JUNE 19 - JULY 31, 2025
Throughout this home’s fearless design, panoramic views of the legendary Gore Range and surrounding alpine landscape inspire rapture and visual rejuvenation. Realizing its fullest potential, this palatial alpine estate home soars nearly 70-feet from the ground at its highest point, making a bold statement of authentic mountain modern design that rivals the avant-garde chalets of Verbier and St. Moritz.
Embrace mountain luxury in Vail’s most coveted gated community, Spraddle Creek. Designed for comfort, privacy and entertainment, this residence offers over 9,300 square feet, 6 bedrooms and panoramic views of Vail Mountain. The home includes an oxygenated primary suite, professional golf simulator room, gym, game room, and expansive heated outdoor living areas with water features. A Passport Club membership ensures seamless access to skiing and Vail Village.
Discover this remarkable 9,000 square foot single family home with 6 bedrooms and an observatory ideal for stargazing. This residence offers a blend of luxury and tranquility. Enjoy a beautifully landscaped tiered garden, year-round fire pit, a lake just beyond the property, and magnificent views of the Gore Range.
Situated on the most coveted, uppermost lot in Bachelor Gulch Village, this 5 bedroom ski-in/skiout residence captures timeless mountain elegance. Showcasing sweeping views of the Gore Range, 3712 Daybreak Ridge is a rare 17th century French-inspired retreat. Built with over 600 tons of stone, the home offers vaulted ceilings, heated patio with fire pit and sunken hot tub, an après room, gym, sauna, massage room, and direct access to the Overshot ski run.
Tucked into a pristine alpine setting, this exceptional estate offers over 16,400 square feet of living space and blends European elegance with mountain charm. Meticulously designed and richly detailed, the interior boasts soaring ceilings, artisan woodwork, and expansive windows for both grand entertaining and everyday luxury. Features include a guest house, theater, gym, heated pool, and hot tub. An additional 35-acre parcel provides unmatched privacy within the gated Pilgrim Downs community. Passport Club Membership included for easy ski access and Vail Village. 677
Experience unparalleled luxury in Lake Creek’s premier Cattleman’s Club. Offering breathtaking views of Finnegan’s Peak, with over 12,500 square feet of living space sitting on 4.5 acres, this 6 bedroom estate is designed for entertaining and relaxation. With glass nano doors seamlessly connecting the refined interior to sprawling outdoor areas, the idyllic setting features a reflecting pond, complemented by a custom fire pit, hot tub and guest house.
Set directly off the Born Free ski run with true ski-in/ski-out access and just a short walk from Vail Village, this exquisite 8 bedroom residence combines stunning architecture with a picturesque creekside setting. Connected by a stone bridge and castle-style rotunda, the home includes multiple living areas, two kitchens, a dramatic great room with vaulted ceilings, and generous outdoor spaces framed by water features.
ANNE-MARIE M c DERMOTT Artistic Director
CAITLIN MURRAY President & CEO
HANK GUTMAN Board Chair
Welcome to the 38th season of the Bravo! Vail Music Festival. Whe ther this is your first time joining us or you have been attending for decades, we are happy you’re here to share an extraordinary summer of music and celebration.
The Bravo! Vail experience is like none other, creating a summer filled with moments that range from fun for the family to the deeply moving and profound. At Bravo! Vail, there is some thing for everyone: internationally acclaimed orchestras and soloists; beloved classics from the repertoire; premieres from living composers; prolific chamber music; free concerts; educational events; musical experiences in nature; films with live orchestra; and so much more.
But Bravo! Vail is more than “just” a music festival. As our mission states: Bravo! Vail presents extraordinary music, accessible to all. We provide extensive music education throughout our community, connect musicians and listeners, and celebrate the evolving world of classical music. We are deeply committed to bringing our mission to life, and we do so with your help.
Extraordinary music, accessible to all. Five orchestras grace our stages this year: the Chamber Orchestra of Europe in its Bravo! Vail debut; our beloved resident orchestras, the Dallas Symphony Orchestra, The Philadelphia Orchestra, and the New York Philharmonic; and the highly anticipated return of Mexico’s Sinfónica de Minería, who bring a community-focused residency, including Bravo! Vail’s first ever free orchestral concert at Nottingham Park in Avon.
Our Chamber Music Series brings together artists that will inspire unforgettable performances. The four concerts include: Sinfónica de Minería String Quartet with Bravo! Vail Artistic Director and pianist Anne-Marie McDermott; the Escher Quartet with guitarist Jason Vieaux; pipa player Wu Man and the Verona Quartet; and the New York Philharmonic String Quartet with McDermott. Whether you are brand new to experiencing chamber music, or a seasoned listener, you will be enthralled by these incredible programs.
Extensive music education throughout our community. This summer offers more than 40 free events, including Community Concerts, Little Listeners @ the Library, Inside the Music, Pre-Concert Talks, and post-concert Meet the Artist Q&As. Young concertgoers can have an experience designed just for them with the Presto Club at select Orchestral Series concerts. From Vail to Gypsum to Leadville, we bring music to life throughout our entire community. Connect musicians and listeners. We always look for new ways to deepen your connection to the music and musicians. Pre-Concert Talks, Meet the Artist Q&As, Inside the Music – all of these series provide new and unique opportunities for listeners to connect with the musicians and musical minds behind the scenes. In addition, this year the Immersive Experiences series turns to the piano, diving deep into the works of Frédéric Chopin with performances of the composer’s enduring masterpieces.
Celebrate the evolving world of classical music. It is so exciting for Bravo! Vail to continue building the classical music canon and offer opportunities for this new music to be heard and experienced. Now in the fourth year of our Symphonic Commissioning Project, we proudly present co-commissions and Colorado premieres of works by three female composers: Gabriela Lena Frank, Sophia Jani, and Jessie Montgomery. Six additional works by living composers receive Bravo! Vail premieres, all alongside the standard masterpieces you know and love. In addition, Classically Uncorked returns with piano duo Anderson & Roe, who blend classical and contemporary styles in two nights not-to-be-missed of chamber music spanning from Mozart to The Beatles.
We extend our deepest gratitude to our musicians, community leaders, music teachers, donors, sponsors, volunteers, and music lovers who contribute to Bravo! Vail’s impact every year. We hope experiencing the remarkable music this season brings you joy, and we look forward to seeing you throughout the valley. Thank you for celebrating the evolving world of classical music with us.
SOPHISTICATION SOPHISTICATION SOPHISTICATION
FROM FROM FROM
BEGINNING TO END BEGINNING TO END BEGINNING TO END
"I
— VICTORIA JONES, FOUNDER & LEAD DESIGNER
“She is a consummate professional on a level that we have not experienced with other brokers. As a lawyer, business executive and long time local in the valley she offers unique advantages to both sides. A great customer experience!” – Buyer
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Oct. 3-12, 2025
THE NUTCRACKER Nov. 29-Dec. 28, 2025
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A MIDSUMMER NIGHT’S DREAM March 6-15, 2026
MASTERWORKS
April 10-19, 2026
Experience the pinnacle of luxury living in the heart of Vail Village at The Four Seasons. This one-of-a-kind residence boasts breathtaking views of Vail Mountain ski slopes, offering an unparalleled alpine retreat. Recently reimagined by renowned designer Simon Hamui, the interiors blend sophistication and warmth, creating a serene yet elevated sanctuary. Enjoy world-class Four Seasons amenities, ensuring effortless comfort and indulgence. Perfectly positioned in one of Vail’s most coveted locations, this exquisite condo harmonizes elegance, convenience, and mountain charm like no other.
Christopher Aitken is a recognized industry leader:
– Barron’s Top 1,200 Financial Advisors, 2025
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Christopher Aitken
Managing Director–Wealth Management
Private Wealth Advisor 904-280-6020
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Hank Gutman, Chair
Diane Loosbrock, Vice Chair
Byron Rose, Secretary
Paul Rossetti, Treasurer
Paul Becker
Sarah Benjes
Barry Beracha
Bill Burns
Carol Cebron
John Dayton
Kathleen Eck
Julie Esrey
Cookie Flaum
Dan Godec
Mark Gordon
Linda Hart
Fred Hessler
Ann Hicks
Peter Kitchak
Alan Kosloff
Fred Kushner
Pauline Araujo Agoitia
Marilyn Augur
Ronnie Baker
Kathleen Brendza
Nick Budor
Edwina Carrington
Janet Cooper
Tim Dalton
Marijke de Vink
Michael Elsberry
Kabe ErkenBrack
Carole Feistmann
Harry Frampton
Joan Francis
Michael Glass
Martha Head
Becky Hernreich
Bratzo Horruitiner
Robert LeVine
Brett Logan
Vicki Logan
Laura Marx
John Magee
Sarah Millett
Kate Mitchell
Laurie Mullen
Margery Pabst Steinmetz
Marlys Palumbo
Steve Pope
Kalmon Post
Tom Rader
Jeris Romeo
Mike Rushmore
Tony Mayer
Shirley McIntyre
Matt Morgan
Bill Morton
Rita Numerof
Brad Quayle
Drew Rader
Michele Resnick
Terie Roubos
Adrienne Rowberry
Lisa Schanzer
John W. Giovando FOUNDING
XECUTIVE DIRECTOR
Carole Segal
Beth Slifer
Randy Smith
Cathy Stone
Doug Tansill
Greg Walton
Michael Warren
Kyle Webb
Pete Seibert
Chris Silversmith
Marcy Spector
Susan Suggs
Lisa Tannebaum
Fred Tresca
Melina Valsecia
Carole Watters
Steve Yarberry
Aneta Youngblood
It is a great pleasure to welcome you to the brilliant 2025 season of the Bravo! Vail Music Festival, America’s leading summer music series, now in its 38th year.
This summer features programming from five world-class orchestras spanning repertoire from pops to classical, choral to contemporary, including remarkable chamber music and educational performances.
Thank you to the hundreds of esteemed musicians, donors, Board of Trustees and Advisory Council, volunteers, staff, and the Vail community that support Bravo! Vail and the performing arts. Our gratitude runs deep.
Enjoy your Bravo! Vail experience!
arecelebratingtheir32ndyearthissummer.AsoneoftheVailValley’spremierboutiqueRealEstate firms, Gateway Real Estate has built a reputation for excellence, often entrusted to list and sell the samepropertiesoverandover.
Not only is Suzi Apple the sole owner and founder of Gateway Real Estate, but she’s also passionate about providing exceptional service and helping clients find their perfect Vail Valley oasis. With a deep love for her community, Suzi makes the real estate process enjoyable and fun for everyone involved. Since establishing Gateway Real Estate in 1993, Suzi has been a driving force in the valley’s real estate landscape, overseeing the development of over 550 single-family homes. Her unparalleled product knowledge, commitment to excellence, and dedication to client satisfaction have earned her business primarily through repeat clients and numeous referrals.
Visit Gateway Real Estate’s Vail Village office, conveniently located above the International Bridge at 183 Gore Creek Drive, Suite 5. Meet Suzi and her exceptional team of brokers, poised to assist you in finding your ideal Vail Valley home. Contact Suzi directly at 970-376-5417.
JUNE 22
CHAMBER ORCHESTRA OF EUROPE
6 PM • GRFA
JUNE 29
DALLAS SYMPHONY ORCHESTRA
7:30 PM • GRFA
JUNE 23 COMMUNITY CONCERT 6 PM • CMC
JUNE 24
CHAMBER CONCERT 7 PM • DP
JUNE 30
CHAMBER CONCERT
7 PM • DP
JULY 6
THE PHILADELPHIA ORCHESTRA
6 PM • GRFA
JULY 7
LITTLE LISTENERS
11 AM • APL
THE PHILADELPHIA ORCHESTRA
6 PM • GRFA
JULY 1 COMMUNITY CONCERT
1 PM • VIC
DALLAS SYMPHONY ORCHESTRA
6 PM • GRFA
JULY 8 COMMUNITY CONCERT 1 PM • VIC
CHAMBER CONCERT 7 PM • VPAC
JUNE 25 COMMUNITY CONCERT
6 PM • GTCC
JULY 2
LITTLE LISTENERS
2:30 PM • GPL
DALLAS SYMPHONY ORCHESTRA
6 PM • GRFA
JULY 9
INSIDE THE MUSIC
1 PM • VIC
LITTLE LISTENERS 2:30 PM • VPL COMMUNITY CONCERT
6 PM • BCP
JULY 13
THE PHILADELPHIA ORCHESTRA
6 PM • GRFA
JULY 14
LITTLE LISTENERS
11 AM • EPL
IMMERSIVE EXPERIENCES
7 PM • DP
JULY 15
COMMUNITY CONCERT 1 PM • VIC
JULY 20
NEW YORK PHILHARMONIC
6 PM • GRFA
JULY 21
LITTLE LISTENERS
11 AM • APL
CHAMBER CONCERT
7 PM • VPAC
IMMERSIVE EXPERIENCES
7 PM • DP
JULY 22 COMMUNITY CONCERT 1 PM • VIC NEW YORK PHILHARMONIC 6 PM • GRFA
JULY 16
INSIDE THE MUSIC
1 PM • VIC
LITTLE LISTENERS
2:30 PM • GPL
NEW YORK
PHILHARMONIC
6 PM • GRFA
JULY 23
INSIDE THE MUSIC
1 PM • VIC
LITTLE LISTENERS
2:30 PM • VPL
NEW YORK
PHILHARMONIC
6 PM • GRFA
JULY 27
COMMUNITY CONCERT
2 PM • TOHL
JULY 28
JULY 29
JULY 30
CLASSICALLY UNCORKED
7:30 PM • VGC
JUNE 19
CHAMBER ORCHESTRA OF EUROPE
JUNE 20
6 PM • GRFA
JUNE 26
SINFÓNICA DE MINERÍA
6 PM • NPS
JUNE 27
JUNE 21
CHAMBER ORCHESTRA OF EUROPE
6 PM • GRFA
JULY 3
1
JULY 4
LOCATION KEY
APL
Avon Public Library
BCP
Brush Creek Pavilion
CMC
JULY 10
1
6
JULY 17
JULY 11
JULY 18
JUNE 28
DALLAS
Colorado Mountain College, Edwards
DP
Donovan Pavilion
EIC
Edwards Interfaith Chapel
JULY 5
LINDA & MITC H HART
EPL
Eagle Public Library
ETP
Eagle Town Park
GTCC
Gypsum Town Council
Chambers
GPL
Gypsum Public Library
GRFA
JULY 12
Gerald R. Ford Amphitheater
NPS
Nottingham Park Stage
TOHL
Tabor Opera House, Leadville
VGC
Vail Golf Clubhouse
VIC
Vail Interfaith Chapel
JULY 19
VPL
Vail Public Library
VPAC
Vilar Performing Arts Center
WMSC
Walking Mountains Science Center, Avon
JULY 24
JULY
JULY 31
With the direction of my clients, I have given more than $250,000 to these organizations.
With the direction of my clients, I have given more than $250,000 to these organizations.
I proudly donate 5% of my whole ownership earnings to the charity of my clients’ choice.
I proudly donate 5% of my whole ownership earnings to the charity of my clients’ choice.
For more information about any of these charities go to my website, www.RobFromVail.Com/Gifting-Program or scan here.
For more information about any of these charities go to my website, www.RobFromVail.Com/Gifting-Program or scan here.
“Robert’s
“Robert’s
said Kim Langmaid,
of Vail. “It’s
At the heart of Bravo! Vail’s mission is presenting extraordinary music, accessible to all. We provide extensive music education throughout our community, connect musicians and listeners, and celebrate the evolving world of classical music.
Our Education & Engagement Programs fall into three categories — Instruction, Access & Enrichment, and Professional Development — ensuring that great music and opportunities for lifelong learning are available to diverse audiences of all ages and abilities.
Music Makers Haciendo Música gives students a solid foundation in music by teaching them to play an instrument, read music, and understand musical concepts. Bravo! Vail is proud to partner with the Eagle County and Lake County school districts in serving 300 students in grades 2-12, creating access for every child in the county. This year we launched a pilot program for cello and guitar instruction.
As a complement to after-school instruction, the two-week Summer Intensive offers both beginner and advanced string and piano players access to Festival artists and advanced studies.
Young Musicians Summit brings together students from Bravo! Vail’s Music Makers Haciendo Música and other youth classical music organizations in Colorado to learn and perform challenging repertoire and create meaningful connections together. The students will work toward two performances including one in the lobby before the July 18 concert at the Gerald R. Ford Amphithea ter.
The Community Concerts are hourlong chamber music concerts and solo recitals performed by visiting ensembles and musicians in relaxed, accessible settings in Vail, Avon, Edwards, Eagle, Gypsum, and Leadville.
Expand your knowledge and gain unique perspectives into the music performed at Bravo! Vail Music Festival at Inside the Music . These free informative talks and masterclasses
offer music lovers the opportunity to ge t background and insights from musicians and experts.
At Little Listeners @ the Library , we seek to cultivate and inspire the musician inside every child through 30-minute programs performed by Festival artists. The programs are designed with age-appropriate games developed to introduce music and instruments in an approachable way at libraries from Vail to Gypsum.
Meet the Artist Q&A happens immediately following a concert and is a fantastic way to further enrich your concert experience from the artists themselves on the works just performed for audiences live.
The Pre-Concert Talks at select Orchestral Series concerts are free lectures, led by renowned musicologists and passionate performers, designed to enhance your concert experience and create deeper connections to the evening’s program.
The Presto Club is an opportunity for youth ages 8-14 to gather at select Orchestral Series concerts to sit together on the lawn and
socialize, engage with a designed interactive booklet during concerts, and participate in Artist Meet & Greet opportunities just for them.
Through Community Collaborations and partnerships with local businesses and organizations, Bravo! Vail uses the arts to strengthen community, enhance understanding, and make music accessible to audiences outside the concert hall through innovative, interactive programs.
Bravo! Vail is proud to identify and showcase outstanding performers in the early stages of their careers. Bravo! Vail Piano Fellows and Chamber Musicians in Residence gain valuable opportunities to perform, teach, and learn side by side with renowned Festival musicians. The Jane & Gary Bomba Internship Program is unsurpassed in its reputation of advancing our eight summer interns into successful careers in arts administration, nonprofit management, music educa tion, festival operations, and live audio engineering and recording.
Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons
$100,000 AND ABOVE
Discover Vail
Kathy and David Ferguson and The Ferguson Music Makers
Haciendo Música Fund
Carole A. Watters
$50,000 AND ABOVE
Jane and Gary Bomba and the Bomba Internship Program
Ferrell and Chi McClean and the McClean Family Music Teachers Fund
$30,000 AND ABOVE
Cookie and Jim Flaum and the Flaum Music Education Fund
$20,000 AND ABOVE
Anonymous
Bravo! Vail Guild
Marijke and Lodewijk de Vink
Sandi and Leo Dunn
Han Mu Kang and the June S. Kang Scholarship Fund
Anne-Marie and John Keane and the Keane Music Education Fund
Cathy Stone
$10,000 AND ABOVE
Edwina P. Carrington and Carrington Classical Guitar Fund
Carol and Harry Cebron
Katherine Clayborne and Tom Shoup
Kathy Cole
Ron Davis
Eagle County Lodging Tax
Marketing Committee
Julie and Bill Esrey
Diane and Lou Loosbrock
SJR Charitable Foundation
Beth Slifer
Donna and Randy Smith
The Sturm Family and ANB Bank
Jackie and Norm Waite
The Weiss Family
Margaret and Glen Wood
Xcel Energy Foundation
$5,000 AND ABOVE
Alpine Bank
David Bernstein
Doe Browning and Jack Hunn, in memory of Virginia J. Browning
Nancy and Andy Cruce
Kathy and Brian Doyle
Gallegos Corp.
Sue and Dan Godec
Patricia and Peter Kitchak
Carolyn and Paul Landen and the Lynne Murray Sr.
Educational Fund
Argie Ligeros
Renee Okubo
Drs. Julie and Robert Rifkin
Town of Gypsum
Barbara Treat Foundation
Vi Living
Martin Waldbaum
Julia Watson
Bronfman
IN RESIDENCE JUNE 19 ~ 22 // 2025
Bravo! Vail is thrilled to welcome the Chamber Orchestra of Europe in its Festival debut. The renowned ensemble’s members hail from across the European Union, where they each hold prominent musical posts, and invite soloists and conductors to perform once-in-a-lifetime programs.
The Chamber Orchestra of Europe (COE) was founded in 1981 by a group of young musicians who became acquainted as part of the European Community Youth Orchestra (now EUYO). There are now about 60 members of the Orchestra, who pursue parallel careers as principals or section leaders of nationally-based orchestras, as eminent chamber musicians, and as tutors of music.
From the start, Chamber Orchestra of Europe’s identity was shaped by its partnerships with leading conductors and soloists. It was Claudio Abbado above all who served as an important mentor in the early years. He led the Orchestra in staged works such as Rossini’s Il viaggio a Reims and Il barbiere di Siviglia and Mozart’s Le nozze di Figaro and Don Giovanni and conducted numerous concerts featuring works by Schubert and Brahms in particular. Nikolaus Harnoncourt also had a major influence on the Orchestra’s development through his performances and recordings of all of the Beethoven symphonies, as well as through opera productions at the Salzburg, Vienna, and Styriarte festivals.
Currently the Orchestra works closely with Yannick Nézet-Séguin, Sir Simon Rattle, Sir András Schiff, and Robin Ticciati who are honorary members (following in the footsteps of the late Bernard Haitink and Nikolaus Harnoncourt), and also Sir Antonio Pappano.
The Chamber Orchestra of Europe has strong links with many of the major festivals and concert halls in Europe. The Orchestra has been “Residenzorchester Schloss Esterházy” in Eisenstadt since 2022. In partnership with the Kronberg Academy, it also became the first-ever orchestra-in-residence at the Casals Forum in Kronberg in 2022.
With more than 250 works in its discography, the Orchestra’s CDs have won numerous international prizes, including two GRAMMY Awards and three Gramophone Record of the Year Awards. Its most recent releases include the recording of the Clara Wieck-Schumann and Robert Schumann Piano Concertos
with Beatrice Rana and Yannick Nézet-Séguin in February 2023, to international acclaim. In July 2024, Deutsche Grammophon released the CD of Brahms symphonies, recorded in 2022 and 2023 at the Baden-Baden Festspielhaus with Yannick Nézet-Séguin.
In 2009, the COE Academy was created in order to give a select group of exceptional students the chance to study with the principal players of the Orchestra and, importantly, to give the
students the opportunity to travel “on tour” with the ensemble.
The Chamber Orchestra of Europe is a private orchestra which receives invaluable financial support from particularly the Gatsby Charitable Foundation and a further number of Friends including Dasha Shenkman, Sir Siegmund Warburg’s Voluntary Settlement, the Rupert Hughes Will Trust, the Underwood Trust, the 35th Anniversary Friends and American Friends.
$250,000 AND ABOVE
The Berry Charitable Foundation
$20,000 AND ABOVE
Marijke and Lodewijk de Vink
Cathy Stone
$10,000 AND ABOVE
Dr. Kim Schilling
Jann and John Wilcox
Nancy and Harold Zirkin
$5,000 AND ABOVE
Doe Browning and Jack Hunn, in memory of Virginia J. Browning
Carole C. and CDR. John M. Fleming
Shelby and Frederick Gans
Susan and Albert Weihl
Tom Woodell
The Hythe, A Luxury Collection Resort, Vail is the official home of the Chamber Orchestra of Europe while in residence at Bravo! Vail.
ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Matthias Pintscher, conductor
Yefim Bronfman, piano
SCHUBERT, arr. Webern
German Dances from October 1824, D. 820 (6 minutes)
Dance No. 1—Dance No. 2—Dance No. 1 da capo—Dance No. 3—Dance No. 1 da capo
Dance No. 4—Dance No. 5—Dance No. 4 da capo —Dance No. 6—Dance No. 4 da capo
HAYDN
Symphony No. 44 in E minor, Trauersinfonie (Mourning Symphony) (22 minutes)
Allegro con brio
Menuetto (canon)—Trio
Adagio
Finale: Presto
I NTERMISSION
BRAHMS
Piano Concerto No. 1 in D minor, Op. 15 (42 minutes)
Maestoso
Adagio
Rondo—Allegro non troppo
PRESENTED BY THE BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT
SPONSORED BY Patricia and Peter Kitchak
CONDUCTOR SPONSOR
Ann and Bill Lieff
SOLOIST SPONSORS
Yefim Bronfman, piano, sponsored by Margo & Terence Boyle; and Gina Browning & Joe Illick, in memory of Virginia J. Browning
SPECIAL GRATITUDE TO The Berry Charitable Foundation
The Friends of the Chamber Orchestra of Europe
The Lyn & Phillip Goldstein Maestro Society
The Lyn & Phillip Goldstein
Piano Concerto Artist Project
The Judy & Alan Kosloff Artistic Director Chair
German Dances from October 1824, D. 820 (1824/1931)
FRANZ SCHUBERT (1797-1828), arranged by Anton Webern (1883-1945)
Franz Schubert’s masterpieces in the year 1824 included his Octet for Strings and Winds and his String Quartets in A minor ( Rosamunde ) and D minor ( Death and the Maiden ). Smaller works were nestled between imposing ones, including the six German Dances ( Deutsche Tänze ) for solo piano he composed in October 1824.
Schubert’s writing here is notable for forceful metric displacements and for the way he sometimes assigns melodies to the texture’s inner lines, leaving the upper parts to stand as descants. The first three dances are in A-flat major, the last three in B-flat major. These two groups of three dances, none of which carry tempo markings, are structured imaginatively as a pair of rondos. Dance I is played
in its entirely, with both of its halves repeated. After Dance II is similarly played, Dance I returns (“da capo,” now without repeats). Then it’s on to Dance III, after which Dance I (again without repeats) returns for a final goround before the music finally stops for a break. The final three dances proceed in the same A-B-A-C-A pattern. The dances remained hidden in a private library until they came to light in 1930. They were published the next year by Universal Edition, which commissioned the 12-tone composer Anton Webern, whose works they habitually published, to create an orchestrated version. Oblivious to pecuniary matters, Webern undertook the arrangement as “work for hire” at a fla t fee. His friend and former teacher Arnold Schoenberg was aghast, believing that Webern would have benefited from a royalty arrangement instead. Schoenberg was right: for the rest of Webern’s life and some while beyond, these Schubert arrangements were the most frequently played items in Webern’s catalogue.
Symphony No. 44 in E minor, Trauersinfonie (Mourning Symphony, ca. 1770/71)
FRANZ JOSEPH HAYDN
(1732-1809)
By the time he wrote his Symphony No. 44, in about 1770 or 1771, Franz Joseph Haydn had already traversed considerable distance in his experimentation in the genre. He had recently become captivated with the hyper-emotive style known in posterity as Sturm und Drang . Some scholars argue that any connection to that esthetic movement is coincidental, maintaining that this thread of Haydn’s style was simply an outgrowth of his abstracted musical inclinations. In any case, during that period he produced six minor-key symphonies whose dramatically delineated phrases and abrupt changes of character remain ever fascinating.
In its surface details, Symphony No. 44 may be the least explosive of tha t bunch, but its emotional impact is nonetheless so exceptional that it may justifiably be considered the finest symphony Haydn had written to date. Perhaps its most astonishing expanse
is its second movement—not a slow movement, as one would expect, but rather an E-minor minuet. It is no casual dance but rather an austere study in strict two-voiced canon at the octave (“Canone in Diapason,” to use the composer’s term), with inner voices filling in freely. Near the minue t’s end the melodic shape takes a turn; it is transformed into a downward-drooping contour, and the temporal distance between the canonic voices is increased from one measure to two.
The nickname Trauer (Mourning), popularly attached to this piece, appears to date only from the 19th century. It may derive from the fact that in 1809 the Adagio movement was played in Berlin at a memorial service for Haydn. You may read that, at the composer’s request, this symphony was played at his funeral—a claim that has no basis in documented fact.
Piano Concerto No. 1 in D minor, Op. 15 (1858)
JOHANNES BRAHMS (1833-97)
Johannes Brahms most fully adapted the models of Beethoven (via Mendelssohn and Schumann) to the evolving esthetics of the mid-to-late 19th century. He did not achieve this without considerable struggle and was reluctant to sign off on works in genres that invited direct comparison to Beethoven, such as string quartets and symphonies. He did, however, manage to bring his First Piano Concerto to completion in 1858, and he published it four years later. He would not follow up with his more
“I be g of you, please, for G od’s sake let the copyist get at the concerto.”
serene Piano Concerto No. 2 until two further decades had passed.
The Piano Concerto No. 1, in contrast, is a stormy work of essentially pure, tumultuous Romanticism, written during the time when Brahms’ mentor, Robert Schumann, was deteriorating in an asylum. Lacking Schumann to provide counsel, Brahms instead sought a musical confidante in Schumann’s wife (then widow) Clara. Important support and advice also came from their friend Joseph Joachim, the violinist, who conducted this concerto’s premiere, with Brahms as soloist.
In 1854, Brahms had written at least three movements of a Sonata in D minor for Two Pianos. Although he abandoned it incomplete, he recycled some of its music. By April 1856, some of the Sonata’s music had morphed into a preliminary version of this piano concerto (without changing key), and Brahms began sending bits of it to Joachim for his comments. Joachim proved to be a patient and insightful editor and coach, and the composer took many of his ideas to heart. Brahms was characteristically loath to let loose of his piece, however, leading the frustrated Joachim to write, “I beg of you, please, for God’s sake let the copyist get at the concerto”—which is wha t Brahms finally did a couple of months later.
Bravo! Vail Gratefully Acknowledges Support from the Friends of the Chamber Orchestra of Europe
$250,000 AND ABOVE The Berry Charitable Foundation
$20,000 AND ABOVE
Marijke and Lodewijk de Vink
Cathy Stone
$10,000 AND ABOVE
Dr. Kim Schilling
Jann and John Wilcox
Nancy and Harold Zirkin
$5,000 AND ABOVE
Doe Browning and Jack Hunn, in memory of Virginia J. Browning
Carole C. and CDR. John M. Fleming
Shelby and Frederick Gans
Susan and Albert Weihl
Tom Woodell
@vailchristiansaints@vailchristianhighschool
6:00PM
ORCHESTRA SERIES
GERALD R. FORD AMPHITHEATER
PRE-CONCERT TALK
5:00PM
GERALD R. FORD AMPHITHEATER LOBBY
Sarah Day-O’Connell (Skidmore College), speaker
Anne-Marie McDermott, piano
BEETHOVEN
Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)
Allegro con brio
Adagio
Rondo: Molto allegro
INTERMISSION
GIPPS
Seascape, Op. 53 (7 minutes)
HAYDN
Symphony No. 104 in D major, London (29 minutes)
Adagio—Allegro
Andante
Menuetto: Allegro—Trio
Finale: Spiritoso
THIS EVENING’S PERFORMANCE IS PRESENTED BY
NORMA AND CHARLES CARTER
FOUR SEASONS RESORT AND RESIDENCES VAIL
Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)
VERA AND JOHN HATHAWAY
CONDUCTOR SPONSOR
Martin Waldbaum
SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle
Berry Charitable Foundation
SOLOIST SPONSORS
The Francis Family
LUDWIG VAN BEETHOVEN (1770-1827)
BConcerto in A minor for Violin, Cello, and Orchestra, Op. 102 (1887)
JOHANNES BRAHMS (1833-97)
Blake Pouliot, violin, sponsored by Susan and Harry Frampton
The Judy and Alan Kosloff Artistic Director Chair
Yamaha
Alisa Weilerstein, cello, sponsored by Marlys & Ralph Palumbo and Kay & Michael Johnson
SPONSORED BY Ray Oglethorpe
SPECIAL GRATITUDE TO
Barbara and Carter Strauss
The Berry Charitable Foundation
The Sidney E. Frank Foundation
SOLOIST SPONSORS
The Friends of the Chamber Orchestra of Europe
The Lyn & Phillip Goldstein Maestro Society
Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross
Jeethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.
A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto
ohannes Brahms wrote four concertos, completing his Piano Concerto No. 1 in 1858 (following a long gesta tion), his Violin Concerto in 1878-79, his Piano Concerto No. 2 in 1878-81, and his Concerto for Violin, Cello, and Orchestra (often referred to as the Double Concerto) in 1887. While laboring on these works, he typically shared his progress with few people beyond his most intimate circle, and in some cases only with his two closest confidants, pianist Clara Schumann
(Robert’s widow) and violinist Joseph Joachim.
Brahms and Joachim had been friends since 1853, and it was actually a le tter of introduction from Joachim that helped open the Schumanns’ door to the young Brahms. Joachim championed many of Brahms’ solo and chamber works over the years, and for three decades he served as a devoted sounding-post for the occasionally insecure composer. But in 1884 their friendship entered perilous straits. Since 1863, Joachim had been married to a singer, Amalie Schneeweiss, and although she gave him no reason to be suspicious of her fidelity, he got it into his mind that she was having an affair with Brahms’ publisher, Fritz Simrock. An ugly business ensued, leading to divorce court and a trial in which a judge needed to rule on Amalie’s guilt or innocence. Among the testimony produced was a sympathetic letter Brahms had written to Amalie to affirm his friendship during this stressful time, and that letter played a key role in swinging the judgment in favor of Amalie’s innocence. Joachim was infuriated and, feeling that Brahms had betrayed him, he broke off all contact with his longtime friend.
For more than three years Joachim resisted Brahms’ attempts at reconciliation. He continued to play Brahms’ music but would have nothing to do with him personally. In the summer of 1887, Brahms tried to bridge the chasm by offering Joachim another concerto—not a solo violin concerto this time, but instead this double concerto, with a cellist serving as a buffer between the violinist and composer. He wrote to Joachim that the most important thing to him, more important than the concerto itself, was that Joachim should respond warmly to the piece, but that if he was not inclined to accept this offering he needed only jot the words “I decline” on a postcard and send it to Brahms. Joachim could resist no further and soon he was swept up in the familiar process of weighing and testing a Brahms masterpiecein-progress, sharing his opinion on technical questions. Thus was rebuilt a friendship that would henceforth be at least cordial, even if it could never
achieve the sort of artistic intimacy of its first 30 years.
Franz Schubert celebrated his 19th birthday shortly before he embarked on his Fourth Symphony. He had begun to hit his stride as a composer, but composing was not yet his profession, strictly speaking; he unhappily endured his working hours as “sixth assistant teacher” in his father’s school in Vienna, where his responsibilities focused on educating and disciplining the youngest pupils. He disliked the teaching profession and in autumn 1816 he left it in favor of a financially perilous existence as a freelance composer.
Many of his pieces were unveiled in at-home musicales. These had begun in about 1814 as Sundayafternoon family string-quartet sessions at the Schubert home in which the composer’s older brothers played violins, he played viola, and his father took the cello part. Friends started sitting in, and by autumn 1815 the group had progressed from a mostly amateur assemblage to include a number of professional players. Its somewhat steady membership swelled to include seven first violins, six second violins, three violas, three cellos, and two double basses, plus whatever wind instruments could be brought in, and as the group expanded it moved from the Schuberts’ living room to larger venues. The ensemble stayed together for about three years,
eventually performing for themselves and a small audience at the apartment of the concertmaster, Otto Hatwig, a Bohemian-born violinist in the Burg Theatre orchestra and a composer of modest talent. The ensemble was accomplished enough to tackle the more difficult symphonies of Haydn and Mozart, and it gave Schubert almost all the opportunities he would ever have to hear his symphonic music played by an actual orchestra. We know for sure that three of his symphonies received their first performances from this group, which possibly may have served as midwife for his first six.
Schubert was drawing inspiration from Haydn and Mozart—perhaps a bit from Beethoven’s stormy C-minor compositions, too—when he wrote his C-minor Symphony, and specifically from their works in the Sturm und Drang tradition. He cited Mozart’s Symphony No. 40, a pinnacle of that style, as one of his favorite pieces, and we may hear echoes of that work’s emotional terrain in this symphony, which strikes a far more personal tone than Schubert’s three prior efforts. The nicknames a ttached to symphonies are usually appended after-the-fact by persons other than the composer. Schubert’s Symphony No. 4 is an exception; the sobriquet Tragic was his own. It stands on the first page of the manuscript, inscribed in his hand, although scholars believe that he added it to the autograph score at some later date. The piece hardly seems what most people would consider tragic: no Tchaikovsky’s Pathétique here.
Bravo! Vail Gratefully Acknowledges Support from the Friends of the Chamber Orchestra of Europe
$250,000 AND ABOVE The Berry Charitable Foundation
$20,000 AND ABOVE
Marijke and Lodewijk de Vink
Cathy Stone
$10,000 AND ABOVE
Dr. Kim Schilling
Jann and John Wilcox
Nancy and Harold Zirkin
$5,000 AND ABOVE
Doe Browning and Jack Hunn, in memory of Virginia J. Browning
Carole C. and CDR. John M. Fleming
Shelby and Frederick Gans
Susan and Albert Weihl
Tom Woodell
6 PM
ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Matthias Pintscher, conductor
Yefim Bronfman, piano
STRAVINSKY
Concerto in E-flat for Chamber Orchestra (Dumbarton Oaks) (15 minutes)
Tempo giusto
Allegretto
Con moto
(played without pause)
HAYDN
Symphony No. 31 in D major, Mit dem Hornsignal (With the Horn-call) (25 minutes)
Allegro
Adagio
Menuetto—Trio
Finale: Moderato molto; Presto
I NTERMISSION
BRAHMS
Piano Concerto No. 2 in B-flat major, Op. 83 (50 minutes)
Allegro non troppo
Allegro appassionato
Andante
Allegro grazioso
SPONSORED BY
Joan Francis
CONDUCTOR SPONSOR
Mary Sue and Mike Shannon
SOLOIST SPONSOR
Yefim Bronfman, piano, sponsored by Joanne Cohen & Morris
Wheeler and Janice & William Woolford
SPECIAL GRATITUDE TO
The Berry Charitable Foundation
The Friends of the Chamber
Orchestra of Europe
The Lyn & Phillip Goldstein
Maestro Society
The Lyn & Phillip Goldstein Piano
Concerto Artist Project
Concerto in E-flat for Chamber Orchestra (Dumbarton Oaks) (1937-38)
IGOR STRAVINSKY (1882-1971)
Mr. and Mrs. Robert Woods Bliss lived at Dumbarton Oaks, a mansion with gardens in Washington, D.C., that served as a social hub for the capital’s elite. To celebrate their 30th anniversary, in 1938, the Blisses commissioned Igor Stravinsky to compose a modestly scaled piece for chamber orchestra of (as the contract put it) “Brandenburg Concerto dimensions.” Stravinsky had conducted Bach’s Third Brandenburg Concerto in February 1937, and that summer it was apparently still on his mind since he incorporated the motivic cell of
that work’s first movement into the new piece. He also echoed the Third Brandenburg Concerto by using three each of violins and violas, just as Bach had, not to mention the richly contrapuntal flavor in the first and third movements. The second movement proved surprisingly spare. Here, brief gestures pass from instrument to instrument, the fragments combining into overarching melodic phrases.
Following the work’s private unveiling in May 1938, Stravinsky conducted it in Paris that June, when the audience adored the piece and demanded that it be encored. The critics were less enthusiastic. Most of their reviews expressed disappointment that this new concerto seemed dry, academic, constrained. It was, in short, not the sort of music that had made such an impact in the early years of Stravinsky’s Ballets Russes collaborations. Otherwise put, the Concerto in E-flat had little in common with The Rite of Spring , which had been performed only two weeks earlier in Paris to mark the 25th anniversary of its premiere and was therefore fresh in everyone’s ears. But Stravinsky had moved on since then. The violinist Samuel Dushkin suggested that Stravinsky continue in the Dumbarton direction and produce an entire group of concertos—a Brandenburg se t for the 20th century— but this idea went nowhere.
Symphony No. 31 in D major, Mit dem Hornsignal (With the Horncall) (1765-66)
FRANZ JOSEPH HAYDN (1732-1809)
In 1761, Franz Joseph Haydn joined the staff of the powerful Esterházy Court, where he would oversee music for nearly three decades. His orchestra personnel fluctuated, but no change was as dramatic as what occurred between August and December 1763 and again between May 1765 and February 1766, when a full complement of four horn-players joined the ranks. Haydn wrote a pair of symphonies with four horns during each of these windows of opportunity, with Symphony No. 31 being connected to the latter period. Though horns were an important part of the musical
soundscape, they rarely came to the fore in orchestral music; they were most encountered in outdoor applications, especially as instruments of the hunt, and their largely unwritten repertoire of signal-calls was passed from one generation to the next through an apprenticeship system.
Haydn shows off the robust sound of his horn choir at the very outset of this symphony, with a theme that incorporates both a hunting signal and a horn-call used to announce postal deliveries. Other instruments take their turns in the spotlight, too—so much so that one might almost view this piece as a sort of sinfonia concertante. In the luminous slow movement, which includes input from solo violin and cello and telling use of pizzicato from the section strings, Haydn divides his horns into two pairs.
The sinfonia concertante flavor is especially apparent in the finale, a se t of variations in which solo oboe, cello, flute, violin, and double bass all get their moments, along with the horns. The movement concludes with a rollicking Presto and a final recollection of the horn-call that had ended the first movement, cementing the piece together into a delightful whole.
Piano Concerto No. 2 in B-flat major, Op. 83 (1878-81)
JOHANNES BRAHMS (1833-97)
Johannes Brahms began writing his Piano Concerto No. 2 during a vacation he took in the spring and summer of 1878 to Italy, a country from which he repeatedly drew
inspiration. He was mostly working on his Violin Concerto just then, but while he was away, he also found time to sketch a scherzo, which he returned to three years later when he devoted himself in earnest to the Second Piano Concerto. Where his First Piano Concerto was hyper-charged in its drama, the Second is considerably more Apollonian; it suggests a more serene, warmhearted—and in its finale, downright charming— landscape, drawing heavily on the dulcet tones of the supreme Romantic instrument, the horn. Where the earlier work had stressed the turmoil of human passions and the “tragic sentiment of life” that the Romantics found irresistible, the Second Piano Concerto regards the breadth of human emotions from a more knowing remove. It sounds like a work of ripe maturity in a way the earlier piece does not.
