Bravo! Vail Music Festival 2023 Program Book

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WELCOME TO SEASON NO 36

We are so happy to have you with us for Bravo! Vail’s 36th season, featuring more than 60 live music performances and artists together with the backdrop of the magnificent Rocky Mountains. We have an incredible season of music planned for you, full of inspiring and profound performances.

We are thrilled to welcome our internationally acclaimed resident orchestras—the New York Philharmonic, The Philadelphia Orchestra, the Dallas Symphony Orchestra, and Academy of St Martin in the Fields—with 20 uplifting programs led by seven prominent conductors, including Jaap van Zweden, Yannick Nézet-Séguin, and Fabio Luisi.

Bravo! Vail began with chamber music, and we continue to celebrate this intimate art form. Our renowned Chamber Music Series celebrates the genre’s iconic works with recitals by Dover Quartet and pianists Anne-Marie McDermott and Jean-Efflam Bavouzet together, as well as the Dalí Quartet and the performance of a film score composed for Buster Keaton’s silent film Seven Chances Immersive Experiences dives into all nine of the Prokofiev Piano Sonatas, with the pianists themselves serving as your guides. Bravo! Vail’s popular Classically Uncorked returns with three bold chamber music programs featuring Sandbox Percussion presenting the Grammy-nominated work by Andy Akiho’s Seven Pillars

This season, we enthusiastically invite our community to more than 30 free concerts and programs, including our Community Concerts, Little Listeners @ the Library, Family Concert, and Inside the Music. Discover the connection between nature and music with our Prokofiev Nature Hikes in July. We are ecstatic to bring live music to all of the Vail Valley, from Vail to Gypsum.

Among many season highlights, Bravo! Vail presents the second year of our Symphonic Commissioning Project with two world premieres of works by Anna Clyne and Nina Shekhar and the Colorado premiere of a work by Angélica Negrón. We are also presenting works from 16 living composers alongside the standard masterpieces you know and love.

We extend our deepest gratitude to our musicians, community leaders, music teachers, donors, sponsors, volunteers, and music lovers who contribute to Bravo! Vail’s impact every year. We hope experiencing the incredible music this season brings you joy, and we look forward to seeing you throughout the valley. Thank you for being a part of something extraordinary.

CAITLIN MURRAY Executive Director

ANNE- MARIE M c DERMOTT Artistic Director

HANK GUTMAN Board Chair

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ARTIST IN RESIDENCY

View Broel’s sculptures in the courtyard at the Amphitheater.

Participate in residency programs, workshops and the community art project this July.

To learn more about the upcoming art studio and how to support Art in Public Places, visit:

BOARD OF TRUSTEES

Hank Gutman, Chair

Diane Loosbrock, Vice Chair

Paul Rossetti, Treasurer

Byron Rose, Secretary

Charlie Allen

Ronnie Baker

Paul Becker

Sarah Benjes

Barry Beracha

Bill Burns

Carol Cebron

Marijke de Vink

Julie Esrey

Cookie Flaum

Dan Godec

Mark Gordon

Linda Hart

Fred Hessler

Ann Hicks

Peter Kitchak

Alan Kosloff

ADVISORY COUNCIL

Marilyn Augur

Joe Bankoff

Kathleen Brendza

Gina Browning

Nick Budor

Edwina Carrington

Tim Dalton

John Dayton

Leo Dunn

Kathleen Eck

Michael Elsberry

Kabe ErkenBrack

Carole Feistmann

Harry Frampton

Joan Francis

Michael Glass

Kim Hackett

Martha Head

Becky Hernreich

Bratzo Horruitiner

Fred Kushner

Honey Kurtz

Robert LeVine

Brett Logan

Vicki Logan

Laura Marx

FROM THE FOUNDER

John Magee

Sarah Millett

Laurie Mullen

Brian Nestor

Steve Pope

Kalmon Post

Drew Rader

Tom Rader

Michele Resnick

Jeris Romeo

Carole Segal

Beth Slifer

Randy Smith

Margery Pabst Steinmetz

Cathy Stone

Doug Tansill

Fred Tresca

Greg Walton

Michael Warren

Tony Mayer

Shirley McIntyre

Kate Mitchell

Matt Morgan

Bill Morton

Brad Quayle

Michael Reyes

Terie Roubos

Adrienne Rowberry

Chris Rowberry

Mike Rushmore

Lisa Schanzer

Pete Siebert

Chris Silversmith

Rod Slifer

Marcy Spector

Tye Stockton

Susan Suggs

Lisa Tannebaum

Carole Watters

Kyle Webb

Jim Willeford

Steve Yarberry

Aneta Youngblood

Thank you for attending the Bravo! Vail Music Festival, now celebrating its 36th Season of elevating classical music to a new level of excellence. From its very humble beginnings of a few concerts to its current status as one the world’s finest and friendliest summer music festivals, Bravo! Vail sends its most heartfelt thanks to all of you—concert goers, donors, musicians—and the staff who are serving the Vail Valley community through the presentation of more than 60 live concerts, including orchestral and chamber performances and the community programs offered throughout the Valley.

Enjoy the new, fantastic season of 2023 and thank you!

John W. Giovando FOUNDER & EXECUTIVE DIRECTOR EMERITUS

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BRAVO! VAIL 2023 SEASON

June 22–August 3

COLOR KEY

Orchestral Series

Chamber Music Series

Classically Uncorked

Community Events

Linda & Mitch Hart Soirée

LOCATION KEY

APL: Avon Public Library

BCP: Brush Creek Pavilion

DP: Donovan Pavilion

EFH: Edwards Field House

EIC: Edwards Interfaith Chapel

EPL: Eagle Public Library

GTH: Gypsum Town Hall

GPL: Gypsum Public Library

GRFA: Gerald R. Ford

Amphitheater

MLBP: Minturn Little Beach Park

SFN: Stratton Flats

Neighborhood

VFM: Vail Farmers’ Market

VIC: Vail Interfaith Chapel

VNC: Vail Nature Center

VPL: Vail Public Library

VPAC: Vilar Performing Arts Center

Classically Uncorked

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

Soirée 6:00PM | de Vink Residence Community Concert 1:00 PM | VIC Little Listeners 2:30PM | VPL Soirée

Academy of St Martin in the Fields

BUILT

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DID YOU KNOW?

BRAVO! VAIL’S ANNUAL IMPACT

WHO IS COMING TO BRAVO! VAIL?

52,200

Bravo! Vail Music Festival's impact reaches far and wide throughout Colorado and beyond. View a snapshot of the Bravo! Vail audience makeup from the 2022 season on these pages.

Geographic Representation

COLORADO: 51%

TEXAS: 11%

FLORIDA: 8%

PENNSYLVANIA: 3%

NEW YORK: 2%

MEXICO: 1%

OTHER: 24%

Visitor

BRAVO! VAIL’S ECONOMIC IMPACT

Annual economic impact by concert-goers and orchestra members

$29.2M OVERALL/EAGLE COUNTY TOWN OF VAIL

Local spending by concert-goers, Bravo! Vail guest artists, and musicians

DIGITAL MEDIA STATS

8,400+ Facebook followers

Total reach of over 577,852 during the festival – over 96,000 average impressions per week

3,700+ Instagram followers

Specially curated content for Instagram includes stories, mini features, and more

858,456+ YouTube views throughout the season

2,300+ hours spent watching Bravo! Vail videos over the course of the season between YouTube and Facebook

Learn more about how you can increase Bravo! Vail Music Festival's positive impact on page 180.

CREATING MEANINGFUL CONNECTIONS TO MUSIC

EDUCATION & ENGAGEMENT

INSPIRING MUSICAL CURIOSITY ALL YEAR LONG

Sharing the joy and power of music is at the heart of Bravo! Vail’s mission. These programs, along with collaborative partnerships with community-serving organizations, ensure that great music and opportunities for lifelong learning are available to diverse audiences of all ages and abilities.

INSTRUCTION

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

As a complement to after-school programming, the Summer Intensive offers both beginner and advanced string and piano students the opportunity to continue their education during the summer.

Young Musicians Day brings together students from Bravo!

Vail’s Music Makers Haciendo Música , Denver Young Artist Orchestra, Roaring Fork Youth Orchestra, and Boulder Children’s Chorale to learn and perform challenging repertoire and create meaningful connections together.

ACCESS & ENRICHMENT

Community Concerts

Hour-long chamber music concerts and solo recitals in relaxed, accessible settings.

Little Listeners @ the Library

30-minute programs that introduce music and instruments in an approachable, easy-tounderstand way, featuring ageappropriate activities developed in coordination with local libraries.

Family Concert

Fun for music lovers of all ages, and the perfect way to introduce children to the joy of music at the amphitheater in Little Beach Park in Minturn.

Inside the Music

Intriguing knowledge is shared, and unique perspectives abound at these in-depth discussions, presentations, artist talks, nature walks, and master classes.

Community Collaborations

Through partnerships with Vail Health, Vail Symposium, Roundup River Ranch, Walking Mountains Science Center, and Castle Peak Senior Care, Bravo! Vail uses the arts to strengthen community, enhance understanding, and make music accessible to audiences outside the concert hall.

PROFESSIONAL DEVELOPMENT

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

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

MAESTRO ($100,000+)

Town of Vail

Carole A. Watters

FIRST CHAIR ($50,000+)

Jane and Gary Bomba and The Bomba Internship Program

Kathy and David Ferguson and The Ferguson Music Makers

Haciendo Música Fund

Ferrell and Chi McClean and The McClean Family Music Teachers Fund

ENSEMBLE ($30,000+)

Anonymous

Dierdre and Ronnie Baker

Bravo! Vail Guild

Virginia J. Browning

Cathy Stone

VIRTUOSO ($20,000+)

Marijke and Lodewijk de Vink

The Sturm Family and ANB Bank

OVATION ($15,000+)

Carol and Harry Cebron

Sandi and Leo Dunn

Han and June S. Kang Arts Scholarship

ALLEGRO ($10,000+)

Kathy Cole

Cookie and Jim Flaum

Linda and Mitch Hart

Diane and Lou Loosbrock

Kathie Mundy and Fred Hessler

Beth and Rod Slifer

Jackie and Norm Waite

Xcel Energy Foundation

SOLOIST ($7,500+)

Lynne Murray Sr. Educational Fund and Carolyn and Paul Landen

Town of Gypsum

Barbara Treat Foundation

CRESCENDO ($5,000+)

Alpine Bank

Kimberly and David Bernstein

Doe Browning

Katherine Clayborne and Thomas Shoup

Nancy and Andy Cruce

Janet and Jim Dulin

Julie and Bill Esrey

Gallegos Corp.

Sue and Dan Godec

Judy and Alan Kosloff

Renee Okubo

Drs. Rob and Julie Rifkin

Pat and Larry Stewart

Martin Waldbaum

Aneta M. Youngblood

SYMPHONIC COMMISSIONING PROJECT

ELEVATING NEW, POWERFUL WORKS

Bravo! Vail’s commitment to supporting living composers and their work is amplified through the Symphonic Commissioning Project.

Continuing the Festival’s legacy of supporting living composers and their work, Bravo! Vail’s 36th season marks the second year of its Symphonic Commissioning Project.

The 2023 Symphonic Commissioning Project includes Moment by Anna Clyne with The Philadelphia Orchestra and The Mother is Standing by Nina Shekhar with the New York Philharmonic. Additionally, the Dallas Symphony Orchestra gives the Colorado and Bravo! Vail premiere of Angélica Negrón’s Arquitecta, featuring Colombian vocalist Lido Pimienta. Coupled with these three Symphonic Commissioning Project works, 16 works by living composers receive their Bravo! Vail premieres.

Artistic Director Anne-Marie McDermott comments, “The world of classical music and musicians is evolving at an astonishing pace in thrilling ways. Bravo! Vail is incredibly proud to be evolving with it by providing an exquisite and welcoming platform to experience the incredible variety of creative voices we believe have the power to touch our audiences. Sharing the incredible breadth and depth of live music is our great joy.”

Learn more about the programs highlighted within this book online at BravoVail.org

COLORADO PREMIERE

July 2: Luisi leads the DSO in the summer’s first Bravo! Vail Symphonic Commissioning Project premiere— Angélica Negrón’s Arquitecta featuring Colombian vocalist Lido Pimienta.

WORLD PREMIERE

July 14: Nézet-Séguin closes the Orchestra’s residency with a powerful program featuring the world premiere of Anna Clyne’s This Moment

WORLD PREMIERE

July 19: Guest conductor Giancarlo Guerrero opens the Philharmonic residency with the world premiere of a new work by Nina Shekhar.

Bravo! Vail Artistic Excellence Fund Virginia J. Browning National Endowment for the Arts

The New Works Fund Town of Vail

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

NINA SHEKHAR

ANNA CLYNE

ANGELICA NEGRÓN

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DISTINCTIVE VERSATILITY

ACADEMY OF ST MARTIN IN THE FIELDS

IN RESIDENCE JUNE 22 ~ 25 // 2023

Both the first internationally based ensemble and the first chamber orchestra ever to perform at Bravo! Vail, the Academy makes its longanticipated return with a brilliant three-concert residency.

The Academy of St Martin in the Fields (ASMF) is one of the world’s finest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s greatest orchestral music.

Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the ASMF gave its first performance in its namesake church in November 1959. Through unrivalled live performances and a vast recording output—highlights of which include the 1969 bestseller Vivaldi’s Four Seasons and the soundtrack to the Oscar-winning film Amadeus—the orchestra gained an enviable international reputation for its distinctive, polished, and refined sound. With over 500 releases in a much-vaunted discography and a comprehensive international touring program, the name and sound of the ASMF is known and loved by classical audiences throughout the world.

Today the orchestra is led by Music Director and virtuoso violinist Joshua Bell, retaining the collegial spirit and flexibility of the original small, conductor-less ensemble which is an ASMF hallmark. Under Bell’s direction, and with the support of Leader/ Director Tomo Keller, ASMF continues to push the boundaries of playerdirected performance to new heights, presenting symphonic repertoire and chamber music on a grand scale at prestigious venues around the globe.

The ASMF responded to the COVID-19 lockdown with the production of new performance videos and the launch of a concert series at its spiritual home of St Martin-inthe-Fields in London, which saw the ensemble collaborate with international artists on concert programs devised by members of the orchestra.

The ASMF has enjoyed a busy 2023 so far, including a European tour with Joshua Bell culminating in a sell-out concert at London’s Queen

Elizabeth Hall, a tour of the US with cellist Gary Hoffman and mandolinist Avi Avital, and a series of concerts in Germany and Italy with pianist Seong Jin Cho and violinists Julia Fischer and Lena Neudauer. The ASMF Chamber Ensembles were also busy this spring with tours in the US and concerts in the UK. The orchestra’s summer schedule includes two concerts in the London church of St Martin-in-the-Fields, one with violinist Simon Zhu, and the other in July with Avi Avital; and the season ends with festival performances at Bradfield Music Festival, Meckpomm and Rheingau, in addition to Bravo! Vail. The ASMF 2023/24 season kicks

off in October with a tour to Australia with Joshua Bell, and the Academy looks forward to celebrating Sir Neville Marriner’s legacy in a series of special concerts and events in London to mark his centenary on April 15, 2024. This season sees the ASMF continue its dedication to learning and participation in a collaboration with Southbank Sinfonia; the players will also join violinist Julia Fischer for a special education project in BadenBaden as part of their summer tour to Germany. To find out more about the Academy, please visit asmf.org or connect with the orchestra on Instagram, Facebook, and Twitter.

Bravo! Vail Gratefully Acknowledges Support from the Academy of St Martin in the Fields Circle

MAESTRO ($100,000+)

Berry Charitable Foundation

ENSEMBLE ($30,000+)

Marijke and Lodewijk de Vink

Patricia and Peter Kitchak

IMPRESARIO ($25,000+)

Virginia J. Browning

OVATION ($15,000+)

Mrs. Jean Graham-Smith and Mr. Philip Smith

ALLEGRO ($10,000+)

Cathy Stone

SOLOIST ($7,500+)

Dr. David Cohen

Jann and John Wilcox

CRESCENDO ($5,000+)

Carole C. and CDR. John M. Fleming

Shelby and Frederick Gans

Ann and William Lieff

Mr. John McDonald and Mr. Rob Wright

Mika Nakamura and Gary Wood

Mary Lou Paulsen and Randy Barnhart

Susan and Albert Weihl

Nancy and Harold Zirkin

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY Sarah

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

RETURN OF ACADEMY OF ST MARTIN IN THE FIELDS

THIS EVENING’S PERFORMANCE IS PRESENTED BY

NORMA AND CHARLES CARTER FOUR SEASONS RESORT AND RESIDENCES VAIL

VERA AND JOHN HATHAWAY

SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle

Berry Charitable Foundation

The Francis Family

The Judy and Alan Kosloff Artistic Director Chair

Yamaha

SPONSORED BY Ray Oglethorpe

Barbara and Carter Strauss

SOLOIST SPONSORS

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

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

LUDWIG VAN BEETHOVEN (1770-1827)

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

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

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

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

©ZACH MAHONE

Day-O’Connell (Skidmore College), speaker

he premiered on that occasion. Franz Gerhard Wegeler, a friend from his years in Bonn, was visiting Vienna at the time, and related that “not until the afternoon of the second day before the concert did he write the rondo, and then while suffering from a pretty severe colic which frequently afflicted him. … In the anteroom sat four copyists to whom he handed sheet after sheet as soon as it was finished.”

Anyone writing a piano concerto in Vienna at that time did so in the shadow of the late lamented Mozart. The texture of this work is truly orchestral, following the Mozartian ideal of an integrated texture in which the piano plays the role of primus inter pares. Nonetheless, within this idealized scoring the soloist has plenty to keep her or him busy; and if the finger-work sounds not quite Mozartian, the fact remains that, at this formative point in Beethoven’s career, the apple had not fallen far from the tree.

Seascape , Op. 53 (1958)

RUTH GIPPS (1921-99)

The English composer Ruth Gipps began studying music at the age of three, published a composition when she was eight, and, at 15, entered the Royal College of Music, where the director predicted that she “will go far because she is … damned obstinate!” One wonders if he used the same term to describe motivated male students. Gipps often bridled at misogynistic attitudes from the musical establishment, but she did manage to fight her way into what was essentially the “men’s club” of mid-century British concert music. She attained professional level as both a pianist and an oboist and then took up conducting, this at a time when female conductors were all but unheard of. She countered resistance by establishing her own ensembles—the amateur One Rehearsal Orchestra (later renamed London Repertoire Orchestra), which she ran from 1955 through 1986, and the professional Chanticleer Orchestra (founded 1961), which promoted living composers. She secured occasional engagements conducting more established orchestras, provoking wonderment. In 1957 she became the first woman to conduct at London’s

Royal Festival Hall—a program that included her own cantata The Cat and Beethoven’s Ninth Symphony, of which a reviewer observed (with a Colorado River allusion), “A woman is no more expected to conduct it than build a Great Boulder Dam.”

She wrote Seascape in 1958 for the Portia Wind Ensemble, an all-woman double-wind quintet (though with one of the standard oboes replaced by English horn). This elegant work reveals her essentially Romantic aesthetic, somewhat recalling the music of her composition teacher Ralph Vaughan Williams. It was inspired by a visit to a coastal village in Kent, where she recalled: “I could hear the sea. I always loved the sound of the sea and particularly storms.”

Symphony No. 104 in D major, London (1794-95)

FRANZ JOSEPH HAYDN (1732-1809)

After three decades working for the Esterházy princes in Austria and Hungary, Franz Joseph Haydn was pensioned off in 1790. He still had lots of creativity left in him, and he had grown so renowned that many opportunities presented themselves. He decided to accept an offer to undertake an extended residency in London, with guaranteed commissions for new works, lucrative publication deals, and income from a benefit concert. Haydn, who had never traveled apart from making the rounds of the various Esterházy palaces, embarked on this adventure with

genuine excitement and no trepidation. He so enjoyed his 18-month residency in 1791-92, which included dinners with the Royal Family and the awarding of a doctorate by Oxford University, that he returned for a second go-round in 1794-95.

Haydn composed his final 12 symphonies for these visits—six for each trip—and they were invariably met with adulation. As a group, they are known as the “London” Symphonies, but the last of the set, his Symphony No. 104, is also nicknamed the London Symphony on its own. It brings to a close the extraordinary series of genre-defining pieces by the figure who would be acclaimed in posterity as “The Father of the Symphony.” Its premiere was a formal affair; an attendee reported that Haydn, seated at the keyboard, played “in tie wig, with a sword at his side.” A review stated that the piece, “for fullness, richness, and majesty, in all its parts, is thought by some of the best judges to surpass all his other compositions” and added that “a Gentleman, eminent for his musical knowledge, taste, and sound criticism, declared … that, for fifty years to come Musical Composers would be little better than imitators of Haydn.” (But then along came Beethoven.)

Bravo! Vail Gratefully Acknowledges Support from the Academy of St Martin in the Fields Circle

MAESTRO ($100,000+)

Berry Charitable Foundation

ENSEMBLE ($30,000+)

Marijke and Lodewijk de Vink

Patricia and Peter Kitchak

IMPRESARIO ($25,000+)

Virginia J. Browning

OVATION ($15,000+)

Mrs. Jean Graham-Smith and Mr. Philip Smith

ALLEGRO ($10,000+)

Cathy Stone

SOLOIST ($7,500+)

Dr. David Cohen

Jann and John Wilcox

CRESCENDO ($5,000+)

Carole C. and CDR. John M. Fleming

Shelby and Frederick Gans

Ann and William Lieff

Mr. John McDonald and Mr. Rob Wright

Mika Nakamura and Gary Wood

Mary Lou Paulsen and Randy Barnhart

Susan and Albert Weihl

Nancy and Harold Zirkin

“I could hear the sea. I always loved the sound of the sea and particularly storms.”

SCHEDULE AT A GLANCE

Joshua Bell and Members of the Academy of St Martin in the Fields 49

McDermott and Vengerov 65

Members of The Philadelphia Orchestra 89

Cynthia Phelps and Isidore String Quartet 147

THE ESSENCE OF ELEGANCE

LINDA & MITCH HART SOIRÉE SERIES

JUNE 23 ~ JULY 27 // 2023

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

This season offers a sumptuous array of chamber music where patrons encounter an enchanting aspect of Festival artists, including principal players from three resident orchestras, featured soloists, and Bravo! Vail’s own Artistic Director, Anne-Marie McDermott.

Bravo! Vail

Gratefully Acknowledges

the Support of the Following Patrons

Applejack Wine and Spirits

Marijke and Lodewijk de Vink

Foods of Vail

The Francis Family

Linda and Mitch Hart

Ann Hicks

Jackson Family Wines

The Judy and Alan Kosloff

Artistic Director Chair

The Left Bank

Anne and Tom McGonagle

Mirabelle at Beaver Creek

Marcy and Gerry Spector

Vail Catering Concepts

Vintage Magnolia

MAXIM VENGEROV (PAGE 65)

CYNTHIA PHELPS (PAGE 147)

Members of the Academy of St Martin in The Fields

Joshua Bell, violin

Tomo Keller, violin

Robert Smissen, viola

Ian Rathbone, viola

Tim Hugh, cello

Will Schofield, cello

TCHAIKOVSKY

Souvenir de Florence Sextet, Op. 70 (36 minutes)

Allegro con spirito

Adagio cantabile a con moto

Allegro moderato

Allegro vivace

SOIRÉE I

The original sextet version of Tchaikovsky’s delightful Souvenir de Florence portrays scenes of the sun-warmed Italian landscape with glorious Slavic intensity and features star turns for each performer. Tchaikovsky struggled mightily with his first and only string sextet, confessing in an 1890 letter to his brother that he was “writing with difficulty, not for want of new ideas, but because of the novelty of the form. One requires six independent yet homogeneous voices. This is unimaginably difficult.” A private performance of Souvenir was given in December 1890, but Tchaikovsky was unsatisfied and undertook a series of revisions and alterations. These seem to have done the trick—he later wrote to his brother “What a Sextet - and what a fugue at the end - it’s a pleasure! It is awful how pleased I am with myself.”

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

THIS EVENING’S HOSTS

Marijke and Lodewijk de Vink

SPECIAL GRATITUDE

Linda and Mitch Hart

The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY

Catered by Mirabelle at Beaver Creek

JOSHUA BELL

Applejack Wine and Spirits Jackson Family Wines

Mirabelle at Beaver Creek Vintage Magnolia

THE LINDA AND MITCH HART SOIRÉE SERIES

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

ACADEMY OF ST MARTIN IN THE FIELDS

Joshua Bell, violin

Anne-Marie McDermott, piano

BACH

Violin Concerto in A minor, BWV 1041 (15 minutes)

[Allegro]

Andante

Allegro assai

MOZART

Symphony No. 29 in A major, K.201/186a (28 minutes)

Allegro moderato

Andante

Menuetto–Trio

Allegro con spirito

INTERMISSION

BACH

Keyboard Concerto No. 1 in D minor, BWV 1052 (24 minutes)

Allegro

Adagio

Allegro

MOZART

Symphony No. 25 in G minor, K.183/173dB (24 minutes)

Allegro con brio

Andante

Menuetto–Trio

Allegro

MOZART & BACH WITH JOSHUA BELL

THIS EVENING’S PERFORMANCE IS PRESENTED BY

MARY BETH AND ROGER BURPEE

SUSAN AND VAN CAMPBELL

AMY AND STEVE COYER

PATRICIA AND PETER KITCHAK

SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle

Berry Charitable Foundation

Bravo! Vail Artistic Excellence Fund

The Francis Family

The Sidney E. Frank Foundation

The Judy and Alan Kosloff Artistic Director Chair

The Sturm Family and ANB Bank

SPONSORED BY

Jane and Gary Bomba

Pam and Don Hutchings

Debbie and Fred Tresca

SOLOIST SPONSORS

Joshua Bell, violin, sponsored by Becker Violin Fund

Anne-Marie McDermott, piano, sponsored by Barbara and Howard Rothenberg

Violin Concerto in A minor, BWV 1041 (ca. 1730?)

Keyboard Concerto No. 1 in D minor, BWV 1052 (ca. 1714-17/ ca.1729-39)

JOHANN SEBASTIAN BACH (1685-1750)

From 1717-23, Johann Sebastian Bach was in charge of secular music for the Court of Cöthen. The 13-member instrumental ensemble there fell short of what we would consider a modern orchestra, standing instead with one foot firmly planted in the realm of chamber music—somewhat analogous to a modern chamber orchestra. After he moved to Leipzig, in 1723, his job centered on sacred music, but for many years he also moonlighted by directing the city’s Collegium Musicum, a society of university students, professional musicians, and interested amateurs who met most Friday evenings to play music for their own pleasure and for the delectation of listeners who cared to drop by. In cold months, the group gathered

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

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

at Zimmermann’s coffeehouse, in Leipzig’s Katherinestrasse; during the summer, they moved outdoors to the café’s garden establishment on the outskirts of town. “In Leipzig,” a period account stated, “the Bachian Collegium Musicum is more famous than all others.” With an ongoing need for concerto repertoire, Bach apparently dipped into his back-catalogue to recast works written in Cöthen. His Violin Concerto in A minor may have been such a piece, but some scholars now believe that he wrote it expressly for the Collegium Musicum, around 1730. It is a densely concentrated, contrapuntally involved piece, superserious in its outer movements but somewhat more relaxed in its central Andante. If the circumstances of the piece’s genesis are ambiguous, there is no question that at some point Bach arranged it for the Collegium Musicum to present with solo harpsichord rather than violin, and the piece is heard still today in both versions.

The D-minor Keyboard Concerto (BWV 1052) also began as a violin concerto. You can hear that in extended passages where the melody weaves in close proximity above and below a repeated drone note. That’s not idiomatic harpsichord writing; it’s violin writing that would have involved quick alternation between two strings—one for the melody, the other (probably an open string) for the drone. The work’s style suggests that it may even precede Bach’s time in Cöthen, perhaps dating from the end of his years at the Court of Weimar, around 1714-17. That is just the time when Bach became captivated by the music of Vivaldi and began to adopt that composer’s ritornello procedures in his own scores—and the ritornellos (recurrent refrains) of the first and third movements of the D-minor Concerto sound remarkably Vivaldian. Perennially popular, this is one of his few works to boast an essentially unbroken performance tradition, even through the late18th and early-19th centuries, when shockingly few of Bach’s works remained in the active repertoire.

Symphony No. 29 in A major, K.201/186a (1774)

Symphony No. 25 in G minor, K.183/173dB (1773)

WOLFGANG AMADEUS MOZART (1756-91)

Anthony Burgess, in his literary fantasy On Mozart (1991), assigns these words to Mozart’s pupil Franz Xaver Süssmayr, who insists that his teacher’s symphonies demand serious attention beginning with No. 25:

Now come the symphonies: 1 to 24

The non-Mozartian safely can ignore, But hardly these . . ..

His point is not unfair. There is no good reason not to become acquainted with Mozart’s earlier symphonies, but as long as people steep themselves in those from number 25 on, they have reasonable hope of achieving lives that are happy and fulfilling.

In July 1773, Mozart’s father hustled him off to Vienna hoping to find Wolfgang a position. No appointment was forthcoming, but in the ten weeks they spent there the Mozarts heard much cutting-edge music, including pieces by Haydn that broke free from previous Italianate models. These experiences were soon reflected in Mozart’s music.

Symphony No. 25, written that October, is a taut and turbulent piece filled with syncopated rhythms, angular themes, and wide intervals. It is one of only two fully-fledged symphonies Mozart cast in the minor mode, the other being his extraordinary No. 40, composed 15 years later and also in G

minor. Because both are in the same key, No. 25 is sometimes referred to as the Little G-minor Symphony. It reflects Mozart’s fleeting fascination with the Sturm und Drang (Storm and Stress) movement, whose doctrine of explosive emotional individualism was sweeping German-speaking lands at that moment. The composer didn’t consign this remarkable piece to the dustbin even after the fad faded; on January 4, 1783, he wrote from Vienna (where he had by then moved) asking his father back home in Salzburg to send the music for the Little G-minor Symphony he had written a decade earlier.

Symphony No. 29 was completed in April 1774. Already with its first movement we sense a seductive beauty that had not surfaced as consistently in Mozart’s earlier scores. Its principal melody displays deceptive simplicity—the most fundamental arch moving up four notes from the tonic and then back down again, played piano by the strings alone, but sculpted with uncanny insight into a memorable theme. Most of his earlier symphonies are characterized by light string textures, a paucity of thematic interest, and rhythmic incisiveness that, though vivid, is ultimately predictable. These symphonies of 1773-74 exhibit a firmer sense of orchestral mastery, a more active use of woodwinds for color, and a more sophisticated harmonic logic. As the musicologist Alfred Einstein put it, “The instruments change character: the strings become wittier, the winds lose everything that is simply noisy, the figuration drops everything merely conventional.”

Bravo! Vail Gratefully Acknowledges Support from the Academy of St Martin in the Fields Circle

MAESTRO ($100,000+)

Berry Charitable Foundation

ENSEMBLE ($30,000+)

Marijke and Lodewijk de Vink

Patricia and Peter Kitchak

IMPRESARIO ($25,000+)

Virginia J. Browning

OVATION ($15,000+)

Mrs. Jean Graham-Smith and Mr. Philip Smith

ALLEGRO ($10,000+)

Cathy Stone

SOLOIST ($7,500+)

Dr. David Cohen

Jann and John Wilcox

CRESCENDO ($5,000+)

Carole C. and CDR. John M. Fleming

Shelby and Frederick Gans

Ann and William Lieff

Mr. John McDonald and Mr. Rob Wright

Mika Nakamura and Gary Wood

Mary Lou Paulsen and Randy Barnhart

Susan and Albert Weihl

Nancy and Harold Zirkin

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

ACADEMY OF ST MARTIN IN THE FIELDS

Joshua Bell, violin

BEETHOVEN

Overture to Egmont , Op. 84 (9 minutes)

PAGANINI

Violin Concerto No. 1 in E-flat major, Op. 6 (35 minutes)

Allegro maestoso

Adagio

Rondo: Allegro spiritoso

INTERMISSION

SCHUMANN

Symphony No. 2 in C major, Op. 61 (38 minutes)

Sostenuto assai—Allegro, ma non troppo

Scherzo: Allegro vivace

Adagio espressivo

Allegro molto vivace

JOSHUA BELL WITH ACADEMY OF ST MARTIN IN THE FIELDS

TOWN OF VAIL NIGHT

THIS EVENING’S PERFORMANCE IS PRESENTED BY SALLY AND BYRON ROSE BARB AND DICK WENNINGER

SPECIAL GRATITUDE TO Academy of St Martin in the Fields Circle

Berry Charitable Foundation

Bravo! Vail Artistic Excellence Fund

SPONSORED BY Mrs. Jean Graham-Smith and Mr. Philip Smith

Jan and Lee Leaman

SOLOIST SPONSORS

Joshua Bell, violin, sponsored by Becker Violin Fund and Gina Browning & Joe Illick

Overture to Egmont , Op. 84 (1809-10)

LUDWIG VAN BEETHOVEN (1770-1827)

Ludwig van Beethoven managed to complete only one opera and two ballets, but he left more numerous offerings in the area of incidental music for stage plays. His incidental music ranges from single numbers to multi-movement collections crafted for a half-dozen dramas. Except for Goethe’s Egmont, all of them would be profoundly forgotten in most quarters but for Beethoven’s contributions to their productions. Beethoven idolized Goethe, whom he referred to as “the foremost German poet,” and when the Vienna Hoftheater commissioned the composer to write music for an 1810 revival of Goethe’s 1786 tragedy Egmont, he leapt at the opportunity, providing an overture plus nine movements to fit within the play itself. The subject appealed to Beethoven’s political taste, derived as it was from a 16th-century historical incident in which Count Egmont (a Flemish nobleman)

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

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

defied occupying Spanish forces and sealed his own doomed fate in order to afford his people a vision of freedom. Beethoven wrote to Goethe, adopting a tone of uncharacteristic humility: “You will soon receive my music for Egmont—this wonderful Egmont which I read and felt and set to music thinking warmly of you. I am eager to know what you think of it. Even censure will be beneficial to me and my art and will be just as welcome as unmitigated praise.” Goethe, it turned out, was very pleased.

According to traditional lore, the slow introduction of the Egmont Overture depicts the Flemish populace suffering under the yoke of Spanish oppressors. This leads to a rapid section meant to suggest the optimistic spirit of revolt harbored by the Flemish citizens and, at the end, a celebratory climax symbolizing their victory over oppression. That climactic music would return at the play’s end under the title Siegessinfonie—Symphony of Victory.

Violin Concerto No. 1 in E-flat major, Op. 6 (1816)

NICCOLÒ PAGANINI (1782-1840)

The 19th century gave rise to a small army of ultra-virtuosos, with the pianist Franz Liszt and the violinist Niccolò Paganini leading the charge. Paganini played an audience fully as well as he played the violin, and his instincts for public relations were uncanny. As impressive as his technical skill was, he seems to have invariably used it to heighten emotional effect rather than to merely titillate the ear. Franz Schubert, who in 1828 (the last year of his life) managed to attend three of Paganini’s concerts in Vienna, marveled, “In Paganini’s Adagio I heard an angel sing.” Berlioz, Chopin, and Liszt added accolades, and literary lions helped fuel the flames of Paganini mania throughout Europe. Paganini included his Violin Concerto No. 1 (one of six) in the initial program of his Vienna residency. Completed in 1816, it was already by then one of his principal warhorses, crafted to spotlight his extraordinary technical arsenal. Its barrage of double stops, harmonics, double-stopped harmonics, and quickly alternating forms of articulation—not to mention melodic writing that is spun out over the extraordinary range of

four octaves—were unprecedented in Paganini’s time. Though all of these techniques went on to become essential skills for modern violinists, they can still leave listeners amazed. Technical wizardry, however, is not the entire story here, and it should not obscure that the E-flat-major Concerto is a well-knit piece in the classical tradition. Its themes are not complex, but as with the operatic melodies of his contemporaries in the opera world (most notably Rossini, but also other figures of the bel canto tradition), they can be insistently memorable; the second theme of the imposing first movement is only one of several tunes that lodge themselves in the mind.

Symphony No. 2 in C major, Op. 61 (1845-46)

ROBERT SCHUMANN (1810-56)

By the time he wrote his C-major Symphony, in 1845-46, Robert Schumann had already completed his Symphony No. 1 (the Spring); his Overture, Scherzo, and Finale (essentially a symphony without a slow movement); and the first version of his D-minor Symphony (which eventually become his Symphony No. 4). He therefore had quite a lot of experience as an orchestral composer. Nonetheless, his creative life was imperiled. He was showing increasing signs of serious mental and physical illness. Clara Schumann wrote of her 34-year-old husband: “Robert could not sleep a single night. His imagination painted him the most fearful pictures.

Early in the morning I usually found him bathed in tears.”

But then came the day when he wrote, in a letter to Felix Mendelssohn: “Drums and trumpets in C have been blaring in my head. I have no idea what will come of it.” What would come of it, we imagine, was the fanfare-like motto that opens the C-major Symphony and recurs again in that work’s Scherzo and near the end of its finale. Gradually he recovered the will to continue. In December, his creative juices started to flow, and in the space of about three weeks he composed the entire symphony, at least in its essentials. He later stated that he suspected (probably wrongly) that people would hear that he had been ill when he wrote this piece; “only in the final movement did I begin to feel my old self again, but it was only after I had completed the whole work that I really felt any better.” Certainly, this symphony is not an autobiographical study in illness or depression, yet its flavor is distinctive in a way that is hard to put one’s finger on, with an overall feeling of hard-won affirmation and triumph.

Bravo! Vail Gratefully Acknowledges Support from the Academy of St Martin in the Fields Circle

MAESTRO ($100,000+)

Berry Charitable Foundation

ENSEMBLE ($30,000+)

Marijke and Lodewijk de Vink

Patricia and Peter Kitchak

IMPRESARIO ($25,000+)

Virginia J. Browning

OVATION ($15,000+)

Mrs. Jean Graham-Smith and Mr. Philip Smith

ALLEGRO ($10,000+)

Cathy Stone

SOLOIST ($7,500+)

Dr. David Cohen

Jann and John Wilcox

CRESCENDO ($5,000+)

Carole C. and CDR. John M. Fleming

Shelby and Frederick Gans

Ann and William Lieff

Mr. John McDonald and Mr. Rob Wright

Mika Nakamura and Gary Wood

Mary Lou Paulsen and Randy Barnhart

Susan and Albert Weihl

Nancy and Harold Zirkin

“… only in the final movement did I begin to feel my old self again, but it was only after I had completed the whole work that I really felt any better.”

SCHEDULE AT A GLANCE

COMMUNITY CONCERTS

GREAT MUSIC, FOR FUN AND FOR ALL!

JUNE 26 ~ JULY 30 // 2023

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 musiclovers in relaxed, accessible settings including the Bravo! Vail Music Box, a mobile performance stage. Little Listeners @ the Library is an age-appropriate musical introduction, and this year’s festive Family Concert is an interactive celebration of dance forms from around the world.

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

Anonymous

Alpine Bank

Virginia J. Browning

Marijke and Lodewijk de Vink

Cookie and Jim Flaum

Linda and Mitch Hart

The Judy and Alan Kosloff Artistic Director Chair

Kathie Mundy and Fred Hessler

Beth and Rod Slifer

Slifer Smith & Frampton Foundation

Cathy Stone

The Sturm Family and ANB Bank

Town of Avon

Town of Gypsum

Town of Minturn

Jackie and Norm Waite

Carole A. Watters

VIANO QUARTET (PAGE 99)

ILLIA OVCHARENKO (PAGE 113)

©JEAN MARIE COTE

COMMUNITY CONCERTS

EDWARDS INTERFAITH CHAPEL

Galvin Cello Quartet (Bravo! Vail 2023 Chamber Musicians in Residence)

Sihao He, cello

Sydney Lee, cello

Haddon Kay, cello

Luiz Venturelli, cello

MOZART

Divertimento in D major, K. 136/125a (arr. Galvin Cello Quartet)

Allegro

Andante

Presto

BACH

Ciaccona in D minor from Violin Partita No. 2, BWV 1004 (arr. Laszlo Varga)

PERKINSON

Perpetual Motion from Lamentations: Black/Folk Song Suite

BARRIÈRE

Allegro prestissimo from Sonata IV in G major for Two Cellos, from Sonates pour le violoncelle, Livre IV

PIAZZOLLA

La muerte del Ángel (arr. Blaise Déjardin)

The running time of this concert is approximately one hour.

COMMUNITY CONCERT I

GALVIN CELLO QUARTET I

Artist Insights

Our first program takes listeners through a time machine, from the 18th century European Baroque and Classical periods, to the 20th century featuring Latin American and Black composers. From the lightness and liveliness of Mozart, introspective nature of Bach, explosive intensity of Perkinson, fun dialogue of the Barrière, and strong rhythmic drive of the Piazzolla, this eclectic program explores the cello’s vast range of colors and sonorities, which are unparalleled by any other instrument.

—Galvin Cello Quartet

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

Marijke and Lodewijk de Vink

Cookie and Jim Flaum

Linda and Mitch Hart

The Judy and Alan Kosloff Artistic Director Chair

Kathie Mundy and Fred Hessler

Beth and Rod Slifer

Cathy Stone

Jackie and Norm Waite

GALVIN QUARTET

COMMUNITY CONCERT II

GALVIN CELLO QUARTET II

Artist Insights

This program includes a collection of works from the traditional cello repertoire, from the virtuosic Popper Polonaise, to the simply beautiful Bach Suite No. 3, to the fiery and passionate Cassado Solo Suite. In addition to all the cello classics, we transport you from the classical scene to delve into the jazz world with our own arrangement of Gershwin’s Three Preludes. By mixing a few of our favorite classics like Popper and Wagner (from the early days of the Galvin Cello Quartet) with some exciting new works, this program holds a special place in our hearts.

—Galvin Cello Quartet

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

Galvin Cello Quartet

(Bravo! Vail 2023 Chamber Musicians in Residence)

Sihao He, cello

Sydney Lee, cello

Haddon Kay, cello

Luiz Venturelli, cello

POPPER

Polonaise de Concert, Op. 14 (arr. Sebastian van Eck)

BACH

Cello Suite No. 3 in C major, BWV 1009

Prelude

Allemande

Courante

Sarabande

Bourrées I and II

Gigue

VIVALDI

Summer ( L’estate ), from The Four Seasons , RV 315 (arr. James Barralet)

Allegro non molto

Adagio

Presto

CASSADÓ

Intermezzo e Danza final from Suite for Solo Cello

WAGNER

“Feierliches Stück” (Celebration Piece) from Lohengrin (arr. Hans Erik Deckert)

GERSHWIN

Three Preludes (arr. Galvin Cello Quartet)

Allegro ben ritmato e deciso

Andante con moto e poco rubato Agitato

The running time of this concert is approximately one hour.

Cathy

Antlers at Vail

Marijke and Lodewijk de Vink

Cookie and Jim Flaum

Linda and Mitch Hart

Kathie Mundy and Fred Hessler

Beth and Rod Slifer

Stone

Jackie and Norm Waite

GALVIN QUARTET

UP CLOSE & MUSICAL

CHAMBER MUSIC SERIES

JUNE 27 ~ JULY 24 // 2023

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

This season features two celebrated string quartets playing repertoire from Haydn to Latin jazz, an exquisite two-piano program, and in a first for the Chamber Music Series, a classic film showing with live musical accompaniment.

