13 and won first prize in piano performance just three years later. A multi-faceted artist, she has performed with many of the world’s major orchestras and celebrated conductors, and her recordings have received awards including the Cannes Classical Recording of the Year, Choc du Monde de la musique, Record Academy Prize (Tokyo), and the Echo Award. In addition to her concert, recording, and chamber music activities, Ms. Grimaud is also a wildlife conservationist, human rights activist, and author. (helenegrimaud.com)

David Kim (violin) Violinist David Kim was named Concertmaster of The Philadelphia Orchestra in 1999, and also serves as Concertmaster of The All-Star Orchestra, comprised of leading players from major orchestras across the United States. He has won top prizes at the International Tchaikovsky Competition in Moscow and the International Violin Competition of Indianapolis. Mr. Kim appears as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world, and is Artist in Residence at the Hyogo Performing Arts Center Orchestra in Japan and at Eastern University in suburban Philadelphia. (davidkimviolin.com) Le Train Bleu (Ransom Wilson, conductor) Le Train Bleu is a musical collective formed by conductor and flutist Ransom Wilson. The musicians are among the most exciting young players in New York, and are chosen for their technical brilliance as well as their expressive qualities. Named a resident ensemble of the Galapagos Art Space, Le Train Bleu recently gave its debut performance at (le) poisson rouge, collaborated with the Lar Lubovitch Dance Company in a two-week season at the Baryzhnikov Arts Center, and was featured as a part of Crazy For…Gershwin! at Symphony Space. (letrainbleu.org)

Cristian Măcelaru (conductor) Associate conductor of The Philadelphia Orchestra Cristian Măcelaru received the 2012 Sir Georg Solti Emerging Conductor Award, given only once before in the foundation’s history. Măcelaru was named conductor-in-residence for the 2014–2015 season. Măcelaru made his Chicago Symphony subscription program debut in 2012 as a replacement for Pierre Boulez. A native of Romania, he served on the conducting staff of the Shepherd School of Music at Rice University, where he earned his master’s degree. Mr. Măcelaru is also the Founder and Artistic Director of the Crisalis Music Project, where young musicians perform side by side with established artists. (macelaru.com) Mary Mackenzie (soprano) Mary Mackenzie has appeared as soprano soloist in Orff’s Carmina Burana with the Grant Park Orchestra, Mozart’s Exultate Jubilate with the Cleveland Institute of Music Orchestra, and Handel’s Messiah with the Green Bay Symphony Orchestra. Recent opera productions include Héctor Parra’s Hypermusic: Ascension at the Guggenheim Museum and the premiere of Jonathan Dawe’s Cracked Orlando at Columbia University. An active recitalist, Ms. Mackenzie works closely with young composers and is a founding member of SongFusion, an art song ensemble based in New York City. (mary-mackenzie.com) 151

Anne-Marie McDermott (Artistic Director and piano) Ms. McDermott has played concertos, recitals, and chamber music in hundreds of cities throughout the world. McDermott has been a member of the Chamber Music Society of Lincoln Center since 1996, and has released several critically acclaimed records on the Bridge label. Her next project is a twodisc recording of Haydn Concertos and Sonatas. This summer, in addition to a full roster of chamber concerts, she will perform Mozart with Donald Runnicles and The Philadelphia Orchestra on July 7. (annemariemcdermott.net)

Kerry McDermott (violin) Kerry McDermott joined the first violin section of the New York Philharmonic as its youngest member and has since appeared as soloist with orchestras, including the Philharmonic, throughout North America. She has garnered prizes and awards, including the Montreal International Violin Competition and the International Tchaikovsky Competition in Moscow – where she also received a special award for “Best Artistic Interpretation.” Ms. McDermott has recorded for Melodiya and New World Records, and is a member of the McDermott Trio (with sisters Anne-Marie and Maureen).

Midori (violin) Since her legendary debut with the New York Philharmonic at age 11, Midori has embarked on a celebrated career that has included not only many critically acclaimed performances and recordings, but also the commissioning of dozens of works from today’s most renowned composers and extensive involvement in community engagement and education programs. In 2012, she received the Crystal Award from the World Economic Forum in Davos, was elected to the American Academy of Arts & Sciences, and was awarded an honorary doctorate in music by Yale University. In 2007, she was named a Messenger of Peace by U.N. Secretary-General Ban Ki-moon. (gotomidori.com) Eileen Moon (cello) Eileen Moon joined the cello section of the New York Philharmonic in 1998 and was named Associate Principal Cello (The Paul and Diane Guenther Chair) in 2007. She won fourth prize at the Tchaikovsky International Cello Competition in Moscow in 1994, and second prize at the Geneva International Cello Competition in 1991. Ms. Moon is artistic advisor at Bethel Woods Center for the Arts, and founder and artistic director of Warwick Music Series in Warwick, New York. She is an active chamber musician in and around New York City.

James Moore (guitar) James Moore is a versatile guitarist and multi-instrumentalist. He is a founding member of the electric guitar quartet Dither, and performs internationally as a soloist and ensemble player. Mr. Moore studied classical guitar at UC Santa Cruz and the Yale School of Music, and has worked with Bang on a Can, Alarm Will Sound, Clogs, and members of the National. Upcoming projects include performances and a recording of John Zorn’s Book of Heads for solo guitar, and a new collaborative piece with composer David Lang and choreographer Susan Marshall. (jamesmooreguitar.com)

Tamara Mumford (mezzo-soprano) A graduate of The Metropolitan Opera’s Lindemann Young Artist Development Program, Tamara Mumford has won many awards including the Arthur E. Walters Memorial Award, second place in the advanced division in the Palm Beach Opera Competition, and awards in the Sullivan Foundation Competition, the Connecticut Opera Guild Competition, and the Joyce Dutka Foundation Competition. An active concert performer and recitalist, Ms. Mumford recently appeared with Gustavo Dudamel and the Los Angeles Philharmonic Orchestra in the world premiere of John Adams’ oratorio, The Gospel According to the Other Mary. (tamaramumford.com) 152

Yannick Nézet-Séguin (conductor) Music Director of The Philadelphia Orchestra and Rotterdam Philharmonic Orchestra and Principal Guest Conductor of the London Philharmonic Orchestra, Yannick Nézet-Séguin has also been Artistic Director and Principal Conductor of the Orchestre Métropolitain (Montreal) since 2000. He has appeared with the Vienna and Berlin Philharmonics, the Boston Symphony, the Dresden Staatskapelle, all the major Canadian orchestras, and has appeared at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival. In 2013, he became the first-ever mentor conductor of the Curtis Institute of Music’s conducting fellows program. (yannicknezetseguin.com)

Paul Neubauer (viola) Paul Neubauer is former principal violist of the New York Philharmonic, and currently teaches at The Juilliard School and Mannes College’s The New School for Music. He is an Artist Member of the Chamber Music Society of Lincoln Center, and Artistic Director of the “Chamber Music Extravaganza” in Curaçao. Mr. Neubauer has created his own edition of Bartók’s Viola Concerto and was a prizewinner at numerous competitions, including First at the 1980 Lionel Tertis International Viola Competition. He has premiered works by Derek Bermel, Tobias Picker, Krzysztof Penderecki, Joan Tower, and others.

Mark Nuccio (clarinet) Mark Nuccio joined the New York Philharmonic in 1999 as Associate Principal and Solo E-flat Clarinet. He previously held positions with orchestras in Pittsburgh, Denver, Savannah, and Florida. He has worked with distinguished conductors such as Lorin Maazel, Kurt Masur, Mariss Jansons, Zubin Mehta, Riccardo Muti, Erich Leinsdorf, Claudio Abbado, Riccardo Chailly, André Previn, Christoph von Dohnányi, and Gustavo Dudamel. Additionally, Mr. Nuccio has toured with both the New York Philharmonic and the Pittsburgh Symphony Orchestra to numerous countries, recorded with both orchestras, and performed with the Philharmonic on the award-winning series, Live From Lincoln Center, broadcast on PBS.

Laura Osnes (vocalist) Laura Osnes made her Broadway debut as Sandy in the revival of the musical Grease after winning NBC’s reality competition “Grease: You’re The One That I Want.” She recently starred in the title role of Rodgers & Hammerstein’s Cinderella on Broadway, for which she received a Drama Desk Award and her second Tony Award nomination for Best Actress in a Musical. Ms. Osnes received her first Tony Award nomination for her performance as Bonnie Parker in Frank Wildhorn’s Bonnie And Clyde, and also starred as Nellie Forbush in Lincoln Center Theatre’s South Pacific.

John Pizzarelli (guitar/singer) Grammy-nominated singer and guitarist John Pizzarelli is among the prime revivalists of the popular American songbook. He started playing guitar at age six, following in the tradition of his father, jazz guitar great Bucky Pizzarelli. He has a lengthy recording catalog, both as a leader and in tandem with other artists, including George Shearing, Sir Paul McCartney, and Rickie Lee Jones, and regularly tours throughout the United States, Europe, South America, and Japan. Pizzarelli and his wife, singer Jessica Molaskey, co-host the nationally syndicated weekly radio program Radio Deluxe with John Pizzarelli. (johnpizzarelli.com) Really Inventive Stuff (theater) Really Inventive Stuff combines the traditions of vaudeville and classic theatre with a generous sprinkling of child-like enthusiasm to create unique performances centered around music. Their programs include such timeless tales as Peter and the Wolf, Tubby the Tuba, and The Story of Babar, as well as original productions highlighting music of Beethoven, Leopold Mozart’s Toy Symphony, and Britten’s Young Person’s Guide to the Orchestra. Michael Boudewyns and Sara Valentine, co-founders, are frequent guest artists of The Philadelphia Orchestra’s Family Concerts as well as other symphony orchestras throughout North America. (reallyinventivestuff.com) 153

Twyla Robinson (soprano) American soprano Twyla Robinson is busy as an opera singer, soloist with orchestra, recitalist, and recording artist. She has appeared with the London Symphony Orchestra, New York Philharmonic, Berlin Staatskapelle, The Cleveland Orchestra, The Philadelphia Orchestra, and Los Angeles Philharmonic, among others. She has worked with conductors including Christoph Eschenbach, Alan Gilbert, Bernard Haitink, Pierre Boulez, Franz Welser-Möst, Donald Runnicles, Yannick Nézet-Séguin, Esa-Pekka Salonen, Hans Graf and Michael Tilson Thomas. This performance marks her Bravo! Vail debut.

Third Coast Percussion Third Coast Percussion has gained national attention by melding the energy of rock music with the nuance of classical chamber works. Its members have become known for ground-breaking collaborations across disciplines, such as projects with architects at the Frank Lloyd Wright School of Architecture and astronomers at Chicago’s Adler Planetarium. The ensemble champions the music of Steve Reich, Arvo Pärt, and Tan Dun, among others, and has commissioned and performed world premieres by many other leading contemporary composers. Third Coast Percussion is the Ensemble-in-Residence at the University of Notre Dame. (thirdcoastpercussion.com) Bramwell Tovey (conductor) Grammy Award-winning conductor Bramwell Tovey is also a composer and pianist. His tenures as music director with the Vancouver Symphony, Luxembourg Philharmonic, and Winnipeg Symphony have included operatic, choral, British, and contemporary repertoire. He is closely associated with the Los Angeles Philharmonic at the Hollywood Bowl, and is founding host/conductor of the New York Philharmonic’s Summertime Classics. The first artist to win a Juno Award in both conducting and composing, Tovey has received the M. Joan Chalmers National Award for Artistic Direction and honorary appointment as an “Officer of the Order of Canada.” (bramwelltovey.com)

Ted Sperling (conductor) Ted Sperling is a conductor, music director, arranger, singer, pianist, and violinist. He was music director and conductor of the first Broadway revival of South Pacific, which won seven 2008 Tony Awards and played to sold-out houses at Lincoln Center Theater. Mr. Sperling won Tony and Drama Desk Awards (with Adam Guettel and Bruce Coughlin) for his orchestrations of The Light in the Piazza, for which he also served as music director. Sperling was music director and conductor of the 2009 Tony Award–nominated revival of Guys and Dolls. (tedsperling.net)

Donald Runnicles (conductor) Donald Runnicles is concurrently the General Music Director of the Deutsche Oper Berlin, Chief Conductor of BBC Scottish Symphony Orchestra, and Music Director of the Grand Teton Music Festival. Mr. Runnicles is also Principal Guest Conductor of the Atlanta Symphony Orchestra, and he maintains regular guest relationships with the Berlin Philharmonic, London Symphony, and The Philadelphia Orchestra, with whom he toured China in June 2013. Among his awards are the Order of the British Empire, an honorary doctorate from the Royal Scottish Academy of Music and Drama, and a 2013 Gramophone prize. (donaldrunnicles.com)

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Jeff Tyzik (conductor) Grammy Award-winner Jeff Tyzik is celebrating his 20th season as Principal Pops Conductor of the Rochester Philharmonic Orchestra. He also serves as Principal Pops Conductor of the symphonies in Seattle, Detroit, Oregon, Florida and Vancouver, as well as the Dallas Symphony Orchestra. A trumpeter, Tyzik earned degrees from the Eastman School of Music, where he studied composition/arranging with Ray Wright and jazz with Chuck Mangione. He has written over 200 works for orchestra, and his Gershwin recording with Jon Nakamatsu reached No. 3 on the Billboard classical chart. (jefftyzik.com)

Liang Wang (oboe) Liang Wang joined the New York Philharmonic in September 2006 as Principal Oboe. He was a fellowship recipient at the Aspen Music Festival and School and a prizewinner at the Fernard Gillet International Oboe Competition. Mr. Wang has appeared with the Santa Fe Chamber Music Festival and at Music from Angel Fire, and as soloist with the San Francisco Ballet Orchestra and all of China’s major symphony orchestras. Previously he served as principal oboe of the Cincinnati Symphony Orchestra and Santa Fe Opera. He is currently on the faculties of the Manhattan School of Music and New York University.

Gilles Vonsattel (piano) Swiss-born American pianist Gilles Vonsattel’s repertoire ranges from J.S. Bach’s The Art of Fugue to the complete works of Xenakis. Recipient of an Avery Fisher Career Grant and winner of the Naumburg and Geneva competitions, he recently made his Boston Symphony, Tanglewood, and San Francisco Symphony debuts, while performing recitals and chamber music at the Tonhalle Zürich, Ravinia, Wigmore Hall, the Gilmore festival, the Lucerne festival, and the Munich Gasteig. Mr. Vonsattel received his B.A. in political science and economics from Columbia University and his M.M. from The Juilliard School. (gillesvonsattel.com)

Stephen Williamson (clarinet) On sabbatical from the Chicago Symphony Orchestra, Stephen Williamson currently appears as Principal Clarinetist of the New York Philharmonic. Prior to being appointed by Riccardo Muti to play in the CSO, Williamson served as principal clarinet of The Metropolitan Opera Orchestra from 2003 to 2011, and appeared with the Orchestra of Saint Luke’s, Orpheus Chamber Orchestra, American Symphony Orchestra, American Ballet Theater, and New York City Opera. He also recently was appointed principal clarinet with the Saito Kinen Festival Orchestra in Japan under Seiji Ozawa.

Ransom Wilson (conductor and flute) Ransom Wilson has performed with some of the greatest orchestras and artists of our time, including the symphonies of Chicago, San Francisco, and London, as well as Frederica von Stade, Thomas Hampson, Hilary Hahn, Sir James Galway, and many others. Mr. Wilson has a highly successful recording career with over 30 recordings (included three Grammy Award nominations), and is equally esteemed as a conductor. He is an Artist Member of the Chamber Music Society of Lincoln Center, Professor of Flute at Yale University, Assistant Conductor at the Metropolitan Opera, and Artistic Director of LE TRAIN BLEU. (ransomwilson.com)

Joyce Yang (piano) Joyce Yang first came to international attention in 2005, when she became the Silver Medalist of the Van Cliburn International Piano Competition. As the youngest contestant that year, she swept two additional awards as an all-around winner. More recently, she was awarded an Avery Fisher Career Grant in 2010. Since her spectacular debut, Yang has performed with the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, The Philadelphia Orchestra, and BBC Philharmonic, among many others. In recital, Yang has taken stage at Lincoln Center, the Kennedy Center, Chicago’s Symphony Hall, and Zurich’s Tonhalle. (pianistjoyceyang.com) Jaap van Zweden (conductor) Amsterdam-born Jaap van Zweden has been Music Director of the Dallas Symphony Orchestra since 2008, and was named Music Director of the Hong Kong Philharmonic Orchestra in 2012. Appointed at nineteen as the youngest concertmaster ever of the Royal Concertgebouw Orchestra, he began his conducting career in 1995 and has held several important positions in the Netherlands. Mr. van Zweden was named Musical America’s Conductor of the Year in 2012 in recognition of his critically acclaimed work with the Dallas Symphony and as guest conductor with the most prestigious U.S. orchestras. (jaapvanzweden.com) 155

ways to give JOIN THE BRAVO! VAIL COMMUNITY Bravo! Vail relies on its loyal patrons to sustain and expand its legacy of musical excellence and community engagement. By supporting Bravo! Vail, donors ensure the continued success of the Festival and all it brings to both the local and global arts communities. We invite you to join the many music enthusiasts who support the performing arts by donating to Bravo! Vail. There are many ways to give, and unique benefits and rewards associated with each. Visit bravovail.org for details.