This is not a “tiny, tiny piano concerto with a tiny, tiny wisp of a scherzo,” as Brahms, ever given to irony, reported in a letter to his friend Elisabet von Herzogenberg—and to some extent that “wisp of a scherzo” recalls the turbulent character of the First Piano Concerto. Instead, it is an immense four-movement work of daunting difficulty, offering pianists both technical and conceptual challenges. One might go so far as to view Brahms’ Piano Concerto No. 2 as a sort of symphony for piano and orchestra—a conflation of two of the principal genres that Brahms felt still held plenty of creative opportunities for an up-to-date Romantic composer who was moving through the 19th century.
Bravo! Vail Gratefully Acknowledges Support from the Friends of the Chamber Orchestra of Europe
$250,000 AND ABOVE
The Berry Charitable Foundation
$20,000 AND ABOVE
Marijke and Lodewijk de Vink
Cathy Stone
$10,000 AND ABOVE
Dr. Kim Schilling
Jann and John Wilcox
Nancy and Harold Zirkin
$5,000 AND ABOVE
Doe Browning and Jack Hunn, in memory of Virginia J. Browning
Carole C. and CDR. John M. Fleming
Shelby and Frederick Gans
Susan and Albert Weihl
Tom Woodell
Bravo! Vail is thrilled to welcome back the world-renowned chamber orchestra, Academy of St Martin in the Fields, to your Bravo! Vail Music Festival in June 2026 for its fifth residency.
Mark your calendar to see this orchestra open the 39th Festival June 25, 27, and 28, 2026, with the final date featuring violin virtuoso Joshua Bell, the music director of the ensemble.
Known for its refined sound and vibrant interpretations of the canon, the Academy of St Martin in the Fields became one of the most distinguished chamber groups in the world under the direction of Sir Neville Marriner, who founded it in 1958. The London-based ensemble’s name is synonymous with the chamber orchestra genre.
Bravo! Vail will announce all the details of the 2026 season this winter. The 39th season of Bravo! Vail will take place June 25-August 6, 2026.
2026 ORCHESTRAL SERIES
Gerald R Ford Amphitheater June 25 - July 29, 2026
Academy of St Martin in the Fields • June 25 - June 28, 2026
Dallas Symphony Orchestra • July 2 - July 8, 2026
The Philadelphia Orchestra • July 10 - July 17, 2026
New York Philharmonic • July 22 - July 29, 2026
Let the evening echo beyond the final note. Explore Vail’s eclectic restaurants and savor a meal as enjoyable as the performance.
COMMUNITY CONCERTS
Sinfónica de Minería Winds 54
Sinfónica de Minería String Quartet 60
Sinfónica de Minería in Avon 62
Ivalas Quartet I 77
Ivalas Quartet II 84
Ivalas Quartet III 95
Ivalas Quartet IV 105
Ivalas Quartet V 106
Piano Fellows I 125
Piano Fellows II 137
Ivalas Quartet & Piano Fellows I 148
Ivalas Quartet & Piano Fellows II 156
Ivalas Quartet & Friends I 162
Ivalas Quartet & Friends II 162
23
Throughout the summer, Bravo! Vail brings dozens of live world-class performances to communities throughout Eagle County, with solo recitals, chamber music concerts, and educational programs for all ages.
Community Concerts connect Festival musicians with music-lovers in relaxed, accessible settings—from Vail Interfaith Chapel to Nottingham Park—as community gathering spaces.
Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons
Anonymous
Alpine Bank
Marijke and Lodewijk de Vink
Discover Vail
Eagle County Lodging Tax
Marketing Committee
The Judy & Alan Kosloff Artistic Director Chair
Lyric Theatre of Leadville
Tabor Opera House Preservation Foundation
Town of Avon
Town of Eagle
Town of Gypsum
The Weiss Family Yamaha
Sinfónica de Minería Winds 54
Minería & McDermott 58
Sinfónica de Minería String Quartet 60
Sinfónica de Minería in Avon 62
Soirée I 67
IN RESIDENCE JUNE 23 ~ 27 // 2025
Sinfónica de Minería stands as one of Latin America’s most illustrious orchestras, celebrated not only for its musical prowess but also for its vibrant cultural impact and dedication to transformative social change through music.
Established in 1978, the orchestra has been under the guidance of GRAMMY Awardwinning Music Director Carlos Miguel Prieto since 2006. During this time, it has earned significant accolades, including five GRAMMY nomina tions and a Latin GRAMMY for Best Classical Composition for its recording of Paquito D’Rivera’s Concierto Venezolano. Notably, Sinfónica de Minería became the first Mexican orchestra to collaborate with the prestigious Deutsche Grammophon label.
At the core of Sinfónica de Minería’s philosophy is an unwavering commitment to musical brilliance. Since its inception, the orchestra has excelled in performing a wide repertoire, spotlighting both renowned and lesser-known works in Mexico. It has presented masterpieces such as Hector Berlioz’s Grande Messe des Morts and the complete orchestral works of Gustav Mahler. The orchestra has collaborated with an array of global talents, including Kathleen Battle, Diana Damrau, Joshua Bell, Maureen Forrester, Hans RichterHasser, Gabriela Montero, Philippe Quint, Leonid Kogan, Pacho Flores, Francisco Araiza, Ramón Vargas, John Ogdon, Sonya Yoncheva, Fiorenza Cossotto, Nicanor Zabaleta, Elina Garanča, Juan Diego Flórez, Eugen Fodor, Anne-Marie McDermott, Jorge Federico Osorio, Nadine Sierra, JeanYves Thibaudet, and Vadim Gluzman.
Deeply rooted in its Latin heritage, Sinfónica de Minería has commissioned over 50 contemporary works that have become pillars of Mexican music, such as Gabriela Ortiz´s Suite voltaje, Mario Lavista’s Ficciones, and Carlos Sánchez Gutiérrez’s Gota de noche. The orchestra is currently undertaking
an ambitious project: to record all orchestral pieces by Silvestre Revueltas, many of which have never been recorded to such high standards before.
The impact of Sinfónica de Minería transcends beyond musical performances. It recognizes music’s unique power to connect, uplift, and catalyze change, positioning itself as a symbol of inclusivity and societal engagement. During its traditional Temporada de verano, which includes nine programs throughout July
and August at the legendary Sala Nezahualcóyotl in Mexico City, the orchestra opens its rehearsals to the public, offering free access to the enriching world of high-caliber music. Renowned soloists from the ensemble regularly conduct masterclasses and educational initiatives, nurturing the next generation of musical talent.
In an era often marked by division, Sinfónica de Minería’s communityfocused projects exemplify how music can bridge cultural divides, mend spirits, and illuminate a hopeful future.
$50,000 AND ABOVE
The Berry Charitable Foundation
Blanca and Antonio de Valle
Mercedes and Elmer Franco
Mr. Claudio X. Gonzalez
The Mariscal Family
The Rojas Family
$20,000 AND ABOVE
Edgar Legaspi
COLORADO MOUNTAIN COLLEGE, EDWARDS
Sinfónica de Minería Wind Quintet
Alethia Lozano, flute
Claire Kostic, oboe
Hector Noriega, clarinet
David Ball, bassoon
Gerardo Días, horn
STILL
Miniatures for Wind Quintet (12 minutes)
I Ride an Old Paint (Cowboy SongU.S.A.)
Adolorido (Mexico)
Jesus is a Rock in the Weary Land (Spiritual, U.S.A.)
Yaravi (Peru)
Frog Went a-Courting (U.S.A.)
BARBER
Summer Music for Wind Quintet, Op. 31 (11 minutes)
PIAZZOLLA
Libertango (9 minutes)
Bravo! Vail’s 2025 season brings the delightful sounds of a woodwind quintet, and gems of music written for this colorful array of instruments. Music Director Carlos Miguel Prieto hosts these free community events celebrating the glorious return of Mexico’s Sinfónica de Minería to the Valley.
Bravo! Vail Gratefully Acknowledges Support for this Evening’s Concert
Bravo! Vail Gratefully Acknowledges Support from the Friends of the Sinfónica de Minería
$50,000 AND ABOVE
The Berry Charitable Foundation
Blanca and Antonio del Valle
Mercedes and Elmer Franco
Mr. Claudio X. Gonzalez
The Mariscal Family
The Rojas Family
$20,000 AND ABOVE
Edgar Legaspi
Cathy Stone
Town of Avon
For over 15 years the Vail Interfaith Chapel has proudly hosted in partnership with Bravo! Vail Music Festival, multiple free concerts, master classes, and musical discussions at the chapel throughout each summer season.
For over 50 years, the Vail Interfaith Chapel has been the spiritual heart of the Vail Valley. The Chapel is home to five religious congregations: B’Nai Vail Congregation, Episcopal Church of the Transfi guration, Mount of the Holy Cross, Mountain Community Church, and St. Patrick Catholic Church.
Our doors are open daily for reflection, religious and non-religious services, weddings, support groups, musical concerts, emergency shelter, community speakers, non-profit events, life events and much more.
Bravo! Vail’s Chamber Music Series offers something for music lovers of all persuasions, featuring chamber music as it was meant to be heard: in beautiful, intimate environments, with acclaimed artists, and among friends.
This season features a dazzling array of esteemed string ensembles and intriguing collaborations, including percussion, guitar, pipa and piano.
Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons
Anonymous
The Berry Charitable Foundation
The Carrington Classical Guitar Fund
Discover Vail
The Sidney E. Frank Foundation
Jackson Family Wines
The Judy & Alan Kosloff Artistic Director Chair
Debbie and Jim Shpall and Applejack Wine & Spirits
TUESDAY 7 PM
CHAMBER MUSIC SERIES
Sinfónica de Minería Percussion Ensemble
Gabriela Jiménez
Javier Pérez
Samir Pascual
Miguel de la Paz Hernández
Marco Mora
Topacio Ortiz
Alexei Diorditsa, double bass
Sinfónica de Minería String Quartet
Justin Bruns, violin
Carlos Miguel Prieto, violin
Adriana Linares, viola
William Molina Cestari, Cello
Anne-Marie McDermott, piano
CHÁVEZ
Toccata for Percussion Instruments (12 minutes)
Allegro, sempre giusto
Largo
Allegro un poco marziale
Ronda (4 minutes)
ROLDÁN
Rítmicas 5 and 6 (5 minutes)
NEBOJŠA JOVAN ŽIVKOVIĆ
Danza barbara (Barbarian Dance), Op. 32 (8 minutes)
BRAHMS
Piano Quintet in F minor, Op. 34 (43 minutes)
Allegro non troppo
Andante, un poco adagio
Scherzo: Allegro
Finale: Poco sostenuto; Allegro non troppo
Toccata for Percussion Instruments (1942)
CARLOS CHÁVEZ (1899-1978)
After growing up in Mexico during the years of the Revolution, Carlos Chávez left to study briefly in Europe. He returned to become a kingpin of Mexican music, serving as director of the National Conservatory of Music in Mexico City, director of the Ministry of Education’s Department of Fine Arts, and founder of the National Institute of Fine Arts and the Orquesta Sinfónica de Mexico. He developed strong ties to the musical scene in the United States, including friendships with Aaron Copland, Henry Cowell, and Edgard Varèse. The most internationally recognized of Mexican modernist composers, Chávez composed his Toccata in 1942 on request from John Cage, and a fter it was published, in 1954, it was embraced as the most significant percussion work since Varèse’s Ionisation of 1931. In 1986, an article
in the magazine Proceso enumerated why the piece is so effective: “Chávez invents, proposes, manipulates, structures, polishes, and delimits with admirable clarity and concreteness the contours, planes, or functions of each sound as well as the individual trajectory for the three sections that integrate his score.”
Ronda (1961)
LEONARDO VELÁSQUEZ (1935-2004)
Leonardo Velásquez was born in Oaxaca but when he was eight, his family moved to Mexico City, where he became an adept percussionist. At the age of 16, he began composing his first pieces, studying under the composer Blas Galindo at the National Conservatory of Music and then with Morris Hutchins Ruger at the Los Angeles Conservatory of Music and Arts. He taught at the National Conservatory and founded and conducted both the Chamber Orchestra of the Ministry of Education and the Revueltas Choir at the
National Conservatory. He composed numerous scores for cinema, including soundtracks for the murder mystery Morir de madrugada (1980), the drama La seducción (1981), and the political thriller Bajo la metralla (1983). His Ronda (for six players) involves contrasts among various families of percussion instruments, pulsating at a steady pace as the instrumental colors transform. It was twice employed as a ballet score, in 1965 for the Ballet Nacional de México and in 1983 for Gloria Contreras’s Taller Coreográfico de la UNAM.
Rítmica 5 (1930); Rítmica 6 (1930)
AMADEO ROLDÁN (1900-39)
Following violin studies at the Madrid Conservatory, Amadeo Roldán settled in his native Cuba, where he built a tall legacy during his short life. He was music director of the Havana Philharmonic Orchestra, a founding member of the Havana String Quartet, and director of the Havana Municipal Conservatory, later renamed the Amadeo Roldán Conservatory. His concert works often employed Afro-Cuban rhythms and elements borrowed from such traditional genres as conga and rumba. He belonged to
the circle of Cuban artists and authors known as the Grupo de Avance, and with the author-and-musicologist Alejo Carpentier helped organize the Cuban premieres of works by Stravinsky and Poulenc. He wrote a series of six Rítmicas in 1930; the first four are for wind instruments plus piano and the final two are for percussion ensemble (though with the option of one line being played by either marimba or pizzicato double bass). In addition to standard orchestral percussion, he employs instruments more associated with Latin American music, such as claves, maracas, and quijada , the last being a donkey jawbone, the dry, loose teeth serving as a rattle.
Danza barbara, Op. 32 (Barbarian Dance, 2002)
NEBOJŠA JOVAN ŽIVKOVIĆ (B. 1962)
The Serbian composer-andpercussionist Nebojša Jovan Živković studied both fields in Germany and now resides in Austria, where he is professor of percussion at Music and Arts University of the City of Vienna (formerly known as the Vienna Conservatory). He also teaches percussion at the University of Novi Sad in his native country and has authored highly regarded pedagogical works for players of mallet instruments. He has toured widely through Europe, Asia, and the Americas as a solo percussionist or ensemble member and has appeared with
major orchestras as soloist in his own concertos for marimba or percussion. Some of his work is built on Balkan folk rhythms, which can be dizzying in their complexity. His Danza barbara was commissioned by the Boston Conservatory, where it was premiered in 2002, preceded on that occasion by a haunted Lamento (not played here). The marimba is first among equals in this work, which the composer calls a piece for marimba plus percussion trio. Nonetheless, it is the bass drum that launches this Barbarian Dance by beating out a “now-hear-this” rhythm, after which the Barbarian Dance develops as if with a hypnotic fever.
Piano Quintet in F minor, Op. 34 (1862-64)
JOHANNES BRAHMS (1833-97)
In 1862, Johannes Brahms started writing a string quintet, but in the course of 1863, he transformed it into a vast piano duet, which was premiered in 1864. Critics complained that it lacked the warmth that string instruments might have provided. Convinced of the work’s merits, Brahms re-wrote it again, incorporating the most idiomatic aspects of both versions. The resulting Piano Quintet is one of the towering creations in his catalogue. The opening movement is a vast sonata-form structure whose exposition contains at least five themes
NOTES BY
Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons
Bravo! Vail Gratefully Acknowledges Support from the Friends of the Sinfónica de Minería
$50,000 AND ABOVE
The Berry Charitable Foundation
Blanca and Antonio del Valle
Mercedes and Elmer Franco
Mr. Claudio X. Gonzalez
The Mariscal Family
The Rojas Family
$20,000 AND ABOVE
Edgar Legaspi
Cathy Stone
Town of Avon
WEDNESDAY 6 PM
COMMUNITY CONCERTS
GYPSUM TOWN COUNCIL CHAMBERS
Sinfónica de Minería String Quartet
Justin Bruns, violin
Carlos Miguel Prieto, violin
Adriana Linares, viola
William Molina Cestari, cello
Selections to be announced.
Music Director Carlos Miguel Prieto joins members of the orchestra’s string section for this free community event celebrating the glorious return of Mexico’s Sinfónica de Minería to the Valley.
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Marijke and Lodewijk de Vink
Eagle County Lodging Tax Marketing Committee
Town of Gypsum
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The Berry Charitable Foundation
Blanca and Antonio del Valle
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Mr. Claudio X. Gonzalez
The Mariscal Family
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Edgar Legaspi
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Town of Avon
NOTTINGHAM PARK, AVON
Carlos Miguel Prieto, conductor
Pacho Flores, trumpet CHÁVEZ
Sinfonía india (11 minutes)
ARTURO MÁRQUEZ
Concierto de Otoño (Autumn Concerto) for Trumpet and Orchestra (20 minutes) Son de luz (Dance of Light) Balada de floripondios (Ballad of Angel’s Trumpets) Conga de Flores (Conga of Flowers)
I NTERMISSION
GABRIELA ORTIZ
Antrópolis (10 minutes)
JUAN PABLO CONTRERAS
Mariachitlán (10 minutes)
MONCAYO
Huapango (7 minutes)
PRESENTED BY TOWN OF AVON
SOLOIST SPONSOR
Pacho Flores, trumpet, sponsored by MentorMore Foundation
SPECIAL GRATITUDE TO
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Eagle County Lodging Tax Marketing Committee
Eagle Valley Community Foundation
The Friends of the Sinfónica de Minería
The Lyn & Phillip Goldstein Maestro Society
Sinfónica de Minería Sponsored by:
Sinfonía india for Large Orchestra (Symphony No. 2) (1935)
CARLOS CHÁVEZ (1899-1978)
Carlos Chávez holds a keystone position in the history of Mexican music thanks to his work as a composer, conductor, and administrator (see program note for June 24). Notwithstanding the position he enjoyed as a modernist of international standing, he is most often encountered today through his overtly nationalistic works, among which the Sinfonía india remains the most celebrated. Even in his Mexican nationalist pieces Chávez tended to invent his own melodies, which would evoke, rather than quote, traditional tunes. But this was not the case with the Sinfonía india the first work in which he employed identifiable folkloric melodies. One is from the repertoire of the Seri Indians of Sonora, another from the Huicholes of Nayarit, and the third from the Yaquis, also of Sonora. These three melodies provide the point of departure for
this 12-minute single movement, a highly original tone poem in which the folkloric element balances with the languages of modernism and primitivism—an authentically Mexican response to such works as Stravinsky’s Rite of Spring or Prokofiev’s Scythian Suite
Concierto de Otoño (Autumn Concerto) for Trumpet and Orchestra (2018)
ARTURO MÁRQUEZ (B. 1950)
Arturo Márquez was born into a musical family in Mexico; his father was a mariachi performer and his grandfather a folk musician. He began studying violin while a teenager, after his family had moved to Los Angeles, and had advanced composition study in Mexico City, in Paris, and finally at the California Institute of the Arts. His music has to some extent unrolled along two parallel paths: heady interdisciplinary creations and avant-garde explorations (including electro-acoustic works), and pieces that build on folk models and convey an immediately identifiable Mexican flavor. “The trumpet is queen in the soul of Mexico,” he said. “We find it in practically all popular musical expressions; it is the Mexican cry of joy and sadness.” His Concierto de Otoño expands the “trumpet flavor” in both pitch and sonority by having the soloist use four members of the trumpet family: Trumpet in C in the first movement (a son , or Cuban-style dance), Flugelhorn and Cornet in F in the second (which references the Angel’s Trumpet, the vernacular name of the Brugmansia, a tropical plant with downward-drooping flowers), and Trumpet in D in the third.
Antrópolis (2018, rev. 2019) GABRIELA ORTIZ (B. 1964)
After studying with the composers Mario Lavista and Federico Ibarra and earning a Ph.D. in electro-acoustic composition from the City University in London, Gabriela Ortiz returned to Mexico City, where she has taught at the Universidad Nacional Autónoma de México since 2000. In 2016 she was awarded the prestigious Premio Nacional de Ciencias y Artes, in 2019 was inducted into the Academía
de Artes, in 2022 became the first woman composer inducted into the Colegio Nacional, and for the 2024-25 season was composer-in-residence at Carnegie Hall. A number of her works grapple with Mexico’s social issues, but Antrópolis involves a happy subject. She writes: “In Mexico, until the ’90s, the term [ antro ] referred to bars or entertainment places of dubious reputation. But nowadays, and especially among younger people, this word refers to any bar or nightclub. Antrópolis is the sonorous reflection of a city through its antros , including the accumulation of experiences that we bring, and that form an essential part of our history in … very complex but fascinating Mexico City.”
Mariachitlán (2016)
JUAN PABLO CONTRERAS (B.1987)
“ Mariachitlán (Mariachiland) is an orchestral homage to my birthplace, the Mexican state of Jalisco, where mariachi music originated,” says composer Juan Pablo Contreras. “The work recounts my experience visiting the Plaza de los Mariachis in Guadalajara, the capital of Jalisco, a place where mariachis play their songs in every corner and interrupt each other to win over the crowd.” A leading voice among young Mexican composers, Contreras explores common ground between Mexican traditional music and modern symphonic practice. A graduate of the California Institute of the Arts (BFA), Manhattan School of Music (MM), and University of Southern California (DMA), he teaches orchestration and music theory at the USC Thornton School of Music. “In Mariachitlán ,” he continues, “traditional rhythms such as the canción ranchera (ranchera
song) in 2/4 time ( choon -tah choontah), the vals romántico (romantic waltz) in 3/4 time ( choon -tah-tah), and the son jalisciense (Jalisco song) that alternates between 6/8 and 3/4 time accompany original melodies inspired by the beautiful landscapes of Jalisco. Mariachi instruments such as the trumpet, harp, and violin are featured as soloists in this work.”
Huapango (1941)
JOSÉ PABLO MONCAYO (1912-58)
Along with Chávez’s Sinfonia india , Márquez’s Danzón No. 2 , and Silvestre Revueltas’s Sensemayá , José Pablo Moncayo’s Huapango is among the most frequently performed of Mexican symphonic works from the past century. A composition pupil of Chávez and Aaron Copland (at Tanglewood), Moncayo, a native of Guadalajara, served as pianist and percussionist with the Orquesta Sinfónica de Mexico (1932-44) and conductor of its successor organization, the Orquesta sinfónica nacional (194954). He composed Huapango at the request of Chávez, who led its premiere. A sometimes collector of folk songs, Moncayo selected three from the east-central Mexican state of Veracruz, home of the Huastec people: “Siquisirí,” “Balajú,” and “El Gavilancito.” The word huapango refers to a family of dances from that region. Its etymology may be a regional variant of the more familiar term fandango , or it may trace back to a Nahuatl term meaning “on top of the wood,” referring to a wooden platform on which such works are danced. Moncayo’s orchestration places some emphasis on several instruments widely encountered in Veracruz folk music, including trumpet and harp.
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Town of Avon
JUNE 27 ~ JULY 24 // 2025
These stylish soirées are one-of-a-kind social, culinary, and musical experiences at magnificent private residences, featuring fine dining and intimate performances by some of the world’s most extraordinary musicians.
This season features a sensational array of unique, genre-crossing experiences with Festival artists, introduced by Bravo! Vail’s own Artistic Director Anne-Marie McDermott.
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Yamaha
Akaleidoscope of sights and sounds showcase a multitude of musical dimensions at the opening Soirée of the season. Beethoven’s Quintet for Piano and Winds is a charming Classical showcase for Bravo! Vail’s artistic director, with members of Sinfónica de Minería. Composed in 1796, this work comes from Beethoven’s early Vienna years, when he immersed himself amongst musical greats and nursed ambitions to carve out a name for himself. Inspired by Mozart’s work for the same distinctive instrumentation, Beethoven added his own dramatic contrasts and innovative harmonic explorations. The explorations continue with a fascinating, festive set of Latin tunes by Paquito D’Rivera, Astor Piazzolla and more, performed by a “supergroup” made up of pianist Anne-Marie McDermott, Carlos Miguel Prieto on violin, and the phenomenal Venezuelan trumpeter Pacho Flores.
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THIS EVENING’S HOSTS
Pepette and Joseph Mongrain
SPECIAL GRATITUDE
Linda and Mitch Hart
The Judy & Alan Kosloff Artistic Director Chair
SPONSORED BY Foods of Vail
Jackson Family Wines
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THE LINDA & MITCH HART SOIRÉE SERIES
Sinfónica de Minería Winds
Claire Kostic, oboe
Hector Noriega, clarinet
David Ball, bassoon
Gerardo Días, horn
Carlos Miguel Prieto, violin
Pacho Flores, trumpet
Anne-Marie McDermott, piano
Quintet in E-flat for Piano and Winds, Op. 16
Grave – Allegro ma non troppo
Andante cantabile
Rondo
Selections for violin, trumpet, and piano to be announced.
$20,000 AND ABOVE
Edgar Legaspi
Cathy Stone
Town of Avon
The Mariscal Family
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IN
JUNE 28 ~ JULY 4 // 2025
The Dallas Symphony Orchestra delivers uplifting, entertaining, and enriching musical experiences worldwide. This summer, the Orchestra returns with its trademark diverse lineup, celebrating classical masterworks, a beloved cinematic fairy tale, and more.
The largest performing arts organization in the southwest United States, the Dallas Symphony Orchestra (DSO) presents more than 150 orchestra concerts each year at the Morton H. Meyerson Symphony Center. To date, the orchestra has been served by many music directors including Hans Kreissig, Antal Doráti, Walter Hendl, Sir Georg Solti, Anshel Brusilow, Max Rudolf, Eduardo Mata, Andrew Litton, Jaap van Zweden and Fabio Luisi, who inaugurated his tenure in September 2020.
Celebrating its 125th anniversary in the 2025-26 season, the Dallas Symphony Orchestra traces its origins to a concert given by a group of 40 musicians conducted by Hans Kreissig in 1900. The Orchestra, like the city, has evolved in both size and stature. Since presenting its first world premiere in 1911, the Orchestra has commissioned and premiered more than 100 new works. Starting in the 1940s, the Orchestra won na tional attention through a series of albums with RCA. It now boasts a storied discography of recordings on RCA, Dorian, Hyperion and its own label, DSO Live. In 1985, the Dallas Symphony Orchestra embarked on its first European tour, and the tradition of touring has continued with tours to South America and Mexico, appearances at Carnegie Hall and the recent European tour in 2024 with Music Director Fabio Luisi. The Orchestra has an impressive broadcast and media history, including television programs on PBS, A&E and Bloomberg Media as well as one of the first orchestral livestreams in 2000.
In 1989, as a result of a community-driven project, the City of Dallas celebrated the opening of the Morton H. Meyerson Symphony Center. The Meyerson was designed by internationally acclaimed architect I.M. Pei, his only concert hall. The Meyerson is now recognized as one of the world’s finest concert halls and serves as the performance home of the Dallas Symphony Orchestra as well as many local music organizations.
In June 2018, the Dallas Symphony Orchestra named GRAMMY Awardwinning Italian conductor Fabio Luisi as its next music director, and he
assumed the Louise W. & Edmund J. Kahn Music Directorship in September 2020. Luisi has developed a close rapport with the Orchestra through a series of acclaimed performances. In the 2023-24 season, Luisi and the Orchestra continued their recording cycle of the Brahms symphonies and embarked on the ensemble’s first European tour in over a decade. They launched the 2024-25 season with concert performances of Wagner’s complete Ring Cycle, which will be released as a recording in connection with the Orchestra’s 125th anniversary in the 2025-26 season. The celebration
will include performances that reflect on its tremendous history alongside programming featuring nearly a dozen world premieres and the next generation of classical music soloists. Today, the Dallas Symphony Orchestra is acclaimed for its distinctive classical programs, inventive pops concerts, and innovative multimedia events that inspire audiences around the world. As part of its commitment to the community, the Orchestra reaches more than 240,000 people of all ages and also operates signature educational programs that serve more than 10,000 children from across Dallas.
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The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.
ORCHESTRA SERIES
GERALD R. FORD AMPHITHEATER
PRE-CONCERT TALK
5:00PM
GERALD R. FORD AMPHITHEATER LOBBY
Sarah Day-O’Connell (Skidmore College), speaker
Anne-Marie McDermott, piano
BEETHOVEN
Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)
Allegro con brio
Adagio
Rondo: Molto allegro — INTERMISSION —
GIPPS
Seascape, Op. 53 (7 minutes)
HAYDN
Symphony No. 104 in D major, London (29 minutes)
Adagio—Allegro
Andante
Menuetto: Allegro—Trio
Finale: Spiritoso
CONDUCTOR SPONSOR
Mary Lou Paulsen and Randy Barnhart
SOLOIST SPONSORS
Anne-Marie McDermott, piano, sponsored by Kathy & Al Hubbard and Alice Ruth & Ron Alvarez
Piano Concerto in C-sharp minor, Op. 45 (1898-99)
AMY MARCY CHENEY BEACH (1867-1944)
ASPECIAL GRATITUDE TO
THIS EVENING’S PERFORMANCE IS PRESENTED BY
Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)
The Berry Charitable Foundation
NORMA AND CHARLES CARTER
The Sidney E. Frank Foundation
LUDWIG VAN BEETHOVEN (1770-1827)
FOUR SEASONS RESORT AND RESIDENCES VAIL
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BThe Lyn & Phillip Goldstein Piano Concerto Artist Project
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Yamaha
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SPONSORED BY Ray Oglethorpe
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SOLOIST SPONSORS
Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross
eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.
A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto
lthough nobody could have foreseen that Amy Marcy Cheney would become the first American woman to achieve international fame as a composer, there was no doubting her musical talent from the outset. At the age of one (!) she could sing 40 different tunes accurately, always in the same key. Her public debut as a pianist (at seven) included her own music as well as selections by Handel, Beethoven, and Chopin. In 1885, she married the surgeon (and amateur singer and poetaster) Dr. Henry Harris Aubrey Beach, a socially prominent widower 25 years her senior, after which she donated her concert fees to charity. She shifted her emphasis from performing to composition, and by the time she died, in 1944, she had earned acclaim as one of America’s leading composers, though she doubtless would have preferred that the general public know her for large-scale pieces, such as her Gaelic Symphony and her Piano Concerto, rather than just her once-ubiquitous parlor songs “Ah, Love, But a Day” and “The Year’s at the Spring.”
Her Piano Concerto, a big-boned composition in the Romantic tradition, seems to incorporate a veiled narrative, each movement alluding to personally significant songs she had composed years earlier. The song “Jeune fille et jeune fleur,” recycled as the second theme of the first movement, portrayed a young woman’s coffin being lowered into the grave as her father watches—perhaps, speculated Beach biographer Adrienne Fried Block, symbolizing Beach’s older husband “killing” her concert career, which may overreach somewhat. (Henry had this song in his vocal repertoire.) The second movement references “Empress of Night,” a setting of a poem by Henry and carrying a dedica tion to Amy’s mother; the piano’s effervescent figurations trace back to the piano accompaniment in the song. Another of Henry’s poems served as the text for “Twilight”; the opening and closing portions of her song setting echo through the third and fourth movements respectively, the finale being marked Allegro con scioltezza (Allegro with agility).
The composer served as soloist in the work’s premiere, with the Boston Symphony in April 1900—one of her sporadic public appearances until after her husband’s death in 1910. The critics were harsh, complaining that the orchestra texture was too thick and allowing touches of misogyny to creep into their columns. Reception turned more positive with repeated performances. When Beach introduced it in Berlin, in 1913, it earned a far more favorable review: “This work, presented by the resourceful composer with admirable pianistic finish and verve, is not only a piano Concerto, but a pianist’s Concerto, that is extremely grateful to the executive artist without losing its balance and descending to the level of a mere show-piece of virtuosity.”
Variations on an Original Theme, Enigma, Op. 36 (1898-99)
EDWARD ELGAR (1857-1934)
Edward Elgar was just claiming his position as England’s leading composer when, in 1899, he unveiled his Variations on an Original Theme
(Op. 36), popularly known as the Enigma Variations . The program note explained that he had crafted each of the variations to describe some friend or acquaintance, but that he would not reveal their identities. The connection of music to subject was suggested by initials attached to each section, but it was understood that these might not always be simplistic renderings of the initials of the names of the “portraits” but rather more complicated codes (perhaps alluding to a nickname, for example). And then the composer suggested that something deeper might be going on: “The enigma I will not explain—its ‘dark saying’ must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme ‘goes,’ but is not played—so the principal Theme never appears, even as in some late dramas—e.g. Maeterlinck’s L’Intruse and Les Sept princesses —the chief character is never on the stage.” This made everyone terribly curious, of course, and a flurry of hypothesizing ensued, some of it downright batty. For his part, Elgar fanned the flames of speculation by dropping elusive comments such as “the theme is so well known that it is extraordinary that no one has spotted it,” as he remarked to Arthur Toye Griffith
(portrayed in Variation VII) or, to Dora Penny (a.k.a. Mrs. Richard Powell, the “Dorabella” of Variation X) that he was flabbergasted that “you, of all people,” had not solved the puzzle. At the same time, he resolutely refused to reveal the solution, and whatever he did say tended to toss what may be red herrings into waters that were already muddy. Part of Elgar’s enigma was solved quickly: the identities of the subjects portrayed leave not much room for doubt, ranging through a circle of acquaintances. Many believe that the larger enigma of these variations, the “dark saying” to which Elgar alluded, may be mere subterfuge—that the enigma cannot be guessed with certainty because no enigma exists.
The most famous of Elgar’s variations is the ninth, a five-minute Adagio titled Nimrod . Nimrod was an Old Testament character whose name meant “Mighty Hunter Before God.” Elgar extended the hunter allusion to identify Augustus Jaeger, his closest musical confidant and an editor at the publishing firm that published his works. Jaeger is the German word for “hunter.” Here the theme builds from deepest contemplation to overflowing emotion, yielding a movement whose gravity has made it a piece of choice for performance at solemn occasions.
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SUNDAY 7:30 PM
ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Constantine Kitsopoulos, conductor
ACT III COMMUNICATIONS Presents
A REINER/SCHEINMAN Production
WILLIAM GOLDMAN’S
CARY ELWES
MANDY PATINKIN
CHRIS SARANDON
CHRISTOPHER GUEST
WALLACE SHAWN
ANDRE THE GIANT
Introducing ROBIN WRIGHT
Special Appearances by PETER FALK and BILLY CRYSTAL
Edited by
ROBERT LEIGHTON
Production Designed by NORMAN GARWOOD
Director of Photographer
ADRIAN BIDDLE
Music by MARK KNOPFLER
Executive Producer
NORMAN LEAR
Screenplay by
WILLIAM GOLDMAN
Produced by
ANDREW SCHEINMAN and ROB REINER
Directed by ROB REINER
CONDUCTOR SPONSOR
Amy Novikoff
SPECIAL GRATITUDE TO The Berry Charitable Foundation
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The great Peter Falk narrates The Princess Bride , the romantic tale of the beautiful maiden, Buttercup, and her one true love, a young farm hand named Westley. After he’s captured by a ruthless pirate and presumed dead, Buttercup’s unhappy marriage to the horrible Prince Humperdinck seems inevitable. But before the wedding can take place, she’s kidnapped by three outlaws and it’s up to a mysterious Man in Black to come to her rescue…
With The Princess Bride , director Rob Reiner brilliantly threads the needle between the silly and the utterly sincere. Finding the right tone was critical to making it all work, and one of the greatest contributors to a film’s tone is its music. Reiner said, “I knew I wanted that kind of swashbuckling score,” and turned to
Mark Knopfler of Dire Straits to create a soundtrack that captures the film’s quirky yet romantic nature. While the original 1987 soundtrack featured dreamy washes of synthesizers
overlaid with warm acoustic instruments and hints of percussion, this performance brings the power of a full symphony orchestra to one of the most beloved films of all time.
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Shirley and William S. McIntyre, IV
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Linda and Mitch Hart
Billie and Ross McKnight
Marcy and Stephen Sands
$20,000 AND ABOVE
Marilyn Augur
John Dayton
Fanchon and Howard Hallam
Lyda Hill
Alexia and Jerry Jurschak
Jan and Lee Leaman
Marilyn Lenox
Bobbi and Richard Massman
Margie and Chuck Steinmetz
Cathy Stone
$10,000 AND ABOVE
Suzanne Caruso and Stephen Saldanha and the Saldanha Family Foundation
Carole C. and CDR. John M. Fleming
Brenda and Joe McHugh
Patricia and Brian Ratner
Donna and Randy Smith
Marcy and Gerry Spector
Carole A. Watters
Nancy and Harold Zirkin
$5,000 AND ABOVE
Edwina P. Carrington
Meg and Jamie Duke
Diane Folsom Frank
Jane and Stephen Friedman
Neal Groff
Kim and Greg Hext
Karen and Steve Livingston
Patty and Denny Pearce
Vicki Rippeto
Debbie Scripps
Sherry Sunderman and Tom Mueller
Gena Whitten and Bob Wilhelm
Kathy and William Wiener
Carolyn Wittenbraker and Arkay Foundation
Tom Woodell
Tonight’s program is a presentation of the complete film The Princess Bride with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the performance.
The Princess Bride © Princess Bride, Ltd. All Rights Reserved.
Original musical score composed by Mark Knopfler © 1987 Straitjacket Songs Ltd. Used by Permission. All Rights Reserved.
The running time of this program is approximately 2 hours and includes one brief intermission.
The Princess Bride in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.
Producers: Steven A. Linder and Jamie Richardson
Director of Operations: Rob Stogsdill
Production Manager: Sophie Greaves
Production Assistant: Katherine Miron
Worldwide Representation: IMG Artists, LLC
Technical Director: Mike Runice
Music Composed by Mark Knopfler
“Storybook Love” written by Willy DeVille
Musical Score Adapted and Orchestrated for Live Performance by Mark Graham
Music Preparation: Jo Ann Kane Music Service
Film Preparation for Concert Performance: Epilogue Media
Technical Consultant: Laura Gibson
Sound Remixing for Concert Performance: Chace Audio by Deluxe
The score for The Princess Bride has been specially adapted for live concert performance.
With special thanks to: Norman Lear, Mark Knopfler, Julie Dryer, David Nochimson, Paul Crockford, Sherry Elbe, James Harman, Peter Raleigh, Trevor Motycka, Bethany Brinton, Matt Voogt, Adam Michalak, Adam Levy, Adam Witt, and the musicians and staff of the Dallas Symphony Orchestra.
CHAMBER
Escher Quartet
Adam Barnett-Hart, violin
Brendan Speltz, violin
Pierre Lapointe, viola
Brook Speltz, cello
Jason Vieaux, guitar
MOZART
String Quartet in D major, K. 575 (24 minutes)
Allegretto
Andante
Menuetto (Allegretto) and Trio
Allegretto
AARON JAY KERNIS
100 Greatest Dance Hits (15 minutes)
Introduction
Salsa Pasada
MOR Easy Listening Slow Dance Ballad
Dance Party on the Disco Motorboat
I NTERMISSION
BACH, arr. Jason Vieaux
Siciliano and Presto, from Violin Sonata No. 1 in G minor, BWV 1001 (5 minutes)
PAT METHENY
Movement II, from Four Paths of Light (6 minutes)
MOREL
Danza brasilera (3 minutes)
BOCCHERINI
Guitar Quintet in D major, G. 448, Fandango (20 minutes)
Allegro maestoso
Pastorale
Grave assai—Fandango
String Quartet in D major, K. 575 (1789)
WOLFGANG AMADÈ MOZART (1756-91)
In April 1789, Mozart traveled from Vienna to Berlin to meet Friedrich Wilhelm II, the cello-playing King of Prussia. When he got home in early June, he had in hand a commission for a set of six string quartets plus (for the king’s daughter) six easy piano sonatas. He quickly composed the D-major String Quartet, which he entered in his catalogue as “for His Majesty the King of Prussia.” A year later he finished two more quartets, leaving the royal commission for six only half fulfilled. He did worse with the requested piano sonatas, completing only one. The instrumental balance is distinctive here among Mozart’s quartets, giving unusual prominence to the lower voices—perhaps a nod to the king’s predilection for the cello. The quartet has an intimate, subdued character, with the directives sotto voce and
dolce appearing in both of the first two movements. In contrast, the Menuetto offers some brusque harmonic conflicts and rhythmic displacements, and the finale is a felicitous, highly contrapuntal rondo whose character may recall the subtle, worldly wit of Così fan tutte
100 Greatest Dance Hits (1993) AARON JAY KERNIS (b. 1960)
Aaron Jay Kernis studied with John Adams, Jacob Druckman, and Charles Wuorinen, and they all left their marks: the expressive minimalism of early Adams, the bold assertiveness of Druckman, the rigorous structuralism of Wuorinen. In the end, Kernis’s wide-ranging style has earned him such honors as the 1998 Pulitzer Prize in Music (for his String Quartet No. 2, musica instrumentalis) and the 2002 Grawemeyer Award (for his cello concerto Colored Field). Popular and vernacular music fuel many of his pieces, while others seem drawn from
deeply rooted classical traditions. “If there is any aspect of human existence that hasn’t shown up in Aaron Jay Kernis’s music, it’s only because he hasn’t gotten around to it yet,” wrote the San Francisco critic Joshua Kosman. Of 100 Greatest Dance Hits for guitar and string quartet, Kernis said, “I borrowed the title from those old K-Tel advertisements on late-night TV for 100 Greatest Motown Hits or 100 Greatest Soul Hits.” Its movements reflect four different genres—and know that MOR means “Middle of the Road,” here denoting something akin to Muzak.