Bravo! Vail

Gratefully Acknowledges the Support of the Following Patrons

Anonymous

The Francis Family

The Sidney E. Frank Foundation

The Judy and Alan Kosloff

Artistic Director Chair

DAL Í QUARTET (PAGE 92)

MCDERMOTT & BAVOUZET (PAGE 134)

CHAMBER MUSIC SERIES

VILAR PERFORMING ARTS CENTER

Dover Quartet

Joel Link, violin

Bryan Lee, violin

Hezekiah Leung, viola

Camden Shaw, cello

HAYDN

String Quartet in E-flat major, Op. 33, No. 2, Joke (17 minutes)

Allegro moderato, cantabile

Scherzo: Allegro

Largo sostenuto

Finale: Presto

WALKER

String Quartet No. 1 (24 minutes)

Allegro

Molto adagio

Allegro con fuoco

INTERMISSION

SCHUBERT

String Quartet in A minor, D. 804, Rosamunde (35 minutes)

Allegro ma non troppo

Andante

Menuetto: Allegretto

Allegro moderato

Following the performance, join a brief talkback with the members of the Dover Quartet and Bravo! Vail Artistic Director Anne-Marie McDermott.

DOVER QUARTET

String Quartet in E-flat Major, Op. 33 No. 2, Joke (1781)

FRANZ JOSEPH HAYDN (1732-1809)

In April 1782, the Viennese publishing firm Artaria issued a set of new quartets by Franz Joseph Haydn designated as his Op. 33. Haydn had already sent word to well-heeled music lovers, explaining that “they are written in a new and special way.” The pieces showed him to be the master of quartettish wit, combining gentility, braininess, and a popular touch. While their musical standards fascinate the most astute connoisseur, the general listener never feels left behind. The musical commentator Donald Francis Tovey referred to the set as “the lightest of all

Haydn’s mature comedies.” Everybody went wild for Haydn’s Op. 33 Quartets, including a minor composer from Mainz who submitted them to Artaria as his own work that he wished to have published. He was unsuccessful, since Artaria was already quite familiar with them, obviously; but at least that composer scored high for chutzpah.

It is the Finale that accounts for the nickname of the Joke Quartet. Spoiler alert: it is cast in a very regular rondo form with a memorable if somewhat air-headed refrain built of four twobar phrases, which is then repeated in its entirety. The movement behaves as rondos are supposed to behave— refrain, episode, refrain, episode—but toward the conclusion of that second episode things start to break up a bit: a fragmented motif here, an inserted

silence there. By the end, each of the theme’s four phrases is heard independently, separated by a silence as long as the phrase. The tune thus struggles to its end, and then it begins to repeat itself yet again, but not before a rest that is now twice as long as those that preceded. It manages to exhale the first two-bar phrase of this re-repetition and ... is there more?

String Quartet No. 1 (1946)

GEORGE WALKER (1922-2018)

In 1996, George Walker became the first African-American composer to be awarded the Pulitzer Prize for Music. He pursued his education at Oberlin Conservatory of Music and the Curtis Institute, went on to study with pianist Robert Casadesus and renowned pedagogue Nadia Boulanger in France, and in 1956 was the first Black recipient of a doctoral degree from the Eastman School of Music. In 1945 he

was the soloist in Rachmaninoff’s Piano Concerto No. 3 with the Philadelphia Orchestra, the first Black pianist ever spotlighted by that orchestra.

He composed the first of his two string quartets in 1946, while still a pupil at Curtis. Its first and third movements are solid creations marked by tautly etched phrases, but the middle movement earned more enduring fame. Walker created a string-orchestra transcription (with added double-bass part) of the quartet’s slow central movement, which he titled Lament for String Orchestra later changed to Adagio for String Orchestra and then again, to Lyric for Strings, in which guise it has become an orchestral chestnut. He composed this elegiac movement as a memorial to his maternal grandmother, to whom it was dedicated. It maintains a deceptively simple posture, lodged in an emotional realm bounded by melancholy, hope, and consolation. The breakout success of the slow movement, and its transition to a string-orchestra piece, mirrored exactly the evolution of Samuel Barber’s Adagio for Strings, scaled up from his String Quartet almost a decade earlier. Walker bristled when people compared his piece to Barber’s. “The linear texture of the Lyric, the clearly defined structural components and the pizzicato, separates its conception from that of the earlier string work,” he wrote. “The only thing that these two works have in common is the instrumentation.”

String Quartet in A minor, Rosamunde , D. 804 (1824)

FRANZ SCHUBERT (1797-1828)

When Franz Schubert’s A-minor Quartet was premiered, on March 14, 1824, critical response was not outand-out negative. Vienna’s Allgemeine musikalische Zeitung suspended its verdict by declaring “One will have to hear this composition on more than one occasion to be able to offer a thorough judgment of it,” and the critic for Leipzig’s similarly named, and famously conservative, Allgemeine Musikalische Zeitung allowed that “for a firstborn [it was] not to be despised.” It was far from a firstborn—it was the 13th of Schubert’s 15 canonical string

quartets—but it was the first to be played in public. In any case, the work had been born quickly: Schubert had begun it only a few weeks earlier. It was published that September, his only quartet to appear in print by the time he died four years later.

This work derives its nickname (not Schubert’s idea) from the fact that its second movement employs a theme from the incidental music he wrote for the play Rosamunde That is not the only song quotation embedded in these pages; the first movement includes allusions to his song “Gretchen am Spinnrade” (Gretchen at the Spinning Wheel) and the third movement nods to his song “Die Götter Griechenlands” (The Gods of Greece), making this quartet to some degree an exercise in recollection. Schubert’s friend Moritz von Schwind reported of the premiere that the quartet “was performed, in his [Schubert’s] opinion, rather slowly, but very purely and tenderly. It is on the whole very gentle, but in the manner that one remembers the melody, as in songs, full of emotion and quite emphatic.” Notwithstanding episodes of lyrical grace, happiness seems elusive here. Even the hopefulness at the beginning of the finale settles into a poignant spirit of resignation.

Bravo! Vail

Anonymous

The Sidney E. Frank Foundation

The Judy and Alan Kosloff Artistic Director Chair

DOVER QUARTET

“… the lightest of all Haydn’s mature comedies.”

COMMUNITY CONCERT III

GALVIN CELLO QUARTET III

Artist Insights

This program begins and ends with a bang! We take a spin on traditional classical roots by incorporating works that may come as a surprise on the cello. (Tunes from “Scent of a Woman” and “Titanic” may make an appearance!) We include classical staples like Boccherini and modern composers like Penderecki to show the capabilities of the cello, regardless of era. The Paganini is our own recent arrangement, and it showcases the uniqueness of each individual player of our ensemble. Through every work in this program, we hope you will experience the juxtaposition of virtuosity, flair, and the heart and soul of each member individually and our group collectively.

Galvin Cello Quartet

(Bravo! Vail 2023 Chamber Musicians in Residence)

Sihao He, cello

Sydney Lee, cello

Haddon Kay, cello

Luiz Venturelli, cello

GARDEL

Por una cabeza (arr. James Barralet)

PENDERECKI

Scherzo: Vivace from Divertimento for Solo Cello

VIVALDI

Winter ( L’inverno ), from The Four Seasons , RV 315 (arr. James Barralet)

Allegro non molto

Largo

Allegro

FITZENHAGEN

Ave Maria , for Four Cellos, Op. 41

BOCCHERINI

Sonata for Two Cellos in C minor, G. 2

Allegro

Largo

Allegretto

PAGANINI

Variations on a Theme from Rossini’s Mosè (arr. Galvin Cello Quartet)

The running time of this concert is approximately one hour.

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

—Galvin Cello Quartet

GALVIN QUARTET

Marijke and Lodewijk de Vink

Cookie and Jim Flaum

Linda and Mitch Hart

Kathie Mundy and Fred Hessler

Beth and Rod Slifer

Cathy Stone

Jackie and Norm Waite

SOIRÉE II

Mozart composed his tenderly masterful violin sonata in 1778, around the same time that his mother, whom he “loved and admired to distraction,” died suddenly while accompanying him on a jobhunting trip to Paris. It is the only instrumental work by Mozart in the key of E minor, which — according to Ernst Pauer’s Analysis of Keys in Certain Compositions — “represents grief, mournfulness, and restlessness of spirit.”

Sergei Prokofiev’s Violin Sonata No. 2 was based on the composer’s own Flute Sonata, written in 1942 but arranged for violin in 1943 (at the prompting of his close friend, the violinist David Oistrakh) when Prokofiev was living in a remote shelter for Soviet artists in the Ural Mountains. This blithe and lyrical sonata seems to float above the tragedy of Stalin’s regime and a world engulfed in war, with its energetic wit, joie de vivre , and joyous musical exchanges.

In 1877, violinist Iosif Kotek commissioned a new showpiece from Tchaikovsky, with whom he had studied at the Moscow Conservatory, for an upcoming orchestra concert. Tchaikovsky completed this version for violin with piano, but it was a busy time in the composer’s life, and it seems that the violinist himself attempted to orchestrate it, not entirely successfully (early in 1879 he wrote: “I think that I badly orchestrated the Waltz ... what extraordinarily empty sounds!”). Tchaikovsky’s original is anything but empty, filled as it is with dashing brio and exuberant flourishes.

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

THIS EVENING’S HOSTS

Anne and Tom McGonagle

SPECIAL GRATITUDE

The Francis Family

Linda and Mitch Hart

The Judy and Alan Kosloff Artistic Director Chair

THE LINDA AND MITCH

MCGONAGLE RESIDENCE

Maxim Vengerov, violin

Anne-Marie McDermott, piano

MOZART

Violin Sonata in E minor, K. 304 (12 minutes)

Allegro

Tempo di menuetto

PROKOFIEV

Violin Sonata No. 2 in D major, Op. 94a (23 minutes)

Moderato

Presto

Andante

Allegro con brio

TCHAIKOVSKY

Valse-Scherzo , Op. 34 (12 minutes)

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MAXIM VENGEROV

HART SOIRÉE SERIES

SPONSORED BY Applejack Wine and Spirits Jackson Family Wines

Vail Catering Concepts Vintage Magnolia

SCHEDULE AT A GLANCE

UNCOMPROMISING EXCELLENCE

DALLAS SYMPHONY ORCHESTRA

IN

RESIDENCE

JUNE 30 ~ JULY 5 //

2023

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

The largest performing arts organization in the southwest United States, the Dallas Symphony Orchestra presents distinctive classical programs, inventive pops concerts, and innovative multimedia events to inspire the broadest possible audience. To date, the orchestra has been served as Music Director by Antal Doráti (194548), Walter Hendl (1949-58), Sir Georg Solti (1961-62), Anshel Brusilow (197073), Max Rudolf (1973-74), Eduardo Mata (1977-93), Andrew Litton (19942006), Jaap van Zweden (2008-18), and Fabio Luisi, who inaugurated his tenure in September 2020.

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

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

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

Jaap van Zweden took the helm as Music Director in 2008, and the orchestra continued to flourish under his dynamic leadership. Named Musical America’s Conductor of the Year 2012, van Zweden completed his ten-year tenure at the DSO in May 2018.

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

appointments of Julia Wolfe and Angélica Negrón as Composersin-Residence and of Gemma New as Principal Guest Conductor.

In June 2018, the Dallas Symphony Orchestra named Grammy Awardwinning Italian conductor Fabio Luisi as its next Music Director. Luisi has developed a close rapport with the orchestra through a series of acclaimed performances, and assumed the Louise W. & Edmund J. Kahn Music Directorship in September 2020. In the 2022/23 season, Luisi and the orchestra continued their exploration of American music, continued a Brahms symphonic cycle recording project, and toured the East Coast of the U.S. Today the Dallas Symphony Orchestra enjoys superlative artistic and executive leadership in one of the world’s foremost concert halls.

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

ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S. McIntyre, IV

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Billie and Ross McKnight

Margie and Chuck Steinmetz

OVATION ($15,000+)

Diane and Hal Brierley

Carole C. and CDR. John M. Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Linda and Ronn Lytle

Patricia and Brian Ratner

Cathy Stone

SOLOIST ($7,500+)

Carol and Ronnie Goldman

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and Stephen Saldanha

Rebecca and Ron Gafford

Neal Groff

Fanchon and Howard Hallam

Kim and Greg Hext

Mr. John McDonald and Mr. Rob Wright

Vicki Rippeto

Debbie and Ric Scripps

Cece Smith and John Lacy

Sherry Sunderman and Tom Mueller

Gena Whitten and Bob Wilhelm

Carolyn Wittenbraker and Arkay Foundation

Tom Woodell

Nancy and Harold Zirkin

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA

Fabio Luisi, conductor

Maxim Vengerov, violin

MENDELSSOHN

Violin Concerto in E minor, Op. 64 (22 minutes)

Allegro molto appassionato [attacca]

Andante [attacca]

Allegretto ma non troppo—Allegro molto vivace

INTERMISSION

BRAHMS

Symphony No. 3 in F major, Op. 90 (33 minutes)

Allegro con brio

Andante

Poco allegretto

Allegro—Un poco sostenuto

LUISI CONDUCTS BRAHMS’ THIRD

THIS EVENING’S PERFORMANCE IS PRESENTED BY MARILYN AUGUR

BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT

SUZANNE CARUSO AND STEPHEN SALDANHA

SPECIAL GRATITUDE TO Berry Charitable Foundation

The Friends of the Dallas Symphony Orchestra

The Lyn and Phillip Goldstein Maestro Society

The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY Diane and Hal Brierley

Alexia and Jerry Jurschak

Bobbi and Richard Massman

Brenda and Joe McHugh

SOLOIST SPONSORS

Maxim Vengerov, violin, sponsored by Gina Browning and Joe Illick

Violin Concerto in E minor, Op. 64 (1844)

FELIX MENDELSSOHN (1809-47)

Through a curious coincidence, composerand-pianist Felix Mendelssohn and violinist Ferdinand David were born in the very same house in Hamburg about a year apart. The families moved from their respective apartments, but they became re-acquainted in 1825, after the Mendelssohns had acquired a dilapidated mansion in Berlin, which they restored to its former glory. There the Mendelssohns hosted Sunday salons at which Felix and his sister Fanny could try out their latest compositions. Felix and Ferdinand became fast friends and frequent partners in chamber music. In 1835, Mendelssohn settled in Leipzig to become conductor of the Gewandhaus Orchestra and he promptly appointed David concertmaster. When Mendelssohn founded the Leipzig Conservatory, David was one of the first musicians appointed to the faculty. If Mendelssohn was Leipzig’s premiere musical citizen, David was

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

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

without doubt its “second in command,” busy not only with the orchestra and conservatory but also as a soloist, chamber musician, conductor, music editor, and (minor) composer. They remained close until Mendelssohn’s passing in 1847, when David was among the small group attending the composer’s deathbed and then served as a pallbearer.

“I’d like to do a violin concerto for you for next winter,” Mendelssohn wrote to David in July 1838. “One in E minor is running through my head, and the opening of it will not leave me in peace.” Curiously, ensuing sketches reveal that it was a piano concerto, rather than a violin concerto, that started taking form, one that matched the eventual violin concerto in both key and structure. By the time Mendelssohn focused definitively on the composition in 1844 it had evolved with certainty into a violin concerto. He consulted closely with his soloist while composing it, mostly about technical issues but in some cases about more general concerns of structure and balance, and he took David’s suggestions to heart. David played the premiere, in 1845, and programmed it often thereafter.

Mendelssohn liked to dovetail the separate movements of his largescale pieces, a device he had used to great effect in the two piano concertos of his maturity. He maintained that preference in this last of his orchestral works, such that the three movements connect into a single overarching span. Subtle mirroring of tonal architecture and fleeting reminiscences of earlier themes at key moments of transition help invest a sense of the organic and inevitable in this most Classical of the great Romantic violin concertos. In 1921, the commentator Donald Francis Tovey cited these connecting passages as the most remarkable flashes of genius in the entire piece, but he complained that he had never actually heard them in concert as they were always drowned out by applause.

Symphony No. 3 in F major, Op. 90 (1882-83)

JOHANNES BRAHMS (1833-97)

Johannes Brahms did much of his best work during his summer vacations,

usually at some bucolic getaway in the Austrian, German, or Swiss countryside. He spent the summer of 1883, during which he completed his Third Symphony, in Wiesbaden, a spa resort along the Rhine. It is perhaps not coincidental that the piece’s opening recalls the corresponding spot of the Rhenish Symphony, which his mentor Robert Schumann had composed in 1850 shortly after moving to Düsseldorf, another city on the Rhine.

The shortest of Brahms’ four symphonies, the Third is sometimes introspective (especially in its meltingly beautiful third movement), sometimes valiant. “Its foundation is self-confident, rough and ready strength,” said the music critic Eduard Hanslick, and the conductor Hans Richter, who led its premiere, referred to it as Brahms’ Eroica. This comparison to one of Beethoven’s mightiest scores must have moved Brahms deeply, since he had spent many years being intimidated about writing symphonies, worrying that his could not stand as worthy successors to Beethoven’s.

“The ‘heroic’ element in it has nothing to do with anything military,” Hanslick insisted, “nor does it lead to any tragic dénouement, such as the Funeral March of Beethoven’s Eroica Its musical characteristics recall the healthy soundness of Beethoven’s second period, never the eccentricities of his last. And here and there are

suggestions of the Romantic twilight of Schumann and Mendelssohn.”

The musical politics of Vienna practically guaranteed that Brahms’ new works would be greeted with loud opinions pro and contra. True to form, listeners who preferred the avant-gardism of Liszt and Wagner made their displeasure known, but Brahms was pleasantly surprised by the warmth with which this piece was greeted overall. In fact, he grew to resent the symphony’s cascading popularity, feeling that it was overshadowing others of his works that he felt deserved similar enthusiasm. His friend and confidante Clara Schumann (Robert’s widow) was among its devotees. “From start to finish one is wrapped about with the mysterious charm of the woods and forests,” she wrote to him. “I could not tell you which movement I loved most. In the first I was charmed straight away by the gleams of dawning day, as if the rays of the sun were shining through the trees. …The second is a pure idyll. … The third movement is a pearl, but it is a gray one dipped in a tear of woe, and at the end the modulation is quite wonderful. How gloriously the last movement follows with its passionate upward surge! But one’s beating heart is soon calmed down again for the final transfiguration which begins with such beauty in the development motif that words fail me!”

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

ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S. McIntyre, IV

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Billie and Ross McKnight

Margie and Chuck Steinmetz

OVATION ($15,000+)

Diane and Hal Brierley

Carole C. and CDR. John M.

Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Linda and Ronn Lytle

Patricia and Brian Ratner

Cathy Stone

SOLOIST ($7,500+)

Carol and Ronnie Goldman

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and Stephen Saldanha

Rebecca and Ron Gafford

Neal Groff

Fanchon and Howard Hallam

Kim and Greg Hext

Mr. John McDonald and Mr. Rob Wright

Vicki Rippeto

Debbie and Ric Scripps

Cece Smith and John Lacy

Sherry Sunderman and Tom Mueller

Gena Whitten and Bob Wilhelm

Carolyn Wittenbraker and Arkay Foundation

Tom Woodell

Nancy and Harold Zirkin

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA

Jeff Tyzik, conductor

Rick Brantley, vocals

Emily Drennan, vocals

Daniel Berryman, vocals

Shubh Saran, guitar

Eric Metzgar, drums

Brian Killeen, bass

ALL SONGS WRITTEN BY PAUL SIMON

unless otherwise noted

“Graceland”

“Mrs. Robinson”

PAUL SIMON AND ART GARFUNKEL

“Scarborough Fair/Canticle”

“Homeward Bound”

“Cecilia”

DANIEL ALOMIA ROBLES, PAUL SIMON, AND JORGE MILCHBERG

“ El Condor Pasa (If I Could)”

“59 th Street Bridge Song”

“The Sound of Silence”

“America”

“The Boxer”

“Kodachrome”

INTERMISSION

“You Can Call Me Al”

“Take Me to the Mardi Gras”

“50 Ways to Leave Your Lover”

“Mother and Child Reunion”

“Still Crazy After All These Years”

“Loves Me Like a Rock”

“Bridge Over Troubled Water”

“Me and Julio Down by the Schoolyard”

A Schirmer Theatrical / Greenberg Artists

Co-Production

All arrangements by Jeff Tyzik

The running time of this concert is just over two hours.

PAUL SIMON SONGBOOK

THIS EVENING’S PERFORMANCE IS PRESENTED BY THE MCKNIGHT FAMILY SYMPHONIC POPS FUND

SPECIAL GRATITUDE TO Berry Charitable Foundation

Bravo! Vail Artistic Excellence Fund

The Sidney E. Frank Foundation

The Friends of the Dallas Symphony Orchestra

The Lyn and Phillip Goldstein

Maestro Society

The Therese M. Grojean Vocalist Fund

The Sturm Family and ANB Bank

SPONSORED BY

Kathleen and Jack Eck

Susan and Harry Frampton

Holly and Ben Gill

Roberta and Ernie Scheller

SOLOIST SPONSORS

Jeff Tyzik, conductor, sponsored by Debbie & Patrick Horvath and Joyce & Paul Krasnow

For six decades, Paul Simon has been one of the most prolific singer-songwriters of our time, successful as both a solo and collaborating artist performing across multiple genres. Born in New Jersey in 1941, Simon’s mother was an English teacher and his father was teacher and band leader. After moving to Queens, NY, Simon met Art Garfunkel and they decided to start their own duo. Writing and releasing music under the name of Tom & Jerry, the two released their first single “Hey Schoolgirl” in 1957, which led to them signing with Columbia Records as Simon and Garfunkel. Their first album released on the label, Wednesday Morning, 3AM, was not especially popular, and the group disbanded for a few years before “The Sound of Silence” was remixed by producer Tom Wilson and featured in the 1967 film, The Graduate. The duo then created Sounds of Silence (1966), Parsley, Sage, Rosemary and Thyme (1966), Bookends (1968), and their final studio album, Bridge Over Troubled Water (1970).

Simon used the 1970s as a time to launch his solo music career with the hit albums Paul Simon (1972), There Goes Rhymin’ Simon (1973), and Still

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

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

Crazy After All These Years (1975), which featured audience favorites like “Me and Julio Down by the Schoolyard,” “Kodachrome,” and “50 Ways to Leave Your Lover.” In addition to a solo music career, Simon also made a film career for himself, first starring in Annie Hall (1977), and then as writer, composer, and actor of One-Trick Pony (1980).

After a brief reunion with Garfunkel for live performances, Simon headed to South Africa. Inspired by the music he heard there, Simon created his most successful album, Graceland (1986), featuring the hit songs “Graceland” and “You Can Call Me Al.”

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

ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S. McIntyre, IV

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Billie and Ross McKnight

Margie and Chuck Steinmetz

OVATION ($15,000+)

Diane and Hal Brierley

Carole C. and CDR. John M. Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Linda and Ronn Lytle

Patricia and Brian Ratner

Cathy Stone

SOLOIST ($7,500+)

Carol and Ronnie Goldman

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and

Stephen Saldanha

Rebecca and Ron Gafford

Neal Groff

Fanchon and Howard Hallam

Kim and Greg Hext

Mr. John McDonald and Mr. Rob Wright

Vicki Rippeto

Debbie and Ric Scripps

Cece Smith and John Lacy

Sherry Sunderman and Tom Mueller

Gena Whitten and Bob Wilhelm

Carolyn Wittenbraker and Arkay Foundation

Tom Woodell

Nancy and Harold Zirkin

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Carolann Buff (Indiana University), speaker

DALLAS SYMPHONY ORCHESTRA

Fabio Luisi, conductor

Lido Pimienta, vocalist

Jan Vogler, cello

ANGÉLICA NEGRÓN

Arquitecta (Vail Premiere, Co-Commission by Bravo! Vail and the Dallas Symphony Orchestra) (10 minutes)

SYMPHONIC COMMISSIONING PROJECT

HAYDN

Cello Concerto in C major (25 minutes)

Moderato

Adagio

Finale: Allegro molto

— INTERMISSION —

FRANCK

Symphony in D minor (41 minutes)

Lento: Allegro non troppo

Allegretto

Allegro non troppo

Following the performance, join a brief talkback with composer Angélica Negrón and Bravo! Vail Artistic Director Anne-Marie McDermott.

HAYDN CELLO CONCERTO

THIS EVENING’S PERFORMANCE IS PRESENTED BY

SHIRLEY AND WILLIAM S. MCINTYRE, IV

SPECIAL GRATITUDE TO Berry Charitable Foundation

Bravo! Vail Artistic Excellence Fund

Virginia J. Browning

The Friends of the Dallas Symphony Orchestra

The Lyn and Phillip Goldstein Maestro Society

The Therese M. Grojean Vocalist Fund

National Endowment for the Arts

The New Works Fund

SPONSORED BY

Nancy and Richard Lubin

Marlys and Ralph Palumbo

Patricia and Brian Ratner

Donna and Randy Smith

SOLOIST SPONSORS

Jan Vogler, cello, sponsored by Joanne Cohen and Morris Wheeler

Arquitecta (2022)

ANGÉLICA NEGRÓN (B. 1981)

Agraduate of the Conservatory of Music of Puerto Rico and New York University, where she earned her master’s degree, Angélica Negrón writes (as her website biography puts it) “music for accordions, robotic instruments, toys, and electronics as well as for chamber ensembles, orchestras, choir, and film.” A founding member of the tropical electronic band Balún, she was recently an artist-in-residence at The Greene Space in New York City, “working on El Living Room, a 4-part offbeat variety show and playful multimedia exploration of sound and story, of personal history and belonging.” Currently a teaching artist for the New York Philharmonic’s Very Young Composers program, she wrote You Are the Prelude (for orchestra with chorus) on commission from the New York Philharmonic for festivities surrounding the opening of its redesigned concert hall last fall, a work “honoring the wider community of

JOSEPH HAYDN

Funded in part by a generous grant from the National Endowment for the Arts and the Town of Vail.

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

listeners and the transformative act of gathering together and communing around art and music.”

Arquitecta , for orchestra with the Colombian Canadian singer Lido Pimienta, sets a poem by the Puerto Rican poet Amanda Hernández. Says Hernández: “I wrote this poem thinking about the house I grew up in, the houses I have lived in and the houses I had to say goodbye to. It’s an ode to the pain that comes with farewell and the celebration of what that ‘new door that opens’ promises when another one closes, or collapses.” In this poem, Negrón writes, “Hernández captures the maternal spirit and its connection to tangible spaces often burdened by a lifetime of memories and labor, both visible and invisible. The physical and emotional weight of caring for family and home transcends the passage of time and endures beyond loss.” Negrón found this particularly resonant in light of her own grandmother’s death and the caregiving her final years entailed.

Cello Concerto in C major, Hob. VIIb:1 (ca. 1765)

FRANZ JOSEPH HAYDN (1732-1809)

Franz Joseph Haydn’s Cello Concerto in C major, today one his most popular concertos, lay in oblivion for nearly two centuries. Haydn entered it into the catalogue of compositions he began around 1765, so he must have written it by that year at the latest. It was therefore a work of the composer’s first years at the court of the Esterházy Princes. The star cellist there was Joseph Franz Weigl, whom Haydn also spotlighted through passages for solo cello in a number of his early symphonies. Weigl probably kept this concerto in his repertoire, but it was not published. At some point a copyist’s manuscript parts landed in the library of the Counts Kolovrat-Krakovský at Radenín Castle in what is now Czechia. Their collection was deposited in the National Museum of Prague and through the grace of the Muses made it through World War II. The parts were uncovered there by musicologist Oldřich Pulkert in 1961, at which point the concerto finally entered the pantheon of cello masterpieces.

The first movement unrolls at a spacious pace, without calling undue attention to the considerable virtuosity required for its execution. Pairs of oboes and horns add body to the tutti sections, though Haydn limits the accompaniment to a string orchestra when the cello is playing, to keep the texture light. Indeed, the winds remain silent throughout the elegant second movement. The finale is a veritable tour de force. Following the opening tutti , the cello dazzles with quick scales that erupt out of notes sustained over several measures. Rapid-fire arpeggios, unrelenting scales, quickly repeated notes, and high-lying passage-work push the soloist into virtuosic territory.

Symphony in D minor (1886-88)

CÉSAR FRANCK (1822-90)

Most of César Franck’s major works were created in his final decade, so he was both an early bloomer and a late bloomer. He was a child prodigy who failed to gain traction as “a second Mozart,” which prodigies or their promoters (like Franck’s father) always hoped to do. Following study at the Paris Conservatoire, he found stability through a series of appointments as a church organist in Paris, most enduringly at the Basilica of Ste. Clotilde, where he served from 1858 until his death. In 1872 he

succeeded his own former teacher, François Benoist, as organ professor at the Conservatoire, where his seminars served as the de facto training ground for an entire generation of France’s leading lights.

His symphony, composed from 1886 through 1888, is his only effort in the genre. It stands within the tradition of the 19th-century symphony, and yet its place is a bit to the side of the mainstream. Wagnerism was a hot topic in Paris when this work was born, and it clearly cast a spell over Franck. But one senses that Franck’s Wagner arrived filtered through Liszt, the composer to whom Franck bears the most striking resemblance. In describing Franck’s particular sound, one should not overlook that he was first and foremost an organist. As an orchestrator, his point of departure was always organ registration, and it is often tempting to imagine his symphonic scores as translations of sounds he himself might have produced in the organ loft. Even the architecture of his music is grounded in organ-playing, which in his time— and to some extent still today—exalts the art of improvisation, for which such quintessentially Franckian traits as brief fugato passages, cyclic development of themes, and highly chromatic modulation serve as fundamental techniques.

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

ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S. McIntyre, IV

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Billie and Ross McKnight

Margie and Chuck Steinmetz

OVATION ($15,000+)

Diane and Hal Brierley

Carole C. and CDR. John M. Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Linda and Ronn Lytle

Patricia and Brian Ratner

Cathy Stone

SOLOIST ($7,500+)

Carol and Ronnie Goldman

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and Stephen Saldanha

Rebecca and Ron Gafford

Neal Groff

Fanchon and Howard Hallam

Kim and Greg Hext

Mr. John McDonald and Mr. Rob Wright

Vicki Rippeto

Debbie and Ric Scripps

Cece Smith and John Lacy

Sherry Sunderman and Tom Mueller

Gena Whitten and Bob Wilhelm

Carolyn Wittenbraker and Arkay Foundation

Tom Woodell

Nancy and Harold Zirkin

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JUL 4 TUESDAY 2:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA

Jeff Tyzik, conductor

BAGLEY

National Emblem March

JOHN WILLIAMS

Overture to The Cowboys

ARR. TYZIK

Every Time I Feel the Spirit

ARR. TYZIK

George M. Cohan Medley

HANDY/ARR. TYZIK

St. Louis Blues March

JEFF TYZIK

A Call to Worship

PATRIOTIC CONCERT

Every year on July 4, families, friends, and neighbors gather to mark the adoption of the Declaration of Independence, and the birth of a new system of government. This founding document closes with a vow to “mutually pledge to each other our Lives, our Fortunes and our sacred Honor.” Conductor/ composer/arranger Jeff Tyzik applies his seemingly endless talents to these musical depictions of the American spirit: paying tribute to the strength and courage of people who fight for independence everywhere, remembering those who have sacrificed, and celebrating a broad array of our country’s cultural traditions.

Bravo! Vail Gratefully Acknowledges Support for this Afternoon’s Concert

THE VAIL VALLEY FOUNDATION

SPECIAL GRATITUDE

Berry Charitable Foundation

The Sidney E. Frank Foundation

The Friends of the Dallas Symphony Orchestra

The Lyn and Phillip Goldstein Maestro Society

The Sturm Family and ANB Bank

ALFORD

Colonel Bogey

WILSON/ARR. HAYMAN

76 Trombones

— INTERMISSION —

SOUSA

The Thunderer

ARR. TYZIK

Fantasy on American Themes

RODGERS

Excerpt from Victory at Sea

JAMES BECKEL

Gardens of Stone

Retired US Army Captain Dawn Halfaker, narrator

ARR. TYZIK

Armed Forces Song Medley

SOUSA

The Stars and Stripes Forever

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

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

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA

Jeff Tyzik, conductor

“Raiders’ March,” from Raiders of the Lost Ark

“Theme from Jaws,” from the Jaws Suite

Theme from Schindler’s List

Eunice Keem, violin

“Devil’s Dance,” from The Witches of Eastwick

Theme from Jurassic Park

“Sayuri’s Theme,” from Memoirs of a Geisha

“Harry’s Wondrous World,” from Harry Potter and the Sorcerer’s Stone

“Prayer,” from Angela’s Ashes

Erin Hannigan, oboe

“Adventures on Earth,” from E.T. the Extra-Terrestrial

— INTERMISSION —

Superman March

“Tango (Por una cabeza),” from The Scent of a Woman

Eunice Keem, violin

Excerpts from Close Encounters of the Third Kind

“With Malice Toward None,” from Lincoln

Selections from the Star Wars Suite

“Imperial March”

“Princess Leia’s Theme

“Main Title”

The running time of this concert is approximately two hours.

JOHN WILLIAMS’ MUSIC OF THE MOVIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY

LAURA AND BILL FRICK

LYDA HILL

MARGIE AND CHUCK S TEINMETZ

MARTIN WALDBAUM

SPECIAL GRATITUDE TO Berry Charitable Foundation

Bravo! Vail Artistic Excellence Fund

The Sidney E. Frank Foundation

The Friends of the Dallas Symphony Orchestra

The Lyn and Phillip Goldstein

Maestro Society

The Sturm Family and ANB Bank

SPONSORED BY

Abbe and Adam Aron

Sharron and Herbert Bank; Penny Bank

Nancy Gage and Allan Finney

Amy and Hal Novikoff

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

Film Music by John Williams

JOHN WILLIAMS (B. 1932)

John Williams is the pre-eminent composer of Hollywood film music and has been for nearly five decades. The son of a film studio musician, he grew up studying first piano and then trombone, trumpet, and clarinet. When his family moved to Los Angeles, in 1948, Williams began working with the jazz pianist and arranger Bobby Van Eps. During the early 1950s, he spent a stint in the Air Force conducting and orchestrating for bands, and he studied piano for a year with Rosina Lhévinne at The Juilliard School. Later that decade, he became a composition pupil of Mario Castelnuovo-Tedesco and Arthur Olaf Andersen.

He orchestrated numerous feature films in the 1960s, and by the 1970s he emerged as an important film-score composer in his own right. His great breakthrough came in 1975 with Steven Spielberg’s aquatic thriller Jaws. Its ominous shark theme became a twonote meme long before anybody spoke

JOHN WILLIAMS

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

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

of memes. Spielberg went on to deliver Hollywood classics of widely diverse character, and Williams became his composer of choice for music that would mirror, support, and advance their action and their emotional states. Their partnership began in 1972 when Spielberg started work on The Sugarland Express, his feature-film début, and it continued (so far) through Spielberg’s 2022 memoir movie The Fabelmans, their 29th project together. A selective list of Williams’ Spielberg scores includes many “must-hear” entries, including Close Encounters of the Third Kind (1977), Raiders of the Lost Ark (1981); E.T. the Extra Terrestrial (1982), Indiana Jones and the Temple of Doom (1984), Empire of the Sun (1987), Indiana Jones and the Last Crusade (1989), Jurassic Park (1993), Schindler’s List (1993), Saving Private Ryan (1998), Harry Potter and the Chamber of Secrets (2002), War of the Worlds (2005), Munich (2005), and Lincoln (2012). As Spielberg once quipped, “Without John Williams, bikes don’t really fly.”

He concurrently maintained close working relationships with other leading Hollywood directors. For George Lucas he provided the musical underpinnings for Star Wars (1977); Star Wars, the Phantom Menace (1999); and Attack of the Clones (2002). For Oliver Stone he supplied scores for Born on the Fourth of July (1989), JFK (1991), and Nixon (1995). He composed music for Alfred Hitchcock’s A Family Plot (1976), for Irvin Kershner’s The Empire Strikes Back (1980), for Richard Marquand’s Return of the Jedi (1983), for George Miller’s The Witches of Eastwick (1987), for Alan Parker’s Angela’s Ashes (1999), for Chris Columbus’s Harry Potter and the Sorcerer’s Stone (2001), for Rob Marshall’s Memoirs of a Geisha (2005), and for J.J. Abrams’ Star Wars Episode VII: The Force Awakens (2015). All told, Williams wrote the scores for nine entries in the Star Wars franchise.

Working at a pace of about two film scores per year, he has completed more than a hundred. His work has been honored with five Academy Awards (Best Original Scores for Jaws, Star Wars, and Schindler’s List, plus Best Scoring: Adaptation and Original Song Score for Fiddler on the Roof), four Golden Globes, three Emmys, and 25 Grammys, in addition to induction

into the Hollywood Bowl Hall of Fame, a Kennedy Center Honor, the National Medal of Arts, the American Film Institute’s Life Achievement Award, and, in 2020, the Gold Medal of the Royal Philharmonic Society.

This past January he retained the distinction of being the most Oscarnominated person alive when his music for The Fabelmans was nominated for the 2023 Academy Awards—his 53rd nomination. Only one person has ever chalked up more Oscar nominations— Walt Disney, with 59. Probably Disney will hold on to the record. Last summer, while composing music for his fifth Indiana Jones movie, Williams told Jake Coyle of the Associated Press that it would be his last film score, but he also left some wiggle room, saying, “I don’t want to be seen as categorically eliminating any activity.” Still, the idea of retirement exerted considerable appeal. “I can’t play tennis,” Williams said, “but I like to be able to believe that maybe one day I will.”

He has arranged selections from many of his film scores into standalone concert suites, which he has conducted not only with the Boston Pops Orchestra (which he served as music director from 198093) but also with many of the leading symphony orchestras he visits regularly as a guest conductor. He remains active as a composer of orchestral concert pieces not connected to films,

including a series of concertos—for flute, violin (twice), tuba, clarinet, cello, bassoon, trumpet, horn, viola, harp, and oboe. His catalogue also includes arrangements of music by other composers; an example, in this program, is his setting of “Tango (Por una cabeza),” a piece by Carlos Gardel used in the film Scent of a Woman

The listening public has grown to appreciate John Williams as an indispensable voice of our time. Appearing at a concert at Boston’s Symphony Hall in 2009 (at which Steven Spielberg was also in attendance), he told the audience that he was dumbfounded when he first saw a rough cut of Schindler’s List. “I had to walk around the room for four or five minutes to catch my breath,” Williams reported. “I said to Steven, ‘I really think you need a better composer than I am for this film.’ And he very sweetly said, ‘I know, but they’re all dead.’”

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

ENSEMBLE ($30,000+)

Linda and Mitch Hart

Shirley and William S. McIntyre, IV

Marcy and Stephen Sands

IMPRESARIO ($25,000+)

Lyda Hill

VIRTUOSO ($20,000+)

Marilyn Augur

Billie and Ross McKnight

Margie and Chuck Steinmetz

OVATION ($15,000+)

Diane and Hal Brierley

Carole C. and CDR. John M.

Fleming

Alexia and Jerry Jurschak

Jan and Lee Leaman

Bobbi and Richard Massman

Brenda and Joe McHugh

Donna and Randy Smith

Carole A. Watters

ALLEGRO ($10,000+)

John Dayton

Linda and Ronn Lytle

Patricia and Brian Ratner

Cathy Stone

SOLOIST ($7,500+)

Carol and Ronnie Goldman

CRESCENDO ($5,000+)

Edwina P. Carrington

Suzanne Caruso and Stephen Saldanha

Rebecca and Ron Gafford

Neal Groff

Fanchon and Howard Hallam

Kim and Greg Hext

Mr. John McDonald and Mr. Rob Wright

Vicki Rippeto

Debbie and Ric Scripps

Cece Smith and John Lacy

Sherry Sunderman and Tom Mueller

Gena Whitten and Bob Wilhelm

Carolyn Wittenbraker and Arkay Foundation

Tom Woodell

Nancy and Harold Zirkin

“‘I really think you need a better composer than I am for this film.’ And he very sweetly said, ‘I know, but they’re all dead.’”

COMMUNITY CONCERT IV

GALVIN CELLO QUARTET IV

Artist Insights

This program is representative of what we stand for as a group. As a cello quartet that is innately diverse, this program brings it close to home with our love for the cello and excitement we feel from playing an array of works with different origins and styles. We hope this program will shine light onto the cello repertoire and the cello quartet’s establishment in the classical music setting as a whole. We end the program with the sparkling Elfentanz (Dance of the Elves), which is always a crowd pleaser!

—Galvin Cello Quartet

VAIL INTERFAITH CHAPEL

Galvin Cello Quartet

(Bravo! Vail 2023 Chamber Musicians in Residence)

Sihao He, cello

Sydney Lee, cello

Haddon Kay, cello

Luiz Venturelli, cello

ROSSINI

Une larme (A Tear) (arr. Laszlo Varga)

BACH

Cello Suite No. 1 in G major, BWV 1007

Prelude

Allemande

Courante

Sarabande

Menuets I and II

Gigue

DIMITRI CERVO

Third movement (Dança Negra) from Pequena suite brasileira

FORINO

Preghiere No. 3 (Op. 27, No. 3): “St. Francis Speaks to the Turtle-doves”

BOTTERMUND AND STARKER

Variations on a Theme by Paganini, Op. 4

MOZART

Overture to Le nozze di Figaro (arr. Douglas B. Moore)

POPPER

Elfentanz, Op. 39 (arr. Blaise Dejardin)

The running time of this concert is approximately one hour.

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

Marijke and Lodewijk de Vink

Cookie and Jim Flaum

Linda and Mitch Hart

The Hythe, A Luxury Collection Resort, Vail

Kathie Mundy and Fred Hessler

Beth and Rod Slifer

Cathy Stone

Jackie and Norm Waite

GALVIN CELLO QUARTET

SCHEDULE AT A GLANCE

All Beethoven with Ehnes 82

Denève Conducts Time For Three 84

A Night In Vienna 86

Yannick Conducts

Tchaikovsky with Hilary Hahn 96

Rachmaninoff Piano

Concerto No. 2 100

Mozart’s Requiem 102

THE FABULOUS PHILADELPHIANS

THE PHILADELPHIA ORCHESTRA

IN RESIDENCE JULY 7 ~ 14 // 2023

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 16th residency.

YANNICK NÉZET-SÉGUIN MUSIC DIRECTOR, THE PHILADELPHIA ORCHESTRA

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 11th season with The Philadelphia Orchestra, serving as music and artistic director. He joins a remarkable list of music directors spanning the Orchestra’s 123 seasons: Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach. Widely recognized for his artistry and commitment, Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike.

In response to the cancellation of concerts due to the COVID-19 pandemic, the Orchestra launched the Digital Stage, providing access to highquality online performances, keeping music alive at a time when it was needed most. It also inaugurated free offerings: HearTOGETHER, a podcast on racial and social justice, and creative

equity and inclusion, through the lens of the world of orchestral music, and Our City, Your Orchestra, a series of digital performances that connects the Orchestra with communities through music and dialogue while celebrating the diversity and vibrancy of the Philadelphia region.

The Philadelphia Orchestra continues the tradition of educational and community engagement for all age groups. It launched its HEAR initiative in 2016 to become a major force for good in every community that it serves. HEAR is a portfolio of integrated initiatives that promotes Health, champions music Education, enables broad Access to Orchestra performances, and maximizes impact through Research. The Orchestra’s award-winning education and community initiatives engage over 50,000 students, families, and community members through programs such as PlayINs; side-bysides; PopUP concerts; Our City, Your Orchestra Live; School Concerts; the School Partnership Program and School Ensemble Program; and All City Orchestra Fellowships.