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EDUCATION AND COMMUNITY ENGAGEMENT Bravo! Vail’s Education and Community Engagement Programs provide access to music for children and adults in the Vail Valley and beyond. Through free concerts and a wide variety of programs, Bravo! Vail makes music and the arts accessible to children and adults in every walk of life. Bravo! Vail’s Education and Community Engagement programs include After School Piano Classes, Free Concert Series, Free Family Concert, Instrument Petting Zoos, Little Listeners @ the Library, Music on the Move, The Patriotic Concert, and the Pre-Concert talks. Gifts may be designated to underwrite any of these programs specifically. GIFTS OF SECURITIES Bravo! Vail encourages donors to use gifts of appreciated stock to maximize tax benefits.

CORPORATE UNDERWRITING Bravo! Vail’s Corporate Partnerships offer a variety of benefits, including invitations to exclusive donor events, providing corporate partners excellent opportunities to interact with Bravo! Vail patrons and entertain their clients. Corporate partners also receive extensive recognition and advertising opportunities in the Bravo! Vail Program Book, online and in email marketing. IN-KIND GIFTS Donations come in many forms and in-kind contributions are extremely important. By supporting Bravo! Vail through an in-kind contribution of lodging, food, beverage, advertising space or an auction item, businesses identify themselves as arts supporters in the local community. ADVERTISE WITH BRAVO! VAIL Corporations will receive more than 60,000 impressions when they join the list of Bravo! Vail Program Book advertisers. The Bravo! Vail Program Book is distributed throughout the season and kept for years in home libraries of many Bravo! Vail supporters. This beautiful and informative publication is unique in both its readership and its reach.

THE GOLDEN CIRCLE The Golden Circle acknowledges annual cumulative gifts from generous donors. This support provides the vital funding required to operate the Festival. Each donor is gratefully and sincerely acknowledged for their generosity. GRAND BENFACTOR ($100,000 and above) Linda and Mitch Hart**** Town of Vail** Vail Valley Foundation***** Betsy and George Wiegers*** PREMIER BENEFACTOR ($50,000 and above) Ann Smead and Michael Byram*** Peggy Fossett* The Francis Family**** Dr. Agnes Hsu-Tang and Oscar Tang***** Tippet Rise Fund of the Sidney E. Frank Foundation IMPRESARIO ($25,000 and above) Amy and Charlie Allen Doe Browning Julie and Tim Dalton** Marijke and Lodewijk de Vink** Stephanie and Larry Flinn*** Pat and Pete Frechette** Lyn Goldstein*** Jeanne and Jim Gustafson** Vera and John Hathaway* Karen and Michael Herman* Hill Foundation** Cynnie and Peter Kellogg*** Honey Kurtz** Kay Lawrence** Dick Liebhaber** Vicki and Kent Logan** Leni and Peter May*** Shirley and William S. McIntyre, IV** Carolyn and Gene Mercy**** Amy and James Regan**** Helen and Vincent Sheehy**** Cathy and Howard Stone**** Dhuanne and Doug Tansill*** Argie Ligeros and Pat Tierney*****

Carol and Pat Welsh*** Barbara and Richard Wenninger* VIRTUOSO ($20,000 and above) Jayne and Paul Becker**** Lisa Tannebaum and Don Brownstein Amy and Steve Coyer** Angela and Peter Dal Pezzo Arlene and John Dayton** Craig J. Foley* Mr. and Mrs. Claudio Gonzalez** Judy and Alan Kosloff*** Barbie and Tony Mayer**** Ann and Alan Mintz*** Didi and Oscar Schafer** Marcy and Gerry Spector* Mary Lynn and Warren Staley* OVATION ($15,000 and above) Marilyn Augur*** Dierdre and Ronnie Baker* Sandy and John Black** Marlene and John Boll** Jan Broman**** Susan and Van Campbell** Jeri and Charlie Campisi*** Sallie and Robert Fawcett**** Martha Head and John Feagin, M.D.*** Kathy and Dave Ferguson and their children Kelsey, Devon and Darby Holly and Ben Gill** Georgia and Don Gogel Jan and Lee Leaman Karen and Walter Loewenstern**** The Molina Family Kay and Bill Morton**** National Endowment for the Arts* Margaret and Alex Palmer Teri and Tony Perry*** Molly and Jay Precourt** Vicki Rippeto June and Paul Rossetti Terie and Gary Roubos*** Slifer, Smith and Frampton Real Estate** Mr. and Mrs. C.P. Steinmetz*** Sarah Nash and Michael Sylvester**

Town of Avon US Bank***** Carole A. Watters* Mr. John McDonald and Mr. Rob Wright*** Wells Fargo Private Bank ALLEGRO ($10,000 and above) Anonymous Letitia and Christopher Aitken* Pamela and David Anderson* Shannon and Todger Anderson Penny Bank and Family, Herbert Bank and Family** Barbara and Barry Beracha* Judy and Howard Berkowitz*** Bravo! Vail Guild ***** Colorado Creative Industries** Susan and John Dobbs*** Debbie and Jim Donahugh* Susan and Harry Frampton**** George Family Foundation, Penny and Bill George*** Sally and Tom Gleason** Joyce and Judson Green Terri and Tom Grojean**** Horizon Foundation Nancy and Richard Lubin** Laura and James Marx* Mrs. Frederick R. Mayer*** Sammye and Mike Myers* Wendy and Paul Raether** Nancy and Ted Reynolds Susan and Rich Rogel**** Mr. and Mrs. Ernest Scheller, Jr.** Carole and Peter Segal* Silver Oak and Twomey The Stolzer Family Foundation*** Bea Taplin** Sandra and Greg Walton

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ORCHESTRAL UNDERWRITING

Orchestral underwriting is designated to a specific orchestra and applied directly toward the fees of the orchestraâ&#x20AC;&#x2122;s residency. Bravo! Vail expresses its deep gratitude to the friends of each of its world-class orchestras.

FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PREMIER BENEFACTOR ($30,000 and above) Shirley and William S. McIntyre, IV** PLATINUM ($25,000 and above) Hill Foundation** GOLD ($15,000 and above) Marilyn Augur*** Sallie and Robert Fawcett**** Linda and Mitch Hart**** Vicki Rippeto Carole A. Watters* SILVER ($10,000 and above) Diane and Hal Brierley* Arlene and John Dayton** Horizon Foundation Sammye and Mike Myers* BRONZE ($5,000 and above) Alice and Dick Bass* 158

Peggy and Gary Edwards* Cindy Engles* Amy and Vernon Faulconer* Rebecca and Ron Gafford Carol and Ronnie Goldman* Carol and Jeff Heller* Bobbi and Richard Massman** Brenda and Joe McHugh*** Jane and Howard Parker**** The Rosewood Foundation* Marcy and Stephen Sands* Debbie and Ric Scripps* Jere Thompson**

CONTRIBUTOR ($1,200 and above) Clara Willoughby Cargile**** Mr. and Mrs. Clint Josey, Jr.** Alexia and Jerry Jurschak Karen and Steve Livingston*** Patty and Denny Pearce* Linda and Tom Smith

PATRON ($3,000 and above) Edwina P. Carrington** Mary Clare Finney Randi and Ed Halsell* Sandy and Charles Lloyd**** Mr. and Mrs. Al Meitz Dr. and Mrs. Bill Weaver* The Woodell Family Foundation

DONOR ($300 and above) Jan and Bob Pickens*** Melinda and Steve Winn

FRIEND ($600 and above) Carol and John MacLean*** Violet and Harry Wickes* Carolyn and Tom Wittenbraker/ Arkay Foundation

PRELUDE ($25 and above) Gerry and Don Houk

ORCHESTRAL UNDERWRITING FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ($50,000 and above) Ann Smead and Michael Byram*** Peggy Fossett* Town of Vail***** Betsy and George Wiegers*** GOLD ($25,000 and above) Karen and Michael Herman* SILVER ($10,000 and above) Anonymous Shannon and Todger Anderson Arlene and John Dayton** Dick Liebhaber** Laura and James Marx* Teri and Tony Perry***

Susan and Rich Rogel**** Carole and Peter Segal* Cathy and Howard Stone**** Dr. Agnes Hsu-Tang and Oscar Tang***** BRONZE ($5,000 and above) Cookie and Jim Flaum** Suzanne Helen Linda and Kalmon Post** Mr. and Mrs. Ernest Scheller, Jr.** Susan and Steve Suggs* Dhuanne and Doug Tansill***

CONTRIBUTOR ($1,200 and above) Dierdre and Ronnie Baker* Sue and Michael Callahan Cathy and Graham Hollis Wendi and Brian Kushner* Norman P. and Susanne S. Robinson FRIEND ($600 and above) Elia Buck DONOR ($300 and above) Bernice and John Davie* Gwen and Rick Scalpello

PATRON ($3,000 and above) Dokie Michele and Jeffrey Resnick* Barbara and Howard Rothenberg*

FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000) Julie and Tim Dalton** Marijke and Lodewijk de Vink** Lyn Goldstein*** Jeanne and Jim Gustafson** Vera and John Hathaway* Cynnie and Peter Kellogg*** Honey Kurtz** Vicki and Kent Logan** Leni and Peter May*** Amy and James Regan**** Helen and Vincent Sheehy**** Dr. Agnes Hsu-Tang and Oscar Tang***** Town of Vail** Carol and Pat Welsh*** Betsy and George Wiegers***

GOLD ($20,000) Jayne and Paul Becker**** Amy and Steve Coyer** Stephanie and Larry Flinn*** Mr. and Mrs. Claudio Gonzalez** Linda and Mitch Hart**** Judy and Alan Kosloff*** Barbie and Tony Mayer**** Ann and Alan Mintz*** Didi and Oscar Schafer** Marcy and Gerry Spector* Cathy and Howard Stone**** Dhuanne and Doug Tansill*** SILVER ($15,000) Judy and Howard Berkowitz*** Marlene and John Boll**

Jan Broman**** Lisa Tannebaum and Don Brownstein Jeri and Charlie Campisi*** Georgia and Don Gogel Martha Head and John Feagin, M.D.*** Dick Liebhaber** Karen and Walter Loewenstern**** Carolyn and Gene Mercy**** Kay and Bill Morton**** Margaret and Alex Palmer June and Paul Rossetti Terie and Gary Roubos*** Slifer Smith and Frampton Real Estate** Sarah Nash and Michael Sylvester**

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FESTIVAL SUPPORT The gifts listed below represent charitable giving to Bravo! Vail by individuals and foundations from May 14, 2013 through May 16, 2014. These gifts provide the funds to support Bravo! Vail in achieving artistic excellence and financial stability. The Board of Trustees expresses its sincere thanks to each supporter and is truly grateful to Bravo! Vailâ&#x20AC;&#x2122;s long-time donors and first-time supporters alike. PERMANENT RESTRICTED FUNDS The Lyn and Phillip Goldstein Maestro Society The Lyn and Phillip Goldstein Piano Concerto Artist Project The Argie Ligeros Artistic Director Chair The Betsy Wiegers Choral Fund in Honor of John W. Giovando GRAND BENEFACTOR ($100,000 and above) Linda and Mitch Hart**** Town of Vail** Vail Valley Foundation***** Betsy and George Wiegers*** PREMIER BENEFACTOR ($50,000 and above) Ann Smead and Michael Byram*** Peggy Fossett* The Francis Family**** Dr. Agnes Hsu-Tang and Oscar Tang***** Tippet Rise Fund of the Sidney E. Frank Foundation IMPRESARIO ($25,000 and above) Amy and Charlie Allen Doe Browning Julie and Tim Dalton** Marijke and Lodewijk de Vink** Stephanie and Larry Flinn*** Pat and Pete Frechette** Lyn Goldstein*** Jeanne and Jim Gustafson** Vera and John Hathaway* Karen and Michael Herman* Hill Foundation** 160

Cynnie and Peter Kellogg*** Honey Kurtz** Kay Lawrence** Dick Liebhaber** Vicki and Kent Logan** Leni and Peter May*** Shirley and William S. McIntyre, IV** Carolyn and Gene Mercy**** Amy and James Regan**** Helen and Vincent Sheehy**** Cathy and Howard Stone**** Dhuanne and Doug Tansill*** Argie Ligeros and Pat Tierney***** Carol and Pat Welsh*** Barbara and Richard Wenninger* VIRTUOSO ($20,000 and above) Jayne and Paul Becker**** Lisa Tannebaum and Don Brownstein Amy and Steve Coyer** Angela and Peter Dal Pezzo Arlene and John Dayton** Craig J. Foley* Mr. and Mrs. Claudio Gonzalez** Judy and Alan Kosloff*** Barbie and Tony Mayer**** Ann and Alan Mintz*** Didi and Oscar Schafer** Marcy and Gerry Spector* Mary Lynn and Warren Staley* OVATION ($15,000 and above) Marilyn Augur*** Dierdre and Ronnie Baker* Sandy and John Black** Marlene and John Boll** Jan Broman**** Susan and Van Campbell** Jeri and Charlie Campisi*** Sallie and Robert Fawcett**** Martha Head and John Feagin, M.D.*** Kathy and Dave Ferguson and their children Kelsey, Devon and Darby Holly and Ben Gill** Georgia and Don Gogel Jan and Lee Leaman Karen and Walter Loewenstern**** The Molina Family Kay and Bill Morton****

National Endowment for the Arts Margaret and Alex Palmer Teri and Tony Perry*** Molly and Jay Precourt** Vicki Rippeto June and Paul Rossetti Terie and Gary Roubos*** Slifer, Smith and Frampton Real Estate** Mr. and Mrs. C.P. Steinmetz*** Sarah Nash and Michael Sylvester** Carole A. Watters* Mr. John McDonald and Mr. Rob Wright*** ALLEGRO ($10,000 and above) Anonymous Pamela and David Anderson* Shannon and Todger Anderson Letitia and Christopher Aitken* Penny Bank and Family, Herbert Bank and Family** Barbara and Barry Beracha* Judy and Howard Berkowitz*** Bravo! Vail Guild***** Diane and Hal Brierley* Susan and John Dobbs*** Debbie and Jim Donahugh* Susan and Harry Frampton**** George Family Foundation, Penny and Bill George*** Sally and Tom Gleason** Joyce and Judson Green Terri and Tom Grojean**** Horizon Foundation Nancy and Richard Lubin** Laura and James Marx* Mrs. Frederick R. Mayer*** Sammye and Mike Myers* Wendy and Paul Raether** Nancy and Ted Reynolds Susan and Rich Rogel**** Mr. and Mrs. Ernest Scheller, Jr.** Carole and Peter Segal* The Stolzer Family Foundation*** Bea Taplin** Sandra and Greg Walton SOLOIST SPONSOR ($7,000 and above) Christine and John Bakalar** Kelly and Sam Bronfman, II