Siciliano and Presto from Violin Sonata No. 1 in G minor, BWV 1001 (1720)
JOHANN SEBASTIAN BACH (16851750), arranged by Jason Vieaux
Bach composed six works for unaccompanied violin, three of them titled sonatas, three of them “partias” (an antiquated German usage that is today usually altered to “partitas”). He inscribed the date 1720 on the score of his violin collection, so we know the works were completed by then at the
latest. We don’t know for whom he composed these pieces but it must have been a virtuoso of exorbitant abilities, capable of negotiating the technical demands of multiple stops, which Bach employs to express rich polyphonic textures—a characteristic that may lie more idiomatically on a guitar. We hear the last two movements of the Sonata No. 1—a lilting Siciliano (the only overt dance-reference in any of the unaccompanied sonatas) and a Presto finale that is a moto perpetuo of unceasing 16th-notes.
Movement II, from Four Paths of Light (2018)
PAT METHENY (b. 1954)
Guitarist Pat Metheny’s website bio describes his “trademarked playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility—a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues.” An industrious jazz guitarist and composer, he has won 20-odd GRAMMY awards in disparate categories, including Contemporary Jazz, Rock, and Best Instrumental Composition. He wrote the four-movement Four Paths of Light for Jason Vieaux, who played it on the 2021 recording Road to the Sun. The movements are labeled only I, II, III, and IV, with no suggestions of literary description—of which Vieaux observed “when the music is at its most intriguing it allows you to paint the texture, to fill in your own narrative.”
Danza brasilera (1968)
JORGE MOREL (1931-2021)
A native of Buenos Aires, Jorge Morel began playing guitar at the age of seven, toured widely in Latin America as a young man, and settled in 1961 in New York, where he became a mainstay at the Village Gate jazz club, collaborating with such jazz legends as Errol Garner, Dizzy Gillespie, Stan Kenton, and Herbie Mann. His own compositions—mostly for guitar solo, guitar ensembles, guitar with chamber groups, and guitar with orchestra—staked a place in the jazz and classical guitar repertoires. Morel described his Danza brasilera (Brazilian
Dance) as jazz-influenced in its rhythm and harmony. At heart, it is a samba rich in syncopation.
Guitar Quintet in D major, G. 448, Fandango (1798)
LUIGI BOCCHERINI (1743-1805)
Luigi Boccherini gained fame as a cellist who, after his boyhood in Italy, toured to Vienna and Paris. He intended to continue on to London, but for some reason changed plans and went instead to Madrid. There he held various appointments for aristocratic musiclovers, composing at a dizzying pace. He is most famous for his chamber music, especially for string quintets with (no surprise) two cellos. To feed Spanish tastes, he transcribed a number of his chamber pieces for guitar plus string quartet. Indeed, the movements of the piece played here originally appeared in string quintets and he arranged them with guitar in 1798. The vivacious dance of the finale gives the work its nickname.
Bravo! Vail Gratefully Acknowledges the Support of the
Anonymous
The Berry Charitable Foundation
The Carrington Classical Guitar Fund
Discover Vail
The Sidney E. Frank Foundation
Jackson Family Wines
Debbie and Jim Shpall and Applejack Wine & Spirits
Existential questions are the first step to the daily decision-making that shapes our lives. In this program, Felix Mendelssohn and Alvin Singleton give us a glimpse of questions and answers of their own. Through their work, we explore elements that forge the foundations of our fate and drive our yearning to achieve our desires. Singleton’s Third String Quartet, written shortly after the death of American contralto and activist Marian Anderson, evokes feelings of turmoil and struggle; thus, its title, “Somehow We Can” makes us question, “ can we?” Mendelssohn’s Second String Quartet, written shortly after the death of Beethoven, takes its question from his song “Ist es wahr?” (‘Is it true?’) While we do not know wha t specifically the question refers to, it leaves room for interpretation, allowing the listener to ask their own questions and come to their own conclusions.
—Ivalas Quartet
Bravo! Vail Gratefully Acknowledges Support for This Afternoon’s Concert
Ivalas Quartet
(Bravo! Vail 2025 Chamber Musicians in Residence)
Reuben Kebede, violin
Tiani Butts, violin
Marcus Stevenson, viola
Pedro Sánchez, cello
String Quartet No. 3, Somehow We Can (15 minutes)
String Quartet in A minor, Op. 13 (30 minutes)
Adagio—Allegro vivace
Adagio non lento
Intermezzo: Allegretto con moto— Allegro di molto
Presto—Adagio non lento
6:00PM
ORCHESTRA SERIES
GERALD R. FORD AMPHITHEATER
PRE-CONCERT TALK
5:00PM
GERALD R. FORD AMPHITHEATER LOBBY
Sarah Day-O’Connell (Skidmore College), speaker
Anne-Marie McDermott, piano
BEETHOVEN
Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)
Allegro con brio
Adagio
Rondo: Molto allegro
INTERMISSION
GIPPS
Seascape, Op. 53 (7 minutes)
HAYDN
Symphony No. 104 in D major, London (29 minutes)
Adagio—Allegro
Andante
Menuetto: Allegro—Trio Finale: Spiritoso
THIS EVENING’S PERFORMANCE IS PRESENTED BY
NORMA AND CHARLES CARTER
Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801) LUDWIG VAN BEETHOVEN (1770-1827)
CONDUCTOR SPONSOR
FOUR SEASONS RESORT AND RESIDENCES VAIL
VERA AND JOHN HATHAWAY
Angela and Tim Stephens
SOLOIST SPONSORS
SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle
I Wish You Daisies and Roses (2025; Co-Commission by Bravo! Vail and the Dallas Symphony Orchestra)
BSOPHIA JANI (B. 1989)
Berry Charitable Foundation
Charles Yang, violin, sponsored by Renee & Kerry Chelm and Anne & Tom McGonagle
The Francis Family
SPECIAL GRATITUDE TO
The Judy and Alan Kosloff Artistic Director Chair
The Berry Charitable Foundation
Yamaha
The Bravo! Vail Artistic Excellence Fund
IThe Friends of the Dallas Symphony Orchestra
SPONSORED BY Ray Oglethorpe
eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.
The Lyn & Phillip Goldstein
Barbara and Carter Strauss
Maestro Society
National Endowment for the Arts
SOLOIST SPONSORS
The New Works Fund
Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross
n 2023, the German composer Sophia Jani began her first of three years as composerin-residence of the Dallas Symphony Orchestra (DSO), which played the premiere of I Wish You Daisies and Roses this past March in Dallas. Her official bio says that she “takes a poetically minimalist approach to composition and belongs to a new generation of artists who were influenced early on by the boundlessness of the 21st century.” In 2023 she received a fellowship to be musical artist in residence of the Arvo
A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto
Pärt Centre in Estonia. She is one of the founders and artistic directors of Feet Become Ears, a German platform tha t commissions, presents, and celebrates contemporary chamber music. Two CDs devoted to her music have been released: Music as a mirror (2022), a collection of chamber works tha t was nominated for the German music prize Opus Klassik, and Six Pieces for Solo Violin (2024).
She has provided this comment about I Wish You Daisies and Roses : “I am writing my piece for the DSO at a very special time in my life, since it is the first composition I am working on a fter the birth of my first child. Wha t really touched me was the feeling of this immense and infinite love you’re feeling as a parent and how much and with all your heart you wish your child a good future. With that came the realization that when you have something so infinitely precious in your life, you also become infinitely vulnerable. So throughout this past year, I had to fight again and again not to sink completely into worries and insecurities. It was out of this energy that I started writing this piece.”
Violin Concerto, For a Younger Self (2019-20)
KRIS BOWERS (B. 1989)
Los Angeles native Kris Bowers studied at the Colburn School there and the Juilliard School in New York. He composes for film and for the concert stage, finding that both those disciplines are energized by a sense of musical storytelling. He wrote his Violin Concerto for his Juilliard friend Charles Yang. “ For a Younger Self ,” he explains, “is an effort to encapsulate the essence of a young hero’s journey—one where the protagonist, embodied by Charles and his violin, embarks upon the adventure of selfdiscovery amidst the challenges of young life in an unfamiliar space.”
He continues: “When we meet our hero at the beginning of the piece, he is somewhat melancholic and timid, and pretty soon we feel he is almost being pushed around by the orchestra. ... So we go back and forth between these moments of chaos and anxiety, to these gentler sections that represent the pining for
tranquility, nostalgia, love, etc. The second movement is a moment for our protagonist to finally have that moment of peace and reflection. [He] is now driving the orchestra, … acting from a place of love rather than fear. Lastly, we reach the climactic final movement in which the hero and what he’s learned is put to the test, and the ease in which he exhibits his selfconfidence and assuredness amidst the chaos is on full display. On some level, writing this piece became a way to send a message to the younger version of myself, in terms of finding a way to maintain balance and inner peace in this chaotic and troubling world, and also as a way to encourage and celebrate my curiosity and love for so many types of music.”
LUDWIG VAN BEETHOVEN
(1770-1827)
The Age of Beethoven coincided in large part with the Age of Napoleon. Beethoven was an enthusiast at first, but his admiration disappeared when Napoleon declared himself an absolutist dictator. In June 1813, the Duke of Wellington defeated Napoleon in the Battle of Vitoria, spelling French defeat in the Iberian Peninsula. On March 31, 1814, the European allies entered Paris, and shortly thereafter Napoleon retreated to exile on the
Italian island of Elba. Nine months later he sneaked back but was squashed for good in the Battle of Waterloo, after which he was sent to spend the rest of his life on the remote South Atlantic island of St. Helena.
Beethoven monitored all of this with great interest. On December 8, 1813, two of his works were unveiled in a concert at the University of Vienna organized for the benefit of wounded troops: his descriptive symphonic fantasy Wellington’s Victory, or The Battle of Vitoria, and his Seventh Symphony. Both were so warmly received that the program was repeated four days later as a second benefit. The second movement of the symphony had to be encored on both occasions.
The Seventh became one of Beethoven’s most popular symphonies, and it evoked admiring comments from many informed listeners—beginning with Beethoven himself, who, in an 1815 letter, cited his “Grand Symphony in A” as “one of my best works.” Richard Wagner proclaimed it “the Apotheosis of the Dance; the Dance in its highest condition; the happiest realization of the movements of the body in an ideal form.” Hector Berlioz, noting that the Symphony’s Allegretto was its most famous movement, proclaimed, “This does not arise from the fact that the other three parts are any less worthy of admiration; far from it.”
Bravo! Vail Gratefully Acknowledges Support from the Friends of the Dallas Symphony Orchestra
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Shirley and William S. McIntyre, IV
$30,000 AND ABOVE
Linda and Mitch Hart
Billie and Ross McKnight
Marcy and Stephen Sands
$20,000 AND ABOVE
Marilyn Augur
John Dayton
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Jan and Lee Leaman
Marilyn Lenox
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Cathy Stone
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Edwina P. Carrington
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Debbie Scripps
Sherry Sunderman and Tom Mueller
Gena Whitten and Bob Wilhelm
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Carolyn Wittenbraker and Arkay Foundation
Tom Woodell
ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Jeff Tyzik, conductor
Brie Cassil, vocals
Paul Loren, vocals
Colin Smith, vocals
Oscar Rodriguez, guitar
Zach Jones, drums
HUEY LEWIS/CHRIS HAYES/ JOHN COLLA
“The Power of Love” as recorded by Huey Lewis
DARYL HALL/JANNA M. ALLEN
“Kiss on My List” as recorded by Hall and Oates
JACKIE DESHANNON/DONNA WEISS
“Bette Davis Eyes” as recorded by Kim Carnes
MARTIN GEORGE PAGE/ BERNARD TAUPIN
“These Dreams” as recorded by Heart
JACK NITZSCHE/BUFFY SAINTMARIE/WILL JENNINGS
“Up Where We Belong” as recorded by Joe Cocker
ANNIE LENNOX/DAVID ALLAN STEWART
“Sweet Dreams are Made of This” as recorded by the Eurythmics
BILLY JOEL
“Tell Her About It” as recorded by Billy Joel
ROBERT HYMAN/CYNDI LAUPER
“Time After Time” as recorded by Cyndi Lauper
ELTON JOHN/BERNARD TAUPIN
“I’m Still Standing” as recorded by Elton John
I NTERMISSION
DISCOVER VAIL NIGHT
PRESENTED BY SHIRLEY AND WILLIAM S. MCINTYRE, IV
CONDUCTOR SPONSOR
The Stolzer Family Foundation; Ellen and Dan Bolen; Mary Kevin and Tom Giller
SOLOIST SPONSORS
Brie Cassil, vocals, sponsored by Debbie and Patrick Horvath
Zach Jones, drums, sponsored by Sue and Michael Rushmore
Paul Loren, vocals, sponsored by Gussie Ross
Oscar Rodriguez, guitar, sponsored by Carol and Kevin Sharer
Colin Smith, vocals, sponsored by Suzanne and Bernard Scharf
SPECIAL GRATITUDE TO
The Berry Charitable Foundation
The Bravo! Vail Artistic Excellence Fund
The Sidney E. Frank Foundation
The Friends of the Dallas Symphony Orchestra
The Lyn & Phillip Goldstein Maestro Society
The Therese M. Grojean Vocalist Fund
This power-packed concert covers all the biggest hits from one of the most dynamic decades in pop music history. The ‘80s were all about excess: big hair, big drums, big shoulder pads, and big talent. New arrangements by GRAMMY Awardwinner Jeff Tyzik lend an unforgettable power to iconic tunes from superstars like Madonna, Debbie Gibson, Huey Lewis & The News, Phil Collins, Queen, and more. This is a totally tubular concert experience, for sure!
$50,000 AND ABOVE
Shirley and William S. McIntyre, IV
$30,000 AND ABOVE
Linda and Mitch Hart
Billie and Ross McKnight
Marcy and Stephen Sands
$20,000 AND ABOVE
Marilyn Augur
John Dayton
Fanchon and Howard Hallam
Lyda Hill
Alexia and Jerry Jurschak
Jan and Lee Leaman
Marilyn Lenox
Bobbi and Richard Massman
Margie and Chuck Steinmetz
Cathy Stone
$10,000 AND ABOVE
Suzanne Caruso and Stephen
Saldanha and the Saldanha
Family Foundation
Carole C. and CDR. John M. Fleming
Brenda and Joe McHugh
Patricia and Brian Ratner
Donna and Randy Smith
Marcy and Gerry Spector
Carole A. Watters
Nancy and Harold Zirkin
$5,000 AND ABOVE
Edwina P. Carrington
Meg and Jamie Duke
Diane Folsom Frank
Jane and Stephen Friedman
Neal Groff
Kim and Greg Hext
Karen and Steve Livingston
Patty and Denny Pearce
Vicki Rippeto
Debbie Scripps
Sherry Sunderman and
Tom Mueller
Gena Whitten and
Bob Wilhelm
Kathy and William Wiener
Carolyn Wittenbraker and Arkay Foundation
Tom Woodell
PHIL COLLINS
“Sussudio” as recorded by Phil Collins
MICK HUCKNALL/NEIL MOSS
“Holding Back the Years” as recorded by Simply Red
ROBERT PALMER
“Addicted to Love” as recorded by Robert Palmer
RICHARD MARX
“Right Here Waiting” as recorded by Richard Marx
GEORGE MERRILL/SHANNON RUBICAM
“I Wanna Dance with Somebody” as recorded by Whitney Houston
CHRISTOPHER HUGHES/ROLAND ORZABAL/IAN STANLEY
“Everybody Wants to Rule the World” as recorded by Tears for Fears
PETER BROWN/ROBERT RANS
“Material Girl” as recorded by Madonna
DEBBIE GIBSON
“(I Get) Lost in Your Eyes” as recorded by Debbie Gibson
JOHN ALBERT DENICOLA/ DONALD JAY MARKOWITZ/ FRANKE JON PREVITE
“I’ve Had the Time of My Life” as recorded by Bill Medley
STEVE WINWOOD/WILL JENNINGS
“Higher Love” as recorded by Steve Winwood
The running time of this concert is approximately 1 hour, 35 minutes.
ALL ARRANGEMENTS LICENSED BY SCHIRMER
THEATRICAL, LLC
A Schirmer Theatrical/Greenberg Artists co-production
Arrangements by Jeff Tyzik
Creative Team:
Robert Thompson, producer
Jeff Tyzik, producer & arranger
Jami Greenberg, producer & booking agent
Betsy Perlmutter, producer
Alex Kosick, associate producer
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THURSDAY 1 PM COMMUNITY CONCERTS
VAIL INTERFAITH CHAPEL
Ivalas Quartet
(Bravo! Vail 2025 Chamber Musicians in Residence)
Reuben Kebede, violin
Tiani Butts, violin
Marcus Stevenson, viola
Pedro Sánchez, cello
OSVALDO GOLIJOV
Tenebrae for String Quartet (16 minutes)
BEETHOVEN
String Quartet No. 13 in B-flat major, Op. 130 (40 minutes)
Adagio, ma non troppo – Allegro Presto
Andante con moto, ma non troppo
Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Finale: Allegro
Since before recorded history, humankind has looked to the stars. Whether in reverence, fear, or fascination, the nature of space continues to fuel our imagination and our exploration. In this program, Ivalas brings the listener on a journey through the cosmos with works by composers who muse on the origins of our universe and the experience of existing beyond our world. Osvaldo Golijov’s Tenebrae was written shortly after a visit by the composer to New York’s Hayden Planetarium with his son, where they viewed Earth as a tiny blue dot in space. The experience inspired him to write this piece that could be listened to from different perspectives. The program closes with Beethoven’s Opus 130, a piece deemed so timeless that a recording was included in the 1977 Voyager craft as a gift to any otherworldly beings it might encounter.
—Ivalas Quartet
Bravo! Vail Gratefully
Support for This Afternoon’s Concert
Marijke and Lodewijk de Vink Discover Vail Eagle County Lodging Tax Marketing Committee
For over 30 years, Bravo! Vail has honored our country’s birthday on July 4 with a heartfelt symphonic salute. In addition to classic tunes like Shenandoah and America the Beautiful, this year’s celebration recalls a 1945 USO tour when Frank Sinatra sang for thousands of American soldiers throughout the European theater. Military marches and beloved musical traditions honor the legacy of dedicated service, while iconic melodies by Aaron Copland and John Williams paint a picture of spacious skies and purple mountains majesty.
Bravo! Vail Gratefully
Acknowledges Support for this Afternoon’s Concert
THE VAIL VALLEY FOUNDATION
SPECIAL GRATITUDE
The Berry Charitable Foundation
The Sidney E. Frank Foundation
The Friends of the Dallas Symphony Orchestra
The Lyn & Phillip Goldstein
Maestro Society
The Therese M. Grojean
Vocalist Fund
4
FRIDAY 2 PM
ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Jeff Tyzik, conductor Paul Loren, vocals
BAGLEY
National Emblem March
ARR. CINDY MCTEE
Shenandoah
Alexander Kerr, violin
Hayley Grainger, flute
ANDERSON
Bugler’s Holiday
JOHN WILLIAMS
Overture to The Cowboys
SOUSA
Semper Fidelis
CAHN/VAN HUESEN/ARR. MAY
Come Fly with Me
ALLEN/ROBINSON/ARR. ALEXANDER
The House I Live In
ARR. TYZIK
America the Beautiful
I NTERMISSION
JOHN WILLIAMS
“March” from Midway
The Patriot
COPLAND
Variations on a Shaker Melody
JAMES BECKEL, Jr.
Gardens of Stone
ARR. JEFF TYZIK
Armed Forces Song Medley
SOUSA
The Stars and Stripes Forever March
In addition to being one of the most innovative and sought-after pops conductors in the world, Jeff Tyzik has created over 500 orchestrations, arrangements and original compositions for ensembles of every shape and size. Tonight’s Soirée is a guided tour through the multiple musical worlds he calls home. First stop, a delightfully picturesque dance suite showcasing the sonorous sound of the oboe, with the brilliant James Austin Smith joined by Bravo! Vail’s own Anne-Marie McDermott at the piano.
Moving from original composition to the realm of arrangements, Tyzik delves into the classic American Songbook, putting his own distinctive spin on beloved tunes made famous by Frank Sinatra, Tony Bennett, and others. Vocalist Paul Loren draws on this rich legacy, representing a new generation of soulful crooners.
Bravo! Vail Gratefully Acknowledges Support for This Evening’s Soirée
THIS EVENING’S HOSTS
Billie and Ross McKnight
SPECIAL GRATITUDE
The Therese M. Grojean Vocalist Fund
Linda and Mitch Hart
The Judy & Alan Kosloff Artistic Director Chair
SPONSORED BY
Jackson Family Wines
Debbie and Jim Shpall and Applejack Wine & Spirits
Vail Catering Concepts
Vintage Magnolia
Yamaha
5 SATURDAY 6 PM
THE LINDA & MITCH HART SOIRÉE SERIES
MCKNIGHT RESIDENCE
Jeff Tyzik, host
James Austin Smith, oboe
Anne-Marie McDermott, piano
Paul Loren, vocals
TYZIK
Dance Suite for Oboe and Piano
Tango
Waltz Macabre
Ragtime Dance
Bolero
Gigue
Classic American Songbook selections with jazz pianist and vocalist Paul Loren
Catered by Vail Catering Concepts
Mozart Violin Concerto 90
Alsop Conducts Shostakovich 92
Vivaldi The Four Seasons 110
Berlioz Symphonie Fantastique 112
114
JULY 6 ~ 13 // 2025
The Philadelphia Orchestra is admired for a legacy of innovation and known for its keen ability to capture the hearts and imaginations of audiences. This Orchestra’s distinctive sound returns to Bravo! Vail for its 18th residency.
The world-renowned Philadelphia Orchestra strives to share the transformative power of music with the widest possible audience, and to create joy, connection, and excitement through music in the Philadelphia region, across the country, and around the world. Through innovative programming, robust education initiatives, a commitment to its diverse communities, and the embrace of digital outreach, the ensemble is creating an expansive and inclusive future for classical music and furthering the place of the arts in an open and democratic society.
Yannick Nézet-Séguin is now in his 13th season with The Philadelphia Orchestra, serving as music and artistic director. He joins a remarkable list of music directors spanning the Orchestra’s 125 seasons: Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach. Widely recognized for his consummate artistry, Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling and sought-after talents of his generation. His collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. In addition to expanding the repertoire by embracing an ever-growing and diverse group of today’s composers, Yannick and the Orchestra are committed to performing and recording the works of previously overlooked composers, including William Dawson, Louise Farrenc, Clara Schumann, Lili Boulanger, William Grant Still, and Florence Price. The Orchestra’s recording of Price’s First and Third symphonies on the Deutsche Grammophon label won a GRAMMY Award.
The Philadelphia Orchestra takes great pride in its hometown, performing for the people of Philadelphia yearround, at the Kimmel Center for the Performing Arts, around the community, over the airwaves, and online. In 2024, Verizon Hall at the Kimmel Center was officially rededicated as Marian Anderson Hall in honor of the legendary contralto, civil rights icon, and Philadelphian. The first major concert venue in the world to honor the late performer and trailblazer, Marian Anderson Hall is a
permanent monument to its namesake’s artistry and achievements, a reflection of the inclusive future she helped to engender, and an active testament to the intersection of music, art, and positive social impact.
The Philadelphia Orchestra continues the tradition of educational and community engagement for all age groups. The Orchestra’s awardwinning education and community initiatives engage over 50,000 students, families, and community members through programs such as PlayINs; side-by-sides; the free annual Martin Luther King, Jr., Tribute Concert; School Concerts; sensory-friendly concerts; open rehearsals; the School Ensemble Program; All-City Orchestra Fellowships; and residency work in Philadelphia and abroad.
The Philadelphia Orchestra believes deeply in the power of music to connect people. Through concerts, national and international tours, residencies, and recordings, the Orchestra is a global ambassador and one of our nation’s greatest cultural exports. It performs annually at Carnegie Hall, the Saratoga Performing Arts Center, the Mann Center, and the Bravo! Vail Music Festival. The Orchestra also has a rich history of touring, having first performed outside Philadelphia in the earliest days of its founding. In 1973, The Philadelphia Orchestra became the first American orchestra to perform in the People’s Republic of China, launching a now-
five-decade commitment of people-topeople exchange through music.
The Philadelphia Orchestra has presented the world or American premieres of such important works as Mahler’s Symphony No. 8 (“Symphony of a Thousand”), Stravinsky’s The Rite of Spring, and Rachmaninoff’s Symphonic Dances. The Orchestra also made movie history by performing the soundtrack to Walt Disney’s legendary animated film Fantasia. The ensemble has also performed music that responds to issues of our time, such as Davóne Tines’s Sermon, dedicated to the memory of Breonna Taylor; the world premiere of John Luther Adams’s Vespers of the Blessed Earth, a response to humanity’s impact on the Earth; and the world premiere of Robin Holcomb’s Paradise, inspired by the catastrophic fire in and around Paradise, California, in 2018.
The Orchestra makes live recordings available on popular digital music services. Under Yannick’s leadership the Orchestra returned to recording with 14 releases on the Deutsche Grammophon label, including works by Stravinsky, Rachmaninoff, Bernstein, Price, and Dawson. These continue the Orchestra’s remarkable history in this area, having made its first recording in 1917 and amassing an enormous discography in the intervening years. The Orchestra also reaches thousands of radio listeners with weekly broadcasts on WRTI-FM and SiriusXM. For more information, please visit www.philorch.org.
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The Antlers at Vail, The Hythe, A Luxury Collection Resort, Vail, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.
22 THURSDAY 6:00PM
ORCHESTRA SERIES
GERALD R. FORD AMPHITHEATER
PRE-CONCERT TALK
5:00PM
GERALD R. FORD AMPHITHEATER LOBBY
Sarah Day-O’Connell (Skidmore College), speaker
Anne-Marie McDermott, piano
BEETHOVEN
Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)
Allegro con brio
Adagio
Rondo: Molto allegro
INTERMISSION —
GIPPS
Seascape, Op. 53 (7 minutes)
HAYDN
Symphony No. 104 in D major, London (29 minutes)
Adagio—Allegro Andante
Menuetto: Allegro—Trio
Finale: Spiritoso
THIS EVENING’S PERFORMANCE IS PRESENTED BY
NORMA AND CHARLES CARTER
CONDUCTOR SPONSOR
FOUR SEASONS RESORT AND RESIDENCES VAIL
Holly and Ben Gill
VERA AND JOHN HATHAWAY
SOLOIST SPONSORS
SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle
Randall Goosby, violin, sponsored by Patti Shwayder-Coffin & Steve Coffin and Debbie & Fred Tresca
Berry Charitable Foundation
The Francis Family
Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)
LUDWIG VAN BEETHOVEN (1770-1827)
Picaflor: A Future Myth (2024; Cocommission from Bravo! Vail, The Philadelphia Orchestra, and the Oregon Symphony)
GABRIELA LENA FRANK (b. 1972)
GBThe Judy and Alan Kosloff Artistic Director Chair
SPECIAL GRATITUDE TO The Berry Charitable Foundation
Yamaha
The Bravo! Vail Artistic Excellence Fund
SPONSORED BY Ray Oglethorpe
The Sidney E. Frank Foundation
The Friends of the Fabulous Philadelphians
Barbara and Carter Strauss
The Lyn & Phillip Goldstein Maestro Society
SOLOIST SPONSORS
The Judy & Alan Kosloff Artistic Director Chair
eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.
Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross
National Endowment for the Arts
The New Works Fund
A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto
abriela Lena Frank, former composer-in-residence at The Philadelphia Orchestra, often explores her multicultural heritage through music. That opens broad possibilities since her mother was of mixed Peruvian/Chinese ancestry and her father of Lithuanian/Jewish descent. Many of her works incorporate poetry, mythology, and indigenous musical styles that she has studied during travels in South America. She established the Gabriela Lena Frank Creative Academy of Music in 2017 “to inspire emerging composers to create self-determined artistic lives,”
and in 2020 she was given the Heinz Award for, in that foundation’s words, “weaving Latin American influences into classical constructs and breaking gender, disability and cultural barriers in classical music composition.” A case in point is the work played in this concert, of which she writes: “Picaflor: A future myth is an original story born of my fancy, told in the language of a fable. It draws on the mythology of Andean Perú, the object of my lifelong fascination—The existence of a sky kingdom under the dominion of a creator sun god, and a mischievous hummingbird, the picaflor, who leaves the kingdom by ripping the sky. The story also draws on the existence of personages such as the chaski, the runner from the pre-Conquest Tawantinsuyu Empire who delivered messages along the Inca Road. All are portrayed against the backdrop of pachacuti, the longstanding indigenous belief that cataclysmic changes of era-worlds occur every several hundred years.
“What happens, I wonder, when we imagine these ideas as taking place in the future rather than the past? And in a future that will bear the mark of our attitudes towards Mother Earth? How do mythologies change in such a future? As a generational daughter of indigenous Perú, Picaflor is what has stirred inside me, musically rendered here for the symphony orchestra.”
Violin Concerto No. 3 in G major, K. 216 (1775)
WOLFGANG AMADÈ MOZART (1756-91)
It was formerly thought that Wolfgang Amadè Mozart composed all five of his violin concertos in quick succession from April through December 1775, in accordance with the dates inscribed on the autograph scores; but it turns out that things were confused through later date-tampering on the manuscripts. Musicological consensus now seems to be that his Concerto No. 1 may date from 1773, with the other four following in 1775. The Fourth and Fifth Concertos are the most frequently performed, but the Third is a work of very considerable charm, a fine example of how Mozart was experimenting with adventurous ideas while still adhering to an essentially
Rococo-Classical idiom. So it is that the opening Allegro breaks at one point into what seems a recitative for the soloist; the Adagio sports an orchestration fundamentally different from the movements that surround it, with flutes temporarily replacing oboes and the orchestral strings (but not the soloist) installing mutes; and the Rondeau finale is interrupted by tempo and meter changes that give the movement a distinctive character.
Midway through that finale, Mozart slackens the tempo and introduces two tunes of folkish flavor. The first, in the minor mode, remains unidentified, but the second, back in the major, would be included in an 1813 collection of Hungarian folk melodies, where it is titled “à la mélodie de Strassbourger.” This tune is developed at considerable length before the rondo theme returns. With the discovery of the Hungarian collection, which a musicologist made in the 1950s, it became clear that this was the piece Mozart referred to in a letter as his “Strassbourg concerto,” though, since the words are lacking, we have no idea what its connection (if any) is to the city of Strasbourg.
Variations on a Theme by Joseph Haydn, Op. 56a (1873)
JOHANNES BRAHMS (1833-97)
In 1870, a friend showed Brahms the manuscript of six Feldparthien attributed to Haydn. Brahms was so taken by the second movement of
the first piece in the set—a movement labeled “Chorale St. Antoni”—that he copied it for his library. Three years later, it served as the basis for his Variations on a Theme by Joseph Haydn.
But the entire set of six pieces that the friend had stumbled across turned out not to be by Haydn after all. Just who wrote the “Chorale St. Antoni” remains unclear, but since the middle of the 20th century musicologists have generally agreed that it could not have been Haydn. Nonetheless, its rhythm and harmony endow it with a distinctive, memorable character; to a composer of Brahms’ sensibilities, it leapt from the page as a worthy candidate upon which to develop variations. He initially sketched the piece in a version for two pianos. Nonetheless, he told his publisher that the movements were “actually variations for orchestra”; and it was as an orchestral work that the “Haydn Variations” reached its completion. Brahms published both— the orchestral setting as Op. 56a, the two-piano version as Op. 56b—and never professed a strong preference for one over the other.
Following the announcement of the theme by a wind choir Brahms writes eight variations and a final passacaglia, during which he gives free rein to the possibilities of variation procedures. Brahms once grew a beard while away on vacation, inspiring the critic Eduard Hanslick to remark that Brahms’ original face was as hard to recognize as the theme in many of his variations—an aperçu that seems à propos to this piece.
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6:00PM
ORCHESTRA SERIES
GERALD R. FORD AMPHITHEATER
PRE-CONCERT TALK
5:00PM
GERALD R. FORD AMPHITHEATER LOBBY
Sarah Day-O’Connell (Skidmore College), speaker
Anne-Marie McDermott, piano
BEETHOVEN
Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)
Allegro con brio
Adagio
Rondo: Molto allegro
INTERMISSION
GIPPS
Seascape, Op. 53 (7 minutes)
HAYDN
Symphony No. 104 in D major, London (29 minutes)
Adagio—Allegro
Andante
Menuetto: Allegro—Trio Finale: Spiritoso
THIS EVENING’S PERFORMANCE IS PRESENTED BY
CONDUCTOR SPONSOR
NORMA AND CHARLES CARTER
Nancy Gage and Allan Finney
FOUR SEASONS RESORT AND RESIDENCES VAIL
SOLOIST SPONSORS
VERA AND JOHN HATHAWAY
Wu Man, pipa, sponsored by Susu & George Johnson and Kate & John Mitchell
SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle
SPECIAL GRATITUDE TO
Berry Charitable Foundation
Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801) LUDWIG VAN BEETHOVEN (1770-1827)
Leonore Overture No. 3, Op. 72b (1806)
LUDWIG VAN BEETHOVEN (1770-1827)
DBThe Berry Charitable Foundation
The Francis Family
The Friends of the Fabulous Philadelphians
The Judy and Alan Kosloff Artistic Director Chair
Yamaha
The Lyn & Phillip Goldstein Maestro Society
SPONSORED BY Ray Oglethorpe
Barbara and Carter Strauss
SOLOIST SPONSORS
Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross
eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.
A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto
espite numerous false starts on various stage works, the only opera Beethoven managed to sink his talons into and carry through to completion—and another completion, and yet another after that—was the work he unveiled in 1805 under the title Leonore and transformed by fits and starts into wha t is known today as Fidelio . The plot involves a husband (Florestan) incarcerated as a political prisoner and his wife (Leonore), who disguises herself as a boy, gets a job as a prison assistant (calling herself Fidelio), and manages to spring him free and bring down the evil prison warden. Beethoven
wrote four different overtures for the piece as it evolved, with the Leonore Overture No. 3 introducing its 1806 incarna tion. It is a sturdy work of about 13 minutes’ duration divided into three general sections. The ominous Adagio introduction ranges through a series of distant tonalities. Composer Luigi Cherubini complained that he could never tell what key this opening was really in—which, of course, was precisely the point, as it was intended to suggest Florestan’s confusion in his dark cell. A foretaste of the plot continues in the spirited Allegro section; its heroic theme and its tense development lead to offstage trumpe t fanfares—harbingers of the arriving prison inspector. After a review of various themes, Beethoven lets loose a triumphant Presto . Of the four overtures Beethoven wrote for his only completed opera, this was perhaps the least suited to its job, since it tends to overwhelm whatever immediately follows it. But from a strictly musical standpoint it is the most compelling, and it encapsulates the quintessential Beethoven trait of groping through confusion before breaking into victory.
ZHAO JIPING (b. 1945)
Born into an artistic family— his father was a painter— Zhao Jiping graduated in 1970 from the Xi’an Conservatory of Music in the northwestern Chinese province of Shaanxi, where he was born. After the Cultural Revolution, he entered the Central Conservatory in Beijing, where he carried out his graduate studies in composition. He gained international notice as a composer of film scores, beginning with Yellow Earth (in 1984), and continuing through dozens of productions, including Red Sorghum (1988), Raise the Red Lantern (1991), Farewell My Concubine (1993), and To Live (1994). Some of his scores earned accolades from the Cannes and Berlin Film Festivals. He was the subject of the 1997 documentary film Music for the Movies: Zhao Jiping , and in 2017 he was named Leading Light of China for his contributions to disseminating Chinese culture.
He has served as director of the Institute of Dance and Music Drama
of Shaanxi Province, president of the Xi’an Conservatory of Music (his alma mater), and honorary chairman of the Chinese Musicians Association. He has written for ensembles of Chinese instruments, but many of his scores combine Chinese and Western instruments to stunning effect. His ca talogue includes two symphonies, several symphonic poems and symphonic suites, and a number of concertos—for guan (a Chinese double reed instrument), erhu (a twostringed bowed instrument), and violin, in addition to pipa (a plucked, pearshaped lute). His single-movement Pipa Concerto No. 2, written for Wu Man, marks an important addition to the instrument’s concerto repertoire, which goes back to the “Little Sisters of the Grassland” Concerto (1973, composed communally by Wu Zu Qiang, Wang Yan Qiao, and Liu De Hai) and now includes works by many composers from China and elsewhere in the world.
Symphony No. 5 in D minor, Op. 47 (1937)
DMITRI SHOSTAKOVICH (1906-75)
When Shostakovich composed his Symphony No. 5, he was rebounding from official censure by the Soviet authorities. We may take at face value, or not, the comments he provided in an article just before its premiere: “The birth of the Fifth Symphony was preceded by a prolonged period of internal preparation. Perhaps
because of this, the actual writing of the symphony took a comparatively short time (the third movement, for example, was written in three days) …. The theme of my symphony is the development of the individual. I saw man with all his sufferings as the central idea of the work, which is lyrical in mood from start to finish; the finale resolves the tragedy and tension of the earlier movements on a joyous, optimistic note.”
The officially sanctioned review of the premiere, in the publication Izvestia , found in it the stuff of a Socialist-Realist program. It identified the opening movement as a depiction of toiling miners and massive factory machinery subjugating nature, the scherzo as a picture of the athleticism of happy Soviet citizens, and so on. Probably Shostakovich had nothing so specific in mind. On the other hand, he didn’t raise his voice in protest, since his making a livelihood as a composer depended to a large degree on the official acceptance of this symphony.
The Fifth has proved the most popular of Shostakovich’s 15 symphonies. It provides an excellent introduction to his sound-world, which in this case is rich in satire and grotesqueries yet taut in its classical formality (or even “neo-classical” formality, in the second movement). The music is propelled with a driving sense of momentum throughout, nowhere more than in the energetic finale, whose pounding impact rarely fails to bring down the house.
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Teri Perry
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$5,000 AND ABOVE
Anonymous
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Ivalas Quartet
(Bravo! Vail 2025 Chamber Musicians in Residence)
Reuben Kebede, violin
Tiani Butts, violin
Marcus Stevenson, viola
Pedro Sánchez, cello
String Quartet No. 12 in F major, Op. 96, American (25 minutes)
Allegro ma non troppo
Lento
Molto vivace
Finale: Vivace ma non troppo
DERRICK SKYE
Deliverance (15 minutes)
String Quartet No. 3, Sz. 85 (16 minutes)
Prima parte: Moderato – Seconda parte: Allegro – Ricapitulazione della prima parte:
For the entirety of human history, music has been a tool for emotional expression. Throughout this program, we explore works that celebrate musical traditions from all around the world. Dvořák’s String Quartet No. 12 takes inspiration from African American spirituals and Native American traditional music; as a Czech composer visiting the United States, Dvořák celebrates a musical culture different from his own. Skye combines traditional Western European classical writing with elements of Persian classical music, creating a transcultural experience for the audience and performer alike. Bartók was a wellknown ethnomusicologist and featured Eastern European folk music in much of his music. His Third String Quartet draws upon Hungarian folk music to inspire his energetic, compact, and complex work.
—Ivalas Quartet
Bravo! Vail Gratefully Acknowledges for This Afternoon’s Concert COMMUNITY CONCERT V
Moderato – Coda: Allegro molto
We create something magical together here in Vail: live classical music for our entire community, year-round.
With your support, Bravo! Vail Music Festival has become one of the preeminent classical music festivals in our country, and a leader in music education programs to serve our community. We invite you to join us as we Build a Bridge to the Future.
To ensure Bravo! Vail, the world-class performances we present, and the community education programs we produce may continue to thrive for generations to come, a robust endowment is needed. Please consider making a legacy gift in your estate plans today so world class music can live on in the Vail Valley.
THERE ARE MANY WAYS TO CREATE A LEGACY GIFT:
■ A charitable gift in your will or living trust
■ Naming Bravo! Vail as a beneficiary of your IRA and retirement plans, life insurance policies, and donor advised funds
■ Remembering us with a charitable remainder trust
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A legacy gift in your estate plan will ensure your Bravo! Vail Music Festival will be here to inspire and excite future generations.
TO LEARN MORE ABOUT CREATING A LEGACY GIFT, please visit us online at PlannedGiving.BravoVail.org.
Contact Vice President of Philanthropy Jason Denhart at 877.812.5700 or jdenhart@BravoVail.org
Cabrillo Festival of Contemporary Music cabrillomusic.org
Santa Cruz, CA
July 27-August 10
Carmel Bach Festival bachfestival.org
Carmel-By-The-Sea, CA
July 12-26
La Jolla Music Society SummerFest
TheConrad.org
La Jolla, CA
July 25-August 23
Bravo! Vail Music Festival
BravoVail.org
Vail, CO
June 19-July 31
Colorado Music Festival coloradomusicfestival.org
Boulder, CO
July 3-August 3
Mainly Mozart All-Star Orchestra Festival mainlymozart.org/allstar
San Diego, CA
June 18-28
Music@Menlo Chamber Music Festival and Institute musicatmenlo.org
Atherton, CA
July 18-August 9
Strings Music Festival stringsmusicfestival.com
Steamboat Springs, CO
June 27-August 24
Sun Valley Music Festival svmusicfestival.org
Sun Valley, ID
July 28-August 21
Santa Fe Chamber Music Festival
santafechambermusic.org
Santa Fe, NM
July 13-August 18
Chamber Music Northwest cmnw.org
Portland, OR
June 28-July 27
Oregon Bach Festival OregonBachFestival.org
Eugene, OR
June 27-July 13
Seattle Chamber Music Society Summer Festival seattlechambermusic.org
Seattle, WA
July 6-August 1
Grand Teton Music Festival gtmf.org
Jackson Hole, WY
July 3-August 23
Explore the musical riches and unique settings of these allied festivals of the Western United States.