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 Mann

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

The Philadelphia Orchestra has presented the world or American premieres of many works that are today considered standard repertory, such as Mahler’s Symphony No. 8 (“Symphony of a Thousand”), Stravinsky’s The Rite of Spring, and Rachmaninoff’s Symphonic Dances. The Orchestra also made movie history by performing the soundtrack to Walt Disney’s legendary animated film Fantasia, with Stokowski. The Orchestra makes live recordings available on popular digital music services. Under Yannick’s leadership the Orchestra returned to recording with 12 CDs on the Deutsche Grammophon label, including the Grammy-winning Florence Price Symphonies Nos. 1 & 3. The Orchestra also reaches thousands of radio listeners with weekly broadcasts on WRTI-FM and SiriusXM. For more information, please visit philorch.org

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

FIRST CHAIR ($50,000+)

Betsy Wiegers

SYMPHONY ($40,000+)

Anonymous

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

Cathy Stone

VIRTUOSO ($20,000+)

Susan and Van Campbell

OVATION ($15,000+)

Anne and Hank Gutman

Pam and Don Hutchings

Susan and Richard Rogel

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M. Fleming

Donna and Patrick Martin

Marge and Phil Odeen

Teri Perry

Linda Farber Post and Dr. Kalmon D. Post

Carole and Peter Segal

SOLOIST ($7,500+)

Sarah and Peter Millett

Barbara and Howard

Rothenberg

CRESCENDO ($5,000+)

Shannon and Todger

Anderson

Dierdre and Ronnie Baker

Jill and Al Douglass

Michelle Fitzgerald and Jonathan Guyton

Laura and Jim Marx

Mr. John McDonald and Mr. Rob Wright

Nancy and Douglas Patton

Sally and Byron Rose

Roberta and Ernie Scheller

Elaine and Steven

Schwartzreich

Susan and Steven Suggs

Tom Woodell

Kathy and Jonathan Zeschin

Nancy and Harold Zirkin

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA

Stéphane Denève, conductor James Ehnes, violin

BEETHOVEN

Violin Concerto in D major, Op. 61 (42 minutes)

Allegro ma non troppo

Larghetto [attacca]

Rondo: Allegro

INTERMISSION

BEETHOVEN

Symphony No. 6 in F major, Op. 68, Pastoral (40 minutes)

Allegro ma non troppo: Awakening of Cheerful Feelings upon Arrival in the Country

Andante molto moto: Scene by the Brook

Allegro: Merry Gathering of Country Folk

Allegro: Thunderstorm

Allegretto: Shepherd’s Song; Happy and Thankful Feelings after the Storm

ALL BEETHOVEN WITH EHNES

THIS EVENING’S PERFORMANCE IS PRESENTED BY JAYNE AND PAUL BECKER

BARBARA AND BARRY BERACHA

BARBIE AND TONY MAYER

LINDA FARBER POST AND DR. KALMON D. POST

THE PATRICIA C. LYNCH MEMORIAL CONCERT

SPECIAL GRATITUDE TO Berry Charitable Foundation

The Friends of the Fabulous Philadelphians

The Lyn and Phillip Goldstein Maestro Society

The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY

Mr. John McDonald and Mr. Rob

Wright

Susan and Richard Rogel

Jane and Thomas Wilner

SOLOIST SPONSORS

James Ehnes, violin, sponsored by Gina Browning and Joe Illick

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

Symphony No. 6 in F major, Op. 68, Pastoral (1808)

LUDWIG VAN BEETHOVEN (1770-1827)

Ludwig van Beethoven’s Violin Concerto has long been considered one of the most essential works of its genre, but it earned its reputation slowly. It made little effect at its premiere, in Vienna in 1806, surely not helped by the fact that the composer finished it only two days earlier, leaving the orchestral musicians scant time to prepare what is at heart a very symphonic concerto. Anton Schindler, the sometimes-credible chronicler of Beethoven’s life, recalled in 1840: “The concerto enjoyed no great success. When it was repeated the following year it was more favorably received, but Beethoven decided to rewrite it as a piano concerto. As such, however, it was totally ignored: violinists and pianists alike rejected the work as unrewarding .... The violinists even

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

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

JAMES EHNES BENJAMIN EALOVEGA

complained that it was unplayable, for they shrank from the frequent use of the upper positions.” It is true that Beethoven makes his soloist spend a great deal of time in the stratosphere playing streams of swirling figuration.

At least the soloist, Franz Clement, seems to have acquitted himself with distinction, since a review noted, “To the admirers of Beethoven’s muse it may be of interest that this composer has written a violin concerto—the first, so far as we know—which the beloved local violinist Klement [sic] … played with his usual elegance and luster.” Clement hedged his bets with the audience by also programming a set of variations, probably his own composition, that he played on a single string while holding his violin upside down. It may be that he had already gotten to know the concerto as a work-in-progress. Beethoven’s manuscript shows that he wrote so hastily that he left some of the notation of the solo part on the sketchy side; he didn’t fill in the blanks until it came time to publish it. Not until 1844, when Felix Mendelssohn conducted it with the London Philharmonic with 12-year-old Joseph Joachim as soloist, did this concerto score a serious triumph. Beethoven did not write out cadenzas for this piece, and the ones proposed by Joachim remain the most commonly heard, although many other violinists have written competing versions.

Audience members at the premiere could not have anticipated the first sounds of this concerto: five quiet beats on the timpani, the last of which coincides with the entrance of a more standard orchestral complement. As tunes go, it’s not much to write home about, but that motif surfaces often in the first movement; indeed, when Beethoven transformed this work into a piano concerto a year later, as Schindler mentioned, he incorporated the timpani as an obbligato participant in the first-movement cadenza he wrote for the solo pianist.

Beethoven thrived on the stimulation of his adopted city of Vienna, but, like many modern urbanites, he also complained about its inconveniences. He liked to escape to the suburban parks

and countryside, and he spent his summers mostly in the rural areas surrounding the city, which is why he was installed in the village of Heiligenstadt in the summer of 1808. On a few occasions he went farther afield, dropping in at the country residences of well-to-do friends in Hungary or visiting spas in Bohemia. “How delighted I shall be to ramble for a while through bushes, woods, under trees, through grass, and around rocks,” he wrote in a letter in 1810. “No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo which man desires to hear.”

This was just a year after his Sixth Symphony was published—in its individual instrumental parts, that is, since a full score would not be printed until 17 years later. In general, he was disinclined to predispose listeners by revealing extramusical inspiration that might feed into his compositions; in fact, his sketches for the Pastoral Symphony are peppered with such inscriptions as “The hearers should be allowed to discover the situations,” “All painting in instrumental music is lost if it is pushed too far,” and so on. Still, there is no question that tone-painting and “situations to discover” exist bountifully in this symphony, his great ode to the outdoors, and he clearly condoned the use of the title Pastoral At the head of a violin part used in

the first performance we read the words “Sinfonia / Pastoral Symphony/ or / Recollection of Country Life / More an Expression of Feeling than Painting.” Each of the symphony’s five movements also carries an individual motto: “Awakening of Cheerful Feelings upon Arrival in the Country,” “Scene by the Brook,” “Merry Gathering of Country Folk,” “Thunderstorm,” and “Shepherd’s Song; Happy and Thankful Feelings after the Storm.”

The sense of “discovering a situation” begins with the opening phrases, which seem already to be in progress when we stumble within earshot. The symphony certainly succeeds at being “an expression of feeling”—who could not be swept up in its tableaux of merry-making?—but one is also struck by how Beethoven incorporates realism into his score. In the “Scene by the Brook,” for example, a passage portrays the interplay of birdsongs, labeled in the score as nightingale (flute), quail (oboe), and cuckoo (clarinet); and the “Merry Gathering of Country Folk” includes a passage where a rustic band does its best, with woodwinds seeming to enter on not quite the right beats.

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

FIRST CHAIR ($50,000+)

Betsy Wiegers

SYMPHONY ($40,000+)

Anonymous

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

Cathy Stone

VIRTUOSO ($20,000+)

Susan and Van Campbell

OVATION ($15,000+)

Anne and Hank Gutman

Pam and Don Hutchings

Susan and Richard Rogel

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M.

Fleming

Donna and Patrick Martin

Marge and Phil Odeen

Teri Perry

Linda Farber Post and Dr. Kalmon D. Post

Carole and Peter Segal

SOLOIST ($7,500+)

Sarah and Peter Millett

Barbara and Howard Rothenberg

CRESCENDO ($5,000+)

Shannon and Todger

Anderson

Dierdre and Ronnie Baker

Jill and Al Douglass

Michelle Fitzgerald and Jonathan Guyton

Laura and Jim Marx

Mr. John McDonald and Mr. Rob Wright

Nancy and Douglas Patton

Sally and Byron Rose

Roberta and Ernie Scheller

Elaine and Steven Schwartzreich

Susan and Steven Suggs

Tom Woodell

Kathy and Jonathan Zeschin

Nancy and Harold Zirkin

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

THE PHILADELPHIA ORCHESTRA

Stéphane Denève, conductor

Time for Three, string trio

Nick Kendall, violin

Charles Yang, violin

Ranaan Meyer, double bass

KEVIN PUTS

Contact (30 minutes)

The Call Codes (Scherzo)

Contact Convivium

INTERMISSION

STRAVINSKY

Firebird Suite (1919 Version) (22 minutes)

Introduction; The Firebird and its Dance; Variation of the Firebird

The Princesses’ Round-Dance (Khorovod)

Infernal Dance of King Kashchei— Lullaby—

Finale

RAVEL

Boléro (17 minutes)

DENÈVE CONDUCTS TIME FOR THREE

THIS EVENING’S PERFORMANCE IS PRESENTED BY BACCA FOUNDATION

AMY AND JAMES REGAN

MARCY AND STEPHEN SANDS

MARY SUE AND MIKE SHANNON

SPECIAL GRATITUDE TO Berry Charitable Foundation

The Friends of the Fabulous Philadelphians

The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY

Debbie and Jim Donahugh

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Time for Three, string trio, sponsored by Jann and John Wilcox

Contact (2020-21)

KEVIN PUTS (B. 1972)

Kevin Puts, who teaches composition at the Peabody Institute, is noted for richly colored scores that incorporate vocabularies ranging from delicate minimalism to lush neo-Romanticism. He is acclaimed for his four operas: his first, Silent Night (2010), earned him the Pulitzer Prize in Music and has been produced repeatedly in North America and Europe, while his most recent, The Hours (2022), was given by the Metropolitan Opera this past season, following its world premiere in a concert-hall setting by The Philadelphia Orchestra in March 2022. He has also composed an impressive output of instrumental music, including four symphonies and a dozen concertos—most recently Contact , which won the 2023 Grammy for Best Contemporary Classical Composition. After Time for Three asked him to write a concerto, he heard them perform their song “Vertigo,” in which they both play and sing. “I wondered about the possibility of beginning the concerto with the trio

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Johanna Frymoyer (University of Notre Dame), speaker

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singing a wordless refrain, a cappella ,” he said. “I wrote a chord progression which unfolds from a single note and progresses through simple, suspended harmonies. ... This idea, first heard in a reflective manner, grows considerably until the orchestral brass deliver a most emphatic version of it. This first movement (“The Call”) ends with the same sense of questioning with which it began.

The second movement (“Codes”) displays unrelenting energy, and the third (“Contact”) is cold and stark. For the finale, he drew inspiration from a Bulgarian dance and wrote “a sort of fantasy on this tune, its asymmetric rhythmic qualities a fitting counterbalance to the previous three movements.” “The word contact has gained new resonance during these years of isolation,” the composer observes. “It is my hope that this concerto might be heard as an expression of yearning for this fundamental human need.”

Firebird Suite (1909-10/1919)

IGOR STRAVINSKY (1882-1971)

The opportunity to compose The Firebird , the first of Igor Stravinsky’s many full-length scores for Serge Diaghilev’s Ballets Russes, came to him almost by accident. Diaghilev asked his own one-time harmony professor Anatoly Lyadov to write the score; but after months of Lyadov’s procrastination, Diaghilev turned to young Stravinsky, who had previously created a few orchestrations for the troupe, and received the dazzling score four months later. In this tale, drawn from Russian folklore, dashing Prince Ivan captures the Firebird, which helps him smash a magic egg that harbors the power of malevolent King Kashchei; that breaks a web of evil enchantment, freeing Ivan to marry a beautiful Princess who was liberated through his act.

The ballet, premiered in 1910, was well established by the time Stravinsky assembled several of its movements into a symphonic suite in 1919. This is one of music’s great showpieces of orchestration, a remarkable tourde-force from a composer gaining his first international renown. Some of the effects are frankly startling,

such as when, in the introduction, the strings play eerie glissandos over the instruments’ fingerboards to evoke the mystery of the garden at night. When the Firebird dances it does so to a set of variations on a Russian song, and the overlay of wind orchestration makes us believe that its feathers must indeed sparkle with magic. More folk tunes inform the Princesses’ Round-Dance, which is thrown into disarray when Kashchei’s diabolical guards swarm onto the scene with their Infernal Dance. A solo violin comes to the fore in the tender Lullaby; and, with the evil spells broken, the Finale depicts a breathtakingly beautiful wedding processional for the Prince and his chosen Princess.

Boléro (1928)

More ballet music, this time written in 1928 by Maurice Ravel for the troupe of Ida Rubinstein. At first, he demurred, asking instead if he could just orchestrate an existing piece by Albéniz; but in the end, he decided to write something original, explaining, “After all, I would have orchestrated my own music much more quickly than anyone else’s.” When all is said and done, the piece he wrote turned out to be principally orchestration.

The work’s extended, sinuous

melody is surely memorable, but it is the only melody in the entire 17-minute piece, and it is repeated over and over without the slightest development or elaboration until near the very end. The harmony, working in lockstep with the melody, is similarly repetitive and unvarying. Since the melody never changes, its rhythm (like its pitches) remains always constant; and so does the essentially unpitched two-bar rhythmic figure that accompanies the melody. In the course of Boléro that rhythmic cell is heard ceaselessly, 169 times over, collapsing only in the rupture of the final few measures. By dint of obsessive repetition, the interest of the melody, harmony, and rhythm is dissipated; the listener remains very much aware of them, but their unchanging patterns soothe the ear into complacency. What keeps the piece so exciting is the kaleidoscopic shifting of its sound—the brilliant orchestration that builds from next to nothing to an overwhelming conclusion.

At the first orchestral rehearsal, Ravel was as astonished as everyone else by the momentum his piece conveyed, but he nonetheless told his friends that so radical an experiment could never find a place in normal orchestral concerts. It became an instant mega-hit, securing an unshakeable niche in the repertoire.

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MAURICE RAVEL (1875-1937)

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA

Stéphane Denève, conductor David Kim, violin

BERLIOZ

“Un bal. Valse,” from Symphonie fantastique , Op. 14 (6 minutes)

TAKEMITSU

Waltz, from The Face of Another (3 minutes)

TCHAIKOVSKY

“ Waltz of the Flowers,” from The Nutcracker , Op. 71 (6 minutes)

SIBELIUS

Valse triste , Op. 44 (6 minutes)

RODGERS

Carousel Waltz (8 minutes)

J. STRAUSS II

On the Beautiful Blue Danube , Waltz, Op. 314 (10 minutes)

— INTERMISSION —

J. STRAUSS II

Emperor Waltz , Op. 437 (11 minutes)

KREISLER/ORCH.

MCALISTER

Liebesleid , for Violin and Orchestra (4 minutes)

RAVEL

La valse  (13 minutes)

A NIGHT IN VIENNA

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Stéphane Denève, conductor, sponsored by Susu and George Johnson

When the waltz swirled onto the scene in the late 18th century, it was met with raised eyebrows in certain quarters. It was morally suspect, this spectacle of men putting their arms around a ladies’ waists. “The waltz has no connection to good dancing,” harrumphed the French dancing-master Chavanne, and in 1797 a German book offered “proof that the waltz is the main source of the weakness of the body and mind of our generation.” Somehow the generations waltzed on.

“Un bal. Valse,” from Symphonie fantastique , Op. 14 (1830, rev. 1832)

HECTOR BERLIOZ (1803-69)

That Hector Berlioz’ Symphonie fantastique was a “program symphony” was not unprecedented, but its five movements went well beyond the merely descriptive to enter the realm of the psychological—an unstable state of mind that spills into hallucinations as the hero, a young musician, imagines

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the course of a love affair. In the second movement, he finds himself waltzing at a ball—“in the midst of the tumult of a party,” Berlioz wrote—where the image of his beloved “appears before him and disturbs his peace of mind.”

“Waltz,” from The Face of Another (1966)

TŌRU TAKEMITSU (1930-96)

Tōru Takemitsu is admired in the concert hall for his luminous orchestral and chamber works. His film scores are less widely known, but he wrote more than a hundred, including for such noted directors of the Japanese New Wave as Akira Kurosawa. The 1966 film The Face of Another, directed by Hiroshi Teshigahara, involves a man who, after his face is disfigured, is fitted with a mask that effects a drastic change in his personality. At once romantic and melancholy, “Waltz” underpins a scene in a German-Japanese bar, sung with German lyrics in the movie.

“Waltz of the Flowers,” from The Nutcracker , Op. 71 (1891-92)

PYOTR ILYICH TCHAIKOVSKY (1840-93)

The Mariinsky Theater of St. Petersburg commissioned Pyotr Ilyich Tchaikovsky to compose The Nutcracker as a follow-up to his ballet The Sleeping Beauty. The tale, derived from an E.T.A. Hoffmann story, is strange; “In The Nutcracker there is no subject whatever,” complained one early critic. It was a flop, and years passed before its reputation was reversed. In the United States, it didn’t get its first full-length airing until 1944 (in San Francisco), and only after George Balanchine staged it a decade later did it become omnipresent.

Valse triste (1903/04)

JEAN SIBELIUS (1865-1957)

In 1903, Jean Sibelius composed six numbers to serve as incidental music for Kuolema (Death), a Symbolist play written by his moderately talented brother-in-law, Arvid Järnefelt. The first item was this waltz, which accompanied a scene in which a woman rises from her deathbed to

dance with an imaginary partner, who is then replaced by Death himself. A few months later, Sibelius re-orchestrated this macabre waltz, which quickly became essential repertoire for palmcourt orchestras throughout the world.

Carousel Waltz (1944-45)

RICHARD RODGERS (1902-79)

Composer Richard Rodgers and lyricist Oscar Hammerstein II struck gold in 1943 with their first Broadway collaboration, Oklahoma!, and two years later they repeated their success with Carousel, about a New England carousel barker who travels a downward spiral to suicide—and then gets a second chance, posthumously, to show a more noble spirit than he did while living. Rodgers composed the Carousel Waltz to serve as an overture, saying it gave “the audience an emotional feeling for the characters in the story and helped to establish the mood for the entire play.”

On the Beautiful Blue Danube , Waltz, Op. 314 (1866-67)

Emperor Waltz , Op. 437 (1889)

JOHANN STRAUSS II (1825-99)

The waltzing Strauss family comprised five star composers spread through three generations, but it was Johann Jr. who earned the sobriquet

“The Waltz King,” serving as director of Vienna’s court balls from 1863 to 1871, at which point he handed the reins to his brother Eduard. His immensely popular On the Beautiful Blue Danube has been embraced as a near-universal anthem of carefree elegance, but Strauss wrote it for a choral society that sang it with an ironic text commenting on economic upheaval that was making headlines just then in Vienna.

The Emperor Waltz celebrated a good-will visit by Emperor Franz Joseph, the reigning Habsburg monarch of the Austro-Hungarian Empire (and therefore Vienna), to Kaiser Wilhelm II, the Prussian monarch, following uneasy decades of posturing over whether Prussia should subsume Austria-Hungary, AustriaHungary should subsume Prussia, or both should continue as separate German-speaking states (which was the eventual decision). When Strauss conducted his piece in Berlin, he presented it under the ambiguous title Kaiser-W, which Germans could interpret as denoting “Kaiser Wilhelm” and Austrians as the more general “Kaiser-Walzer”—meaning Emperor Waltz, as it became known in English.

PROGRAM NOTES BY JAMES M. KELLER

CONTINUED ON PAGE 198

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Shannon and Todger Anderson

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Mr. John McDonald and Mr. Rob Wright

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Roberta and Ernie Scheller

Elaine and Steven Schwartzreich

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Tom Woodell

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Nancy and Harold Zirkin

SOIRÉE III

When Beethoven arrived in Vienna in 1792, one of the first people he met was a civil servant and amateur cellist named Nikolaus Zmeskall, who hosted weekly chamber music read-through sessions. The two became lifelong friends: Beethoven dedicated his Op. 95 “Serioso” string quartet to Zmeskall, as well as this charming “Eyeglass” duo, so nicknamed because both Beethoven and Zmeskall required their spectacles in order to read the music.

Composer, conductor, and violinist Johan Halvorsen was a key figure in Norwegian music during the late 19th and early 20th centuries, and his Passacaglia takes its theme from the last movement of Handel’s Harpsichord Suite in G Minor. A passacaglia (derived from Spanish for “street dance”) is essentially a series of inventive variations over a short repeated theme. Drawing heavily upon his own prodigious expertise as a violinist, Halvorsen’s thrillingly virtuosic dialogue is a scintillating tour de force.

According to musicologist George Grove, “The key of C minor occupies a peculiar position in Beethoven’s compositions. The pieces for which he has employed it are, with very few exceptions, remarkable for their beauty and importance.” This trio, published in 1799, is no exception. Beethoven’s unique characteristics of using dynamic effects, sharp rhythmic contrasts, and unexpected harmonic shifts provide momentum, along with energy, novelty, and high passion.

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THE LINDA AND MITCH HART SOIRÉE SERIES

SPECTOR RESIDENCE

Members of The Philadelphia Orchestra

David Kim, violin

Burchard Tang, viola

Priscilla Lee, cello

BEETHOVEN

Eyeglass Duo (8 minutes)

HANDEL/HALVORSEN

Passacaglia (7 minutes)

BEETHOVEN

String Trio No. 5 in C minor, Op. 9 (24 minutes)

Allegro con spirito

Adagio con espressione

Scherzo – Allegro molto e vivace

Finale – Presto

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Soirée

THIS EVENING’S HOSTS Marcy and Gerry Spector

SPECIAL GRATITUDE Linda and Mitch Hart

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COMMUNITY CONCERT V

JONATHAN MAK IN RECITAL

Artist Insights

This opening set of three preludes, all written in the 20th century, demonstrates the contrasting styles by three different composers and explores influences of jazz, romantic, and impressionistic styles. Gershwin’s Prelude No. 1 features strong syncopations and a blues theme. Prelude in D major, Op. 23 No. 4 by Rachmaninoff showcases his ability to create a long memorable melodic line. “Feux d’artifice” (“Fireworks”) is the last and most technically challenging of Debussy’s 24 preludes, and depicts the brilliant colors of pyrotechnics through sweeping runs and gestures.

Beethoven’s Piano Sonata No. 13 is often overshadowed by its sibling, the more famous “Moonlight” Sonata. This entire sonata is played continuously without pauses between movements, in the manner of most fantasias, and the movements are in extreme contrast with each other, also a common trait of this form. In March of 1839, Schumann wrote to his beloved soon-to-be-wife Clara Wieck from Vienna: “All week I’ve been sitting at the piano and composing and writing and laughing and crying, all at the same time. You will find this beautifully illustrated in my Opus 20, the great Humoreske.”

—Jonathan Mak

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VAIL INTERFAITH CHAPEL

GERSHWIN

Prelude No. 1

RACHMANINOFF

Prelude in D major, Op. 23 No. 4

DEBUSSY

“Feux d’artifice” (“Fireworks”), Preludes Book II No. 12

BEETHOVEN

Piano Sonata No. 13 in E-flat major Andante – Allegro – Andante

Allegro molto e vivace

Adagio con espressione

Allegro vivace

SCHUMANN

Humoreske, Op. 20

The running time of this concert is approximately one hour.

JONATHAN MAK

Anonymous

Marijke and Lodewijk de Vink

Cookie and Jim Flaum

Linda and Mitch Hart Lodge at Vail

Kathie Mundy and Fred Hessler

Beth and Rod Slifer

Cathy Stone

Jackie and Norm Waite

Jonathan Mak, piano (Bravo! Vail 2023 Piano Fellow)

7:00PM

CHAMBER MUSIC SERIES

VILAR PERFORMING ARTS CENTER

Ricardo Morales, clarinet

Dalí Quartet

Ari Isaacman-Beck, violin

Carlos Rubio, violin

Adriana Linares, viola

Jesús Morales, cello

HAYDN

String Quartet in F minor, Op. 20, No. 5 (23 minutes)

Allegro moderato

Menuetto

Adagio

Finale: Fuga a due soggetti

REVUELTAS

String Quartet No. 2, Magueyes (11 minutes)

Allegro giocoso

Molto vivace

Allegro molto sostenuto

PIAZZOLLA

Tango Ballet (14 minutes)

Títulos

La calle

Encuentro—Olvido

Cabaret

Soledad

La calle

INTERMISSION

WEBER

Clarinet Quintet in B-flat major, Op. 34 (29 minutes)

Allegro

Fantasia (Adagio)

Menuetto cappricio (Presto)—Trio

Rondo (Allegro giojoso)

PAQUITO D’RIVERA

Preludio y Merengue (7 minutes)

Following the performance, join a brief talkback with the members of the Dalí Quartet, Ricardo Morales, and Bravo! Vail Artistic Director Anne-Marie McDermott.

DALÍ QUARTET & RICARDO MORALES

String Quartet in F minor, Op. 20, No. 5 (1772)

FRANZ JOSEPH HAYDN (1732-1809)

Franz Joseph Haydn’s Six String Quartets, Op. 20, became known as the “Sun” Quartets thanks to the image that graced the cover of the first edition, which appeared in 1774. They generally surpass any that came before in overall dimensions, expressive range, and musical sophistication. One of two from the Op. 20 set that is composed in a minor key, the Fifth displays many characteristics of the hyper-emotive aesthetic movement known as Sturm und Drang (Storm and Stress). At the outset, the first violin sets the tone of intensity by pouring out an emotionally charged, deep-pitched melody over a rich accompaniment of the lower strings. The second movement (Menuetto) sticks to a similar esthetic,

although its Trio section provides some respite; the third is an oldfashioned siciliano; and the Finale is a real tour de force— a technically impeccable fugue built on two independent subjects. Haydn weaves these subjects into a large tapestry of counterpoint, building up considerable tension and ever thicker complexity before two powerful chords ring out to signal that this highly “intellectual” movement has reached its end.

String Quartet No. 2, Magueyes (1931)

SILVESTRE REVUELTAS (1899-1940)

Silvestre Revueltas entered the world at the dawn of the 20th century and in his short life staked an essential place in the currents of modernism then emerging in Mexico. His modestly sized catalogue includes extraordinary film scores and

symphonic works (including his muchplayed music for the movie La noche de los Mayas), and about a dozen works of chamber music. His output is larger than one might expect, since it represents only about ten years of work that coincided with teaching, travel, and political activism, not to mention periods seriously impacted by his alcoholism and even sporadic confinement to a psychiatric hospital.

All of his four string quartets bristle with the rhythmic point of the modernist scores he championed as a virtuoso violinist. The Second, subtitled Magueyes (agave plants that yield tequila), is rich in regional flavor. The composer allowed that it could be considered “a Mexican sketch, but without overstepping into the area of the folkloric.” “More like a fantasy,” he continued. “At its base is a fragment of a folksong.”

Tango Ballet (1956)

ASTOR PIAZZOLLA (1921-92)

Born in Argentina, Astor Piazzolla grew up in New York City, where his family moved in 1924; there, he learned to play the bandoneón, a kind

of accordion whose timbre instantly evokes the Argentine tango. Returning to his native country at the age of 16, he performed with popular ensembles before forming his own tango orchestra in 1946, the year he composed his first tango, the genre in which he would make an important mark as a composer. In 1954 he studied in Paris with Nadia Boulanger, who urged him to develop his language as a composer on a foundation of distinctly Argentine sound. “So,” he said, “I threw away all the other music and, in 1954, started working on my New Tango.” On his return to Argentina he formed another ensemble, the Octeto de Buenos Aires, for which he wrote his Tango Ballet as a soundtrack for a short dance movie that has since been lost. Its six connected movements detail episodes in the film, from the opening titles on.

Clarinet Quintet in B-flat major, Op. 34 (1812-15)

CARL MARIA VON WEBER (1786-1826)

Though he is most famous for his operas, especially his ground-breaking Der Freischütz, Carl Maria von Weber also produced a small but choice selection of symphonic and chamber pieces, several of which feature clarinet. He wrote these for his friend Heinrich Baermann, an oboist-turnedclarinetist whom he commended for “welcome homogeneity of tone from top to bottom.”

Weber worked on this quintet over several years in various locales. On his manuscript, he noted the completion of what would become the second movement on March 22, 1812, in Berlin; of the first movement on March 20, 1813, in Prague; and of the fourth on August 24, 1815, in Munich. (The third movement is undated.) It was worth the wait. In the end, Weber achieved a piece that begins and ends with cheerful, extroverted movements, while the interior movements show contrasting characters: moody, fitful writing in the entrancing Fantasia, with extended chromatic scales at different volumes demonstrating the “top to bottom” evenness Weber admired, and a bubbling Menuetto with some surprising rhythmic displacements.

Preludio y Merengue (2003, arr. 2013)

PAQUITO D’RIVERA (B. 1948)

Growing up in a musical family in Havana, Paquito d’Rivera was surrounded by the sounds of all sorts of music—classical, popular, jazz. He attended Havana Conservatory as a saxophonist and clarinetist, and with his friend Chucho Valdés co-founded the Orquesta Cubana de Música Moderna in 1967. “That was a time where jazz music was a four-letter word in Cuba— literally!” said d’Rivera. “There were a lot of left-wing people going to Cuba, attending congresses and visiting. So the government decided to create an image that jazz was not forbidden and that nothing was forbidden there.” In 1973, he assisted Valdés in forming the Irakere ensemble, which hybridized jazz, rock, classical, and traditional Cuban styles. In 1980, frustrated by renewed governmental attacks on jazz, d’Rivera defected to the United States, earning acclaim as a soloist and as the head of a Latin-jazz quintet. His Preludio y Merengue is characteristic of his sound—the first movement proceeds through contrasting episodes and the second (a dance-type of the Dominican Republic) swings in 5/8 rhythm.

Anonymous

The Sidney E. Frank Foundation

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DAL Í QUARTET

“That was a time where jazz music was a four-letter word in Cuba—literally!”

Photo: Piney Lake

INSIDE THE MUSIC

PROKOFIEV WITH ANNE-MARIE MCDERMOTT

“Anne-Marie McDermott has been a passionate advocate for the piano music of Sergei Prokofiev her entire career, and she brings to this music an intelligence, imagination and sensitivity that open a window to the composer’s soul.” (Max Westler, EnjoytheMusic.com)

In anticipation of embarking on Bravo! Vail’s two-day Immersive Experiences series featuring all nine of Prokofiev’s Pianos Sonatas, Anne-Marie McDermott deconstructs the epic Sonata No. 6. Speaking and illustrating from the piano, Ms. McDermott sheds light on details of the score that illuminate the music and help bring this massive work to life.

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Gratefully

Acknowledges the Support of the Following Patrons

Anne-Marie McDermott, piano

The Judy and Alan Kosloff Artistic Director Chair The Igor Levental Memorial Music Fund

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY Petra Meyer-Frazier (University

THE PHILADELPHIA ORCHESTRA

Yannick Nézet-Séguin, conductor

Hilary Hahn, violin

TCHAIKOVSKY

Violin Concerto in D major, Op. 35 (38 minutes)

Allegro moderato—Moderato assai

Canzonetta. Andante [attacca]

Finale. Allegro vivacissimo

— INTERMISSION —

PRICE

Symphony No. 3 in C minor (30 minutes)

Andante—Allegro

Andante ma non troppo

Juba: Allegro

Scherzo. Finale: Allegro

YANNICK CONDUCTS TCHAIKOVSKY WITH HILARY HAHN

THIS EVENING’S PERFORMANCE IS PRESENTED BY

KAREN AND MICHAEL HERMAN

ANN HICKS

CAROLE AND PETER SEGAL

JENNIFER AND MICHAEL SYLVESTER

BETSY WIEGERS

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SPONSORED BY

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SOLOIST SPONSORS

Hilary Hahn, violin, sponsored by Gina Browning and Joe Illick

Violin Concerto in D major, Op. 35 (1878)

PYOTR ILYICH TCHAIKOVSKY (1840-93)

By 1877, Tchaikovsky stood at the forefront of his generation of Russian composers. That year he consolidated an arrangement with the wealthy Nadezhda von Meck, whose financial patronage freed him to compose fulltime; he had been recommended to her by Iosif Kotek, a young violinist on her musical staff. Then he got married—to the great surprise of his friends, among whom it was no secret that the composer was not “husband material” in the traditional sense. Perhaps it had to do with anxiety about his homosexuality; perhaps it was an exploit of filial devotion to an 81-yearold father who viewed marriage as the principal goal of a man’s life. In any case, he had some sort of nervous breakdown only weeks after the wedding and abandoned his wife. At the outset of 1878, he traveled to Switzerland with Kotek, who had been his former pupil and almost surely his bedmate.

of Denver), speaker

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

They played through a lot of music together, including Edoard Lalo’s Symphonie espagnole, a violin concerto in all but name that inspired Tchaikovsky to embark on his own violin concerto. He composed it in a heat of inspiration in late March and early April 1878, with Kotek offering technical advice on the solo part. When he sent the score to von Meck, she wrote back that she didn’t like it. Tchaikovsky was often given to self-doubt, but this time he defended his piece, although he did decide to replace its original slow movement. (The earlier one lives on as a standalone piece for violin and orchestra or piano titled Souvenir d’un lieu cher, performed not infrequently still today.) Further objections came from the violinist Leopold Auer, who Tchaikovsky hoped would introduce the concerto. When Auer declared it unplayable, the honor of the premiere went instead to Adolf Brodsky, who worked on the concerto for more than two years before he dared to perform it. Auer eventually changed his mind, performing it himself and teaching it to such pupils as Jascha Heifetz and Nathan Milstein. What’s more, when he published his memoirs he wrote of Tchaikovsky with unmistakable warmth: “There is Tchaikovsky, with the personality and the manners of a French marquis of the 18th century; but very modest, with a modesty which could not be mistaken for a pose.”

Tchaikovsky’s Violin Concerto is a lyrical work that rarely ventures into the stormy outbursts that can characterize his symphonic pieces. The first movement, by turns graceful and urgent, makes difficult technical demands, but the fireworks generally sparkle as counterpoint to the overall gentility. The slow movement is elegiac but not depressive, and the Finale emerges without a break, serving up a dazzling array of pyrotechnics.

Symphony No. 3 in C minor (1938-39)

FLORENCE BEATRICE PRICE (1887-1953)

Florence Price is enjoying a resurgence of interest that befits her achievement. A graduate of the New England Conservatory in Boston,

she flourished as a composer after moving to Chicago in 1927. Some of her compositions, which number about 300, gained repeated performances on the national stage. The historic 1939 concert sung by contralto Marian Anderson from the steps of the Lincoln Memorial closed with a rendition of Price’s arrangement of the spiritual “My Soul’s Been Anchored in de Lord.” Her works range from songs and piano pieces to concertos and four symphonies, the first of which was premiered in 1933 by the Chicago Symphony—the first symphonic work by an AfricanAmerican woman ever performed by a leading American orchestra.

Her Symphony No. 3 is a fullscaled work, its four movements running about a half-hour: a sonataform first movement, a relaxed and lyrical second movement orchestrated with elegant imagination, a percussionrich third movement (the term “Juba,” which she used often, refers to a traditional dance, which here is mixed with a Latin-tinged habanera), and a lively Finale. Various musical styles mingle in stimulating contrast. To Frederick Schwass, an administrator at the Michigan WPA Orchestra (which played the premiere, in 1940), Price wrote: “It is intended to be Negroid in character and expression. In it no attempt, however, has been made to project Negro music solely in the purely traditional manner. None of the themes

are adaptations or derivations of folk songs. The intention behind the writing of this work was a not too deliberate attempt to picture a cross-section of present-day Negro life and thought with its heritage of that which is past, paralleled or influenced by contacts of the present day.” Writing to conductor Serge Koussevitzky in 1945, she described it this way: “It is not ‘program’ music. I merely had in mind the life and music of the Negro of today and for that reason treated my themes in a manner different from what I would have done if I had centered my attention upon the religious themes of antebellum days, or yet the rag-time and jazz which followed; rather a fusion of these, colored by present cultural influences.”

While many of its themes have a folkish tinge, the work also references mainstream symphonic music. The ominous wind writing in the introduction sounds somewhat Wagnerian in its dark timbre and its questing harmonies. When the music breaks into the movement’s fast principal section, the lower strings’ syncopated theme, much in the mode of a spiritual, is answered by flute, clarinet, and harp playing in a Debussyinspired whole-tone scale—a contrast that signals an original voice at work.

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

FIRST CHAIR ($50,000+)

Betsy Wiegers

SYMPHONY ($40,000+)

Anonymous

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

Cathy Stone

VIRTUOSO ($20,000+)

Susan and Van Campbell

OVATION ($15,000+)

Anne and Hank Gutman

Pam and Don Hutchings

Susan and Richard Rogel

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M.

Fleming

Donna and Patrick Martin

Marge and Phil Odeen

Teri Perry

Linda Farber Post and Dr. Kalmon D. Post

Carole and Peter Segal

SOLOIST ($7,500+)

Sarah and Peter Millett

Barbara and Howard Rothenberg

CRESCENDO ($5,000+)

Shannon and Todger

Anderson

Dierdre and Ronnie Baker

Jill and Al Douglass

Michelle Fitzgerald and Jonathan Guyton

Laura and Jim Marx

Mr. John McDonald and Mr. Rob Wright

Nancy and Douglas Patton

Sally and Byron Rose

Roberta and Ernie Scheller

Elaine and Steven Schwartzreich

Susan and Steven Suggs

Tom Woodell

Kathy and Jonathan Zeschin

Nancy and Harold Zirkin

COMMUNITY CONCERT VI

VIANO STRING QUARTET

Artist Insights

We’re absolutely delighted to share this program of three intensely personal works that each deviate from conventional string quartet structure and capture snapshots of their composer’s lives.

Bartók’s third String Quartet is the first quartet written after his field work and exploration of various compositional styles—the first written in his mature style, with the idioms of Hungarian folk music fully integrated into his writing. Zeher and “From My Life” are both autobiographical. Esmail wrote her single-movement Zeher (Poison) while ill with a severe throat infection that left her struggling to swallow, speak, and breathe. Smetana composed his first string quartet, titled “From My Life,” in rapidly deteriorating health near the end of his life. The piece is the most programmatic of the three works and is a true autobiography, covering his early years all the way through to his tinnitus and complete deafness.

We believe these composers were able to record their personal experiences with their music. It is our hope that through our performances, we can bring their stories to life.

—Viano String Quartet

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

COMMUNITY CONCERTS

VAIL INTERFAITH CHAPEL

Viano String Quartet (Bravo! Vail 2023 Chamber Musicians in Residence)

Lucy Wang, violin

Hao Zhou, violin

Aiden Kane, viola

Tate Zawadiuk, cello

REENA ESMAIL

Zeher (Poison) for String Quartet

BARTÓK

String Quartet No. 3, Sz. 85

Prima parte: Moderato — Seconda parte: Allegro — Ricapitulazione della prima parte: Moderato — Coda: Allegro molto

SMETANA

String Quartet No. 1 in E minor (“From My Life”)

Allegro vivo appassionato

Allegro moderato à la Polka

Largo sostenuto

Vivace

The running time of this concert is approximately one hour.

Jackie

VIANO STRING QUARTET

Marijke and Lodewijk de Vink

Cookie and Jim Flaum

Linda and Mitch Hart Manor Vail Lodge

Kathie Mundy and Fred Hessler

Beth and Rod Slifer

Cathy Stone

and Norm Waite

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA

Yannick Nézet-Séguin, conductor

Bruce Liu, piano

JENNIFER HIGDON

Fanfare Ritmico (6 minutes)

RACHMANINOFF

Symphonic Dances, Op. 45 (37 minutes)

Non allegro

Andante con moto (Tempo di valse)

Lento assai–Allegro vivace–Lento assai. Come prima–L’istesso tempo, ma agitato–Poco meno mosso–”Alliluya”

— INTERMISSION —

RACHMANINOFF

Piano Concerto No. 2 in C minor, Op. 18 (36 minutes)

Moderato

Adagio sostenuto

Allegro scherzando

RACHMANINOFF PIANO CONCERTO NO. 2

THIS EVENING’S PERFORMANCE IS PRESENTED BY

DIERDRE AND RONNIE BAKER

THE FRANCIS FAMILY

GEORGIA AND DON GOGEL

DONNA AND PATRICK MARTIN

SPECIAL GRATITUDE TO Berry Charitable Foundation

The Francis Family

The Friends of the Fabulous Philadelphians

The Lyn and Phillip Goldstein

Maestro Society

SPONSORED BY

Marge and Phil Odeen

Teri Perry

Sandra and Alejandro Rojas

Debbie and Jim Shpall

Tom Woodell

SOLOIST SPONSORS

Bruce Liu, piano, sponsored by Carol and Ronnie Goldman

Fanfare Ritmico (1999-2000)

JENNIFER HIGDON (B. 1962)

Jennifer Higdon grew up in a counterculture family for whom “art happenings” and experimental film festivals were the norm. She taught herself to play the flute at the age of 15 and went on to earn an artist’s diploma in that instrument at the Curtis Institute in Philadelphia and a Ph.D. in composition at the University of Pennsylvania. Winner of the 2010 Pulitzer Prize in Music for her Violin Concerto, she taught for 27 years on the composition faculty at Curtis. Although she has written a number of choral and vocal pieces, as well as an opera, Higdon is principally an instrumental composer, having produced an impressive body of works for orchestra and for various chamber formulations. “My philosophy is simple and basic,” she has said. “The music has to sing—it has to speak—it

SERGEI RACHMANINOFF

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

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

has to communicate. If it doesn’t, there’s no point.”

Fanfare Ritmico, composed in 1999-2000, courses forth with the very active involvement of four percussionists playing 26 instruments, not counting timpani. “Fanfare Ritmico celebrates the rhythm and speed (tempo) of life,” she says. “Writing this work on the eve of the move into the new millennium, I found myself reflecting on how all things have quickened as time has progressed. Our lives now move at speeds much greater than what I believe anyone could have ever imagined in years past. Everyone follows the beat of his own drummer, and those drummers are beating faster and faster on many different levels. As we move along day to day, rhythm plays an integral part of our lives, from the individual heartbeat to the lightning speed of our computers. This fanfare celebrates that rhythmic motion, of man and machine, and the energy that permeates every moment of our being.”

Symphonic Dances, Op. 45 (1940)

SERGEI RACHMANINOFF (1873-1943)

With the completion of his Third Symphony, in 1936, it appeared that Rachmaninoff had reached the end of his composing career. He had by then finished building a villa on Lake Lucerne and was trying to ease into retirement. The outbreak of World War II disrupted such plans, however, and he returned with his family to live in the United States—familiar territory, since he had largely resided in America since 1918. So it was that he spent the summer of 1940 at an estate on Long Island, where his final work, the Symphonic Dances, came into being.