FESTIVAL SUPPORT Family Foundation* Liz and Tommy Farnsworth*** Cookie and Jim Flaum** Norma Lee and Morton Funger**** Valerie and Robert Gwyn*** Sally and Wil Hergenrader*** June and Peter Kalkus Joyce and Paul Krasnow*** Rose and Howard Marcus**** Donna and Patrick Martin Marge and Phil Odeen Kathy and Roy Plum**** Linda and Kalmon Post** Amanda Precourt Sue and Marty Solomon** Barbara and Jack Woodhull**** BENEFACTOR ($5,000 and above) Ann Newman and Andy Arnold Mary Lou Paulsen and Randy Barnhart Alice and Dick Bass Cheryl and Richard Bressler Jean and Harry Burn Carolyn and Gary Cage**** Kay Chester** William L. Clinkenbeard**** Nancy and Andy Cruce*** Peggy and Gary Edwards* Cindy Engles* Amy and Vernon Faulconer* Laura and Bill Frick*** The Frigon Family Helen and Bob Fritch**** Rebecca and Ron Gafford Linda and John Galvin**** Carol and Ronnie Goldman* The Gorsuch Family Sheika and Pepi Gramshammer*** Jane and Michael Griffinger*** Suzanne Helen Carol and Jeff Heller* Lorraine and Harley Higbie**** Martha D. Rehm and Cherryl Hobart*** Caleb B. Hurtt Virginia Browning and Joseph Illick Karen and Jim Johnson Sue and Rich Jones Jay and Gail Mahoney*** Janet and T. Scott Martin* Bobbi and Richard Massman**

Jean and Tom McDonnell** Brenda and Joe McHugh*** Ms. Vicki V. Garza-Mohajer and Mr. Kam Mohajer Lisa and John Ourisman Jane and Howard Parker**** Carolyn and Steve Pope** W. Russell and Norma Ramsey Foundation Sally and Byron Rose* The Rosewood Foundation* Marcy and Stephen Sands* Maria Santos Debbie and Ric Scripps* Bill and Dorsey Seed** Harvey Simpson and Elaine and Steven Schwartzreich Beth and Rod Slifer Jean Graham-Smith and Philip Smith**** Brooke and Hap Stein*** Pat and Larry Stewart** Barbara and Carter Strauss* Susan and Donald Sturm of American National Bank Susan and Steve Suggs* Jere Thompson** Deborah and Fred Tresca Sheila Wald Sharon and Marc Watson** Michael Watters PATRON ($3,000 and above) Marcine and Michael Balk Margo M. Boyle Eleanor and Gus Bramante**** Edwina P. Carrington** Charlie Chan Caryn Clayman* Kathy Cole* Jan and Philip Coulson** Dokie Sharon and Bill Donovan**** Kathy and Brian Doyle Kathleen and Jack Eck** Sara and Fred Ewald* Mary Clare Finney FirstBank Mikki and Morris Futernick**** Sue and Dan Godec* Debra and Norman Goldman

Gramm Family Foundation*** Mr. and Mrs. Neal Groff**** Francie and Michael Gundzik** Randi and Ed Halsell* Valerie and Noel Harris and Wall Street Insurance Gloria and Steven Johns Sherry and Rob Johnson**** Susu and George Johnson** Daney and Lee Klingenstein**** Gloria and Joel Koenig* Jeremy L. Kreig of New York Life Insurance* Jenelle Krissel Sandy and Charles Lloyd**** Ferrell and Chi McClean* Carolyn and Rolland McGinnis Mr. and Mrs. Al Meitz Nancy and Mac Nichols Sally and Dick Oâ&#x20AC;&#x2122;Loughlin* Nancy and Douglas Patton* Mimi and Keith Pockross*** Jackie and James Power*** Carolyn and Bob Reintjes** Michele and Jeffrey Resnick* Barbara and Howard Rothenberg* Madeline and Les Stern*** Dr. and Mrs. Barry S. Strauch* Tim Tyler** Amy Roth and John Van Valkenburgh Paula and Will Verity Sally and Dennis Von Waaden*** Dr. and Mrs. Bill Weaver* Margaret and Glen Wood* The Woodell Family Foundation CONTRIBUTOR ($1,200 and above) Anonymous*** Robert Balas Sandi and Stephen Bell Nancy and Peter Berkley* Mr. and Mrs. B. A. Bridgewater, Jr.* Sunny and Phil Brodsky* Barbara and Christopher Brody* Linda and Joe Broughton* Joyce A. Mollerup and Robert H. Buckman*** Susan Mason and Paul Caldwell Sue and Michael Callahan Bette and Trent Campbell** 161

FESTIVAL SUPPORT Clara Willoughby Cargile**** April and Art Carroll Toko and Bill Chapin* Kokomo* Elizabeth G. Clark** Joanne and Jack Crosby Karen Nold and Robert Croteau Martinna and Charlie Dill Mary and Rodgers Dockstader** Helen and Chris Edwards Julie and Bill Esrey**** Marla and Stewart Feldman Barbara and Paul Flowers** Vicky and John Garnsey* Tom and Margie Gart Family Fund Catherine Gellert Lindy and Gerald Gold** Joan and Josephy Goltzman* Carol and Charles Goolsbee*** Anne and Donald Graubart **** Alison and Michael Greene* Cindy and Guy Griffin Anne and Harry Gutman Susan and Murray Haber Gretchen and Morris Hatley Debra Herz Cathy and Graham Hollis Aubyn and Robert Howe Mr. and Mrs. Clint Josey Jr.** Alexia and Jerry Jurschak Diane Pitt and Mitchell Karlin Kerma and John Karoly* Dr. Andrew and Lynn Kaufman* Elaine and Art Kelton**** Bonnie and Larry Kivel** Rosalind and Marvin Kochman**** Wendi and Brian Kushner* Margie and Larry Kyte** Ann and William Lieff** Karen and Steve Livingston*** Mr. and Mrs. J. Robert Love* Deb and Dan Luginbuhl* Lynne and Peter Mackechnie** Mr. and Mrs. Ed McDonald J.F. Merz, Jr.* Ellen Mitchell* Jeanne and Dale Mosier Norris Lamont Gallery Renee Okubo in memory of T. Larry Okubo

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Susan A. Stearns and Franklin D. O’Loughlin Priscilla O’Neil**** Mr. and Mrs. Robert H. Paul III Patty and Denny Pearce* Pam and Ben Peternell* Ronnie and William A. Potter**** Patti and Drew Rader* Arlene and Bob Rakich Norman P. and Susanne S. Robinson The Rosewood Foundation Gail Flesher and David Salvin Susanne and Bernard Scharf** Robert Schilling, Gateway Land and Development Real Estate Carole Schragen*** Peggy and Tony Sciotto** Maureen and Les Shapiro** Phoebe Anne Smedley** Donna and Randy Smith** Linda and Tom Smith Dr. and Mrs. C. John Snyder** Mrs. Deana E. and Dr. Gerald L. Stempler**** Mimi and Woody Stockwell** Nancy and Jon Tellor Nancy S. Traylor**** Linda and Stewart Turley*** Lois and John Van Deusen* Susan and Tom Washing** Martin Waldbaum** Anne and Chris Wiedenmayer Ellen and Bruce Winston* Diane and Michael Ziering* FRIEND ($600 and above) Ellen Arnovitz Karin and Ron Artinian Sheryl and Eliot Barnett Christina Bearman Von Wald* Dr. Bruce T. and Betsy Bowling* Clare and Bill Brown Elia Buck Charles and Norma Carter*** Patsy and Pedro Cerisola**** Megan Cole Kellogg Donna and Ted Connolly Suzy and Jim Donohue** Irene and Jared Drescher*** Elizabeth Elser Doolittle Charitable Trust**

Margaret and Tom Edwards* Holly and Buck Elliott***; The Pikes Peak Community Foundation Jenny and Wendell Erwin**** Carole and Peter Feistmann** Susan and Bob Gadomski*** Alexandria and Rand Garbacz* Catherine and Barry Gassman Donna M. Giordano**** Doris and Matthew Gobec* Doris Dewton and Richard Gretz* Cheryl and Fred Halpern Suzanne Hatcher Jo and David Hill Judith and Robert Hoehn Beth and Tommy Holder Jack Holt Nancy and Jack Horgan Joan and Marvin Kaplan**** Jonathan Klip Dr. and Mrs. Frederick Kushner Sue B. and Robert J. Latham Mr and Mrs. Brian Lenehan Helena and Peter Leslie*** Carol and John MacLean*** Jose Madariaga Teresa and Antonio Madero Ginny Mancini** Barry Mankowitz* Marjorie Jayne Marks** Elaine and Carl Martin** Dr. and Mrs. Frank Massari** Gail and Dennis Mathisen Debbie and Ron McCord George L. Mizner, M.D. Hazel and Matthew Murray Charlie and Mary Beth O’Reilly Family Foundation Ann and Ron Riley* Dani Bedoni and Gonzalo Rodriguez Nancy and Robert Rosen Susan and Alberto Sanchez Sandra and Ken Seward Harriett and Bernard Shavitz Sprint Foundation Anne and Joe Staufer*** Judith and Mark Taylor* Marjorie Vickers Martin Waldbaum** Drs. Anne and Dennis Wentz**** Mindy and Gregory White* Mrs. Joan Whittenberg****

FESTIVAL SUPPORT Violet and Harry Wickes* Leslie Winn Ann and Phil Winslow Carolyn and Tom Wittenbraker/ Arkay Foundaiton Rosalind and Larry Wolff Marilyn and Ronald Wollard Marcy and Dick Woodrow* DONOR ($300 and above) Shellie and Arthur Adler Sheila and James Amend Lisa and Joseph Bankoff Shirley and Jack Beal Michelle and James Berry Pamela A. and Brooks Bock* Rachel and David Bondelevitch Shirley and Jeff Bowen** Vicki and Jack Box Loretta Brewer Janie and Bill Burns Sue Cannon Karen and Nate Cheney Sam B. Cook Carolyn and Fred Coulson* Marilyn S. Cranin Bernice and John Davie* Nancy and Brad Dempsey Dr. Fred W. Distelhorst Loretta and Edwards Downey Barbara and G. Lane Earnest Kristi and Craig Ferraro Barbara and Larry Field**** Regina and Kyle Fink** Denise and Michael Finley** Sally and Crosby Foster*** Helaine and Fred Gould*** Becka and Stuart Green** Patricia and Charles Hadley** Norman R. Helwig Margot and Stephen Holland*** Bob Jamar Eleanor Quick and Donald W. Janes Jane and Calvin Johnson* Gerry and Jay Karkowsky** Joanne Kemp Dr. and Mrs. Bob Landgren*** Evelyn and Fred Lang** Judge and Mrs. John P. Leopold Barbara and David LeVine** Nancy and John Lindahl* Gretchen and Charles Lobitz***

Peter L. Macdonald*** Sam Meals Liz and Luc Meyer Susan W. and William O. Morris* Mr. and Mrs. W Peterson Nelson**** Jacque and Bill Oakes** Joyce and Robert Pegg* Jan and Bob Pickens*** Kathi Renman and Jim Picard Beverly Quail Roble and Tim Roble Margaret and Rick Rogers Sallie Dean and Larry Roush**** Jo Dean and Juris Sarins Gwen and Rick Scalpello Linda and Shaun Scanlon* Arlene and Jack Schierholz** Ivylyn and Dick Scott Judy and Martin Shore Lynn and Raymond Siegel Daphne and Jim Slevin** Sam and Marty Sloven** Susan and Bruce Smathers* B.J. and Garrett Smith* Linda and Richard Sommers**** Nancy Alexander and David Staat Dale and Shelley Stortz Dr. Jill Davies and Mr. Tommy Svensson David Supperstein Frankie Tutt* Patty and Ed Wahtera* Joan and Peter Weidhorn Melinda and Steve Winn James Michael Wise Alyn Park and Jay Wissot PRELUDE ($25 and above) Anonymous** (6) Leslie and Phil Aaholm** Donna Abbruzzese Laila and Alejandro Aboumrad Janet and Bill Adler Sandi and Larry Agneberg** Simon Aron, Esq. Margo and Roger Behler**** Sharon Bell** Barbara and Jack Benson Carl Birkelbach Deborah Webster and Stephen Blanchard Ann Bourke Patricia and Rex Brown

Richard Burke Charlyn Canada** Ellen and David Caplan Ingrid Chamberlain Lynn and Jim Chapin Lynn and Bill Cohagan William Condon Becky and Greg Copeland Maureen and David Cross Silvia and Alan Danson Janet and Edwards Davenport** Susan and Mark Dean Abby Dixon Catherine and Ulf Edborg**** Emilie Egan*** Valerie and Don Eicher Delight and John Eilering** David Eisenberg Anne Lingle Esson**** Judith Evans Claire and Marshall Evans*** Marshall and Mona Faith Barbara and Howard Finkelstein Terry and John Forester Laura and Peter Frieder*** Wilma and Arthur Gelfand** Wright George Manuel Gomez-Daza Carol and Marc Gordon Tracy and Mark Gordon Harold Gortner Mr. and Mrs. David Warren Grawemeyer Suzanne Greene Susan and Ronald Gruber** Carla Guarascio Jane Hall Coleen M. and David B. Hanson** James Harrison Judy and Jim Heinze** Dwight Henninger Cathey A. Herren**** Richard Hinds Mrs. Polly Horger and Dr. Ed Horger Gerry and Don Houk Margie and Dave Hunter Mr. and Mrs. Thomas D. Hyde Renato Ibarra Susan and Charles Joffe Starlette Johnson Fran and Vince Jones** Agneta Kane 163

FESTIVAL SUPPORT Martin Katz Henny and Donald Kaufmann Edith King Margaret and Ed Krol Mr. and Mrs. Phillip J. Kulinksi Mr. and Mrs. Wolfgang Lampe Diane Larsen and David Floyd Monique and Peter Lathrop** Sandy Gooch and Harry Lederman Brooke Lee Barbara Leffler Yang Liu Linda and Robert Llewellyn Candy Bobonis and William Lockwood-Benet Majorie Maagoe Marcia and Tom McCalden** Ron McCord Barbara McGrath Sharon E. McKay-Jewett Judi and Randy McKean Linda McKinney Harrel Lawrence and Jerry McMahan* BJ and Harold Meadows Nina McLemore Mary Jane and Frank Miller* Leland V. Miller** Wendy and Don Milliman Daniel Mironov Belinda and Eric Monson Mr. and Mrs. Edward Moskowitz Thomas Mullen Nelly Muller Leslie and Dr. Robert Nathan Elinor J. Newman** Sara Newsam* Ronald Nordgren Nancy and Mauri Nottingham Tiffany and David Oestreicher Dr. and Mrs. Hugh Overy Regina Patterson Mr. and Mrs. Mark T. Perin Mauree Jane and Mark Perry Martha and Kent Petrie** Carol and Michael Phillips* Susan Pollack Kathleen Pollock John Porter Cricket and Rick Pylman Anne D. Reed*** 164

Eileen Rowe and Kenneth Stein* Betty and Bert Roy Lynn and Rick Russell Linda and Don Sage Mr. and Mrs. Donald Salcito Jimmy Kay and Jack Sanders* Carol Schimmer Richard Schulze Bobbi and Jon Schwartz** Lynda Brecke and Rick Schwartz Jerry and Pamela Secor Francine and John Shanker Ricki and Gabriel Shapiro Mr. and Mrs. Marvin Sheldon**** Litamae and David Sher Pat and Ralph Silversmith**** Kathryn and Stevan Simich Stephanie and Bernard Simon* Marriott and John Smart Diane and Loren Smith Sarah and Norman Smith** Kathy and Robin Smith Lynne Smitham Mr. and Mrs. Ronald Solberg Karla A. Dalley and Dyke Spear Barbara and James Spiker** Karlene Spivak Drs. Arlene and Bob Stein* Judy and Rob Stiber Jenene and James Stookesberry Steve and Frances Susman** Kathleen Talbot Jeanne and Roger Tilkemeier Betti Tiner Carol and Albert Tucker Rosie and Bob Tutag Barbara and Bill Van Luven Linda and William Vigor Mrs. W. E. Walker, Jr. Trudy and Bob Walsh* Karin and Bob Weber**** Susan and Albert Weihl* Judith and Steven Weingruber Stephen Wenner Sheila Whitman* Mr. and Mrs. Walter Wohlgemuth Jennifer Woolley Rosalie Wooten** Lynn and Dr. Sydney Wruble Shao Yang Andrew Yarosh