CHAMBER MUSIC SERIES
VILAR PERFORMING ARTS CENTER
Verona Quartet
Jonathan Ong, violin
Dorothy Ro, violin
Abigail Rojansky, viola
Jonathan Dormand, cello
Wu Man, pipa
DVOŘÁK, arr. Fisher
Goin’ Home (5 minutes)
ZHAO JIPING/ZHAU LIN
Red Lantern for Pipa and String Quartet (23 minutes)
Prelude: Moonlight
Wandering
Love
Death
Epilogue
String Quartet No. 1, Inspired byTolstoy’s “Kreutzer Sonata” (17 minutes)
Adagio—Con moto
Con moto
Con moto—Vivace—Andante—Tempo I
Con moto (Adagio)—Più mosso
I NTERMISSION
TRADITIONAL, arr. Wu Man
Flute and Drum Music at Sunset (6 minutes)
The sound of Bells and Drums from a Distant Temple Along the River Moon on the Eastern Mountain
Breeze over the Quiet Water
Shadows of Flowers
Clouds and Water Far Away Become as One
Fisherman’s Song in the Evening
Waves Lapping at the Shore
The Returning Boat
WU MAN
Leaves Flying in Autumn (5 minutes)
TAN DUN
Concerto for String Quartet and Pipa (20 minutes)
Andante molto
Allegro
Adagio
Allegro vivace
“Goin’ Home” (1893/1922)
ANTONÍN DVOŘÁK (1841-1904), arranged by William Arms Fisher (1861-1948)
The second movement of Dvořák’s Symphony No. 9, From the New World (1893), includes a famous English horn melody that combines tenderness, nostalgia, and a sense of resolute hopefulness. It sounds for all the world like a folksong or spiritual, and that is what generations of listeners have taken it to be, especially once the title “Goin’ Home” became attached to it. In fact, the song “Goin’ Home” followed the symphony by three decades when, in 1922, William Arms Fisher crafted words to fit Dvořák’s tune and adapted it into a standalone piece. Fisher, who had studied with Dvořák at New York’s National Conservatory and became his teaching
assistant, developed into a notable music historian, editor, and author.
Red Lantern, for Pipa and String Quartet (2015)
ZHAO JIPING (b. 1945)/ ZHAO LIN (b. 1973)
The film composer Zhao Jiping wrote the music for such famous films as Raise the Red Lantern and Farewell My Concubine. He is acclaimed for his ability to write effectively for Western instruments while maintaining an inherently Chinese musical style. He has served as director of the Institute of Dance and Music Drama of Shaanxi Province (where he was born), president of the Xi’an Conservatory of Music, and honorary chairman of the Chinese Musicians Association. His son, Zhau Lin, studied composition at the Central Conservatory in Beijing, wrote music
WU MAN
for the National Traditional Orchestra of China, and, like his father, composed a number of film scores, including for A Woman, a Gun and a Noodle Shop. He explains: “Red Lantern is derived from my father’s original music, scored for the great Zhang Yimou film Raise the Red Lantern. Inspired by Chinese traditional Beijing Opera, this work explores its unique musical style and language with the many colors of our traditional music. The quintet is a suite of stories that take place in a traditional Chinese private courtyard through the centuries. It tells an emotional story of Chinese family relationships in older times and the impact of the family’s isolation from society.”
String Quartet No. 1, Inspired by Tolstoy’s “Kreutzer Sonata” (1923) LEOŠ JANÁČEK (1854-1928)
The first of Janáček’s two string quartets bears the subtitle Inspired by Tolstoy’s “Kreutzer Sonata, ” and is understood to be a sort of musical protest against the violence to women that Tolstoy pictured in his 1889 novella
of that name, where the heroine is murdered by her husband for infidelity. The tragedy of an unhappily married woman surely would have connected in Janáček’s mind with his own love for Kamila Stösslová, whom he met in the summer of 1917. He was 63, she was 25, and both were in unsatisfying marriages. There is no evidence that a physical relationship ever developed—Kamila maintained that it was strictly platonic— but from the composer’s standpoint it was a love affair, if one sustained by hope and fantasy, and many works of his final decade were overtly connected to this relationship. The freely structured music of this quartet seems so precise in its expressive content that a listener may suppose that Janáček was illustrating some written program, although if one existed, it has not survived. In Tolstoy’s novella, the heroine has an affair with a violinist, with whom she plays Beethoven’s Kreutzer Sonata; and Janáček works a musical allusion to that piece into the third movement of this quartet
Flute and Drum Music at Sunset (1875/95)
TRADITIONAL, arranged by Wu Man
Leaves Flying in Autumn (2000) WU MAN (b. 1963)
The pipa is a four-stringed, fretted, plucked instrument—a Chinese lute— with a pear-shaped body. Early forms of the pipa apparently date to the Han Dynasty (206 BCE–220 CE). The instrument may have been introduced to China from India or Central Asia. It gained immense popularity during the Tang Dynasty (618–906 CE), benefited from an expanding repertoire in the centuries since, and remains one of the most widely played Chinese instruments. Flute and Drum Music at Sunset first appeared in a manuscript in 1875, and an expanded version—in eight sections, each with a title— appeared in Li Fangyuan’s pipa collection of 1895, a central document of the Pinghu School of pipa-playing in the lyrical or “civil” (wen) style. The instrument’s repertoire continues to grow in new directions. Wu Man’s composition Leaves Flying in Autumn, for example, melds the classical “martial style” (wu) of pipa-playing with inspiration from rock-and-roll.
Concerto for String Quartet and Pipa (1999)
TAN DUN (b. 1957)
When China’s Cultural Revolution thawed and the nation’s educational system was restored, Tan Dun enrolled at the Central Conservatory in Beijing and by the 1980s was experimenting with combinations of Chinese and Western instruments. He moved to the United States to enter Columbia University in 1986 (he earned his doctorate there in 2003) and soon began collecting honors that acknowledged his stature among contemporary composers. In 1998, he was given the Grawemeyer Award; in 2000 he won an Oscar for his score for Crouching Tiger, Hidden Dragon; in 2003 he was named Musical America’s Composer of the Year; and in 2006 the Metropolitan Opera premiered his opera The First Emperor
His Concerto for String Quartet and Pipa is a condensed version of a 1994 theatre-piece he described as “ a reflection on human spirituality” derived from Chinese shamanistic traditions, “a cross-temporal, crosscultural, and cross-media dialogue that touches on the past, present, future, and the eternal; employs elements from Chinese, Tibetan, English, and American cultures; and combines performance traditions of the European classical concert, Chinese shadow puppet theater, visual art installations, folk music, dramatic theater, and shamanistic ritual.”
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VAIL INTERFAITH CHAPEL
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Music-making is a complex phenomenon involving multiple brain areas and neural connections. Engaging with music, whether playing or listening, is among the most cognitively demanding tasks a human can undergo. Decades of research has shown that music shapes the brain’s structure and function, particularly in areas responsible for attention, memory, language, and emotional processing. But how? And why? This fascinating exploration delves into the complex ways that music affects brain function and human behavior.
Dr. Kalmon D. Post is an internationally renowned endocrinologist and neurosurgeon, Chair Emeritus of the Department of Neurosurgery at Mount Sinai, and currently serving there as Surgical Co-Director of the Pituitary Care and Research Center.
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As individuals, our points of view are all unique, and our lived experiences can affect how we see the world at large. Music can serve as a vehicle for us to share the stories and perspectives that speak to wha t makes us different, but also to what we have in common. In this program, Ivalas explores contemporary voices whose perspectives are leaving an indelible mark on our world, opening our eyes and ears to beautiful and essential stories. The program opens with Jessie Montgomery, one of the most celebrated contemporary American composers, and her work Strum , which was inspired by American folk music from different regions and cultures. George Walker, the first African American to win the Pulitzer Prize for Music, wrote his Lyric for Strings following the death of his grandmother, and the work has become a beloved contribution to the repertoire. Carlos Simon’s work, inspired by Isabel Wilkerson’s novel of the same name, details the journey of African Americans during the Great Migration, reflecting on the hope, fear, and questioning felt by so many during this time. Finally, Eleanor Alberga’s Second String Quartet demonstrates her mastery of motivic development while incorporating aspects of her Jamaican heritage into her work.
—Ivalas Quartet
BRUSH CREEK PAVILION
Ivalas Quartet
(Bravo! Vail 2025 Chamber Musicians in Residence)
Reuben Kebede, violin
Tiani Butts, violin
Marcus Stevenson, viola
Pedro Sánchez, cello
JESSIE MONTGOMERY
Strum (7 minutes)
WALKER
Lyric for Strings (7 minutes)
CARLOS SIMON
Warmth from Other Suns for String Quartet (14 minutes)
Rays of Light
Flight
Settle
ELEANOR ALBERGA
String Quartet No. 2 (16 minutes)
THURSDAY 1 PM
Ivalas Quartet (Bravo! Vail 2025 Chamber Musicians in Residence)
Reuben Kebede, violin
Tiani Butts, violin
Marcus Stevenson, viola
Pedro Sánchez, cello
MOZART
String Quartet No. 14 in G major, K. 387 (25 minutes)
Allegro vivace assai
Menuetto: Allegro
Andante cantabile
Molto allegro
BOLOGNE
String Quartet in C minor, Op. 1, No. 4 (8 minutes)
Allegro moderato
Rondeau
HAYDN
String Quartet in G major, Op. 77, No. 1 (22 minutes)
Allegro moderato
Adagio
Minuet: Presto
Finale: Presto
Artists of all mediums are simultaneously inspired by traditions of the past and the creativity of their contemporaries. In this program, three classical composers showcase their unique styles and perspectives of the traditions that define the era. Franz Joseph Haydn, known as the “father of the string quartet,” has served as inspiration for numerous composers. He is credited with popularizing many conventions of the era, and his Op. 77, No. 1 is exemplary of his compositional mastery infused with personality. Haydn’s influence even compelled Mozart to dedicate a collection of six quartets to him; within this collection is his G major Quartet, K. 387, which features technical writing and humor reminiscent of its dedicatee. Bologne’s first opus, also a collection of six string quartets, was similarly inspired by Haydn’s early works, but diverged from the standard four-movement form he established.
—Ivalas Quartet
ORCHESTRAL SERIES
Gil Shaham, violin/leader
BACH
Violin Concerto No 1 in A minor, BWV 1041 (16 minutes)
[Allegro]
Andante
Allegro assai
MOZART
Adagio in E major for Violin and Orchestra, K. 261 (8 minutes)
Rondo in C major for Violin and Orchestra, K. 373 (5 minutes)
VIVALDI
Le quattro stagioni (The Four Seasons) (37 minutes)
Concerto in E major, Op. 8, No. 1, La primavera (Spring)
Allegro
Largo
Allegro
Concerto in G minor, Op. 8, No. 2, L’estade (Summer)
Allegro non molto
Adagio
Presto
Concerto in F major, Op. 8, No. 3, L’autunno (Autumn)
Allegro
Adagio molto
Allegro
Concerto in F minor, Op. 8, No. 4, L’inverno (Winter)
Allegro non molto
Largo
Allegro
SOLOIST SPONSOR
Gil Shaham, violin, sponsored by Jayne and Paul Becker and The Becker Violin Fund
SPECIAL GRATITUDE TO The Berry Charitable Foundation The Friends of the Fabulous Philadelphians
Violin Concerto No. 1 in A minor, BWV 1041 (ca. 1730)
JOHANN SEBASTIAN BACH (1685-1750)
From 1717-23, Bach was in charge of secular music for the Court of Cöthen, but the 13-member instrumental ensemble available to him there fell short of what we would consider a modern orchestra. As a result, his orchestral pieces of those years stand with one foot firmly planted in the realm of chamber music. In 1723 he moved to Leipzig, where his time was largely given over to composing and directing sacred music. But from 1729 through 1741 (with two years’ sabbatical) he also found time to direct the city’s Collegium Musicum, a society of university students, interested amateurs, and a few professional musicians who met most Friday evenings to play music for their own pleasure as well as for the delectation of members of the public who cared to drop by. Scholars have traditionally maintained that Bach’s solo-violin concertos were composed
in Cöthen and revived for the Leipzig Collegium Musicum. The assumption is based on slender evidence, and recent thought favors the likelihood that they actually originated in Leipzig around 1730. There is no doubt that Bach’s keyboard arrangements of these pieces date from his Leipzig Collegium Musicum years, when he turned the A-minor Violin Concerto into his G-minor Harpsichord Concerto (BWV 1058). The piece continues to be heard in both versions—as a concerto for violin and as a concerto for harpsichord. Both are accepted as authentic Bachian settings, but there is little question that, no matter when it was written, the violin version came first.
Densely concentrated and contrapuntally involved, this concerto betokens purposeful seriousness in its outer movements, while Bach provides greater relaxation in its central Andante—though even there not without a measure of tension.
Adagio in E major for Violin and Orchestra, K. 261 (1776) Rondo in C major for Violin and Orchestra, K. 373 (1781) WOLFGANG AMADÈ MOZART (1756-91)
Both Bach and Mozart were acknowledged as among the finest keyboard virtuosos of their eras, but both were also accomplished violinists. Mozart’s catalogue includes 33 sonatas and two sets of standalone variations for violin and piano, five violin concertos, plus his Concertone for Two Violins and his Sinfonia Concertante for Violin and Viola. There also survive three standalone movements for violin and orchestra: the Adagio in E major, Rondo in B-flat major, and Rondo in C major.
He wrote the E-major Adagio on request from the Neapolitan-inSalzburg violinist Antonio Brunetti as a replacement slow movement for his Violin Concerto No. 5 in A major (K. 219). It’s hard to figure out why Brunetti didn’t care for the original slow movement— perhaps he found it too long—but the replacement is lovely. Mozart differentiates the tone-color of the soloist from that of the orchestral violins by having the latter play with mutes. Today it would be rare for a violinist to employ the substitute Adagio in a performance of the full concerto, which leaves the E-major Adagio as a
beautiful orphan in search of special programming opportunities.
In 1781, Mozart finally reached the limit of his frustration in Salzburg and left to seek his fortune in Vienna. The break was messy and involved Mozart getting kicked on his backside as a parting shot from his employer’s chief steward. It was in the midst of this turmoil that he composed his C-major Rondo (K. 373). Like the E-major Adagio, it was written expressly for Brunetti. It’s a charming, thoroughly entertaining movement (marked Allegretto grazioso) that would make a first-rate finale for a violin concerto—although not one of Mozart’s since he didn’t write any in C major.
Le quattro stagioni
(The Four Seasons, ca. 1715)
ANTONIO VIVALDI (1678-1741)
Concerto in E major, Op. 8, No. 1, La primavera (Spring)
Concerto in G minor, Op. 8, No. 2, L’estade (Summer)
Concerto in F major, Op. 8, No. 3, L’autunno (Autumn)
Concerto in F minor, Op. 8, No. 4, L’inverno (Winter)
Antonio Vivaldi doubtless wrote these concertos to reflect his own technical facility, but they were also destined for a distant patron, the Bohemian Count Wenzel von Morzin, whom he served in absentia for many years as Music Master in Italy. These are the first four concertos in a collection of 12, published in Amsterdam as Vivaldi’s
Op. 8, the entire collection being presented under the title Il cimento dell’armonia e dell’inventione (The Trial of Harmony and Invention) and bearing an ornate letter of dedication to the Count. “Pray do not be surprised,” he writes, “if, among these few and feeble concertos, Your Most Illustrious Lordship finds the Four Seasons which have so long enjoyed the indulgence of Your Most Illustrious Lordship’s kind generosity.” Those four concertos were clearly not new when they were published; the Count would have known them from manuscript copies Vivaldi had sent previously. The composer continues by noting that he has updated them by adding “sonnets, a very clear statement of all the things that unfold in them, so that I am sure they will appear new to you.”
It seems obvious that the music came first and the sonnets later. As literary specimens of Italian Baroque sonnets, they are not very impressive. That, combined with the fact that they display some linguistic usages that point to Venetian dialect, suggests that Vivaldi may have written them himself. Even without the sonnets attached, it would have been evident that the four concertos were illustrative, since their character shifts on a dime, often many times within an individual movement. In the original edition, the sonnets appear at the beginning of the solo violin part and lines from them are interlaced within the musical notation to show exactly which poetic descriptions relate to which musical phrases.
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ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Stéphane Denève, conductor
Pablo Sáinz-Villegas, guitar
CHABRIER
España (Spain) (6 minutes)
RODRIGO
Fantasía para un gentilhombre (Fantasy for a Gentleman) for Guitar and Orchestra (22 minutes)
Villano y Ricercare
Españoleta y Fanfare de la Caballería de Napoles (Fanfare for the Cavalry of Naples)
Danza de las Hachas (Dance of the Axes)
Canario
BERLIOZ
Symphonie fantastique: Episode de la vie d’un artiste (Fantastic Symphony: Episode in the Life of an Artist), Op. 14 (49 minutes)
Rêveries, Passions (Reveries, Passions): Largo—Allegro agitato e appassionato assai—Religiosamente
Un Bal (A Ball): Valse: Allegro non troppo Scène aux champs (Scene in the Fields): Adagio
Marche au supplice (March to the Scaffold): Allegretto non troppo Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath): Larghetto—Allegro
SPONSORED BY
Sara Friedle and Michael Towler
CONDUCTOR SPONSOR
Dr. David Cohen
SOLOIST SPONSORS
Pablo Sáinz-Villegas, guitar, sponsored by Janet & Paul Lewis and Mimi & Keith Pockross
SPECIAL GRATITUDE TO
The Berry Charitable Foundation
The Carrington Classical Guitar Fund
The Friends of the Fabulous Philadelphians
The Lyn & Phillip Goldstein Maestro Society
España (Spain, 1883)
EMMANUEL CHABRIER (1841-94)
Emmanuel Chabrier was one of the most beloved figures in Parisian circles of music, literature, and art in the latter half of the 19th century. When his art collection was auctioned after his death, it included seven Manets, six Monets, three Renoirs, two Sisleys, and a Cézanne—and that was just the oils! In 1882 he jotted down musical fragments he heard during a six-month vacation in Spain. That November, he wrote from Granada to his publishers: “Every evening we go to the caféconcerts where the Malaguenas , the Soledas , the Sapateado , and the Peteneras are sung. … At Málaga, the dancing became so intense that I was compelled to usher my wife away …. I can’t write about it, but I will
remember it and will describe it to you. I have no need to tell you I have noted down many things: the Tango , a kind of dance in which the women imitate the pitching of a ship is the only dance in double time; all the others are in 3/4 (Seville) or in 3/8 (Málaga and Cádiz).”
The following year, after Chabrier had returned home to Paris, several of these fragments made their way into his España, which became by far his most popular concert work. It made Chabrier famous. He quickly adapted his orchestral original into a version for piano four-hands, and other arrangers produced transcriptions for further instrumental combinations, including an ambitious one for two pianos, eighthands. Many Perry Como fans may not have realized that this was the source of the melody for that singer’s 1954 hit “Hot Diggety (Dog Ziggety Boom).” Chabrier, given as he was to unbridled good spirits, probably would have been amused rather than offended by that quite nonsensical adaptation.
Fantasía para un gentilhombre (Fantasy for a Gentleman) for Guitar and Orchestra (1954) JOAQUÍN RODRIGO (1901-99)
Joaquín Rodrigo’s Concierto de Aranjuez for Guitar and Orchestra is such a chestnut that we think of him as one of classical music’s one-hit wonders. But others of his pieces do resurface now and again, and probably the next piece in line is his Fantasía para un gentilhombre , which followed the Concierto de Aranjuez by 15 years. Rodrigo, who was blind from the age of three, actually composed an impressive quantity of orchestral music, most of it consisting of concertos—four for one or more guitars, two for cello, one each for harp, piano, and flute. Tha t doesn’t count his several concertante works that aren’t actually titled concierto , like the Fantasía para un gentilhombre Apart from being the non- Aranjuez work that most frequently gets an airing, it is the piece most likely to be coupled with the Concierto de Aranjuez on recordings.
In 1951, the guitarist Andrés Segovia begged Rodrigo for a new concerto; but, Rodrigo’s wife reported in her memoirs, “after the triumph of the Concierto de Aranjuez … Joaquín
felt no great desire to compose another concerto. … One day, however, he told me that he had thought it over and that he would write a ‘Suite’ on themes collected by Gaspar Sanz, the famous guitarist of the court of Felipe IV. We carefully reviewed the works of Gaspar Sanz, and together we selected the themes which would serve as basis for this new work.”
The Fantasia was premiered in San Francisco in 1958, with Segovia as soloist. “True to the dimensions of the solo instrument,” one reviewer wrote, “the ‘Fantasy’ makes no big pretensions. But it makes a delightful blend of classic dignity and Spanish musical flavor. The blend is fastidious, piquant in its dance rhythms and veiled with a peculiar melancholy.”
Symphonie fantastique: Episode de la vie d’un artiste (Fantastic Symphony: Episode in the Life of an Artist), Op. 14 (1830)
HECTOR BERLIOZ (1803-69)
The originality of Berlioz’s achievement in the Symphonie fantastique is simply astonishing, Even those rare listeners familiar with the excellent but neglected symphonies of his predecessors in Paris, including Etienne-Nicolas Méhul and Luigi Cherubini, must acknowledge that those works do little to prepare the ear for Berlioz’s accomplishment. In the Symphonie fantastique , images are depicted with such vibrant specificity as to become downright cinematic. But
Berlioz’s sense of the programmatic goes beyond the descriptive to enter the realm of the psychological—the image of a state of mind, one that is far from stable and that spills into hallucinations. (It is doubtless no coincidence that the modern Berlioz renaissance began in the acid-tripping 1960s.) The Symphonie fantastique is an extraordinary example of selfexploration and self-expression, a work of autobiography underscored by the subtitle Episode de la vie d’un artiste (Episode in the Life of an Artist).
The episode in question was carefully described in an extensive, highly detailed program note Berlioz prepared. The action is often accompanied by an idée fixe , a musical theme that surfaces throughout the piece in various transformations. It is first played by flute and violins at the beginning of the opening movement’s “Passions” section (following the “Rêveries” introduction), and pervades the ensuing ma terial. In succeeding movements, the artist finds himself in a ballroom, where he waltzes with his beloved, and in the Alpine countryside, where memories of his beloved disturb his peace. Under the influence of a narcotic drug, he imagines himself being led to the scaffold, where he is executed for murdering his beloved, and finally to a Witches’ Sabbath convened in honor of his death, at which the idée fixe now appears as a grotesque dance heard along with a parody of the funeral chant Dies irae
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ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Stéphane Denève, conductor
David Kim, violin
STRAUSS
Dawn from Also sprach Zarathustra Op. 30
VIVALDI
Allegro from La primavera (Spring) from Le quattro stagioni (The Four Seasons)
BEETHOVEN
Allegro (Thunderstorm) from Symphony No. 6 in F major, Op. 68, Pastoral
WAGNER, arr. Hutschenruyter
The Ride of the Valkyries from Die Walküre
TCHAIKOVSKY
Scene from Swan Lake Suite, Op. 20a
DUKAS
The Sorcerer’s Apprentice
NTERMISSION
NEWMAN
20th Century Fox Fanfare
STEINER
Theme from King Kong
KORNGOLD
Overture to The Sea Hawk
HERRMANN
Prelude and “The Murder” from Psycho, Suite for Strings
“Love Scene” from Vertigo
JOHN WILLIAMS
“The Raiders’ March” from Indiana Jones and the Raiders of the Lost Ark
“Helena’s Theme” from Indiana Jones and the Dial of Destiny
“Main Title” from Star Wars
The running time of this concert is approximately 2 hours.
CONDUCTOR SPONSOR
Debbie and Jim Donahugh
SPECIAL GRATITUDE TO The Berry Charitable Foundation
The Friends of the Fabulous Philadelphians
The Lyn & Phillip Goldstein Maestro Society
This evening’s concert is a double feature celebrating the profound connection between music and film.
Classical masterpieces that have become synonymous with cinematic storytelling include Richard Strauss’s Also sprach Zarathustra , immortalized in 2001: A Space Odyssey . Vivaldi’s The Four Seasons and Beethoven’s Pastoral Symphony evoke nature’s beauty and dramatic shifts.
Apocalypse Now burned Wagner’s exhilarating, terrifying Ride of the Valkyries into our collective consciousness, while Swan Lake and The Sorcerer’s Apprentice transport us to the magical worlds of Black Swan and Fantasia
The second half of the program traces almost a full century of music written explicitly for the movies. In 1933, Max Steiner’s King Kong marked the first time an original score accompanied and enhanced the narrative. The rousing score to The Sea Hawk is widely recognized as a high point in the career of Erich Korngold, the first classical composer of international stature to move from Europe to Hollywood in the 1930s. Bernard Herrmann’s celebrated association with Alfred Hitchcock revolutionized movie scoring, paving the way for the master of them all, John Williams, creator of much of the most recognizable, beloved, and critically acclaimed movie music in cinematic history.
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Teri Perry
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Susan and Richard Rogel
Carole and Peter Segal
Nancy and Harold Zirkin
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Anonymous Shannon and Todger Anderson
Dierdre and Ronnie Baker
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Doe Browning and Jack Hunn, in memory of Virginia J. Browning
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Dr. David Cohen
Lynn and Dr. Andrew B. Kaufman
Michele and Jeffrey Resnick
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Ernest Scheller, Jr.
Elaine and Steven Schwartzreich
Susan and Steve Suggs
Tom Woodell
Kathy and Jonathan Zeschin
6:00PM
ORCHESTRA SERIES
GERALD R. FORD AMPHITHEATER
PRE-CONCERT TALK
5:00PM
GERALD R. FORD AMPHITHEATER LOBBY
Sarah Day-O’Connell (Skidmore College), speaker
Anne-Marie McDermott, piano
BEETHOVEN
Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)
Allegro con brio
Adagio
Rondo: Molto allegro
INTERMISSION
GIPPS
Seascape, Op. 53 (7 minutes)
HAYDN
Symphony No. 104 in D major, London (29 minutes)
Adagio—Allegro
Andante
Menuetto: Allegro—Trio Finale: Spiritoso
THIS EVENING’S PERFORMANCE IS PRESENTED BY
PRESENTED BY BACCA FOUNDATION
NORMA AND CHARLES CARTER
Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)
La nuit et l’amour (1888) AUGUSTA HOLMÈS (1847-1903)
LUDWIG VAN BEETHOVEN (1770-1827)
CONDUCTOR SPONSOR
FOUR SEASONS RESORT AND RESIDENCES VAIL
VERA AND JOHN HATHAWAY
Doe Browning and Jack Hunn, in memory of Virginia J. Browning
SOLOIST SPONSORS
SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle
Berry Charitable Foundation
The Francis Family
BHThe Judy and Alan Kosloff Artistic Director Chair
Jean-Efflam Bavouzet, piano, sponsored by Gina Browning & Joe Illick, in memory of Virginia J. Browning; and Allison Krausen & Kyle Webb
Yamaha
SPECIAL GRATITUDE TO
The Berry Charitable Foundation
SPONSORED BY Ray Oglethorpe
Barbara and Carter Strauss
The Friends of the Fabulous Philadelphians
The Lyn & Phillip Goldstein Maestro Society
SOLOIST SPONSORS
The Lyn & Phillip Goldstein
eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.
A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto Funded
Piano Concerto Artist Project Yamaha
Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross
er father was Irish and a Shakespeare fanatic, her mother of Irish and Scottish ancestry and an intrepid equestrian and traveler. Their daughter was christened Augusta Mary Anne Holmes but she styled herself as Augusta Holmès after she took French citizenship, in 1871. Her godfather was the poet Alfred de Vigny; some said he was really her father. Her life would be filled with intimations that she neither confirmed nor denied. The most enduring was that she had an affair with César Franck, which was supposed to explain his flurry of inspiration in the last decade of his life. It now seems certain that she did not, although she may or may not have studied with him and certainly associated with other pupils in his circle. She composed some 130 songs,
a good deal of orchestral music, and four operas, only one of which was produced. Her most successful pieces were examples of the ode-symphonie , cantatas for choir and orchestra in which choruses (and sometimes recitatives and arias) interweave with spoken narration. Holmès was an impassioned Wagnerite, and this accorded somewhat with Wagner’s ideal of Gesamtkunstwerk, in which various disciplines unite to make a “total artwork” that is greater than the sum of its parts. Her 1888 odesymphonique Ludus pro patria (Patriotic Games) was inspired by a Puvis de Chavannes mural installed that year in the Musée de Picardie in Amiens. It depicts young athletes of ancient France training with spears or pikes— piques , which presumably gave the province of Picardy its name. La nuit et l’amour (Night and Love) serves as a strictly instrumental interlude between vocal sections, which set Holmès’s own verses. Listeners may sense echoes of Lohengrin in its lush textures—an inherently French sound with a Wagnerian accent.
MAURICE RAVEL (1875-1937)
Ravel wrote his Concerto for the Left Hand in response to a commission from Paul Wittgenstein (brother of the famous philosopher Ludwig Wittgenstein), who was a promising, emerging pianist when he lost his right arm in World War I. He rehabilitated himself as a left-hand-only pianist and set about commissioning new pieces to spotlight his specialized talent. Earlier left-hand music tended to have pedagogical overtones, but Ravel’s Concerto does not in the least smack of the etude. It is an elegantly crafted, generally serious piece cast in a single movement made up of dramatically contrasting sections. Although Ravel would maintain that concertos in general ought to stress brilliance over philosophical depth, he allowed that his Concerto for the Left Hand was “very different” from that. “It contains many jazz elements,” he noted, “and the writing is not so light. In a work of this kind, it is essential to give the impression of a texture no thinner than that of a part written for both hands. For
the same reason, I resorted to a style that is much nearer to that of the more solemn kind of traditional concerto.”
The work opens in darkness but builds in texture, volume, and intensity until the piano makes its entrance with an explosive cadenza, after which both soloist and orchestra maintain the measured pace while adding some jazzy flavoring. The music breaks into an eerie scherzo in spirited 6/8 me ter, but a grand theme from earlier in the movement returns briefly as a transition to another piano cadenza, this one of exquisite delicacy. The orchestra gradually joins in at the end, and all forces add their voices to the final page, a fleet recollection of the punchy music from the scherzo.
Pictures at an Exhibition (1874, orch. 1922)
MODEST MUSORGSKY (1839-81), orchestrated by Maurice Ravel (1875-1937)
Pictures at an Exhibition , originally a piano suite, was inspired by a group of images by Victor Hartman, an architect and designer who was one of Modest Musorgsky’s closest friends and who died in the summer of 1873 at the age of 39. In February and March 1874, a memorial exhibit mounted at St. Petersburg’s Academy of Artists included Hartman’s architectural drawings as well as designs for craft pieces, jewelry, and so on—some four hundred works in all. Among the items on display, according to the critic
Vladimir Stasov, were “lively, elegant sketches by a genre-painter, the majority depicting scenes, characters, and figures out of everyday life, captured in the middle of everything going on around them: on streets, and in churches, in Parisian catacombs and Polish monasteries, in Roman alleys and in villages around Limoges.”
The subjects Musorgsky chose to depict range from the eeriness of a medieval Italian castle to the liveliness of children playing in the Tuileries gardens, and they culminate in a diptych of Russian scenes—the macabre witch Baba-Yaga of folk legend and the glowing depiction of the Gate at Kyiv (Musorgsky naturally used the Russian spelling, Kiev), an architectural extravaganza designed to honor Tsar Alexander II but never constructed. The recurring “Promenade” theme suggests the viewer strolling from one picture to the next.
Maurice Ravel encountered Musorgsky’s piano suite in an edition by Nicolai Rimsky-Korsakov. He shared his enthusiasm with the conductor Serge Koussevitzky, who, ironically, was not familiar with this masterpiece of his Russian compatriot. Koussevitzky commissioned Ravel to create an orchestral transcription.
More than 20 other orchestral versions have been produced over the years, including some that arguably capture a more authentically “Russian” sound, but it is Ravel’s against which all others are measured.
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You have an incredible impact on Eagle County’s economy! By buying your tickets to Bravo! Vail Music Festival, buying a drink at concessions, staying at a hotel, having dinner after the concert, shopping before the performance, you have made a difference.
In 2024, Bravo! Vail brought in $39.4 million in direct economic impact to Eagle County and the state of Colorado. This figure reflects $1.4 million in sales tax revenue for all Eagle County towns, with the remaining $38 million directly benefiting local businesses generated by 53,178 concert attendees, and 403 musicians during the Festival.
Thank you for helping Bravo! Vail continue to be an indispensable economic driver in Eagle County and Colorado. We are proud to underscore Vail as a premier destination for arts and culture and boost the local economy, benefiting everyone who lives and visits this beautiful place.
“This recent data reaffirms Bravo! Vail’s role as a key economic driver in Eagle County,” said Caitlin Murray, president and chief executive officer of Bravo! Vail. “With our international reputation as a leading classical music festival, Bravo! Vail attracts musicians and music lovers from around the world, strengthening our community’s status as a premier cultural destination and making a significant contribution to the local economy.”
JULY 14 ~ 15 // 2025
Bravo! Vail’s Immersive Experiences take the listener on a “deep dive” over multiple concerts into a whole body or oeuvre of music, with the musicians themselves serving as the guide.
This season, the Immersive Experiences series focuses on the expansive works of Chopin, widely regarded as one of the greatest pianists and most influential composers for piano of all time, with two programs curated and performed by acclaimed pianist and Bravo! Vail Artistic Director Anne-Marie McDermott.
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IMMERSIVE
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Anne-Marie McDermott, piano
Selections to be announced from the stage.
Chopin lived only 39 years, but that short span fell at the high tide of musical Romanticism, which he came to embody as a defining force. He was born on March 1, 1810 (probably; the register of births said February 22 but was almost certainly wrong), in Żelazowa Wola, about thirty miles west of Warsaw, to a French father and a Polish mother, and he was baptized Fryderyk Franciszek, which he later adapted to Frédéric François. He achieved fluency as a pianist while a teenager, and when he was 15 one of his compositions appeared in print as his Op. 1—a rondo he dedicated to the wife of his highschool principal. In 1829 he triumphed in a concert tour to Vienna; in 1830 he performed both of his piano concertos at high-profile concerts in Warsaw; and in the winter of 1830-31 he returned to Vienna for a follow-up visit. He would never again see his homeland. A week after he arrived in
Vienna in 1830, Poland erupted in a political uprising. Chopin gradually made his way to a new life in France, though he remained fiercely allied to Polish revolutionary ideals. He was greeted in the cultural hotbed of Paris by a circle of artistic luminaries that included Vincenzo Bellini, Giacomo Meyerbeer, Hector Berlioz, Franz Liszt, Heinrich Heine, Victor Hugo, and the cross-dressing author George Sand, who became Chopin’s unlikely yet intimate female companion. His distinctive pianistic style captivated everyone. “Let us imagine,” wrote Robert Schumann, “that an Aeolian harp had all the scales and that an artist’s hand had mingled them together in all kinds of fantastic decorations, but in such a way that you could always hear a deeper fundamental tone and a softly singing melody—there you have something of a picture of his playing.” Ignaz Moscheles, one of the era’s keyboard luminaries, found him “perfectly unique among
pianists.” “His outward appearance,” Moscheles reported, “wholly corresponds to his music, so delicate and dream-like is it. … His ad libitum playing, which in the hands of other interpreters of his works degenerates into a constant uncertainty of rhythm, is with him an element of bewitching originality.”
This was Romanticism itself. Chopin’s status was enhanced by his exotic Eastern European origins. “Chopin will have to be classed among the first musicians who have … individualized in their own work the poetic feeling of a whole nation,” wrote Liszt. “Chopin has given to all his creations the same life, and it is his own life that animates all his works.” Indeed, this confluence of his personal styles of both composition and performance led to a musical character his contemporaries found unique. The French critic and music historian François-Joseph Fétis, reviewing Chopin’s first Paris performance, in 1832, observed, “Here is a young man who, abandoning himself to his natural impressions and taking no model, has found, if not a complete renewal of piano music, at least a part of that which
we have long sought in vain—namely an abundance of original ideas of a kind to be found nowhere else.” Some averred that composer and composition were so inextricably intertwined that his music could not be relayed by anyone else’s fingers. A recital in Edinburgh in 1848 earned an admiring review in The Scotsman that suggested as much: “M. Chopin’s compositions have a peculiar charm, which, however, is only brought out by his own exquisite manner of playing them.”
His refined but aloof character added a halo of mystery that appealed to his contemporaries, as did—sad to say—his ongoing struggle against tuberculosis, considered the most Romantic of deadly diseases. “He was dying all his life,” remarked Berlioz. Already before his death, in Paris on October 17, 1849, he was considered a singularly exquisite specimen among composers, a figure marked by extreme subtlety and hyper-sophistication. He was already well along the path to becoming a cliché, and the increasingly hackneyed viewpoint was rarely questioned for well over a century thereafter. “After playing Chopin,” Oscar
Wilde confessed in 1891, “I feel as if I had been weeping over sins that I had never committed.” The fictional composer Adrian Leverkühn explained in Thomas Mann’s Doctor Faustus (1947), “I love the angelic in his figure, … that rejection of material experience, the sublime incest of his fantastically delicate and seductive art.”
And yet, if we look back at the comments of Schumann and Moscheles, we see that during his lifetime Chopin had not yet been turned entirely into a stereotype of frailty and melancholy. Schumann found that his “fantastic decorations” adorned “a deeper fundamental tone”; Moscheles noted that if his playing was “dreamlike,” it pointedly did not veer “into a constant uncertainty of rhythm.” If later music-lovers tended to view him principally as a musical dreamer (if one who could transform temporarily into a passionate revolutionary), his contemporaries had not yet lost sight of his sturdiness as a composer. The tension between liberty and solidity is an essential engine of his work. As ensuing generations came to view the Romantics as unfettered rhapsodists, and Chopin as the most fragile and otherworldly of the bunch, they may have lost sight of the tremendous architectural strength that his contemporaries also viewed as part of his genius.
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This program begins by exploring sonatas in unconventional ways. Scarlatti’s sonatas, while structured, predate the Classical tradition solidified by composers like Haydn, Mozart, and early Beethoven. In contrast, Beethoven’s Sonata Op. 109 feels like an evolution—whether consciously or not—toward a more narrative approach, transforming the sonata into something deeply expressive and storytelling in nature. Schumann’s Carnaval takes narrative to another scale: a collection of vivid miniatures celebrating his inner world, the voices in his mind, the people around him, and his lifelong relationship with music. Filled with struggle and triumph, it ends with the Davidsbündler (“League of David,” an imagined music society created by Schumann) marching against the Philistines—a victorious stand for artistic freedom.
—Evren Ozel
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Evren Ozel, piano (Bravo! Vail 2025 Piano Fellow)
Sonata in G major, K. 427 (3 minutes)
Sonata in C minor, K. 11 (3 minutes)
Sonata in C major, K. 159 (4 minutes)
Piano Sonata No. 30 in E major, Op. 109 (17 minutes)
Vivace ma non troppo
Prestissimo
Gesangvoll, mit innigster Empfindung
SCHUMANN
Carnaval, Op. 9 (27 minutes)
Préambule
Pierrot
Arlequin
Valse noble
Eusebius
Florestan
Coquette
Replique
Sphinxs
Papillons
A.S.C.H. S.C.H.A. (Lettres Dansantes)
Chiarina
Chopin
Estrella
Reconnaissance
Pantalon et Colombine
Valse allemande – Paganini
Aveu
Promenade
Pause
Marche des “Davidsbündler” contre les Philistins
Anne-Marie McDermott, piano
Selections to be announced from the stage.
Frédéric Chopin is the pianist’s composer par excellence. Almost everything he wrote was for solo piano, and the rare exceptions still include the piano as a principal participant: his Piano Trio, three pieces for cello and piano (including a sonata), a dozen-and-a-half pianoaccompanied songs, a set of variations for piano four-hands, and six pieces for piano and orchestra (including two concertos). But if the medium for his compositions was hyper-targeted, the genres in which he composed were wide-ranging. Broadly speaking, his music for solo piano falls into two camps. On one hand, there are the compositions in “concert genres” that belong to musically abstract categories; and on the other, there is his vast output of music that relates to dancing.
Let’s consider the “concert genres” (they might be played in a concert hall, might be in a salon), beginning with the most imposing, his three piano sonatas. The word Sonata was used as far back as the late Renaissance era, but in the
mid-18th century sonatas emerged as the ne plus ultra of solo piano music. They eventually became defined as multi-movement pieces of which at least the first movement was in “sonata form”—a plan consisting of exposition (presenting the musical themes), development (exploring the themes’ nooks and crannies), and recapitulation (revisiting the themes, but with the insight gained through the development section and cast in a new harmonic context). This inherently dramatic structure was almost like a three-act play, which partly accounts for why the sonatas of Haydn, Mozart, Beethoven, and Schubert remain evergreen—and why successors like Chopin accepted the challenge to develop that inherited structure in new directions. Chopin wrote three Sonatas, of which his Second and Third are much performed. The Second includes the Chopin piece that absolutely everybody knows, the famous Funeral March.
The next-biggest Chopin pieces are his Ballades and Scherzos; he wrote four of each, all consisting
of a single movement. The ballade was a prominent poetic type for the Romantics. At least some of Chopin’s Ballades reputedly derive inspiration from pre-existent poems, and they certainly seem to be spinning out some tale. The Scherzos harbor a conundrum. The word means “joke,” and Chopin’s Scherzos are pretty much the opposite; only the last of the four is less than tragic. Robert Schumann, reviewing Scherzo No. 1, asked, “How is gravity to clothe itself if jest goes about in dark veils?”; and Franz Liszt wrote that these pieces “paint a concentrated exasperation dominated by a despair that is now ironic and again haughty.”