He initially planned to name the piece Fantastic Dances, or perhaps to title the three movements “Noon,” “Twilight,” and “Midnight”—or, as his biographer Victor Seroff maintained, “Morning,” “Noon,” and “Evening,” meant as a metaphor for the three stages of human life. Rachmaninoff scrapped those ideas and settled instead on the more objective name of Symphonic Dances. The spirit of the dance does indeed inhabit this work, if in a sometimes mysterious or mournful way. As he

was completing the piece he played it privately for his old friend Michel Fokine, the one-time choreographer of the Ballets Russes, who signaled his interest in using it for a ballet; regrettably, Fokine died in 1942 before he could make good on his intention.

Three dances make up this orchestral suite. The opening marchlike movement, powerful and assertive, includes in its coda a theme from Rachmaninoff’s First Symphony, which had come to grief so many years before—an encoded vindication of that early effort. A melancholy waltz follows, and then a finale that quotes Russian Orthodox liturgical chants and the Dies irae from the Roman Catholic Mass for the Dead.

Piano Concerto No. 2 in C minor, Op. 18 (1900-01)

SERGEI RACHMANINOFF (1873-1943)

Rachmaninoff was not an immediate standout at the Moscow Conservatory, but by the time he graduated, in 1892, he was deemed worthy of receiving the Great Gold Medal, which had been bestowed on only two students previously. He developed into a triple threat, respected as a gifted composer, a capable conductor, and one of his era’s supreme pianists. Long adored by audiences and dismissed by critics for the same reason—his music upheld

the ideals of expressive Romanticism long after it had fallen out of official fashion—this year’s sesquicentennial of his birth is inviting a thorough reassessment of a composer whose appeal has remained stubbornly intact. He nearly gave up composing following the failure of his First Symphony, in 1897, but a physician who was investigating psychological therapy through hypnosis helped steer him back on track. Rachmaninoff’s therapy focused on achievable projects—an a cappella chorus, a love duet for an opera—and then, in 1900, two movements of a piano concerto that had been on the back burner for several years. These were received enthusiastically at their premiere that December. “Rachmaninoff appeared as both pianist and composer,” a journal reported. “Most interesting were two movements from an unfinished Second Piano Concerto. This work contains much poetry, beauty, warmth, rich orchestration, healthy and buoyant creative power. Rachmaninoff’s talent is evident throughout.” Within a few months he supplied the concerto’s missing first movement and the “unfinished” concerto became the finished, ever-popular Piano Concerto No. 2. He went into something of a panic just prior to playing the premiere of the complete concerto; but the public’s acclaim convinced him that he was wrong to discount his abilities.

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

FIRST CHAIR ($50,000+)

Betsy Wiegers

SYMPHONY ($40,000+)

Anonymous

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

Cathy Stone

VIRTUOSO ($20,000+)

Susan and Van Campbell

OVATION ($15,000+)

Anne and Hank Gutman

Pam and Don Hutchings

Susan and Richard Rogel

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M.

Fleming

Donna and Patrick Martin

Marge and Phil Odeen

Teri Perry

Linda Farber Post and Dr. Kalmon D. Post

Carole and Peter Segal

SOLOIST ($7,500+)

Sarah and Peter Millett

Barbara and Howard

Rothenberg

CRESCENDO ($5,000+)

Shannon and Todger

Anderson

Dierdre and Ronnie Baker

Jill and Al Douglass

Michelle Fitzgerald and Jonathan Guyton

Laura and Jim Marx

Mr. John McDonald and Mr. Rob Wright

Nancy and Douglas Patton

Sally and Byron Rose

Roberta and Ernie Scheller

Elaine and Steven

Schwartzreich

Susan and Steven Suggs

Tom Woodell

Kathy and Jonathan Zeschin

Nancy and Harold Zirkin

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

THE PHILADELPHIA ORCHESTRA

Yannick Nézet-Séguin, conductor

Rosa Feola, soprano

Jennifer Johnson Cano, mezzo-soprano

Issachah Savage, tenor

Kyle Ketelsen, bass-baritone

COLORADO SYMPHONY ORCHESTRA CHORUS

Duain Wolfe, director

ANNA CLYNE

This Moment (World premiere; This Moment  was commissioned by the League of American Orchestras with the generous support of the Virginia B. Toulmin Foundation) (5 minutes)

SYMPHONIC COMMISSIONING PROJECT

MOZART (ED. F. BEYER)

Requiem , K. 626 (50 minutes)

I. Introit: Requiem aeternum

II. Kyrie

III. Sequence: Dies irae

Tuba mirum

Rex tremendae

Recordare

Confutatis

Lacrimosa

IV. Offertory: Domine Jesu

Hostias

V. Sanctus

VI. Benedictus

VII. Agnus Dei

VIII. Communion: Lux aeterna—

Cum sanctis tuis in aeternum

Program to be performed without intermission.

Following the performance, join a brief talkback with composer Anna Clyne and Bravo! Vail Artistic Director

Anne-Marie McDermott.

MOZART’S REQUIEM

THIS EVENING’S PERFORMANCE IS UNDERWRITTEN BY

THE BETSY WIEGERS CHORAL FUND, IN HONOR OF JOHN W. GIOVANDO

PRESENTED BY

VIRGINIA J. BROWNING

PENNY AND BILL GEORGE

KATHIE MUNDY AND FRED HESSLER

SPECIAL GRATITUDE TO Berry Charitable Foundation

Virginia J. Browning

Bravo! Vail Artistic Excellence Fund

The Friends of the Fabulous Philadelphians

The Lyn and Phillip Goldstein Maestro Society

The Therese M. Grojean Vocalist Fund

National Endowment for the Arts

The New Works Fund

The Sidney E. Frank Foundation

The Sturm Family and ANB Bank

SPONSORED BY

Anne and Hank Gutman

Mary Lou Paulsen and Randy Barnhart

Patti Shwayder-Coffin and Steve Coffin

SOLOIST SPONSORS

Rosa Feola, soprano, sponsored by Sarah and Peter Millett

Issachah Savage, tenor, sponsored by Wendi and Brian Kushner

Yannick Nézet-Séguin, conductor, sponsored by Janice and William Woolford

This Moment (2023)

ANNA CLYNE (B. 1980)

Anna Clyne is a native of London but has lived elsewhere for much of her career: in Scotland for her schooling at the University of Edinburgh, then in the United States, where she earned a master’s degree in composition at the Manhattan School of Music and gained attention for music of unusual breadth and vibrancy. A statistical report of international concert music from the online publication Bachtrack showed that she was the world’s eighth-mostperformed contemporary composer in 2022. During the 2022/23 season she was composer-in-residence with the Philharmonia Orchestra and the Trondheim (Norway) Symphony, and this coming season she begins in the same capacity with the Helsinki Symphony. These are the most recent of residencies that in preceding years have also included the Chicago Symphony, Baltimore Symphony, Orchestre national d’Île-de-France, and Scottish Chamber Orchestra.

In 2015, her composition Prince of Clouds, for two violins and orchestra, was nominated for a Grammy for Best Contemporary Classical Composition, and in 2016 she was awarded the Hindemith Prize by the Schleswig-Holstein Music Festival in Germany. She collaborates on crossgenre creative projects, including with filmmakers, visual artists, and choreographers, having provided music for works at the Royal Ballet in London and the San Francisco Ballet. She often writes pieces in reaction to specific visual artworks and to pieces by canonical composers, which serve as points of departure or as material for musical commentary. So it is with her new, five-minute program opener This Moment, which incorporates themes from Mozart’s Requiem and is presented here as a prelude to that work. She writes:

Zoe Weiss (University of Denver), speaker

Funded in part by a generous grant from the National Endowment for the Arts and the Town of Vail.

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

This Moment is inspired by the writing of Vietnamese Buddhist monk, Zen Master, and peace activist Thich Nhat Hanh, who passed away in January 2022 at the age of 95. It is a reflection on his words “this moment is full of wonders.”

“The meditation on death is a very important meditation. When you meditate on death, you love life more, you cherish life more. We can learn many lessons from it.”—TNH

This Moment is also a response to our collective grief and loss in recent years, and borrows two moments from Mozart’s Requiem: [From the first movement], Requiem—an ascending chromatic line in the sopranos and the fugal subject that is introduced with this line in the basses; [and from] Lacrimosa—the instrumental introduction from the seventh movement.

Requiem, K. 626 (1791)

WOLFGANG AMADEUS MOZART (1756-91)

EDITION BY FRANZ BEYER (1922-2018)

In the summer of 1791, the 35-year-old Wolfgang Amadeus Mozart, who was short on cash but far from destitute, accepted a commission to compose a Requiem. The offer was tendered by an emissary from Count Franz von Walsegg-Stuppach, a wealthy music lover who may have known Mozart personally through musical or Masonic connections. The messenger apparently did not disclose who was making the offer; we do not know if Mozart guessed. The Count’s wife had died on February 14, at the age of only 20, and he had decided to memorialize her through a Requiem that would be performed annually on the anniversary of her passing.

Mozart took half of his fee as a down payment and then put the project on hold so he could tend to the more immediate demands of two operas that were headed to their premieres, La clemenza di Tito and Die Zauberflöte. Only in the autumn could he focus on the Requiem, its structure being dictated by the traditional Roman Catholic Mass for the Dead. But around November 20 he fell ill, and he died at about one o’clock in the early morning of December 5. He had

made considerable headway with the Requiem, but plenty remained to be finished. As his health grew precarious, he dictated ideas about how the piece should be completed to his pupil Franz Xaver Süssmayr.

When Mozart died, the Requiem was more-or-less finished through the beginning of the Lacrimosa, with much of the Offertory also written. There was a compelling practical reason that it should be brought to a finished state: Count Walsegg had paid a fair amount of money into the project already, and Mozart’s widow, Constanze, needed the funds that the remainder of the commission would provide. She arranged for Süssmayr to compose the uncompleted Sanctus, Benedictus, and Agnus Dei sections (perhaps drawing on ideas Mozart had shared with him); for the Communion he simply repeated music Mozart had completed for the Introit and Kyrie.

Süssmayr’s completion entered the canon as the standard edition, but quite a few scholars have proposed competing versions based on divergent opinions about how to finish the piece in a more Mozartian style. This performance uses the version published in 1971 by Franz Beyer, a specialist in completing unfinished works of the Classical era. He used Süssmayr’s edition as the basis, feeling that it had the authority of residing closest to the composer—and,

furthermore, arguing that Mozart had left a personal imprint on more of the Requiem than had been previously supposed. But he adapted the score substantially, particularly revising Süssmayr’s dark-toned orchestration, making it lighter and, as he wrote, aiming “to color it with the hues of Mozart’s own palette.”

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

FIRST CHAIR ($50,000+)

Betsy Wiegers

SYMPHONY ($40,000+)

Anonymous

IMPRESARIO ($25,000+)

Virginia J. Browning

Karen and Michael Herman

Cathy Stone

VIRTUOSO ($20,000+)

Susan and Van Campbell

OVATION ($15,000+)

Anne and Hank Gutman

Pam and Don Hutchings

Susan and Richard Rogel

ALLEGRO ($10,000+)

John Dayton

Carole C. and CDR. John M.

Fleming

Donna and Patrick Martin

Marge and Phil Odeen

Teri Perry

Linda Farber Post and Dr. Kalmon D. Post

Carole and Peter Segal

SOLOIST ($7,500+)

Sarah and Peter Millett

Barbara and Howard Rothenberg

CRESCENDO ($5,000+)

Shannon and Todger

Anderson

Dierdre and Ronnie Baker

Jill and Al Douglass

Michelle Fitzgerald and Jonathan Guyton

Laura and Jim Marx

Mr. John McDonald and Mr. Rob Wright

Nancy and Douglas Patton

Sally and Byron Rose

Roberta and Ernie Scheller

Elaine and Steven

Schwartzreich

Susan and Steven Suggs

Tom Woodell

Kathy and Jonathan Zeschin

Nancy and Harold Zirkin

WOLFGANG AMADEUS MOZART

6:00PM

FAMILY CONCERT

LITTLE BEACH AMPHITHEATER, MINTURN

Dalí Quartet

Ari Isaacman-Beck, violin

Carlos Rubio, violin

Adriana Linares, viola

Jesús Morales, cello

Selections to be announced from the stage

Running time of this program is approximately 45 minutes.

FAMILY CONCERT

A BAILAR

This fun-for-all-ages program explores dance styles from around the world, including tangos from Argentina and Uruguay; salsa-inspired music from Venezuela; boleros, guajiras, and mambos from Cuba; waltzes from Europe; and more. The Dalí Quartet, whose members are from Venezuela, Puerto Rico, and the U.S., will get you dancing on the sidewalk with Latin-American rhythms and your favorite classics. No prior musical or dance experience needed—vamos a bailar!

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

Virginia J. Browning Slifer Smith & Frampton Foundation Town of Minturn Carole A. Watters

LATIN AMERICA

JUL

SUNDAY 7:00PM

CHAMBER MUSIC SERIES

VILAR PERFORMING ARTS CENTER

Tara Helen O’Connor, flute

Stephen Prutsman, piano

Joseph Conyers, double bass

Dalí Quartet

Ari Isaacman-Beck, violin

Carlos Rubio, violin

Adriana Linares, viola

Jesús Morales, cello

BOLLING

Suite for Flute and Jazz Piano (selections) (34 minutes)

Baroque and Blue

Sentimentale

Fugace

ARR. STEPHEN PRUTSMAN

Three Jazz Standards for Piano Quintet (15 minutes)

A Night in Tunisia (Dizzy Gillespie)

Naima (John Coltrane)

Birdland (Joe Zawinul)

— INTERMISSION —

STEPHEN PRUTSMAN

Seven Chances, a Buster Keaton silent film, accompanied by live music (45 minutes)

Following the performance, join a brief talkback with Stephen Prutsman, Tara Helen O’Connor, Joseph Conyers, and Bravo! Vail Artistic Director Anne-Marie McDermott.

SEVEN CHANCES –A BUSTER KEATON SILENT FILM

Suite for Flute and Jazz Piano (1975)

CLAUDE BOLLING (1930-2020)

IPublishers of Music (SACEM) at age 15—the Society’s youngest member ever. In the mid-1950s he began writing film and television scores, of which he would eventually compose 115. In 1956 he formed a big band to explore the works of Duke Ellington, who became a friend. “Among the lessons I learned from Ellington,” he said, “is that you write specifically for the personality of the instrumental soloists”—a precept that proved useful when Rampal approached him about writing a piece. “Had I written it for another,” Bolling said, “it would be completely different. Each musician has his own voice, and I write for that.”

The Suite for Flute and Jazz

Piano (recorded with trio on the 1975 LP) consisted of seven movements, of which the three played here are the first, second, and fourth. Bolling’s

approach in this and the many other pieces he wrote for classical musicians was to compose a carefully notated part for the soloist while allowing freedom for the pianist (i.e., himself), a strategy for splitting the stylistic difference in his breezy, hybridized jazz-classical (or “clazzical”) method.

Three Jazz Standards for Piano Quintet: “A Night in Tunisia”; “Naima”; “Birdland”

ARRANGED BY STEPHEN PRUTSMAN (B. 1960)

A medal-winning laureate of the Tchaikovsky and the Queen Elisabeth of Belgium piano competitions, Stephen Prutsman has performed as soloist with many leading orchestras, including the San Francisco Symphony, Los Angeles Philharmonic, and Royal Scottish National Orchestra. He served as artistic partner with the St. Paul Chamber Orchestra and as artistic director of the Cartagena International Festival of Music in Colombia. He has created a substantial catalogue of original concert compositions and arrangements and has collaborated

with such non-classical figures as Tom Waits, Joshua Redman, and Sigur Rós.

“A Night in Tunisia” was composed by trumpeter Dizzy Gillespie (191793) around 1940-42. Gillespie called the piece “Interlude,” and Sarah Vaughan famously recorded it in 1944 under that title. “Some genius decided to call it ‘Night in Tunisia,’” was Gillespie’s elusive explanation of how the name-change came about.

“John Coltrane (1926-67) named his 1959 jazz ballad “Naima” after his then-wife, Juanita Naima Grubbs. That year he recorded it on his album Giant Steps, and it soon became one of his most famous numbers. “The tune is built ... on suspended chords over an E-flat pedal tone on the outside,” he said. “On the inside—the channel—the chords are suspended over a B-flat pedal tone.”

“Birdland,” by Joe Zawinul (19322007) of the band Weather Report (which he co-founded with the late Wayne Shorter), was written as a tribute to the legendary New York jazz club of that name. After he introduced the piece on Weather Report’s 1977 album Heavy Weather it quickly earned status as a standard. Zawinul, an Austrian keyboardist-composer, became an immediate Birdland fixture when he relocated to the United States in 1959 (“The old Birdland was the most important place in my life,” he said), and in 2004 he opened his own jazz club in his native Vienna— called Joe Zawinul’s Birdland.

Seven Chances , a Buster Keaton silent film, accompanied by live music by STEPHEN PRUTSMAN

In addition to his concert music and jazz arrangements, Prutsman has gained a following for the soundtracks he has written for about a dozen silent films. “I try to make the musical language indicative of the time, place, and genre,” he explained in an interview. “Sometimes I throw in a popular song of the time. The next stage is mapping it all out, so you have structure, form.” He shares these thoughts about Seven Chances—a popular success of 1925 that earned domestically the astonishing box-office sum of $598,288:

“The premise of Buster Keaton’s wild and hilarious 1925 film Seven Chances tells us of Buster’s sudden discovery that he needs to be married by 7:00 pm that same day (his birthday) in order to inherit one million dollars from a deceased uncle. He of course has a ‘true love’ but is unsuccessful with convincing her to be his bride. A quick ad is then placed in the evening’s newspaper for a wife, from which thousands of eager brides appear. The final 20 minutes include an insane and uproarious chase scene, (the type we’ve seen in many of Keaton’s witty and comic full length feature flicks). But instead of the usual good vs. bad guys chase, it’s Buster running for his life from the mayhem of mass matrimony!

“Having scored a couple other Keaton comedies I’ve found it useful to maintain a musical language that is indicative of the time of the film’s release. Much swing, fox trot, ragtime, fragments of old melodies along with many-a-musical-joke are to be heard, often interwoven with fast-paced ‘spotlights’ on two of the instrumentalists: The double bass and flute alternating with piccolo.” Anonymous The Francis Family The Sidney E. Frank Foundation Terie and Gary Roubos

Bravo! Vail

Gratefully Acknowledges the Support of the Following Patrons

DAL Í QUARTET

“I try to make the musical language indicative of the time, place, and genre,”

DIVE INTO GREAT MUSIC

IMMERSIVE EXPERIENCES

JULY 17 ~ 18 // 2023

Bravo! Vail’s Immersive Experiences study a specific theme or body of work in depth through performances, lectures, and other avenues of exploration.

This season’s “deep dive” explores Sergei Prokofiev’s Piano Sonatas—arguably the most important piano sonatas of the 20th century—in concert and conversation with Anne-Marie McDermott and two of last year’s top finishers from the Van Cliburn International Piano Competition.

Bravo! Vail

Gratefully Acknowledges the Support of the Following Patrons

Bravo! Vail Artistic Excellence Fund

The Francis Family

The Judy and Alan Kosloff Artistic Director Chair

The Igor Levental Memorial Music Fund Town of Vail

ANNE-MARIE MCDERMOTT

ANNA GENIUSHENE

IMMERSIVE EXPERIENCES

DONOVAN PAVILION

THIS EVENING’S PERFORMANCE IS PRESENTED BY

THE IGOR LEVENTAL MEMORIAL MUSIC FUND

Anne-Marie McDermott, piano

Ilya Shmukler, piano

PROKOFIEV

Sonata No. 1 in F minor (8 minutes)

Allegro

Sonata No. 2 in D minor (19 minutes)

Allegro, ma non troppo

Scherzo. Allegro marcato

Sonata No. 7 in B-flat major (20 minutes)

Allegro inquieto

Andante caloroso

Precipitato

INTERMISSION

PROKOFIEV

Sonata No. 3 in A minor, Op. 28, “From Old Notebooks” (8 minutes)

Allegro tempestuoso

Sonata No. 6 in A major, Op. 82 (29 minutes)

Allegro moderato

Allegretto

Tempo di valzer lentissimo

Vivace

Following the performance, join a brief talkback with the artists.

PROKOFIEV PIANO SONATAS I

Sonata No. 1 in F minor (1907-09)

Sonata No. 2 in D minor, Op. 14 (1912)

Sonata No. 7 in B-flat major, Op. 83 (1939-42)

Sonata No. 3 in A minor, Op. 28, “From Old Notebooks” (1917, using some material from 1907)

Sonata No. 6 in A major, Op. 82 (1939-40)

SERGEI PROKOFIEV (1891-1953)

Perhaps things would have turned out differently if Sergei Prokofiev’s mother had not played the piano. She did, and the sound of hammers hitting strings was part of his world from the outset. She was no virtuoso but, he recalled, “Mother achieved the best

possible performances of the pieces she studied, regarding this work with love, and she was interested in serious music only. This played a significant role in the evolution of my own musical taste: from birth I heard Beethoven and Chopin, and I remember, at the age of 12, consciously despising light music.” She began giving him music lessons when he was seven, but not aggressively—just 20 minutes per session at first, then 30, eventually an hour. He loved to improvise, and as a youngster he began writing down some of the pieces he invented. He amassed quite a portfolio by the time he arrived at the St. Petersburg Conservatory, where he enrolled in 1904, at the age of 13.

His professors there included names that remain famous in posterity—music theory and counterpoint with Anatoly Lyadov,

ILYA SHMUKLER

orchestration with Nikolai RimskyKorsakov, conducting with Nikolai Tcherepnin. For piano, he was assigned to Alexander Winkler, a solid teacher who managed to instill some consistency in his previously haphazard playing, but a couple of years later Prokofiev transferred out of his studio. Feathers were bound to be ruffled, but Prokofiev was inspired by advice he received by one of his conservatory friends, Nikolai Miaskovsky: “When you’re marching toward your goal, don’t look at the corpses you have to walk over.” Prokofiev quoted this aperçu approvingly in a letter to his father, but he tempered it with a comment of his own: “The trouble is, the corpses sometimes stand up and strike you in the back of the head.” He therefore thought of a way to infuse diplomacy into the situation; he composed four piano etudes onto which he inscribed a dedication to Winkler.

He was accepted to study with Anna Yesipova, admired by Liszt and Tchaikovsky, student (and former wife) of the legendary Theodor Leschetizky. She was a star on the faculty, and for a while everything went well. But, accustomed to students who bent to her iron will, she ended up frustrated by Prokofiev’s lack of pianistic commitment. His keyboard skills were impressive, to be sure, but he seemed to be cruising through on sheer talent without concomitant discipline. A year into their work, her evaluation stated that he “has assimilated my method only to a limited degree. He is very talented, but rather crude.” It is not hard to imagine the two of them out of sync. Yesipova felt her job was to instill technique and attitudes that would serve her pupils as interpreters of the great masters, which to her meant figures like Beethoven, Chopin, and Anton Rubinstein. Prokofiev was like an unbridled pony in her stable of pupils, forever dashing off in his own direction no matter where his trainer pointed him. A low point came when he sent in an application for a piano competition without telling her. She found out, of course, made him play her the repertoire he had announced, disagreed virulently with his interpretations, and made him withdraw. He simply would not do things comme il faut

He wasn’t really acting like a piano student—nor was he even acting much like a student. He was staking a place in St. Petersburg’s concert life, making a splash at the city’s Evenings of Contemporary Music series by playing his own compositions and even the first Russian performance of any music by Schoenberg (it was the atonal Klavierstücke, Op. 11). He was also spending a lot of time with Nina Mershchersky, the daughter of an upperclass family that found Prokofiev interesting but not appropriate husband material for their family. Her mother, Vera, stated the obvious during one of his visits, and on February 28 (old style), 1914, he jotted this in his diary: “Waking up in the morning I recalled something Vera Nikolayevna had said about me the evening before: ‘After all, he is a composer; the piano is his second study.’ This set me to thinking about the way I play, and indeed I found it hard to rid myself of the notion that I am not really a pianist and therefore my performances never transcend the limitations of someone who crams for an examination in a diligent but routine way.”

Indeed he was a composer. He was regularly performing his own works in public, and in 1911 the Jürgenson publishing firm issued Prokofiev’s Op. 1—his one-movement Piano Sonata No. 1, which would not have seemed terribly out of place on the company’s conservative roster. It was not really the composer’s first piano sonata. He had written a handful by then, works that remained unpublished although he would recycle some of their material into official sonatas. Other piano publications followed in short order. When his Conservatory graduation approached in 1914, he decided to compete for the school’s Anton Rubinstein Prize, essentially

the “best pianist” award. The other competitors played concertos by Liszt and Saint-Saëns, but Prokofiev performed his own Piano Concerto No. 1, with his colleague Vladimir Dukelsky (a.k.a. Vernon Duke) playing a reduction of the orchestral part. Prokofiev supplied the 20 jurors with published copies beforehand—and following heated deliberation, he won.

Bravo! Vail

Gratefully Acknowledges the Support of the Following Patrons

Bravo! Vail Artistic Excellence Fund

The Francis Family

The Judy and Alan Kosloff Artistic Director Chair

The Igor Levental Memorial Music Fund Town of Vail

COMMUNITY CONCERT VII

MOZART AND BRAHMS PIANO QUARTETS

Artist Insights

One of my favorite quartets of the Classical era is this one, written by W.A.Mozart. By some sources, it is considered to be the first of its kind written for this group of performers. Such a tremendous innovator, Mozart has shaped my perception, and I can certainly say that his music holds a special place in my life.

—Illia Ovcharenko

The last published of Brahms’ three piano quartets was in fact his first attempt at the form, dating from the mid 1850s when Brahms was in his early 20s, and in love with pianist Clara Schumann. Decades later, when he reworked the score and sent a revised manuscript to his publisher, he included a sardonic comment: “You may place a picture on the title page, namely a head – with a pistol in front of it. This will give you some idea of the music.” This work overflows with passionate outpourings of frustrated love and emotional turmoil.

—Jonathan Mak

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

VAIL INTERFAITH CHAPEL

Jonathan Mak, piano (Bravo! Vail 2023 Piano Fellow)

Illia Ovcharenko, piano (Bravo! Vail 2023 Piano Fellow)

Viano String Quartet (Bravo! Vail 2023 Chamber Musicians in Residence)

Lucy Wang, violin

Hao Zhou, violin

Aiden Kane, viola

Tate Zawadiuk, cello

MOZART

Piano Quartet No. 1 in G minor, K. 478

Allegro

Andante

Rondo (Allegro)

Mr. Ovcharenko

BRAHMS

Piano Quartet in C minor, Op. 60

Allegro non troppo

Scherzo: Allegro

Andante

Finale: Allegro comodo

Mr. Mak

The running time of this concert is approximately one hour.

ILLIA OVCHARENKO

Anonymous Marijke and Lodewijk de Vink

IMMERSIVE EXPERIENCES

DONOVAN PAVILION

THIS EVENING’S PERFORMANCE IS PRESENTED BY THE IGOR LEVENTAL MEMORIAL MUSIC FUND

Anna Geniushene, piano

Anne-Marie McDermott, piano

PROKOFIEV

Sonata No. 5 in C major, Op. 38 (15 minutes)

Allegro tranquillo

Andantino

Un poco allegretto

Sonata No. 4 in C minor, Op. 29, “From Old Notebooks” (18 minutes)

Allegro molto sostenuto

Andante assai

Allegro con brio, ma non leggiero

INTERMISSION

PROKOFIEV

Sonata No. 8 in B-flat major, Op. 84 (32 minutes)

Andante dolce

Andante sognando

Vivace

Sonata No. 9 in C major, Op. 103 (24 minutes)

Allegretto

Allegro strepitoso

Andante tranquillo

Allegro con brio, ma non troppo presto

Following the performance, join a brief talkback with the artists.

PROKOFIEV PIANO SONATAS II

Sonata No. 5 in C major, Op. 38 (1923, rev. 1952-53)

Sonata No. 4 in C minor, Op. 29, “From Old Notebooks” (1917, using some material from 1908)

Sonata No. 8 in B-flat major, Op. 84 (1939-44)

Sonata No. 9 in C major, Op. 103 (1947)

SERGEI PROKOFIEV (1891-1953)

Sergei Prokofiev’s nine piano sonatas span 40 years, from 1907 to 1947, and when he died, in 1953, he had just completed a revision of his Fifth Sonata (written three decades earlier) and was expanding his Piano Sonatina in E minor (Op. 54, No. 1) into what he intended to be his Piano Sonata No.

10. The chronology of these works is not so clear-cut as one might assume. The Sonatas Nos. 3 and 4, for example, were completed in 1917, but they draw on material he had sketched many years previously— hence their composer-inscribed designation “From Old Notebooks.” Sometimes he worked on disparate pieces simultaneously. Such was the case with his three “war sonatas (Nos. 6, 7, and 8), widely considered the pinnacle of the series; he worked on them together beginning in 1939, signing off on them in 1940, 1942, and 1944. And yet, details of chronology may seem less consequential in these pieces than in the ever-developing styles of other composers. Prokofiev found his voice early on, and strands of his musical character remained quite consistent through his career.

ANNA GENIUSHENE

In his so-called Short Autobiography, which he wrote in 1941, Prokofiev considered how his style had evolved by the end of his time at St. Petersburg Conservatory: I should like to pause here to analyze the basic lines along which my work had developed up to this point. The first was the classical line, which could be traced back to my early childhood and the Beethoven sonatas I heard my mother play. This line takes sometimes a neoclassical form (sonatas, concertos), sometimes imitates the 18th century …. The second line, the modern trend … took the form of a search for my own harmonic language, developing later into a search for a language in which to express powerful emotions …. The third line is the toccata, or “motor line … This line is perhaps the least important. The fourth line is lyrical: it appears first as a thoughtful and meditative mood, not always associated with melody, or at any rate with long melody …. This line was not noticed until much later. For a long time, I was given no credit for any lyrical gift whatever, and for want of encouragement it developed slowly. But as time went on, I gave more and more attention to this aspect of my work.

I should like to limit myself to these four “lines,” and to regard the fifth, “grotesque,” line which some wish to ascribe to me as simply a deviation from the other lines. … I would prefer my music to be described as “scherzo-ish” in quality or else by three words describing various degrees of the scherzo—whimsicality, laughter, and mockery.

These strands maintain throughout his oeuvre. In the piano sonatas, we often find them rubbing shoulders within a piece, or even within an individual movement. He was right to suggest that his ability in the lyrical line was often overlooked; the fact that he was one of music’s supreme melodists can be obscured by the “wow factor” of his crashing modernist and motoric aspects. It also may have to do with how he rendered his own

music. Prokofiev played the premieres of each of his sonatas through the Sixth (the Seventh and Ninth were unveiled by Sviatoslav Richter, the Eighth by Emil Gilels), so his distinctive keyboard personality formed listeners’ impressions and expectations.

His New York recital début earned this comment in the New York Times, in 1918: “His fingers are steel, his wrists steel, his biceps and triceps steel, his scapula steel. He is a tonal steel trust. He has speed, surely, but a narrow gamut of dynamics, all crash or whisperings; no tonal gradations, with a special aptitude in the performance of double note octaves and chords taken at a dizzy tempo.” The write-up also addressed his interpretation of other composers: “The gracious butterfly of Scriabin was metamorphosed into a gigantic prehistoric pterodactyl with horrid snout and crocodile wings which ominously whirred as they flew over the pianist.” A later description of his pianism came from his fellow composer-pianist and bridge partner Francis Poulenc: “Ah! … Prokofiev’s playing!!! It was marvelous! … He played on a level with the keyboard, with an extraordinary sureness of wrist, a marvelous staccato. He rarely attacked from on high; he wasn’t at all the sort of pianist who throws himself from the fifth floor to produce the sound. He had a nervous power like steel, so that on a level with the keys he was capable of producing sonority of fantastic strength and intensity, and in addition—I recommend this to all players of Prokofiev’s music— the tempo never, never varied.”

We can listen for ourselves, although he recorded surprisingly little. All his recordings confirm the character of his playing as rhythmically precise and “objective” in its approach. He made 17 piano rolls for the Aeolian Duo-Art company—ten movements of his own composition plus a grabbag of short items by Rachmaninoff, Glazunov, Scriabin, Mussorgsky, Rimsky-Korsakov, and Miaskovsky. He recorded only seven 78-rpm platters, all from 1932-35. These fortunately capture the complete Piano Concerto No. 3 (on three records) along with nine other movements. One of them is the Andante assai from his Sonata No. 4, which offers our only glimpse of how he played any music from his masterful piano sonatas.

Bravo! Vail

Bravo! Vail Artistic Excellence Fund

The Francis Family

The Judy and Alan Kosloff Artistic Director Chair

The Igor Levental Memorial Music Fund Town of Vail

Gratefully Acknowledges the Support of the Following Patrons

October 6-15, 2023

A fairy tale of passion, heartbreak, sorcery and deceit, unfurling on the shores of a moonlit lake.

November 25-December 24, 2023

A dazzling holiday must-see returns. As the fate of one magical night hangs in the balance, Clara’s Nutcracker comes to life for a battle royale.

February 2-11, 2024

Havoc is unleashed on Victorian London when one man struggles with the terrifying dance between the good and evil that lies within.

March 8-17, 2024

When a life-sized doll comes between two village lovers, a young woman dances to the rescue, saving her betrothed from a scheming inventor.

April 12-21, 2024

Testing the limitations of gravity and rhythm, Colorado Ballet presents Bolero , Rubies and a world premiere you will be first to discover.

SUBSCRIBE TODAY!

Save 25% and secure the best seats before single tickets go on sale July 14, 2023.

Photo Credit: Artists of Colorado Ballet by Rachel Neville

INSIDE THE MUSIC

MASTERCLASS

Each year, Artistic Director Anne-Marie McDermott invites two young pianists to live, learn, and perform in Vail for two weeks during the Festival season. These up-and-coming musicians enjoy unparalleled access to members of resident orchestras and renowned Festival musicians, and the invaluable opportunity to collaborate and perform with other artists.

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

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

Jonathan Mak, piano

(Bravo! Vail 2023 Piano Fellow)

Illia Ovcharenko, piano

(Bravo! Vail 2023 Piano Fellow)

Anne-Marie McDermott, coach

PROKOFIEV

Sonata No. 6 in A major, Op. 82

Allegro moderato

Allegretto

Tempo di valzer lentissimo

Vivace

Mr. Ovcharenko

SCHUMANN

Sonata in F minor, Op. 14

Allegro brillante

Scherzo. Molto commodo

Quasi variazioni. Andantino de Clara Wieck

Prestissimo possible

Mr. Mak

SCHEDULE AT A GLANCE

Chick Corea’s Trombone Concerto 120

New York Philharmonic Performs Sibelius 126

Harry Potter and the Chamber of Secrets™ In Concert 130

Beethoven’s Fifth with van Zweden 132

Bruckner Symphony No. 7 138

Alsop Conducts Rachmaninoff with Yunchan Lim 142

PRECISION, POWER, SOUL

NEW YORK PHILHARMONIC

IN RESIDENCE JULY 19 ~ 26 // 2023

The New York Philharmonic celebrates 20 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 around the world, as well as broadcasts, recordings, and education programs.

The 2022/23 season marks a new chapter in the life of America’s longest living orchestra with the opening of the new David Geffen Hall and programming that engages with today’s cultural conversations. The NY Phil explores its newly renovated home’s potential through repertoire that activates the new performance spaces and by launching new presentations, including at the intimate Kenneth C. Griffin Sidewalk Studio. Over the season the orchestra explored HOME, introducing the hall and its new spaces; LIBERATION, a response to cries for social justice; SPIRIT, a musical meditation on humanity’s relationship with the cosmos; and EARTH, a reflection on the climate crisis. In addition, the NY Phil gave world, U.S., and New York premieres of 16 works and collaborated with Community Partners-in-Residence, building on impactful collaborations forged over the course of the COVID-19 pandemic through the launch of NY Phil Bandwagon—free, outdoor, “pullup” concerts that brought live music back to New York City. During the David Geffen Hall construction the NY Phil presented concerts at other New York City venues, and its residency at the Usedom Music Festival marked the first American orchestra to appear abroad since the onset of the pandemic.

The New York Philharmonic has commissioned and/or premiered works by leading composers from every era since its founding in 1842, from Dvořák’s New World Symphony and Gershwin’s Concerto in F to two

Pulitzer Prize winners: John Adams’

On the Transmigration of Souls and Tania León’s Stride, commissioned through Project 19, which marks the centennial of the 19th Amendment with commissions by 19 women composers. The orchestra has made more than 2,000 recordings since 1917; the most recent include Julia Wolfe’s Grammynominated Fire in my mouth and David Lang’s prisoner of the state. In the spring of 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 famed Young People’s Concerts and Very Young Composers Program. The orchestra has appeared in 436 cities in 63 countries, including Pyongyang, DPRK, in 2008, the first visit there by an American orchestra.

Founded in 1842 by local musicians, the New York Philharmonic is one of the oldest orchestras in the world. Notable figures who have conducted the Philharmonic include Tchaikovsky, Richard Strauss, Stravinsky, and Copland. Jaap van Zweden became Music Director in 2018/19, succeeding musical leaders including Bernstein, Toscanini, and Mahler. Gustavo Dudamel will become Music Director Designate in the 2025/26 season, before beginning his tenure as Music and Artistic Director in 2026.

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

FIRST CHAIR ($50,000+)

Marijke and Lodewijk de Vink

Georgia and Don Gogel

Lyn Goldstein

Mr. Claudio X. Gonzalez

Linda and Mitch Hart

Leni and Peter May

Amy and James Regan

June and Paul Rossetti

SYMPHONY ($40,000+)

Julie and Tim Dalton

Barbie and Tony Mayer

ENSEMBLE ($30,000+)

Vera and John Hathaway

June and Peter Kalkus

Billie and Ross McKnight

Ann and Alan Mintz

Kay and Bill Morton

IMPRESARIO ($25,000+)

Jayne and Paul Becker

Penny and Bill George

Tom Grojean

Cathy Stone

Dhuanne and Douglas Tansill

Carol and Pat Welsh

VIRTUOSO ($20,000+)

Kjestine and Peter Bijur

Jean and Harry Burn

Amy and Steve Coyer

Laura and Bill Frick

Judy and Alan Kosloff

Honey M. Kurtz

Ferrell and Chi McClean

Margaret and Alex Palmer

Didi and Oscar Schafer

Marcy and Gerry Spector

Jennifer and Michael Sylvester

Lisa Tannebaum and Don Brownstein

Anne and Chris Wiedenmayer

OVATION ($15,000+)

Anonymous (2)

Ron Davis

Liz and Tommy Farnsworth

Jane and Michael Griffinger

Melinda and Tom Hassen

Karen and Jay Johnson

Mr. and Mrs. Arthur Kelton, Jr.

Sandra and Alejandro Rojas

Terie and Gary Roubos

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

Nancy and Harold Zirkin

ALLEGRO ($10,000+)

Bank of America Private Wealth and Regina and John Magee

Nancy and Andy Cruce

Kathleen and Jack Eck

Carole C. and CDR. John M.

Fleming

Martha Head

Dr. and Mrs. Frederick

Kushner

Donna and Patrick Martin

Ray Oglethorpe

Carolyn and Steve Pope

Linda Farber Post and Dr. Kalmon D. Post

Ann and Tom Rader

Carole and Peter Segal

Barbara and Carter Strauss

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Jack Sheinbaum (University of Denver), speaker

NEW YORK PHILHARMONIC

Giancarlo Guerrero, conductor

Joseph Alessi, trombone

NINA SHEKHAR

The Mother is Standing (World Premiere, Co-commission by Bravo! Vail and the New York Philharmonic) (10 minutes)

SYMPHONIC COMMISSIONING PROJECT

COREA (ORCH. J. DICKSON)

Trombone Concerto (25 minutes)

A Stroll

Waltse for Joe Hysteria

Joe’s Tango

— INTERMISSION —

DVOŘÁK

Symphony No. 9 in E minor, Op. 95, From the New World (40 minutes)

Adagio—Allegro molto

Largo

Scherzo. Molto vivace

Allegro con fuoco

The commission of Chick Corea’s Trombone Concerto is made possible with support from Edward Stanford and Barbara Scheulen.

Following the performance, join a brief talkback with composer Nina Shekhar and Bravo! Vail Artistic Director

Anne-Marie McDermott.

CHICK COREA’S TROMBONE CONCERTO

SPECIAL THANKS AND APPRECIATION TO LENI AND PETER MAY

THIS EVENING’S PERFORMANCE IS PRESENTED BY

LINDA AND MITCH HART

JUNE AND PETER KALKUS

SPECIAL GRATITUDE TO

Bravo! Vail Artistic Excellence Fund

Berry Charitable Foundation

Virginia J. Browning

The Friends of the New York Philharmonic

The Lyn and Phillip Goldstein Maestro Society

The Judy and Alan Kosloff Artistic Director Chair

National Endowment for the Arts

The New Works Fund

SPONSORED BY

Mr. and Mrs. Arthur Kelton, Jr.

Carolyn and Steve Pope

SOLOIST SPONSORS

Joseph Alessi, trombone, sponsored by Valerie and Robert Gwyn

Giancarlo Guerrero, conductor, sponsored by Margo and Terence Boyle

The Mother is Standing (2023) NINA SHEKHAR (B. 1995)

Nina Shekhar (pronounced “shaker”), who is currently pursuing a Ph.D. in composition at Princeton University, previously studied at the University of Southern California and University of Michigan, where she earned dual degrees in music composition and chemical engineering. She holds a place on the composer roster of Young Concert Artists and also performs as a flutist, pianist, and saxophonist.

Her music has been commissioned and performed by many notable performers and organizations, including the New York Philharmonic (which played her Lumina here last summer), Los Angeles Philharmonic, Seattle Symphony, Eighth Blackbird, and International Contemporary Ensemble. She is a Composer Teaching Artist Fellow for the Los Angeles Chamber Orchestra and served as an inaugural Debut Fellow of the Young Musicians Foundation, mentored by violinist and social activist Vijay Gupta.

She has provided this comment about her new work, which is jointly commissioned by Bravo! Vail and the

Funded in part by a generous grant from the National Endowment for the Arts and the Town of Vail.

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

CHICK COREA

New York Philharmonic:

As I navigate my own womanhood, I am guided by the strong women in my life. My mom’s side of the family had a unique matrilineal structure, in which the mother’s name was passed down to her children rather than the father’s. I am blessed to have been surrounded by many brilliant, beautiful, and resilient women— women who have weathered grief and loss in a deeply patriarchal world. And through it all, they always carry themselves with a quiet grace—soft but never silent.

The Mother is Standing draws inspiration from the Stabat Mater Christian hymn to Mary, which describes her suffering as Jesus’s mother during his crucifixion. While based off the hymn’s traditional chant melody, this piece examines the love between mother and child in a wider context.

This piece is dedicated to my mom, who constantly teaches me through her example what womanhood and motherhood truly means.