Dr. Allen and Gail Zagoren Fran and Allan Zalesky* IN HONOR OF Ann Marie Brink Janie Cole Doe Browning Virginia J. Browning Margie Pabst and Chuck Steinmetzâ&#x20AC;&#x2122;s Wedding Mikki and Morris Futernick Brenda and Alan Himelfarb Judi and Randy McKean Mary and Steve Quartin Anne Sheldon James Palermo Andrew E. Yarosh Betsy Wiegers Jan Broman Joan D. Houlton Joan Francis Honey Kurtz Shirley and William S. McIntyre, IV IN MEMORY OF B.B. Andersen Laura and Bill Frick Sheika and Pepi Gramshammer Beth and Tommy Holder June and Peter Kalkus Dr. and Mrs. James E. Lott Carolyn and Bob Reintjes Barbara and Carter Strauss Linda and Larry Vande Garde Carol and Pat Welsh Jennifer McCorkle Cynthia Bast Bravo! Vail Guild Judith Rhedin Cal Miller Thomas Mullen Betty and Bert Roy Richard Schroeder George Stannard Dee Stannard *Denotes 5 years of consecutive giving

EDUCATION AND COMMUNITY ENGAGEMENT Bravo! Vail is proud to continue its tradition of providing the very best Education and Community Engagement programs for youth and adults. Inspiring a musicloving community in which the finest performers, composers, instruments and instruction are accessible to everyone is Bravo! Vailâ&#x20AC;&#x2122;s dream. The community support of this important focus is a central part of the fabric of life in the Vail Valley. The Festival extends special gratitude to its donors who support Education and Community Engagement. Anonymous Alpine Bank Shannon and Todger Anderson Annie and Tom Apple Dierdre and Ronnie Baker Beaver Creek Resort Company Pat and Brian Blood Bravo! Vail Board of Trustees Bravo! Vail Guild Peggy and Jack Buchannan Janie and Bill Burns Carolyn and Gary Cage Barbara and Paul Cantrell Paul Newton Clark William L. Clinkenbeard Barbara Coffey Colorado Creative Industries Jane and Jim Comerford Arlene and John Dayton Kathy and Brian Doyle Janet Rey and Jim Dulin Sandi and Leo Dunn Eagle County Eagle Ranch Homeowners Association Holly Eastman Peggy and Gary Edwards Margaret and Tom Edwards Sallie and Robert Fawcett Kathy and David Ferguson and their children Kelsey, Devon and Darby Kristi and Craig Ferraro FirstBank

Cookie and Jim Flaum Craig J. Foley Greer and Jack Gardner Elli Gauthier Sally and Tom Gleason Fran and Allan Goldman Doris Dewton and Richard Gretz Jeanne and Jim Gustafson Wendy and Richard Gustafson Valerie and Robert Gwyn Pam Hamilton Valerie and Noel Harris and Wall Street Insurance Linda and Mitch Hart Becky Hernreich Ann and David Hicks Julie and Steve Johannes Karen and Jim Johnson Katherine and Jim Kellen Jayne and Jack Kendall Betty and Wilbur Kerman Judy and Alan Kosloff Joyce and Paul Krasnow Dick Liebhaber Sandy and Charles Lloyd Lodge and Spa at Cordillera Francesca London Anne-Marie McDermott and Michael Lubin Hank Mader Dr. and Mrs. Jean Marcellot Sharon and Lynn Martin Laura and James Marx Barbie and Tony Mayer Anne-Marie McDermott and Michael Lubin Gayle and Pat McDonald Louise McGaughey Carole Ann and James McNeill Allison and Russell Molina Sandy and John Morrison Laurie and Tom Mullen Caitlin and Dan Murray National Endowment for the Arts Suzette Newman Nancy and Mack Nichols Nancy and Mauri Nottingham James W. Palermo Amy and James Regan

Michele and Jeffrey Resnick Dani Bedoni and Gonzalo Rodriguez Thomas Russo Lisa and Ken Schanzer Carol Schimmer Andy and Paul Searls Beth and Rod Slifer Rachel and David Smiley Connie and Bill Smith Jean Graham-Smith and Philip Smith Paige Sodergren Marcy and Gerry Spector Brielle and Tye Stockton Cathy and Howard Stone Joanne and Frank Strauss Susan and Steve Suggs Dr. Agnes Hsu-Tang and Oscar Tang Dhuanne and Doug Tansill Argie Ligeros and Pat Tierney Joe Tonahill, Jr. Town of Avon Town of Gypsum Town of Vail Deborah and Fred Tresca Rachel and Christopher Trowbridge Cynthia and Harold Turtletaub U.S. Bancorp Foundation Joanne and Steve Virostek Pam Vonmende Jackie and Norm Waite Walmart Sandra and Greg Walton Jackie D. Erickson and Edward M. Warner Carole A. Watters Gail Joslin Weinnig Jeanne and Craig White Betsy and George Wiegers Dianne and Leo Williams Linda and Dean Wolz Allison Wright Xcel Energy Susan and Ron Zapletal

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GIFTS TO THE ENDOWMENT A strong endowment is an essential component of every successful nonprofit institution. The Bravo! Vail Endowment Fund ensures its long-term budget relief and financial security, as well as the continuance of the highest quality music for generations to come. Endeavoring to maintain the highest level of excellence that audiences have come to expect, Bravo! Vail commits itself with renewed vigor to the mission of enhancing the cultural life of the region through music and education for all.

funds are professionally managed with oversight by the Bravo! Vail Investment Committee and are held in support of its mission.

In moving forward, increased endowment contributions will be critical to achieving the financial flexibility required to make vital investments in Bravo! Vail, including:

MILLENNIUM GROUP $50,000 and above Judy and Alan Kosloff Jean and Dick Swank

· Providing internationally renowned artists at the highest level of musical excellence · Enriching lives through music education curriculum and programs that continue to engage audiences today and into the future · Maintaining affordable ticket prices for residents and guests alike · Providing operating resources to maintain new and existing programs The perpetual earnings generated by endowment funds play a critical role in shaping the future of Bravo! Vail by supporting the programs that define and enhance the festival experience. Bravo! Vail is thankful for the community’s support it has received this far and looks forward to working with families and friends to continue to build this valuable resource. Endowment donors have the satisfaction of knowing that, through their gift, they are leaving a legacy that provides the art of music for future generations. These endowed 166

BENEFACTORS $1,000,000 and above Vicki and Kent Logan LEADERSHIP GIFT $100,000 and above Maryan and K Hurtt/ Lockheed Martin Corporation Directors Charitable Award Fund Leni and Peter May Betsy and George Wiegers

$40,000 and above Ralph and Roz Halbert Leni and Peter May Gilbert Reese Family Foundation BEST FRIENDS OF THE MILLENNIUM $20,000 and above Jayne and Paul Becker Jan Broman The Cordillera Group Linda and Mitch Hart Fran and Don Herdrich Sue and Gene Mercy Susan and Rich Rogel BEST FRIENDS OF THE ENDOWMENT $10,000 and above Mary Ellen and Jack Curley The Francis Family Merv Lapin Amy and Jay Regan Gilbert Reese Family Foundation $5,000 and above Mr. and Mrs. Elton G. Beebe, Sr. Margo and Roger Behler Carolyn and Gary Cage Jeri and Charlie Campisi Kay and E.B. Chester In Memory of Louise and Don Hettermann

Millie and Vic Dankis FirstBank Susan and Harry Frampton Linda and John Galvin Sheika and Pepi Gramshammer Nita and Bill Griffin Becky Hernreich Bob Hernreich Mary and Jim Hesburgh Gretchen and Jay Jordan Kensington Partners Alexandra and Robert Linn Gerard P. Lynch Sue and Gene Mercy Priscilla O’Neil Patricia O’Neill and John Moore Joan and Richard Ringoen Family Foundation, Inc. Terie and Gary Roubos Terie and Gary Roubos Foundation Seevak Family Foundation Helen and Vincent Sheehy The Smiley Family Claudia Smith Mark Smith Cathy and Howard Stone Stewart Turley Foundation, Inc. TRUSTEES’ MILLENNIUM FUND $2,000 and above Sallie and Robert Fawcett Mr. and Mrs. Lawrence Flinn, Jr. June and Peter Kalkus Kalkus Foundation, Inc. Karen and Walter Loewenstern Merz Family Ron and Zoe Rozga Dr. and Mrs. William T. Seed Deb and Rob Shay Karin and Bob Weber Anne and Dennis Wentz Barbara and Jack Woodhull Bob Zinn For more information, please contact: Jeanne Reid White Vice President - Development 970-827-5700 jreid@bravovail.org

SPECIAL GIFTS 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 excellence of performing artists and programming. 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 Argie Ligeros Artistic Director Chair Bravo! Vail gratefully acknowledges this gift which supports Artistic Director Anne-Marie McDermott in her vision of bringing exciting and innovative programming and performing artists to Bravo! Vail. Town of Vail Bravo! Vail wishes to acknowledge the vision of the Town of Vail and its Council Members for their most generous underwriting of the residencies of the New York Philharmonic, The Philadelphia Orchestra, and Bravo! Vail’s Education and Community Engagement Programs. Their support of Bravo! Vail since its inception has served to enhance and ensure the Festival’s continued success. The Lyn and Phillip Goldstein Piano Concerto Artist Project The quality of individual performers sets Bravo! Vail apart from all others. This generous gift from Lyn and Phillip Goldstein supports artistic expenses associated with the Festival’s piano concerto artists. This gift will be recognized in perpetuity.

The Betsy Wiegers Choral Fund in Honor of John W. Giovando Bravo! Vail wishes to acknowledge The Betsy Wiegers Choral Fund in Honor of John W. Giovando. Created by Betsy Wiegers, the Fund will underwrite the performance of a choral work each year for 10 years. The 2014 season features The Dallas Symphony Orchestra, Jaap van Zweden, conductor, in a performance of Beethoven’s 9th on June 28, 2014. The Philadelphia Orchestra Challenge Grant The presentation of The Philadelphia Orchestra marked a milestone in the history of Bravo! Vail. In order to ensure its continuation as a resident orchestra, a Challenge Grant was issued in both 2013 and 2014 by Ann Smead and Michael Byram, Peggy Fossett and Betsy and George Wiegers to encourage other donors to match their generous contributions. Thank you! 13th Annual Patron Ski Day Many thanks to Cookie and Jim Flaum, Jeremy L. Krieg of New York Life, West Vail Liquor Mart and Elway’s Restaurant for underwriting the 13th Annual Patron Ski Day in March. Bravo! Vail Guide to the Music The Festival is proud to present the Bravo! Vail Guide to the Music created by James W. Palermo as a guide to help inform and educate our audiences. The Guide has been underwritten through a generous gift from Linda and Mitch Hart of Beaver Creek. Linda and Mitch are dedicated to promoting music education on regional and national levels, and this gift is sincerely appreciated. Thank you!

Rehearsal Space Cathy and Howard Stone, Vail Mountain School, Manor Vail, and the Vail Interfaith Chapel all provide invaluable rehearsal space. Thank you for this unique gift. Alpine Bank Radio and Media Program The Festival receives radio and television promotion through a unique program designed and funded by Alpine Bank. Their gracious support of music education programs is also greatly appreciated. Local Transportation The Festival acknowledges Colorado Mountain Express for their generous support in assisting Festival artists with local transportation to and from airports in both Denver and Eagle. Media Acknowledgements The Festival is pleased to acknowledge support from CMNM, Colorado Printing Company, Colorado Public Radio, Hill Aevium, KZYR the Zephyr, Radio Free Minturn, Tiga Advertising, Town of Vail, Vail Daily, Vail Valley Partnership, Vail Local Marketing District Advisory Committee, Vail Resorts, and Vail Town Council. Festival Physicians The Festival extends sincere appreciation to Festival Physicians Dr. Lisa L. Muncy-Pietrzak, MD, ABHM of Vibrant Health of Vail and Dr. David Cohen, MD, for their invaluable service to Festival musicians and audiences.

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CORPORATE AND GOVERNMENT SUPPORT

Bravo! Vail is indebted to the Town of Vail, the Vail Town Council and the festival’s many additional corporate, government and community partners for their financial support. The Bravo! Vail Board of Trustees thanks these partners whose financial investments make the festival possible.

ALLEGRO ($10,000 and above) Alpine Bank** Colorado Creative Industries** Silver Oak and Twomey Wells Fargo Private Bank**

GRAND BENEFACTOR ($100,000 and above) Town of Vail** Vail Valley Foundation*****

BENEFACTOR ($5,000 and above) JP Morgan Jeremy Krieg of New York Life* Town of Gypsum** Vail Jazz Foundation Xcel Energy*

OVATION ($15,000 and above) National Endowment of the Arts* Slifer Smith & Frampton Real Estate** Town of Avon US Bank** US Bancorp Foundation

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SOLOIST ($7,000 and above) Ascent Sotheby’s International Realty Beaver Creek Resort Company Triumph Partners

PATRON ($3,000 and above) Eagle County** FirstBank** Valerie and Noel Harris and Wall Street Insurance

CONTRIBUTOR ($1,200 and above) Bank of America Matching Gifts Eagle Ranch Homeowners Association* Exxon Mobil** Lodge and Spa at Cordillera FRIEND ($600 and above) Sprint Foundation The Prudential Foundation Matching Gifts Program PRELUDE ($25 and above) Colorado Expression and Confetti Magazine Community First Foundation Nina McLemore *Denotes 5 years of consecutive giving

IN-KIND GIFTS Bravo! Vail is grateful to all of its partners who provide gifts in kindness. These donations play a vital role in the success of the Festival, and ensure its ability to continue its legacy of artistic excellence.

Town of Avon Vail Catering Concepts David Walford Westin Riverfront Resort and Spa Betsy and George Wiegers Yamaha

PREMIER BENEFACTOR ($50,000 and above) Antlers at Vail FirstBank RockResorts Town of Vail Vail Cascade Resort and Spa Vail Resorts Vail Resorts Echo Program Vail Resorts Development Company Vail Valley Foundation West Vail Liquor Mart

SOLOIST ($7,000 and above) Dierdre and Ronnie Baker The Christie Lodge Destination Resorts The Lifthouse Condominiums Sebastian Vail Vail Marriott Mountain Resort and Spa Vail Mountain Lodge and Spa Vail Racquet Club Westwind Condos

IMPRESARIO ($25,000 and above) Bravo! Vail Board of Trustees and Advisory Council Bravo! Vail Development Committee Bravo! Vail Gala Committee Bravo! Vail Guild Colorado Public Radio Silver Oak and Twomey Dr. Agnes Hsu-Tang and Oscar Tang VIRTUOSO ($20,000 and above) Dr. Lisa Muncy-Pietrzak Neyzen Travel and Yachting OVATION ($15,000 and above) Alpine Bank Vintage Magnolia ALLEGRO ($10,000 and above) Crazy Mountain Brewing Company Marijke and Lodewijk de Vink Jeanne and Jim Gustafson Foods of Vail Four Seasons Resort Vail Vera and John Hathaway Hill Aevium Alan and Judy Kosloff The Left Bank Lodge at Vail Manor Vail Lodge Mirabelle at Beaver Creek Shirley and William S. McIntyre, IV Republic National Distributing Company Splendido at the Chateau Tiga Advertising

BENEFACTOR ($5,000 and above) The Arrabelle at Vail Square Axel’s Lisa Tannebaum and Don Brownstein Dr. David Cohen Colorado Mountain Express Elway’s Cookie and Jim Flaum The Francis Family Gore Range Brewery Gorsuch Ltd. Joyce and Judson Green Elizabeth Keay Joyce and Paul Krasnow Dr. Albert Lichtmann Lodge at Lionshead Vicki and Kent Logan Donna and Pat Martin Laura and Jim Marx Olivia and Rod Miller James W. Palermo Kent Pettit Photography Amanda Precourt Sally and Byron Rose Sitzmark Lodge Cathy and Howard Stone Susan and Steven Suggs PATRON ($3,000 and above) Alpine Party Rentals Evergreen Lodge The Fitz at Manor Vail Kathy and Allan Hubbard Mountain Standard Lisa and Ken Schanzer

Sweet Basil Terra Bistro Sandra and Greg Walton Woods & Son Piano Co. CONTRIBUTOR ($1,200 and above) Breckenridge Vodka The Golden Bear Jenn and Luca Bruno La Tour Sherman & Howard LLC Sweet Pea Designs Vail Fine Art Gallery Vail Mountain School FRIEND ($600 and above) The Ritz-Carlton, Bachelor Gulch Country Club of the Rockies Vail Jazz Foundation Wagner and Associates DONOR ($300 and above) Asian Village Big O Tires Comedy Works Arlene and John Dayton Jazz Aspen Snowmass Karats The Lodge and Spa at Cordillera YMCA of the Rockies PRELUDE ($25 and above) Bookworm of Edwards Boulder Philharmonic Campo de Fiori Denver Art Museum Denver Film Society Denver Museum of Nature and Science Denver Zoo Disneyland Resort Glenwood Caverns Adventure Park Grouse Mountain Grill J. Cotter Gallery Kroenke Sports Enterprise Lead Foot Linda’s Minturn Saloon Nantahala Outdoor Center Nicky’s Quickie Pier 39 Spa Anjali at the Westin Riverfront Tennessee Pass Nordic Center and Cookhouse Ti Amo Italian Restaurant Up the Creek Bar and Grill Westside Cafe

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Bravo! vail staff President James W. Palermo

Technology Director of Technology David Judd

Artistic Director Anne-Marie McDermott

Operations/Education Director of Operations Elli Gauthier

Artistic Director of Artistic Planning Jacqueline Taylor

Education & Community Engagement Coordinator Dina Patsiavos

Development Vice President of Development Jeanne Reid White

Concert Production Manager Brett Logan

Director of Development Caitlin Murray Records Management & Donor Fulfillment Coordinator Beth Pantzer Marketing and Public Relations Vice President of Marketing & Executive Vice President Lisa Mallory Box Office & Fulfillment Manager Nancy Stevens Marketing Manager Carly West Marketing Associate Sabrina Green Box Office & Fulfillment Associate Jonny Stevens Box Office Staff Megan Roepke Kristen Caples Administration Vice President of Administration & Finance Julie Johannes Finance & Administrative Manager Irene Emma Office Manager Eden Badgett Certified Public Accountant Stephanie Novosad Novosad, Lyle, Associates, P.C.