The title of Chopin’s 27 Etudes identifies them as “Study Pieces,” and they do present daunting technical hurdles while transcending the merely didactic. His 25 Preludes are small-scale pieces, their ideas left mostly undeveloped. From the Renaissance through the early 20th century, instrumentalists improvised short preludes before larger pieces, to settle in to the task at hand. But Chopin’s Preludes are standalone miniatures—preludes to nothing. The name Impromptu also carries a whiff of extemporization, but Chopin’s four
cheerful examples are more expansive than preludes. The 29 Nocturnes were Chopin’s additions to a relatively new genre. Their direct progenitors were by John Field, an Irish pianistand-composer who worked in St. Petersburg and Moscow and wrote his first nocturnes in 1812. Chopin played Field’s nocturnes, which typically involved a gracious melody over a broken-chord accompaniment, though reports suggest that he enhanced their melodies by improvising much decoration. His own nocturnes trace an emotional landscape far surpassing what Field had achieved. Then there are a few one-off (or two-off) pieces. He wrote two sets of Variations (but only one was published in his lifetime), a series of elaborations on an easily recognized tune. He wrote one Berceuse, literally a Lullaby, actually a series of 16 short variations on a rocking motif; one much-loved, expansive Barcarolle, again rocking gently, ostensibly conjuring the image of a Venetian gondolier; and three independent Rondos, in which the principal section returns several times, interspersed between contrasting episodes—a form he also used for the finale of his Sonata No. 3.
Chopin was an enthusiastic dancer in his youth, though less so as the years passed and his health deteriorated. Turning to pieces connected to dancing we encounter the most extensive body of any genre in Chopin’s oeuvre, his 57 Mazurkas, whose quirky contours reveal inflections from his native Poland. Triple-time mazurkas reached deep into that nation’s folk heritage, traced at least to the 17th century and existing in both slow and fast tempos. In the 19th century they became popular high-society dances in Eastern Europe. His 17 Polonaises were literally “Polish Dances,” cast in triple time, of proud mien and displaying a characteristic rhythmic pattern. Waltzes, wildly popular in the 19th century, earned 18 entries from Chopin, most of them charming and small-scale—sometimes carefree, sometimes melancholy—but a few stretching to larger proportions. He certainly heard waltzes (walcerki) while growing up in Poland, and when he was in Vienna he encountered examples by Johann Strauss I (father of Johann II, the “Waltz King”). Robert Schumann called Chopin’s Waltzes “aristocratic from the first note to the last.” There remain just a few dancing odds and ends: three Ecossaises (Scotch Dances) from the beginning of Chopin’s career, an ostensibly Spanish-style Boléro, and a Tarantella, an energetic Italian dance once prescribed to sweat out the poison from a tarantula bite.
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Jessie Montgomery, speaker
Anne-Marie McDermott, speaker
Jessie Montgomery is a GRAMMY Award-winning composer, violinist, and educator whose work interweaves classical music with elements of vernacular music, improvisation, poetry, and social consciousness. The title of her new work, CHEMILUMINESCENCE, refers to the chemical reaction that produces light from a non-light source, such as the glow of a firefly, or bioluminescence in the ocean, or the light produced from a cracked glow stick. Bravo! Vail Artistic Director AnneMarie McDermott sits down with the composer for a discussion about interpreting light sources, the endless field of potential sound exploration, and “finding corollary between music and the natural world.”
CHEMILUMINESCENCE is co-commissioned by the New York Philharmonic as part of Project 19, with the St. Louis Symphony Orchestra, Bravo! Vail Music Festival, and The Sphinx Organization
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IN RESIDENCE JULY 16 ~ 23 // 2025
The New York Philharmonic celebrates 22 years at Bravo! Vail with a six-concert residency packed with an extraordinary range of brilliant artistry.
The New York Philharmonic plays a leading cultural role in New York City, the United States, and the world. Each season the Orchestra connects with millions of music lovers through live concerts in New York and beyond, as well as broadcasts, recordings, and education programs.
Gustavo Dudamel will become the NY Phil’s Music & Artistic Director Designate in the 2025–26 season, before beginning his tenure as The Oscar L. Tang and H.M. Agnes HsuTang Music & Artistic Director in the autumn of 2026. In the 2024–25 season Dudamel conducted works by composers ranging from Gershwin and Stravinsky to Philip Glass and Varèse, Mahler’s Seventh Symphony, and a World Premiere by Kate Soper (one of 13 world, US, and New York premieres the Philharmonic gave throughout the season). He also led the New York Philharmonic Concerts in the Parks, Presented by Didi and Oscar Schafer, for the first time.
Throughout 2024–25 the Orchestra collaborated with leading artists in a variety of contexts. In addition to Yuja Wang, who served as The Mary and James G. Wallach Artistin-Residence, the NY Phil engaged in cultural explorations spearheaded by Artistic Partners. International Contemporary Ensemble (ICE) joined the examination of Afromodernism through performances of works by African composers and those reflecting the African diaspora, complemented by panels, exhibits, and more; John Adams shared his insights on American Vistas; and Nathalie Stutzmann shared her expertise through Vocal Echoes, featuring music both with and without voice, including on a free concert presented by the Anna-Maria and Stephen Kellen Foundation. The Orchestra also marked milestone anniversaries of Ravel and Boulez, the latter of whom served as the NY Phil’s Music Director in the 1970s.
The Philharmonic has commissioned and/or premiered works by leading composers since its founding in 1842, from Dvořák’s New World Symphony and Gershwin’s Concerto in F to two Pulitzer Prize winners: John Adams’s On the
Transmigration of Souls and Tania León’s Stride, commissioned through Project 19 commissions of works by 19 women composers. The Orchestra has released more than 2,000 recordings since 1917, most recently the live recording of Julia Wolfe’s GRAMMYnominated Fire in my mouth conducted by Jaap van Zweden. In 2023 the NY Phil announced a partnership with Apple Music Classical, the new standalone music streaming app designed to deliver classical music lovers the optimal listening experience. The Orchestra’s extensive history is available free online through the New York Philharmonic Shelby White & Leon Levy Digital Archives.
A resource for its community and the world, the Orchestra complements annual free concerts across the city with education projects, including the New York Philharmonic Very Young Composers Program and the Very Young People’s Concerts. The Orchestra has appeared in 437 cities in 63 countries, including Pyongyang, DPRK, in 2008, the first visit there by an American orchestra.
Founded in 1842 by local musicians, the New York Philharmonic
is one of the oldest orchestras in the world. Notable figures who have conducted the Philharmonic include Tchaikovsky, Richard Strauss, Stravinsky, and Copland. Distinguished conductors who have served as music director include such luminaries as Bernstein, Toscanini, and Mahler.
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ORCHESTRA SERIES
GERALD R. FORD AMPHITHEATER
PRE-CONCERT TALK
5:00PM
GERALD R. FORD AMPHITHEATER LOBBY
Sarah Day-O’Connell (Skidmore College), speaker
Anne-Marie McDermott, piano
BEETHOVEN
Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)
Allegro con brio
Adagio
Rondo: Molto allegro — INTERMISSION —
GIPPS
Seascape, Op. 53 (7 minutes)
HAYDN
Symphony No. 104 in D major, London (29 minutes)
Adagio—Allegro
Andante
Menuetto: Allegro—Trio Finale: Spiritoso
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FOUR SEASONS RESORT AND RESIDENCES VAIL
CHEMILUMINESCENCE (2025; Co-commission by Bravo! Vail, the New York Philharmonic, and the Sphinx Organization as part of Project 19, the Philharmonic’s allwomen commissioning initiative)
JESSIE MONTGOMERY (b. 1981)
“MPiano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)
LUDWIG VAN BEETHOVEN (1770-1827)
usic is my connection to the world,” wrote Jessie Montgomery. “It guides me to understand my place in relation to others and challenges me to make clear the things I do not understand.”
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eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.
A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto
A graduate of New York University and The Juilliard School, she is pursuing the Ph.D. in composition at Princeton University. Since 1999 she has been a ffiliated with the Sphinx Organization, which provides opportunities for musicians from Black and other minority backgrounds. She has appeared often as a violinist with the Silkroad Ensemble and Sphinx Virtuosi and was a member of PUBLIQuartet and the Catalyst Quartet. She recently completed a three-year term as composer-in-residence of the Chicago Symphony. Named Musical America’s 2023 Composer of the Year, she serves on the composition and music technology faculty at Northwestern University’s Bienen School of Music. She offers this comment about her new work: “‘Chemiluminescence’ is the scientific term to describe any
chemical reaction that produces light from a non-light source, such as a firefly rubbing its wings to produce a glow, or bioluminescence along ocean’s edge, or the light produced from a cracked glow stick. The light produced can present varied qualities as infrared, visible, or ultraviolet. As a composer, interpreting light sources and its resulting reflections and hues is an endless field of potential sound exploration. I used my impressions on this idea to create harmonies, colors, and blends I feel are unique to the string orchestra with its ability to bend and shift timbres in an instant. The piece is in three distinct sections, each of which interpret light, agitation, reaction, and frenetic interplay in its orchestration. This piece represents my continued interest in finding corollary between music and the natural world.”
Violin Concerto in D (1931) IGOR STRAVINSKY (1882-1971)
In 1930, Igor Stravinsky’s publisher broached the idea of his writing a violin concerto and suggested that the young American violinist Samuel Dushkin would make an ideal interpreter. “I hesitated because I am not a violinist,” Stravinsky later recalled in his Autobiography , “and I was afraid tha t my slight knowledge of that instrument would not be sufficient to enable me to solve the many problems which would necessarily arise in the course of a major work especially composed for it.” Stravinsky’s colleague Paul Hindemith, who was a professional violist as well as a composer, assured him that lack of first-hand experience with the violin would help Stravinsky “avoid a routine technique and would give rise to ideas which would not be suggested by the familiar movement of the fingers.” “Whenever he accepted one of my suggestions,” Dushkin reported, “even a simple change such as extending the range of the violin by stretching the phrase to the octave below and the octave above, Stravinsky would insist on altering the very foundations correspondingly. He behaved like an architect who if asked to change a room on the third floor had to go down to the foundations to keep the proportions of his whole structure.”
In this work we find Stravinsky in his neo-Classical—or neo-Baroque— mode, right down to the fact that the principal theme of the first movement is little more than a curlicued elaboration of a single note. Another neo-Baroque element in the piece is its ceaseless, ebullient rhythmic pulse. That is surely one reason why George Balanchine employed it for the ballet he titled Balustrade , which he presented with De Basil’s Original Ballet Russe in New York in 1941. Stravinsky considered that setting to be one of the most successful of all ballet productions using his music.
Symphony No. 1 in C minor, Op. 68 (1862-77)
JOHANNES BRAHMS (1833-97)
“I shall never write a symphony!” Brahms declared in 1872 to the conductor Hermann Levi. “You can’t have any idea what it’s like to hear such a giant marching behind you.” The giant was Beethoven, whose music set such a high standard that the younger composer found it easy to discount his own creations as negligible in comparison.
Nonetheless, his self-criticism pushed him to forge ahead even when his eventual path seemed obscure. It was a slow process; he struggled with his First Symphony on and off for 15 years. He drafted the first movement in 1862 and shared it with his friend Clara Schumann. She copied out the opening and sent it to their violinist-friend Joseph Joachim with this comment: “That is rather strong, for sure, but I have grown used to it. The movement is full of wonderful beauties, and the themes are treated with a mastery that is becoming more and more characteristic of him.” She then jotted a musical example— essentially the spot where the main section of the first movement begins ( Allegro ) following the slower introduction. Calling the opening “rather strong” is an understatement. Tha t first movement’s introduction is one of the most astonishing preludes in the entire symphonic literature, with throbbing timpani, contrabassoon,
PROGRAM NOTES BY JAMES M. KELLER
CONTINUED ON PAGE 204
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This recital program celebrates the keyboard’s extraordinary versatility through three distinct approaches to pianistic expressions. Beach makes the piano sing like a human voice, Ravel turns it into an entire orchestra in a ballroom playing with dancers, and Schumann transforms it into a symphony of different instrumental colors.
Amy Beach’s Four Sketches reminds me of beautiful songs without words. Each piece connects to a line from Victor Hugo’s poetry and feels like intimate musical storytelling. When I play the gentle cascades of “In Autumn” or the sparkling notes of “Fire-Flies,” I’m trying to make the piano sing as naturally as a voice, while still celebrating what makes piano playing special.
Ravel’s La valse is probably one of the hardest pieces ever written for solo piano. Ravel originally wrote it for orchestra but then created this incredible solo version that transforms the piano into both orchestra and ballroom, recasting orchestral textures onto the keyboard. Technically speaking, it demands everything from a pianist. It’s a celebration to listen, as well as to watch the choreography of this solo Valse on the piano. As I perform it, the piece grows from mysterious low sounds to a whirlwind of energy, as if the entire room is filled with spinning couples.
And with Schumann’s Symphonic Etudes to complete the journey of this program, we are experiencing Schumann’s sonority of orchestral ensembles but on the piano with theme and variations. As the music unfolds with this emotional melody in the key of C-sharp minor, Schumann explores the sound and the gestures of brass fanfares, singing strings, and flowing woodwinds—all from one piano. The triumph at the end when it turns from C-sharp minor to D-flat major is just so fulfilling and satisfying, serving as a grand closure to the whole program.
Ying Li
VAIL INTERFAITH CHAPEL
Ying Li, piano (Bravo! Vail 2025 Piano Fellow)
BEACH
Four Sketches for Piano, Op. 15 (15 minutes)
I. In Autumn
II. Phantoms
III. Dreaming
IV. Fire-Flies
RAVEL
La valse (13 minutes)
SCHUMANN
Symphonic Etudes (30 minutes)
Theme – Andante
Etude I – Un poco più vivo
Etude II
Etude III – Vivace
Etude IV
Etude V
Etude VI – Agitato
Etude VII – Allegro molto
Etude VIII
Etude IX – Presto possibile
Etude X
Etude XI
Etude XII – Allegro brillante
As Patricia Kopatchinskaja and Sol Gabetta like to say, “We’re like two sisters, on stage and in life.” Their first meeting at a house concert has led to a deep friendship, lasting more than 20 years and resulting in a truly extraordinary musical rapport. In parallel with their individual solo careers, the chance to perform together in an informal recital setting is a true joy. This imaginatively curated program draws from their duo album, Sol & Pat, which was hailed as an “effervescent exercise in musical acrobatics” by Limelight Magazine.
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Patricia Kopatchinskaja, violin
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LECLAIR
Tambourin in C major JÖRG WIDMANN
Valse bavaroise and Toccatina all’inglese from 24 Duos for Violin and Violoncello, Vol. 2
BACH
Fifteen Two-Part Inventions, BWV 772-786
RAVEL
Sonata for Violin and Cello
C.P.E. BACH
Presto for Keyboard in C Minor, H. 230
PATRICIA KOPATCHINSKAJA
Ghiribizzi
LIGETI
Hommage à Hilding Rosenberg
KODÁLY
Duo for Violin and Cello, Op.7 Allegro serioso, non troppo Adagio – Andante – Tempo I Maestoso e largamente ma non troppo lento - Presto
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ORCHESTRAL SERIES
Jakub Hrůša, conductor
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DVOŘÁK
Carnival, Op. 92 (9 minutes)
ELGAR
Cello Concerto in E minor, Op. 85 (29 minutes)
Adagio—Moderato
Allegro molto
Adagio
Allegro ma non troppo
NTERMISSION
BARTÓK
Concerto for Orchestra (40 minutes)
Introduzione (Introduction)
Giuoco delle coppie (Game of the Couples)
Elegia (Elegy)
Intermezzo interrotto (Interrupted Intermezzo)
Finale
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Carnival, Op. 92 (1891) ANTONÍN DVOŘÁK (1841-1904)
Antonín Dvořák’s Carnival was the second in a triptych of concert overtures meant to portray impressions of what a human soul might experience, in both positive and negative aspects. Nature, Life, and Love was his original name for the set, which was to be published under the single opus number 91; but Dvořák soon decided to publish them with more distinct identities, and when they appeared in print it was as three separate pieces: In Nature’s Realm (with the opus number 91 all to itself, composed from March 31 to July 8, 1891), Carnival (Op. 92, written from July 28 to September 12), and Othello (Op. 93, begun that November and completed on January 18, 1892).
He used the title Life (Carnival) in his sketches for the second of these pieces, and then gave it the provisional name A Czech Carnival, but later he opted for the more general Carnival. It does indeed depict the high-spirited tumult of a festive carnival setting—
barkers and vendors, boisterous crowds, and even, in a gentle passage, what Dvořák said was “a pair of straying lovers.” In a letter to the publisher Fritz Simrock, Dvořák’s champion Johannes Brahms judged this work to be “merry” and remarked that “music directors will be thankful to you” for publishing the overtures, which they are. Dvořák conducted the joint premiere of the three pieces in Prague in April 1892, and six months later, on October 21, he included them in a program he led at Carnegie Hall in New York (featuring an orchestra including members of the New York Philharmonic), where he had recently moved. That event was billed as a celebration (nine days late) of the 400th anniversary of Columbus’s “discovery” of America, but it also served to officially introduce New York’s music community to its distinguished new member.
Cello Concerto in E minor, Op. 85 (1918-19)
EDWARD ELGAR (1857-1934)
Edward Elgar was an essential composer of the Edwardian Era, the late-Imperialist moment of British history named after Edward VII, who on July 4, 1904, turned the composer into Sir Edward. But that world effectively ceased to exist by the end of World War I, and Elgar spent much of the War years in near-depression, mourning not only the devastation that had overtaken Europe but also how far his sympathies lay from the world as it had evolved, a world in which new names like Stravinsky, Schoenberg, and Bartók had displaced Elgar’s as the flashpoints of musical excitement.
With the passage of years it becomes less important to listeners that Elgar’s scores of this period stood apart from the cutting edge of their time. In fact, he enjoyed an extraordinary surge of creativity as the War reached its conclusion, and in the brief span of 1918-19 he achieved not only the Cello Concerto but also three of his other greatest works, all in the minor mode: his E-minor Violin Sonata, E-minor String Quartet, and A-minor Piano Quintet. As it happened, Felix Salmond, one of the most distinguished cellists of his time, participated in the premieres of the Quartet and Quintet, as well as serving as soloist in the Concerto.
The Concerto failed at its premiere, done in by under-rehearsal; but in posterity it became appreciated as one of the finest cello concertos ever written. The conductor Adrian Boult rightly observed that in this piece the composer had “struck a new kind of music, with a more economical line, terser in every way” from the effusions of his earlier years. Elgar’s production slowed after this piece. One wonders what might have lain ahead if he had continued composing as industriously as he did in 1918-19.
BÉLA BARTÓK (1881-1945)
Béla Bartók’s Concerto for Orchestra towers as one of the summits of 20th-century symphonic music, but it is something of a miracle that the piece was written at all. Bartók was sick and depressed when he composed it. In 1940 he had moved from his warthreatened Hungary to New York, where he had trouble adapting to his new surroundings. By the summer of 1943 he was short of money, his health plunged (leukemia, it turned out), and he needed to be hospitalized. Two similarly displaced Hungarian friends, violinist Joseph Szigeti and conductor Fritz Reiner, convinced Serge Koussevitzky
(conductor of the Boston Symphony) to commission Bartók to write a piece for the Boston orchestra. Bartók received essential funds and Koussevitzky got one of the century’s masterpieces. Bartók offered this comment about the piece’s name: “The title of this symphony-like orchestral work is explained by its tendency to treat single orchestral instruments in a concertante or soloistic manner. The ‘virtuoso’ treatment appears, for instance, in the fugato sections of the development of the first movement (brass instruments), or in the perpetuum mobile-like passage of the principal theme in the last movement (strings), and especially in the second movement, in which pairs of instruments consecutively appear with brilliant passages.” He also characterized the overall scheme of the piece: “The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third to the life-assertion of the last one.” He attended the Boston premiere against his doctors’ advice, and the work’s enthusiastic reception would be a highlight of his career. “It was worth the while,” he reported succinctly.
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6:00PM
ORCHESTRA SERIES
GERALD R. FORD AMPHITHEATER
PRE-CONCERT TALK
5:00PM
GERALD R. FORD AMPHITHEATER LOBBY
Sarah Day-O’Connell (Skidmore College), speaker
ACADEMY OF ST MARTIN IN THE FIELDS
Anne-Marie McDermott, piano
BEETHOVEN
Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes)
Allegro con brio
Adagio
Rondo: Molto allegro
INTERMISSION —
GIPPS
Seascape, Op. 53 (7 minutes)
HAYDN
Symphony No. 104 in D major, London (29 minutes)
Adagio—Allegro
Andante
Menuetto: Allegro—Trio Finale: Spiritoso
PRESENTED BY
BILLIE AND ROSS MCKNIGHT
THIS EVENING’S PERFORMANCE IS PRESENTED BY
Fountain of Youth (2019) JULIA WOLFE (b. 1958)
SPONSORED BY Jessica Levental and The Igor Levental Memorial Music Fund
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SPECIAL GRATITUDE TO
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JPiano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801)
LUDWIG VAN BEETHOVEN (1770-1827)
BThe Berry Charitable Foundation
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ulia Wolfe did not set her sights on a musical profession until something clicked while she was an undergraduate at the University of Michigan. Soon thereafter, she met composers Michael Gordon and David Lang. They encouraged her to apply to the Yale School of Music, which they had attended. She did, and earned a master’s degree there. In 1987, the three launched Bang on a Can, which grew into one of the nation’s essential new-music associations. Their entrepreneurial spirit also gave rise to the publishing firm Red Poppy Music and the recording label Cantaloupe Music.
eethoven sketched parts of his Piano Concerto No. 2 as early as 1788, while a teenager in Bonn; completed it provisionally in 1794-95, a few years after he moved to seek his fortune as a pianist and composer in Vienna; and then revised it in 1798 and again just prior to its publication in December 1801, by which time he was acclaimed as a rising star, having made an indelible mark by releasing his First Symphony the preceding year.
A high-profile opportunity had come his way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater to support musicians’ widows and orphans. It is widely assumed that this was the concerto Funded
Anne-Marie McDermott, piano, sponsored by Mimi and Keith Pockross
Wolfe also gained distinction as a composer on her own. She has been professor of music composition at New York University’s Steinhardt School since 2009, and in 2012 she was granted the Ph.D. in composition by Princeton University. Her hefty catalogue of works includes numerous pieces that confront
social issues. Her oratorio Anthracite Fields earned her the 2015 Pulitzer Prize in Music. In 2016 she received a MacArthur Fellowship, and in 2019 she was named Musical America’s Composer of the Year.
She wrote Fountain of Youth on commission from a coalition of organizations headed by Carnegie Hall and the New World Symphony in Miami Beach, the top-tier training orchestra for aspiring orchestral musicians. The piece is a nod to the youth of those musicians, and also to the fountain of youth ostensibly sought by Ponce de Leon in 16th century Florida. “People have searched for the fountain of youth for thousands of years,” she writes. “The thought was that if you bathed in or drank from the fountain of youth you would be transformed, rejuvenated. My fountain of youth is music, and in this case I offer the orchestra a sassy, rhythmic, high energy swim.”
Vier letzte Lieder (Four Last Songs) (1946-48)
RICHARD STRAUSS (1864-1949)
Richard Strauss composed songs throughout his career, and especially songs well suited to the soprano voice. His adored wife, Pauline de Ahna, was a soprano, and they often performed together in lieder recitals. They remained married for 55 years, and she survived her husband by only eight months. She died on May 13, 1950, at the couple’s villa in GarmischPartenkirchen, high in the Bavarian Alps. Nine days later, in London, listeners first heard Strauss’s final testament to the soprano voice when Wilhelm Furtwängler conducted the premiere of the Four Last Songs, with Kirsten Flagstad as soloist.
These are twilight works, the remarkable product of Strauss’s final years. “Im Abendrot” was the first to be composed, mostly in 1946. The text is by the 19th-century lyric poet Joseph von Eichendorff, an enduringly popular source for Romantic composers since the time of Schumann. The other three are all settings of poems by the theologically inclined Hermann Hesse, who was enjoying a new-found popularity after receiving the 1946 Nobel Prize for Literature. Strauss prepared the final manuscript of the four songs from May through September
1948, completing the scoring of “September” on—appropriately— September 20.
Despite the encroaching shadows of debility and death, Strauss’s achievement is anything but morbid. The Four Last Songs exudes instead a spirit of summation, a serenity earned through the completion of one’s task, a placid acceptance of the comfort of death. In “Beim Schlafengehen,” for example, the soloist sings about giving up all physical senses to the escape of slumber—and then seemingly does just that. But the singer’s sleep is given over to a dream, a violin solo derived from the final trio of Der Rosenkavalier, Strauss’s beloved opera of many decades earlier.
Symphony No. 5 in E-flat major, Op. 82 (1912-15, rev. 1919)
JEAN SIBELIUS (1865-1957)
The Finnish Government commissioned Sibelius’s Fifth Symphony to mark his 50th birthday, which was in 1915. It occupied him longer than any of his others—seven years, since he probably began sketching it as early as 1912 and revised it considerably following the provisional premiere in 1915, which he did indeed
conduct in Helsinki on his 50th birthday. External difficulties may have accounted for some of the slow going. Finland achieved independence in 1917, at which point internal political strife led to a civil war, a subplot to the larger drama of World War I. In 1918, he wrote in a letter: “My new works, partly sketched and planned. The Fifth Symphony in a new form—practically composed anew—I work daily … The whole—if I may say so—a spirited intensification to the end (climax). Triumphal.” Then he tells his correspondent that two of the other pieces currently in his thoughts are his Sixth and Seventh symphonies. Distinct as they are, these final three Sibelius symphonies sum up the composer’s grappling with symphonic writing.
The Fifth opens in an atmosphere of mysterious beauty. A listener might imagine time-lapse photography of wildflowers unfolding in a vast landscape, or at least think of the composer’s notation in a notebook in late 1914: “I begin to see dimly the mountain I shall ascend. … God opens His door for a moment and His orchestra plays the Fifth Symphony.” The Andante
PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204
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ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Santtu-Matias Rouvali, conductor
Yulianna Avdeeva, piano
Carole Christie Fleming, special guest conductor
SCHUBERT, arr. L. Damrosch
Selections from Marche militaire No. 1 in D major, D. 733 (4 minutes)
TCHAIKOVSKY
Piano Concerto No. 1 in B-flat minor, Op. 23 (36 minutes)
Allegro non troppo e molto maestoso—
Allegro con spirito
Andantino semplice—Prestissimo—
Tempo I
Allegro con fuoco
I NTERMISSION
RIMSKY-KORSAKOV
Scheherazade, Symphonic Suite, Op. 35 (46 minutes)
Largo e maestoso—Allegro non troppo Lento—Andantino
Andantino quasi allegretto Allegro molto
Frank Huang, violin
PRESENTED BY
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SPONSORED BY
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CONDUCTOR SPONSOR
Norma and Charlie Carter
SOLOIST SPONSORS
Yulianna Avdeeva, piano, sponsored by Dierdre & Ronnie
Baker and Julie & Bill Esrey
SPECIAL GRATITUDE TO The Berry Charitable Foundation
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Philharmonic
The Lyn & Phillip Goldstein
Maestro Society
The Lyn & Phillip Goldstein
Piano Concerto Artist Project
Selections from Marche militaire No. 1 in D major, D. 733 (1818?) FRANZ SCHUBERT (1797-1828), arranged by Leopold Damrosch
Franz Schubert’s principal musical milieu was domestic, from the familial string-quartet sessions of his youth to the circle of devoted friends—poets, artists, musicians, and hangers-on—who witnessed the premieres of the vast majority of his compositions at musical parties called Schubertiades. At-home gatherings were often enlivened by dances Schubert composed for piano solo or four-hands—waltzes, Deutscher (“German dances”), ländler, galops, ecossaises, polonaises … and marches. He composed seven installments of marches for piano four-hands, three of them as sets—the Marches héroiques, Marches caractéristiques, and Marches militaires. The origin of his three Marches militaires is uncertain, not helped by the fact that his manuscript apparently does not survive. The pieces may date from
1818 or perhaps from 1823; in any case, they were not published until 1826. If the 1818 date is correct, he might have written them at the Hungarian estate of Count Johann Karl Esterházy of Galanta, who hired Schubert to spend the summer as piano and singing tutor for his two daughters. If they were written later, they probably served as Schubertiade entertainment. The first of the three marches is by far the most famous. The orchestral arrangement performed here was made by Leopold Damrosch (1832-85), a German born physician-turned-conductor who immigrated to the United States in 1871. He founded the Oratorio Society of New York and served as conductor of the New York Philharmonic for a year before establishing his own orchestra, the New York Symphony Society, which, four decades after his passing, would merge with the Philharmonic.
Piano Concerto No. 1 in B-flat minor, Op. 23 (1874, rev. 1889)
PYOTR ILYICH TCHAIKOVSKY (1840-93)
The ink was hardly dry on the manuscript of Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 1 when, on Christmas Eve of 1874, he showed it to his colleague Nikolai Rubinstein, director of the Moscow Conservatory. Some three years later the composer recounted the experience in a letter. “I played the first movement. Not a word, not an observation. If you only knew how uncomfortably foolish one feels when one places before a friend a dish one has prepared with one’s own hands, and he eats thereof and—is silent. At least say something: if you like, find fault in a friendly way, but, for heaven’s sake, speak—say something, no matter what. But Rubinstein said nothing; he was preparing his thunder ….” This changed soon enough. “At first,” Tchaikovsky continued, “he spoke quietly, but by degrees his passion rose, and finally he resembled Zeus hurling thunderbolts. It appeared that my concerto was worthless and absolutely unplayable, that the passages were manufactured and withal so clumsy as to be beyond correction, that the composition itself was bad, trivial, and commonplace, that I had stolen this point from somebody and that point from somebody else, that only two or three pages had any value whatsoever, and all the rest should be
either destroyed or entirely remodeled ….” Tchaikovsky decided to have his concerto published just as it stood (although he did revise it a few years later). He dedicated it to the German pianist-and-conductor Hans von Bülow, who resolved to unveil it during his upcoming American tour. That explains why this emblem of “the Russian style” received its premiere, on October 25, 1875, at the Music Hall in Boston, with Bülow as soloist—a German pianist playing on an American Chickering grand—and with Boston’s own Benjamin Johnson Lang conducting an orchestra of Massachusetts freelancers. The piece created a sensation as Bülow repeated it throughout his tour, and its popularity has not faded since.
NIKOLAI RIMSKY-KORSAKOV
Nikolai Rimsky-Korsakov based the idea of Scheherazade on tales in the Arabian Nights. He vacillated about how much discernable plot he wanted to inject in it. The prose introduction he attached to his score after it was complete clarifies that the suite has clear literary implications but does not
in itself suggest the specific events that are depicted in tones: “The Sultan Shahriar, convinced of the duplicity and infidelity of all women, vowed to slay each of his wives after the first night. The Sultana Scheherazade, however, saved her life by the expedient of recounting to the Sultan a succession of tales over a period of one thousand one nights. Overcome by curiosity, the monarch postponed the execution of his wife from day to day, and ended by renouncing his sanguinary resolution altogether.”
Rimsky-Korsakov detailed the work’s evolution in his memoirs. “My aversion for seeking too definite a program in my composition led me subsequently … to do away with even those hints of [a narrative] which had lain in the headings of each movement, like ‘The Sea,’ ‘Sinbad’s Ship,’ ‘The Kalendar’s Narrative,’ and so forth.” He continued: “In composing Scheherazade I meant these hints to direct but slightly the hearer’s fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each. All I had desired was that the hearer … should
PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204
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New York Philharmonic String Quartet
Frank Huang, violin
Qianqian Li, violin
Cynthia Phelps, viola
Carter Brey, cello
Anne-Marie McDermott, piano
SCHUBERT
Quartettsatz (Quartet Movement) in C minor, D. 703 (10 minutes)
MENDELSSOHN
String Quartet No. 3 in D major, Op. 44, No. 1 (30 minutes)
Molto allegro vivace
Menuetto: Un poco allegretto
Andante espressivo ma con moto
Presto con brio
BEACH
Piano Quintet in F-sharp minor, Op. 67 (30 minutes)
Adagio—Allegro moderato
Adagio espressivo
Allegro agitato
Quartettsatz (Quartet Movement) in C minor, D. 703 (1820)
FRANZ SCHUBERT (1797-1828)
Franz Schubert was astonishingly productive in his short life, completing a mind-boggling quantity of solo and choral songs, piano pieces, chamber music, sacred compositions, orchestral pieces, and stage works. But there also exist many compositions he began but did not complete. His Unfinished Symphony is the most famous, but another claimed repertoire status: this Quartettsatz from 1820. Around the time he wrote it, he was grappling with new ideas recently promulgated by Beethoven. The compact power of the Quartettsatz surely confirms his penchant for Beethoven’s dramatic streak. By the time Schubert wrote this movement he had composed 12 of his 15 string quartets, from 1811 through 1816. Those early quartets were destined to be played by the composer’s family circle: Franz playing viola, his brothers violins, his father cello. With the Quartettsatz
he embarks on the more ambitious world of his late quartets, of which three complete ones would follow, two in 1824 and one in 1826. And yet, the Quartettsatz does not come across as a transitional work. It is mature and assured, demanding fully professional interpreters—indeed, marking a great advance in the democracy of its quartet-writing. Its nervous opening, marked Allegro assai, pervades the whole movement, often transformed into variants, and the warmhearted second theme, positively soaring when the first violin repeats it, provides contrast without banishing the overriding spirit of unease. The Schubert scholar Brian Newbould maintains that this “is the first work in which Schubert reached full maturity as an instrumental composer (in any medium).” Schubert’s manuscript continues on with an Andante in A-flat major, but that drifts off after just 40 measures, leaving musiclovers regretful that the envisioned quartet remained unfinished—but also grateful that its opening movement achieved the gripping perfection it did.
String Quartet No. 3 in D major, Op. 44, No. 1 (1838)
FELIX MENDELSSOHN (1809-47)
Mendelssohn’s String Quartet in D major is one of three he composed in 1837-38, busy years during which he also served as music director of Leipzig’s Gewandhaus Orchestra, produced a series of so-called “historical concerts” in that city, got married, and welcomed his first son into the world. This was the last of the three he completed, but he placed it first in the group when he published them together the following year. “I have just finished my third Quartet, in D major, and it pleases me greatly” he wrote to violinist Ferdinand David in July 1838. “I hope it may please you, too. I think it will, since it is more spirited and seems to me likely to be more grateful to the players than the others.”
The opening of the first movement, with its spirited tempo marking of Molto allegro vivace, fairly bristles with energy, the first violin launching the principal theme against the crackling tremolando background of the other players—an almost orchestral texture. In all of his Op. 44 Quartets, Mendelssohn opts for the fast-slow ordering of the two middle movements. He may have been the all-time master of the scherzo, but
in this instance—the only such one in all his quartets—he chooses to fill the second-movement slot not with a scherzo, but rather with what he calls a minuet, harking back to the dance movement that reigned in the time of Haydn and Mozart. A gorgeous slow movement follows, a wistful “song without words” of an Andante. Its opening also displays a vaguely antique character with a neo-Baroque effusion of harmonic suspensions. The finale, with its rush of dance-like energy, would also sound at home if it were played by a full orchestra but it makes wonderful chamber music, too.
Piano Quintet in F-sharp minor, Op. 67 (1905-07)
AMY MARCY CHENEY BEACH (1867-1944)
On June 28, our audiences heard the Piano Concerto of Amy Marcy Cheney Beach (you may find her biography there). This concert presents her Piano Quintet, which Beach’s biographer Adrienne Fried Block describes as a “concerto without orchestra,” an allusion to how the piano is first among equals, sometimes completely dominating the texture while the string instruments play in unisons or octaves. The Piano Quintet
received more than 40 performances during Beach’s lifetime, often with the composer at the piano but sometimes with other interpreters as well. Block considers it a supremely Brahmsian work and has demonstrated that its opening theme is an adaptation of the second theme from the finale of Brahms’ Piano Quintet, a work Beach performed in 1900. Indeed, there are many Brahmsian gestures in this work, but being Brahmsian was not always a ticket to popularity in Beach’s turnof-the-century Boston. Philip Hale, a mainstay of Boston music criticism, allegedly proposed that the doors of Boston’s Symphony Hall should be topped by signs reading “Exit in Case of Brahms.” A review of Beach’s Piano Quintet that appeared in 1908 in the Boston Transcript worried that its composer “courted, perhaps a little too often, the slowly mounting, expanding and finally breaking climax in broad sweep of warm tone.”
And yet, Brahms is only one point of reference for this work. Certain passages, especially in the slow movement, seem the work of someone well acquainted with Wagner—the sinuous yearning of Tristan und Isolde and dark rumblings of Götterdämmerung. One might also point to Liszt, some of whose works were in Beach’s concert repertoire as a pianist. And to the extent that Brahms+Liszt=Franck, one might identify the Piano Quintet as every bit as Franckian as it is Brahmsian.
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Anonymous
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The Judy & Alan Kosloff Artistic Director Chair
COMMUNITY CONCERTS
VAIL INTERFAITH CHAPEL
Ying Li, piano (Bravo! Vail 2025 Piano Fellow)
Evren Ozel, piano (Bravo! Vail 2025 Piano Fellow)
Ivalas Quartet (Bravo! Vail 2025 Chamber Musicians in Residence)
Tiani Butts, violin
Marcus Stevenson, viola Pedro Sánchez, cello
RAVEL
Gaspard de la nuit (22 minutes)
Ondine
Le gibet
Scarbo
Mr. Ozel
SAINT- SAËNS, arr. Godowsky
Le cygne (3 minutes)
Mr. Ozel
FAURÉ
Piano Quartet in C minor, Op. 15 (33 minutes)
I. Allegro molto moderato
II. Scherzo: Allegro vivo
III. Adagio
IV. Allegro molto
Ms. Li
Who doesn’t love an all-French program? Two solo piano works alongside Fauré’s magnificent piano quartet highlight the many facets of French music at the turn of the 20th century. Ravel’s Gaspard de la nuit , a masterpiece of color, character, and sheer virtuosity, reflects the harmonic influence of Fauré’s later works, despite coming from a composer of a different generation. It is both an emotionally profound piece and a dazzling showpiece. After such intensity, The Swan provides a moment of calm. Unlike Ravel and Fauré, Saint-Saëns remained a classicist, firmly rooted in Romanticism. This beloved work—with apologies to all the cellists—finds new charm in Leopold Godowsky’s solo piano arrangement, a quirky, “dessert-like” addition to the program.
—Evren Ozel
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TUESDAY 6 PM
ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Rafael Payare, conductor
Yekwon Sunwoo, piano
STILL
Darker America (13 minutes)
BEETHOVEN
Piano Concerto No. 1 in C major, Op. 15 (37 minutes)
Allegro con brio
Largo
Rondo: Allegro
TCHAIKOVSKY
Symphony No. 6 in B minor, Op. 74, Pathétique (47 minutes)
Adagio—Allegro non troppo—Andante
Allegro vivo—Andante come prima Andante mosso
Allegro con grazia
Allegro molto vivace
Adagio lamentoso—Andante
PRESENTED BY MR. CLAUDIO X. GONZALEZ
SPONSORED BY
Barbara and Barry Beracha
CONDUCTOR SPONSOR
Jane and Michael Griffinger
SOLOIST SPONSORS
Yekwon Sunwoo, piano, sponsored by Wendy & Peter DeLuca and Lori & David Hsieh
SPECIAL GRATITUDE TO The Berry Charitable Foundation
The Friends of the New York Philharmonic
The Lyn & Phillip Goldstein Maestro Society
The Lyn & Phillip Goldstein Piano Concerto Artist Project
Darker America (1924-25)
WILLIAM GRANT STILL (1895-1978)
Hailed in his lifetime as the “Dean of African-American Composers,” William Grant Still began his musical career making arrangements for a Memphis ensemble headed by W. C. Handy. Following military service in World War I, he played as an oboist in the pit orchestra for Shuffle Along, by Eubie Blake and Noble Sissle. Formal study ensued privately with George Chadwick, who urged him to seek an identifiably American voice, and Edgard Varèse, who promoted avant-garde proclivities. Black music and culture inspired his music from the mid-1920s through about 1940. By the mid-’30s his works on African-American themes drew national attention as unique contributions in an era of fervent musical Americanism. Still composed his tone poem Darker America in 1924-25, and Varèse helped arrange its premiere at a high-
profile concert of the International Composers’ Guild. Still’s first large-scale composition, it combines themes and rhythms derived from African-American music with some of the modernist sounds Varèse espoused. In a program note, he stated: “Darker America, as its title suggests, is representative of the American Negro. His serious side is presented and is intended to suggest the triumph of a people over their sorrows through fervent prayer. At the beginning the theme of the American Negro is announced by the strings in unison. Following a short development of this, the English horn announces the sorrow theme which is followed immediately by the theme of hope, given to muted brass accompanied by strings and woodwind.” These two themes skirmish, with sorrow getting the upper hand. “Then the prayer is heard (given to oboe); the prayer of numbed rather than anguished souls. Strongly contrasted moods follow, leading up to the triumph of the people near the end, at which point the three principal themes are combined.”
Piano Concerto No. 1 in C major, Op. 15 (1795, rev. 1800)
LUDWIG VAN BEETHOVEN (1770-1827)
Anyone writing a piano concerto in Vienna in the last decade of the 18th century did so in the shadow of the late lamented Mozart, several of whose concertos Beethoven had in his performance repertoire. Indeed, there is much that is Mozartian in his Piano Concerto No. 1, especially in sections that make prominent use of the trumpets, horns, and timpani that Mozart was similarly fond of using in C-major orchestral pieces. But on the whole, this concerto exhibits assertive originality. The first movement displays the subtlety of a profound musical intelligence, and connoisseurs can profitably investigate its structural niceties, particularly in the magical development section in its middle. The Largo is moody and contemplative, prefiguring such famous slow movements as that of Beethoven’s Pathétique Sonata, which would follow within a few years. But it is in the finale that we glimpse the most unmistakably Beethovenian traits, including a boisterous sense of humor, an appetite
for mixing high sophistication with less elevated references, and an abiding fondness for surprise.