Trombone Concerto (2020)

CHICK COREA (1941-2021)

(ORCHESTRATED BY JOHN

DICKSON)

Chick Corea plunged into a performing career right after high school, appearing in the 1960s with such figures as Mongo Santamaría, Willie Bobo, Herbie Mann, and Stan Getz. In 1968, he assumed the piano seat in Miles Davis’s band and began to play on electric pianos in addition to acoustic instruments. He became a leading presence in the movements of free jazz and jazz fusion. He appeared in solo concerts, in jazz ensembles, and in a number of duo formations, including with bassist Dave Holland and vibraphonist Gary Burton. By the end of his career, he recorded almost 90 albums, winning 23 Grammy awards in the process.

In 1983, the New York Times quoted him: “I’ve worked with formal composition in the past...but these were sporadic, isolated instances, and distinctly separated from the

mainstream of my work. But now, I have made a conscious decision to become serious about playing classical music again.” In the late 1990s he adapted his famous composition Spain into a piano concerto, which he performed with the London Philharmonic, and in 2004 he composed a string quartet, his first piece that did not include a piano.

After hearing Corea’s music at a jazz concert in New York, Joseph Alessi (New York Philharmonic Principal Trombone) contacted him about writing a trombone concerto. It took some persuading, but within months music started arriving. After an introductory opening section with a freely improvised trombone solo, the concerto moves into “A Stroll,” reflecting what Corea saw and heard during long walks in New York City; “Waltse for Joe,” which explores the trombone’s lyrical side; “Hysteria,” written during the early days of the pandemic and reflecting the chaotic feelings of that moment; and “Tango,” which provides what Alessi calls “a dramatic and effusive ending.”

Symphony No. 9 in E minor, Op. 95, From the New World (1892-93)

ANTON Í N DVOŘÁK (1841-1904)

Antonín Dvořák was acclaimed as the most prominent Czech composer when he signed on as director of the National Conservatory of Music, newly established in New York City. He spent three years there, from 1892-95, building the school’s faculty, appearing as a conductor, and composing enduring masterworks. His Symphony From the New World , which the New York Philharmonic introduced in December 1893, was arguably the most spectacular success of his career. The critic for the New York Evening Post proclaimed it “the greatest symphonic work ever composed in this country.” The title came to Dvořák as an afterthought, and he added it just before delivering the score to the orchestra, later explaining

PROGRAM NOTES BY JAMES M. KELLER

CONTINUED ON PAGE 198

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COMMUNITY CONCERT VIII

ILLIA OVCHARENKO IN RECITAL

Artist Insights

The recital opens on a note of optimism with Chopin’s “Heroic” Polonaise, composed during the times of European revolutions and later perceived as an inspiration for the revolutionaries. In contrast, this is followed by a very tender and lyrical Nocturne.

The recital features two sets of short preludes by one of the most renowned of Ukrainian composers: Levko Revutsky, who was born in Chernihiv, my hometown. My musical and cultural heritage was formed in this city. Especially at this moment, it is important to me that I represent my culture and tell my story through the music and places that shaped who I am.

The recital concludes with one of the most sophisticated pieces by Robert Schumann, a composer very close to my heart. The story behind Kreisleriana is very dramatic (inspired by the fictional composer Johannes Kreisler from works of E. T. A. Hoffmann and recalls two characters Schumann used to indicate his own contrasting mental states), and is dedicated to Frederic Chopin, music of whom you heard at the beginning of the program. I hope you enjoy it!

—Illia Ovcharenko

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Beth and Rod Slifer

Cathy Stone

Jackie and Norm Waite

Hessler

Illia Ovcharenko, piano (Bravo! Vail 2023 Piano Fellow)

CHOPIN

Polonaise in A-flat major, Op. 53, “Heroic” Nocturne in E minor, Op. 72, No. 1

REVUTSKY

Three Preludes, Op. 4

Lento

Andantino

Presto

Two Preludes, Op. 7

Andante

Vivace

SCHUMANN

Kreisleriana , Op. 16

Äußerst bewegt (Extremely animated)

Sehr innig und nicht zu rasch (Very inwardly and not too quickly)

Sehr aufgeregt (Very agitated)

Sehr langsam (Very slowly)

Sehr lebhaft (Very lively)

Sehr langsam (Very slowly)

Sehr rasch (Very fast)

Schnell und spielend (Fast and playful)

The running time of this concert is approximately one hour.

ILLIA OVCHARENKO

Kathie Mundy and Fred

COMMUNITY CONCERT IX

PIANO FELLOWS IN RECITAL

Artist Insights

Among his early keyboard works, J. S. Bach wrote seven Toccatas, BWV 910–916. Toccata, in the 17th century, refers to a multi-section work that alternates between virtuosic passages, recitative, aria-like sections, and imitative or fugal counterpoint. Stylistically, Stephen Hough’s Fanfare Toccata takes its inspiration from the world of the French organ toccata, those glittering sorties that shake a cathedral’s foundations and threaten to crack its stained-glass windows. The Piano Sonata No. 4 in F-sharp major, Op. 30, was written by Alexander Scriabin around 1903. This is the shortest sonata out of the 10 sonatas he wrote for the piano, and is considered the beginning of Scriabin’s middle period marked by mystical sonorities and tonal ambiguity.

—Jonathan Mak

Since childhood, the person I have most admired and been inspired by is the famous Kyiv-born pianist Vladimir Horowitz. The program created for this concert is in a way my “homage to Horowitz” since it includes one of his favorite pieces. The recital opens with two Scarlatti sonatas, which seem prayer-like in my mind, followed by a Schubert Impromptu, leading us into a Romantic style. To me, the closing Piano Sonata by Schumann expresses the full spectrum of emotions one can convey through music.

—Illia Ovcharenko

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BRUSH CREEK PAVILION

Jonathan Mak, piano (Bravo! Vail 2023 Piano Fellow)

Illia Ovcharenko, piano (Bravo! Vail 2023 Piano Fellow)

BACH

Toccata in D major, BWV 912

Mr. Mak

STEPHEN HOUGH

Fanfare Toccata

Mr. Mak

SCRIABIN

Sonata No. 4 in F-sharp major, Op. 30 Andante

Prestissimo volando

Mr. Mak

SCARLATTI

Sonata in B minor, K. 27

Sonata in E major, K. 380

Mr. Ovcharenko

SCHUBERT

Impromptu in G-flat major, Op. 90, No. 3,

D. 899

Mr. Ovcharenko

SCHUMANN

Piano Sonata No. 2 in G minor, Op. 22

So rasch wie möglich (As quickly as possible)

Andantino. Getragen (Solemn. Dignified)

Scherzo. Sehr rasch und markiert (Very quick and accented)

Rondo. Presto

Mr. Ovcharenko

The running time of this concert is approximately one hour.

JONATHAN MAK

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC

Hannu Lintu, conductor Stefan Jackiw, violin

SIBELIUS

Finlandia , Op. 26 (8 minutes)

BRUCH

Scottish Fantasy for Violin and Orchestra, Op. 46 (28 minutes)

Prelude: Grave—Adagio cantabile

Allegro

Andante sostenuto

Finale: Allegro guerriero

— INTERMISSION —

KAIJA SAARIAHO

Ciel d’hiver (Winter Sky) (10 minutes)

SIBELIUS

Symphony No. 7 in C major, Op. 105 (22 minutes)

Adagio—Vivacissimo—Adagio—Allegro molto moderato—Allegro moderato— Vivace—Presto—Adagio—Largamente molto—Affettuoso—Tempo I

NEW YORK PHILHARMONIC PERFORMS SIBELIUS

THIS EVENING’S PERFORMANCE IS PRESENTED BY

FERRELL AND CHI MCCLEAN KAY AND BILL MORTON CAROL AND PAT WELSH

SPECIAL GRATITUDE TO Berry Charitable Foundation

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SPONSORED BY J. Brian Stockmar

SOLOIST SPONSORS

Stefan Jackiw, violin, sponsored by Janet and Paul Lewis

Finlandia , Op. 26 (1899-1900)

Symphony No. 7 in C, Op. 105 (1918-24)

JEAN SIBELIUS (1865-1957)

For most of the 19th century, Finland operated as an autonomous grand duchy within the Russian Empire, but in 1899, Czar Nicholas II imposed an iron fist. That summer, the Russians closed one Finnish newspaper after another. In response, the Finns organized a public extravaganza, as a benefit for the Press Pension Fund, that included dramatic tableaux illustrating events in Finnish history. It was a cat-and-mouse game in which the Finns pushed their nationalist agenda while hiding behind the charitable goal of raising funds for aging journalists. Jean Sibelius composed music to accompany the performance in Helsinki. He provided an overture, pieces illustrating each of the five ensuing tableaux, background music to accompany the connecting spoken sections, and a finale titled “Finland Awakes!”

STEFAN JACKIW

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His contribution might easily have been consigned to the moldering mountains of occasional music for soon-forgotten events. But sensing its musical value, he refashioned the overture and the first five episodes into his Scènes historiques and revised the “Finland Awakes!” finale into his most enduringly popular composition, the tone poem Finlandia When its powerful effect became clear, the Russians effectively banned its performance in Finland for a few years. Nonetheless, the piece and its patriotic subtext were an open secret, and as soon as it returned to the repertoire, Finns embraced it as an emblem of their aspirations for independence.

Sibelius’s Seventh Symphony ushers us into the composer’s late period, during which he became increasingly concerned with paring music to its essentials, achieving a sense of visionary spirituality. He worked on his final three symphonies concurrently beginning in 1918, with the Seventh occupying him until 1924. Sibelius initially envisioned that this final symphony would unroll through three separate movements, but in the end, he brought everything together into a single movement lasting some 22 minutes. The form was not one traditionally associated with a symphony; in fact, he at first titled the piece Fantasia sinfonica . He changed his mind shortly before the work’s publication, admitting it to the roster of his full-scale, “proper” symphonies.

The symphony traverses a considerable landscape despite its brevity, passing seamlessly through 11 discrete sections marked with differing tempos. In an essay published in 1939, the music analyst Donald Francis Tovey compared listening to Sibelius’s Seventh to the sensation of flying in an aircraft. “An aeronaut carried with the wind,” he remarked, “has no sense of movement at all; but Sibelius’s airships are roomy enough for the passengers to dance if they like. … He moves in the air and can change his pace without breaking his movement.” The composer, ever reluctant to “explain” his pieces, had this to say: “Joy of life and vitalité with appassionata passages.”

Scottish Fantasy for Violin and Orchestra, Op. 46 (1879-80)

MAX BRUCH (1838-1920)

Concertgoers encounter Max Bruch principally through his beloved Violin Concerto No. 1, but two of his other pieces for solo instrument with orchestra appear occasionally: his Kol Nidrei for cello, and his Scottish Fantasy for violin. The acclaimed violinist Joseph Joachim had premiered the concerto, and when Bruch wrote the Scottish Fantasy more than a decade later, in the winter of 1879-80, he again turned to Joachim for advice about technical details.

When he composed this piece in Berlin, he was angling for an appointment in Great Britain. In April 1880, he was named Director of the Philharmonic Society in Liverpool, where he and Joachim unveiled the Scottish Fantasy the next year. He maintained that his passion for the writings of Sir Walter Scott inspired this piece, beginning with an opening slow section he said portrayed “an old bard, who contemplates a ruined castle, and laments the glorious times

of old.” The first three movements, played practically without breaks between, adapt the Scottish folk tunes “Auld Rob Morris,” “The Dusty Miller,” and “I’m Down for Lack of Johnnie.” The finale quotes the song “Scots wha hae,” said to have been sounded (under its original title, “Hey Tuttie Tatie”) by Robert Bruce’s army at the Battle of Bannockburn in 1314, a decisive encounter in which Scotland asserted its independence from the Kingdom of England.

Ciel d’hiver (Winter Sky) (2002-13)

KAIJA SAARIAHO (B. 1952)

Kaija Saariaho was so drawn to visual imagery that she considered a career in painting or design before veering toward music. After studying in her native Helsinki and in Germany, she settled in Paris, where she became involved in electronic composition at the musical

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 198

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Anonymous (2)

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Nancy and Harold Zirkin

ALLEGRO ($10,000+)

Bank of America Private Wealth and Regina and John Magee

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Kathleen and Jack Eck

Carole C. and CDR. John M.

Fleming

Martha Head

Dr. and Mrs. Frederick

Kushner

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Ray Oglethorpe

Carolyn and Steve Pope

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INSIDE THE MUSIC

PROKOFIEV NATURE WALK

These Nature Walks use an outdoor setting to explore the composer’s unique ability to capture gestures, moods, and characters of people and animals alike. Led by New York Philharmonic Archivist Gabryel Smith and in collaboration with the Walking Mountains Science Center, each walk includes live musical illustrations from Prokofiev’s beloved masterworks Peter and the Wolf and Romeo and Juliet

JUL

SATURDAY 9:30AM, 11:00AM

INSIDE THE MUSIC

VAIL NATURE CENTER

JUL

22 23

SUNDAY 9:30AM, 11:00AM

INSIDE THE MUSIC

VAIL NATURE CENTER

Gabryel Smith, New York Philharmonic Director of Archives and Exhibits

Cora Crisman, flute

Kellan Toohey, clarinet

Kent Hurd, bassoon

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC

Justin Freer, conductor

HARRY POTTER AND THE CHAMBER OF SECRETS™ IN CONCERT

Directed by Chris Columbus

Produced by David Heyman

Written by Steve Kloves

Based on “Harry Potter and the Chamber of Secrets™” by J.K. Rowling

STARRING

Daniel Radcliffe

Rupert Grint

Emma Watson

Kenneth Branagh

John Cleese

Robbie Coltrane

Warwick Davis

Richard Griffiths

Richard Harris

Jason Isaacs

Alan Rickman

Fiona Shaw

Maggie Smith

Julie Walters

Music by John Williams

Cinematography by Roger Pratt

Edited by Peter Honess

Produced by Heyday Films, 1492 Pictures

Distributed by Warner Bros. Pictures

About Warner Bros. Consumer Products

Warner Bros. Consumer Products, a Warner Bros. Entertainment Company, is one of the leading licensing and retail merchandising organizations in the world.

WIZARDING WORLD and all related trademarks, characters, names, and indicia are © & ™ Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s23)

The running time of this program is approximately 2 hours and 41 minutes and includes one brief intermission.

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HARRY POTTER AND THE CHAMBER OF SECRETS™

THIS EVENING’S PERFORMANCE PRESENTED BY SUE AND MARTY SOLOMON AND P&S EQUITIES, INC.

MARCY AND GERRY SPECTOR

SPECIAL GRATITUDE TO Berry Charitable Foundation

The Friends of the New York Philharmonic

The Lyn and Phillip Goldstein Maestro Society

The Sidney E. Frank Foundation

The Sturm Family and ANB Bank

SPONSORED BY Gina Browning and Joe Illick

Ron Davis

Liz and Tommy Farnsworth

Cars fly, trees fight back and a mysterious houseelf comes to warn Harry Potter™ at the start of his second year at Hogwarts™.

Adventure and danger await when bloody writing on a wall announces: The Chamber of Secrets has been opened. To save Hogwarts will require all of Harry, Ron, and Hermione’s magical abilities and courage.

JOHN WILLIAMS, COMPOSER

In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all nine Star Wars films, the first three Harry Potter films, Superman , JFK , Born on the Fourth of July Memoirs of a Geisha Far and Away

The Accidental Tourist , Home Alone , and The Book Thief . His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List

E.T. The Extra-Terrestrial , Jaws , Jurassic Park , Close Encounters of the Third Kind , the Indiana Jones films, Munich Saving Private Ryan

The Adventures of Tintin , War Horse , Lincoln , The BFG , and The Post . His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre Kraft Television Theatre , Chrysler Theatre , and Playhouse 90 , as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press , and the PBS arts showcase Great Performances . He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, and the 2002 Winter Olympic Games. He has received five Academy Awards and fifty-two Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twenty-five Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute—the first time in their history that this honor was bestowed upon a composer. In 2020, he received Spain’s Princess of Asturias Award for the Arts, as well as the Gold Medal from the prestigious Royal Philharmonic Society in the UK.

In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December 1993 after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s

leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, the Boston Symphony premiered his concerto for harp and orchestra entitled On Willows and Birches and in the same year, Mr. Williams composed and arranged Air and Simple Gifts especially for the first inaugural ceremony of President Barack Obama.

JUSTIN FREER, CONDUCTOR

American composer/ conductor Justin Freer was born and raised in Huntington Beach, CA. He has established himself as one of the West Coast’s most exciting musical voices and is a highly sought-after conductor and producer of film music concerts around the world. Freer began his formal studies on trumpet, but quickly turned to piano and composition, composing his first work at eleven and giving his professional conducting debut at sixteen. For full bio of Justin Freer use this QR code.

PROGRAM NOTES

CONTINUED ON PAGE 198

FIRST CHAIR ($50,000+)

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Amy and James Regan

June and Paul Rossetti

SYMPHONY ($40,000+)

Julie and Tim Dalton

Barbie and Tony Mayer

ENSEMBLE ($30,000+)

Vera and John Hathaway

June and Peter Kalkus

Billie and Ross McKnight

Ann and Alan Mintz

Kay and Bill Morton

IMPRESARIO ($25,000+)

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Penny and Bill George

Tom Grojean

Cathy Stone

Dhuanne and Douglas Tansill

Carol and Pat Welsh

VIRTUOSO ($20,000+)

Kjestine and Peter Bijur

Jean and Harry Burn

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Laura and Bill Frick

Judy and Alan Kosloff

Honey M. Kurtz

Ferrell and Chi McClean

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Didi and Oscar Schafer

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Sylvester

Lisa Tannebaum and Don Brownstein

Anne and Chris Wiedenmayer

OVATION ($15,000+)

Anonymous (2)

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Liz and Tommy Farnsworth

Jane and Michael Griffinger

Melinda and Tom Hassen

Karen and Jay Johnson

Mr. and Mrs. Arthur Kelton, Jr.

Sandra and Alejandro Rojas

Terie and Gary Roubos

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

Nancy and Harold Zirkin

ALLEGRO ($10,000+)

Bank of America Private Wealth and Regina and John Magee

Nancy and Andy Cruce

Kathleen and Jack Eck

Carole C. and CDR. John M.

Fleming

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Dr. and Mrs. Frederick

Kushner

Donna and Patrick Martin

Ray Oglethorpe

Carolyn and Steve Pope

Linda Farber Post and Dr. Kalmon D. Post

Ann and Tom Rader

Carole and Peter Segal

Barbara and Carter Strauss

“We hope that by performing this incredible music in person, while the films are remembered together by audiences, that we will connect everyone to the purity of imagination that one feels when they return  to this world, and the many wonderful characters and adventures that inhabit it.”

—BRADY BEAUBIEN, PRODUCER

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GERALD R. FORD AMPHITHEATER

NEW YORK

PHILHARMONIC

Jaap van Zweden, conductor

Anne-Marie McDermott, piano

ROSSINI

William Tell Overture (12 minutes)

MOZART

Piano Concerto No. 20 in D minor, K. 466 (31 minutes)

Allegro

Romance

Rondo: Allegro assai

— INTERMISSION —

BEETHOVEN

Symphony No. 5 in C minor, Op. 67 (36 minutes)

Allegro con brio

Andante con moto

Allegro [attacca]

Allegro

BEETHOVEN’S FIFTH WITH VAN ZWEDEN

THIS EVENING’S PERFORMANCE IS PRESENTED BY KJESTINE AND PETER BIJUR

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CAROLE C. AND CDR. JOHN M. FLEMING

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DHUANNE AND DOUG TANSILL

SPECIAL GRATITUDE TO Berry Charitable Foundation

The Francis Family

The Friends of the New York Philharmonic

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The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY

Melinda and Tom Hassen

Karen and Jay Johnson

Dr. and Mrs. Frederick Kushner

Ann and Tom Rader

SOLOIST SPONSORS

Jaap van Zweden, conductor, sponsored by Sheika Gramshammer, in memory of Pepi Gramshammer

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

William Tell Overture (1829)

GIOACHINO ROSSINI (1792-1868)

In 1824, Gioachino Rossini left his native Italy to take up residence in France, contracting with the French Government to compose a grand opéra for the Paris Opéra. He settled on Friedrich von Schiller’s famous play Wilhelm Tell, which dealt with the revolt of the Swiss forest cantons against the oppressive rule of the Habsburg Dynasty. A superstar of the opera world, he had amassed enough wealth to secure an entirely comfortable future and was starting to think about early retirement, but he had one last masterpiece in him. “Tell is the first [grand] opéra that Rossini has written expressly for the French stage,” a Parisian newspaper reported in September 1828, when Rossini had started work on the piece, “and perhaps it will be the last of his compositions, he having manifested the intention of discarding his pen and retiring … to enjoy in peace his glory and his well-earned fortune.”

Guillaume Tell is rarely produced due to its inordinate length, but its overture quickly became a standard concert item. Whereas most Rossini overtures have little connection to the action of their operas, this one

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is structured as four self-contained episodes specifically prefiguring the action—and some of the musical content—that would follow. It opens with a pastoral depiction of the Swiss countryside, starting with the imaginative orchestration of five solo cellos; Hector Berlioz was especially enamored of these pages, which he heard as suggesting the “silence of nature when the elements and the human passions are at rest.” There follows a storm on the lake, a bucolic ranz des vaches (a herdsman’s melody) played by solo English horn with a birdlike flute warbling above, and a spirited final section that would become one of classical music’s most famous melodies.

Piano Concerto No. 20 in D minor, K.466 (1785)

WOLFGANG AMADEUS MOZART (1756-91)

On February 11, 1785, Mozart’s father, Leopold, arrived from Salzburg to visit his son in Vienna, just in time to attend a concert that very night that included the premiere of his Wolfgang’s latest piano concerto, in D minor. “The concert was incomparable, the orchestra was excellent,” he reported to his daughter back home. “Apart from the symphonies, there was a singer from the Italian theatre who sang two arias. Then came a new, superb piano concerto by Wolfgang , which the copyist was still writing out when we arrived, and your brother had not even found time to play through the Rondeau because he had to supervise the copying.”

The D-minor Concerto that Leopold found so superb is a brooding, disturbing work, one of only two Mozart piano concertos written in the minor mode. The key of D minor surfaces rarely in his oeuvre, but when it does—as in the String Quartet (K. 421), the opera Don Giovanni , and the unfinished Requiem—it tends to impart the same uneasy, even dangerous, atmosphere that the D-minor Concerto does. But even in this tense concerto Mozart allowed certain Classical norms to prevail. Just as he would in Don Giovanni , Mozart felt constrained to conclude his concerto in the major key, modulating

at the very end into sunny D major and paying obeisance to the 18thcentury aesthetic of the positive moral resolution—or, simply put, the happy ending. From the outset this was singled out as unusually interesting among the composer’s works. At a memorial concert in Prague, in February 1794, it shared the program with his Prague Symphony and several other pieces. A reporter for the Prager Neue Zeitung explained, “For this evening Mozart’s best works had been chosen, [including] Mozart’s most splendid concerto, in D minor.”

Symphony No. 5 in C minor, Op. 67 (1804-08)

LUDWIG VAN BEETHOVEN (1770-1827)

No work in the orchestral canon has been analyzed and discussed more exhaustively than Beethoven’s Fifth Symphony, but familiarity has not made it any less potent. Wrote Robert Schumann, “No matter how frequently heard, whether at home or in the concert hall, this symphony invariably wields its power over people of every age like those great phenomena

of nature that fill us with fear and admiration at all times, no matter how frequently we may experience them.”

In this music we may imagine Beethoven’s state of mind during the four-year period in which he wrote this symphony. He was losing his hearing—a great adversity for anyone, but a catastrophe for a musician. In March 1808, about when he finished this work, a raging infection threatened the loss of a finger, which would have spelled further disaster for a musician greatly attached to the keyboard. He was surrounded by a nervous political climate as Vienna bent beneath Napoleon’s occupation beginning in November 1805. In late 1807 he found himself rejected in love, and his personal life was generally chaotic: in the course of 1808 he moved to no fewer than four apartments. But there was also a calmer side to his being. He frequently escaped to the suburban parks and countryside surrounding Vienna; that’s where we imagine the

PROGRAM NOTES BY

JAMES M. KELLER

CONTINUED ON PAGE 199

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7:00PM

CHAMBER MUSIC SERIES

VILAR PERFORMING ARTS CENTER

Jean-Efflam Bavouzet, piano

Anne-Marie McDermott, piano

DEBUSSY

Jeux: Poéme dansé (transcr. J-E Bavouzet) (17 minutes)

DEBUSSY

Nocturnes (25 minutes)

Nuages (Clouds; transcr. M. Ravel)

Fétes (Festivals; transcr. M. Ravel)

Sirénes (Sirens: transcr. Z. Kocsis)

INTERMISSION

RAVEL

La valse (15 minutes)

GERSHWIN

An American in Paris (20 minutes)

Following the performance, join a brief talkback with the artists.

MCDERMOTT & BAVOUZET

In the 18th and 19th centuries, few music lovers had the opportunities to hear orchestras or attend operas that we do today. Recordings and radio didn’t exist, and travel to major musical centers could be slow and inconvenient. But people still had access to orchestral music in their own homes as long as they or their friends could play it on the piano in the parlor. There was a huge market for piano reductions, which were often issued right after an orchestral piece was published. As symphonic works grew more elaborate, the arrangements might require two players to do justice to the piece, leading to an upsurge of transcriptions for piano four-hands (two pianists seated at the same instrument) or, for more opulent settings, piano duo (two pianists at two pianos). The best

transcriptions were those that made the music sound native to its new setting. As the art of the transcription developed, composers might adapt in both directions, arranging symphonic scores for whichever piano setting, or upscaling their piano works for orchestral forces. In this concert we hear two orchestral works by Debussy recast for piano duo by modern pianists (Jean-Efflam Bavouzet and the late Zoltán Kocsis). Ravel’s own two-piano version of one of his most popular orchestral works, and the original two piano setting of a Gershwin tone poem that would become a classic when he orchestrated it.

Jeux: Poéme dansé (1912-13)

CLAUDE DEBUSSY (1862-1918), TRANSCRIBED BY JEAN-EFFLAM BAVOUZET

Debussy composed Jeux (Games), his last completed orchestral work, for impresario Serge Diaghilev, whose Ballets Russes launched in Paris in 1909. Its concept was expounded by dancer Vaslav Nijinsky over lunch with Diaghilev and designer Léon Bakst at the Savoy Hotel in London, with notes being jotted on the tablecloth: no corps de ballet, no ensembles, no variations, a game of tennis, a plane crash, “three young men making love to each other,” and an escape into the dark. In the end, the plane crash was eliminated, and the young men Nijinsky imagined were turned into one man and two women, which was still enough to inspire outrage. Nijinsky fell out of love with the project. But Debussy warmed to it, producing his score with uncharacteristic speed in about three weeks. He hated Nijinsky’s choreography and was glad to be

rid of the ballet, which was poorly received. While the performance was underway on opening night, he left his box to smoke a cigarette outside.

Nocturnes (1897-99)

CLAUDE DEBUSSY (1862-1918)

TRANSCRIBED BY ZOLTÁN KOCSIS

Debussy’s first orchestral work following his groundbreaking Prelude to the Afternoon of a Faun, Nocturnes is a set of three distinct tone poems depicting Nuages (Clouds). Fêtes (Festivals), and Sirènes (Sirens), creatures of Greek mythology—half bird, half woman—whose songs could lure sailors to their deaths. Debussy’s language is instantly recognizable here, whether in the hazy impressionism of Nuages. The bright-hued animation of Fêtes, or the ceaseless undulation of Sirènes, in which the composer extravagantly employed a women’s choir to push seductive mystery to its limit. “The title Nocturnes,” wrote Debussy, “is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests.” Recasting those “impressions” as keyboard music required intimate knowledge of the piano’s capacities, which Zoltán Kocsis achieved to splendid effect in his transcription, much as Bavouzet did in his rendering of Jeux

La valse (1919-20)

MAURICE RAVEL (1875-1937)

An adept pianist who always composed at the keyboard, Ravel was also a brilliant orchestrator who created meticulous symphonic textures. The keyboard and the orchestra exerted roughly equal pull on him, such that he made parallel piano and orchestral versions of nearly half his compositions. He wrote La valse as a symphonic score, but it was premiered in the two-piano version he prepared almost simultaneously, with he and Alfredo Casella unveiling it at a 1920 concert of Arnold Schoenberg’s Society for Private Musical Performances in Vienna seven weeks before the orchestral original was premiered in Paris. He also

made an arrangement for solo piano at about the same time. As early as 1906, Ravel started thinking about creating a musical tribute to Johann Strauss II, intending to title it Wien (Vienna). After World War I came and went, the gaiety of the Viennese ballroom could no longer be presented without knowing comment, and the piece turned into a sort of danse macabre with a sinister, fatalistic ending.

An American in Paris (1928)

GEORGE

GERSHWIN (1898-1937)

In 1928 Gershwin sailed to Europe, where he set to work on An American in Paris. He therefore was an actual American in Paris for part of the time that he labored on the piece, A visitor to his hotel reported: “Attired in a dressing gown, Gershwin gaily ushered me inside with that vague and stunned manner of one who was holding tightly to the thread of a creative mood. Beside his Steinway was a group of bridge tables covered with all sizes and makes of French taxi horns ... ‘I’m looking for the right horn pitch for the street scene of a ballet I’m writing. Calling it An American in Paris. Lots of fun.’” It was Gershwin’s habit to develop his symphonic works at the keyboard and then expand them into a two-piano setting as an intermediary step. That version, played here, includes several minutes of music he cut when he orchestrated it—so this is the “most complete” performance you are ever likely to hear.

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COMMUNITY CONCERT X

ISIDORE STRING QUARTET I

Artist Insights

Britten’s Second String Quartet, written in the immediate aftermath of the Second World War, is a poignant and reflective work that speaks to the struggles and challenges of the post-war era. Britten masterfully weaves a world that both recalls the war’s terror and imagines an alternative, a dreamlike world of creation that has as its roots the old chaconnes and fantasies of Purcell.

Mendelssohn’s String Quartet No. 5 in E-flat major is the third in his set of three Op. 44 string quartets, written in 1838. It is in a traditional four-movement form, with swirling motifs and gestures that create incredible verve and drive within the music. We particularly love the Adagio, which is beautifully warm and heartfelt, with a tenderness that shows a different side of the heroic character’s journey throughout the piece.

—Isidore String Quartet

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Isidore String Quartet

(Bravo! Vail 2023 Chamber Musicians in Residence)

Adrian Steele, violin

Phoenix Avalon, violin

Devin Moore, viola

Joshua McClendon, cello

BRITTEN

String Quartet No. 2 in C major, Op. 36

Allegro calmo, senza rigore

Vivace

Chacony: Sostenuto

MENDELSSOHN

String Quartet in E-flat major, Op. 44, No. 3

Allegro vivace

Scherzo: assai leggiero e vivace

Adagio non troppo

Molto allegro con fuoco

The running time of this concert is approximately one hour.

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Cathy Stone

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ISIDORE STRING QUARTET

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

NEW YORK PHILHARMONIC

Jaap van Zweden, conductor

BRUCKNER

Symphony No. 7 in E major (ed. Nowak) (1 hour, 4 minutes)

Allegro moderato

Adagio: Sehr feierlich und sehr langsam (Very solemn and very slow)— Moderato

Scherzo: Sehr schnell (Very fast)—Trio: Etwas langsamer (A little slower)

Finale: Bewegt, doch nicht schnell (Moving, yet not fast)

Program to be performed without intermission.

BRUCKNER SYMPHONY NO. 7

THIS EVENING’S PERFORMANCE IS PRESENTED BY

LYN GOLDSTEIN

JUNE AND PAUL ROSSETTI

DIDI AND OSCAR SCHAFER

SPECIAL GRATITUDE TO

The Friends of the New York Philharmonic

The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY

Guy Griffin

Martha Head

SOLOIST SPONSOR

Jaap van Zweden, conductor, sponsored by Simon Hamui and SHS Solutions

Symphony No. 7 in E major (1881-83, rev. 1885)

ANTON BRUCKNER (1824-96)

EDITION: LEOPOLD NOWAK, 1954

The case of Anton Bruckner makes clear that precocity is not a prerequisite for exalted achievement in music. Not until 1864, when he was 40 years old, did Bruckner compose a work that he seems to have considered a fully mature product— his D-minor Mass—and the first of his nine canonical symphonies followed in 1865-66. Nonetheless, he had kept busy during his first four decades. The son of a schoolmaster in the village of Ansfelden, he grew up surrounded by music, since in Upper Austria at that time schoolmasters were also expected to double as parish organists. He received a good musical education, and when his father fell ill in the

GERALD R. FORD AMPHITHEATER LOBBY

Marc Shulgold (former music critic, Rocky Mountain News), speaker

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autumn of 1836, the young Bruckner filled in as organist in the local church.

His father died the following June. That very day, Bruckner’s mother swept him off to the nearby monastery of St. Florian, where he continued his musical and other studies. His entry into the Baroque halls of the monastery represented the turning point of his life; he would never really break away from St. Florian. Following his student years there, he served for a decade on the school’s music faculty. Even after he left to seek his fortune in nearby Linz, in 1856, and eventually Vienna, Bruckner returned for regular visits. Today visitors to St. Florian will find his tomb in the monastery’s crypt, surrounded by the skulls of departed monks, directly beneath the organ loft in which he spent countless hours from his thirteenth year on.

By the time he reached the period of his Seventh Symphony (composed from 1881 to 1883, and revised in 1885), Bruckner had been writing symphonies for more than a decade and had staked a firm place in Austrian musical life. He had distinguished himself especially as an organist, an almost peerless improviser on that instrument; he had settled in Vienna (in 1868) to teach harmony, counterpoint, and organ at the Vienna Conservatory and had confirmed his sympathies with Wagnerian esthetics. This earned him a place on the blacklist of Vienna’s most influential music critic, the virulent anti-Wagnerian Eduard Hanslick, who let flow a stream of malicious ink with the appearance of each new Bruckner opus. On a personal level, he was growing into an eccentric personality, an odd mixture of naïveté and political canniness, an obviously gifted figure who alternated between absolute conviction and self-doubt, who was generally successful in his undertakings but who entered into unknown professional waters with the greatest reluctance. He also developed the curious habit of proposing marriage to teenaged girls and then being miffed when they turned him down.

The Seventh was the only one of Bruckner’s symphonies that was greeted with unquestionable success, and it remained relatively popular

throughout his life. Following its premiere, in Leipzig at the end of 1884, with Arthur Nikisch conducting the Gewandhaus Orchestra, it was quickly presented elsewhere in Germany and in Vienna, London, Budapest, New York, Chicago, and Amsterdam, invariably to a warm response. Hanslick did not fail to savage it, but in this case his was a minority opinion. His stance was all the more predictable for the fact that the famous and oft-extracted Adagio movement seems to have been conceived as a lament for Wagner. “One day I came home and felt very sad,” wrote Bruckner to the conductor Felix Mottl in 1883, just as he began composing this movement. “The thought had crossed my mind that before long the Master would die, and just then the C-sharp-minor theme of the Adagio came to me.” The premonition proved true, and a month later Wagner was dead. In fact, Bruckner revealed that he reserved the real “funeral music” for the movement’s coda. “At this point,” he told a friend, “the shocking news of the master’s death reached me.” In that second movement, and again in the

Finale, Bruckner further underscored his admiration for Wagner by including in the orchestration four Wagner tubas, instruments devised by Wagner himself to be played in the operas of his Ring cycle, their sound combining the bronzed power of trombones and the mellowness of French horns. It falls to the members of the horn section to master these instruments. In this symphony, the two tenor and two bass Wagner tubas normally join with bass or contrabass “regular” tuba to create a formidable brass foundation; add four French horns, three trumpets, and three trombones, as Bruckner does, and you get a brass choir that is nothing short of awe-inspiring.

Bruckner’s symphonies exist in competing editions. Most derive at some point from well-intended interventions by his student-acolytes, who sought to bring his symphonies more in line with what resistant audiences might embrace as “correct” music. The first edition of the Seventh Symphony incorporates emendations

PROGRAM NOTES BY JAMES M. KELLER

CONTINUED ON PAGE 199

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INSIDE THE MUSIC

A CONVERSATION WITH MARIN ALSOP & ANNE-MARIE MCDERMOTT

Marin Alsop is a legendary, groundbreaking figure in the world of classical music. The first woman to become Music Director of a major American orchestra, she is also the first woman to win the Koussevitzky Prize for conducting, the first conductor to be awarded a MacArthur Fellowship, and many, many other “firsts” over the course of her career. Bravo! Vail Artistic Director Anne-Marie McDermott sits down with the Maestra for a wide-ranging discussion, sure to include tales from the already-legendary Van Cliburn International Piano Competition where Alsop and McDermott served on the jury together, and Alsop conducted pianist Yunchan Lim in his Gold medal-winning final round performance of Rachmaninoff’s Piano Concerto No. 3.

DID YOU KNOW? The magical partnership of Alsop conducting Lim in Rachmaninoff’s third piano concerto will be reprised at this evening’s concert with the New York Philharmonic.

Marin Alsop, speaker Anne-Marie McDermott, speaker

The Judy and Alan Kosloff Artistic Director Chair

Bravo! Vail Gratefully

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK

5:00PM

GERALD R. FORD AMPHITHEATER LOBBY

Gabryel Smith (New York Philharmonic Director of Archives and Exhibits), speaker

NEW YORK PHILHARMONIC

Marin Alsop, conductor

Yunchan Lim, piano

Edward Blieszner, special guest conductor

SOUSA

The Stars and Stripes Forever (arr. K. Brion and L. Schissel) (4 minutes)

PROKOFIEV

Romeo and Juliet Suite (45 minutes)

The Montagues and The Capulets

Scene

Morning Dance

Young Juliet

Masks

Friar Laurence

Dance

Death of Tybalt

Dance of the Girls with the Lilies

Aubade

Romeo at Juliet’s Tomb [attacca]

Juliet’s Death

— INTERMISSION —

RACHMANINOFF

Piano Concerto No. 3 in D minor, Op. 30 (44 minutes)

Allegro ma non tanto

Intermezzo. Allegro

Finale. Alla breve

ALSOP CONDUCTS RACHMANINOFF WITH YUNCHAN LIM

THIS EVENING’S PERFORMANCE IS PRESENTED BY

JEAN AND HARRY BURN

MR. CLAUDIO X. GONZALEZ

THE GROJEAN FAMILY CATHY STONE

LISA TANNEBAUM AND DON BROWNSTEIN

SPECIAL GRATITUDE TO Berry Charitable Foundation

The Francis Family

The Sidney E. Frank Foundation

The Friends of the New York Philharmonic

The Lyn and Phillip Goldstein Maestro Society

The Sturm Family and ANB Bank

SPONSORED BY Nancy and Andy Cruce

SOLOIST SPONSORS

Marin Alsop, conductor, sponsored by Virginia J. Browning Yunchan Lim, piano, sponsored by Gina Browning and Joe Illick

The Stars and Stripes Forever (1896)

JOHN PHILIP SOUSA (1854-1932) (ARRANGED FOR SYMPHONY ORCHESTRA BY KEITH BRION AND LORAS SCHISSEL, BASED ON THE SOUSA BAND’S ORIGINAL PARTS,1996)

The son of a trombonist in the U.S. Marine Band, John Philip Sousa was named an apprentice member of that ensemble when he was 13; his father had engineered it to keep him from running off with a circus band. He became the band’s director in 1880, at the age of only 25, and spent the next 12 years at its helm. In 1892, he left to form his own “Sousa’s Band,” taking along the Marine Band’s manager, David Blakely. They achieved sensational success, even making an around-the-world tour in 1910-11.

Sousa wrote that the inspiration for The Stars and Stripes Forever came during a transatlantic ocean crossing. Vacationing in Europe, he received word of Blakely’s death. He immediately booked his return on the S.S. Teutonic, where he found

YUNCHAN LIM

MARIN ALSOP © ADRIANE WHITE, LISA-MARIE MAZZUCCO

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himself pacing the deck “absorbed in thoughts of my manager’s death and the many duties and decisions which awaited me in New York.” “Suddenly,” he continued, “I began to sense a rhythmic beat of a band playing within my brain. Throughout the whole tense voyage, that imaginary band continued to unfold the same themes, echoing and re-echoing the most distant melody. I did not transfer a note of that music to paper while I was on the steamer, but when we reached shore, I set down the measures that my brain-band had been playing for me, and not a note of it has ever changed.” He committed the piece to paper on December 25, 1896, and five months later he unveiled it in Philadelphia as The Stars and Stripes Forever . Reviewing the premiere, the Public Ledger (Philadelphia) gushed, “it is stirring enough to rouse the American eagle from his crag, and set him to shriek exultantly while he hurls his arrows at the aurora borealis.”

Romeo and Juliet Suite (1935-36)

SERGEI PROKOFIEV (1891-1953)

Sergei Prokofiev’s ballet Romeo and Juliet is one of the finest dance scores of all time, its memorable themes so filled with movement that they seem the very embodiment of the dance. And yet, the dancers of the Bolshoi Ballet, preparing for a Russian premiere that would be repeatedly delayed, complained bitterly about Prokofiev’s score, dismissing it as undanceable.

Romeo and Juliet was a joint project of Prokofiev and Sergei Radlov, a modernist director noted for daring productions of Shakespeare, including, in 1934, a Russian staging of Romeo and Juliet . In 1935, he crafted a ballet scenario based on Shakespeare’s play about Romeo Montague and Juliet Capulet, the idealistic young lovers whose relationship is doomed by the animosity of their feuding families.

When the work was completed, the Russian dancers objected so stridently that the work received its premiere staging not in that country but rather in Brno, Czechoslovakia (now Czechia), at the end of 1938; it would not be seen in Russia until 1940, when the Kirov Ballet gave it in

Leningrad (St. Petersburg), and it didn’t reach Moscow until 1946, when the Bolshoi finally found it danceable after all. While waiting for the ballet to be staged, Prokofiev had selections of the music premiered in two concert suites, in 1936 and 1937, and he followed up with a third suite in 1946. Marin Alsop has assembled 12 numbers from the three suites into a sequence that more-or-less reflects their order in the ballet, illustrating many of the work’s essential plot points: the grandeur of the feuding families, the innocence of young Juliet and the kindness of Friar Laurence, the violence that leads to the killing of Tybalt (Juliet’s hot-tempered cousin and Romeo’s rival), and the young lovers’ misjudged scheme to rise above it all.

Piano Concerto No. 3 in D minor, Op. 30 (1909)

SERGEI RACHMANINOFF (1873-1943)

Sergei Rachmaninoff’s Third Piano Concerto, composed in 1909, has earned a reputation as one of the most technically daunting of all the standard piano concertos. Rachmaninoff

maintained that it was “more comfortable” to play than his Second. Perhaps it was more comfortable for him because his hands individually spanned the interval of a thirteenth and his keyboard stamina was almost limitless, but it was not more comfortable for most other pianists. It was even out of reach for the renowned Josef Hofman, to whom Rachmaninoff dedicated this score; Hofman had considerably smaller hands, and as a result he never performed this work that bears his name at the top of its first page. Rachmaninoff composed it for his North American debut tour, which he undertook with trepidation since he had devoted the preceding three years to composing rather than performing. Nonetheless, he did not stint in crafting this work to capitalize on dizzying keyboard skills, and his ever-increasing experience as a composer yielded a work in which the solo and orchestral parts are melded with remarkable

PROGRAM NOTES BY JAMES M.

KELLER

CONTINUED ON PAGE 199

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FIRST CHAIR ($50,000+)

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SYMPHONY ($40,000+)

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ENSEMBLE ($30,000+)

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IMPRESARIO ($25,000+)

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VIRTUOSO ($20,000+)

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OVATION ($15,000+)

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Vail started with a little faith.