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Production Crew Paul Casey Devin Klepper Rane Logan Zac Logan Kalen Martinez Robert Pastore Jr. Brandon Reid Steve Schaefer Piano Technician Reid Schaefer Sound Engineering Mountainside Productions, Inc. THD Productions Audio Recording David Wilson Seasonal Staff Artist Liaison John Jungerberg, University of Wisconsin Madison Festival Internship Program: Development Interns Alyssa Blades, Lauren Scarborough Marketing Interns Alex Garcia, Elizabeth Roewe Operations and Education Interns Rose Gear, Ivan Ugorich Resident Orchestra Physicians David Cohen, MD Lisa Muncy, MD, ABHM Guild Bravo! Vail extends a sincere thank you to the individuals who donate countless hours of volunteer time to the Bravo! Vail Guild. Proceeds

from The Guild support Bravo! Vail’s Community Engagement and Education Programs. Please consider supporting the Guild’s efforts by purchasing commemorative Bravo! Vail merchandise next to the main concession stand. Mary Jo Allen Kay Ash Janet Beals Joan Berger Pat Blood Barbara Bower Anne Brown Peggy Buchannan Judy and David Carson Barbara Coffey Jackie Cohen Nancy Collins Dolly and Rod Corlin Pam and Jim Crine Doris Dewton and Dick Gretz Carol and Gregg Dobbs Holly Eastman Ann and Sandy Faison Eleanor Finlay Michael Forster Warren Garbe Greer and Jack Gardner Frances Goldman Pam Hamilton Irene Hayes Summer Holm Becky Hopkins Elizabeth Janowitz Sharon Johnson Jane Jones Jean Kearns Liz Keay Betty Kerman Becky Kiser Milly Kohlman Marion and Don Laughlin Donna London Ann Loper Hank Mader Irene and Gordon Malensek Melanna Marcellot Lynn Martin Sharon Martin Louise McGaughey

SPECIAL NOTES Carole Ann McNeill Ferol Mensel Martha and Kevin Milbery Mary Jane and Frank Miller Sandy Morrison Susan and Paolo Narduzzi Gail and Chuck Nash Karen Rich Nauman Suzette Newman Nancy Nottingham Linda and Don Orseck Diane Parks Tom Russo Scott Schaefer Carol Schimmer Andy Searls Charlie Sherwood Connie and Bill Smith Diane and Mark Smooke Paige Sodergren Luisa Stafford Joanne and Frank Strauss Cynthia and Harold Turtletaub Judy and Michael Turtletaub Pamela Vonmende Dianne and Leo Williams Linda and Dean Wolz Allison Wright Linda Zerangue Bravo! Vail Piano Program Teachers Bora Basyildiz Erica Broniac Woody Brook Zachary Brown Jessica Hazard Jenna Jay Luis Juarez Whitney Miller Assistant Teachers Kirstyn Bucceri Jonathan Cole Jeff Hemingson Camilla Petterson Maggie Shaffer Volunteers Arzu Basyildiz Bill Clinkenbeard Amy Cochran Cookie Flaum

Special Notes Disability access is available at all concert venues. Please call the Bravo! Vail offices at 970.827.4316 for further information. The use of cell phones and electronic devices is prohibited during concerts. Sound recording or photographing of concerts is strictly prohibited. Concerts start punctually at the time indicated. Latecomers may be admitted at the completion of the first movement or work. Please respect the volunteer ushers. We ask that adults accompany small children at all times. Artists are subject to change without prior notice and a change of artist is not cause for a refund. Program annotations by © Richard Rodda. Please save your program book for the duration of the Festival and recycle unwanted materials. Bravo! Vail and the Bravo! Vail logo are trademarks of Bravo! Colorado @ Beaver Creek-Vail, Inc in the United States. Information is subject to change without notice. © 2014 Bravo! Vail. All rights reserved. Bravo! Vail Program Book © 2014. Mail/Administration 2271 N Frontage Rd W, Suite C Vail, CO 81657 970.827.5700 | 877.827.5700 toll free Fax 970.827.5707 TICKETS To order by phone, please call toll free 877.812.5700. Hours: 9:00AM – 4:00PM Monday through Friday, 10:00AM – 3:00PM Saturday and Sunday (The box office will be closed after August 2, 2014) Walk up: The Gerald R. Ford Amphitheater, Vail Mountain School, Donovan Pavilion, and

the Vilar Performing Arts Center outlets are open one hour prior to concert time. E-mail: info@bravovail.org Web site/online tickets: www.bravovail.org All sales are final. There are no refunds or exchanges. Inclement weather is not a cause for refund unless a performance is cancelled. There is a $6 handling fee for all orders. If you are unable to attend a concert, please call the Bravo! Vail offices at 877.812.5700 prior to the concert to donate your tickets. A tax receipt will be issued to you for your ticket donation. Thank you! Gerald R. Ford Amphitheater information: The lobby opens 90 minutes prior to concert. Access to venue seating begins 60 minutes prior. Lawn seating available on a first come-first served basis. The Gerald R. Ford Amphitheater is fully ADA compliant and provides special accommodations for those with limited mobility. The following are policies of the Gerald R. Ford Amphitheater Management and are not permitted in the facility: Audio and video recording devices, lawn chairs, cameras, cigarette and cigar smoking, skateboards, bicycles, scooters, in-line skates, pets, and alcoholic beverages. Concessions with food, beverage, and alcohol sales are available at the facility. Picnics and commercially sealed non-alcoholic beverages are permitted. Personnel directly associated with the Management of the Amphitheater will inspect all private refreshment coolers and personal items at the entrance gates.

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Jazz Guitar, Continued From Page 37

he won an Oscar for Somewhere Over the Rainbow in the iconic 1939 The Wizard of Oz, and New York, where he composed a half-dozen Broadway musicals (the 1954 Jamaica was nominated for a Tony as Best Musical) and such American Songbook classics as Blues in the Night, Ac-cent-tchu-ate the Positive, That Old Black Magic, One for My Baby and The Man That Got Away that earned him induction into the Songwriters Hall of Fame. Edward Kennedy (“Duke”) Ellington (1899-1974) performed in jazz and ragtime bands in his native Washington, D.C. as a teenager. In 1923, he moved to New York, where he played in and composed for a small combo before founding the big band that he led for the next half century. The success of his Mood Indigo in 1930 brought Ellington world-wide fame, which led to appearances in Hollywood films, tours across America and Europe, and more than 200 recordings. In the mid-1940s, he began writing large-scale compositions in jazz style for his own band and for concert orchestra, including a series of suites, music for film and stage, and, in his last decade, sacred works. For his work as a bandleader and composer, Ellington received many awards, including the Presidential Medal of Freedom, honorary degrees from Howard and Yale universities, and membership in the National Institute of Arts and Letters. Beethoven’s 9TH, Continued From Page 41

this movement is a variation on two themes, almost like two separate kinds of music that alternate with each other. The majestic closing movement is divided into two large parts: the first instrumental, the second with chorus and soloists. Beethoven chose to set about two-thirds of the original 96 lines of Schiller’s poem. To these, he added two lines of his own for the baritone soloist as a transition to the choral section. A shrieking dissonance introduces the instrumental recitative for cellos and basses that joins together brief thematic reminiscences from the three preceding movements. The wondrous Ode to Joy theme appears unadorned in the low strings, and is the subject of a set of increasingly powerful variations. The shrieking dissonance is again hurled forth, but this time the ensuing recitative is given voice and words 180

by the baritone soloist. “Oh, friends,” he sings, “no more of these sad tones! Rather let us raise our voices together, and joyful be our song.” The song is the Ode to Joy, presented with transcendent jubilation by the chorus. Many sections based on the theme of the Ode follow, some martial, some fugal, all radiant with the glory of Beethoven’s vision. The Ninth Symphony is “one of the greatest achievements of the human spirit,” according to musicologist Edward Downes. Frédéric Chopin, probably the Romantic composer least influenced by Beethoven but one who knew well the possibilities of musical expression, told a friend, “Beethoven embraced the universe with the power of his spirit.” Ravel’s Boléro, Continued From Page 45

Scene Three is again set in the meadow of the ballet’s first scene. It is sunrise. Herdsmen arrive and tell Daphnis that Chloé has been rescued. She appears and throws herself into Daphnis’ arms. The old shepherd Lammon explains to them that Pan has saved Chloé in remembrance of his love for the nymph Syrinx. In gratitude, Daphnis and Chloé reenact the ancient tale, in which Syrinx is transformed into a reed by her sisters to save her from the lustful pursuit of Pan, who then made a flute from that selfsame reed — the pipes of Pan — upon which to play away his longing. Daphnis and Chloé embrace tenderly, and join in the general joyous dance that ends the ballet. The Second Suite parallels the action of the ballet’s final Scene: Daybreak, Pantomime of the adventure of Pan and Syrinx, and the concluding General Dance. Boléro (1928) Maurice Ravel Ravel originated what he once called his “danse lascive” at the suggestion of Ida Rubinstein, the famed ballerina who also inspired works from Debussy, Honegger and Stravinsky. Rubinstein’s balletic interpretation of Boléro, set in a rustic Spanish tavern, portrayed a voluptuous dancer whose stomps and whirls atop a table incite the men in the bar to mounting fervor. With growing intensity, they join in her dance until, in a brilliant coup de théâtre, knives are drawn and violence flares on stage at the moment near the end where the music modulates, breathtakingly, from the key of C to the key of E. Ravel wrote, “Boléro consists wholly of ‘orchestral tissue without music’ — one long, very gradual crescendo. There are no contrasts, there

is practically no invention except the plan and the manner of execution. The themes are altogether impersonal ... folktunes of the usual SpanishArabian kind, and (whatever may have been said to the contrary) the orchestral writing is simple and straightforward throughout, without the slightest attempt at virtuosity.” Copland And Barber, Continued From Page 49

theme in similar style initiated by oboes and clarinets; and a broad phrase of unsettled tonality from the trombones. The trombone phrase is worked out at some length and rises to a mighty climax before a sudden quiet ushers in the briefer second section, in which the first two themes are ingeniously combined to lead to an even more violent outburst based on the trombone motive. Another abrupt hush begins the coda, which is built from variants of the first and second themes exquisitely suspended in a musical setting of unaffected beauty and sweet melancholy. The Scherzo begins with a boisterous brass preview of the movement’s principal theme. The theme is presented in full by horn, clarinets and violas in a more deliberate tempo, and recurs twice with intervening episodes. The central trio is given over to a folksy little waltz melody. The main part of the Andantino is occupied by what Copland called a “close-knit series of variations” on a graceful theme presented by the solo flute. The melody, he continued, “supplies thematic substance for the sectional metamorphoses that follow: at first with quiet singing nostalgia; then faster and heavier — almost dance-like; then more child-like and naive; and finally vigorous and forthright.” Framing these variations as introduction and postlude are austere, almost mysterious transformations of the trombone theme from the first movement hung high in the violins. The Finale follows without pause. The Fanfare for the Common Man, written in 1942 at the invitation of Eugene Goossens for a series of wartime fanfares introduced under his direction with the Cincinnati Symphony, provides the thematic material for the introduction. The main portion of the movement begins with the presentation of an animated, syncopated theme by the oboe. A broad restatement of the Fanfare motive by the trombones opens the development section, which is unusual in that the structural second theme, a lyrical strain of swaying metric configuration, is embedded within it. The development builds to a climax. The recapitulation

weaves together the finale’s principal theme, fragments of the Fanfare and the opening motive of the first movement. Hollywood Film Score Classics, Continued From Page 59

This concert of “Hollywood Film Score Classics” is rounded out by some of the music that epitomizes two of the American screen’s quintessential genres: the Western and James Bond. The Old West has served as the setting for cinematic tales of cowboys and gunslingers, ranchers and farmers, lawmen and outlaws ever since Arkansas-born Broncho Billy Anderson galloped onto the screen in 1903 to become the Western’s first star. Hollywood Westerns were popular fare during the silent era, but became B-movie, small-studio affairs when the advent of sound in 1928 made speech and music dominant elements. The Western was revived with new scope, scenic value and dramatic intensity by John Ford’s Stagecoach of 1939, which fostered a wealth of now-classic (and many not-so-classic) films for which John Wayne became the iconic image. The Western preserves the great American myth/history that, according to the American Film Institute, “embodies the spirit, the struggle and the demise of the new frontier.” The character of James Bond appeared in Ian Fleming’s 1953 Casino Royale and a dozen more spy thrillers before the author’s death in 1964, and became the inspiration for novels by other writers, adaptations for television, radio, comic strips and video games, and the second-highest-grossing film series of all time, following only Harry Potter. Eon Productions has released 23 Bond films since Dr. No in 1962 that have all featured guns, gadgets, girls, cars, exotic locales, impossible escapes and explosive climaxes as mandatory elements. (Fleming named his hero after a well-known American ornithologist — he was an avid birdwatcher — because he said it was the “dullest name I ever heard.”) The suite on this concert highlights some of the Bond series’ most memorable musical moments. Joshua Bell Returns, Continued From Page 67

Symphony was not a direct result of his marital disaster. All that — the July wedding, the mere eighteen days of bitter conjugal farce, the two separations — postdated the actual composition of the Symphony by a few months. What Tchaikovsky found in his relationship with this woman (who by 1877 already showed signs of approaching the door 181