The work struck its early listeners as very avant-garde. An anonymous review of a Berlin performance, published in 1804, was both appreciative and wary: “A new fortepiano concerto by Beethoven, provided with chromatic passages and enharmonic changes, occasionally to the point of bizarrerie, concluded the first part. The first movement was splendidly worked out, but the modulations were far too excessive; the Adagio in A-flat major was an extremely pleasant piece, richly melodic, and was greatly embellished by the obbligato clarinet. The last movement, All’ Inglese, distinguished itself only by its unusual rhythms.” A contemporary piano method clarified that All’ Inglese (“in the English style”) “is for the most part of a very spirited character which often borders on the moderately comic.”
Symphony No. 6 in B minor, Op. 74, Pathétique (1893)
Most symphonic subtitles are appended after the fact without the
composer’s involvement. True to form, the name Pathétique (connoting “infused with pathos”) was attached after this work was first heard, but barely. Tchaikovsky’s brother Modest proposed it the day after the premiere, and the composer embraced it enthusiastically—for about 24 hours. Then he sent a note to his publisher asking that the name not be printed on the title page, a request the publisher ignored.
In any case, it was an improvement on the title that had identified the work at its premiere: Program Symphony. At the premiere, Nikolai Rimsky-Korsakov asked Tchaikovsky what the program was, to which Tchaikovsky replied that “there was one, of course, but he did not wish to announce it.” Months earlier, Tchaikovsky had told his nephew, Bob Davidov (to whom the symphony is dedicated), that the piece would have “a program of a kind that would remain an enigma to all …, [a] program saturated with subjective feeling.” He had his way: the exact program remains a mystery. There are mysterious things in these pages: a symphony that emerges
PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204
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Each season, Artistic Director Anne-Marie McDermott invites two young pianists to live, learn, and perform in Vail for two weeks during the Festival season. These up-and-coming artists benefit immeasurably by performing in a variety of settings throughout the community.
Today Ms. McDermott coaches Piano Fellows Ying Li and Evren Ozel through solo repertoire in front of a live audience. Aspiring classical musicians and their teachers consider masterclasses to be one of the most effective means of musical development, and observing the evolution of a young artist’s musicianship is a rare and fascinating opportunity.
WEDNESDAY 1 PM
INSIDE THE MUSIC
VAIL INTERFAITH CHAPEL
Ying Li, piano (Bravo! Vail 2025 Piano Fellow)
Evren Ozel, piano (Bravo! Vail 2025 Piano Fellow)
Anne-Marie McDermott, coach
Selections to be announced from the stage.
The running time of this event is approximately 2 hours.
ORCHESTRAL SERIES
GERALD R. FORD AMPHITHEATER
Rafael Payare, conductor
Seong-Jin Cho, piano
Colorado Symphony Chorus
Duain Wolfe, founder
Taylor Martin, director designate
RAVEL
Concerto for Piano and Orchestra (21 minutes)
Allegramente
Adagio assai
Presto
RAVEL
Daphnis et Chloé, Choreographic Symphony in Three Parts (1909-12) (57 minutes)
Part One (A Meadow on the Edge of a Sacred Wood)
Introduction and Religious Dance General Dance—Dorcon’s Grotesque Dance—Daphnis’ Light and Graceful Dance—Lyceion’s Dance—Nocturne: Slow, Mysterious Dance of the Nymphs
Part Two (The Pirates’ Camp)
Introduction—War Dance—Chloé’s Dance of Supplication
Part Three (Same Landscape as the First Tableau, as Night Ends)
Sunrise—Pantomime (The Loves of Pan and Syrinx)—General Dance (Bacchanal)
PRESENTED BY THE STONE CHORAL FUND, IN HONOR OF BETSY WIEGERS
CONDUCTOR SPONSOR
Barb and Dick Wenninger
SOLOIST SPONSORS
Seong-Jin Cho, piano, sponsored by Kiwi & Landon Hilliard and Aneta M. Youngblood
SPECIAL GRATITUDE TO The Berry Charitable Foundation
The Sidney E. Frank Foundation
The Friends of the New York
Philharmonic
The Lyn & Phillip Goldstein
Maestro Society
The Lyn & Phillip Goldstein
Piano Concerto Artist Project
Concerto for Piano and Orchestra (1929-31)
MAURICE RAVEL (1875-1937)
This past March 7, the world celebrated the 150th birthday of Maurice Ravel, one of the most indispensable of 20thcentury composers. He hailed from the Basque country, on France’s border with Spain, but he lived most of his life in or near the French capital and his works represent the musical epitome of Parisian soigné. He composed his Concerto for Piano and Orchestra from 1929 to 1931, presumably incorporating some material he had written many years earlier for a piano concerto on Basque themes that he never completed. He occasionally took colleagues by surprise by revealing that pieces they didn’t know about were well along in their gestation. So it was that the pianist Marguerite Long recalled a gathering sometime in the 1920s, when
he announced that he was writing a concerto for her. She recounted: “’Do you mind if it ends pianissimo and with trills?’ he asked. ‘Of course not,’ I replied, only too happy to realize the dream of all virtuosi.” She then heard nothing until November 1931, when he telephoned saying he was dropping by with the manuscript. “I had hardly composed myself when he entered holding out the precious pages. Hastily I turned to the last page to look for the pianissimo and the trills: they had become fortissimo and percussive ninths!”
When he described this concerto to the critic M.D. Calvocoressi, Ravel called it “a concerto in the truest sense of the word: I mean that it is written very much in the same spirit as those of Mozart and Saint-Saëns.” He continued: “The music of a concerto should, in my opinion, be lighthearted and brilliant, and not aim at profundity or at dramatic effects. It has been said of certain classics that their concertos were written not ‘for’ but ‘against’ the piano. I heartily agree. I had intended to title this concerto ‘Divertissement.’ Then it occurred to me that there was no need to do so because the title ‘Concerto’ should be sufficiently clear.” One quotes Ravel here from a sense of duty. In fact, his comment confuses more than it elucidates. We may disagree with what he seems to imply about the presumed frothiness of piano concertos of Mozart—perhaps even about those of Saint-Saëns— and, indeed, of his own capacity for profundity, certainly in the Adagio assai of the Concerto for Piano and Orchestra, with its almost unending melody spun out directly from the heart.
Daphnis et Chloé, Choreographic Symphony in Three Parts (1909-12)
When he was approached about writing a new ballet for impresario Sergei Diaghilev’s Ballets Russes, Ravel was understandably excited. The Ballets Russes had arrived in Paris in 1909 and a commission from the company quickly became a sign that a composer had arrived at the summit of cultural life in the city that prided itself as the summit of culture. Early productions established the credentials of the
company’s core personnel: director Diaghilev, choreographer Michel Fokine, designer Leon Bakst. Fokine had been urging Diaghilev to consider a ballet on the myth of Daphnis and Chloé, and in early 1909 he began working with Ravel to devise a suitable scenario. For their source they turned to a pastoral romance attributed to the third-century (C.E.) Greek author Longus, as filtered through the 16th-century French poet Jacques Amyot. From the outset the going was not easy. In June 1909, Ravel wrote to a friend: “I must tell you that I’ve just had an insane week: preparation of a ballet libretto for the next Russian season. Almost every night, work until 3 a.m. What complicates things is that Fokine doesn’t know a word of French, and I only know how to swear in Russian. In spite of the interpreters, you can imagine the savor of these meetings.”
Work continued slowly, and “the next Russian season” came and went with Daphnis et Chloé still a work in progress. Ravel fell farther and farther behind schedule—so much so that at one point Diaghilev came close to canceling the project. But his better judgment ruled and the ballet, structured as a single act divided into
three scenes, finally made its way to the stage of the Théâtre du Châtelet about two years after Diaghilev had hoped, with Vaslav Nijinsky dancing the role of Daphnis and Tamara Karsavina as Chloé. In a nutshell: Daphnis, a shepherd, loves Chloé, a shepherdess. They rebuff the advances of the cowherd Dorcon, but Daphnis is unable to prevent a band of pirates from abducting Chloé. She is rescued with the help of the god Pan; the lovers are reunited at dawn; and everyone dances in celebration.
Because the ballet was premiered at the end of the company’s season, it got only two performances. Although it was revived in Paris the next season and in 1914 received a production in London, Daphnis et Chloé has enjoyed only sporadic success in the world of ballet. Ravel’s score, however, has achieved the status of a classic, both in its complete form and through the orchestral suites the composer extracted from it. The dancers of the Ballets Russes were utterly befuddled by the 5/4 meter which pervades the “General Dance” finale of Daphnis et Chloé. It was reported that the only way they managed to keep their five-beat measures straight was by incessantly repeating the mantra “Sergei Dia-ghi-lev.”
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$50,000 AND ABOVE
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Linda and Mitch Hart
Leni and Peter May
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June and Paul Rossetti
$30,000 AND ABOVE
Anonymous
Kjestine and Peter Bijur
Susan and Jeff Campbell
Sara Friedle and Michael Towler
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Ann and Alan Mintz
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$20,000 AND ABOVE
Jayne and Paul Becker
Jean and Harry Burn
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$10,000 AND ABOVE
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Family Foundation
Ron Davis
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CDR. John M. Fleming
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Linda Farber Post and Kalmon D. Post
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Eva Schoonmaker
Carole and Peter Segal
Sue and Marty Solomon and P&S Equities, Inc.
Marcy and Gerry Spector
Sara and Mike Whiting
Ying Li, piano (Bravo! Vail 2025 Piano Fellow)
Evren Ozel, piano (Bravo! Vail 2025 Piano Fellow)
Ivalas Quartet (Bravo! Vail 2025 Chamber Musicians in Residence)
Reuben Kebede, violin
Marcus Stevenson, viola Pedro Sánchez, cello
SCHUMANN
Arabesque in C major, Op. 18 (7 minutes)
Ms. Li
ALBÉNIZ
Selections from Iberia (10 minutes)
Evocation (Notebook 1, movement 1)
Triana (Notebook 2, movement 3)
Ms. Li
KREISLER, arr. Rachmaninoff
Liebesfreud (7 minutes)
Ms. Li
BRAHMS
Piano Quartet No. 3 in C minor, Op. 60 (35 minutes)
Allegro non troppo
Scherzo: Allegro
Andante
Finale: Allegro comodo
Mr. Ozel
Before the profound emotional weight of Brahms’ C-minor Piano Quartet, I’m delighted to offer this collection of piano miniatures as a musical dessert—lighthearted and joyful pieces to lift our spirits. Though I’ve always loved singing, my fingers have proven to be my most reliable voice. From the first notes of Schumann’s Arabesque , I feel the music flowing through my hands as they sing across the keyboard. This piece symbolizes freedom and fantasy, with its graceful, flowing lines that seem to dance with a life of their own.
Albéniz’s selections from Iberia continue this sense of fantasy, but transport us to Spain with their distinctive rhythms and colorful harmonies. “Evocation” offers a dreamy, nostalgic atmosphere that feels like memories of a place both real and imagined, while “Triana” pulses with the vibrant energy of Seville’s famous gypsy quarter. Playing these pieces allows me to conjure the sound of guitars, castanets, and flamenco dancers through the piano’s voice.
Concluding our dessert program is Rachmaninoff’s arrangement of Fritz Kreisler’s Liebesfreud (Love’s Joy)—an irresistibly sweet and charming work that showcases Rachmaninoff’s gift for pianistic transformation. The piece bubbles with delight in its bright C major tonality, offering the perfect contrast to lighten our mood before the Brahms. With its virtuosic flourishes and warm-hearted melody, this musical confection leaves us with a sense of joy that’s impossible to resist. How could we say no to such pleasure?
—Ying Li
Bravo! Vail Gratefully Acknowledges Support for This Afternoon’s Concert
T he Left Bank
T he Left Bank
Contact us for your catering needs for your private event!
Open at 4:30pm Daily for Pre-Event Dining
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In 2017, Yekwon Sunwoo became the first Korean to win Gold at the Van Cliburn International Piano Competition. Bravo! Vail Artistic Director AnneMarie McDermott was on the jury, and ever since his talent came to her attention she has been working to bring his soulful, exhilarating artistry to Vail. A powerful and virtuosic performer, Yekwon, in his own words, “strives to reach for the truth and pure beauty in music.”
Did you know? Yekwon is a self-proclaimed foodie, and makes a point of seeking out Pho in each city he visits.
Bravo! Vail Gratefully Acknowledges Support for This Evening’s Soirée
THIS EVENING’S HOSTS
Marlys and Ralph Palumbo
SPECIAL GRATITUDE
Linda and Mitch Hart SPONSORED
24
THURSDAY 6 PM
THE LINDA & MITCH HART SOIRÉE SERIES
PALUMBO RESIDENCE
Yekwon Sunwoo, piano
GRÜNFELD
Soirée de Vienne, Op.56
CHOPIN
Barcarolle in F-sharp major Op. 60
RACHMANINOFF
Moments musicaux, Op. 16
Andantino
Allegretto
Andante cantabile
Presto
Adagio sostenuto
Maestoso
Catered by The Left Bank
JUL
COMMUNITY CONCERTS
TABOR OPERA HOUSE, LEADVILLE
Ivalas Quartet (Bravo! Vail 2025 Chamber Musicians in Residence)
Reuben Kebede, violin
Tiani Butts, violin
Marcus Stevenson, viola
Pedro Sánchez, cello
Benjamin Adler, clarinet
COLERIDGE -TAYLOR
Clarinet Quintet in F-sharp minor, Op. 10 (29 minutes)
Allegro energico
Larghetto affetuoso – Molto espressivo
Scherzo: Allegro leggiero
Finale: Allegro agitato – Vivace
WEBER
Clarinet Quintet, Op. 34 (27 minutes)
Allegro Fantasia (Adagio)
Menuetto capriccio (Presto) - Trio
Rondo (Allegro giojoso)
The clarinet quintet is one of the most celebrated mixed-instrument ensembles, with a tradition going as far back as the days of Mozart. The clarinet’s warm and expressive tone combined with the string quartet’s full and luscious sound results in an extremely satisfying aural experience. This program features two beloved works for this special ensemble. Coleridge-Taylor’s notably romantic and passionate writing integrates elements of traditional African music into the classical tradition, and this can be felt in his clarinet quintet. Written in four movements, the work’s rhythmic complexity and memorable melodies demonstrate the composer’s knowledge of and deep love for chamber music. Similar to Coleridge-Taylor’s quintet, Weber’s is also a four-movement work that captures the essence of early Romanticism. This work especially celebrates the virtuosity and artistry of the clarinet, utilizing the strings to create a rich and colorful texture.
—Ivalas Quartet
Bravo! Vail Gratefully Acknowledges Support for the July 25 Concert
Bravo! Vail Gratefully Acknowledges Support for the July 27 Concert
9:30 AM, 11 AM INSIDE THE MUSIC
Bravo! Vail’s partnership with the Walking Mountains Science Center brings inspiring music to an outdoor setting. Experience the stunning natural backdrop of the Colorado Rockies alongside melodies by Maurice Ravel, one of the leaders of the Impressionist movement who was noted for his vivid soundscapes.
WALKING MOUNTAINS SCIENCE C ENTER, AVON
Gabryel Smith, New York Philharmonic Director of Archives and Exhibitions
Benjamin Adler, clarinet
Ivalas Quartet (Bravo! Vail 2025 Chamber Musicians in Residence)
Reuben Kebede, violin
Tiani Butts, violin
Marcus Stevenson, viola Pedro Sánchez, cello
Selections to be announced.
Just as a symphony needs every instrument, a community needs every identity. Mountain Pride ensures LGBTQ+ voices aren’t just included but uplifted!.
We create connection, advocate for equity, and foster belonging in Colorado’s mountain towns—where support can be hardest to find and most vital to have.
Because love, like music, knows no bounds.
30 ~ 31 // 2025
This innovative series offers an exceptional chamber music experience, with remarkable juxtapositions of music by cutting-edge composers, familiar favorites and brand new voices. Handcrafted wines, and theater-format seating in a beautiful mountain setting round out the experience.
Headlining the 2025 season, the piano duo of Anderson & Roe are renowned for their visionary approach, masterfully mixing classical masterpieces with innovative pop music for a one-of-a-kind chamber music experience.
Bravo! Vail
Gratefully
Acknowledges the Support of the Following Patrons
Jackson Family Wines
The Judy & Alan Kosloff
Artistic Director Chair
Debbie and Jim Shpall and Applejack
Yamaha
Wine & Spirits
WEDNESDAY 7:30 PM
VAIL GOLF CLUBHOUSE
Anderson & Roe Piano Duo
Gregory Anderson
Elizabeth Joy Roe
MOZART
Sonata for Two Pianos in D major, K. 448
MOZART/ANDERSON & ROE
“Soave sia il vento” from Così fan tutte, K. 588
BIZET/ANDERSON & ROE
Carmen Fantasy for Two Pianos
I NTERMISSION
JOHN WILLIAMS/ANDERSON & ROE
Star Wars Fantasy No. II: Intermezzo (Quietly luminous)
RADIOHEAD/ANDERSON & ROE
“Paranoid Android” from OK Computer
ANDERSON & ROE
Hallelujah Variations (Variations on a Theme by Leonard Cohen)
JOHN LENNON & PAUL
MCCARTNEY/ANDERSON & ROE
“Let It Be” from Let It Be
The running time of this concert is approximately 1 hour, 40 minutes.
Sonata for Two Pianos in D major, K. 448 (1781)
WOLFGANG AMADÈ MOZART (1756-91)
“Soave sia il vento” from Cosi fan tutte, K. 588 (1790)
MOZART/ANDERSON & ROE
OThis evening’s wine provided by Applejack Wine & Spirits and Jackson Family Wines
ne of the most famous images of Wolfgang Amadè Mozart is a painting by Johann Nepomuk Della Croce that dates from late 1780 or early 1781. Wolfgang, aged 24, sits at the piano with his impressively coiffed sister, Maria Anna (“Nannerl”), five-and-a-half years his elder, as their father (Leopold) holds his violin and leans on the spine of the piano, a copy of the famous violin
treatise he authored sitting on the piano lid. Their deceased mother (Anna Maria) is represented by her portrait hanging on the wall. Wolfgang and Nannerl are playing a piece for piano four-hands; they had amazed audiences with such performances during their childhood tours. Mozart completed four sonatas for piano four-hands (perhaps five, the authenticity of one being uncertain), and another one, plus a standalone fugue, for its sibling genre, the piano duet—two pianists at separate instruments. He wrote his virtuosic Sonata in D major (K. 448) in September 1781 in Vienna, where he had moved only a few months earlier. One of his first piano pupils there was Josepha von Auernhammer, who was seriously accomplished and aspired to become a touring pianist. She and
Mozart performed before audiences on about a half-dozen occasions, with she playing the upper part and he the lower (as he mentioned in a letter to his father). This D-major Sonata, by the way, was the piece that, in the 1990s, was used in an ostensibly scientific study claiming that people listening to it became smarter— the “Mozart Effect,” which gained considerable traction before being debunked as nonsense. It makes good listening all the same. At the other end of that decade stands Mozart’s opera Così fan tutte (Thus Do All Women), the last of the three comic operas he created with librettist Lorenzo Da Ponte, premiered on January 26, 1790, the day before Mozart’s 34th birthday. Encouraged by a crafty gentleman (Don Alfonso), two officers pretend to leave for war to test whether their girlfriends (the sisters Fiordiligi and Dorabella) will remain faithful. In the trio “Soave sia il vento,” Alfonso and the sisters wish the boyfriends safe travel with calm waves and gentle breezes.
Carmen Fantasy for Two Pianos
GEORGES BIZET (1838-75)/ ANDERSON & ROE
Bizet’s opera Carmen was harshly received by critics on its opening night, March 3, 1875. Still, it ran for 45 performances, though surely many seats were sold thanks to the piece’s reputation for depravity, as well as to Romantic curiosity following the composer’s death on the night of the 33rd performance. Within three years, however, Carmen became embraced internationally as a masterpiece, and it has remained an audience favorite ever since, seducing succeeding generations with such popular numbers as its Habanera and Flower Song, which are among the excerpts included in Anderson & Roe’s Carmen Fantasy
Star Wars Fantasy No. II: Intermezzo (Quietly luminous)
JOHN WILLIAMS (B. 1932)/ ANDERSON & ROE
John Williams has been the preeminent composer of Hollywood film music for fully five decades, beginning with the 1975 aquatic thriller Jaws. He is most closely associated with Steven Spielberg (who quipped, “Without John Williams, bikes don’t really fly”), but he has worked with a Who’s Who of great directors. His output includes the scores for nine installments in the Star Wars franchise, beginning with the Oscar-winning music for George Lucas’s classic Star Wars (later retitled Star Wars: A New Hope) of 1977. Anderson & Roe describe the second of their Three Star Wars Fantasies as “a quasiminimalist, free-flowing treatment of the ‘force theme.’”
“Paranoid Android” from OK Computer (1997)
RADIOHEAD/ANDERSON & ROE
The British rock band Radiohead was formed in 1985 and found the sweet spot where commercial supersuccess overlaps with genuine artistic experimentation. The five-member group released its third studio album, OK Computer, in 1997. Incorporating ambient and electronic influences, it was described by one reviewer as “end-of-the-millennium blues,” and was widely embraced for its atmosphere
of ironic alienation. The song “Paranoid Android,” written by member Thom Yorke, gained a particular following and was released as the lead single from the album.
Hallelujah Variations (Variations on a Theme by Leonard Cohen) ANDERSON & ROE
The Canadian singer-songwriter Leonard Cohen (1934-2016) began his career as a poet and novelist, and many of his 17 published books were greeted with critical accolades. But in 1966 he decided to try his luck as a musician/ composer and scored a hit with “Suzanne,” the first of numerous Cohen songs that would be championed by singer Judy Collins. “Hallelujah” had limited success when he introduced it on a 1984 studio album, but by now it has been covered by easily 200 performers.
“Let It Be” from Let It Be (1970) JOHN LENNON (1940-80) AND PAUL MCCARTNEY (B. 1942)/ANDERSON & ROE
“Let It Be” is the title track of the 12th and final studio album made by the Beatles, the quartet of Liverpudlians that formed in 1960 and rapidly soared on their repertoire of original songs, mostly written by John Lennon and Paul McCartney. The group proved
PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204
Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons
Jackson Family Wines
The Judy & Alan Kosloff
Artistic Director Chair
Debbie and Jim Shpall and Applejack Wine & Spirits
Yamaha
THURSDAY 7:30 PM
CLASSICALLY UNCORKED
Anderson & Roe Piano Duo
Gregory Anderson
Elizabeth Joy Roe
BRAHMS, arr. Anderson & Roe
Lerchengesang (Lark’s Song), Op. 70, No. 2
STRAVINSKY
Part I: The Adoration of the Earth, from The Rite of Spring
RADIOHEAD, arr. Anderson & Roe
“Pyramid Song” from Amnesiac
SIGUR RÓS, arr. Anderson & Roe
“Glósóli” (Glowing Sun), from Takk...
NTERMISSION —
ANDERSON & ROE
Nocturne on Neptune (based on Holst’s “Neptune” from The Planets)
RAVEL/arr. Vyacheslav Gryaznov
“Daybreak” from Daphnis et Chloé
BACH/GOUNOD/ANDERSON & ROE
“Ave Maria” (based on Prelude No. 1 in C major, BWV 846)
BERNSTEIN, arr. Anderson & Roe
West Side Story Suite
The running time of this concert is approximately 1 hour, 30 minutes.
Lerchengesang (Lark’s Song), Op. 70, No. 2 (1877)
JOHANNES BRAHMS (1833-97), arranged by Anderson & Roe
Lerchengesang is an unusually dreamy song setting, even for Brahms. He composed this lied in 1877 (the year of his Second Symphony) to a text the Alsatian pastor and poet Karl August Candidus had recently published, in 1869: “the heavenly greetings of larks” stirs the heart of the listener, who drifts into springtime memories—painful memories, the music suggests. Brahms’ piano accompaniment is spare, perhaps recalling Schumann’s Dichterliebe while pointing ahead toward Debussy.
The Rite of Spring by Sergei Diaghilev’s Ballets Russes and the ensuing riot by the Paris audience catapulted him, and modern music, onto a path from which there was no turning back. The scenes danced by the ballet’s cast were themselves shocking, and the music was unlike anything heard before, embracing fierce dissonance, barbaric rhythms, and pagan eroticism. The ballet’s opening section, “The Adoration of the Earth,” depicts a springtime celebration in ancient, pagan Russia. Young men and women flirt, an old woman tells fortunes, a procession of wise men blesses the Earth, and the people dance passionately, becoming one with the Earth.
This evening’s
Part I: The Adoration of the Earth, from The Rite of Spring (1911-13)
IGOR STRAVINSKY (1882-1971)
Stravinsky was somewhat famous before May 29, 1913, but the premiere of
“Pyramid Song” from Amnesiac (2001)
RADIOHEAD, arranged by Anderson & Roe
“Radiohead remain one of the most visionary, exciting, iconic bands
of our time.,” say Anderson & Roe. “Ever since they appeared on the rock scene in the early nineties, they have continually redefined their sound and aesthetic to brilliant effect.” “Pyramid Song” was released as the lead single from the group’s 2001 album Amnesiac Thom Yorke, Radiohead’s principal songwriter, explained that the haunting piece was inspired by a visit to a museum exhibition about the Egyptian underworld and ideas of cyclical time discussed by physicist Stephen Hawking.
“Glósóli” (Glowing Sun) from Takk... (Thanks …, 2005)
SIGUR RÓS, arranged by Anderson & Roe
The “post-rock” band Sigur Rós, formed in 1994 in Reykjavík, became an exemplar of the “Icelandic Cool” that made that island nation an international darling of upper-tier popular music. The group makes sensitive use of orchestral instruments and grafts sounds from the classical avant-garde (such as bowed guitar) into their sustained textures to yield a signature sense of ethereal calm. The video released with the song “Glósóli” involves a boy with a drum
leading a group of Icelandic children to a seaside cliff, from which they jump and fly through the air.
Nocturne on Neptune (based on Holst’s “Neptune” from The Planets) (2024)
ANDERSON & ROE
Gustav Holst was little noticed as a composer when, in 1917, the double-whammy premieres of his symphonic cycle The Planets (191416) and his oratorio The Hymn of Jesus (1917) catapulted him to celebrity. He retreated to as much solitude as he could find while The Planets became hugely popular. Its movements depict the seven planets—Pluto was not yet discovered and Earth was too familiar to merit a piece—the whole culminating in “Neptune, the Mystic,” where he said he tried to achieve “the intense concentration of a prolonged gaze into infinity.” Anderson & Roe note that Holst himself produced a straightforward two-piano arrangement, but “our very different rendition takes a meditative, freewheeling approach to the source material …. We use Holst’s irregular meter, motivic fragments, and oscillating harmonies as a point of departure, drifting through a sonic world inspired loosely by classical minimalism.”
“Daybreak” from Daphnis et Chloé (1909-12)
MAURICE RAVEL (1875-1937), arr. Vyacheslav Gryaznov (B. 1982)
A bit of Ravel seems de rigueur during his 150th anniversary year, here as arranged by Russian pianist Vyacheslav Gryaznov, an active pianist who has produced many transcriptions for his instrument. If Stravinsky is the composer most associated with Diaghilev’s Ballets Russes, he was far from the only one. The company unveiled major Stravinsky premieres in 1910 (Firebird), 1911 (Petrushka), and 1913 (The Rite of Spring), but in 1912 the spotlight shone on Ravel’s Daphnis et Chloé, based on mythology. Our Bravo!Vail audience heard the New York Philharmonic interpret the ballet score on July 23, and now Anderson & Roe offer a different take, playing a luminous extract (the opening of the third and
final scene) that portrays a sunrise, perhaps the most evocative one ever committed to musical staves.
“Ave Maria” (based on Prelude No. 1 in C major from The WellTempered Clavier, BWV 846)
JOHANN SEBASTIAN BACH (16851750)/ CHARLES GOUNOD (1818-93)/ ANDERSON & ROE
Book One of Bach’s The WellTempered Clavier (completed around 1720-22) opens with the C-major Prelude, a succession of chords broken into arpeggios. Charles Gounod, remembered mostly for his operas, began his transformation of Bach’s Prelude through an 1853 transcription he titled Méditation sur le 1er Prélude de Piano de S. Bach, for piano and violin or cello solo, with an accompaniment of organ or second cello. Words by Lamartine were added for a new chorus-and-orchestra arrangement in 1856, and Gounod’s blockbuster version finally appeared in 1859 under the name “Ave Maria,” using the familiar prayer uttered in the Gospel of Luke by the Angel Gabriel.
Side Story Suite LEONARD BERNSTEIN (1918-90), arranged by Anderson & Roe
“The radioactive fallout from West Side Story must still be descending on Broadway this morning,” wrote Walter
PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 204
Jackson Family Wines
Debbie and Jim Shpall and Applejack Wine & Spirits
Yamaha Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons
VIOLINS
Leonard Fu
(Leader Chair supported by Dasha Shenkman)
Lucy Gould
Sophie Besancon
Fiona Brett
Christian Eisenberger
Rosa Hartley
Mairead Hickey
Iris Juda
Matilda Kaul
Sylwia Konopka
Hans Liviabella
Stefano Mollo
Peter Olofsson
Joseph Rappaport
Tanja Roos
Håkan Rudner
Martin Walch
Elizabeth Wexler
VIOLAS
Pascal Siffert
Hector Camara Ruiz
Tom Dunn
Anna Krimm
Riikka Repo
Hanne Skjelbred
CELLOS
Will Conway (Principal Cello Chair supported by an anonymous donor)
Henrik Brendstrup
Tomas Djupsjobacka
Kate Gould
Sally Pendlebury
DOUBLE BASSES
Enno Senft
(Principal Bass Chair supported by Sir Siegmund Warburg’s Voluntary Settlement)
Håkan Ehren
Philip Nelson
FLUTES
Clara Andrada (Principal Flute Chair supported by The Rupert Hughes Will Trust)
Josine Buter
Philippe Tondre (Principal Oboe Chair supported by The Rupert Hughes Will Trust)
Carolina Rodriguez
Carlos Miguel Prieto
Artistic Director
FIRST VIOLINS
Justin Bruns, Concertmaster
Pablo Sánchez Pazos
Francisco Ladrón de Guevara
Ekaterine Martinez
Roberto Bustamante
Carlos Lot
Andres Becerril
Mariana Andrade
Catherine Barrow
Ksenia Matelinayte
SECOND VIOLINS
Juan Sosa
Karina Cortés
Maria Belmonte
Constanza Mier
Patricia Cole
Augusto Alarcón
Franklin Bolivar
Karla García
VIOLAS
Adriana Linares, Principal
Gerardo Sanchez
Erika Ramirez
Petra Berenyi
Maddy Nicolescu
Judith Reyes
CELLOS
William Molina Cestari
Fabiola Flores
Roberto Herrera
Maximiliano Oppeltz-Carroz
BASSES
Alexei Diorditsa, Principal
Alberto Caminos
FLUTES AND PICCOLO
Alethia Lozano
Erika Flores
Marcela Reyes
OBOES AND ENGLISH HORN
Claire Kostic, Principal
Vladimir Escala
CLARINETS
Richard Hosford
Marie Lloyd
BASSOONS
Daniel Matsukawa (Principal Bassoon Chair supported by The 35th Anniversary Friends)
Christopher Gunia
HORNS
Zoltan Macsai
Beth Randell
Jan Harshagen
Pete Richards
TRUMPETS
Neil Brough
Julian Poore
TIMPANI
John Chimes
MANAGEMENT
Peter Readman
Chairman
Simon Fletcher
General Manager
CLARINETS AND BASS CLARINET
Hector Noriega, Principal
Luis Zamora
Rodrigo Garibay
BASSOONS
David Ball, Principal
Katia Osorio
HORNS
Gerardo Diaz, Principal
Mateo Ruiz
Jon Gustely
Daniel Graterol
Silvestre Hernández
TRUMPETS
James Ready, Principal
Jesus Flores
Juan Luis Gonzalez
TROMBONES AND TUBA
Iain Hunter, Principal
Alex López Velarde
Diego Fonseca
Eric Fritz, Principal
Tiago Carvalho
Stage And Project Manager
Camilla Follett
Planning And Personnel Manager
Coralia Galtier
Business Development Manager
Angelina Golt
Digital Content Creator
Derri Lewis
Tour And Project Manager & Librarian
Giovanni Quaglia
Finance And Project Manager
TIMPANI AND PERCUSSION
Gabriela Jimenez, Principal
Samir Pascual
Javier Perez
Marco Mora
Miguel Hernandez
Topacio Ortiz
HARP
Chrstian Topp, Principal
PIANO AND CELESTA
Edith Ruiz, Principal
LIBRARIAN
Alicia Rosas
LOGISTICS
Armando Castillo
Alfredo Lozada
ARTISTIC COORDINATOR
Robert Schwendeman
Rosa Maria Navarrete, Assistant
Bravo! Vail Music Makers Haciendo Música is an afterschool program teaching piano, violin, and chamber ensemble classes across Eagle and Lake counties. With nearly 300 students from grade 2-12, Music Makers Haciendo Música cultivates and inspires the musician inside every child through weekly classes and performance opportunities throughout the school year.
WHO Beginner students entering grades 2-6
Intermediate or advanced students contact Education@BravoVail.org for placement.
WHAT Weekly group classes cover the fundamentals of instrument training, musical concepts, performance skills, and reading music. Intermediate and advance ensemble classes cover collaboration with peers, diverse music, and community outreach.
WHEN August - May
WHERE Several locations from Vail to Gypsum TIME Classes are 45-90 minutes long and take place between 3:15 – 7 PM. Specific times are determined by the student’s experience and ability.
COST $250-295 for 27-31 weeks of instruction, including recitals. Instrument and tuition scholarships are available based on financial need. Applications are available at BravoVail.org/MusicMakers.
ENROLL Online Enrollment August 18-22, 2025
Bravo! Vail Music Makers Haciendo Música es un programa extracurricular que enseña clases de piano, violín, y conjunto de cámara en los condados de Eagle y Lake. Con más de 300 estudiantes de 2 a 12 grado, Music Makers Haciendo Música cultiva e inspira al músico que lleva dentro cada niño a través de clases semanales y oportunidades de actuación durante todo el año escolar.
QUIÉN Estudiantes principiantes que ingresan a los grados 2-6. Los estudiantes de nivel intermedio o avanzado se ponen en contacto con Education@ BravoVail.org para la colocación.
QUÉ Las clases grupales semanales cubren cubren los fundamentos del entrenamiento de instrumentos, conceptos musicales, habilidades de interpretación y lectura de música.
Las clases de conjunto intermedio y avanzado cubren la colaboración con compañeros, la música diversa y el alcance comunitario.
CUÁNDO agosto - mayo
DÓNDE Varias ubicaciones, desde Vail hasta Gypsum
TIEMPO Las clases tienen una duración de 45-90 minutos y se desarrollan entre las 3:15 – 7 PM. Los tiempos específicos están determinados por la experiencia y la capacidad del estudiante.
COSTO $250-295 por 27-31 semanas de instrucción, incluyendo recitales. Las becas de instrumentos y matrícula están disponibles en función de la necesidad financiera. Las solicitudes están disponibles en BravoVail.org/MusicMakers.
MATRICULA Matrícula 18 agosto-22 agosto, 2025
Bravo! Vail is introducing two NEW classes this year: beginner cello class and beginner guitar class. During these classes, students will learn the fundamentals of their instruments, music theory, and beginner repertoire, and have the opportunity to showcase their new skills in a recital performance at the end of the school year.
Fabio Luisi
Music Director
Louise W. & Edmund J. Kahn Music Directorship
Jeff Tyzik
Principal Pops Conductor
Dot & Paul Mason Podium
Enrico Lopez-Yañez
Principal Conductor of Dallas Symphony Presents
Nancy A. Nasher & David J. Haemisegger Chair
Shira Samuels-Shragg
Assistant Conductor
Marena & Roger Gault Chair
Anthony Blake Clark
Chorus Director
Jean D. Wilson Chair
Sophia Jani
Composer-in-Residence
Lisa & Robert Segert Chair
Alexander Kerr
Concertmaster
Michael L. Rosenberg Chair
Nathan Olson
Co-Concertmaster
Fanchon & Howard Hallam Chair
Emmanuelle Boisvert
Associate Concertmaster
Robert E. & Jean Ann Titus
Family Chair
Eunice Keem
Associate Concertmaster
Marcella Poppen Chair
Kari Choo
Assistant Concertmaster
Filip Fenrych
W. Paul Radman, DDS & Jane Vandecar Chair
Maria Schleuning
Norma & Don Stone Chair
Lucas Aleman
Dallas Symphony Orchestra
League Chair
Jenna Barghouti
Marie A. Moore Chair
Gary Levinson
Senior Principal Associate
Concertmaster Emeritus
Enika Schulze Chair
Andrew Schast
Nelly Crooks Bigham Chair
Motoi Takeda
Associate Concertmaster
Emeritus
Daphne Volle
Sarah Sung
Associate Principal
Pamela Askew
Thomas Demer
Valerie Dimon
Dr. James E. Skibo Chair
Christine Hwang
Keith Verges Chair
Sarah Kienle
Xiaohan Sun
Maisie Heiken Chair
David Sywak
Arthur Noltemy Chair
Pedro Pablo Mendez
Torrealba^
Eve Tang+
DJ Cheek+
CELLO
Christopher Adkins
Principal
Fannie & Stephen S. Kahn Chair
Theodore Harvey
Associate Principal
Holly & Tom Mayer Chair
Jolyon Pegis
Associate Principal
Joe Hubach Chair
Jeffrey Hood
Greg & Kim Hext Chair
Jennifer Yunyoung Choi
Wolfe Gruber Chair
Kari Kettering
Donna & Herbert Weitzman
Chair, in honor of Juanita & Henry S. Miller, Jr.
Minji Kim
Zexun (Jason) Shen
Lev Aronson Chair, Endowed by Betty Taylor Cox
Nan Zhang
Keeon Guzman^
Marie-Thais Oliver+
BASS
Nicolas Tsolainos
Principal
Anonymously Endowed
Bruce Wittrig
Susan & Woodrow Gandy
Chair
Giyeon Yoon
Kaori Yoshida* Jina Lee+
VIOLIN II
Angela Fuller Heyde
Principal
Barbara K. & Seymour R. Thum Chair
Alexandra Adkins
Associate Principal
Yehuda Zukerman Chair
Sho-mei Pelletier
Associate Principal
Bing Wang
Bruce Patti*
Rita Sue & Alan Gold Chair
Mariana Cottier-Bucco
Debra & Steve Leven Chair
Lilit Danielyan*
Miika Gregg
Hyorim Han
Shu Lee
Jimin Lim
Nora Scheller°
Aleksandr Snytkin*
Lydia Umlauf
VIOLA
Meredith Kufchak
Principal
Hortense & Lawrence S. Pollock Chair
Matthew Sinno
Associate Principal
CLARINET
Gregory Raden
Principal
Mr. & Mrs. C. Thomas May, Jr.
Chair
Vacant
Associate Principal + E-Flat
Robert E. & Ruth Glaze Chair
Stephen Ahearn
Second Clarinet + Acting
Associate Principal + E-flat
Courtney & Andrew Nall
Chair
Stephanie Key
Marci Gurnow
Bass Clarinet + Utility
Phillip Paglialonga+
BASSOON
Ted Soluri
Principal
Irene H. Wadel & Robert I.