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

In partnership with Bravo! Vail Music Festival, the Vail Interfaith Chapel proudly hosts free concerts, Master Classes, and musical discussions each year.

As we look to the future it is time to restore and renovate this iconic community space. The 50th Anniversary Campaign is a comprehensive fundraising effort to support the next 50 years of the Vail Interfaith Chapel.

Join

Recognition pavers and bricks at the Vail Interfaith Chapel are now available, starting at $1,000.

COMMUNITY CONCERT XI

ISIDORE STRING QUARTET II

Artist Insights

Commissioned by the Ying Quartet, “Awakening” depicts the composer’s emotional, physical, and spiritual journey in dealing with his wife’s serious illness and recovery. Childs, through a unique compositional style evocative of a 21stcentury multi-genre perspective, acknowledges and expresses the familiarity of fear, anguish, and resolution regarding the fleeting nature of life, yielding a work that speaks to the human experience.

A pillar in Western music, Beethoven’s astonishing String Quartet No. 15 in A minor, Op. 132 can be understood by a single phrase: life encompassed. A man well-versed in the depiction of trials and tribulations through composition, Beethoven, in his late period quartets, embarks on an exploration of gratitude, forgiveness, and thanksgiving that introduces an experienced maturity and empathetic familiarity to the works. His late string quartets function not only as cathartic vessels, but as reflections on the multifaceted labyrinth of life.

—Isidore String Quartet

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

VAIL INTERFAITH CHAPEL

Isidore String Quartet

(Bravo! Vail 2023 Chamber Musicians in Residence)

Adrian Steele, violin

Phoenix Avalon, violin

Devin Moore, viola

Joshua McClendon, cello

BILLY CHILDS

String Quartet No. 2, Awakening

Wake-up Call

The White Room

Song of Healing

BEETHOVEN

String Quartet No. 15 in A minor, Op. 132

Assai sostenuto—Allegro

Allegro ma non tanto

Molto adagio—Andante

Alla marcia, assai vivace (attacca)

Allegro appassionato

The running time of this concert is approximately one hour.

ISIDORE STRING QUARTET

Marijke and Lodewijk de Vink

Cookie and Jim Flaum

Linda and Mitch Hart

Kathie Mundy and Fred Hessler

Beth and Rod Slifer

Cathy Stone Jackie and Norm Waite

SOIRÉE IV

In the summer of 1890, Brahms planned to retire from his composing career, and he intended this String Quintet to be his swan song. It is an extraordinary work, one of the finest in Brahms’s oeuvre: exuberant, elegant, subtle, original and unmistakably Brahms in nearly every bar. Though he was only 57 years old, he sent the manuscript to his publisher with a note: “With this letter you can bid farewell to my music—because it is certainly time to leave off.” But rarely does a composer truly retire, and so it was for Brahms: after just a few months of rest, he was lured back to write several clarinet works (including his landmark quintet), which he followed with some assorted smaller pieces, and then in 1896 Vier ernste Gesänge (Four Serious Songs) as a gift for Clara Schumann. Regardless, this G major String Quintet stands as a milestone in Brahms’s career. Having written it, Brahms told a friend that he “had achieved enough; here I had before me a carefree old age and could enjoy it in peace.”

Cynthia Phelps, viola

Isidore String Quartet

(Bravo! Vail 2023 Chamber Musicians in Residence)

Adrian Steele, violin

Phoenix Avalon, violin

Devin Moore, viola

Joshua McCelndon, cello

BRAHMS

Viola Quintet No. 2 in G major, Op. 111 (30 minutes)

Allegro non troppo, ma con brio

Adagio

Un poco allegretto

Vivace, ma non troppo presto

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Catered by Foods of Vail

CYNTHIA PHELPS

Linda and Mitch Hart

SPONSORED BY Applejack Wine and Spirits Foods of Vail Jackson Family Wines Vintage Magnolia

JUL 28 FRIDAY 11:30AM

MUSIC BOX SERIES

PRESENTED BY THE STURM FAMILY AND ANB BANK

EDWARDS FIELD HOUSE PARKING LOT, EDWARDS

FRIDAY 6:00PM

MUSIC BOX SERIES

STRATTON FLATS

NEIGHBORHOOD, GYPSUM

Sinta Quartet

Dan Graser, soprano saxophone

Zach Stern, alto saxophone

Joe Girard, tenor saxophone

Danny Hawthorne, baritone saxophone

LIGETI

Six Bagatelles

MARC MELLITS

Ex Machina

WEINER

Csurdöngölo

O’CONNOR

Appalachia Waltz

BÉLA FLECK

UFO Tofu

JOHN MACKEY

Unquiet Spirits

ARR. DAN GRASER

Green Groves of Erin/Flowers of Red Hill

The running time of this concert is approximately 45 minutes.

MUSIC BOX SERIES

SINTA QUARTET

Known for injecting music and fun into the air for unsuspecting passersby by appearing in nontraditional venues such as grocery stores, bars, and other public places, the Sinta Quartet has also performed in formal venues including Carnegie Hall, Walt Disney Hall, and the Beijing Center for the Performing Arts. With these Music Box performances, they combine the best of both worlds, offering a program of short works packed with energetic brio, running the gamut from the mid-20th century to Irish reels, with stops for minimalism, bluegrass—even a Hungarian barn dance—along the way.

Edwards performance presented in partnership with Eagle Valley Community Foundation. Gypsum performance presented in partnership with Habitat for Humanity.

Bravo! Vail Gratefully Acknowledges Support For Today’s Concerts

Presented by

SINTA QUARTET

Marijke and Lodewijk de Vink The Sturm Family and ANB Bank

MUSIC BOX SERIES PRESENTED BY THE STURM FAMILY AND ANB BANK

VAIL FARMERS’ MARKET

Sandbox Percussion

Ian Rosenbaum

Jonny Allen

Terry Sweeney

Victor Caccese

Selections to be announced from the stage.

MUSIC BOX SERIES

SANDBOX PERCUSSION

The next stop on the Music Box summer tour is at the Vail Farmers’ Market, as the Grammy-nominated Sandbox Percussion performs two eclectic sets of music hand-picked (get it?) for the occasion. This fun-for-the-whole-family experience includes audience participation, an instrument petting zoo, and a “big tent” approach to music-making.

HOST YOUR VERY OWN MUSIC BOX CONCERT!

Did you know that you could host your own Bravo! Vail Music Box concert next summer? As a much-loved Bravo! Vail Online Auction item, the Music Box can be bid on during our 2023 auction July 14-28. Proceeds from our annual online auction are a powerful investment in our community, supporting Bravo! Vail’s Education & Engagement Programs. Bid early and bid often!

Scan the Code to Learn More or go to BravoVail.org/ auction

Bravo! Vail Gratefully Acknowledges Support For Today’s Concert

Presented by

SANDBOX PERCUSSION

Marijke and Lodewijk de Vink The Sturm Family and ANB Bank

Classical Music Festivals of the West 2023

CALIFORNIA

Cabrillo Festival of Contemporary Music

cabrillomusic.org

Santa Cruz, CA

July 30-August 13

Carmel Bach Festival

bachfestival.org

Carmel, CA

July 15-29

La Jolla Music Society SummerFest

ljms.org

La Jolla, CA

July 28-August 26

Mainly Mozart All-Star Orchestra Festival

mainlymozart.org

San Diego, CA

June 15-24

Music@Menlo musicatmenlo.org

Atherton, CA

July 14-August 5

COLORADO

Aspen Music Festival and School

aspenmusicfestival.com

Aspen, CO

June 29-August 20

Bravo! Vail Music Festival

bravovail.org

Vail, CO

June 22-August 3

Colorado Music Festival coloradomusicfestival.org

Boulder, CO

June 29-August 6

Strings Music Festival stringsmusicfestival.com

Steamboat Springs, CO

June 24-August 23

IDAHO

Sun Valley Music Festival

svmusicfestival.org

Sun Valley, ID

July 30-August 24

NEW MEXICO

Santa Fe Chamber Music Festival

santafechambermusic.org

Santa Fe, NM

July 16-August 21

OREGON

Chamber Music

Northwest Summer Festival cmnw.org

Portland, OR

June 24-July 29

Oregon Bach Festival

oregonbachfestival.org

Eugene, OR

June 30-July 16

WASHINGTON

Seattle Chamber Music Society

Summer Festival

seattlechambermusic.org

Seattle, WA

July 3-29

WYOMING

Grand Teton Music Festival gtmf.org

Jackson, WY

June 30-August 19

Explore

Photo: Jenna Poppe

Photo: Chris Lee

Photo: Tomas Cohen

Photo: Daniel Kelley

Photo: Steven Ovitsky

Photo: Lovethearts

Photo: Tom Emerson

COMMUNITY CONCERT XII

ISIDORE STRING QUARTET III

Artist Insights

Bartók’s first string quartet is an early glimpse into his later style, as the young composer attempted to find his compositional voice in the early 20th century when Romanticism was giving way to the new cultural movements at the turn of the century. While decidedly still within the sphere of late Romanticism, you can hear the influence of Impressionism, and the third movement’s folk rhythms and melodies preview the mastery with which he could transform that material, a foundation he would build on with his later quartets. Composed a few decades prior to Bartók’s work, Brahms’ A minor quartet is the second in a set of Op. 51 quartets. Brahms went to great lengths to finish these quartets, having allegedly tossed many previous manuscripts under the pressure that the form and its history presented for him. The A minor quartet mirrors the Bavarian hills and lakes that Brahms was surrounded by when he finished the Op. 51 quartets, with rolling melodies and dramatic peaks that create a viscerally romantic journey.

—Isidore String Quartet

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

GYPSUM TOWN HALL

Isidore String Quartet

(Bravo! Vail 2023 Chamber Musicians in Residence)

Adrian Steele, violin

Phoenix Avalon, violin

Devin Moore, viola

Joshua McClendon, cello

BARTÓK

String Quartet No. 1 in A minor, Op. 7 Lento (attacca)

Allegretto—(Introduzione)

Allegro (attacca)

Allegro vivace

BRAHMS

String Quartet No. 2 in A minor, Op. 51, No. 2

Allegro non troppo

Andante moderato

Quasi Minuetto, moderato—Allegro vivace

Finale. Allegro non assai

The running time of this concert is approximately one hour.

Marijke and Lodewijk de Vink Town of Gypsum

ISIDORE STRING QUARTET

ARTISTRY IN ABUNDANCE

CLASSICALLY UNCORKED

AUGUST 1 ~ 3 // 2023

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

The 2023 season of Classically Uncorked, co-curated and performed by Sandbox Percussion, features bold new works, a Grammynominated evening-length suite, and a new perspective on the American songbook.

Bravo! Vail

Gratefully

Acknowledges

the Support of the Following Patrons

Amy and Charlie Allen

The Francis Family

The Therese M. Grojean

Vocalist Fund

The Judy and Alan Kosloff

Artistic Director Chair

The Storm Cellar

Town of Vail

Vines at Vail Winery

Wild Mountain Cellars

SUSANNA PHILLIPS ( page 160)

SANDBOX PERCUSSION ( page 156)

©JOHNRYAN LOCKMAN, ZACHARY MAXWELL

7:30PM

CLASSICALLY UNCORKED SERIES

DONOVAN PAVILION

Sandbox Percussion

Ian Rosenbaum

Jonny Allen

Terry Sweeney

Victor Caccese

VICTOR CACCESE

Bell Patterns (6 minutes)

AMY BETH KIRSTEN

may the devil take me (6 minutes)

DAVID CROWELL

Verses for a Liminal Space (15 minutes)

— INTERMISSION —

JURI SEO

vv (9 minutes)

VIET CUONG

Water, Wine, Brandy, Brine (11 minutes)

REICH

Drumming Part I (15 minutes)

Following the performance, join a brief talkback with the members of Sandbox Percussion and Bravo! Vail Artistic Director, Anne-Marie McDermott.

CLASSICALLY UNCORKED I

Bell Patterns (2017)

VICTOR CACCESE (B. 1989)

Afounder of Sandbox Percussion, Victor Caccese is not only a composer, arranger, and percussionist but also a photographer and videographer. A graduate of the Peabody Institute and the Yale School of Music, he is also a member of The Percussion Collective. His Bell Patterns explores the mathematical complexity born of numbers sequence. He explains: “Each member of the quartet is assigned a different number (2, 3, 4, and 5). Different rhythmic cells are constructed using these numbers, and are then looped on top of each other.

… It was my goal with Bell Patterns to find the lowest common subdivision of four seemingly dissonant rhythms, and slow them down to the point where they all shared a similar consonant pulse. The juxtaposition of these slow

and fast rhythms is woven throughout the form and functions as the primary compositional structure in the work.”

may the devil take me (2019)

AMY BETH KIRSTEN (B. 1972)

The works of Amy Beth Kirsten, who joins the faculty of The Juilliard School this fall, incorporate music, language, voice, theater, and the physicality of performance. Cervantes’

Don Quixote inspired may the devil take me (for four triangles)—specifically, a passage where the hero’s sidekick, Sancho Panza, gives up trying to perceive the fantastic characters his master sees: “Señor, may the devil take me, but no man, giant, or knight of all those your grace has mentioned can be seen anywhere around here.”

“I’m fascinated by the idea that one character’s reality is so at odds with another’s,” says Kirsten. “This bears out musically by converting triangles

This evening's wine provided by Wild Mountain Cellars and The Storm Cellar

into objects that are contrary to their true nature. They aren’t resonant but are choked or muted. Perhaps this makes them untrue somehow [yielding] a kind of sonic enchantment reflecting the world between reality and fiction that Cervantes creates."

Verses for a Liminal Space (2021)

DAVID CROWELL (B. 1980)

David Crowell’s compositions often juxtapose intense rhythmic and melodic counterpoint with starkly spacious textures. He draws inspiration from what he calls “transformative experiences in the natural world … expressed through the interplay of composed and improvised passages, rhythmic and melodic layering, and a stylistic diversity that traverses the worlds of contemporary classical, jazz, and popular music.” He composed Verses for a Liminal Space while a fellow at Dumbarton Oaks, in Washington, D.C. “The percussionists,” he says, “move through various transitional states. The polyrhythms which begin the piece are bound by pulse but also suspended in time. Amid this euphoric jumble of

tightly organized sound, ankle bells spontaneously rattle while toms unpredictably dart through the texture. Eventually the music opens into long, held chords, another approach to suspension which is sprinkled with the same rattlers, light scraping on brake drums, and other ambient sounds winding their way inside the stillness.”

vv (2015, rev. 2018)

JURI SEO (B. 1981)

Extreme contrasts also lie at the heart of music by Juri Seo, who teaches composition at Princeton University. Says her website, “Her music explores the serious and the humorous, the lyrical and the violent, the tranquil and the obsessive.” Of vv (for four percussionists playing two vibraphones), she says: “My first inspiration for vv was the instrument itself, particularly its dark metallic sound with deep resonance. I built harmonies that evolve over the course of their durations by selectively muting some of the notes. The players use their fingers and mallets to dampen the notes, feeling the decay intimately. The introduction gives rise to a playful theme. vv then unfolds in an unconventional sonata form in which the themes head toward dissolution rather than consolidation. Throughout, the players interact with each other to collectively execute intricate musical gestures, as if the mallets are the fingers of a single person.”

Water, Wine, Brandy, Brine (2015)

VIET CUONG (B. 1990)

Viet Cuong teaches at the University of Nevada, Las Vegas and serves as composer-in-residence for the Pacific Symphony. He explains about his piece: “In 1641 a Jesuit scholar and priest named Athanasius Kircher published Magnes (Magnets), a work that discussed various forms of attraction and, unsurprisingly, magnetism. One chapter, titled ‘The Magnetism of Music,’ details an experiment in which he fills four wine glasses with liquids of various densities: aqua vitae (later referred to as brandy by Benjamin Franklin’s time), wine, pure water, and a coarse liquid such as

saltwater or oil. Kircher observed that each solution reacted differently when played, and conclusively associated each with one of the four GrecoRoman humors. Water, Wine, Brandy, Brine explores the various sounds that can be produced from playing crystal glasses as musical instruments, from the bell-like sounds of ‘toasting’ the glasses, to the theremin-like singing produced when the rims are played.”

Drumming Part I (1970-71)

STEVE REICH (B. 1936)

Steve Reich received a thorough education in Western music but also studied African drumming in Ghana, Balinese gamelan in Indonesia, and Hebrew cantillation in Israel. Drumming Part I takes us back to the period of classic Minimalism. This is the first section of a four-part work that runs an hour or more in its entirety. “While first playing the drums during the process of composition,” he says, “I found myself sometimes singing with them, using my voice to imitate the sounds they made. ... Thus the basic assumption about the voices in Drumming was that they would not sing words, but would precisely imitate the sound of the instruments. … There is, then, only one basic rhythmic pattern for all of Drumming. This pattern undergoes changes of phase position, pitch, and timbre, but all the performers play this pattern, or some part of it, throughout the entire piece.”

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

Wild Mountain Cellars

SANDBOX PERCUSSION

Amy and Charlie Allen

The Judy and Alan Kosloff Artistic Director Chair

The Storm Cellar Town of Vail

CLASSICALLY UNCORKED SERIES

DONOVAN PAVILION

Sandbox Percussion

Ian Rosenbaum

Jonny Allen

Terry Sweeney

Victor Caccese

ANDY AKIHO

Seven Pillars (1 hour 20 minutes)

Amethyst

Pillar II

Pillar III

Spiel

Pillar IV

mARImbA

Pillar V

Pillar VI

CarTogRAPh

Pillar VII

Program to be performed without intermission

WARNING: This performance features strobe lights and could potentially trigger seizures for people with photosensitive epilepsy.

Grammy-nominated ‘Seven Pillars’ Stage Direction and Lighting Design by Michael Joseph McQuilken

CLASSICALLY UNCORKED II

Seven Pillars (2021)

ANDY AKIHO (B. 1979)

Composer and percussionist

Andy Akiho is fascinated by the possibilities of percussion in general and has gained particular attention for compositions that spotlight the steel pan. Following his graduation from the University of South Carolina, he began visiting Trinidad, enmeshing himself in the steel pan community and composing works for steel pan ensemble. In 2011, Innova Records released his debut CD, No One to Know One, a collection of his rhythmically complex music in which steel pans stand front and center. He went on to earn master’s degrees from the Manhattan School of Music (in contemporary performance) and the Yale School of Music (in composition).

During the 2022/23 season, he served as composer-in-residence at the Oregon Symphony. This past year also included the premiere

of a new interdisciplinary work he wrote for the Omaha Symphony honoring visual artist Jun Kaneko, the premiere of a commission for Imani Winds, and a sold-out run of Seven Pillars at the Théâtre du Châtelet in Paris, choreographed by Benjamin Millepied and performed by Sandbox Percussion and L.A. Dance Project. Other recent engagements include commissioned premieres by the New York Philharmonic, National Symphony Orchestra, Shanghai Symphony, China Philharmonic, and Guangzhou Symphony.

He was twice nominated for a Grammy award for Best Contemporary Classical Composition—in 2022 for Seven Pillars and in 2023 for Ligneous Suite. Sandbox Percussion’s recording of Seven Pillars was also nominated in 2022 in the Grammy category Best Chamber Music/Small Ensemble Performance, and the piece was a finalist for the 2022 Pulitzer Prize in Music. Many other honors have come Akiho’s way, including the 2014-15 Luciano Berio Rome Prize, the 2015

This evening's wine provided by Vines at Vail Winery

Lili Boulanger Memorial Fund award, a 2014 Fromm Foundation Commission from Harvard University, and a 2014 Chamber Music America Grant.

He remains active as a steel pan performer and in that capacity has performed his compositions with ensembles including the New World Symphony, Charlotte Symphony, South Carolina Philharmonic, the Berlin Philharmonic’s Scharoun Ensemble, and in concerts of the Los Angeles Philharmonic’s Green Umbrella Series, the International Drum Festival in Taiwan, and the Kennedy Center in Washington, D.C. His music has been featured on PBS’s News Hour with Jim Lehrer and by performing organizations including Meet the Composer, Bang on a Can, American Composers Forum, and the Society for New Music. As is often the case with percussionistcomposers, Akiho is attuned to finding musical possibilities where others might overlook them. In 2015, for example, the Shanghai Symphony unveiled his Ricochet, Concerto for Ping Pong, Violin, Percussion, and Orchestra, which included among the soloists two amplified table-tennis players hitting balls with various paddles.

Sandbox Percussion member Jonny Allen explains that Seven Pillars “explores the free spaces created

within an organized structure. This evening-length work, comprising seven quartets and four solos, began with its central movement, Pillar IV. Originally commissioned as a stand-alone work, this piece contained a rigorous structure and motivic content that Akiho felt compelled to expand beyond its 10-minute capsule. Pillar IV became the nucleus for Seven Pillars, containing the DNA from which the other six quartets are built.” Although the piece unrolls through a symmetrical structure, Allen insists that “Akiho is the first to say that this is not the point of Seven Pillars. Rather, this structure creates space that can be populated with emotion and imagination. Even the reflecting movements are occupied by wildly different aesthetics despite sharing an underlying logic.” Akiho provided this comment about the piece:

Seven Pillars, commissioned by and dedicated to Sandbox Percussion, is an 80-minute, 11-movement suite for percussion comprising seven quartets surrounding four solos that reflect the personality of each performer. The macro-structure is made up of two simultaneous processes— an additive process where each movement introduces a new instrument, and a symmetrical/ palindromic structure on either side of the central movement.

The journey of Seven Pillars began … in 2013 and culminated in a world premiere of the entire suite by Sandbox Percussion at Emerald City Music in Seattle, Washington, on December 3, 2021. The inspirations for this work are deeply personal, and it was written for the performers more than the instruments. I have always been influenced by Duke Ellington who created pieces for the specific musicians, including Cat Anderson and Juan Tizol, in his orchestras. This piece does not have a concrete narrative, although I have a personal storyline that fits my life journey, and I encourage the listener to experience the music in their own adventure.

The seven quartets (Pillars I-VII) are extroverted and are inspired by architecture, where each mirrored movement, Pillars I & VII, Pillars II & VI, and Pillars III & V … share musically structural, temporal, scalar, and motivic elements.

With the free-form and intuitive solos, I looked inward to reflect my personality along with the inspiring musical identities of the members of Sandbox: Jonny Allen begins with the first melodic material and kaleidoscopic timbres in “Amethyst”; Terry Sweeney is “Spiel”; Ian Rosenbaum … embodies the lyricism and harmonic landscapes in “Marimba”; and Victor Caccese [renders] the rhythmic intensity and extremely dance-like virtuosity in “carTogRAPh.” Over the years, they have become like family to me, and I wanted to write a piece accompanying this journey along with my growth as a composer, constantly searching for an innovative voice.

The commission of Seven Pillars has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation and the Chamber Music America Endowment Fund, and also by the Barlow Endowment for Music Composition at Brigham Young University.

Bravo! Vail

Gratefully Acknowledges the Support of the Following Patrons

Amy and Charlie Allen Town of Vail Vines at Vail Winery

SANDBOX PERCUSSION

CLASSICALLY UNCORKED SERIES

DONOVAN PAVILION

Susanna Phillips, soprano

Gloria Chien, piano

Anne-Marie McDermott, piano

Sandbox Percussion

Ian Rosenbaum

Jonny Allen

Terry Sweeney

Victor Caccese

CAGE

Third Construction for Percussion Quartet (10 minutes)

IVES

Selected Songs — INTERMISSION

CRUMB

American Songbook III, Unto the Hills (41 minutes)

Poor Wayfaring Stranger

All the Pretty Little Horses (An Appalachian Lullaby)

Ten Thousand Miles

Ev’ry Night When the Sun Goes In Appalachian Epiphany: A Psalm for Sunset and Dusk

Down in the Valley—Hush, Little Baby (An Appalachian Lullaby)

Black, Black, Black is the Color

The Riddle

Poor Wayfaring Stranger (Echo)

CLASSICALLY UNCORKED III

Third Construction for Percussion Quartet (1941)

JOHN CAGE (1912-92)

It has been suggested that John Cage’s achievement was less as a composer per se than as a sort of aesthetic pioneer. He might have answered that the distinction wasn’t worth making, if it existed at all. He was unusually broadminded when it came to music, which he was happy to define as simply the organization of sound, and he was one of the great liberators in music history. He studied briefly with Arnold Schoenberg, who declared, “He is not a composer, but an inventor—of genius.” In a 1982 interview, Cage recalled: “Schoenberg said I would never be able to compose, because I had no ear for music; and it’s true that I don’t hear the relationships of tonality and harmony. He said: ‘You always come to a wall and you

won’t be able to go through.’ I said, well then, I’ll beat my head against that wall; and I quite literally began hitting things, and developed a music of percussion that involved noises.” Some of those noises were derived from non-European musics (like the Latin American and Asian instruments in Third Construction) or were borrowed from the “music of life” that surrounds everybody every day. His three Constructions build on an obsession reinforced by Cage’s first encounter with Varèse’s Ionisation in 1933. They involve repetitions of rhythmic patterns and large-scale metric units (not necessarily audible), somewhat prefiguring the processes that Minimalists would explore decades later. In the Third Construction, the pattern involves a 24-measure unit that is revisited 24 times (each time occupying precisely two pages of the printed score) with certain rhythmic characteristics shuffled and

This evening's wine provided by Wild Mountain Cellars and The Storm Cellar

shared among the players with each reiteration. The structure, which is quite complex, bears certain resemblances to the procedures of tala, the rhythmic engine of Indian Classical music.

Songs

CHARLES IVES (1874-1954)

Charles Ives grew up surrounded by musical open-mindedness—or, better put, open-earedness. His father was a Connecticut bandmaster who for unexplained reasons took pleasure from musical coincidences that most people found revolting—playing the melody of a tune in one key and its harmony in another, for example, or savoring the overlapping sounds of separate bands playing at once on a parade ground. Charlie grew up with the resultant polytonality sounding logical to his ears, and at the age of 17 he composed (among many other mostly short pieces) his own experimental, bitonal masterpiece for organ, Variations on America, which remains much performed today. He went off to college at Yale, where his composition teacher, Horatio Parker, tried to rein in his errant musical

proclivities through the imposition of time-honored classical training. Following graduation, Ives sensibly took a position with an insurance firm. He soon established his own company—the eventual Ives & Myrick— in New York City. His success as a businessman, combined with chronic but not entirely debilitating health concerns, led him to spend much of his adulthood pursuing his passion for composition in private. He was not particularly pleased that most of his works went unperformed, but at least his finances were such that he could go on composing whether people were interested in his music or not.

He composed some two hundred songs, including early efforts produced under Parker’s watchful eye (some surprisingly Brahmsian, and in German, no less) to mature efforts that range from the tender to the riotous—even including a campaign song for William McKinley that didn’t get much traction. In 1922, he self-published his collection 114 Songs, which ranges through an astonishing landscape of parlor songs, German lieder, and experiments using whole-tone passages, avantgarde harmonies, and tone clusters.

Unto the Hills (American Songbook III): Songs of Sadness, Yearning and Innocence (2002)

GEORGE CRUMB (1929-2022)

Although he never took to the 12-tone method prevalent from the 1950s through the 1970s, when he emerged in the new-music scene, George Crumb commanded widespread respect among both critics and audiences. He generously acknowledged other composers whose music influenced him: Webern, Schoenberg, Debussy, Bartók, Messiaen, Mahler, Ives. For much of his career, he released compositions slowly, perhaps one per year until the mid-90’s, when he retired from his 32 years teaching at the University of Pennsylvania. Then his productivity picked up, and he turned his attention to the folk music of the Appalachian hills that he heard during his boyhood in West Virginia. He built up seven volumes of American Songbooks, in which timeless emotions are conveyed

through his particular brand of modernity, replete with unanticipated instrumental sounds. He wrote these specifically to unveil with his daughter, Ann Crumb (1950-2019), but they were quickly embraced by other singers.

“These beautiful and haunting melodies were always a part of my musical psyche,” said Crumb, “and in many of my earlier compositions I had quoted fragments of these tunes as a sort of symbolic and very personal musical ‘signature.’ … In confronting these songs head-on, so to speak, I determined to leave the beautiful melodies intact …. I have attempted to heighten the expressiveness of this music by scoring the work for a rather unusual ‘orchestra’ consisting of a quartet of percussionists (who play a number of rather unconventional instruments in addition to the more common ones) and amplified piano. … I have attempted to bring out the psychological depth and mysticism and also the humor (both whimsical and ironic) inherent in Appalachian folklore. … The title of my work is drawn from the famous psalm of David: ‘I will lift mine eyes unto the hills, whence comes my strength.’”

Amy and Charlie Allen

The Francis Family

The Therese M. Grojean Vocalist Fund

The Judy and Alan Kosloff Artistic Director Chair The Storm Cellar Town of Vail Wild Mountain Cellars

Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons

“These beautiful and haunting melodies were always a part of my musical psyche,”

SANDBOX PERCUSSION

ACADEMY OF ST MARTIN IN THE FIELDS

Joshua Bell

Music Director

VIOLIN

Tomo Keller

Leader/Director

Martin Burgess

Jennifer Godson

Fiona Brett

Mark Butler

Catherine Morgan

Miranda Playfair

Rebecca Scott

Amanda Smith

Katie Stillman

Matthew Ward

Martin Gwilym-Jones

Clare Hayes

VIOLA

Robert Smissen

Ian Rathbone

Nicholas Barr

Alexandros Koustas

CELLO

Tim Hugh

Will Schofield

Juliet Welchman

Judith Herbert

BASS

Lynda Houghton

David Stark

HARPSICHORD

Ken Mervine

FLUTE

Michael Cox  FLUTE/PICCOLO

Sarah Newbold

OBOE

John Roberts

Rachel Ingleton

CLARINET

Fiona Cross

Thomas Lessels

BASSOON

Julie Price

BASSOON/CONTRA

Graham Hobbs

HORN

Stephen Stirling

Joanna Hensel

Fabian van de Geest

Jamie Shield

TRUMPET

Mark David

William O’Sullivan

TROMBONE

Byron Fulcher

Andrew Cole

Joe Arnold

TIMPANI

Louise Goodwin

PERCUSSION

Julian Poole

Chris Blundell

The Academy's work in the United States is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields.

DALLAS SYMPHONY ORCHESTRA

Fabio Luisi

Music Director

Louise W. & Edmund J. Kahn Music Directorship

Gemma New

Principal Guest Conductor

Dolores G. & Lawrence S. Barzune, M.D. Chair

Jeff Tyzik

Principal Pops Conductor

Dot & Paul Mason Podium

Maurice Cohn

Assistant Conductor

Marena & Roger Gault Chair

Angélica Negrón

Composer-in-Residence

Vacant

Chorus Director

Jean D. Wilson Chair

VIOLIN I

Alexander Kerr

Concertmaster

Michael L. Rosenberg Chair

Nathan Olson**

Co-Concertmaster

Fanchon & Howard Hallam

Chair

Gary Levinson**°

Senior Principal Associate

Concertmaster

Enika Schulze Chair

Emmanuelle Boisvert

Associate Concertmaster

Robert E. & Jean Ann Titus

Family Chair

Eunice Keem

Associate Concertmaster

Marcella Poppen Chair

Diane Kitzman

Principal

Filip Fenrych

W. Paul Radman, DDS Chair

Maria Schleuning

Norma & Don Stone Chair

Lucas Aleman

Dallas Symphony Orchestra

League Chair

Jenna Barghouti

Marie A. Moore Chair

Mary Reynolds

Andrew Schast

Motoi Takeda

Associate Concertmaster

Emeritus

VIOLA

Meredith Kufchak

Principal

Hortense & Lawrence S. Pollock Chair

Matthew Sinno

Associate Principal

Sarah Kienle

Acting Associate Principal

Pamela Askew

Thomas Demer

Valerie Dimond**

Dr. James E. Skibo Chair

Christine Hwang

Keith Verges Chair

Xiaohan Sun**

Maisie Heiken Chair

David Sywak

Brenton Caldwell+

Emilio Carlo+

Ute Miller+

Eve Tang+

CELLO

Christopher Adkins

Principal

Fannie & Stephen S. Kahn Chair

Theodore Harvey

Associate Principal

Holly & Tom Mayer Chair

Jolyon Pegis**

Associate Principal

Joe Hubach Chair

Jeffrey Hood

Greg & Kim Hext Chair

Jennifer Yunyoung Choi

Kari Kettering

Donna & Herbert Weitzman

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

Minji Kim

Zexun (Jason) Shen

Nan Zhang

Noémie Golubovic+

Marie-Thaïs Oliver+

BASS

Nicolas Tsolainos

Principal

Brent Ross

David Matthews

+ English Horn

Karen & Jim Wiley Chair

CLARINET

Gregory Raden

Principal

Mr. & Mrs. C. Thomas

May, Jr. Chair

Paul Garner**

Associate Principal + E-Flat

Robert E. & Ruth Glaze Chair

Stephen Ahearn

Second Clarinet + Acting

Associate Principal + E-flat

Courtney & Andrew Nall

Chair

Stephanie Key

Andrew Sandwick**

Bass Clarinet + Utility

Samuel Rothstein+

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

David Heyde**

Associate Principal +

Acting Principal

Linda VanSickle Chair

Alexander Kienle

Assistant Principal + Utility

Haley Hoops

Becky & Brad Todd Chair

Yousef Assi

Kevin Haseltine**

Vacant

Principal

Howard E. Rachofsky Chair

TIMPANI

Brian Jones

Principal

Dr. Eugene & Charlotte

Bonelli Chair

Robert O’Brien

Assistant Principal

PERCUSSION

George Nickson

Principal

Margie & William H. Seay Chair

Daniel Florio

Associate Principal

Robert O’Brien

William Champion+

Jacob Hord+

HARP

Emily Levin

Principal

Elsa von Seggern Chair

ORGAN

Bradley Hunter Welch

Resident Organist

Lay Family Chair

KEYBOARD

Jeanne R. Johnson Chair

Gabriel Sanchez

Classical

Anastasia Markina**

Classical

Jeff Lankov+

SAXOPHONE

Wil Swindler+

LIBRARY

Karen Schnackenberg

Principal

Jessie D. & E. B. Godsey

Chair

Mark Wilson

Associate Principal

Robert Greer

Assistant

Melanie Gilmore

Daphne Volle

Bruce Wittrig

Susan & Woodrow Gandy

Chair

Giyeon Yoon

Kaori Yoshida *

VIOLIN II

Angela Fuller Heyde

Principal

Barbara K. & Seymour R. Thum Chair

Alexandra Adkins

Associate Principal

Sho-mei Pelletier**

Associate Principal

Bing Wang

Bruce Patti *

Rita Sue & Alan Gold Chair

Mariana Cottier-Bucco

Debra & Steve Leven Chair

Lilit Danielyan *

Hyorim Han

Shu Lee

Nora Scheller *

Aleksandr Snytkin *

Lydia Umlauf

Ami Campbell+

Ordabek Duissen+

Miika Gregg+

Paige Kossuth+

Anonymously Endowed

Chair

Thomas Lederer**

Co-Principal

Roger Fratena

Associate Principal

Paula Holmes Fleming

Brian Perry

Clifford Spohr

Principal Emeritus

William Gowen+_

Justin Kujawski+

Tyler Shepherd+

Caleb Quillen+

FLUTE

David Buck

Principal

Joy & Ronald Mankoff Chair

Hayley Grainger

Associate Principal

Barbara Rabin Chair

Kara Kirkendoll Welch

Caroline Rose Hunt Chair

James Romeo

Piccolo

OBOE

Erin Hannigan

Principal

Nancy P. & John G. Penson

Chair

Willa Henigman

Associate Principal

Katie Wolber+

TRUMPET

Stuart Stephenson

Principal

Diane & Hal Brierley Chair

L. Russell Campbell

Associate Principal

Yon Y. Jorden Chair

Kevin Finamore

Assistant Principal

Elmer Churampi

Justin Bartels+

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

Choral

PERSONNEL

MANAGEMENT

Nishi Badhwar

Olga & Yuri Anshelevich

Manager of Orchestra Personnel

Scott Walzel

Consultant for Community

Development & Outreach

Nicole Mendyka

Assistant Personnel Manager

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

+ Guest Artist

THE PHILADELPHIA ORCHESTRA

Yannick Nézet-Séguin

Music Director

Walter and Leonore Annenberg Chair

Nathalie Stutzmann

Principal Guest Conductor Ralph and Beth Johnston Muller Chair

Gabriela Lena Frank

Composer-in-Residence

Austin Chanu

Conducting Fellow

Tristan Rais-Sherman

Conducting Fellow

Charlotte Blake Alston

Storyteller, Narrator, and Host Osagie and Losenge Imasogie Chair

Frederick R. Haas

Artistic Advisor

Fred J. Cooper Memorial Organ Experience

FIRST VIOLINS

David Kim, Concertmaster Dr. Benjamin Rush Chair

Juliette Kang, First Associate Concertmaster

Joseph and Marie Field Chair

Christine Lim, Associate Concertmaster

Marc Rovetti, Assistant Concertmaster

Barbara Govatos

Robert E. Mortensen Chair

Jonathan Beiler

Hirono Oka

Richard Amoroso

Robert and Lynne Pollack Chair

Yayoi Numazawa

Jason DePue*

Larry A. Grika Chair

Jennifer Haas

Miyo Curnow*

Elina Kalendarova

Daniel Han

Julia Li*

William Polk

Mei Ching Huang

SECOND VIOLINS

Kimberly Fisher, Principal

Peter A. Benoliel Chair

Paul Roby, Associate Principal

Sandra and David Marshall Chair

Dara Morales, Assistant Principal

Anne M. Buxton Chair

Philip Kates

Davyd Booth

Paul Arnold

Joseph Brodo Chair, given by Peter A.

Benoliel

Boris Balter

Amy Oshiro-Morales

Yu-Ting Chen

Jeoung-Yin Kim*

VIOLAS

Choong-Jin Chang, Principal Ruth and A. Morris Williams, Jr., Chair

Kirsten Johnson, Associate Principal

Kerri Ryan, Assistant Principal

Judy Geist

Renard Edwards

Anna Marie Ahn Petersen Piasecki Family Chair

David Nicastro

Burchard Tang

Che-Hung Chen

Rachel Ku

Marvin Moon

Meng Wang

CELLOS

Hai-Ye Ni, Principal

Priscilla Lee, Associate Principal Yumi Kendall, Assistant Principal

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

Richard Harlow

Orton P. and Noël S. Jackson Chair

Kathryn Picht Read

Robert Cafaro Volunteer Committees Chair

Ohad Bar-David

John Koen

Derek Barnes

Alex Veltman

BASSES

Gabriel Polinsky, Acting Principal Carole and Emilio Gravagno Chair

Joseph Conyers, Acting Associate Principal

Tobey and Mark Dichter Chair

Nathaniel West, Acting Assistant Principal

David Fay

Duane Rosengard

Michael Franz

Christian Gray

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

FLUTES

Jeffrey Khaner, Principal Paul and Barbara Henkels Chair

Patrick Williams, Associate Principal

Rachelle and Ronald Kaiserman Chair

Olivia Staton

Erica Peel, Piccolo

OBOES

Philippe Tondre, Principal

Samuel S. Fels Chair

Peter Smith, Associate Principal

Jonathan Blumenfeld

Edwin Tuttle Chair

Elizabeth Starr Masoudnia, English Horn

Joanne T. Greenspun Chair

CLARINETS

Ricardo Morales, Principal

Leslie Miller and

Richard Worley Chair

Samuel Caviezel, Associate Principal

Sarah and Frank

Coulson Chair

Socrates Villegas

Paul R. Demers, Bass Clarinet

Peter M. Joseph and

Susan Rittenhouse

Joseph Chair

BASSOONS

Daniel Matsukawa, Principal

Richard M. Klein Chair

Mark Gigliotti, Co-Principal

Angela Anderson Smith

Holly Blake, Contrabassoon

HORNS

Jennifer Montone, Principal

Gray Charitable Trust Chair

Jeffrey Lang, Associate Principal

Hannah L. and J. Welles

Henderson Chair

Christopher Dwyer

Chelsea McFarland

Ernesto Tovar Torres

Shelley Showers*

TRUMPETS

(position vacant)

Principal

Marguerite and Gerry Lenfest Chair

Jeffrey Curnow, Associate Principal

Gary and Ruthanne Schlarbaum Chair

Anthony Prisk*

TROMBONES

Nitzan Haroz, Principal Neubauer Family Foundation Chair

Matthew Vaughn, Co-Principal

Blair Bollinger, Bass Trombone

Drs. Bong and Mi Wha Lee Chair

TUBA

Carol Jantsch, Principal

Lyn and George M. Ross Chair

TIMPANI

Don S. Liuzzi, Principal

Dwight V. Dowley Chair

Angela Zator Nelson, Associate Principal

PERCUSSION

Christopher Deviney, Principal

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

*On leave

COLORADO SYMPHONY CHORUS

Duain Wolfe

Founding Director and Conductor

Mary Louise Burke

Principal Associate Director and Conductor

Taylor Martin

Associate Director and Conductor

Jared Joseph

Conducting Intern

Hsiao-Ling Lin

ShaoChun Tsai-Schneider

Pianists

Eric Israelson

Barbara Porter

Chorus Managers

SOPRANOS

René Atchison

Lori Ascani

Jude Blum

Candace Caruthers

Denelda Causey

Ruth Coberly

Sarah Coberly

Angie Collums

Kerry Cote

Claudia Dakkouri

Jenifer Gile

Lori Gill

Susan Graber

Kaitlin Jones

Lindsey Kermgard

Cathy Look

Rebecca Machusko

Jean O’Nan

Wendy Moraskie

Kim Pflug

Barb Porter

Lori Ropa

Judy Tate

Sydney Timme

Sue Von Roedern

Caitlin Wadman

Alison Wall

Karen Wuertz

Joan Zisler

ALTOS

Priscilla Adams

Brenda Berganza

Charlotte Braud-Kern

Cass Chatfield

Jayne Conrad

Martha Cox

Janie Darone

Barb Deck

Raleigh Fairchild

Anna Friedman

Sharon Gayley

Daniela Golden

Pat Guittar

Sheri Haxton

Kaia Hoopes

Brandy Jackson

Ellen Janasko

Tinsley Long

Susan McWaters

Kristen Nordenholz

Jill Parsons

Jennifer Pringle

Leanne Rehme

Deanna Thaler

Mary Thayer

Kim Trubetskoy

Pat Virtue

Rebecca Wise

TENORS

Gary Babcock

James Carlson

Jack Dinkel

Roger Fuehrer

John Gale

David Hodel

Frank Gordon

Forrest Guittar

Sami Ibrahim

Ken Kolm

Richard Moraskie

Tim Nicholas

Miguel Rangel

Tyler Richardson

Phillip Stohlmann

Hannis Thompson

Ken Zimmerman

BASS

John Adams

Bob Friedlander

Matthew Grey

Doug Hesse

David Highbaugh

Donald Hume

Leonard Hunt

Eric Israelson

Terry Jackson

Tom Jirak

John Jones

Jared Joseph

Matthew Johnson

Matthew Molberg

Gene Nuccio

John Phillips

Ben Pilcher

Tom Potter

Joshua Richards

Adam Scoville

Russ Skillings

Matthew Smedberg

David Struthers

Tom Virtue

Get carried away in Vail, where adventure meets luxury. While you’re here, take in our unique dining, shopping and outdoor experiences. And come back to enjoy more events and performances throughout the summer. Relax, unwind and discover why Vail is the place where culture and mountains meet.