Joshua Bell Returns, Continued From Page 181

of the mental ward in which, still legally married to him, she died in 1917) was a confirmation of his belief in the inexorable workings of Fate in human destiny. After the premiere, Tchaikovsky wrote of the emotional content of the Fourth Symphony: “The introduction [blaring brasses heard immediately in a motto theme that recurs throughout the Symphony] is the kernel of the whole Symphony. This is Fate, which hinders one in the pursuit of happiness. There is nothing to do but to submit and vainly complain [the melancholy, syncopated shadow-waltz of the main theme, heard in the strings]. Would it not be better to turn away from reality and lull one’s self in dreams? [The second theme is begun by the clarinet.] But no — these are but dreams: roughly we are awakened by Fate. [A brass fanfare begins the development.] The second movement shows another phase of sadness. How sad it is that so much has already been and gone! It is sad, yet sweet, to lose one’s self in the past. In the third movement are capricious arabesques, vague figures which slip into the imagination when one has taken wine and is slightly intoxicated. Military music is heard in the distance. As to the finale, if you find no pleasure in yourself, go to the people. The picture of a folk holiday. [The finale employs the folk song A Birch Stood in the Meadow.] Rejoice in the happiness of others — and you can still live.” Mahler’s 1ST, Continued From Page 71

quite literally, at the train station. The emotional turbulence of all these encounters found its way into the First Symphony, especially the finale, but, looking back in 1896, Mahler put these experiences into a better perspective. “The Symphony,” he wrote, “begins where the love affair [with Johanne Richter] ends; it is based on the affair that preceded the Symphony in the emotional life of the composer. But the extrinsic experience became the occasion, not the message of the work.” The Symphony begins with an evocation of verdant springtime. The movement’s main theme, heard softly in the cellos, is based on the second of the Songs of a Wayfarer, Ging heut’ Morgen übers Feld (“I Crossed the Meadow this Morn”). The first 182

movement is largely given over to this theme combined with the spring sounds of the introduction The second movement is a dressed-up version of the Austrian peasant dance known as the Ländler wrapped around a gentle central trio. The third movement begins and ends with a lugubrious transformation of the European folk song known most widely by its French title, Frére Jacques. The central section contains a melody marked “Mit Parodie” (played “col legno” by the strings, i.e., tapping with the wood of the bow), and a simple, tender theme based on another melody from the Wayfarer songs, Die zwei blauen Augen (“The Two Blue Eyes”). The finale, according to Bruno Walter, Mahler’s conducting protégé, is filled with “raging vehemence.” The stormy character of the beginning is maintained for much of the movement. Throughout, themes from earlier movements are heard again, with the hunting calls of the opening introduction given special prominence. The tempest is finally blown away by a blast from the horns to usher in the triumphant ending of the work. Brahms Symphony No. 3, Continued From Page 75

every other one in Brahms’ life in which a respectable woman was involved, never grew any deeper. He used to declare, perhaps only half in jest, that he lived his life by two principles, “and one of them is never to attempt either an opera or a marriage.” Perhaps what he really needed was a muse rather than a wife. At any rate, Brahms spent the summer of 1883 not at his usual haunts in the Austrian hills and lakes, but at the German spa of Wiesbaden, which just happened to be the home of Hermine. Work went well on the new symphony, and it was completed before he returned to Vienna in October. The two bold opening chords that begin the Symphony juxtapose bright F major and a somber chromatic harmony in the opposing moods of light and shadow that course throughout the work. The main theme comes from the strings “like a bolt from Jove,” according to Olin Downes; the pastoral second subject is sung softly by the clarinet. The development section is brief, but includes elaborations of most of the motives from the exposition before the movement is rounded out by a full recapitulation of the earlier materials and a long coda based on the main theme. A folk-like theme appears in the rich colors of the low woodwinds and low strings to open the Andante; the central section

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Brahms Symphony No. 3, Continued From Page 182

is a Slavic-sounding plaint intoned by clarinet and bassoon. The ternary-form third movement (A–B–A) utilizes the warmest tone colors of the orchestra. The finale begins with a sinuous theme of brooding character. A chant-like processional derived from the Slavic theme of the second movement provides contrast. Further thematic material is introduced (one theme is arch-shaped; the other, more rhythmically vigorous) and well examined. The central section fuses the functions of development and recapitulation. There is a sense of struggle passed as the Symphony draws to its close, and the work ends with the ghost of the opening movement’s main theme infused with a sunset glow. Disney’s Fantasia , Continued From Page 81

Philadelphia Orchestra to record all the remaining segments and had the studio’s engineers work with the RCA Corporation to develop a surround sound system that would make “audiences feel as though they were standing at the podium with Stokowski.” They called the process, which used 33 microphones recorded on eight machines, “Fantasound.” Special sound systems would be installed in the theaters chosen to show the film, and one segment of Fantasia would give a visual and spoken explanation of how it worked. Recording began at Philadelphia’s Academy of Music in April 1939 and went on intermittently for seven weeks. Because of Fantasia’s unusual concept and the need for installing new and expensive sound equipment to show it, the film was initially booked into only thirteen theaters, where it would be shown twice daily to a reserved-seat audience greeted by staff hired and trained by the Disney studio. The official opening was on November 13, 1940 at the Broadway Theatre in New York, where it ran for 49 consecutive weeks. Fantasia had a similar success in other cities, but America’s entry into World War II in December 1941 and the original sound-system requirements forced the studio to re-process the soundtrack into standard mono and cut the film’s two-hour length to allow for general distribution. Critical reaction was exceptional: Bosley Crowther, film critic of The New York Times, wrote, “motionpicture history was made last night ... simply terrific”; the website Rotten Tomatoes, which aggregates film 184

reviews, concluded, “Disney’s Fantasia, a landmark in animation and a huge influence on the medium of music video, is a relentlessly inventive blend of the classics with phantasmagorical images.” In the 1990s, Roy E. Disney, the nephew of Walt, developed a sequel to Fantasia with a new set of classical masterworks performed by James Levine and the Chicago Symphony Orchestra; the film was titled Fantasia 2000 when it premiered at New York’s Carnegie Hall on December 17, 1999. Disney’s FANTASIA — Live in Concert presents sequences from both of these extraordinary cinematic achievements. Beethoven’s Eroica, Continued From Page 89

synopsis of Ein Heldenleben, to which the composer gave his approval. “1. The Hero. We hear first the valorous theme of the Hero. Subsidiary themes picture his pride, depth of feeling, inflexibility, sensitiveness, imagination. “2. The Hero’s Adversaries. Herein are pictured an envious and malicious crew, filled with all uncharitableness. The theme of the Hero appears in sad and meditative guise. But his dauntless courage soon reasserts itself, and the mocking hordes are put to rout. “3. The Hero’s Companion. A solo violin introduces the Hero’s Beloved. After an earnest phrase heard again and again, the orchestra breaks into a love song of heroic sweep and passion. As the ecstasy subsides, the mocking voices of the foe are heard remotely. “4. The Hero’s Battlefield. Suddenly the call to arms is heard. Distant fanfares (trumpets off-stage) summon the Hero to the conflict. The orchestra becomes a battlefield. A triumphant outburst proclaims his victory. “5. The Hero’s Works of Peace. Now begins a celebration of the Hero’s victories of peace, suggesting his spiritual evolution and achievements. We hear quotations of themes from Strauss’ earlier works: reminiscences of Death and Transfiguration, Don Quixote, Don Juan, Till Eulenspiegel, Macbeth, Also sprach Zarathustra, the music-drama Guntram, and the exquisite song Traum durch die Dämmerung (‘Dream at Twilight’). “6. The Hero’s Retreat from the World, and Fulfillment. The tubas mutter the uncouth and sinister phrase that voices the dull contempt of the benighted adversaries. Furiously, the Hero rebels and the orchestra rages. His anger subsides. An agitated memory of storm and strife again disturbs his mood, but the solo violin reminds him of the consoling presence of the Beloved One. Peace descends upon the Hero’s spirit, and the finale is majestic and serene.”

Rachmaninoff And Brahms, Continued From Page 93

he felt the need to compose for the first time since the Third Symphony of 1936. The three Symphonic Dances were written quickly at his summer retreat on Long Island Sound, an idyllic setting for creative work, where he had a studio by the water in which to work in seclusion, lovely gardens for walking, and easy access to a ride in his new cabin cruiser, one of his favorite pastimes. Still, it was the man and not the setting that was expressed in this music. “I try to make music speak directly and simply that which is in my heart at the time I am composing,” he once told an interviewer. “If there is love there, or bitterness, or sadness, or religion, these moods become part of my music, and it becomes either beautiful or bitter or sad or religious.” The first of the Symphonic Dances, in three-part form (A–B–A), is spun from a tiny three-note descending motive heard at the beginning that serves as the germ for much of the opening section’s thematic material. The middle portion is given over to a folk-like melody presented by the alto saxophone. The return of the opening section, with its distinctive falling motive, rounds out the first movement. The waltz of the second movement is more rugged and deeply expressive than the Viennese variety, and possesses the quality of inconsolable pathos that gives so much of Rachmaninoff’s music its sharply defined personality. The finale begins with a sighing introduction for the winds, which leads into a section in quicker tempo. The movement accumulates a visceral rhythmic energy and virtually explodes into the last pages, a coda based on an ancient Russian Orthodox chant. Midori Plays Tchaikovsky, Continued From Page 107

him. But he succeeds in escaping and wanders to foreign countries, among others to Morocco, where he appears as a prophet and is greeted by Arab girls. After many wonderful guidings of Fate, he at last returns as an old man, after suffering shipwreck on his way to his home, which is as poor as he left it. There the sweetheart of his youth, Solvejg, who has stayed true to him for all these years, meets him, and his weary head at last finds rest in her lap.” Les Préludes (1844-1854) Franz Liszt (1811-1886) Les Préludes had its beginning in 1844, when Liszt met the French poet Joseph Autran in Marseilles at

a banquet in the composer-pianist’s honor. Within days, Liszt set one of Autran’s poems, Les Aquilons (“The Winds”), for mixed chorus and piano; that work was performed by a local chorus almost before the ink had dried. Liszt set three further of Autran’s poems — Les Flots (“The Oceans”), Les Astres (“The Stars”) and La Terre (“The Earth”) while on tour in Spain the following year. In 1848, Liszt, having made a study of orchestration during the intervening years, tried his newly acquired skill in an overture called The Four Elements to preface the quartet of vocal compositions set to Autran’s verses. Between 1852 and 1854, Liszt completely recomposed the overture as a symphonic poem, and presented it in 1854 under the title Les Préludes, which he borrowed from a meditative poem by Lamartine: “What is life but a series of preludes to that unknown hymn, the first and solemn note of which is intoned by Death? Les Préludes loosely resembles a sonata form. It opens with a slow introduction that presents the work’s principal theme, and much of the music that follows grows from transformations of this germinal melody. The theme is presented in a bold, vigorous version by trombones to begin the sonata form proper and is soon joined by a swaying, complementary melody in the horns. The “development” section contains sentiments first martial, then loving, and finally pastoral. The “recapitulation” is devoted mostly to the lyrical complementary theme. A heroic transformation of the main theme brings Les Préludes to a stirring close. Bronfman Plays, Continued From Page 111

for his piano playing. His appeal was in an almost untamed, passionate, novel quality in both his manner of performance and his personality, characteristics that first intrigued and then captivated those who heard him. It was for his own concerts that Beethoven composed the first four of his five mature piano concertos. The opening movement of the First Piano Concerto is indebted to Mozart for its handling of the concerto-sonata form, for its technique of orchestration, and for the manner in which piano and orchestra are integrated. Beethoven added to these quintessential qualities of the Classical concerto a wider-ranging harmony, a more openly virtuosic role for the soloist and an emotional weight characteristic of his large works. The Largo is a richly colored song with an important part for the solo clarinet. The rondo-finale brims with high spirits and good humor. 185

Bronfman Plays, Continued From Page 185

Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor” (1809) Ludwig van Beethoven The year 1809 was a difficult one for Vienna and for Beethoven. In May, Napoleon invaded the city with enough firepower to send the residents scurrying and Beethoven into the basement of his brother’s house. The bombardment was close enough that he covered his sensitive ears with pillows to protect them from the concussion of the blasts. On July 29th, he wrote to the publisher Breitkopf und Härtel, “We have passed through a great deal of misery. What a disturbing, wild life around me; nothing but drums, cannons, men, misery of all sorts.” Austria’s finances were in shambles, and the annual stipend Beethoven had been promised by several noblemen who supported his work was considerably reduced in value, placing him in a precarious pecuniary predicament. As a sturdy tree can root in flinty soil, however, a great musical work grew from those unpromising circumstances — by the end of 1809 Beethoven had completed his “Emperor” Concerto. The Concerto opens with broad chords for orchestra answered by piano before the main theme is announced by the violins. The following orchestral tutti embraces a variety of secondary themes leading to a repeat of all the material by the piano accompanied by the orchestra. A development ensues with “the fury of a hail-storm,” wrote Sir Donald Tovey. A recapitulation of the themes and a cadenza close the movement. Sir George Grove dubbed the Adagio a sequence of “quasi-variations,” with the piano providing a coruscating filigree above the orchestral accompaniment. The slow movement leads directly into the finale, a vast rondo with sonata elements.

and rather static slow sections at the beginning and end providing a frame for the piece. Much of the musical material in the Concerto is derived from the five-note chord played by the strings at the very opening. As the music progresses, this chord undergoes a variety of metamorphoses, being used both to generate both melodic and further harmonic content.” Romeo and Juliet, Fantasy-Overture (1869) Peter Ilyich Tchaikovsky (1840-1893) Tchaikovsky’s evocation of Shakespeare’s starcrossed lovers is in sonata form, with introduction and coda. The slow introduction, in chorale style, depicts Friar Lawrence. The exposition begins with a vigorous, syncopated theme depicting the conflict between the Montagues and the Capulets. The contrapuntal interworkings and the rising intensity of the theme in this section suggest the fury and confusion of a fight. The battle subsides, and the well-known love theme (used here as a contrasting second theme) is sung by the English horn to represent Romeo’s passion. A tender, sighing phrase for muted violins suggests Juliet’s response. A stormy development section utilizing the driving main theme and the theme from the introduction denotes the feud between the families and Friar Lawrence’s urgent pleas for peace. The crest of the battle ushers in the recapitulation, in which the thematic material from the exposition is considerably compressed. Juliet’s sighs again provoke the ardor of Romeo, whose motive is here given a grand, emotional setting that marks the work’s high point. The tempo slows, the mood darkens, and the coda begins with a sense of impending doom. The themes of the conflict and of Friar Lawrence’s entreaties sound again, but a funereal drum beats out the cadence of the lovers’ fatal pact. Romeo’s theme appears for a final time in a poignant transformation, and the closing woodwind chords evoke visions of the flight to celestial regions.

Tchaikovsky’s Romeo & Juliet, Continued From Page 115

2009 “Composer of the Year.” He is Composer-inResidence with the New York Philharmonic from 2012 to 2014. Rouse wrote of his Oboe Concerto, “I have composed more than ten concerti, and noticed that they seem to fall into one of two categories: ‘somber’ and ‘genial.’ My Oboe Concerto is of the latter variety. It is cast in the more-or-less traditional three-movement mold (fast–slow–fast) with brief 186

American Favorites, Continued From Page 125

devices that gave Copland the reputation for being an esoteric in the early thirties.” The Concerto’s movements also reflect the two essential elements of Goodman’s popular music — sentimental blues and hot jazz. Grand Canyon Suite (1933) Ferde Grofé (1892-1972)

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American Favorites, Continued From Page 186

Ferde Grofé, most famous as the orchestrator of Gershwin’s Rhapsody in Blue and arranger for Paul Whiteman’s trend-setting popular band, wrote the Grand Canyon Suite for Whiteman’s concert at the Studebaker Theatre in Chicago on November 22, 1931, an event that sought to meld the worlds of popular and concert music. The following comments on the Grand Canyon Suite appear in the published score: “SUNRISE. It is early morning on the desert. The sun comes from beyond the horizon, and a brilliant spray of colors announces the full break of day. THE PAINTED DESERT. The desert is silent and mysterious, yet beautiful. As the bright rays of the sun are reflected against majestic crags and spread across the sands in varying hues, the entire scene appears as a canvas thick with the pigment of nature’s own blending. ON THE TRAIL. A traveler and his burro are descending the trail. The sharp hoof beats of the animal form an unusual rhythmic background for the cowboy’s song. The sounds of a waterfall tell them of a nearby oasis. A lone cabin is soon sighted and, as they near it, a music box is heard. The travelers stop at the cabin for refreshment. Now fully rested, they journey forth at a livelier pace. The movement ends as man and burro disappear in the distance. SUNSET. The shades of night sweep over the golden hues of day. There is a suggestion of animal calls coming from the distant rim of the canyon. CLOUDBURST. We hear the approach of the storm. Lightning flashes across the sky and thunder roars from the darkness. The torrent of rain reaches its height in a cloudburst, but the storm disappears rapidly and the moon comes from behind clouds. Nature again rejoices in all its grandeur.” Broadway Night, Continued From Page 131

in 1946 and collaborated with Hoagy Carmichael, Jule Styne, Burton Lane, Jimmy McHugh, Frederick Hollaender and Victor Young in creating such hits as Heart and Soul, Two Sleepy People and I Don’t Want to Walk Without You, and writing both words and music himself for the 1949 Oscar-winning Baby, It’s Cold Outside. Loesser’s final film credit was for both words and music for Samuel Goldwyn’s enchanting 1952 Hans Christian Andersen starring Danny Kaye. 188