Atha, Jr. Chair
Scott Walzel
Associate Principal
Barbara & Robert P. Sypult
Chair
Tom Fleming
Peter Grenier
+ Contrabassoon
HORN
Daniel Hawkins
Principal
Howard E. Rachofsky Chair
David Heyde
Associate Principal
Linda VanSickle Chair
Alexander Kienle
Assistant Principal + Utility
Haley Hoops
Becky & Brad Todd Chair
Yousef Assi°
Kevin Haseltine°
Reese Farnell
Caitlyn Smith Franklin
TRUMPET
Stuart Stephenson
Chair
Roger Fratena
Associate Principal
Paula Holmes Fleming
Thomas Lederer
Co-Principal Emeritus
Brian Perry
Clifford Spohr Chair
Caleb Quillen
Tyler Shepherd
Justin Kujawski+
Joseph Nuñez+
David Buck
Principal
Joy & Ronald Mankoff Chair
Hayley Grainger
Associate Principal
Barbara Rabin Chair
Kara Kirkendoll Welch
Caroline Rose Hunt Chair
James Romeo
Piccolo
Lisa & Robert Segert Chair
OBOE
Erin Hannigan
Principal
Nancy P. & John G. Penson
Chair
Willa Henigman
Associate Principal
Brent Ross
David Matthews
+ English Horn
Karen & Jim Wiley Chair
PERCUSSION
George Nickson
Principal
Margie & William H. Seay
Chair
Daniel Florio
Associate Principal
Robert O’Brien
HARP
Emily Levin
Elsa von Seggern Chair
ORGAN
Bradley Hunter Welch
Resident Organist
Lay Family Chair
KEYBOARD
Jeanne R. Johnson Chair
Gabriel Sanchez
Classical
Anastasia Markina
Classical
Toby & Will Jordan Chair
Brian Piper Pops
GUITAR
Noel Johnston+
ELECTRIC BASS
Seth Lewis+
SAXOPHONE
Wil Swindler+
Peter Sommer+
LIBRARY
Karen Schnackenberg
Principal
Jessie D. & E. B. Godsey
Chair
Robert Greer
Associate Principal
Melissa Robason
Orchestra Librarian
Melanie Gilmore
Choral Librarian
Principal
Diane & Hal Brierley Chair
L. Russell Campbell
Associate Principal
Yon Y. Jorden Chair
Kevin Finamore
Assistant Principal
Ryan Anthony Chair
Elmer Churampi
Graham & Brenda Gardner Chair
TROMBONE
Barry Hearn
Principal
Cece & Ford Lacy Chair
Christopher Oliver
Associate Principal
Brian Hecht
Utility Trombone
Darren McHenry
Bass Trombone
TUBA
Matthew Good
Principal
Dot & Paul Mason Chair
TIMPANI
Brian Jones
Principal
Dr. Eugene & Charlotte
Bonelli Chair
Robert O’Brien
Assistant Principal
PERSONNEL
MANAGEMENT
Victoria J. Moore
Olga & Yuri Anshelevich
Manager of Orchestra
Personnel
Scott Walzel
Consultant for Community Development & Outreach
Christopher Oliver
Auditions Coordinator
STAGE
Shannon Gonzalez
Stage Manager
Alan Bell
Assistant Stage Manager
Kenneth Winston
Lighting Board Operator
* Performs in both Violin I and Violin II sections
° On Leave
̂^ 2024/25 Season DSO
Diversity Fellow + Guest Artist
Yannick Nézet-Séguin
Music and Artistic Director
Walter and Leonore Annenberg Chair
Marin Alsop
Principal Guest Conductor
Ralph and Beth Johnston Muller Chair
Naomi Woo
Assistant Conductor
Joseph Conyers
Education and Community Ambassador
Mark and Tobey Dichter Chair
Charlotte Blake Alston
Storyteller, Narrator, and Host
Osagie and Losenge Imasogie Chair
David Kim, Concertmaster
Dr. Benjamin Rush Chair
Juliette Kang, First Associate Concertmaster
Joseph and Marie Field Chair
Christine Lim, Associate Concertmaster
Marc Rovetti, Assistant Concertmaster
Dr. James F. Dougherty Chair
Barbara Govatos
Robert E. Mortensen Chair
Jonathan Beiler
Hirono Oka
Richard Amoroso
Robert and Lynne Pollack Chair
Yayoi Numazawa
Jason DePue
Larry A. Grika Chair
Jennifer Haas
Miyo Curnow
Elina Kalendarova
Daniel Han
Julia Li
William Polk
Mei Ching Huang
Kimberly Fisher, Principal
Peter A. Benoliel Chair
Paul Roby, Associate Principal
Sandra and David Marshall Chair
Dara Morales, Assistant Principal
Anne M. Buxton Chair
Philip Kates
Peter A. Benoliel Chair
Davyd Booth
Paul Arnold
Joseph Brodo Chair, given by Peter A. Benoliel
Boris Balter
Amy Oshiro-Morales
Volunteer Committees Chair
Yu-Ting Chen
Jeoung-Yin Kim
Willa Finck
John Bian
MuChen Hsieh
Eliot Heaton
Choong-Jin Chang, Principal
Ruth and A. Morris
Williams, Jr., Chair
Kirsten Johnson, Associate Principal
Kerri Ryan, Assistant Principal
Burchard Tang
Renard Edwards
Anna Marie Ahn Petersen
Piasecki Family Chair
David Nicastro
Che-Hung Chen
Rachel Ku
Marvin Moon
Meng Wang
Hsiang-Hsin Ching
Hai-Ye Ni, Principal
Priscilla Lee, Associate Principal
Yumi Kendall, Assistant Principal
Elaine Woo Camarda
and A. Morris Williams, Jr., Chair
Richard Harlow
Kathryn Picht Read
John Koen
Derek Barnes
Alex Veltman
Jiayin He
Michael Katz
Joseph Conyers, Principal Carole and Emilio Gravagno Chair
Gabriel Polinsky, Associate Principal
Tobias Vigneau, Assistant Principal
David Fay
Duane Rosengard
Nathaniel West
Michael Franz
Christian Gray
Some members of the string sections voluntarily rotate seating on a periodic basis.
FLUTES
Jeffrey Khaner, Principal
Paul and Barbara Henkels Chair
Patrick Williams, Associate Principal
Rachelle and Ronald Kaiserman Chair
Olivia Staton
Erica Peel, Piccolo
OBOES
Philippe Tondre, Principal
Samuel S. Fels Chair
Peter Smith, Associate Principal
Jonathan Blumenfeld
Edwin Tuttle Chair
Elizabeth Starr Masoudnia, English Horn
Joanne T. Greenspun Chair
CLARINETS
Ricardo Morales, Principal
Leslie Miller and Richard Worley Chair
Samuel Caviezel, Associate Principal
Sarah and Frank Coulson Chair
Socrates Villegas
Paul R. Demers, Bass
Clarinet
Peter M. Joseph and Susan Rittenhouse
Joseph Chair
BASSOONS
Daniel Matsukawa, Principal
Richard M. Klein Chair
Mark Gigliotti, Co-Principal
Angela Anderson Smith
Holly Blake, Contrabassoon
HORNS
Jennifer Montone, Principal Gray Charitable Trust Chair
Jeffrey Lang, Associate Principal
Hannah L. and J. Welles
Henderson Chair
Christopher Dwyer
Chelsea McFarland
Ernesto Tovar Torres
TRUMPETS (position vacant)
Marguerite and Gerry Lenfest Chair
Jeffrey Curnow, Associate Principal
Anthony Prisk
TROMBONES
Nitzan Haroz, Principal Neubauer Family Foundation Chair
Matthew Vaughn, CoPrincipal
Jack Grimm
Blair Bollinger, Bass Trombone
Drs. Bong and Mi Wha Lee Chair
TUBA
Carol Jantsch, Principal
Lyn and George M. Ross Chair
TIMPANI
Don S. Liuzzi, Principal
Dwight V. Dowley Chair
Angela Zator Nelson, Associate Principal
PERCUSSION
Christopher Deviney, Principal
Charlie Rosmarin, Associate Principal
Angela Zator Nelson
PIANO AND CELESTA
Kiyoko Takeuti
KEYBOARDS
Davyd Booth
HARP
Elizabeth Hainen, Principal
LIBRARIANS
Nicole Jordan, Principal
Holly Matthews
STAGE PERSONNEL
Dennis Moore, Jr., Manager
Francis “Chip” O’Shea III
Aaron Wilson
VIOLINS
Frank Huang
Concertmaster
The Charles E. Culpeper Chair
Sheryl Staples
Principal Associate Concertmaster
The Elizabeth G. Beinecke Chair
Michelle Kim
Assistant Concertmaster
The William Petschek Family Chair
Quan Ge
Hae-Young Ham
The Mr. and Mrs. Timothy M.
George Chair
Lisa GiHae Kim
Kuan Cheng Lu
Kerry McDermott
Kyung Ji Min
Su Hyun Park+
Anna Rabinova
The Shirley Bacot Shamel Chair
Audrey Wright
Sharon Yamada
Elizabeth Zeltser+
The William and Elfriede Ulrich Chair
Andi Zhang
Yulia Ziskel
The Friends and Patrons Chair
Qianqian Li
Principal
Lisa Eunsoo Kim*
In Memory of Laura Mitchell
Soohyun Kwon
The Joan and Joel I. Picket Chair
Duoming Ba
Hannah Choi
I-Jung Huang
Dasol Jeong
Alina Kobialka
HyunJu Lee
Marié Schwalbach
Na Sun
The Gary W. Parr Chair
Jin Suk Yu+
Dae Hee Ahn++
Marta Krechkovsky++
Angela Lee++
David Southorn++
Jungsun Yoo++
Cynthia Phelps Principal
The Mr. and Mrs. Frederick P. Rose Chair
Rebecca Young*
The Joan and Joel Smilow Chair
Cong Wu**
Dorian Rence
Sofia Basile
Leah Ferguson
Katherine Greene
The Mr. and Mrs. William J. McDonough Chair
Vivek Kamath
Peter Kenote
Kenneth Mirkin
Tabitha Rhee
Robert Rinehart
The Mr. and Mrs. G. Chris Andersen Chair
Soyoung Cho++
CELLOS
Carter Brey Principal
The Fan Fox and Leslie R. Samuels Chair
Matthew Christakos*
The Paul and Diane Guenther Chair
Patrick Jee
Elizabeth Dyson
The Mr. and Mrs. James E. Buckman Chair
Alexei Yupanqui Gonzales
Claire Deokyong Kim
Maria Kitsopoulos
Sumire Kudo
John F. Lee
Qiang Tu
Nathan Vickery
Ru-Pei Yeh
BASSES
Timothy Cobb Principal
Max Zeugner*
The Herbert M. Citrin Chair
Blake Hinson**
Satoshi Okamoto
Randall Butler
David J. Grossman
Isaac Trapkus
Rion Wentworth
Ha Young Jung++
FLUTES
Robert Langevin
Principal
The Lila Acheson Wallace Chair
Alison Fierst*
Yoobin Son
Mindy Kaufman
The Edward and Priscilla Pilcher Chair
PICCOLO
Mindy Kaufman
OBOES
Liang Wang+
Principal
The Alice Tully Chair
Sherry Sylar*
Ryan Roberts
Robert Botti
Andrew van der Paardt++
ENGLISH HORN
Ryan Roberts
Andrew van der Paardt++
CLARINETS
Anthony McGill+
Principal
The Edna and W. Van Alan
Clark Chair
Benjamin Adler*
Pascual Martínez Forteza
The Honey M. Kurtz Family Chair
Barret Ham
Alucia Scalzo++
E-FLAT CLARINET
Benjamin Adler
BASS CLARINET
Barret Ham
BASSOONS
Judith LeClair
Principal
The Pels Family Chair
Julian Gonzalez*
Roger Nye
-The Rosalind Miranda Chair in memory of Shirley and Bill Cohen
CONTRABASSOON
Billy Hestand++
HORNS
Stefán Jón Bernharðsson++
Guest Principal
Richard Deane*
David Peel**
R. Allen Spanjer
The Rosalind Miranda Chair
Leelanee Sterrett
Tanner West
The Ruth F. and Alan J. Broder Chair
TRUMPETS
Christopher Martin
Principal
The Paula Levin Chair
Matthew Muckey*+
Ethan Bensdorf
Thomas Smith
Raymond Riccomini++
TROMBONES
Joseph Alessi
Principal
The Gurnee F. and Marjorie
L. Hart Chair
Colin Williams*
David Finlayson
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
Christopher Riggs++
Sean Ritenauer++
Nick Sakakeeny++
Joseph Tompkins++
HARP
Nancy Allen
Principal
Stacey Shames++
ELECTRIC BASS
Gregg August++
KEYBOARD
In Memory of Paul Jacobs
HARPSICHORD
Paolo Bordignon+
PIANO
Eric Huebner
The Anna-Maria and Stephen Kellen Piano
Chair
ORGAN
Kent Tritle+
LIBRARIANS
Lawrence Tarlow
Principal
Sara Griffin*
Claudia Restrepo**+
ORCHESTRA PERSONNEL
DeAnne Eisch
Orchestra Personnel Manager
STAGE REPRESENTATIVE
Joseph Faretta
AUDIO DIRECTOR
Lawrence Rock
* Associate Principal ** Assistant 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.
Leonard Bernstein, Laureate Conductor, 1943–1990
Kurt Masur, Music Director Emeritus, 1991–2015
HONORARY MEMBERS OF THE SOCIETY
Emanuel Ax Deborah Borda Zubin Mehta
NEW YORK PHILHARMONIC
Peter W. May, Oscar L. Tang, Board Co-Chairmen
Matías Tarnopolsky, President & CEO
Adam Z. Gerdts, Senior Vice President, Philanthropy
Patrick Castillo, Vice President, Artistic Planning
Adam Crane, Vice President, External Affairs
Miki Takebe, Interim Vice President, Production
Elizabeth Helgeson, Director, Artistic Planning & Administration
Katharine López-Dryden, Orchestra Personnel Administrator
Hayley Rothman, Assistant Production Manager
Brendan Timins, Director, Touring and Operations
Chia-Hsuan Lin, Residency Conductor
Robert Pierpont, Stage Crew
Robert Sepulveda, Stage Crew
Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.
Steinway is the Official Piano of the New York Philharmonic.
Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the National Endowment for the Arts, the National Endowment for the Humanities, and the New York State Council on the Arts, with the support of the Office of the Governor and the New York State Legislature.
Lottie Andrews
Manda Baker
Jude Blum
Susan Brown
Jeremy Burns
Steph Carpenter
Angie Collums
Kerry Cote
Claudia Dakkouri
Gracie Ewert
Lisa Fultz
Andria Gaskill
Jenifer Gile
Lori Gill
Lauren Kennedy
Lindsey Kermgard
Meghan Kinnischtzke
Cathy
Zisler
ALTO
Christine
Jeannette O’Nan
Jill
Jen Pringle
Donneve
Leanne Rehme
Kathi
Eleanor
Pat Virtue
Benita Wandel
TENOR
Kevan
Dusty
Taylor Nelson
John Phillips
Ben Pilcher
Ken Quarles
Adam Scoville
Russell Skillings
Matthew Smedberg
Riley Somo
Matt Steele
Tom Virtue
Mike West
Marc Whittington
Lu Wu
Jeffrey Zax
Duain Wolfe, Founding Director and Conductor Laureate
Taylor Martin, Director Designate
Mary Louise Burke, Associate Director
Jared Joseph, Assistant Director
David Rosen, Chorus Manager
Barbara Porter, Associate Chorus Manager
Anastasiia Pavlenko, Pianist
Jared
Nalin Mehta Matthew Molberg
Benjamin Adler (clarinet) began his tenure as associa te principal clarine t and E-flat clarine t of the New York Philharmonic a t the start of the 2023-24 season, following positions with the Milwaukee and St. Louis symphony orchestras. A Brooklyn native, Adler founded and directs the Clarinet Maestro Festival, which expands access to clarine t educa tion. He also taught a t the Brevard Music Center and Wisconsin Lutheran College. Adler earned degrees from Northwestern University and the University of Southern California, along with an artist diploma from the Colburn School.
Marin Alsop (conductor) serves as chief conductor of the ORF Vienna Radio Symphony, artistic director & chief conductor of the Polish National Radio Symphony, principal guest conductor of London’s Philharmonia Orchestra, and the first chief conductor and curator of the Ravinia Festival. After 14 years directing the Baltimore Symphony, the orchestra named her music director laureate and OrchKids’ founder. Alsop led the Cabrillo Festival of Contemporary Music for 25 years and was the first conductor to receive a MacArthur Fellowship. She founded the Taki Alsop Fellowship to nurture female conductors and is now principal guest conductor of The Philadelphia Orchestra.
Anderson & Roe (piano duo) , comprising Gregory Anderson and Elizabeth Joy Roe, formed in 2000 when the two me t as students a t Juilliard. Winner of Classical Post’s 2019 “Most Innovative Instrumentalist” award, their albums When Words Fade , An Amadeus Affair , and The Art of Bach have spent weeks atop the Billboard Classical Charts. Having performed at festivals including Mostly Mozart, Grand Teton, Santa Fe, and Gilmore, the Emmy-nominated duo will make its fourth appearance as on-air hosts for the live broadcast of the 2025 Van Cliburn International Piano Competition.
Yulianna Avdeeva (piano) , winner of the 2010 International Chopin Piano Competition, has recorded nine albums, including Resilience , which features works by composers who faced times of great political turmoil. Recent engagements include solo appearances with the Baltimore Symphony Orchestra, Chicago Symphony Orchestra, and Tokyo’s NHK Orchestra, along with two Carnegie Hall recitals. Her 2024-25 season includes performances of Shostakovich’s Preludes and Fugues at Gewandhaus (Leipzig), Pierre Boulez Hall (Berlin), Palau de la Música (Barcelona and Madrid), Ostrava (Czech Republic) and in Seon, Switzerland, all in commemoration of the 50th anniversary of the composer’s death.
David Ball (bassoon) serves as principal bassoon of the Teatro de Bellas Artes Orchestra and contrabassoon of the UNAM Philharmonic Orchestra, where he has also performed as a soloist. He plays with La Camerata and frequently collaborates with the Sinfónica de Minería. As a founding member of Sinfonietta Ventus, he previously performed with the Orquesta Solistas de México and specializes in Baroque and Renaissance music. Ball studied flute and bassoon in California and Vienna before relocating to Mexico in 1987
Jean-Efflam Bavouzet (piano) regularly performs with orchestras including the Cleveland, San Francisco Symphony, NHK Symphony, and London and BBC Symphony Orchestras. In the 2024-25 season, he appeared with Orchestre National de France, the Hungarian National Philharmonic, and Royal Northern Sinfonia, and gave solo recitals at Wigmore Hall, Shanghai Symphony Hall, and toured in Australia, Italy, and the U.S. A Chandos artist, his recordings have earned Gramophone and BBC Music Magazine Awards. Bavouzet is International Chair in Piano at the Royal Northern College of Music.
Yefim Bronfman (piano) , GRAMMY-winner and seven-time nominee, was born in Tashkent in the Soviet Union and immigrated to Israel in 1973. His 2024-25 season includes orchestra tours through Europe, Japan, and China, a trans-continental recital tour ending with Carnegie Hall, and special collaborations with Emmanuel Pahud, Anne-Sophie Mutter, and Pablo Ferrandez. With over 50 recordings in his catalog, Bronfman’s latest release in 2024 includes both Brahms Piano Concertos with the Berlin Philharmonic and conductor Zubin Mehta. Bronfman holds an honorary doctorate from Manhattan School of Music.
Justin Bruns (violin) currently serves as associate concertmaster of the Atlanta Symphony Orchestra and the Cabrillo Festival of Contemporary Music, after previously serving as concertmaster of the Boulder Bach Festival and assistant concertmaster of the Colorado Symphony Orchestra. As a dedicated music educator, Bruns is a mentor to students in ASO’s Talent Development Program and the Atlanta Youth Symphony Orchestra. His 2024-25 season features Vivaldi’s The Four Seasons with the ASO and performances in Lima, Peru, Atlanta, Los Angeles, Denver, and the Lake Tahoe Music Festival.
Brie Cassil (vocals) , a singer, actress, and composer, has led musical theatre workshops in Brazil and opened for Steven Adler (the original drummer for Guns & Roses ) with her original band, Rebel. As a musical theater artist, she has performed in productions including Beauty and The Beast (Belle), Urinetown (Little Sally), RENT (Mimi), The Marvelous Wonderettes (Suzy), and the new rock musical, Chix 6 (Blast).
William Molina Cestari (cello) , originally from Maracay, Venezuela, began his studies at an early age at the Federico Villena School of Music. A gold-medalist at the Paris Conservatory by age 19, his teachers included Philippe Müller, Mstislav Rostropovich, and Leonard Rose. Molina-Cestari has performed as a soloist and section leader with orchestras in Asia, Latin America, and Europe, working with conductors including Carlos Chávez, Eduardo Mata, Gustavo Dudamel, Leonard Bernstein, and Sir Simon Rattle, among others.
Seong-Jin Cho (piano) was the youngest-ever winner of Japan’s Hamamatsu International Piano Competition. He took first prize at the Chopin International Piano Competition in 2015 and a year later was signed as a Deutsche Grammophon Artist. He received the 2023 Samsung Ho-Am Prize in the Arts and is currently artist-in-residence with the Berlin Philharmonic. His 2024-25 season includes returns to London’s BBC Proms, The Philadelphia Orchestra with Yannick Nézet-Séguin, the New York Philharmonic and Chicago Symphony Orchestra with Santtu-Matias Rouvali, as well as several international tours as a recitalist and concert soloist.
Randall Goosby (violin) , recipient of the 2022 Avery Fisher Career Grant, will make his debuts with the Chicago Symphony, Minnesota, National Arts Centre, and Montreal Symphony Orchestras, as well as the Netherlands Radio Philharmonic, during the 2024-25 season. He will also tour the U.S. with the London Philharmonic. Committed to underrepresented composers, Goosby’s albums Roots (2021) and Roots: Deluxe Edition (2024), in collaboration with pianist Zhu Wang, explore the evolution of African American music. Goosby won first prize at the 2018 Young Concert Artists International Auditions, holds degrees from The Juilliard School, and records for Decca Classics.
Miguel de la Paz Hernández (percussion) , a member of the Sinfónica de Minería for over 20 years, has toured through the United States, Mexico, Europe, and Asia with the Mexican National Symphony, Bellas Artes Chamber Orchestra, Mexico City Philharmonic, and the UNAM Philharmonic Orchestra. A frequent pit orchestra musician, Hernández has performed with singers including Luciano Pavarotti, Plácido Domingo, Tony Bennett, and Sammy Davis, Jr. He studied at the Superior School of Music in Mexico City and played in the Marine Symphonic Band when it won first place at the 1978 Military Band contest in Yugoslavia.
Jakub Hrůša (conductor) , born in the Czech Republic, is chief conductor of the Bamberg Symphony, music director designate of The Royal Opera, Covent Garden, and principal guest conductor of the Czech Philharmonic. He performs with leading orchestras, including the Berlin, Munich, and Vienna Philharmonics; Bavarian Radio and NHK Symphony Orchestras; and the Leipzig Gewandhaus Orchestra, Staatskapelle Dresden, Tonhalle Orchester Zürich, Lucerne Festival Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Orchestre de Paris, Orchestre Philharmonique de Radio France, and Mahler Chamber Orchestra. In the United States he has led The Cleveland and Boston Symphony orchestras, and New York Philharmonic.
Ivalas Quartet (string quartet) , comprising Reuben Kebede and Tiani Butts, violins; Marcus Stevenson, viola; and Pedro Sánchez, cello, was formed in 2017 with a mission to perform music by Black, Indigenous, and composers of color alongside the standard repertoire. The quartet has performed works by Eleanor Alberga, Jessie Montgomery, Carlos Simon, and others, including the 2024 premiere of Derrick Skye’s Deliverance Formerly in residence at Juilliard, Ivalas won the 2022 Coltman Chamber Music Competition and serves as 2024-25 curator/performing ensemble of Schneider Concerts at The New School. Ivalas is the 2025 Bravo! Vail Chamber Ensemble in Residence.
Gabriela Jiménez (percussion) is principal timpanist and head of percussion at the Sinfónica de Minería, where she has been a member since 1991. She has performed with the World Orchestra for Peace and at festivals including the UNAM Percussion Weeks and the Moscow Sound Universe Festival. Composer Gabriela Ortiz dedicated her 2013 Concierto Voltaje, commissioned by the Sinfónica de Minería, to Jiménez. She has received multiple awards, including the Fulbright Benito Juárez Scholarship and a scholarship to the Tanglewood Music Center Orchestra.
Zach Jones (drums) is a Brooklyn-based drummer, producer, and singer. Recently, he performed as the drummer for Sting on the My Songs world tour. He has collaborated with artists such as A Great Big World, Secret Someones, Elle King, Ingrid Michaelson, and John Gallagher Jr. Jones writes and records music with his own group, Zach Jones & the Tricky Bits, which released its debut album, Plastic Soul, in 2022.
Constantine Kitsopoulos (conductor) , former music director of the Festival of the Arts Boca (2010–23) and general director of Chatham Opera (2005–15), has conducted major orchestras including the New York Philharmonic, San Francisco Symphony, Detroit Symphony, and Hong Kong Philharmonic. His 2024-25 season includes return engagements with the Vancouver, San Francisco, New Jersey, Seattle, and Detroit symphonies, among others. On Broadway, he served as music director for Cinderella, Porgy and Bess, A Catered Affair, Coram Boy, Swan Lake, Les Misérables, and Baz Luhrmann’s production of La Bohème
Patricia Kopatchinskaja (violin) has performed as soloist with the New York Philharmonic, BBC Symphony Orchestra, Wiener Symphoniker, Orchestre Philharmonique de Radio France, and many others. Focused on contemporary repertoire, she frequently collaborates with composers including Francisco Coll, Luca Francesconi, and Esa-Pekka Salonen. Starting in the 2024-25 season, she will serve as artistic partner of the SWR Symphony Orchestra where she will lead Peace Project, a staged concert reflecting the impact of war. A GRAMMY award-winner, Kopatchinskaja has recorded over 30 albums and will serve as artist-in-residence at the 2025 Klarafestival.
Claire Kostic (oboe) , originally from Long Island, NY, has been principal oboe of the Sinfónica de Minería since 2019 and holds the same title at the Winston-Salem Symphony. Kostic has performed with major orchestras including the Houston Grand Opera, Florida Orchestra, Atlanta Symphony Orchestra, and the Charlotte, Houston, and Fort Worth symphonies. A dedicated chamber musician, she was a member of Houston’s Monarch Chamber Players and has participated in summer festivals including the Kent/ Blossom, Sarasota, Chautauqua, and Texas Music Festivals.
Ying Li (piano) , first prize winner of the 2021 YCA Susan Wadsworth International Auditions, has appeared as soloist with The Philadelphia Orchestra, New Jersey Symphony, Buffalo Philharmonic, Stuttgart Philharmonic, and L’Accademia Orchestra del La Scala. In 2024-25, she debuts with the Minnesota Orchestra, Kansas City Symphony, and Orlando Philharmonic, among others. A Curtis Institute and Juilliard graduate, she has played recitals at venues including Carnegie Hall, the Kennedy Center, and the Konzerthaus Berlin, and has appeared at the Verbier, Ravinia, and Bridgehampton Festivals. Li is a 2025 Bravo! Vail Piano Fellow.
Adriana Linares (viola) is the founding violist of the Dalí Quartet and founding president and artistic director of The Arts & Community Network. She has performed as principal and assistant principal viola with the Iris Collective and Harrisburg Symphony and was recently appointed to the board of Chamber Music America. Solo engagement highlights include her Carnegie Hall debut giving the US premiere of Modesta Bor’s Sonata. Known to Bravo! Vail audiences through her appearances with the Dalí Quartet, Linares currently serves on the faculty at West Chester University.
Paul Loren (vocals) , a New York-based singer, songwriter, and producer, is known for blending soul, jazz, and pop styles. Loren has shared the stage with artists including The Temptations, Taylor Hicks, David Bromberg, Paul Shaffer, Queen Latifah, and Christie Brinkley and recently headlined his own tour in 2019. He has appeared on The Tonight Show starring Jimmy Fallon, performed at events such as Jennifer Lopez’s Birthday Gala and New York Fashion Week, and was showcased at SoHo House in New York City
Alethia Lozano (flute) is principal flutist with the UNAM Philharmonic Orchestra and the Sinfónica de Minería, with which she has been a member since 2011. She has served on the music faculty of UNAM and the National Institute of Fine Arts and holds degrees from UC Santa Barbara and the National School of Music of Ville d’Avray, France. She is frequently a multidisciplinary collaborator with institutions such as the Los Angeles County Museum of Art, the Experimental Media and Performing Arts Center, and the Whitney Museum of Contemporary Art.
Wu Man (pipa) , born in Hangzhou, China, has premiered and composed numerous works for the pipa and has performed with orchestras including the Boston and Chicago symphony orchestras and the Los Angeles and New York philharmonics. 2024-25 engagements include performances of pipa concertos with the Omaha, Oregon, La Jolla, and New Haven symphonies, and a performance with the Juilliard Quartet at the Chamber Music Society of Lincoln Center. A founding member of Yo-Yo Ma’s Silkroad Ensemble, she is recipient of the 2023 National Heritage Fellowship and Musical America’s 2013 Instrumentalist of the Year.
Taylor Martin (director) is the director designate of the Colorado Symphony Chorus and assumes the role of chorus director this fall. He succeeds Founding Director Duain Wolfe, now conductor laureate, after Wolfe’s 40-year tenure. Martin made his conducting debut with the Colorado Symphony in 2019, leading its staged version of Handel’s Messiah. Now in his 10th season with the Colorado Symphony Chorus, he has led productions of A Colorado Christmas and Messiah and worked on productions with the Colorado Symphony, New York Philharmonic, The Philadelphia Orchestra, and the Dallas Symphony Orchestra. He recently conducted a concert tour of Austria featuring works for chorus and organ and leading the Salzburg Domorchester in Anton Bruckner’s Te Deum. He has also prepared choruses for WuTang Clan’s RZA, Al Green, and Josh Groban, among others for the Colorado Symphony.
Anne-Marie McDermott (piano) has served as the Artistic Director of Bravo! Vail since 2011. Active as a concerto soloist, she is also artistic director of the Ocean Reef Chamber Music Festival in Florida and the McKnight Center’s Chamber Music Festival at Oklahoma State University. She is currently recording the complete Beethoven piano concertos with Mexico City’s Sinfónica de Minería and conductor Carlos Miguel Prieto. McDermott’s 2024-25 season includes a tour to Chicago, Grand Rapids, Kansas City, Ashland (OR), and Vienna; continued frequent engagements at the Chamber Music Society of Lincoln Center; and a debut recital in Galway, Ireland.
Marco Mora (percussion) has been a member of the Sinfónica de Minería since 2013 and has toured in the U.S. and Europe, including appearances at Helzberg Hall/Kaufman Center (Kansas City), Auditorio Parco della Musica (Rome), and the United Nations (New York). A member of the Fourtissimo Percussion Ensemble, he has premiered more than ten commissioned works and has appeared as a soloist in the Garbage Concerto with the Eduardo Mata Youth Orchestra and the Orquesta Sinfónica del Instituto Politécnico Nacional. Mora studied at UNAM under Gabriela Jiménez.
New York Philharmonic String Quartet comprises four of the Orchestra’s principal string players: Concertmaster Frank Huang (The Charles E. Culpeper Chair), Principal Second Violin Qianqian Li, Principal Viola Cynthia Phelps (The Mr and Mrs. Frederick P Rose Chair), and Principal Cello Carter Brey (The Fan Fox and Leslie R. Samuels Chair). Formed in January 2017, during the Philharmonic’s 175th anniversary season, the Quartet made its debut as the solo ensemble in John Adams’s Absolute Jest in New York in March 2017.
Héctor Noriega (clarinet) , principal clarinetist of the Sinfónica de Minería since 2023, has performed as guest principal with the Albany Symphony and UNAM Philharmonic and as guest musician with The Philadelphia Orchestra, New Jersey Symphony, and Orchestre de la Suisse Romande. A prize winner at the Jacques Lancelot International Competition and Vandoren Emerging Artist Competition, he has appeared as a soloist with the Hollywood Chamber Orchestra and the Sonora Philharmonic Orchestra. Noriega studied at Juilliard, Colburn, and Haute École de Musique in Geneva.
Topacio Ortiz (percussion) , a member of the Sinfónica de Minería since 2012, has performed at venues including Sala Nezahualcóyotl, Palacio de Bellas Artes, Centro Cultural Roberto Cantoral, and Auditorio Nacional in Mexico City, as well as Helzberg Hall/Kauffman Center (Kansas City), Auditorio Parco della Musica (Rome), United Nations (New York), and Círculo de Bellas Artes (Madrid). As a soloist, she has performed with the Fourtissimo Percussion Ensemble, Orquesta Juvenil Universitaria Eduardo Mata, and Orquesta Sinfónica del Instituto Politécnico Nacional. Ortiz studied at UNAM under Gabriela Jiménez.
Peter Oundjian (conductor) , current music director of the Colorado Symphony and the Colorado Music Festival, held the same title from 2004 to 2018 at the Toronto Symphony Orchestra, where he earned a GRAMMY nomination and Juno Award. Additionally, Oundjian has held positions with the Royal Scottish National Orchestra, Detroit Symphony Orchestra, and Amsterdam Sinfonietta. In the 2024-25 season, he guests with the Sarasota, Rochester Philharmonic, and Atlanta Symphony Orchestras, as well as the Seattle Symphony. Visiting professor at Yale since 1981, he holds honorary doctorates from the San Francisco Conservatory and The Royal Conservatory in Toronto.
Evren Ozel (piano) is a recipient of a 2023 Avery Fisher Career Grant, 2022 Salon de Virtuosi Career Grant, and 2021 Victor Elmaleh Competition Ambassador prize. He is a 2024-27 Bowers Program Artist at the Chamber Music Society of Lincoln Center. Ozel has performed as a soloist with the Minnesota Orchestra, The Cleveland Orchestra, Jacksonville Symphony, and The Orchestra Now at Bard College. In March 2025, he released his debut album of Mozart Concertos with the ORF Radio Symphony Orchestra and Howard Griffiths on Alpha Classics. Ozel is a 2025 Bravo! Vail Piano Fellow.
Samir Pascual (percussion) is a member of the Sinfónica de Minería and was previously principal percussionist of the Puebla State Symphony (OSEP). A resident artist at the Paax and Urtext festivals, Pascual is also a member of the Lluvia de Palos Quartet, which specializes in contemporary music with pre-Hispanic instruments. In addition to having performed in festivals and concerts across Canada, the U.S., Mexico, Colombia, South America, Europe, and Russia, Pascual has taught and directed percussion ensembles in Mexico’s National System for Musical Promotion.
Rafael Payare (conductor) is music director of l’Orchestre symphonique de Montréal (OSM) and of the San Diego Symphony. Previous posts include principal conductor and music director of the Ulster Orchestra. Payare works with leading orchestras, including those in Chicago, Cleveland, London, Munich, Vienna, and Zurich. His 2024-25 season included a European tour with the OSM and returns to the New York Philharmonic, The Philadelphia Orchestra, and Royal Opera House, Covent Garden. A graduate of Venezuela’s celebrated El Sistema program, Payare works closely with the Royal College of Music. This is his Bravo! Vail debut.
Javier Pérez (percussion) is a member of the Sinfónica de Minería and principal timpanist of the UNAM Philharmonic Orchestra. He has performed with the Mexican National Symphony Orchestra, Mexico City Philharmonic, Queretaro Philharmonic, Oaxaca Symphony Orchestra, Autonomous University of the State of Hidalgo Symphony Orchestra, Eduardo Mata Youth Orchestra, and the Carlos Chavez Youth Orchestra. Pérez has toured internationally with the Mexican National Symphony Orchestra, UNAM Philharmonic Orchestra, and Sinfónica de Minería, in performances across Europe and the U.S.
Miah Persson (soprano) has performed leading roles at the Metropolitan Opera, Royal Opera House Covent Garden, Wiener Staatsoper, Teatro alla Scala, and Glyndebourne Festival. In the 2024-25 season, she performs Strauss’s Four Last Songs with the New York Philharmonic, Bergen Philharmonic, and Orchestra Sinfonica Siciliana; Der Rosenkavalier (Marschallin) with the Tokyo Symphony; and Mahler’s Fourth Symphony with the Aalborg Symphony and Second with the Boston Philharmonic. A frequent recitalist, she has appeared at Wigmore Hall, Wiener Konzerthaus, Concertgebouw, and Carnegie Hall. Persson was appointed Hovsångerska (court singer) by the King of Sweden in 2011.
Matthias Pintscher (conductor) is creative partner of the Cincinnati Symphony and newly appointed music director of the Kansas City Symphony. Previous positions include BBC Scottish Symphony Orchestra’s artist-in-association, music director for Ensemble Intercontemporain and the Ojai Festival, season creative chair with Zürich’s Tonhalle Orchestra, and artist-in-residence at the Los Angeles Chamber Orchestra. A prolific composer, he has served as composer-in-residence for the Elbphilharmonie Hamburg, Danish National Symphony Orchestra, and the Salzburg and Lucerne festivals. Highlights of his 2024-25 season include engagements with the New York Philharmonic, Royal Concertgebouw Orchestra, and Tokyo Symphony.
Blake Pouliot (violin) , 2020-21 artist-in-residence of the Orchestre Métropolitain, has performed with the orchestras of Aspen, Atlanta, Detroit, Dallas, Madison, Montreal, Toronto, San Francisco, and Seattle, among others. His 2024-25 season includes debuts with the Los Angeles Philharmonic, the San Diego, Houston, Grand Rapids, and San Antonio Symphonies, and the Rhode Island Philharmonic, as well as returns to Seattle Chamber Music Society and the Austin Chamber Music Festival. Pouliot’s debut album, featuring 20th-century French works, earned five stars from BBC Music Magazine and a 2019 Juno nomination for Best Classical Album.
Carlos Miguel Prieto (conductor) , GRAMMY Award winner and Musical America’s 2019 Conductor of the Year, is the artistic director of Sinfónica de Minería and music director of the North Carolina Symphony. An alum of both Princeton and Harvard, he has also served as music director of both the Orquesta Sinfónica Nacional de México and the Louisiana Philharmonic Orchestra. Recent engagements include the London Philharmonic Orchestra, Frankfurt Radio Symphony, Royal Liverpool and Strasbourg philharmonics, the BBC National Orchestra of Wales, and a BBC Proms debut with the National Youth Orchestra of Great Britain.
Oscar Rodriguez (guitar) has produced projects for artists including Jukebox the Ghost, Jon the Guilt, and Rikki Will, as well as music for the YouTube Audio Library, Facebook Sound Collection, Marmoset Music, and Premium Beat. He is a co-founder of Track Tribe, a music and media collective, and frequently collaborates with drummer and vocalist Zach Jones.
Santtu-Matias Rouvali (conductor) is in his eighth and final season as chief conductor of Gothenburg Symphony. He continues as a principal conductor of London’s Philharmonia Orchestra and an honorary conductor of the Tampere Philharmonic Orchestra in Finland. He made his first appearance at Bravo! Vail last summer with the New York Philharmonic and soloists Jean-Yves Thibaudet and Augustin Hadelich. With 18 albums in his discography, Rouvali is the winner of the Gramophone Editor’s Choice award and the prestigious French Diapason d’Or for his 2019 recording of Sibelius’ Symphony No. 1 and En saga
Pablo Sáinz-Villegas (guitar) , winner of the Andrés Segovia, Francisco Tárrega, and Christopher Parkening awards, has played with leading orchestras including the Berlin, Los Angeles, and New York philharmonics, San Francisco Symphony, and The Philadelphia, Israel Philharmonic, and Chicago Symphony Orchestras. A passionate proponent of classical guitar repertoire, he has premiered compositions by John Williams, Tomás Marco, Jesús Torres, María Dolores Malumbres, David del Puerto, and Sergio Assad, among others. He is currently the artistic director of La Rioja Festival, a project of his own conception that showcases his home region to the world.
Gil Shaham (violin) , born in Champaign-Urbana, Illinois and raised in Israel, won a 2022 GRAMMY award for Best Classical Instrumental Solo. He has appeared as a soloist with orchestras including the Berlin, Israel, Los Angeles, and New York philharmonics, and the Boston and Chicago symphonies. As a recording artist, he has more than two dozen concerto and solo CDs to his name, garnering a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. He has recently performed and recorded all of Bach’s sonatas and partitas for violin.
Gabryel Smith (speaker) has been the director of archives and exhibits at the New York Philharmonic since 2018. He has curated more than 30 exhibits for the orchestra at David Geffen Hall. With a master’s degree in archival training and history from New York University, he has written articles for Playbill Sony Masterworks, and the Society of American Archivists’ Performance! newsletter. Active as a violinist, Smith has served as a member of The Chelsea Symphony and concertmaster of the Riverside Orchestra and is a regular guest performer at the Cape Ann Chamber Music Series.
Colin Smith (vocals) has toured with The Who, Van Halen, Sheryl Crow, and Journey as a former member of the band MRNORTH. As a solo artist, his music has been featured in films and television. He has collaborated with Alicia Keys and performed multiple times on Saturday Night Live as a featured vocalist. Smith has toured with Christina Aguilera, providing background vocals and duetting on the GRAMMY-winning song, Say Something. He splits his time between New York and Los Angeles.
James Austin Smith (oboe) is co-principal oboe of Orpheus Chamber Orchestra and a member of the International Contemporary Ensemble. In addition to appearing at chamber music festivals worldwide, he is artistic and executive director of Tertulia Chamber Music Festival, artistic advisor to Coast Live Music, and teaches at Stony Brook University. A Fulbright Scholar and alumnus of both Carnegie Hall’s Ensemble Connect and the Bowers Program, he holds degrees in music and political science from Northwestern University and Yale University.
Yekwon Sunwoo (piano) , gold medalist of the 2017 Van Cliburn International Piano Competition, also holds first prizes from the 2014 Vendome Prize, 2013 Sendai International Music Competition, and the 2012 William Kapell International Piano Competition. He has performed with the Munich Philharmonic, and the Royal Danish, Baltimore Symphony, and Royal Scottish National Orchestras, among others. An avid chamber musician, he has collaborated with Clara-Jumi Kang, Gary Hoffman, Anne-Marie McDermott, and the Jerusalem Quartet. His 2024-25 season includes performances with the Ann Arbor Symphony, New York Classical Players, and the Armenian Symphony, as well as recitals at Carnegie Hall and Bechstein Hall.
Jeff Tyzik (conductor/composer/arranger) has been the principal pops conductor of the Dallas Symphony Orchestra for 13 seasons and has served in the same role with the Detroit Symphony, Florida Orchestra, Oregon Symphony, and the Rochester Philharmonic Orchestra. He has composed and produced music for major television networks and released six of his own albums, including the GRAMMY Award-winning The Tonight Show Band with Doc Severinsen, Vol. 1 A prolific composer and arranger, Tyzik has written over 400 works for orchestra, including original compositions, concertos, and symphonic arrangements performed by major orchestras worldwide.
Vail Veterans Program (narrator) fills an essential role in the annual Patriotic Concert. Since the inaugural performance of Gardens of Stone by James Beckel, a “wounded warrior” has performed the narration. All proceeds from the concert benefit Vail Veterans, which provides military injured and their families free therapeutic programs designed to build confidence and create life-long relationships in a healing mountain environment.