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ARTISTS & ENSEMBLES

Joseph Alessi (trombone) —a California native and New York Philharmonic Principal Trombone, The Gurnee F. and Marjorie L. Hart Chair, since 1985—has premiered many works for trombone including Christopher Rouse’s Pulitzer Prize-winning Trombone Concerto, Melinda Wagner’s Trombone Concerto, and Bramwell Tovey’s The Lincoln Tunnel Cabaret for Trombone and Orchestra, which he performed at Bravo! Vail in 2013 with Tovey conducting. This summer, he reprises Chick Corea’s Trombone Concerto, which he premiered with the São Paulo Symphony Orchestra in 2021. Alessi is on faculty of The Juilliard School.

Marin Alsop (conductor) is chief conductor of the ORF Vienna Radio Symphony Orchestra; the first music director of the National Orchestral Institute + Festival, the first chief conductor and curator of the Ravinia Festival; and conductor of honor of the São Paulo Symphony. Following 14 years directing the Baltimore Symphony, she was named its Music Director Laureate and OrchKids Founder. Alsop led the Cabrillo Festival of Contemporary Music for 25 years and is the first conductor to receive a MacArthur Fellowship. She founded the Taki Alsop Concordia Conducting Fellowship (renamed in her honor) to nurture female conductors.

Steven Banks (saxophone) , 2022 winner of the Avery Fisher Career Grant, was the first Saxophonist to win First Prize at the Young Concert Artists Susan Wadsworth International Auditions. A new member to WQXR’s 2022 Artist Propulsion Lab, he has appeared with the Cleveland Orchestra, Cincinnati, Detroit, and New World Symphonies, and the St. Lawrence String Quartet. Previously on faculty at Ithaca College, Banks will hold the Jackie McLean Fellowship at the University of Hartford and serve as a Visiting Faculty member at the Cleveland Institute of Music this coming season.

Daniel Berryman (vocalist) has toured nationally in The Sound of Music and Les Misérables , and won First Prize in the 2019 Lotte Lenya Competition. His past roles include Ambrose Kemper in Hello, Dolly! with St. Louis MUNY, Ciccio in The Most Happy Fella with Goodspeed Theatre, and Mark Cohen in Rent with Theatre Aspen. In 2022, he made his Off-Broadway debut in Hello, Dolly! starring alongside his wife, Grace Morgan. They currently live in Indianapolis with their two sons.

Jean-Efflam Bavouzet (piano) is a prolific recording and concert artist who has received numerous awards, including Best Concerto Recording from Gramophone in 2011 and 2014, the Orchestral Award from BBC Music Magazine in 2012, and the Artist of the Year from ICMA in 2012. He regularly performs with orchestras such as the BBC Symphony, the Cleveland Orchestra, London Philharmonic, NHK Symphony Orchestra, and the San Francisco Symphony Orchestra. He is the International Piano Chair at the Royal Northern College of Music and a passionate champion of lesserknown French music.

© TODD ROSENBERG

PAUL MITCHELL

© ADRIANE WHITE

Joshua Bell (violin) , born in Bloomington, Indiana, has for over forty years been heard as a soloist, chamber musician, recording artist, conductor and director, and Grammy Award winner. Bell has served as Music Director of the Academy of St Martin in the Fields since 2011, and his 2022/23 season highlights with the Academy include touring to eight countries throughout Europe and South America. This summer's performances mark Bell's fourth appearance at Bravo! Vail with the Academy.

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

Gloria Chien (piano) , born in Taiwan, made her orchestral debut at the age of 16 with the Boston Symphony Orchestra under Thomas Dausgaard. A former member of The Bowers Program, she performs frequently with the Chamber Music Society of Lincoln Center and for 10 years was Director of the Chamber Music Institute at Music@Menlo. In 2017 she joined her husband, violinist Soovin Kim, as Co-Artistic Director of the Lake Champlain Chamber Music Festival in Burlington, Vermont. The duo became Artistic Directors at Chamber Music Northwest in Portland, Oregon in 2020.

Joseph Conyers (double bass) joined The Philadelphia Orchestra as assistant principal bass in 2010 and is currently serving as serving as pricipal bass. A graduate of the Curtis Institute of Music, he has been recognized and awarded widely for his extensive work as an educator and entrepreneur. He founded the non-profit music-based program Project 440, and is the Director of the Young Artists Orchestra for the Tanglewood Institute as well as Director of the Philadelphia School District’s All City programs. He serves on the faculty of The Juilliard School.

Dalí Quartet (string quartet) , with members hailing from Venezuela, Puerto Rico, and the U.S., currently serves as the Faculty Quartet in Residence at West Chester University’s Wells School of Music, and is also an Iris Collective Resident Ensemble. In recent years, it won Chamber Music America’s Guarneri String Quartet Residency; the Silver Medal in the inaugural Piazzolla Music Competition; and the Atlanta Symphony's esteemed Aspire Award for accomplished African American and Latino Musicians. A champion of Latin American music, the quartet founded its own International Music Festival in 2004, which aims to develop the performance skills of young musicians.

Stéphane Denève (conductor) , is Music Director of the St. Louis Symphony Orchestra, Artistic Director of the New World Symphony, and as of 2023, the Principal Guest Conductor of the Netherlands Radio Philharmonic. Well-known to Bravo! Vail audiences from his many appearances as Principal Guest Conductor of The Philadelphia Orchestra (2014-2020), he has also served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and Music Director of the Royal Scottish National Orchestra. He is a passionate advocate for 21st century music and has a special affinity for music of his native country, France.

Dover Quartet (string quartet) was named one of the greatest string quartets of the last 100 years by BBC Music Magazine. The Grammy-nominated ensemble is the Penelope P. Watkins Ensemble in Residence at the Curtis Institute of Music. It holds residencies at the Kennedy Center, Bienen School of Music at Northwestern University, Artosphere, and the Amelia Island Chamber Music Festival. Awards include all prizes at the 2013 Banff International String Quartet Competition and top prizes at both the Fischoff Chamber Music Competition and the Wigmore Hall International String Quartet Competition. Honors include the Avery Fisher Career Grant, Chamber Music America’s Cleveland Quartet Award, and Lincoln Center’s Hunt Family Award.

Emily Drennan (vocalist) is a published producer, lyricist, composer, and vocal artist. She has been a featured soloist at Carnegie Hall, Lincoln Center, and Radio City Music Hall. Her past roles span from Amneris in Aida and Tanya in Mamma Mia , to singing with rock legend Sting. Emily is a published ASCAP and Recording Academy (Grammy) producer. She has been a featured guest soloist with many orchestras, including the Austin, Detroit, and Portland Symphonies.

James Ehnes (violin) , a native of Canada, debuted with the L’Orchestre symphonique de Montréal at 13, and later graduated from Juilliard, where he earned the Peter Mennin Prize. A Grammy Award winner, Ehnes is the founder of the Ehnes Quartet, and serves as Artistic Director of the Seattle Chamber Music Society. He has performed in over 35 countries with orchestras such as the London Symphony Orchestra, Metropolitan Orchestra, NHK Symphony, and the San Francisco Symphony. He holds two Gramophone Classical Music Awards and 11 JUNO Awards and plays the “Marsick” Stradivarius of 1715.

Rosa Feola (soprano) a native of San Nicola la Strada, Caserta, Italy, came to international attention after winning Second Prize, the Audience Prize, and the Zarzuela Prize at the 2010 Plácido Domingo World Opera Competition. More recently, she was also awarded the Premio Speciale at the Spoleto Festival dei Due Mondi. She has sung at the most respected opera houses in the world including the Bayerische Staatsoper, Deutsche Oper Berlin, Lyric Opera Chicago, the Metropolitan Opera New York, Opernhaus Zürich, and Teatro alla Scala. This is her Bravo! Vail debut.

Galvin Cello Quartet (Sihao He, Sydney Lee, Luiz Venturelli, Haddon Kay) was formed at Northwestern University's Bienen School of Music in the studio of the highly regarded pedagogue Hans Jørgen Jensen. Its members hail from China, Brazil, South Korea, and the United States, and together named their group after the Mary B. Galvin Recital Hall at Bienen. Since its formation at the height of the pandemic, the quartet has won second and First Prizes in the 2021 Fischoff Competition and the 2022 Victor Elmaleh Competition.

Anna Genishene (piano) , Moscow native and Silver medalist of the 2022 Cliburn Competition, is a featured artist in the 2023 Immersive Series — a two concert survey of all nine Prokofiev Piano Sonatas. Highlights of her 2022/23 season include recitals across the United States and at the Festival International de la Roque d'Anthéron (France), as well as appearances with the Lithuanian State and Taipei Symphony Orchestras. Upcoming engagements include a tour of Japan with pianist Andrey Gugnin and collaborations with Wu Han and Dmytro Choni at Wolf Trap and La Musica Festival.

© BENJAMIN EALOVEGA

© TODD ROSENBERG

© JESSE HOLLAND

© TODD ROSENBERG

Giancarlo Guerrero (conductor) was born in Nicaragua. The eight-time Grammy Award winner is Music Director of the Nashville Symphony and the NFM Wrocław Philharmonic. Co-creator of the Nashville Symphony’s biannual Composer Lab & Workshop for young and emerging composers, he is well-known as a champion of new music. His 2022/23 season includes returns to the Boston and Cincinnati Symphonies, Orquestra Sinfônica do Estado de São Paulo, and the Deutsches Symphonie Orchester Berlin.

Hilary Hahn (violin) , three-time Grammy Award winner and Virginia native, is the 2023/24 Artistin-Residence with the New York Philharmonic, a post she just held with the Chicago Symphony and at Wigmore Hall in London. An avid supporter of new music and education, Hahn has personally commissioned over 30 new works and, in 2019, donated $25,000 to the Philadelphia-based music education program, Project 440. Her 2022/23 season includes a tour with Mikko Franck and the Orchestre Philharmonique de Radio France and tours of the Sibelius and Brahms Violin Concertos. Hahn last appeared in Vail for performing Mendelssohn’s Violin Concerto in 2019.

Dawn Halfaker (Retired U.S. Army Captain) earned her commission as a 2nd Lieutenant in the U.S. Army in 2001. During her 2004 deployment in Iraq her Humvee was hit by a rocket-propelled grenade, and she lost her right arm after being medically evacuated to the U.S. She earned a Purple Heart and a Bronze Star for her service. In 2006 she started Halfaker and Associates, an awardwinning professional services and technology solutions firm which focuses on hiring and training Veterans. She is a staunch advocate for Veterans and Wounded Warriors and maintains active membership with the Vail Veterans Program.

Tim Hugh (cello) studied at Yale with Aldo Parisot, and later with William Pleeth and Jacqueline du Pré while gaining his MA in Medicine and Anthropology at St Johns College, Cambridge. Following his success at the Tchaikovsky Competition in Moscow, Hugh enjoys an international career as a soloist and is Principal Cello of the London Symphony Orchestra. He has given recitals in London, New York, Portugal, Beirut, and amongst many other recordings, including concertos by Walton, Bliss, Finzi, Boccherini, Hoffman, Holst, and CPE Bach, and has recorded much of the piano trio repertoire with the Solomon Trio.

Isidore String Quartet formed in 2019 at The Juilliard School, and in 2022 won the Banff International String Quartet Competition. Named for Isidore Cohen, founding cellist of the Juilliard String Quartet, the quartet (violinists Adrian Steele and Phoenix Avalon, violist Devin Moore, and cellist Joshua McClendon) is now the resident ensemble for the Contemporary Alexander School/Alexander Alliance International and for Project: Music Heals Us. The Banff win led to extensive tours of North America and Europe, plus a two-year appointment as the Peak Fellowship Ensemble-in-Residence at Southern Methodist University in Dallas.

Stefan Jackiw (violin) returns to Bravo! Vail after last summer’s performance of Beethoven’s Kreutzer Sonata with the Saint Paul Chamber Orchestra. With pianist Conrad Tao and cellist Jay Campbell, he is a member of the Junction Trio, and has appeared as soloist with the orchestras of Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco. Accolades include the Avery Fisher Career Grant and a Louis Sudler Prize in the Arts. 2022/23 included an appearance at 92NY with cellist Alisa Weilerstein and pianist Daniil Trifonov, an American tour with the Junction Trio, and a concerto tour through Europe.

© OJ SLAUGHTER

© SANGWOOK LEE

© JIYANG CHEN

Jennifer Johnson Cano (soprano) , winner of the 2008 Metropolitan Opera Council Auditions, has performed on stage at the Met over 100 times since her debut in 2009. She is a recipient of First Prize at the Young Concert Artists International Auditions (2009), a Sara Tucker Study Grant (2011), a Richard Tucker Career Grant (2012) and a George London Award (2012), Highlights of Cano’s 2021/22 season included performances with the Chicago Symphony, Cincinnati Opera, Houston Grand Opera, San Francisco Symphony, and the world premiere of Kevin Puts’ The Hours with The Philadelphia Orchestra.

James Keller (program annotator) , recently completed his 23rd season as program annotator of the San Francisco Symphony. He is the author of Chamber Music: A Listener’s Guide (Oxford University Press) and has contributed chapters to books including American Mavericks , George Crumb and the Alchemy of Sound , and Leonard Bernstein, American Original . He was formerly program annotator of the New York Philharmonic, a writer-editor at The New Yorker , and critic-at-large for the Santa Fe New Mexican . He has curated major museum exhibitions in California and New Mexico about historical popular music relating to those states.

Tomo Keller (violin) studied at Vienna’s University for Music and New York’s Juilliard School. He has been a soloist with orchestras such as the City of Birmingham Symphony Orchestra, London Symphony Orchestra, Radio Symphony Orchestras Berlin and Stockholm, and the Vienna Symphony Orchestra. Recordings include works by Bach, Bartók, Ysaÿe, Stravinsky, and the Grammy Awardwinning Avant Gershwin with Patti Austin and the WDR Big Band. Tomo was appointed Director and Leader of the ASMF in 2016 and appears with them worldwide as leader, director, chamber musician, and soloist.

Kyle Ketelsen (bass baritone) played the role of Richard in Kevin Puts’s The Hours beside Renée Fleming, Kelli O’Hara, and Joyce DiDonato in 2022. Other recent highlights include Pelléas et Mélisande (Golaud) with Los Angeles Opera and a return to the Wiener Staatsoper in the title role of Don Giovanni . Ketelsen has won First Prizes from the George London Foundation, the Liederkranz Foundation, the Metropolitan Opera National Council Auditions, the National Opera Association, the Licia Albanese Puccini Foundation, the Sullivan Foundation, Opera Index, and the MacAllister Awards. This is his Bravo! Vail debut.

Brian Killeen (bass) , a New York-native, plays both electronic and acoustic bass. He has recently been featured in collaborations with A Great Big World, Albis, Brandon O’Shea, Robbie Gil, and Zach Jones & the Tricky Bits, among others. This summer marks Killeen’s return to Bravo! Vail after his performance in last season’s program Revolution: The Music of the Beatles .

David Kim (violin) , a native of Carbondale, Illinois, began playing the violin at age three and went on to earn his bachelor’s and master’s degrees from The Juilliard School. He holds honorary doctorates from Eastern University in suburban Philadelphia, the University of Rhode Island, and Dickinson College. Kim has been concertmaster of The Philadelphia Orchestra since 1999, and has also served as concertmaster for the nine-time Emmy Award-winning All-Star Orchestra. For the 2022/23 season, he holds teaching/performance residencies at the Australian National Academy of Music in Melbourne and Georgetown University.

LAWRENCE BROWNLEE

RYAN DONNELL

Priscilla Lee (cello) , a California native and recipient of the 2005 Avery Fisher Career Grant, made her solo debut with the Los Angeles Philharmonic in 1998. After attending the Colburn School of Performing Arts, the Curtis Institute of Music, and the Mannes College of Music, she was appointed the Associate Principal Cello of The Philadelphia Orchestra in 2016. Prior to joining The Philadelphia Orchestra, she served as Principal Cello of both the Chamber Orchestra of Philadelphia (2015-16) and Opera Philadelphia (2014-16).

Yunchan Lim (piano) became the youngest-ever Gold Medalist at the Van Cliburn International Piano Competition in 2022 at age 18. His previous accolades include Second Prize and Chopin Special Award winner of the Cleveland International Piano Competition for Young Artists (2018), Third and Audience Prize winner of the Cooper International Competition (2018), and First Prize winner of Korea’s IsangYun International Competition. A native of Siheung, South Korea, Yunchan Lim began piano studies at age seven and is currently in his second year at the Korea National University of Arts, studying under Minsoo Sohn.

Hannu Lintu (conductor) is Chief Conductor of the Finnish National Opera and Ballet, where this past season he premiered new productions of Die Walküre , Turandot , and Siegfried . His 2022/23 season also included appearances with the BBC Symphony Orchestra, Konzerthaus Berlin, Netherlands Radio Philharmonic, the Orchestre Symphonique de Montreal, and the New York Philharmonic, where his debut was met with critical and popular acclaim. His discography is replete with new works and has garnered many awards, including two ICMA awards and two Grammy nominations.

Bruce Liu (piano) was born in Paris to Chinese parents and grew up in Montreal. After winning First Prize at the 2021 Chopin International Piano Competition (Warsaw), he embarked on a world tour that spanned six countries. Highlights of his 2022/23 season include a European tour with the Montreal Symphony Orchestra, a debut with the Royal Philharmonic Orchestra, and appearances at several revered festivals across the world. This marks his Bravo! Vail debut.

Fabio Luisi (conductor) , a Grammy Award winner, began his tenure as Louise W. & Edmund J. Kahn Music Director of the Dallas Symphony Orchestra in 2020 and recently extended this contract through the 2028/29 season. In addition, he serves as Principal Conductor for both the Danish National and the NHK Symphony Orchestras. He previously served for six seasons as Principal Conductor of the Metropolitan Opera and nine seasons as General Music Director of the Zurich Opera. His 2022/23 season with the DSO included the release of Brahms’s First and Second Symphonies, available through the DSO’s in-house DSO Live label.

Jonathan Mak (piano) is a native of Toronto, Canada. He began piano studies at age three and made his orchestra debut with the Canadian Sinfonietta at four. He holds a bachelor's degree from the Cleveland Institute of Music, a master’s degree from Yale School of Music, and is currently pursuing a Doctor of Musical Arts at Rice University under the tutelage of Jon Kimura Parker. Mak has been a guest soloist with orchestras across the world and has given solo recitals in Bulgaria, China, Italy, Manchester, Poland, and Vienna. He is a 2023 Bravo! Vail Piano Fellow.

© LISA MARIE MAZZUCCO

Anne-Marie McDermott (piano) has been Bravo! Vail’s Artistic Director since 2011. Last summer, she performed the Vail premiere of Chris Rogerson’s Dream Sequence with the Dover Quartet, as well as the world premiere of Samaa’ (a piano concerto, also by Rogerson), commissioned by Bravo! Vail in celebration of her 10th year as Artistic Director. She regularly performs with the Chamber Music Society of Lincoln Center, where she has been a member since 1995, and has recorded extensively for Bridge Records. This fall she performs with the New York Philharmonic and Jaap van Zweden in the season opening of The McKnight Center of the Performing Arts at Oklahoma State University.

Eric Metzgar (drums) , is a New York-based performer and collaborator, and has played with numerous orchestras and jazz/pop artists around the world. He has shared the stage with, among others, Sutton Foster, Jimmy Greene, Delfeayo Marsalis, and Joe Locke. A dedicated music educator, he teaches every summer at the Cape Ann Jazz Workshop under director Alexa Tarantino. He maintains a private studio and often holds drumming clinics at grade schools and universities across the nation.

Ricardo Morales (clarinet) is a native of San Juan, Puerto Rico. He has been the Principal Clarinet of The Philadelphia Orchestra since 2003, and previously served in the same role for the Metropolitan Opera Orchestra. He has played concertos with major American orchestras as well as the Flemish Radio Orchestra and the Seoul Philharmonic. A sought-after chamber musician, he has appeared at the Philadelphia Chamber Music Society, Santa Fe Chamber Music Festival, and the Seattle Chamber Music Summer Festival. He serves on the faculty of Temple University and the Shanghai Conservatory of Music.

Yannick Nézet-Séguin (conductor) is Music and Artistic Director of The Philadelphia Orchestra, Music Director of the Metropolitan Opera, Artistic Director and Principal Conductor of Montreal’s Orchestre Métropolitan, an Honorary Member of the Chamber Orchestra of Europe, and Honorary Conductor of the Rotterdam Philharmonic. A native of Montreal, he studied at Montreal’s Conservatory of Music and continued his studies with Carlo Maria Guilini; he also studied at Westminster Choir College. Yannick is an exclusive Deutsche Grammophon recording artist and the winner of three Grammy Awards. His honors include Musical America’s 2016 Artist of the Year and six honorary doctorates.

Tara Helen O’Connor (flute) is the newly appointed Co-Artistic Director of the Music from Angel Fire Festival (New Mexico) and Visiting Associate Professor, Adjunct, of Flute at Yale School of Music. A two-time Grammy Award nominee, O’Connor is a passionate proponent of new music and has premiered hundreds of new works. A Season Artist of the Chamber Music Society of Lincoln Center, she is a member of the woodwind quintet Windscape, and was a founding member of the Naumburg Award-winning New Millennium Ensemble. Ms. O’Connor is in demand at major festivals throughout the country.

Illia Ovcharekno (piano) , won First Prize at the 2022 Honens International Piano Competition and the New York International Piano Competition. He has performed at the Aspen Music Festival, Arthur Rubinstein Piano Festival, and the Bern Interlaken Classics. His 2022/23 season includes two Carnegie Hall performances and an international tour spanning six countries. An alumnus of the Kiev Music School, Illia is currently pursuing a Master of Music degree at the Hannover Hochschule under the guidance of Arie Vardi. He is a 2023 Bravo! Vail Piano Fellow.

Cynthia Phelps (viola) is the New York Philharmonic’s Principal Viola, The Mr. and Mrs. Frederick P. Rose Chair. Highlights with the Orchestra have included the premiere of Julia Adolphe’s Unearth, Release  in 2016 and Sofia Gubaidulina’s Two Paths , commissioned for her and Philharmonic Associate Principal Viola Rebecca Young. She is a member of the New York Philharmonic String Quartet, established in the 2016/17 season; performs with the Chamber Music Society of Lincoln Center, and is in demand at major chamber music festivals across the country.

Susanna Phillips (soprano) , recipient of The Metropolitan Opera’s 2010 Beverly Sills Artist Award, is a singing actor and recitalist and co-founder of Twickenham Fest, a chamber music festival in her native Huntsville, Alabama. Known for her sparkling portrayal of Musetta in La bohème , Ms. Phillips has sung at the Metropolitan Opera for 13 consecutive seasons. In 2005 she won four of the world’s leading vocal competitions: Operalia (both First Place and the Audience Prize), the Metropolitan Opera National Council Auditions, the MacAllister Awards, and the George London Foundation Awards Competition.

Lido Pimienta (vocalist) is a Grammy-nominated Columbian Canadian artist who is known for combining Afro and Indigenous musical traditions with a stylistic cumbia flair and electronica production. Her 2016 album, La Papessa , was the first independently produced non-English or French record to win Canada’s Polaris Music Prize. Her newest album, Miss Columbia , has been nominated for a Grammy Award, the Polaris Music Prize, and the Juno Award for Recording Package of the Year. In 2022 she completed an extensive tour which included performances throughout the US, Europe, Mexico, and Canada.

Stephen Prutsman (piano) moves from classical to jazz with ease in both his compositions and playing. With the aim of connecting cultures through music, he served as Artistic Partner for the St. Paul Chamber Orchestra (2004-2007) and Artistic Director of the Cartagena International Festival of Music (2009-2012). A prolific composer, he has written over 40 pieces in collaboration with the acclaimed Kronos Quartet, and his extensive library has been performed by artists such as the St. Lawrence String Quartet, and Yo-Yo Ma. In January of 2023, Prutsman began a two-year appointment as Visiting Artist at Stanford University.

Ian Rathbone (viola) started playing at the age of three. He studied at the Royal College Junior Department and with David Takeno at the Guildhall, Milan Skampa in Prague, as well as Thomas Riebl in Salzburg. Ian has been Guest Principal with the Academy of St Martin in the Fields, BBCNOW, Orchestra of the Age of Enlightenment, the Philharmonia Orchestra, and Royal Philharmonic Concert Orchestra.

Sandbox Percussion (percussion quartet) , twice nominated for a Grammy, is ensemblein-residence and serves as percussion faculty at the University of Missouri-Kansas City and The New School’s College of Performing Arts. The ensemble inaugurated the NYU Sandbox Percussion Seminar in 2016, and during 2022/23 performs Andy Akiho’s Seven Pillars over 15 times, including this summer on Bravo! Vail’s Classically Uncorked Series. Additional highlights include performances with the Pacific Symphony and the American Composer’s Orchestra at Carnegie Hall, and the release of two new albums.

© ZACHARY MAXWELL

© DARIO ACOSTA

Shubh Saran (guitar) is a New York-based Indian guitarist, composer, and producer. He has performed internationally as soloist and with bands in the United States, India, Canada, Bangladesh, Vietnam, and Mexico. Having lived in four different countries by the time he was in high school, his style is influenced by Hindustani classical, neo-soul, rock, jazz, and contemporary Indian music. His latest solo album, Inglish , was named one of the Best Jazz and Experimental albums by Pitchfork Magazine in 2021.

Issachah Savage (tenor) , winner of the First Prize, Audience Prize, and Orchestra Favorite award in the 2014 International Wagner Competition, is an alumnus of the prestigious Merola Opera Program in San Francisco. He is the recipient of many awards including the First Prize in both the General Opera and Wagner Division in the Liederkranz Competition, and Grand Prize of the Marcello Giordani Foundation Vocal Competition. His 2022/23 season includes a debut with the Lyric Opera of Chicago and a return to The Metropolitan Opera.

Will Schofield (cello) was born in London and studied in Scotland, Rome and at the Menuhin Academy in Gstaad, Switzerland. His teachers include Steven Isserlis and Radu Aldulescu. He spent over 20 years as cellist with the Grammy-nominated Emperor String Quartet and is currently Principal Cello with City of London Sinfonia and Associate Principal Cello with the Academy of St Martin in the Fields.

Ilya Shmukler (piano) , Moscow native, returns to Bravo! Vail as a featured artist in the 2023 Immersive Series — a two-concert survey of all nine Prokofiev Piano Sonatas. He gained international recognition as a top prize winner in the New York Virtuoso, Shigeru Kawai (Tokyo), ScriabinRachmaninov (Bulgaria), and Rachmaninov (St. Petersburg) piano competitions. In 2022 he secured a place as a finalist in the Van Cliburn Competition and made his Carnegie debut at Weill Recital Hall. He is currently a student of Stanislav Ioudenitch, himself a Cliburn Gold Medalist in 2001.

Sinta Quartet (saxophone quartet) , named after the member’s shared pedagogue, Donald Sinta, was formed while they were students at the University of Michigan in 2010. The quartet has given concerts across the world including nine countries, 32 states, and two Canadian provinces. In 2013, it was the first-ever saxophone ensemble to win the Victor Elmaleh First Prize from the Concert Artists Guild Competition, and has gone on to win many other first prizes at various chamber ensemble competitions.

Robert Smissen (viola) won a scholarship to Chethams School of Music at the age of 14 and went on to study at the Guildhall School of Music with David Takeno. While there he won prizes for chamber music and solo playing. After college he was appointed Principal Viola with the Northern Sinfonia, a post he held until 1986. He currently plays with the Academy of St Martin in the Fields, as well as other London chamber orchestras.

© BENJAMIN EALOVEGA

Burchard Tang (viola) , a Maryland native and graduate of the Curtis Institute of Music, joined The Philadelphia Orchestra in 1999. He studied under both Joseph dePasquale and Choong-Jin Chang, the former and current Principal Violists of The Philadelphia Orchestra, respectively. He served as Principal Violist of the Curtis Symphony and the New York String Seminar and has performed with the Brandenburg Ensemble. Other honors include First Place Prize at the Philadelphia Orchestra Albert M. Greenfield Student Competition (1993) and Second Prize in the Senior Division of the Fischoff Competition (1996).

Time for Three (string trio) , has performed in prominent venues including Carnegie Hall, The Kennedy Center, and The Royal Albert Hall. The trio’s most recent commission by Pulitzer Prize-winner Kevin Puts, Contact , premiered with the San Francisco Symphony and The Philadelphia Orchestra in summer 2022. This concerto is featured on its new album, Letters for the Future , alongside Jennifer Higdon’s Concerto 4-3 , released on Deutsche Grammophon. The album was recorded with The Philadelphia Orchestra, conducted by Xian Zhang and won a Grammy in the Best Classical Instrumental Solo category.

Jeff Tyzik (conductor/composer/arranger) has been the Principal Pops Conductor of the Dallas Symphony Orchestra for nine seasons and has served in the same role with the Detroit Symphony, Florida Orchestra, Oregon Symphony, and the Rochester Philharmonic Orchestra. He has composed and produced music for major television networks and released six of his own albums, including the Grammy Award-winning “The Tonight Show Band” with Doc Severinson, Vol. 1. At Bravo! Vail , he has conducted a wide variety of genres spanning from Motown and Broadway, to dance and Latin, to the annual sold-out Patriotic Concert.

Maxim Vengerov (violin) played his first recital in his hometown of Novosibirsk at age five. At ten he took First Prize in the Junior Wieniawski Competition in Poland, and five years later top honors at the Carl Flesch International Violin Competition. The latter led to a Teldec recording contract which launched his career worldwide. His multiple awards include two Gramophone Awards, a Grammy, and a Classic BRIT Award. In 1997 he became the first ever classical musician to be appointed as an International Goodwill Ambassador for UNICEF. This is his Bravo! Vail debut.

Viano String Quartet formed at the Colburn Conservatory of Music in Los Angeles, California and won First Prize at the 2019 Banff International String Quartet Competition. Currently the Nina von Maltzahn String Quartet-in-Residence at the Curtis Institute of Music, the Quartet has toured extensively to venues such as the Konzerthaus Berlin (Germany), Izumi Hall (Japan), Place Flagey (Belgium), Segerstrom Center for the Arts (California), and Wigmore Hall (England). This summer marks the group’s return to Bravo! Vail where it will collaborate with the 2023 Piano Fellows.

Jan Vogler (cello) became the youngest player to serve as principal cellist of the Staatskapelle Dresden at age 20. He moved with his family to New York City in 1997, and in 2017 created, performed and recorded “New Worlds,” a music and literature project with friend Bill Murray. In demand worldwide, Vogler has premiered concertos by prominent composers and recorded 34 albums, including a Mozart Divertimento, recipient of Echo Klassik’s Chamber Music Recording of the Year Award. He is Artistic Director of the Dresden Music Festival. This is his Bravo! Vail debut.

© LAUREN DESBERG

© JESSICA GRIFFIN

Colorado Symphony Chorus (Duain Wolfe, founder-director) was formed in 1984 and has won two Grammy Awards under Wolfe, who also served as director of the Chicago Symphony Orchestra Chorus for 28 years. Well known to Bravo! Vail audiences, the ensemble of 180 volunteers is a nationally respected chorus that has joined each of the Festival’s resident orchestras for major choral presentations in honor of Bravo! Vail Founder John Giovando. Mr. Wolfe has also taken the group on multiple European tours.

Jaap van Zweden (conductor) became the 26th Music Director of the New York Philharmonic in 2018. He also serves as Music Director of the Hong Kong Philharmonic and in 2024 becomes Music Director of the Seoul Philharmonic. He has conducted the leading orchestras of Amsterdam, Berlin, Leipzig, London, Paris, and Vienna, plus those in Chicago, Cleveland, and Los Angeles. His NY Phil tenure includes the reopening of David Geffen Hall, as well as premieres of 31 works. His 2023/24 farewell season celebrates his connection with the Orchestra’s musicians and revisits the composers he has championed, from Steve Reich and Joel Thompson to Mozart and Mahler.

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JOIN OUR COMMUNITY OF DONORS

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THE GOLDEN CIRCLE

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

MAESTRO ($100,000 and above)

Anonymous

Bacca Foundation

The Berry Foundation**

Virginia J. Browning**

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Internship Program

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Georgia and Don Gogel**

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

Kathie Mundy and Fred Hessler*

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SYMPHONY ($40,000 and above)

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Ann Hicks*

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ENSEMBLE ($30,000 and above)

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IMPRESARIO ($25,000 and above)

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Becker Violin Fund

Mary Beth and Roger Burpee

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Carol and Pat Welsh*****

Barb and Dick Wenninger**

VIRTUOSO ($20,000 and above)

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Amy and Steve Coyer***

Laura and BIll Frick*****

The Judy and Alan Kosloff Artistic Director Chair*

Honey M. Kurtz****

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National Endowment for the Arts

Margaret and Alex Palmer**

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OVATION ($15,000 and above)

Anonymous* (2)

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Holly and Ben Gill****

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Jane and Michael Griffinger*****

The Therese M. Grojean Vocalist Fund

Anne and Hank Gutman**

Melinda and Tom Hassen*

Pam and Don Hutchings

Karen and Jay Johnson**

Alexia and Jerry Jurschak**

Han and June S. Kang Arts Scholarship

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

Dr. and Mrs. Frederick Kushner**

Jan and Lee Leaman**

Jessica Levental and The Igor Levental Memorial Music Fund*

Bobbi and Richard Massman****

Mr. John McDonald and Mr. Rob Wright*****

Brenda and Joe McHugh*****

Marlys and Ralph Palumbo*

Mary Lou Paulsen and Randy Barnhart**

Susan and Richard Rogel*****

Sandra and Alejandro Rojas*

Terie and Gary Roubos*****

Beth and Rod Slifer*

Donna and Randy Smith*

J. Brian Stockmar

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Tom Woodell**

ALLEGRO ($10,000 and above)

Anonymous* (3)

Amy and Charlie Allen**

Abbe and Adam Aron

Sharron and Herbert Bank; Penny Bank****

Bank of America Private Wealth and Regina and John Magee

Caryn Clayman***

Dr. David Cohen*

Kathy Cole**

Kathleen and Jack Eck****

Cookie and Jim Flaum****

Susan and Harry Frampton******

Guy Griffin**

Martha Head*****

Kiwi and Landon Hilliard

Diane and Lou Loosbrock*

Nancy and Richard Lubin****

Linda and Ronn Lytle

Anne and Tom McGonagle

Sarah and Peter Millett*

Kate and John Mitchell

Amy and Hal Novikoff

Marge and Phil Odeen**

Ray Oglethorpe*

Teri Perry*****

Carolyn and Steve Pope****

Ann and Tom Rader*

Wendy and Paul Raether*

Patricia and Brian Ratner

Roberta and Ernie Scheller****

Debbie and Jim Shpall*

Patti Shwayder-Coffin and Steve Coffin*

Brooke and Hap Stein*****

Barbara and Carter Strauss*

Nancy Traylor******

Debbie and Fred Tresca**

Jackie and Norm Waite**

Jane and Thomas Wilner*

Xcel Energy Foundation

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

THE ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE

MAESTRO ($100,000 and above)

Berry Charitable Foundation**

ENSEMBLE ($30,000 and above)

Marijke and Lodewijk de Vink****

Patricia and Peter Kitchak*

IMPRESARIO ($25,000 and above)

Virginia J. Browning**

OVATION ($15,000 and above)

Mrs. Jean Graham-Smith and Mr. Philip Smith*****

ALLEGRO ($10,000 and above)

Cathy Stone*****

SOLOIST ($7,500 and above)

Dr. David Cohen*

Jann and John Wilcox

CRESCENDO ($5,000 and above)

Carole C. and CDR. John M. Fleming*

Shelby and Frederick Gans*

Ann and William Lieff****

Mr. John McDonald and Mr. Rob Wright*****

Mika Nakamura and Gary Wood

Mary Lou Paulsen and Randy Barnhart**

Susan and Albert Weihl***

Nancy and Harold Zirkin*

CONCERTO ($1,500 and above)

Adobe

Amy and Steve Coyer***

Kathy and Dick McCaskill

THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA

ENSEMBLE ($30,000 and above)

Linda and Mitch Hart*

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

Marcy and Stephen Sands***

IMPRESARIO ($25,000 and above)

Lyda Hill****

VIRTUOSO ($20,000 and above)

Marilyn Augur*****

Billie and Ross McKnight*

Margie and Chuck Steinmetz*****

OVATION ($15,000 and above)

Diane and Hal Brierley

Carole C. and CDR. John M. Fleming*

Alexia and Jerry Jurschak**

Jan and Lee Leaman**

Bobbi and Richard Massman****

Brenda and Joe McHugh*****

Donna and Randy Smith*

Carole A. Watters***

ALLEGRO ($10,000 and above)

John Dayton****

Linda and Ronn Lytle

Patricia and Brian Ratner

Cathy Stone*****

SOLOIST ($7,500 and above)

Carol and Ronnie Goldman***

CRESCENDO ($5,000 and above)

Edwina P. Carrington****

Suzanne Caruso and Stephen Saldanha

Rebecca and Ron Gafford**

Neal Groff*****

Fanchon and Howard Hallam*

Kim and Greg Hext

Mr. John McDonald and Mr. Rob Wright*****

Vicki Rippeto

Debbie and Ric Scripps**

Cece Smith and John Lacy

Sherry Sunderman and Tom Mueller

Gena Whitten and Bob Wilhelm*

Carolyn Wittenbraker and Arkay Foundation**

Tom Woodell**

Nancy and Harold Zirkin*

FORTISSIMO ($3,000 and above)

Susan and Gordon Coburn*

Jane and Stephen Friedman*

Patty and Denny Pearce***

Jere W. Thompson****

Bill and Katie Weaver Charitable Trust**

Microsoft

Debbie and Fred Tresca**

Tom Woodell**

SONATA ($750 and above)

Alberta and Reese Johnson*

Gail and Jack Klapper

James Stanley Ogsbury, III*

OVERTURE ($350 and above)

Connie and Miles Carson

Denise and Michael Finley****

Jeri and Brian Hanly*

Ms. Midori and Ms. Masako Oishi

PRELUDE ($100 and above)

Debby and Rich Carnahan

Linda Lee

CONCERTO ($1,500 and above)

Larry Abston*

Diane Folsom Frank

Jan and George Grubbs

Karen and Steve Livingston****

Jane and Chuck Schultz*

Susan and Bruce Smathers***

Kathy and William Wiener

SONATA ($750 and above)

Helen Neuhoff Butler*

Meg and Jamie Duke*

Francie and Gary Little

Dr. and Mrs. Robert Nathan**

Margot Perot*

Karen and Martin Sosland

OVERTURE ($350 and above)

Anonymous*

Anonymous

Lucy and Henry Billingsley

Kerri and Rick Lacher

Stephen B. L. Penrose*

PRELUDE ($100 and above)

Anonymous

Marshall Gordon

Mary Ann and Dirk Gralka*

ORCHESTRAL UNDERWRITING

THE FRIENDS OF THE FABULOUS PHILADELPHIANS

FIRST CHAIR ($50,000 and above)

Betsy Wiegers******

SYMPHONY ($40,000 and above)

Anonymous***

IMPRESARIO ($25,000 and above)

Virginia J. Browning**

Karen and Michael Herman****

Cathy Stone *****

VIRTUOSO ($20,000 and above)

Susan and Van Campbell****

OVATION ($15,000 and above)

Anne and Hank Gutman**

Pam and Don Hutchings

Susan and Richard Rogel*****

ALLEGRO ($10,000 and above)

John Dayton****

Carole C. and CDR. John M. Fleming*

Donna and Patrick Martin**

Marge and Phil Odeen**

Teri Perry*****

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

Carole and Peter Segal***

SOLOIST ($7,500 and above)

Sarah and Peter Millett*

Barbara and Howard Rothenberg***

CRESCENDO ($5,000 and above)

Shannon and Todger Anderson**

Dierdre and Ronnie Baker***

Jill and Al Douglass*

Michelle Fitzgerald and Jonathan Guyton*

Laura and Jim Marx***

Mr. John McDonald and Mr. Rob Wright*****

Nancy and Douglas Patton***

Sally and Byron Rose***

Roberta and Ernie Scheller****

Elaine and Steven Schwartzreich*

Susan and Steven Suggs***

Tom Woodell**

Kathy and Jonathan Zeschin**

Nancy and Harold Zirkin*

THE FRIENDS OF THE NEW YORK PHILHARMONIC

FIRST CHAIR ($50,000 and above)

Marijke and Lodewijk de Vink****

Georgia and Don Gogel**

Lyn Goldstein*****

Mr. Claudio X. Gonzalez****

Linda and Mitch Hart*

Leni and Peter May*****

Amy and James Regan******

June and Paul Rossetti**

SYMPHONY ($40,000 and above)

Julie and Tim Dalton****

Barbie and Tony Mayer*****

ENSEMBLE ($30,000 and above)

Vera and John Hathaway**

June and Peter Kalkus******

Billie and Ross McKnight*

Ann and Alan Mintz****

Kay and Bill Morton*****

IMPRESARIO ($25,000 and above)

Jayne and Paul Becker******

Penny and Bill George*****

Tom Grojean*****

Cathy Stone*****

Dhuanne and Douglas Tansill****

Carol and Pat Welsh*****

VIRTUOSO ($20,000 and above)

Kjestine and Peter Bijur

Jean and Harry Burn**

Amy and Steve Coyer***

Laura and Bill Frick*****

Judy and Alan Kosloff*****

Honey M. Kurtz****

Ferrell and Chi McClean**

Margaret and Alex Palmer**

Didi and Oscar Schafer****

Marcy and Gerry Spector***

Jennifer and Michael Sylvester****

Lisa Tannebaum and Don Brownstein**

Anne and Chris Wiedenmayer**

OVATION ($15,000 and above)

Anonymous* (2)

Ron Davis*

Liz and Tommy Farnsworth****

Jane and Michael Griffinger*****

Melinda and Tom Hassen*

FORTISSIMO ($3,000 and above)

Cathy and Graham Hollis**

Michele and Jeffrey Resnick**

CONCERTO ($1,500 and above)

Barbara Earnest**

Kathy and Peter Huddleston

Susan and Anthony Krausen

Jessica Levental*

SONATA ($750 and above)

Patricia and Lawrence Herrington

Judy and John Stovall*

OVERTURE ($350 and above)

Dr. and Mrs. Gary Drizin

PRELUDE ($100 and above)

Kathlyn and Tim McKeown

C and R Meyer

Kathleen and Kenneth Reynard

Coleen and Klaus Roggenkamp

Merri and Carl Rubin

Jenene and James Stookesberry*

Pat and Tom Vernon*

Karen and Jay Johnson**

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

Sandra and Alejandro Rojas*

Terie and Gary Roubos*****

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

Nancy and Harold Zirkin*

ALLEGRO ($10,000 and above)

Bank of America Private Wealth and Regina and John Magee

Nancy and Andy Cruce****

Kathleen and Jack Eck****

Carole C. and CDR. John M. Fleming*

Martha Head*****

Dr. and Mrs. Frederick Kushner**

Donna and Patrick Martin**

Ray Oglethorpe*

Carolyn and Steve Pope****

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

Ann and Tom Rader*

Carole and Peter Segal***

Barbara and Carter Strauss*

The gifts listed below represent charitable donations to Bravo! Vail for the 2023 Season through May 15, 2023. The Board of Trustees expresses its sincere thanks to each supporter for making it possible for Bravo! Vail to achieve its mission.