In 1948, producers Cy Feuer and Ernest Martin lured Loesser back to New York to write the music and lyrics for Where’s Charley?, which ran for 792 performances, made the irresistible Once in Love with Amy a hit, and led Feuer and Martin to contract Loesser for their next show, a stage adaptation of Damon Runyon’s short stories about the gruff but lovable tinhorn gamblers and devoted Salvation Army missionaries who populated the blocks surrounding the 46th Street Theater, where Guys and Dolls opened on November 24, 1950. Guys and Dolls won five Tonys, including one for Best Musical, and ran for three years. With his Broadway reputation established by two hit shows, Loesser spent four years writing the book, lyrics and score for The Most Happy Fella (1956), a touching story about a middle-aged Italian immigrant wine maker in Napa, California who falls in love with a young waitress. The Most Happy Fella, filled with so much music that it has often been called (and staged as) an opera, was nominated for five Tony Awards and played for 676 performances. Loesser’s only Broadway misadventure followed in 1960 with the bucolic fantasy Greenwillow, which closed after just 97 performances, but he staged a spectacular comeback when the irreverent How to Succeed in Business Without Really Trying opened at the 46th Street Theatre on March 14, 1961; the show won seven Tonys, a Pulitzer Prize and a Grammy. Loesser’s last completed musical, Pleasures and Palaces (1965), closed out of town in Detroit and never reached New York. He started work on a musical based on Budd Schulberg’s story Señor Discretion Himself in 1966, but abandoned it after two years, shortly before his death at Mt. Sinai Hospital on July 28, 1969. Russian Classics, Continued From Page 135

a battalion of gingerbread men in battle against an invading army of mice. The Nutcracker is confronted by the Mouse King himself, and he appears about to meet his fate when Clara hurls her slipper at the rodent-monster and kills him. The mice, leaderless, flee, and the Nutcracker is transformed into a gallant Prince. As reward for saving his life, he invites Clara to visit his kingdom, and in the great hall of the castle, the Sugar-Plum Fairy and her retinue pay tribute to Clara in the Waltz of the Flowers. The ancient feud between the Turks and the peoples of the southernmost Slavic nations erupted into violence once again in 1876. The Turkish reform

government of Abdul Aziz was deposed in that year by reactionaries within the country, and Abdul Hamid II, who came to be known as “Abdul the Damned” for the brutality of his 33-year rule, was installed as sultan. Christian nationalists in the neighboring Balkan nations still ruled by Turkey agitated against the oppression Hamid undertook to reassert the dominance of the crumbling Ottoman Empire in the region, and were mercilessly slaughtered. The massacres were especially cruel and effective in Serbia, and a massive wave of sympathetic Pan-Slavism swept through Eastern Europe and Russia for military support of the small country. (Commemorative ceremonies are continued in Russia to this day by the descendants of those who were killed.) A concert to benefit the victims of the Turks was scheduled by the Russian Red Cross for Moscow in November 1876, and Tchaikovsky wrote for it the Marche Slave, based on three Serbian folk tunes and Lvov’s familiar Russian national anthem, God Save the Emperor (which he also included in the 1812 Overture of 1880).

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Bravo! Vail and Colorado Public Radio proudly announce the return of the Festival’s radio broadcast series. Thank you to all of the orchestras and musicians for making this broadcast series possible. Tune in to 88.1 FM in Vail or visit www.cpr.org to enjoy the following Bravo! Vail performances: PerForMance:

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Ravel’s Boléro

Sunday, June 29 6:00PM

Thursday, July 3 7:00PM

Tuesday, July 8 6:00PM

Tuesday, July 15 6:00PM

Saturday, July 12 6:00PM

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Saturday, July 19 6:00PM

Saturday, July 19 6:00PM - LIVE

Tuesday, July 22 6:00PM

Tuesday, July 22 6:00PM - LIVE

Tuesday, July 29 6:00PM

Saturday, August 2 7:00PM

Dallas Symphony Orchestra Jaap van Zweden, conductor Stephen Hough, piano

Vivaldi’s Four Seasons David Kim, violin Anne-Marie McDermott, piano Members of The Philadelphia Orchestra

Rachmaninoff and Brahms The Philadelphia Orchestra Yannick Nézet-Séguin, conductor Hélène Grimaud, piano

Bronfman Plays Beethoven’s Emperor New York Philharmonic Alan Gilbert, conductor Yefim Bronfman, piano

Bartók and Reich Anne-Marie McDermott, piano Gilles Vonsattel, piano Third Coast Percussion

The Music of Ravel and Rouse Le Train Bleu Calder Quartet

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Gershwin And Joplin, Continued From Page 55

them was one named for the club where he worked — the Maple Leaf Rag — which he predicted “will make me the king of ragtime composers.” He was right. He struck a lucrative deal with the local publisher John Stark, and it is estimated that within a decade Stark’s sheet music edition of the Maple Leaf Rag sold a half million copies. After several years of wandering in the Midwest (and perhaps as far away as Europe), he moved to New York in 1907 and spent much effort in composing and trying (in vain) to find a publisher for his opera, Treemonisha. Finally, in 1911, he issued the opera himself in a piano reduction, and four years later financed a private performance of the work at a Harlem rehearsal hall. There was no orchestra or staging; Joplin accompanied the singers on a piano. The mostly African-American audience responded only with boredom, and Joplin’s spirit was crushed. The following year he was admitted to a mental institution in New York, and died there on April 1, 1917 from the complications of syphilis. The Entertainer (1902) may have taken its title from advertising issued by the Maple Leaf Club in Sedalia, where Joplin was billed as “The Entertainer.” More than any other of his works, The Entertainer was responsible for the revival of interest in Joplin’s music and in American ragtime in general. The piece reached an enormous audience as the title music for the 1973 Academy Award-winning film The Sting (whose score, adapted by Marvin Hamlisch, received an Oscar and sold over two million copies), and did much to bolster the scholarship and performances then being accorded Joplin by Gunther Schuller, Joshua Rifkin and others. Joplin composed The Cascades in honor of the 1904 Louisiana Purchase Exposition in St. Louis (immortalized in Judy Garland’s 1944 film Meet Me in St. Louis), whose enormous Festival Hall seated 4,500 auditors, housed the world’s largest pipe organ, and hosted such musical luminaries as John Philip Sousa and his internationally celebrated band. The main approach to the Hall was past a magnificent display of fountains and water features known as The Cascades. Sunflower Slow Drag (1901) was a collaboration with a talented pianist and composer named Scott 192

Hayden (1882-1915) from Sedalia, Missouri, the “Cradle of Ragtime” and home to the annual Scott Joplin Ragtime Festival since 1974. Joplin served as a tutor and mentor to the aspiring young musician while he was courting Hayden’s widowed sisterin-law, and one of their four joint pieces was the Sunflower Slow Drag, which once rivaled the Maple Leaf Rag in popularity. Though the 1924 Rhapsody in Blue is usually cited as Gershwin’s initial foray into the concert world, he had been dabbling with more serious modes of musical expression for at least a half-dozen years by that time. He started composing piano miniatures — “novelettes” he called them — as early as 1917, and two years later wrote a ragtime number titled Novelette in Fourths, whose parallel intervals suggest the exotic settings then popular for operettas and Broadway musicals; he made a piano roll of the piece in 1919. In 1923, he composed a brief blues number titled Prelude Rubato with some hints of Debussy, some of whose advanced harmonies jazz and popular musicians were then trying out in their music. In January 1925, Gershwin headed a new notebook “Preludes” and started to sketch out some ideas for what he planned to be a set of 24 short piano pieces collectively titled The Melting Pot, which would include the earlier Novelette in Fourths and Prelude Rubato as well as the newly composed Prelude No. 1, Blue Lullaby and Spanish Prelude. Vivaldi’s Four Seasons, Continued From Page 77

Spring The spring has come, joyfully, The birds welcome it with merry song, And the streams flow forth with sweet murmurs. Now the sky is draped in black, Thunder and lightning announce a storm. When the storm has passed, the little birds Return to their harmonious songs. And in the lovely meadow full of flowers, To the gentle rustling of leaves and branches, The goatherd sleeps, his faithful dog at his side. To the rustic bagpipe’s merry sound, Nymphs and shepherds dance under the lovely sky When spring appears in all its brilliance. Summer In the heat of the blazing summer sun, Man and beast languish; the pine tree is scorched. The cuckoo raises his voice. Soon the turtledove and goldfinch join in the song. A gentle breeze blows,

But then the north wind whips, And the shepherd weeps As above him the dreaded storm gathers. His weary limbs are roused from rest By his fear of the lightning and fierce thunder And by the angry swarms of flies and hornets. Alas, his fears are borne out. Thunder and lightning dominate the sky, Bending down the tops of trees and flattening the grain. Autumn The peasant celebrates with dance and song The joy of a fine harvest; And filled with Bacchus’ liquor He ends his fun in sleep. Everyone is made to leave dancing and singing. The air is gentle and pleasing, And the season invites everyone To enjoy a delightful sleep. At dawn the hunters set out With horns, guns and dogs. The hunted animal flees, Terrified and exhausted by the noise Of guns and dogs. Wounded, it tries feebly to escape, But is caught and dies. Winter Freezing and shivering in the icy darkness, In the severe gusts of a terrible wind, Running and stamping one’s feet constantly, So chilled that one’s teeth chatter. Spending quiet and happy days by the fire While outside the rain pours everywhere. Walking on the ice with slow steps, Walking carefully for fear of falling, Then stepping out boldly, and falling down. Going out once again onto the ice, and running boldly Until the ice cracks and breaks, Hearing the Scirocco, The North Wind, and all the winds battling. This is winter, but such joy it brings. Keyboard Concerto in D minor, BWV 1052 (ca. 1730) Johann Sebastian Bach (1685-1750) It is said that when the Viennese were finally able to drive the Turks from their walls in 1683, the fleeing legions left behind an unforeseen legacy — coffee.

The rage for the stimulating new beverage swept through Austria and into Germany, where coffee houses became important centers of society and amusement. In order to give public concerts of instrumental music at one of the local coffee houses in Leipzig, in 1704 Georg Philipp Telemann organized some of his fellow students at the city’s university into a performing group known as the “Collegium Musicum,” a “Musical College (or Society).” So popular did their programs prove to be that they were continued after the close of the school term, though the proceedings were moved into the coffee house garden during the clement summer weather so the patrons could enjoy the pleasant outdoor setting without sacrificing propinquity to the brewing pot. Those Friday afternoon concerts became a fixture of life in Leipzig, and were still popular when Bach arrived in 1723 to assume the position of cantor and organist at the Thomas Church. In 1729, he took over the leadership of the Collegium Musicum, and continued in the post for seven years. In addition to his work at the Thomas Church and with the Collegium during those years, Bach also derived special delight from making music at home with his family. It was for use at both his home entertainments and at the Collegium concerts that Bach produced his concertos for keyboard. The vigorous opening movement of the Concerto in D minor follows the ubiquitous Baroque formal practice of “ritornello,” which is characterized by a returning orchestral refrain separated by episodes for the soloist (ritornello means “return” in Italian). The somber Adagio is an elaborately decorated song spun by the soloist above expressive harmonies in the orchestra. The finale returns the bracing vitality of the first movement. Mcdermott And Members, Continued From Page 97

for the occasion, works probably sketched in Bonn but completed in Vienna. The Trios, Op. 1, Nos. 1-3, created a sensation with Haydn and the guests, and they quickly became familiar in Vienna through word of mouth and private performances. The Trio in E-flat major is launched by a vigorous main theme juxtaposing full chords for the ensemble and little arpeggiated rockets for the piano. A climax and a winding, downward gesture from the cello lead to the second theme, a smooth hymnal construction. The development incorporates fragments from most of the earlier material. A full recapitulation rounds out the movement. The Adagio is based on an arch-shaped piano theme balanced

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by complementary episodes using legato scale patterns. The Scherzo begins ambiguously by hinting at the troubled key of C minor before settling into the expected E-flat major patterns; the central trio is gracious and ethereal. The finale is a sonata structure that uses a sly, displaced-octave motive as its first theme and a hearty trot down the scale as its second. The movement’s boisterous humor and ingenious motivic development presage many of the closing movements of Beethoven’s later masterworks. Piano Trio in B-flat major, D. 898 (1827) Franz Schubert (1797-1828) On January 31, 1827, Franz Schubert turned thirty. He had been following a bohemian existence in Vienna for over a decade, making barely more than a pittance from the sale and performance of his works and living largely by the generosity of his friends, a devoted band of music-lovers who rallied around his convivial personality and exceptional talent. The pattern of Schubert’s daily life was firmly established by that time: composition in the morning; long walks or visits in the afternoon; companionship for wine and song in the evening. The routine was broken by occasional trips into the countryside to stay with friends or families of friends — he visited Dombach, near the Vienna Woods, for several weeks in the spring of 1827 and Graz in September. A curious dichotomy marked Schubert’s personality during those final years of his life, one that suited well the Romantic image of the inspired artist, rapt out of quotidian experience to carry back to benighted humanity some transcendent vision. “Anyone who had seen him only in the morning, in the throes of composition, will never forget it — though in the afternoon, to be sure, he became another person,” recorded one friend. The ability to mirror his own fluctuating feelings in his compositions — the darkening cloud momentarily obscuring the bright sunlight — is one of Schubert’s most remarkable and characteristic achievements, and touches indelibly the incomparable series of works — Winterreise, the “Great” C major Symphony, last three Piano Sonatas, String Quintet, two Piano Trios, Impromptus — that he created during the last months of his brief life.

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A sense of conviviality and expressive bounty floods from the opening theme of the B-flat Trio, a sweeping melody for the strings that paraphrases Schubert’s song Des Sängers Habe (“The Singer’s Possession”) of February 1825, whose text virtually summarizes his music-bound existence: “Shatter all my happiness in pieces, take from me all my worldly wealth, yet leave me only my zither and I shall still be happy and rich!” The subsidiary subject is a lyrical inspiration sung by the cello above rippling piano triplets. Both themes figure in the development section. The Andante is one of those creations of ravishing lyrical beauty that could have been conceived by no one but Schubert. Its outer sections, calm and almost nocturnal in expression, take as their theme a flowing cello melody in the nature of a barcarolle. An agitated, minor-key central section provides formal and emotional contrast. The Scherzo and Trio comprising the third movement juxtapose the two most popular Viennese dances of the day — the Ländler and the waltz, just the sort of thing that Schubert loved to improvise to accompany the dancing of his friends at their soirées. Schubert called the finale a “Rondo,” but its theme returns with such extensive alterations that the movement’s formal type is closer to a developmental sonata form than to the traditional refrain-based rondo structure. Here, also, Schubert hinted in the main theme at an earlier song, Skolie (1815): “Let us, in the bright May morning, take delight in the brief life of the flower, before its fragrance disappears.” Bartók And Reich, Continued From Page 121

has already been mentioned in connection with the introduction); then there follows a contrasting theme which gives rise to a broadly fashioned concluding section, at the end of which the contrasting theme again appears briefly. The development section, after a short transition with fourths overlaying each other, consists basically of three sections. The first of these uses the second theme of the principal subject group as an ostinato motive, above which the imitative working-out of the first theme of the principal group takes on the character of an interlude. After this, the first section is repeated in greatly altered form. The recapitulation has no real final section; this is replaced by a fairly extensive coda which (with a fugato opening) is based on the concluding theme, to which the principal theme is eventually added. The second movement is in simple ternary form, a-b-a. The third movement represents a combination of

rondo and sonata form. Between the exposition and the reprise there appears a new thematic group fashioned from two motives of the first theme, treated in imitation. The coda, which dies away pianissimo, concludes this movement and the work.” Sextet for Percussion, Two Pianos and Two Synthesizers (1984) Steve Reich (born in 1936) Steve Reich, one of America’s most influential composers, was born in New York in 1936 and earned a philosophy degree from Cornell before undertaking study in music at Juilliard with Persichetti and Bergsma and at Mills College in Oakland with Milhaud and Berio. After finishing his master’s degree at Mills in 1963, Reich stayed in San Francisco (he supported himself by driving a cab), and began developing a musical language based on slowly changing consonant harmonies sounded in steady, pulsing rhythms, a style that soon came to be known as “Minimalism” (though Reich and other Minimalists — Glass, Adams, Riley — dislike the term; Debussy likewise insisted that he was not an “Impressionist”). Reich’s style also incorporated “phase-shifting,” a technique in which two or more identical musical streams moving at slightly different speeds begin in unison, gradually get farther and farther out of sync, and eventually end up together again. Back in New York in 1967, Reich founded an ensemble to perform his music live, and he created for the group a repertory that came to include a variety of works embodying not only Minimalism and phase-shifting, but also the influences of jazz, African drumming (which he studied in Ghana in 1970), Balinese gamelan, European Medieval and Renaissance music, and traditional Hebrew cantillation. Reich’s style has continued to evolve, and each of his works creates a distinctive sound world, subtle, hypnotic and luminous, through his remarkable ingenuity in finding new rhythmic, harmonic and timbral constructions. In recent years, Reich has focused on developing a revolutionary kind of stage piece that melds vocal and instrumental music, text, live action and video. The Cave (premiered in Vienna in 1993), with text and video by Beryl Korot, incorporates the spoken responses of Israelis, Palestinians and Americans to questions about the Biblical story of Abraham. Hindenburg, the first part of a three-act music-theater piece titled Three Tales on the topic of 20th-century technology and its consequences, was introduced at the Spoleto