Verona Quartet (string quartet) comprises Jonathan Ong and Dorothy Ro, violins; Abigail Rojansky, viola; and Jonathan Dormand, cello. Its name is an homage to Shakespeare and honors the ensemble’s belief in the power of storytelling through music. Top prize winner at the Wigmore Hall, Melbourne, M-Prize, and Osaka International Chamber Music competitions, the Quartet debuts this season at the Grand Teton Music Festival, Eastman School of Music, Peabody Institute of Music, and Lebanon Valley College, and returns to The New School of Music’s Schneider Series.
Jason Vieaux (guitar) is a native of Buffalo. Winner of a GRAMMY Award for Best Instrumental Solo, he has performed in venues from Lincoln Center to Amsterdam’s Concertgebouw and the Seoul Arts Center. As a concerto soloist, he has appeared with The Cleveland Orchestra, and the Columbus, Houston, St. Louis and Toronto symphony orchestras. A proponent of new music, he has premiered works by Jeff Beal, Avner Dorman, and Vivian Fung, among others. He is co-founder of the guitar department at the Curtis Institute of Music and has been on faculty of the Cleveland Institute of Music for 25 years.
Alisa Weilerstein (cello) is a recipient of the 2011 MacArthur Fellowship. Her 2024-25 season included season-openings with the San Diego and Kansas City Symphonies; returns to the Berlin Philharmonic, Leipzig Gewandhaus, and Royal Concertgebouw Orchestras; and premieres of concertos by Thomas Larcher (New York Philharmonic), Richard Blackford (Czech Philharmonic), and Gabriela Ortiz (Los Angeles Philharmonic with Gustavo Dudamel). She is the creator of FRAGMENTS, a multi-season solo cello series juxtaposing Bach’s solo cello suites with 27 new commissions. Weilerstein lives with her husband, Venezuelan conductor Rafael Payare, and their two young children.
Charles Yang (violin) , recipient of the 2018 Leonard Bernstein Award, has performed at festivals including Aspen, Interlochen, Ravinia, and Schleswig-Holstein, and at venues such as Carnegie Hall, Vienna’s Musikverein, and Walt Disney Concert Hall. He is a member of Time for Three, a string trio which won the 2023 Best Classical Instrumental Solo GRAMMY Award for its album, Letters For The Future. A Juilliard graduate, he has collaborated with artists including Joshua Bell, Jon Batiste, Misty Copeland, and Savion Glover and performs on the 1852 “ex-Soil” J.B. Vuillaume.
The gifts listed within the Platinum, Diamond, and Emerald Circles represent charitable cash donations to Bravo! Vail for the 2025 season through May 15, 2025. The Board of Trustees expresses its sincere thanks to each supporter for making it possible for Bravo! Vail to achieve its mission.
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Cathy and Bill Bethke*
Heather and Kirk Blackmon
Sally Blackmun and Michael Elsberry*
Anne and John Blair*
The Bowers Foundation
Linda Stamper Boyne
Mr. and Mrs. Marion P. Brawley, III*
Gretchen Brigden and Christian Haeusermann*
Linda and Joe Broughton***
Mark Brown and Stephen Brint*
Patricia and Rex Brown**
Janie and Bill Burns**
Allie and Marc Camens
Ellie Caulkins**
Toko and Bill Chapin***
The Charitable Foundation of
Slifer Smith & Frampton****
Karen and Nate Cheney**
Cincinnati Insurance
Esther and Daniel Claassen
Coca-Cola Foundation*
Megan Frigon Cohen and Mike Cohen
Anne Collier and Tyler Ray
Colorado Gives Foundation**
Jean and Paul Corcoran
Dr. and Mrs. James P. Crane*
Creative West
Maureen Cross*
Silvia and Alan Danson**
Jill and Michael Dardick
Mercedes Dauphinais Mathison and William Mathison
Sallie Dean and Larry Roush******
Robin Deighan
Mary Beth and Neil Dermody*
Alitza and Dwight Devon*
Dr. Fred W. Distelhorst**
Mary and Rodgers Dockstader****
Barbara Earnest**
Jana Edwards and Rick Poppe**
Jane Eisner and Sam Levy
Cindy and Dr. Jeff Ernst
Angela and José Esteve
Joan and Joel Ettinger
Kathy and Bill Farley
Lisa and Buzzah Feingold
Diane and Larry Feldman**
Marisol and Frank Ferraiuoli**
Trish Fillo
Susan and William Fink
Michelle Fitzgerald and Jonathan Guyton*
Nancy and Clark Fitzmorris**
Jenny and John Fleming*
Jeanne Fritch and Ella Lyons*
Greer and Jack Gardner
Margie and Tom Gart**
Gail and Arnie Gelfand
Bonnie and Gary Goldberg
Goldman, Sachs & Co.
Meg and Tom Gorrie
Mari Jo and Gene Grace*
Vivien and Andrew Greenberg**
Julie Grimm and Rich Reeves**
Rhonda and Glen Gross
Jan and George Grubbs*
Dana Dennis Gumber*
Sherri Hahn and Joe Parelman
Patricia Hammon*
Colleen M. and David B. Hanson****
Dr. Oliver Harper
Rebecca Hernreich**
Amber and Pete Herron*
Debra Herz**
Maggie and John Hillman*
Pamela and Richard Hinds*
Kimberly and Dr. John Hoffman
Cathy and Graham Hollis***
Jennifer and Don Holzworth**
Peter Huddleston*
Alberta and Reese Johnson**
Barbara Keller
KH Webb Architects
Marilyn Rauland Kidder Foundation
Bonnie and Larry Kivel****
Drs. Georgeanna and Bill Klingensmith**
Rosalind A. Kochman******
Ms. Beth Ladin and Mr. Lance Goldberg
Debbie and Dr. Jeremy Lazarus
Jane and Tod Linstroth*
Francie and Gary Little
Ginnie Maes and the Kanter Kallman Foundation**
Wolfgang Mairhofer*
Evi and Evan Makovsky**
Cheryl and Richard Marks*
M. Elaine and Carl E. Martin****
Meg and Peter Mason**
Linda and Chris Mayer*
Marcia and Tom McCalden****
Kathy and Dick McCaskill, Jr.*
Linda McKinney**
Elizabeth Meyer***
Rebecca and Steven Meyer
Ellen Mitchell***
Bert Mobley
Jeanne and Dale Mosier**
Ms. Barbara Moskow and Mr. Lawrence M. Moskow*
Laurie and Tom Mullen*
Caitlin and Dan Murray**
Hazel and Matthew Murray**
Dr. Robert Nathan**
Weesie and Tradd Newton
Rosanne and Gary Oatey
Priscilla O’Neil******
Debbie and Bruce Payne
Margot Perot*
Pam and Ben Peternell
Ronnie Potter******
Sandy and Timothy Powell
Patti and Drew Rader****
Mary Reisher and Barry Berlin**
Etty and Alberto Rimoch*
Kathleen and William Roe*
Susan and Gary Rosenbach
Roy Estate Wines
Jo Dean and Juris Sarins*
Laura and Dr. Michael Schiff**
Robert Schilling
David Schlendorf*
Susan and Ambassador Alvin Schonfeld*
Carole Schragen******
Jane and Chuck Schultz*
Andy and Stuart Shatken*
Harriet and Bernard Shavitz**
Gail and Ronny Shoss*
Wendy and Larry Sibley
Helen Sims and Mathis Glenn Newkirk
Rice Slattery
Marty Sloven****
Susan and Bruce Smathers****
Gregory D. Smith
Jennifer Smith and Peter Ragauss
Mr. Yancy Spruill
Elissa Stein and Richard Replin*
Ms. Jill R. Stewart and Mr. Michael E. Huotari*
Phyllis and Steve Straub**
Dr. and Mrs. Barry Strauch****
Kaye Summers and Danny Carpenter
Meredith and Jason Tagler
Patti and Cliff Thompson
Mr. and Mrs. Hugh Thompson
Gail and Solly Toussier*
Sabrina and Robert Triplett**
Linda and Mark Truitt
Vail Edwards Rotary Club*
Lois and John Van Deusen****
Jillian Van Dresser Adcock and Herb Adcock
Barbara Wallace*
Katie and Mike Warren**
Weaver Foundation***
Lori Weiner and Lorne Polger**
Annette and Seth Werner*
Joan T. Whittenberg******
Rosalind and Dr. Larry Wolff**
Rosalie Wooten*****
Jim Wright
Mariette and Wayne Wright
Jane and David Yarian
Musette and William Young
Deborah and Stephen Yurco
Diane and Michael Ziering*
$500 AND ABOVE
Anonymous* (3)
Anonymous (14)
James C. Allen Charitable Foundation
Larry Allen
Mercedes and Alfonso Alvarez**
Ellen Arnovitz**
Karin and Ron Artinian
Tracy and Mike Autera
Avanti Food & Beverage
Linda and William Aylesworth
Sheri Ball**
B6 Fund at Rose Community Foundation*
Robert Barry
Francesca and Edward Beach
Susan J. Beasley*
Nancy and Joel Becker
Rosalind and Mervyn Benjet
Judy and Tom Biondini**
Pamela and Brooks Bock
Adriana and David Bombard
David J. Borns*
Carolyn Rose Borus*
Shirley and Jeff Bowen****
Vicki and Jack Box*
Mr. and Mrs. Caleb Burchenal*
Meaghan and Sean Burns
Helen Neuhoff Butler*
Kim L. and Dr. John J. Callaghan*
Dr. Anna Marie Campbell and Andrew McElhany*
Susana Canales
Connie and Miles Carson
Kay Chester****
Chevron
Jane and Jeff Chiappinelli
Deborah and Daniel Clarke
Jenny and Terry Cloudman*
Rhoda and Larry Coben
Jacqueline Cohen
Jo Ellen Cohen
Scott Conklin
John Connell and Eric Versch**
Alix and John Corboy
Kathi Cramer
Diana L. Crew
Anne and Richard Davidovich
Missy and Eduardo de Guardiola
Candace and Tad Decker
Suzanne DeFrancis and Phil Wakelyn
Londa and Walter Dewey
Fran and Don Diones**
Barbara and Andrew Dobrot
Sherry Dorward*
Robin Dow and Howard Siegel
Dr. and Mrs. Gary Drizin
Tamara and David Durstine
Ebert Appraisal Service*
Beverly and Mike Ellis
Pam and Ernie Elsner
Jackie Ernst and Matthew Echert
Marty and Tim Farrell
Julie and Barney Feinblum*
Mark Fenstermacher
Barbara and Larry Field******
Leslie Fielden and Jeff Seidel*
Regina and Kyle Fink****
Phyllis and Gary Finkelstein
John M. Forester**
Keree and Noel Frakes
Sheila and Robert Furr*
Linda Galvin******
Jane and Gerald Gamble
Dot and Luther Gause
Betty Ann and Robert Gaynor**
Patty and Terry Gibbs
Tonya Gilliam
Andrea and Michael Glass*
Tracy and Mark Gordon
Helene and Bernie Grablowsky
Sandy Gray
Alison and Michael Greene***
Dr. Mary E. Guy*
Cathy and Peter Halstead**
Jeri and Brian Hanly*
Nesa Hassanein
Elizabeth and Phil Hawkins
Anne and Mark Haynie
James P. Heaney
Mr. and Mrs. Mike Heim
Patricia Herrington*
Dr. Teresa and Stephen Higgins
Joel High*
Peter Hillback
Christie and Karl Hochtl
Jannah Hodges
Anne Hollingsworth
Gracie and Charles Hooper
Diana and Tim Horan
Joan Manley Houlton
Jill and Loyal Huddleston**
Marsha Hunter and Brian K. Johnson
IBM Corporation***
Jeanine and Marc Ingber
Julie and Steve Johannes
Donna and Ward Katz
Elizabeth S. Keay
Cecilia and John Keck
Cindy and John Kelleher
Karen and Patrick Kiernan
Julie and Mike Kirk*
Margaret and Frank Krasovec
Dr. and Mrs. Bob Landgren*****
Christine Lane
Lainey and Merv Lapin**
Dr. Nancy and Richard Lataitis*
Monique and Peter Lathrop****
Bettan Laughlin*
Harrel Lawrence and Jerry McMahan***
Carol L. Laycob*
Karen Lechner and Mark Murphy*
Sheila and Aaron Leibovic
Terry Ann and John Leopold
Sabria and Kevin Lewis
Linda Lieberman and Dr. Paul Monticciolo
Nancy and John Lindahl***
Eleanor and John Lock
Polly and John Loewy
Joanne and Douglas Mair*
Felice Mancini
Leslie and Jack Manes*
Karen and Mark Marder
Kerry and Leslie Maye
Judith McBride and Bruce Baumgartner**
Janet and John McDavid**
BJ and Bud Meadows**
Dr. Michael A. Mertens**
Susan Brown Milhoan
Barry Miller
Mindy and Rick Miller
Olivia and Rod Miller
Cecilia and Jesus Miranda
William Mohrman
Judy and Mark Mucasey
Drs. Colleen D. Murphy and Peter T. Kennealey
Judith and Barry Nelson
Ceci and Andres Nevares
Nancy Nottingham
Sharmon O’Brien and Don Mock
Tiffany and David Oestreicher**
James Stanley Ogsbury, III*
Dr. and Mrs. Ed Palmer**
Drs. Cecilia and Jairo Parada
Gina and Rick Patterson
Alice and John Norman Patton*
Glenna and Bruce Pember*
Monica and Mark Perin**
Martha and Kent Petrie****
Christy and Brad Pierce*
Cathy and Theodore Pomeroy
Mary Pownall*
Mary and Ron Pressman
Liz and Jim Pyke
Mandy and Adam Quinton
RA Nelson
Dan Rader
David Regele
Marilyn Rhodes
Susie Rhodes and James E. Jirak
Beverly and Timothy Roble
Rafael and Ximena Robles Echevarria
Joanne and Josh Rodden
Clark Rogers
Melissa and Jeris Romeo*
Susan and Jay Roth
Adrienne and Chris Rowberry
RK Rowland
Zoe and Ron Rozga
Gray and Mel Rueppel*
Drs. Marilyn and Robert Rymer
Nina Saks and Richard B. Robinson
Ms. Sandy Saul
Linda and Shaun Scanlon***
Arlene and Jack Schierholz
April and Jim Schink
Mary and Helmut Schneider
Jonathan Schwartz****
Sharon and Dr. Sam Schwartz
Connie and Ken Scutari*
Peggy and Jack Seiders
Jeffrey Selby
Sheila and Bernard Shair
Carol and Jon Shanser
Suzanne and Peter Shirley
Karen Shupe and Norman Bowles
Christina Simpson and David Lippman*
Shaunie Smathers
Carolyn D. Smith******
Mary C. and Ronald J. Snow
Colleen and John Sorte*
Karen and Martin Sosland
Ann Sperling
Hermann Staufer
Bea Taplin****
Jacqueline Taylor and Steven Sobol
Jane Thompson and Jack McNett
Town of Eagle
Robert Tregemba
Anne and BT Trumpower
Rosie and Bob Tutag
Eric A. Tyrrell
Dianna and Tom Unis
Kathy and Bob Valleau
Carol and Jason Vella
Pat and Tom Vernon*
Bonnie Vesey
Cheryl and Jeffrey Wall*
Jill and Bob Warner*
Deborah Webster and Stephen Blanchard*****
Jan Weiland and Alan Gregory**
Mark J. Wester
Clare Anne and Jonathan Whitfield*
LaDonna and Gary Wicklund*
Stacy and John Wilkirson*
Claudie and Scott Williams
Casey and Rainey Williams
Kendall and Rick Wilson
Janice and Dee Wisor*
Mrs. Kathleen and Dr. Marvin Zelkowitz*
Randy and Joan Zisler
$100 AND ABOVE
Anonymous* (5)
Anonymous (3)
Sandi and Larry Agneberg****
Pamela and Richard Alexander
Linda and Bruce Alper
Kim Anderson
Susan and Sandy Avner
Jennifer Bater
Emogene Bedrosian
Margo and Roger Behler
Barbara Behrendt
Kathryn Benysh**
Patty and David Bomboy*
Tom Brix*
Charlyn Canada****
Meg and Fred Carr
Sallie B. Clark
Sander Cohen Memorial Fund, NFFF
Mr. and Mrs. Les Cole*
Cathy Collins
Dr. and Mr. Timothy G. Cook
Dana Correia
D. C. and L. N. Cutler
Katrina Demma
Fara and Jason Denhart*
Dr. Sergio Diaz
Carol and Greg Dobbs
Deb and Drex Douglas*
Delight and John Eilering*****
Claire and R. Marshall Evans*****
Michael Evans and William Kohut
Carla and Mark Ewing
Fan Fox and Leslie R. Samuels Foundation
James E. Fell, Jr.**
Signe and Donald Ferguson
Brooke Ferris Vail Real Estate
Martha M. Ferry
Denise and Michael Finley****
Denise and Randy Ford
Victoria Frank*
Peter and Laura Frieder*****
Mandeep Garewal
Grace and Peter Gehret
Lonetia and Henry Gerken
Lynn and Jim Gilbert
Tamara Gillespie and Stephen Winter
Karen and Barry Goldberg
Carol and Marc Gordon
Mary Ann and Dirk Gralka*
Ian Grask
Kate and Paul Grask
Helen Gray
Dianne and Ed Green*
Esperanza and Mark Griffith
Susan and Ron Gruber****
Mario Guerrero
Bonnie and Dr. Robert Guss
Karen and James Haeffner
Jennifer Haggar
Jane E. Hall
Leslie and Andy Heins
Dwight Henninger**
Carolyn Holmgren
Nan and Charles Holt*
Sandy and Roger Howard
Randal Huebner
Karen Hurst and James Tuleya**
Dr. Susan Rae Jensen and Tom Adams Trainer*
Ms. Hongli Jiang
Susan and David Joffe**
Gerry Karkowsky*
Jerry Katz
Ann and Collier Kirkham*
Sarah and Steve Kumagai*
Debby and Alan Larson
Brooke H. Lee
Linda Lee
Laurie and Stuart Leitner
Pamela R.L. Lessing and Dr. Judith Landau
Rob LeVine*
John Lichtenegger
Mary Lynne and Herrick Lidstone*
Pamela Loughlin
Barbara and Ed Lukes*
Helen Lyon
Teresa Madigan and Michael Baskins*
Paulette Marcus
Chris Mayhew
Maureen Susan McCullough
Roger McGonegal
Sharon E. McKay-Jewett***
Nancy and Mike McKeever
Suzanne McKenna
Alan McLean
Pamla H. Moore*
Lois and Steve Nadler
Jean Naumann*
Sara Newsam***
Maria and Peter Nutson
Hope and Greg O’Quin
Susan Parker and Saul Hoffman*
Judy and Tom Pecsok
Drs. Diane Pincus and Tomas Berl*
Karen and Micky Poage
Grace Poganski
Jo and Jon Powers
Barbara Pringle
Amy and Salvatore Rabbio*
Dr. and Mrs. Kenneth B. Reynard*
John Riehle
Coleen and Klaus Roggenkamp*
Mary Jane and Warren Rothstein**
Lynn and Richard Russell**
Susan and John Ryzewic
Cheryl and Harvey Saipe
Robin and David Savitz
Gretchen Schaefer
Ricki and Steve Sherlin*
Pam and Win Sherman
Lisa Siegert-Free and Nate Free*
Ralph Silversmith
Eileen and Michael Sinneck*
Kelley and James Smith*
Kathy and Kevin Smith
Carol and Roger Sperry*
Wendy St Charles
Michael N. Stavy
Dorothy Stein*
Drs. Arlene and Bob Stein
Drs. Michella and Michael Stiles*
Joan Tilden
Margot and Ned Timbel*
Susan and Bill Tracy*
Carroll S. Tyler
Sam and Bob Tyler
Lucile Uhlig
Carole and Dr. Milan Uremovich
Linda and William Vigor
Christine and Loren Vogenthaler
Mrs. Ann Walker
Andria B. and John Welch
Sheila Whitman****
Donna Whittington
Vali and Willy Wilcox*
Francoise Williams
Judy and Bob Wilner*
Linda and Jim Wilson
Valinda and Steve Yarberry
IN HONOR OF
Bravo! Vail Staff
Karen and Patrick Kiernan
Flores Family
Robert C. Schilling
Christy and Mark Gehlbach
Lisa Tilley Anderson
Sue and Dan Godec
Jean and Paul Corcoran
Ian Grask
Grace Anshutz
Kate and Paul Grask
Shelly and Chris Jarnot
Joanne and Douglas Mair
Han Mu Kang
Ellen and Bruce Winston
Bob Knous
Caroline Fisher
Alan Kosloff
Goldman, Sachs & Co.
Peter Pace and Team
Marion and Don Laughlin
Greer and Jack Gardner
Hank Mader
Robert C. Schilling
Anne-Marie McDermott
Julie and Steve Johannes
Shirley and William S. McIntyre, IV
Fanchon and Howard Hallam
Miss Puppy
Clark Rogers
Carole and Peter Segal
Shelby and Frederick Gans
Jean and Phil Smith
Kathy and Kevin Smith
Nancy Stevens and Colleagues
Harriet and Bernard Shavitz
Sandy Volk
Lois and Steve Nadler
Betsy Wiegers
Cathy Stone
The George A. Wiegers Trust
Young and Inspiring Musicians
Karen and Patrick Kiernan
IN MEMORY OF
Joe Bankoff
Bravo! Vail Board of Trustees and Advisory Council
Caitlin and Dan Murray
Janet Beals and David Nelson
Bravo! Vail Board of Trustees and Advisory Council
Bravo! Vail Guild
Fara and Jason Denhart
Maureen Susan McCullough
Caitlin and Dan Murray
Hannah Ploughman
Virginia J. Browning
Bravo! Vail Board of Trustees and Advisory Council
Doe Browning and Jack Hunn
Gina Browning and Joe Illick
Fara and Jason Denhart
Caitlin and Dan Murray
Bugsi
The Bravo! Vail Staff
Olga Casiano
Caitlin and Dan Murray
Sander Benjamin Cohen
Sander Cohen Memorial Fund, NFFF
Steve Cramer
Kathi Cramer
John Dobbs
Susan Dobbs
Helen and Robert Fritch
Jeanne Fritch and Ella Lyons
John Galvin
Linda Galvin
My Grandparents
Jenny Shiao
Pepi Gramshammer
Sheika Gramshammer
Bob Green
Wendy and Larry Sibley
Lawrence Herrington
Patricia Herrington
Kathy Huddleston
Peter Huddleston
Anthony S. Krausen
Allison Krausen and Kyle Webb
Myrna Lieberman
Linda Lieberman and Dr. Paul Monticciolo
John Maier
Vail Health Volunteer Corps
Ginny Mancini
Felice Mancini
Yvonne Marie Mayer
James P. Heaney
Gene Mercy
Bravo! Vail Board of Trustees and Advisory Council
Fara and Jason Denhart
Judy and Alan Kosloff
Caitlin and Dan Murray
Luc Meyer
Joan Francis
Caitlin and Dan Murray
Leslie Nathan
Dr. Robert Nathan
Harold Novikoff
Amy P. Novikoff
Jane and Howard Parker
Francie and Gary Little
David Scherpf
Marla and Barry Shainman
Rae Silberman
Gail and Ronny Shoss
Joan Stamper
Linda Stamper Boyne
Stanley I. Stein
Mrs. Dorothy Stein
Howard Stone
Cathy Stone
Don Sturm
Bravo! Vail Board of Trustees and Advisory Council
Fara and Jason Denhart
Caitlin and Dan Murray
The Sturm Family
Mike Toia
Bravo! Vail Board of Trustees and Advisory Council
The Bravo! Vail Staff
Arthur T. Tyrrell
Eric A. Tyrrell
Bill Van Luven
Anne and James von der Heydt
Linda Vigor
William Vigor
Larry Weiss
The Weiss Family
George Wiegers
Bravo! Vail Board of Trustees and Advisory Council
Caitlin and Dan Murray
Marion Woodward
Caitlin and Dan Murray
Glen Yarberry
Valinda and Steve Yarberry
Orchestral underwriting is designated to a specific orchestra and applied directly towards residency expenses. Bravo! Vail expresses deep gratitude to the friends of each of its orchestras.
$250,000 AND ABOVE
The Berry Charitable Foundation**
$20,000 AND ABOVE
Marijke and Lodewijk de Vink****
Cathy Stone******
$10,000 AND ABOVE
Dr. Kim Schilling
Jann and John Wilcox
Nancy and Harold Zirkin*
$5,000 AND ABOVE
Doe Browning and Jack Hunn, in memory of Virginia J. Browning***
Carole C. and CDR. John M. Fleming*
Shelby and Frederick Gans*
Susan and Albert Weihl***
Tom Woodell**
$1,500 AND ABOVE
Amy and Steve Coyer****
Alberta and Reese Johnson**
$50,000 AND ABOVE
The Berry Charitable Foundation**
Blanca and Antonio del Valle*
Mercedes and Elmer Franco*
Mr. Claudio X. Gonzalez*****
The Mariscal Family
The Rojas Family*
$20,000 AND ABOVE
Edgar Legaspi
Cathy Stone******
Town of Avon
$50,000 AND ABOVE
Shirley and William S. McIntyre, IV****
$30,000 AND ABOVE
Linda and Mitch Hart**
Billie and Ross McKnight**
Marcy and Stephen Sands***
$20,000 AND ABOVE
Marilyn Augur*****
John Dayton****
Fanchon and Howard Hallam**
Lyda Hill****
Alexia and Jerry Jurschak**
Jan and Lee Leaman***
Marilyn Lenox
Bobbi and Richard Massman****
Chuck and Margie Steinmetz*****
Cathy Stone******
$10,000 AND ABOVE
Suzanne Caruso and Stephen Saldanha and the Saldanha Family Foundation
Carole C. and CDR. John M. Fleming*
Brenda and Joe McHugh*****
Patricia and Brian Ratner
Donna and Randy Smith*
Marcy and Gerry Spector****
Carole A. Watters****
Nancy and Harold Zirkin*
$5,000 AND ABOVE
Edwina P. Carrington****
Meg and Jamie Duke*
Diane Folsom Frank*
Jane and Stephen Friedman*
Neal Groff******
Kim and Greg Hext
Karen and Steve Livingston*****
Patty and Denny Pearce***
Vicki Rippeto
Debbie Scripps***
Sherry Sunderman and Tom Mueller
Gena Whitten and Bob Wilhelm**
Kathy and William Wiener
Carolyn Wittenbraker and Arkay Foundation**
Tom Woodell**
Kathy and Dick McCaskill, Jr.*
Debbie and Fred Tresca**
$500 AND ABOVE
Jeri and Brian Hanly*
$100 AND ABOVE
Denise and Michael Finley****
Linda Lee
$500 AND ABOVE
Anonymous
James Stanley Ogsbury, III*
$1,500 AND ABOVE
Connie and Larry Abston
Jan and George Grubbs*
Francie and Gary Little
Dr. Robert Nathan*
Margot Perot*
Jane and Chuck Schultz*
Susan and Bruce Smathers****
Weaver Foundation***
$500 AND ABOVE
Anonymous*
Anonymous
Helen Neuhoff Butler*
Beverly and Mike Ellis
Anne and Mark Haynie
Cecilia and John Keck
Karen and Martin Sosland
Dianna and Tom Unis
Carol and Jason Vella
$100 AND ABOVE
Mary Ann and Dirk Gralka*
$50,000 AND ABOVE
Anonymous***
$20,000 AND ABOVE
John Dayton****
Anne and Hank Gutman**
Pam and Don Hutchings
Cathy Stone******
$10,000 AND ABOVE
Carole C. and CDR. John M. Fleming*
Donna and Patrick Martin**
Laura and Jim Marx****
Marge and Phil Odeen**
Teri Perry*****
Linda Farber Post and Kalmon D. Post****
Susan and Richard Rogel******
Carole and Peter Segal****
Nancy and Harold Zirkin*
$5,000 AND ABOVE
Anonymous***
Shannon and Todger Anderson**
Dierdre and Ronnie Baker****
Sunny and Phil Brodsky***
Doe Browning and Jack Hunn, in memory of Virginia J. Browning***
Susan and Van Campbell
Suzanne Caruso and Stephen Saldanha and the Saldanha Family Foundation
Dr. David Cohen*
Lynn and Dr. Andrew B. Kaufman***
Michele and Jeffrey Resnick***
Sally and Byron Rose***
Ernest Scheller, Jr.****
Elaine and Steven Schwartzreich*
Susan and Steve Suggs***
Tom Woodell**
Kathy and Jonathan Zeschin
$1,500 AND ABOVE
Mark Brown and Stephen Brint*
Barbara Earnest**
Cathy and Graham Hollis***
$50,000 AND ABOVE
Marijke and Lodewijk de Vink****
Georgia and Don Gogel***
Lyn Goldstein******
Mr. Claudio X. Gonzalez*****
Linda and Mitch Hart**
Leni and Peter May******
Amy and James Regan******
June and Paul Rossetti**
$30,000 AND ABOVE
Anonymous
Kjestine and Peter Bijur
Susan and Jeff Campbell
Sara Friedle and Michael Towler
Vera and John Hathaway***
Barbie and Tony Mayer******
Billie and Ross McKnight**
Ann and Alan Mintz*****
Mr. and Mrs. William I. Morton******
Carol and Pat Welsh*****
$20,000 AND ABOVE
Jayne and Paul Becker******
Jean and Harry Burn**
Amy and Steve Coyer****
Nancy and Andy Cruce*****
Julie and Tim Dalton****
Karen and Jay Johnson***
June and Peter Kalkus******
Mr. and Mrs. Arthur Kelton, Jr.******
Judy and Alan Kosloff*****
Ferrell and Chi McClean***
Margaret and Alex Palmer***
Carolyn and Steve Pope****
Terie and Gary Roubos*****
Didi and Oscar Schafer****
Cathy Stone******
Barbara and Carter Strauss**
Lisa Tannebaum and Don Brownstein**
Dhuanne and Douglas Tansill*****
Anne and Chris Wiedenmayer**
Nancy and Harold Zirkin*
$10,000 AND ABOVE
Anonymous**
Peter Huddleston*
Bert Mobley
Gail and Solly Toussier*
$500 AND ABOVE
Dr. and Mrs. Gary Drizin
Phyllis and Gary Finkelstein
Jane and Gerald Gamble
Patricia Herrington*
Marsha Hunter and Brian K. Johnson
Christine Lane
Dan Rader
Rafael and Ximena Robles Echevarria
Sheila and Bernard Shair
Hermann Staufer
Pat and Tom Vernon*
$100 AND ABOVE Anonymous
Carla and Mark Ewing
Dr. and Mrs. Kenneth B. Reynard*
Susan and Bill Tracy*
Doe Browning and Jack Hunn, in memory of Virginia J. Browning***
Suzanne Caruso and Stephen Saldanha and the Saldanha Family Foundation
Ron Davis**
Susan Dobbs
Kathleen and Jack Eck****
Liz and Tommy Farnsworth*****
Carole C. and CDR. John M. Fleming*
Bill Frick*****
Martha Head******
Cynnie and Peter Kellogg*****
Dr. and Mrs. Fred and Ivy Kushner***
Donna and Patrick Martin**
Mimi and Ray Oglethorpe*
Linda Farber Post and Kalmon D. Post****
Ann and Tom Rader*
Jane and Dan Roberts**
Eva Schoonmaker
Carole and Peter Segal****
Sue and Marty Solomon and P&S Equities, Inc.****
Marcy and Gerry Spector****
Sara and Mike Whiting
Bravo! Vail is proud to offer dozens of free and low-cost concerts and tevents to the community each summer and throughout the year. We thank all those whose support makes these events possible.
$100,000 AND ABOVE
Discover Vail*******
Kathy and David Ferguson and The Ferguson Music Makers Haciendo Música Fund**
Carole A. Watters****
$50,000 AND ABOVE
Jane and Gary Bomba and the Bomba Internship Program
Ferrell and Chi McClean and the McClean Family Music Teachers Fund***
$30,000 AND ABOVE
Cookie and Jim Flaum and the Flaum Music Education Fund****
$20,000 AND ABOVE
Anonymous**
Bravo! Vail Guild*******
Marijke and Lodewijk de Vink****
Sandi and Leo Dunn****
Han Mu Kang and the June S. Kang Scholarship Fund
Anne-Marie and John Keane and the Keane Music Education Fund
Cathy Stone******
$10,000 AND ABOVE
Edwina P. Carrington and Carrington Classical Guitar Fund****
Carol and Harry Cebron**
Katherine Clayborne and Tom Shoup*
Kathy Cole***
Ron Davis**
Eagle County Lodging Tax Marketing Committee
Julie and Bill Esrey******
Diane and Lou Loosbrock*
Barbie and Tony Mayer******
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The Bravo! Vail Endowment Fund ensures the Festival’s long-term financial security and the continuance of the highest quality of music for generations to come. These endowed funds are professionally managed with oversight by the Bravo! Vail Investment Committee and are held in support of the Festival’s mission. The Festival expresses its deep gratitude to all who have made gifts to the endowment.
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Since our inception, Bravo! Vail has established its place as one of the best classical music festivals in the world thanks to generous support from the community. Bravo! Vail gratefully acknowledges these long-time supporters and established funds which allow the Festival to ensure the fulfillment of its mission.
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Bravo! Vail fully embraces our mission through our year-round Education & Engagement Programs. Bravo! Vail is grateful for the many donors who have created restricted funds to support various aspects of the Festival’s Education & Engagement Programs.
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Bravo! Vail is committed to presenting the greatest musicians and finest orchestras and has established the Artistic Excellence Fund to uphold that legacy. Bravo! Vail expresses its gratitude to all who have made gifts to the Artistic Excellence Fund, allowing the Festival to dream farther into the future.
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Bravo! Vail expresses its sincere thanks to all who have made gifts to the New Works Fund and to supporters for the 2025 Festival commissions: Anonymous, Tracy and Mark Gordon, Sara Friedle and Michael Towler, and Laurie and Tom Mullen. This fund serves two purposes: to underwrite future premieres of new music and to present music that may be unfamiliar to Vail audiences.
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Bravo! Vail is indebted to Discover Vail, the Vail Town Council, Vail Local Marketing District, and the Festival’s many corporate, government, and community partners for their financial support.
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In 2021, Bravo! Vail deepened our commitment to supporting living composers and their work by launching the Symphonic Commissioning Project. The new works will be written for, and performed by our resident orchestras. All performances are meant to be attended by the composers who, along with musicologists and other speakers, will present educational programs for audiences of all ages throughout the community.
In 2025, Bravo! Vail presents co-commissions and Colorado premieres of works by three female composers: Jessie Montgomery, Gabriela Lena Frank, and Sophia Jani.
JULY 1
The Dallas Symphony Orchestra presents the co-commissioned work I Wish You Daisies and Roses by Sophia Jani.
JULY 6
The Philadelphia Orchestra presents the Colorado premiere of Gabriela Lena Frank’s evocative Picaflor: A Future Myth, a cocommission with the orchestra.
JULY 16
The New York Philharmonic performs CHEMILUMINESCENCE by Jessie Montgomery, a co-commission with the New York Philharmonic and the SPHINX Organization.
PREVIOUS SYMPHONIC COMMISSIONING PROJECT WORKS
2022
■ Samaa’ for solo piano, gongs, and strings by Chris Rogerson*
■ Profiles by Carlos Simon* 2023
■ Angélica Negrón’s Arquitecta
■ This Moment by Anna Clyne*
■ The Mother is Standing by Nina Shekhar*
2024
■ Lift Off by Jeff Tyzik
■ ATLAS by Anna Clyne
■ music for young water that danced beneath my feet by Katherine Balch*
■ To See the Sky by Joel Thompson
*Indicates world premiere at Bravo! Vail
Program Notes ©2025 James M. Keller
June 24, Continued From Page 59
that undergo extensive development. The slow movement is as serene and tender as the opening movement is anxious. After this the Scherzo bursts forth with pent-up energy, its cantabile Trio section providing a moment of relaxation. The Finale balances the first movement in its vast scope. It opens with a brooding introduction but soon gives way to an ebullient tune with Romany overtones. It builds until, nearly exhausted, it reaches a coda— marked Presto, non troppo—that seems more a dance of death than a victory.
July 16, Continued From Page 135
and double basses underpinning the orchestra’s taut phrases—a texture that seizes the listener’s attention and remains engraved in the memory.
Brahms’s First is a big, brawny symphony. Even the warmth of the second movement and the geniality of the third are interrupted by passages of anxiety, and the outer movements are designed to impress rather than to charm. The symphony’s “purpose” is essentially articulated in those outer movements; against these, the second and third movements stand as a twopart intermezzo, throwing the weighty proceedings that surround them into higher relief.
July 19, Continued From Page 143
mosso movement is a placid interlude marked by numerous melodies set to a similar rhythm. All manner of brilliant writing fills the finale, such that by the time this remarkable work reaches its conclusion in six widely separated and powerful chords—please don’t clap till they’re over!—we can only agree with the composer’s description of it as “triumphal.”
July 20, Continued From Page 145
carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairytale wonders and … composed on the basis of themes common to all the four movements. … The unifying thread consisted of the brief introductions to the first, second, and fourth movements and the intermezzo in movement three, written for violin solo and delineating Scheherazade herself as she tells her wondrous tales to the stern Sultan.”
July 22, Continued From Page 151
slowly out of nothingness; an ardent theme for strings that all but quotes the “Flower Song” from Bizet’s Carmen; allusions to Russian liturgical chant; a waltz in off-kilter 5/4 meter; a sinister march in a finale that finally fades away into nothingness. The audience at the premiere didn’t know what to make of it. Tchaikovsky died nine days after the Pathétique’s premiere, apparently the victim of cholera. Three weeks later, his final symphony received its second performance. “This time,” RimskyKorsakov wrote, “the public greeted it rapturously, and since that moment the fame of the symphony has kept growing and growing, spreading gradually over Russia and Europe.”
July 30, Continued From Page 167
relatively short-lived, calling it quits in 1970. Things were already fraying when they recorded Let It Be, and the material was released, as an LP album and a documentary film, a month after the group’s break-up. “In our arrangement,” say Anderson & Roe, “we take on the roles of dueling gospel pianists (to the max!), while also underscoring the redemptive uplift of the song’s message—and the power of music to illuminate the darkness.”
July 31, Continued From Page 169
Kerr, critic of the Herald Tribune, in his review of the show’s Broadway opening in September 1957. The musical retelling of Shakespeare’s Romeo and Juliet set amid the tensions of rival social groups in modern New York City earned a place at the core of Americans’ common culture, especially after it was released in 1961 as a feature film with spectacularly choreographed gang warfare. In Anderson & Roe’s Suite, music from the slow movement of Beethoven’s Emperor Concerto is woven with Bernstein’s hopeful song “Somewhere” before the piece leaps into the brassy dance number “America.”
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Support Bravo! Vail’s mission to make music accessible to all by underwriting the year-round music education and enrichment programs for people of all ages in our community.
New Works Project
Designate your support to the New Works Project and help Bravo! Vail premiere brand-new music during the Festival through the Symphonic Commissioning Project. This also allows us to present the incredible wealth of music written by other living composers.
Tribute and Memorial Gifts
Give a meaningful gift to honor a music lover or the memory of a loved one.
“We give to Bravo! Vail to ensure our granddaughter will have the same opportunity to experience incredible music in this beautiful place we call home.”
— Judy, a Bravo! Vail donor
Give directly to the Festival via check, credit card, or cash.
GIFTS OF STOCK
Donating stock and securities can maximize your tax benefits.
If you are aged 73 or older, you can donate directly to Bravo! Vail from your IRA and receive tax benefits.
DONATE A VEHICLE
Instead of selling, trading, or storing your old vehicle, donate it to Bravo! Vail and receive a tax deduction.
Donations of products, housing, rehearsal space, goods, and services are an impactful way to support Bravo! Vail.
DONATE AN AUCTION ITEM
Donate use of your home, an experience, or an item we can put into the annual Online Auction.
Support Bravo! Vail by participating in the annual Online Auction each summer.
CORPORATE PARTNERSHIP
Position your business as a supporter of the arts. Enjoy sponsor recognition and the benefits associated with your giving level.
When you include a bequest to the Festival in your estate plans, you make an investment in Bravo! Vail’s future.
Do you own a house, condo, or private guest apartment that is available for any length of time during the Festival? Become a Housing Host for a Festival musician or seasonal Bravo! Vail employee, receive donor benefits, and make an impact!
For more information, contact Director of Artistic Operations Elli Monroe at emonroe@BravoVail.org.
PRIMA RESIDENCE #1 | VAIL VILLAGE
4 bd | 6 ba | 4,865 sf | $25,000,000
Patrice Ringler | 970.376.7986 | pringler@slifer.net
Tina Vardaman | 970.390.7286 | tvardaman@slifer.net
SNOW CLOUD PENTHOUSE 711 | BACHELOR GULCH
4 bd + loft | 4.5 ba | 2,713 sf | $6,850,000
Catherine Jones Coburn | 970.390.1706 | cjones@slifer.net VisitBachelorGulch.com
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2584 DAYBREAK RIDGE | BACHELOR GULCH
7 bd | 12 ba | 10,526 sf | $23,500,000
Heather Beckett | 970.376.3224 | hbeckett@slifer.net
141 CORRAL ROAD A | SINGLETREE
6 bd | 6.5 ba | 6,103 sf | $3,750,000 Steve & Hillary McSpadden | 970.390.7632 | Sasha Windisch | 970.476.2387 mcspadden@slifer.net | OwnVail.com
RIVERWALK RUBY CONDO 201 | EDWARDS
2 bd | 2 ba | 1,665 sf | $2,250,000
Carling Bennett & Jay Peterson | 970.333.3398 | livinvail@slifer.net LivinVail.com
Slifer Smith & Frampton is proud to lead the way in Vail Valley real estate, and support the communities & culture that define this incredible place we call home. View Vail Valley properties at, VailRealEstate.com