USA Festival in May 1998; Bikini (on atomic bomb testing) and Dolly (on cloning) were premiered as part of the complete Three Tales in Vienna in 2002. Reich wrote, “Sextet is in five movements played without pause. The relationship of the five movements is that of an arch form: A–B–C–B–A. The first and last movements are fast, the second and fourth moderate, and the third, slow. Changes of tempo are made abruptly at the beginning of new movements by metric modulation to either get slower or faster. Movements are also organized harmonically with one chord cycle for the first and fifth, another for the second and fourth, and yet another for the third. The harmonies used are largely dominant chords with added tones creating a somewhat darker, chromatic and more varied harmonic language, suggested by The Desert Music (1984).” Music Of Ravel And Rouse, Continued From Page 142

of Music, and has been on the composition faculty of the Juilliard School since 1997. Among his distinctions are a Pulitzer Prize, a Grammy, Friedheim Award of Kennedy Center, election to the American Academy of Arts and Letters, and recognition as Musical America’s 2009 “Composer of the Year.” He is Composer-in-Residence with the New York Philharmonic from 2012 to 2014. The traditional daily cycle of Roman Catholic services came into being during the early Christian era to focus the thoughts and the time of the devout fully on the worship of God. In addition to the public service of the Mass, the cloistered clergy were also required to participate in a series of eight smaller services — the “Divine Offices” — spread throughout the day: Matins and Lauds bracketed sunrise; Prime, Terce, Sext and Nones followed at two or threehour intervals; Vespers and Compline were observed consecutively, joined at the moment of sunset. Rouse claimed that his Compline has no overt religious references, but the piece seems not untouched by some Roman associations. During a residency in Rome, Rouse observed the pervasive influence of the Church on Italian life, one of whose musical symbols is the frequent tolling of bells, which finds an echo in the ostinato of the work’s two fast sections. The slow episode separating these quick episodes evokes the time of dusk, the hour of Compline, when the bustle of the day slips into the quieter moments of evening. The coda is music of the night, floating, transcendent, lifted out of time. A 195

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final distant echo of the tolling bells brings the work to an introspective close. String Quartet No. 1 (1981-1982) Christopher Rouse The composer wrote, “As my First Quartet was conceived and largely composed in 1981, the centenary of Béla Bartók’s birth, I elected to make the Quartet a conscious homage to that greatest of 20th-century quartet composers. The assassination of [Egyptian President] Anwar el-Sadat on October 6th of that year effected a partial modification of the original plan through my decision to base most of the important pitch material of the work on the initials of Sadat’s name. Cast as a five-movement score without breaks — but with the addition of a brief epilogue — the Quartet is structured in arch form. The first, third and fifth movements are sets of variations (with three variations in each movement, each variation being further subdivided into two sections — the first stressing repeated notes, the second featuring spasmodic homorhythms [i.e., the same rhythms in all parts]); the second and fourth are freer and intentionally rely on various Bartókian gestures (glissandi, etc.). The mood of the score is generally harsh and brutal, with the slow epilogue standing apart from the previous movements and serving as a final, somewhat tragic, valedictory.” String Quartet in F major (1902-1903) Maurice Ravel Ravel was admitted as a student to the Paris Conservatoire in 1889, the year in which the World Exposition introduced the Javanese gamelan orchestra and Russian music to Paris (and left the Eiffel Tower as an imposing souvenir), but his academic career proved to be somewhat less than meteoric. While gaining a reputation for such pieces as the Pavane for a Dead Princess and Jeux d’Eau during the next sixteen years, he audited classes with Gabriel Fauré and other teachers, but at the end of 1902, after his second attempt to win a Prix de Rome was unsuccessful, he felt it necessary to subject the modernity of his musical speech to the discipline of one of the most demanding of all Classical genres — 196

the string quartet. He completed the first movement in time to submit it to a competition at the Conservatoire in January 1903, but the reactionary judges found this glowing specimen of musical color and light “laborious” and “lacking simplicity.” Ravel left the Conservatoire and never again set foot in one of its classrooms. More angry than discouraged, he completed the Quartet in April 1903. The Quartet opens with a sonata-form Allegro whose precise Classical structure is made to accommodate effortlessly the piquant modality of its themes. The second movement is a modern scherzo, with snapping pizzicati and superimposed meters; the center of the movement is occupied by a wistful melody in slow tempo initiated by the cello. The third movement is in the character of an improvisation for quartet. The powerful, metrically irregular motive that launches the finale is brought back as the movement proceeds. Solo Works For Piano & Guitar, Continued From Page 143

from a single thematic kernel. The Adagio is delicate and graceful. The compact finale is a sparkling sonatina-form essay that is almost a scherzo. Fourth Piano Sonata (2007) Charles Wuorinen (born in 1938) New York City native Charles Wuorinen started composing when he was five and won the New York Philharmonic Young Composers’ Prize before he was out of high school. He followed a liberal arts curriculum at Columbia but remained active as a composer, pianist, choral singer and recording engineer. While doing graduate work in music at Columbia in 1962, he and Harvey Sollberger founded the University-funded Group for Contemporary Music, which came to be an important force in the performance and recording of new music. Wuorinen has since held faculty appointments at Columbia, Manhattan School of Music and Rutgers University, and received many awards, including the Pulitzer Prize for his 1969 electronic composition Time’s Encomium. Wuorinen composed his Fourth Piano Sonata in 2007 for Anne-Marie McDermott, who gave the premiere in New York’s Town Hall on May 31, 2009. As is characteristic of Wuorinen’s music, the Sonata is dauntingly virtuosic and unflinchingly modern, with its angular, wide-ranging lines, thorny harmony, rhythmic and metric ambiguity, and steely textures, yet it follows traditional overall form — fast opening movement, scherzo, slow movement, vigorous

finale — as well as several conventions in building the individual movements. The first movement (there are no verbal performance indications, just metronome markings) uses the typical contrasts of intensity, dynamics and texture, though they are not separated into discrete areas of the structure but occur in fluid succession, sometimes separated by a held chord or a brief silence, perhaps Wuorinen’s analogue of a conventional cadence. The second movement, the Sonata’s scherzo, is ceaselessly in motion and requires an almost Mendelssohnian lightness of touch to realize its firefly sonorities; there is even a vestigial contrasting trio not far from the end when a half-dozen soft, slow-moving chords emerge unexpectedly from the texture. The slow third movement is crafted with the precision of a Bach prelude, with each note carefully weighed and given an expressive intent. It unfolds with a haunting stillness rarely disturbed by more extroverted gestures. The closing movement, like a good Classical finale, is driving and full of energy, hardly pausing for a breath until its final phrase, when it ends not with an affirmation but with a question. Selections for Guitar by Lou Harrison (1917-2003) John Zorn (born in 1978) and Larry Polansky (born in 1954) California composer Lou Harrison composed works for guitar throughout his long career, many of which exploited the exotic and invented scales that lend his music such luminous sonority and intriguing beauty. Serenade for Frank Wigglesworth was included in a letter Harrison sent on February 12, 1952 to that New York composer, a Prix de Rome winner, Columbia University faculty member and President of the American Composers Alliance. Music for Bill and Me (1966-1967) was written for the composer’s longtime companion William Colvig, who built many of the percussion instruments for Harrison’s works. Avalokiteshvara (1964), set in the Korean mode called “The Delightful,” is a musical evocation of the bodhisattva, an enlightened being, who embodies the compassion of all Buddhas. John Zorn, the iconic artist of New York’s “Downtown” scene, composed The Book of Heads in 1978 for guitarist and banjoist Eugene Chadbourne and made them modern virtuoso pieces by augmenting their traditional techniques with such unconventional requirements as rubbing the strings with an inflated balloon, electronic modification, hitting the strings with pencils, and holding a talking

doll up to the microphone. According to Zorn, “These ‘heads’ [i.e., the opening passage of a musical piece] are meant to be played as written and serve as the basis for improvisation.” Larry Polansky is a composer, guitarist, editor, publisher, Professor of Music at the University of California, Santa Cruz, and co-author, with Phil Burk and David Rosenboom, of the widely used computer software Hierarchical Music Specification Language (HMSL). Songs and Toods is one of several of Polansky’s works titled “tood,” his neologism for “etude,” traditionally a short instrumental piece focused on a single performing technique; Songs and Toods was composed in 2005 for guitarist John Schneider. Polansky wrote, “Songs and Toods consists of settings of three traditional American songs [Sweet Betsy from Pike, Eskimo Lullaby and the Shaker song Dismission of Great I] and two computer-composed pieces.” Schubert Songs And Adagios, Continued From Page 145

about the trivialities of life and is scornful about the pettiness of little people.” Schumann’s encounter with Heine remained a vivid impression when he selected twenty poems from the Lyrisches Intermezzo for the cycle Dichterliebe (“Poet’s Love”) a dozen years later. The cycle opens with the hopeful Im wunderschönen Monat Mai (“In the Wonderfully Beautiful Month of May”). Schubert set some thirty poems by Johann Wolfgang von Goethe, including the beloved Erlkönig. His first Goethe setting, created in a burst of inspiration during the afternoon of October 19, 1814, when he was seventeen, took as its subject the verses Goethe gave to the love-struck, nearly distracted maiden in Part I of his Faust — Gretchen am Spinnrade (“Gretchen at the Spinning Wheel”). Adagio and Rondo Concertant for Violin, Viola, Cello and Piano in F major, D. 487 (1816) Franz Schubert In 1813, when he was sixteen, Schubert fell in love with the talented soprano Therese Grob, the daughter of a prosperous Viennese family of music lovers. The affair cooled over the next three years, but Schubert wrote a number of songs for Therese, perhaps most memorably Gretchen am Spinnrade of October 1814. In October 1816, Schubert composed another piece whose intention may well have been to impress Therese further with the value of his musical genius. The work — the Adagio and 197

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Rondo Concertant for Violin, Viola, Cello and Piano — was said to have been composed for Therese’s younger brother, Heinrich, then sixteen, who had also inherited the family’s musical proclivities and discovered a certain talent for the cello. The Adagio and Rondo (not actually a rondo at all, but a large sonata form) is sunny in disposition and brilliant in execution, a souvenir of the hopeful time when Schubert thought that the love of a good woman might be part of his life. Im wunderschönen Monat Mai, dreimal sieben Lieder nach Schumann und Schubert (“In the Wonderfully Beautiful Month of May, Three Times Seven Songs after Schumann and Schubert”) for Vocalist and Ensemble (2003) Reinbert de Leeuw (born in 1938) Reinbert de Leeuw, born in Amsterdam in 1938, is one of The Netherlands’ foremost conductors, composers and pianists. He trained at the University of Amsterdam and Royal Conservatory of The Hague, and in 1963 joined the faculty of the latter institution; he has taught at Leiden University since 2004. He has conducted major orchestras and ensembles throughout Europe, the United States and Australia, led several productions at the Netherlands Opera in Amsterdam, and served as Music Director of the National Youth Orchestra of The Netherlands. De Leeuw has been a forceful advocate for new music, founding the Schoenberg Ensemble in 1974, consulting with the Amsterdam Concertgebouw Orchestra and Sydney Symphony on programming contemporary works, founding the Dutch Charles Ives Society, and serving as Artistic Director of the Tanglewood Festival of Contemporary Music from 1994 to 1998. Among his distinctions are the Sikken Prize, 3M Muzieklaureaat and an honorary doctorate from the University of Utrecht. De Leeuw composed Im wunderschönen Monat Mai, dreimal sieben Lieder nach Schumann und Schubert in 2003 for the German actress Barbara Sukowa. The work is “adapted and re-composed” from eleven songs from Schumann’s Dichterliebe (“Poet’s Love”) and Schubert’s Winterreise (“Winter Journey”) — the work’s title borrows that of the opening number of Schumann’s song cycle — and another 198

ten of Schubert’s best-known individual songs that are reflected through the prism of de Leeuw’s modern sensibility. For a performance conducted by the composer at the Ojai Music Festival in 2002, program annotator Chris Haley wrote, “How to recapture the flood of sentiment and Weltschmerz that swept over Europe in the early decades of the 19th century, this Byronic age of the solitary wanderer? That age is gone — its feel and texture, its fashions, mores and habits of speech. Gone, too, are the parlors and salons with their cozy evenings of music, poetry and shared confidence. That kind of intimacy has disappeared, like faded letters bound with a silken cord. We’re harder now, less vulnerable, more impatient. De Leeuw, in acknowledging this cultural shift, has given these songs a more exposed, unpredictable and aggressive edge: It is the world of cabaret.” Baroque Concertos & More, Continued From Page 198

of the Princely Chamber Musicians” from 1717 to 1723. Since he was responsible for the secular rather than the sacred music at Cöthen, those years saw the production of many of his purely instrumental works, including the Concerto in C minor for Oboe and Violin. The work’s original manuscript is lost, but the music survived in a version for two harpsichords (BWV 1060) Bach made of it in 1737. The opening movement follows the ritornello form customary for Baroque concertos: a returning orchestral refrain separated by episodes for the soloists. The lovely Adagio resembles an operatic duet in its flowing lyricism and thematic interchanges between the soloists. The finale returns the bracing vitality of the first movement. Guitar Concerto in D major, R. 93 (ca. 1720) Antonio Vivaldi (1678-1741) Vivaldi obtained his first official post in September 1703 at the Pio Ospedale della Pietà, one of four institutions in Venice devoted to the care of orphaned, abandoned and poor girls. As part of its training, the school devoted much effort to the musical education of its wards, and there was an elaborate organization of administrators, teachers and associates who oversaw the activities of the students. Part of his duties as violin teacher required Vivaldi to compose at least two new concertos each month for the regular public concerts given by the Ospedale. The featured performers in these works were occasionally members of the faculty, but

usually they were the more advanced students, and the difficulty of Vivaldi’s music is ample testimony to their skill. Vivaldi wrote this delightful D major Concerto originally for lute, his only solo work for that instrument. All three of its movements are in the same two-part form, with each half repeated. The sunny, opening Allegro comprises several friendly alternations between soloist and orchestra. The Largo is a placid air of tender sentiment. The Concerto closes with dance-like music in bounding 6/8 meter. Brandenburg Concerto No. 5 for Flute, Violin, Harpsichord, Strings and Continuo in D major, BWV 1050 (ca. 1720) Johann Sebastian Bach Johann Sebastian Bach met Christian Ludwig, Margrave of Brandenburg, in 1719, on a visit to Berlin to finalize arrangements for the purchase of a new harpsichord for the court of AnhaltCöthen. While in Berlin, Bach played for Christian Ludwig, who was so taken with his music that he asked him to send some of his compositions for his library. Bach lost an infant son a few months later, however, and in 1720, his wife died and he rejected an offer to become organist at the Jacobkirche in Hamburg, so it was more than two years before he fulfilled Brandenburg’s request. By 1721, Prince Leopold of Anhalt-Cöthen had become engaged to marry a woman who looked askance at his huge expenditures for musical entertainment. Bach realized that when she moved in, he would probably be moved out, so he began casting about for a more secure position. He remembered the interest the Margrave Brandenburg had shown in his music, so he picked six of the finest concertos he had written at Cöthen and sent them to Christian Ludwig in March 1721 with a flowery dedication in French — but to no avail. No job materialized at Potsdam, and in 1723, Bach moved to Leipzig’s Thomaskirche, where he remained for the rest of his life. The vigorous opening movement of the Brandenburg Concerto No. 5 alternates the orchestra and the trio of soloists in typical Baroque fashion. The second movement is an impassioned trio for the soloists alone. The entire ensemble joins in the finale, one of Bach’s most joyous flights of contrapuntal ingenuity and rhythmic vivacity.

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