RESTRICTED FUNDS

The Artistic Excellence Fund

Becker Violin Fund

Best Friends of the Bravo! Vail Endowment

Berry Charitable Foundation

The Jane and Gary Bomba Internship Program

The Ferguson Music Makers Haciendo Música Fund

The Francis Family Profusion of Pianos

The Lyn and Phillip Goldstein Maestro Society

The Lyn and Phillip Goldstein Piano Concerto Artist Project

The Therese M. Grojean Vocalist Fund

The Judy and Alan Kosloff Artistic Director Chair

The Igor Levental Memorial Music Fund

The McClean Family Music Teachers Fund

The New Works Fund

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

MAESTRO ($100,000 and above)

Anonymous

Bacca Foundation

The Berry Foundation**

Virginia J. Browning**

Marijke and Lodewijk de Vink****

The Francis Family******

Linda and Mitch Hart*

Billie and Ross McKnight*

June and Paul Rossetti**

Cathy Stone***** Town of Vail*******

Betsy Wiegers******

FIRST CHAIR ($50,000 and above)

Anonymous***

Anonymous*

Dierdre and Ronnie Baker***

Jayne and Paul Becker******

Jane and Gary Bomba and The Bomba Internship Program

Gina Browning and Joe Illick**

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

Georgia and Don Gogel**

Lyn Goldstein*****

Mr. Claudio X. Gonzalez****

Leni and Peter May*****

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

Kathie Mundy and Fred Hessler*

Kun and Richard Poe

Amy and James Regan******

The Sturm Family and ANB Bank**

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

SYMPHONY ($40,000 and above)

Julie and Tim Dalton****

Carole C. and CDR. John M. Fleming*

Tom Grojean*****

Ann Hicks*

Judy and Alan Kosloff*****

Barbie and Tony Mayer*****

ENSEMBLE ($30,000 and above)

Barbara and Barry Beracha**

The Sidney E. Frank Foundation**

Vera and John Hathaway**

June and Peter Kalkus******

Patricia and Peter Kitchak*

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

Ann and Alan Mintz****

Kay and Bill Morton*****

Marcy and Stephen Sands***

Marcy and Gerry Spector***

Vail Valley Foundation*******

Nancy and Harold Zirkin*

IMPRESARIO ($25,000 and above)

Anonymous

Becker Violin Fund

Mary Beth and Roger Burpee

John Dayton****

Penny and Bill George*****

Karen and Michael Herman****

Lyda Hill****

Dhuanne and Douglas Tansill****

Martin Waldbaum****

Carol and Pat Welsh*****

Barb and Dick Wenninger**

VIRTUOSO ($20,000 and above)

Alpine Bank****

Marilyn Augur*****

Kjestine and Peter Bijur

Doe Browning and Jack Hunn***

Jean and Harry Burn**

Susan and Van Campbell****

Norma and Charles Carter*****

Suzanne Caruso and Stephen Saldanha

Amy and Steve Coyer***

Laura and Bill Frick*****

The Judy and Alan Kosloff Artistic Director Chair*

Honey M. Kurtz****

LIV Sotheby's International Realty**

Donna and Patrick Martin**

National Endowment for the Arts

Margaret and Alex Palmer**

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

Sally and Byron Rose***

Didi and Oscar Schafer****

Carole and Peter Segal***

Mary Sue and Mike Shannon

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

Margie and Chuck Steinmetz*****

Jennifer and Michael Sylvester****

Lisa Tannebaum and Don Brownstein**

Anne and Chris Wiedenmayer**

OVATION ($15,000 and above)

Anonymous* (2)

Diane and Hal Brierley

Carol and Harry Cebron*

Nancy and Andy Cruce****

Ron Davis*

Debbie and Jim Donahugh***

Sandi and Leo Dunn****

Julie and Bill Esrey*****

Liz and Tommy Farnsworth****

Nancy Gage and Allan Finney**

Holly and Ben Gill****

Mrs. Jean Graham-Smith and Mr. Philip Smith*****

Jane and Michael Griffinger*****

The Therese M. Grojean Vocalist Fund

Anne and Hank Gutman**

Melinda and Tom Hassen*

Pam and Don Hutchings

Karen and Jay Johnson**

Alexia and Jerry Jurschak**

Han and June S. Kang Arts Scholarship

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

Dr. and Mrs. Frederick Kushner**

Jan and Lee Leaman**

Jessica Levental and The Igor Levental Memorial Music Fund*

Bobbi and Richard Massman****

Mr. John McDonald and Mr. Rob Wright*****

Brenda and Joe McHugh*****

Marlys and Ralph Palumbo*

Mary Lou Paulsen and Randy Barnhart**

Susan and Richard Rogel*****

Sandra and Alejandro Rojas*

Terie and Gary Roubos*****

Beth and Rod Slifer*

Donna and Randy Smith*

J. Brian Stockmar

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

Carole A. Watters***

Tom Woodell**

ALLEGRO ($10,000 and above)

Anonymous* (3)

Amy and Charlie Allen**

Abbe and Adam Aron

Sharron and Herbert Bank; Penny Bank****

Bank of America Private Wealth and Regina and John Magee

Caryn Clayman***

Dr. David Cohen*

Kathy Cole**

Kathleen and Jack Eck****

Cookie and Jim Flaum****

Susan and Harry Frampton******

FESTIVAL SUPPORT

Guy Griffin**

Martha Head*****

Kiwi and Landon Hilliard

Diane and Lou Loosbrock*

Nancy and Richard Lubin****

Linda and Ronn Lytle

Anne and Tom McGonagle

Sarah and Peter Millett*

Kate and John Mitchell

Amy and Hal Novikoff

Marge and Phil Odeen**

Ray Oglethorpe*

Teri Perry*****

Carolyn and Steve Pope****

Ann and Tom Rader*

Wendy and Paul Raether*

Patricia and Brian Ratner

Roberta and Ernie Scheller****

Debbie and Jim Shpall*

Patti Shwayder-Coffin and Steve Coffin*

Brooke and Hap Stein*****

Barbara and Carter Strauss*

Nancy Traylor******

Debbie and Fred Tresca**

Jackie and Norm Waite**

Jane and Thomas Wilner*

Xcel Energy Foundation

SOLOIST ($7,500 and above)

Margo and Terence Boyle**

Joanne Cohen and Morris Wheeler

Colorado Creative Industries

Fidelity Investments

Michelle Fitzgerald and Jonathan Guyton*

Sue and Dan Godec***

Carol and Ronnie Goldman***

Sheika Gramshammer*****

Valerie and Robert Gwyn*****

Simon Hamui and SHS Solutions*

Debbie and Patrick Horvath*

Susu and George Johnson

Joyce and Paul Krasnow****

Wendi and Brian Kushner***

Janet and Paul Lewis

Ann and William Lieff****

Lynne Murray Sr. Educational Fund and

Carolyn and Paul Landen

Mimi and Keith Pockross*****

Barbara and Howard Rothenberg***

Town of Gypsum****

Barbara Treat Foundation

Jann and John Wilcox

Janice and William Woolford*

CRESCENDO ($5,000 and above)

Anonymous*

Michael Abrams and Rita Numerof*

Shannon and Todger Anderson**

Arrowhead Association

Barbara Baldrey

Marcine and Michael Balk

Kimberly and David Bernstein

Booker Family Foundation

Kelly and Sam Bronfman, II**

Jeffrey D. Byrne

Edwina P. Carrington****

Elizabeth Chambers and Ronald Mooney*

Kay Chester****

Katherine Clayborne and Thomas Shoup

Coca-Cola Foundation

Paige and Chris Cumming

Mr. and Mrs. Robert Damico*

Nancy and Ken Deline

Jill and Al Douglass*

Janet and Jim Dulin*

Holly and Buck Elliott*****

Gail and Jim Ellis**

Craig J. Foley

Mikki and Morris Futernick******

Rebecca and Ron Gafford**

Gallegos Corp.

Linda Galvin******

Shelby and Frederick Gans*

Dr. and Mrs. Ty H. Goletz*

Sue and Brian Gordon*

Megan and Thomas Green

Neal Groff*****

Francie and Michael Gundzik****

Mary Hagopian and Wright B. George**

Fanchon and Howard Hallam*

Kim and Greg Hext

Suzi Hill and Eric Noreen*

Helen Hodges*

Kathy and Al Hubbard*

Kathrine and David Jansen

Genevieve Joyce and Jay Mahoney*****

Barbara and Tim Kelley*

Kelly Family Foundation

Allison Krausen and Kyle Webb*

Pamela Kross and Michael Watters**

Sue B. and Robert J. Latham**

Teri and Joe LeBeau

Argie Ligeros and Patrick Tierney

Alexandra and Robert Linn

Ginnie Maes and Kanter Kallman Foundation*

Laura and Jim Marx***

Jean and Tom McDonnell***

MentorMore Foundation*

Mika Nakamura and Gary Wood

Donna and Paul Newmyer*

Renee Okubo**

Sally and Dick O'Loughlin***

Mary Beth and Charlie O'Reilly**

Nancy and Douglas Patton***

Kathy and Roy Plum*****

Jackie and James Power*****

Michele and Jeffrey Resnick**

Drs. Rob and Julie Rifkin

Vicki Rippeto

Jane and Dan Roberts*

Amy Roth and Jack Van Valkenburgh**

Sue and Michael Rushmore

Lisa and Ken Schanzer*

Suzanne and Bernard Scharf***

Dr. Kim Schilling

Elaine and Steven Schwartzreich*

Peggy and Tony Sciotto****

Debbie and Ric Scripps**

Kathie and Bob Shafer*

Judy and Martin Shore**

Cece Smith and John Lacy

Anne and Joe Staufer*****

Pat and Larry Stewart***

Susan and Steven Suggs***

Sherry Sunderman and Tom Mueller

Bea Taplin****

Deann Thoms and Richard Bross

Town of Minturn

Paula and Will Verity

Wall Street Insurance**

Susan and Albert Weihl***

Shelly and Ken Weisbacher

Westhaven Capital LLC*

Gena Whitten and Bob Wilhelm*

Thelma and James Willeford

Carolyn Wittenbraker and Arkay Foundation**

Aneta M. Youngblood

Kathy and Jonathan Zeschin**

FORTISSIMO ($3,000 and above)

Lisa and Joe Bankoff**

Sarah Benjes and Aaron Ciszek*

Terre and Jack Bergman

Rhoda and Howard Bernstein

Gretchen Brigden

Sunny and Phil Brodsky***

Renee Ann Chelm

Susan and Gordon Coburn*

Ronda Combs*

Janet and David Cooper

Mr. and Mrs. David Cross*

Lucinda and Andy Daly**

Pam Doray and Fred Merz**

El Pomar Foundation

Carole and Peter Feistmann***

Susan and William Fink

Jane and Stephen Friedman*

Margie and Tom Gart**

Joan and Joseph Goltzman***

Vivien and Andrew Greenberg*

Juli Robbins Greenwald

Cathy and Graham Hollis**

Jennifer and Don Holzworth*

Lynn and Dr. Andrew B. Kaufman***

Marilyn Rauland Kidder Foundation

Ellen Lautenberg and Doug Hendel

David and Katherine Lawrence Foundation****

Jane Ann and Jim Lockwood

David Marcus

Meg and Peter Mason*

Ellen Mitchell**

Laurie and Tom Mullen*

Caitlin and Dan Murray*

Priscilla O'Neil*****

Patty and Denny Pearce***

Ronnie Potter*****

Patti and Drew Rader, Venture Sports***

Kathleen and William Roe

Nancy and Robert Rosen**

Lynn and Ray Siegel**

Angela and Tim Stephens

Jere W. Thompson****

Town of Avon

U.S. Bank****

Ellen and Ray van der Horst*

Bill and Katie Weaver Charitable Trust**

Annette and Seth Werner

WESTAF

Williams Weese Pepple & Ferguson

Ann and Phil Winslow**

Ellen and Bruce Winston***

CONCERTO ($1,500 and above)

Anonymous* (2)

Larry Abston*

Janet and Bill Adler**

Adobe

Letitia and Christopher Aitken**

Bank of America Matching Gifts

Bonnie and Stan Beard

Sandy and Stephen Bell*

Mia and Bill Benjes*

Laura and Len Berlik

Cathy and Bill Bethke

Judy and Tom Biondini*

Sally Blackmun and Michael Elsberry*

Anne and John Blair*

Hugh Russell Bowers

Loretta and David Brewer**

Linda and Joe Broughton***

Mark Brown and Stephen Brint*

Allie and Marc Camens

Robin and Dan Catlin*

Ellie Caulkins*

Patsy and Pedro Cerisola******

Martha Chamberlin*

Toko and Bill Chapin***

Karen and Nate Cheney**

Sidney and Don Childress

Community First Foundation**

Alix and John Corboy*

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*

Joan and Joel Ettinger*

Vienna Eve and Orson Grey

Diane and Larry Feldman*

First Western Trust

Jenny and John Fleming

Diane Folsom Frank

Helmut Fricker Scholarship

Greer and Jack Gardner

Sharon and Herbert Glaser*

Bonnie and Gary Goldberg

Anne Graubart******

Julie Grimm-Reeves and Rich Reeves*

Rhonda and Glen Gross

Jan and George Grubbs

Dana Dennis Gumber*

Rebecca Hernreich*

Patricia and Lawrence Herrington

Kimberly and Dr. John Hoffman

Kathy and Peter Huddleston

Vina and Tom Hyde

Nancy and Carrick Inabnett*

Sue and Rich Jones*

Bill Kirkpatrick

Bonnie and Larry Kivel****

Rosalind A. Kochman*****

Gloria and Joel Koenig

Susan and Anthony Krausen

Margaret and Ed Krol**

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

Beth Ladin and Lance Goldberg

Helena and Peter Leslie****

Jane and Tod Linstroth

Karen and Steve Livingston****

Judy and Bob Love*

Wolfgang Mairhofer*

Evi and Evan Makovsky*

Cheryl and Richard Marks*

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

Linda and Chris Mayer*

Marcia and Tom McCalden***

Kathy and Dick McCaskill

Liz and Luc Meyer**

Microsoft

Kathy and Bob Moore

Jeanne and Dale Mosier**

Hazel and Matthew Murray**

Elizabeth and Donnie Nichols

Claire and Mark Noble*

Karen Nold and Bob Croteau**

Karin and Philip Pead

Pam and Ben Peternell

Cindy and Dennis Reilley

Etty and Alberto Rimoch*

Gussie Ross*

JoDean and Juris Sarins

Gretchen and Mark Schar

Christine and Douglas Scheetz*

Laura and Dr. Michael Schiff*

David Schlendorf

Susan and Ambassador Alvin Schonfeld*

Carole Schragen*****

Jane and Chuck Schultz*

Harriet and Bernard Shavitz**

Gail and Ronny Shoss

Timothy Slattery

Slifer Smith & Frampton Foundation****

Marty Sloven****

Susan and Bruce Smathers***

Ann Smead and Michael Byram

Maria C. and Eduardo Soto

Elissa Stein and Richard Replin*

Phyllis and Steve Straub*

Rhonda and Marc Strauss*

Marjorie Ann Swig

Solly Toussier*

Drs. Pamela and Peter Triolo

Sabrina and Robert Triplett*

Heidi Fremont Troester

Linda and Mark Truitt

Vail Rotary Club

Lois and John Van Deusen****

Jill and Joe Van Horn

Gail and Thomas Viele

Katie and Michael Warren*

Monica and Dan White*

Kathy and William Wiener

Linda Wilson

Lori Weiner and Lorne Polger*

Betty and Michael Wohl*

Dr. and Mrs. Larry Wolff**

Jane and David Yarian

Diane and Michael Ziering

SONATA ($750 and above)

Anonymous (2)

Joanne and Richard Akeroyd*

Mercedes and Alfonso Alvarez

Ellen Arnovitz**

Karin and Ron Artinian*

Francesca and Edward Beach

Nancy Bedlington and Robert Elkins*

Wendy and Andrew Bernstein

David J. Borns*

Carolyn Borus

Shirley and Jeff Bowen***

Vicki and Jack Box*

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

Patricia and Rex Brown*

Nancy L. Bryan*

Janie and Bill Burns**

Helen Neuhoff Butler*

Kim L. and Dr. John J. Callaghan

Cincinnati Insurance

Margie and Asa Clark

Shelly and Jeffrey Cohen

Megan and Mike Cohen

Patty and Don Cook

Jean and Paul Corcoran

Kathi and Steve Cramer*

Pam and Jim Crane

Silvia and Alan Danson**

Fara and Jason Denhart*

Fran and Don Diones*

Suzy and Jim Donohue****

Kathy and Brian Doyle**

Meg and Jamie Duke*

Anne Esson

Julie and Barney Feinblum*

Marisol and Frank Ferraiuoli*

Leslie Fielden and Jeff Seidel

Nancy and Clark Fitzmorris*

Jeanne Fritch and Ella Lyons*

Sheila and Robert Furr

Betty Ann and Robert Gaynor*

Tonya Gilliam

Donna M. Giordano*****

Karen and Clifford Goldman*

Alison and Michael Greene***

Donna and Rob Gregg

Denise and Ken Gurrentz

Patricia Hammon

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

Alicia and Steve Harris

Amber and Peter Herron*

Debra Herz**

Pamela and Richard Hinds*

Jill and Loyal Huddleston*

Alberta and Reese Johnson*

Deborah and Todd Johnson

Donna and Ward Katz*

Gail and Jack Klapper

Georgeanna and BIll Klingensmith*

Nancy and Carl Kreitler*

Laine and Merv Lapin*

Nancy and Richard Lataitis*

Carol L. Laycob

Karen Lechner and Mark Murphy*

Terry and John Leopold

Francie and Gary Little

Eleanor and John Lock

Susan Lynch and Daniel Virnich

Deborah and Edward Mace

Dr. Anthony Madrid

Dr. Michael A. Mertens*

McWhinney

Bert Mobley

Linda and James Montgomery

Dr. and Mrs. Robert Nathan**

Tiffany and David Oestreicher**

James Stanley Ogsbury, III*

Gerry and Ed Palmer*

Alice and John Norman Patton*

Margot Perot*

Mary Reisher and Barry Berlin*

RJJB Family Foundation

Jane E. Rosenbaum*

Howard Rosenbloom

Linda and Shaun Scanlon**

Suzie Shepard*

Sidhu Family

Helen A. Sims and Glenn Newkirk

Gregory D. Smith

Jennifer Smith and Peter Ragauss

Patricia M. Smith

Edward L. Soll, MD

Karen and Martin Sosland

Jill R. Stewart and Michael E. Huotari*

Judy and John Stovall*

Myrna and Ronald Strong

Pam Timmins

Barbara Wallace

Elyce and David Walthall*

Marilyn and John Wells

Mrs. Joan Whittenberg******

Mr. and Mrs. John Wilkirson

Janice and Dee Wisor*

Rosalie Wooten****

Luanne and Jim Wright

Mariette and Wayne Wright*

Deborah and Stephen Yurco

Mrs. Kathleen and Dr. Marvin Zelkowitz

OVERTURE ($350 and above)

Anonymous*

Anonymous (10)

Ann and Mark Alexander

The B6 Fund

Sheri Ball*

Kay Barber

JoAnn and Lowry Barfield

Robert Barry

Jennifer Bater

Sue and Jesse Beasley

Rosalind and Mervyn Benjet

Angela Alonso Bileca and Steven Bileca

Lucy and Henry Billingsley

Heather and Kirk Blackmon

John S. Blue*

Warren and Wendy Blumenthal

Pamela and Brooks Bock

Adriana and David Bombard

Patty and David Bomboy*

Dr. Joan Bornstein

Leigh and Alfred Buettner

Jan and Bob Bundy

Shan and Caleb Burchenal*

Judy and Alan Caine

Althea T. Callaway

Dr. Anna Marie Campbell and Andrew McElhany*

Connie and Miles Carson

Esther and Daniel Claassen

Mr. and Mrs. Daniel Clarke

Jenny and Terry Cloudman

Rhoda and Larry Coben

Dr. and Mrs. Andrew Cole

Mr. and Mrs. Les Cole*

John Connell and Eric Versch*

Nancy H. and Timothy G. Cook

Anne and Richard Davidovich

James Lynn Davis*

Sallie Dean and Larry Roush*****

Suzanne DeFrancis and Phil Wakelyn

Linda and Al Demarest*

Barb and Andrew Dobrot

Sharon and Bill Donovan

Robin Dow and Howard Siegel

Dr. and Mrs. Gary Drizin

Dr. Kelsey Dworkis and Mr. Zachary Dworkis

Jimena Echevarria and Rafael Robles

Edgewell Personal Care

Gina Erickson and Clark Brook

Jackie Ernst and Matthew Echert

Angela and José Esteve

Jan and Annette Fante

Marty and John Farrell

Barbara and Larry Field*****

Regina and Kyle Fink***

Denise and Michael Finley ****

Eleanor and Tom Flynn

John Forester**

Victoria Frank*

Laura and Warren Garbe

Patty and Terry Gibbs

Andrea and Michael Glass*

Karen and Barry Goldberg

Tracy and Mark Gordon

Mari Jo and Gene Grace

Esperanza and Mark Griffith

Nancy Mezey Groff

Dr. Mary E. Guy*

Jane Hall

Laura and David Haltom

Jeri and Brian Hanly*

Dr. Oliver Harper

Susan Feigin Harris and Jonathan M. Harris

Nesa Hassanein

James P. Heaney

Joel High*

Peter Hillback

Pam and Tom Hopkins

Margie and Dave Hunter

IBM Corporation

Dr. and Mrs. Ernesto Infante

Dr. Susan Rae Jensen and Tom Adams

Trainer

Gloria and Frank Kalman

Gerry Karkowsky*

Dr. and Mrs. John Kelleher

Cynthia Kendrick

Julie and Mike Kirk*

Ann and Collier Kirkham

David Kopel

Drs. Kathy Krause and Robert Lee

Sarah and Steve Kumagai

Kerri and Rick Lacher

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

Claudia and Gregg Laswell*

Monique and Peter Lathrop****

Harrel Lawrence and Jerry McMahan***

Sheila and Aaron Leibovic

Stacey and David Leibowitz

Robert H. Levine

Linda Lieberman and Dr. Paul Monticciolo

A. Michele Lier*

Nancy and John Lindahl***

Peter L. Macdonald*****

Drs. Joanne and Douglas Mair*

Paulette Marcus

Ann and John Martin

Judith McBride and Bruce Baumgartner*

Jan and Gary McDavid*

Linda McKinney**

Dava and Mac McWhorter

BJ and Bud Meadows**

Mindy Miller

Pamla Moore

Lawrence Moskow

Harriet and Edward Moskowitz

Basak and Osman Nalbantoglu

Michael Napoli

Ceci and Andres Nevares

Andy, Sally and Kathryn Norris

Sharmon O'Brien and Donald Mock

Ms. Midori and Ms. Masako Oishi

Glenna and Bruce Pember

Stephen B. L. Penrose*

Monica and Mark Perin**

Martha and Kent Petrie***

Christy and Brad Pierce

Amy Poole and Douglas Putney

Mary Pownall*

MacKenzie and Andy Price

Mandy and Adam Quinton

Annette and Joe Furer

David Regele

Anne and Albert Reynolds*

Susie Rhodes and James Jirak

Margaret and Rick Rogers*

Lucila and Louis Rojas

Melissa and Jeris Romeo

Nancy Rudy

Gray and Mel Rueppel*

Lana and Steven Russell

Nina Saks and Richard B. Robinson

Mary and Helmut Schneider

Dr. and Mrs. Samuel and Sharon Schwartz*

Connie and Ken Scutari*

Jeffrey Selby

Carol and Jon Shanser

Andy and Stuart Shatken

Charlie Sherwood

Christina Simpson and David Lippman

Cynthia and Matthew Skeen

Shaundel Smathers

Carolyn Smith******

Mr. and Mrs. James Smith

Colleen and John Sorte*

Ann Sperling

Dorothy Stein*

Drs. Michella and Michael Stiles

Jenene and James Stookesberry*

Janet and Hugh Thompson

Margot and Ned Timbel

Anne and Robert Trumpower

Kathy and Bob Valleau

George Ann and Buzz Victor

Bonnie Vogt

Kim and Bill Wachtel

Cheryl and Jeffrey Wall

Jill and Bob Warner

Deborah Webster and Stephen Blanchard*****

Enid and Stephen Wenner**

Mark J. Wester

Patty White

Clare Anne and Jonathan Whitfield*

Sheila Whitman***

LaDonna and Gary Wicklund*

Maggie and Hans Wiemann

Judy and Bob Wilner

Kendall B. and Rick Wilson

Sharon and Bob Winders

PRELUDE ($100 and above)

Anonymous*

Anonymous (7)

Sandi and Larry Agneberg****

Pamela and Richard Alexander

Sunny and Bill Alsup

Susan and Sandy Avner

Coleen and George Ball

Nancy and Joel Becker

Margo and Roger Behler******

Barbara Behrendt

Kathryn Benysh*

Nancy and Michael Block

Pat and Brian Blood*

Tom Brix

Linda Brodin

Phoenix Cai and Martin Katz

Charlyn Canada***

Debby and Rich Carnahan

Meg and Fred Carr

Chevron

May Chu and William Lightfoot

Lynn Cohagan**

Jo Ellen Cohen

Cathy Collins

Sharon and Martin Coloson

Diana Crew

Saskia and Dionisio D'Aguilar

Linda and Dr. Eugene Davidson

Bernice and John Davie**

Sherry Dorward

Cynthia and Robert Ebert

Delight and John Eilering****

Anne and Thomas Eller

Margaret Enright

Claire and R. Marshall Evans*****

James E. Fell, Jr.*

Nan and Bob Franklin

Prof. Tom Franks

Dr. and Mrs. Alan L. Freeman*

Laura and Peter Frieder*****

Grace and Peter Gehret

Wilma and Arthur Gelfand

Michelle and Robin Gersten

Carol and Marc Gordon

Marshall Gordon

Mary Ann and Dirk Gralka*

Marian and Larry Greher

Susan and Ron Gruber****

Debra Guy

Sally and Bill Hanlon

Dana Heffez

Matt Heimerich

Leslie Heins

Dwight Henninger**

Cathey A. Herren

Margaret and John Hillman

Anne Hollingsworth

Sonny and Steve Hurst*

Susan and David Joffe**

Karen Kaplan*

Jerry Katz

Mary Sue and Steve Katz

Peter Kennealey

Grant S. Kesler

Kroger Community Rewards*

Diane Larsen and David Floyd

Bettan Laughlin

Susie and David Lawrence

Linda Lee

Carol and Gerald Lesnik

Polly and Mark Lestikow

Rob LeVine*

Mary and Herrick Lidstone

Linda and Bob Llewellyn*

Jodi and Josh Lobis

Nancy and Lawrence Ludgus

Barbara and Edward Lukes*

Teresa Madigan and Michael Baskins

Leslie and Jack Manes

Christiana and Richard Maxwell

Maeve McGrath

Sharon E. McKay-Jewett**

Nancy and Mike McKeever

Kathlyn and Tim McKeown

Francie and Eric Mendelsohn

Marilyn and Kurt Metzl

C and R Meyer

Laura Meyers

Lois and Steve Nadler

Jean Naumann*

Judith and Barry Nelson

David Newman and Mark Winer

Sara Newsam***

Hope and Greg Oquin

Susan Parker and Saul Hoffman

Nancy G. Peller

Diane Pincus and Tomas Berl

Sydney and Mark Pittman*

Barbara Pringle

Mindy and Jay Rabinowitz*

Melanie Reed and Jerry Freier*

Kathleen and Kenneth Reynard

Helen and William Richards

John Riehle

Coleen and Klaus Roggenkamp

Shelley Roth and Jed Weissberg

M and W Rothstein*

Merri and Carl Rubin

Lynn and Richard Russell**

Susan and John Ryzewic

Cheryl and Hank Saipe

Aline and Richard Sandomire

Robin and David Savitz

Julie and Peter Savoie

Jonathan Schwartz***

Julie and Gary Schwedt, West Vail Liquor and KZYR/KKVM

Ricki and Gabe Shapiro

Ricki and Steve Sherlin*

Eileen and Michael Sinneck

Carol and Roger Sperry*

Nancy and Jerry Stevens

Joan Swift

Elizabeth VanderWerf

Pat and Tom Vernon*

Linda and William Vigor

Irit and Art Waldbaum

Diane Webster

Jan Weiland and Alan Gregory*

Annabel Widney

Nancy and Frederick Wolfe

Gordon Yasinow

William Young

Monica and Alejandro Zapata

Kenneth Zarecor

Tracy and Mark Zuber

IN HONOR OF

Carol and Greg Dobbs

Julie and Mike Kirk

Sue and Dan Godec

Jean and Paul Corcoran

Shelly and Chris Jarnot

Drs. Joanne and Douglas Mair

Dr. and Mrs. Andrew Kaufman

Linda and Dr. Eugene Davidson

Richard Marks

Sunny and Bill Alsup

Susie and David Lawrence

Joan Swift

Kay Mathias

Andy, Sally and Kathryn Norris

Anne-Marie McDermott

Anonymous

Laura Meyers

FESTIVAL SUPPORT

Shirley and William S. McIntyre, IV

Fanchon and Howard Hallam

Patricia and Brian Ratner

Cece Smith and John Lacy

Zarin Mehta

Abbe and Adam Aron

Carole and Peter Segal

Shelby and Frederick Gans

Beth and Rodney Slifer

Elizabeth and Donnie Nichols

Norm Walker

Mark J. Wester

IN MEMORY OF

Joe Borus

Carolyn Borus

Nora Courier

Nanci and John Taylor

Leigh and Alfred Buettner

Annabel Widney

Pepi Gramshammer

Sheika Gramshammer

Don Graubart

Fara and Jason Denhart

Anne Graubart

Caitlin and Dan Murray

Jimmie Heuga

Debbie and Patrick Horvath

Carol Horvath

Debbie and Patrick Horvath

Igor Levental

Fara and Jason Denhart

Igor Levental Memorial Music Fund

Jessica Levental

Caitlin and Dan Murray

Patricia Lynch

Fara and Jason Denhart

Susan and Harry Frampton

Joan Francis

Megan and Thomas Green

Sally and Bill Hanlon

Patricia and Lawrence Herrington

Sally Johnston

Frank Lynch III

Michael Lynch

Carmel McGuckin

Caitlin and Dan Murray

Peggy and Tony Sciotto

Ann Smead and Michael Byram

Mrs. Joan Whittenberg

Heike Mairhofer

Wolfgang Mairhofer

Frederick Charles Mezey

Nancy Mezey Groff

NEW WORKS FUND

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

MAESTRO ($100,000 and above)

Town of Vail

ENSEMBLE ($30,000 and above)

Berry Charitable Foundation

National Endowment for the Arts

VIRTUOSO ($20,000 and above)

Virginia J. Browning

FORTISSIMO ($3,000 and above)

Judy and Alan Kosloff

Shirley and William S. McIntyre, IV

June and Paul Rossetti

CONCERTO ($1,500 and above)

Jayne and Paul Becker

Marijke and Lodewijk de Vink

Kathleen and Jack Eck

New Music USA

SONATA ($750 and above)

Amy and Charlie Allen

Dierdre and Ronnie Baker

Barbara and Barry Beracha

Doe Browning and Jack Hunn

Cookie and Jim Flaum

Susan and Harry Frampton

Joan Francis

Linda and Mitch Hart

Patricia and Peter Kitchak

Dr. and Mrs. Frederick Kushner

Diane and Lou Loosbrock

Barbie and Tony Mayer

Linda Farber Post and Dr. Kalmon D. Post

Sally and Byron Rose

Carole and Peter Segal

Donna and Randy Smith

Cathy Stone

Dhuanne and Douglas Tansill

Debbie and Fred Tresca

Carole A. Watters

OVERTURE ($350 and above)

Carol and Harry Cebron

John Dayton

Peggy and Gary Edwards

Sue and Dan Godec

Anne and Hank Gutman

Eleanor and John Lock

George Mizner

Cynthia Kendrick

Carolyn Smith

Cathy Stone

Marcia Strickland

Rick Nichols

Teri Lester

T. Larry Okubo

Renee Okubo

Our Parents

Allie and Marc Camens

Roberta Schwartz

Jonathan Schwartz

Ted Smathers

Shaundel Smathers

Howard Stone

Fara and Jason Denhart

Joan Francis

Caitlin and Dan Murray

Cathy Stone

Hayden Thompson

MacKenzie and Andy Price

Barbara Treat

Charlyn Canada

Leewood Woodell

Ellen and Bruce Winston

Tom Woodell

Vicki and Kent Logan

Sarah and Peter Millett

Caitlin and Dan Murray

Carolyn and Steve Pope

Patti and Drew Rader

Ann and Tom Rader

Michele and Jeffrey Resnick

Terie and Gary Roubos

Jacqueline Taylor and Steven Sobol

PRELUDE ($100 and above)

Sarah Benjes and Aaron Ciszek

Edwina P. Carrington

Fara and Jason Denhart

Kathy and Brian Doyle

Kabe ErkenBrack

Tracy and Mark Gordon

Ronda Combs

Rob LeVine

Regina and John Magee

Laurie and Tom Mullen

Brian Nestor

Melissa and Jeris Romeo

Lisa and Ken Schanzer

Jerry and Nancy Stevens

Susan and Steven Suggs

Katie and Michael Warren

Monica and Dan White

Each * denotes five years of consecutive donations.

EDUCATION AND ENGAGEMENT PROGRAMS

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

MAESTRO ($100,000 and above)

Town of Vail*******

Carole A. Watters***

FIRST CHAIR ($50,000 and above)

Jane and Gary Bomba and The Bomba Internship Program

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

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

ENSEMBLE ($30,000 and above)

Anonymous*

Dierdre and Ronnie Baker***

Bravo! Vail Guild*******

Virginia J. Browning**

Cathy Stone*****

VIRTUOSO ($20,000 and above)

Marijke and Lodewijk de Vink****

The Sturm Family and ANB Bank**

OVATION ($15,000 and above)

Carol and Harry Cebron*

Sandi and Leo Dunn****

Han and June S. Kang Arts Scholarship

ALLEGRO ($10,000 and above)

Kathy Cole**

Cookie and Jim Flaum****

Linda and Mitch Hart*

Diane and Lou Loosbrock*

Kathie Mundy and Fred Hessler*

Beth and Rod Slifer*

Jackie and Norm Waite**

Xcel Energy Foundation

SOLOIST ($7,500 and above)

Lynne Murray Sr. Educational Fund and Carolyn and Paul Landen

Town of Gypsum****

Barbara Treat Foundation

CRESCENDO ($5,000 and above)

Alpine Bank****

Kimberly and David Bernstein

Doe Browning and Jack Hunn***

Katherine Clayborne and Thomas Shoup

Nancy and Andy Cruce****

Janet and Jim Dulin*

Julie and Bill Esrey*****

Gallegos Corp.

Sue and Dan Godec***

Judy and Alan Kosloff*****

Renee Okubo**

Drs. Rob and Julie Rifkin

Pat and Larry Stewart***

Town of Minturn

Martin Waldbaum****

Aneta M. Youngblood

FORTISSIMO ($3,000 and above)

Sarah Benjes and Aaron Ciszek*

Mr. and Mrs. David Cross*

El Pomar Foundation

Marilyn Rauland Kidder Foundation

Town of Avon

Tom Woodell**

CONCERTO ($1,500 and above)

Mia and Bill Benjes*

Gina Browning and Joe Illick**

Dr. David Cohen*

John Dayton****

Michelle Fitzgerald and Jonathan Guyton*

Helmut Fricker Scholarship

Julie Grimm-Reeves and Rich Reeves*

Kimberly and Dr. John Hoffman

Ann and William Lieff****

Barbie and Tony Mayer*****

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

Sarah and Peter Millett*

Claire and Mark Noble*

Sally and Byron Rose***

Carole and Peter Segal***

Slifer Smith & Frampton Foundation****

Heidi Fremont Troester

Vail Rotary Club

Wall Street Insurance**

ARTISTIC EXCELLENCE FUND

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

MAESTRO ($100,000 and above)

June and Paul Rossetti

ENSEMBLE ($30,000 and above)

Billie and Ross McKnight

IMPRESARIO ($25,000 and above)

Barbara and Barry Beracha

Sam B. Ersan

Sandra and Greg Walton

VIRTUOSO ($20,000 and above)

Dr. and Mrs. Frederick Kushner

Marcy and Stephen Sands

ALLEGRO ($10,000 and above)

Carole and Peter Segal

SONATA ($750 and above)

Jayne and Paul Becker******

Barbara and Barry Beracha**

Caryn Clayman***

Kathy and Brian Doyle**

Anne and Hank Gutman**

Ann Hicks*

Tiffany and David Oestreicher**

Ann and Tom Rader*

Michele and Jeffrey Resnick**

OVERTURE ($350 and above)

Anonymous

Janie and Bill Burns**

Mr. and Mrs. Daniel Clarke

Alix and John Corboy*

Fara and Jason Denhart*

Esperanza and Mark Griffith

Tom Grojean*****

Dr. Susan Rae Jensen and Tom Adams Trainer

Donna and Patrick Martin**

Linda McKinney**

Laurie and Tom Mullen*

Caitlin and Dan Murray*

Monica and Mark Perin**

Martha and Kent Petrie***

Patti and Drew Rader***

Terie and Gary Roubos*****

PRELUDE ($100 and above)

Anonymous

Pamela and Richard Alexander

Kathryn Benysh*

Cathy Collins

Kathleen and Jack Eck****

Wilma and Arthur Gelfand

Sue and Brian Gordon*

Christiana and Richard Maxwell

Lois and Steve Nadler

David Newman and Mark Winer

Nancy and Jerry Stevens

Jenene and James Stookesberry*

Susan and Steven Suggs***

Elizabeth VanderWerf

Bonnie Vogt

Susan and Albert Weihl***

William Young

CRESCENDO ($5,000 and above)

Kathie Mundy and Fred Hessler

Margie and Chuck Steinmetz

CONCERTO ($1,500 and above)

Marlys and Ralph Palumbo

OVERTURE ($350 and above)

Leigh and and Alfred Buettner

PRELUDE ($100 and above)

Linda and Dr. Eugene Davidson

Annabel Widney

THE BRAVO! VAIL ENCORE SOCIETY

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

$1,000,000 and above

Anonymous (2)

Vicki and Kent Logan

$100,000 and above

Anonymous

Anne and Donald* Graubart

Maryan and K Hurtt*/Lockheed Martin

Corporation Directors Charitable Award Fund

Judy and Alan Kosloff

Linda McKinney

Dhuanne and Doug Tansill

$50,000 and above

Rosalind A. Kochman

$20,000 and above

Steven and Julie Johannes

Peter Vavra

$10,000 and above

John W. Giovando

Jeanne and Craig White

$7,500 and above

Susan Stearns*

Encore Society Members

Anonymous

Kathryn Benysh

Virginia J. Browning

Edwina Carrington

Fara and Jason Denhart

Linda and John* Galvin

Sue and Dan Godec

Anne and Hank Gutman

Lowell Hahn

Noel Harris

Valerie Harris

Cathey A. Herren

Patricia and Peter Kitchak

Joyce and Paul Krasnow

Dr. and Mrs. Frederick Kushner

Margie and Larry Kyte

Laurie and Tom Mullen

Caitlin and Dan Murray

Marge and Phil Odeen

Teri and Tony* Perry

Martha Dugan Rehm and Cherryl Hobart

Sally and Byron Rose

June and Paul Rossetti

Carole Schragen

Carole and Peter Segal

Beth and Rod Slifer

Margie and Chuck Steinmetz

Cathy and Howard* Stone

Peggy Thompson and Wade White

Debbie and Fred Tresca

Martin Waldbaum

Betsy and George Wiegers

Gena Whitten and Bob Wilhelm

* Denotes In Remembrance

GIFTS TO THE ENDOWMENT

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

LEADERSHIP GIFTS

$100,000 and above

Maryan and K Hurtt

Leni and Peter May

Betsy and George Wiegers

MILLENNIUM GROUP

$50,000 and above

Anonymous

Jean and Dick Swank

$40,000 and above

Ralph and Roz Halbert

Gilbert Reese Family Foundation

BEST FRIENDS OF THE MILLENNIUM

$20,000 and above

Jayne and Paul Becker

Jan Broman

The Cordillera Group/Gerry Engle

Linda and Mitch Hart

Fran and Don Herdrich

The Mercy Family

Susan and Rich Rogel

BEST FRIENDS OF THE ENDOWMENT

$10,000 and above

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

Mary Ellen and Jack Curley

The Francis Family

Merv Lapin

Amy and Jay Regan

$5,000 and above

Margo and Roger Behler/FirstBank

Carolyn and Gary Cage

Jeri and Charlie Campisi

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

Millie and Vic Dankis

Susan and Harry Frampton

Linda and John Galvin

Sheika and Pepi Gramshammer

Nita and Bill Griffin

Becky Hernreich

Bob Hernriech

Mary and Jim Hesburgh

Bruce Jordan

Gretchen and Jay Jordan

Kensington Partners

Alexandra and Robert Linn

Gerard P. Lynch

Priscilla O’Neil

Patricia O’Neill and John Moore

Joan and Richard Ringoen Family Foundation, Inc.

Terie and Gary Roubos/Roubos Foundation

Seevak Family Foundation

Helen and Vincent Sheehy

The Smiley Family

Claudia Smith

Mark Smith

Cathy and Howard Stone

Stewart Turley Foundation

TRUSTEES’ MILLENNIUM FUND

$2,000 and above

Sallie and Robert Fawcett

Mr. and Mrs. Lawrence Flinn, Jr.

June and Peter Kalkus/Kalkus Foundation

Karen and Walter Loewenstern

John McDonald and Rob Wright

Jean and Thomas McDownell

The Merz Family

Zoe and Ron Rozga

Dr. and Mrs. William T. Seed

Carole J. Schragen

Deb and Rob Shay

Mrs. Jean Graham-Smith and Mr. Philip Smith

Karin and Bob Weber

Anne and Dennis Wentz

Barbara and Jack Woodhull

Carol and Bob Zinn

BRAVO! VAIL EMERITUS SOCIETY

Judy and Howard Berkowitz

Marlene and John Boll

Jeri and Charlie Campisi

Sharon and Bill Donovan

Sallie and Robert Fawcett

Stephanie and Lawrence Flinn, Jr.

Vicki and Kent Logan

Molly and Jay Precourt

SPECIAL GIFTS

THE LYN AND PHILLIP GOLDSTEIN MAESTRO SOCIETY

Lyn and Phillip Goldstein have provided a substantial gift to support the artistic expenses associated with Bravo! Vail’s resident conductors. This gift will be recognized in perpetuity.

THE LYN AND PHILLIP GOLDSTEIN PIANO CONCERTO ARTIST PROJECT

The quality of individual performers sets Bravo! Vail apart from all other festivals. This generous gift from Lyn and Phillip Goldstein supports artistic expenses associated with the Festival’s piano concerto artists. This gift will be recognized in perpetuity.

THE JUDY AND ALAN KOSLOFF ARTISTIC DIRECTOR CHAIR

Bravo! Vail gratefully acknowledges this gift, underwritten by Judy and Alan Kosloff, which supports Artistic Director Anne-Marie McDermott in her vision of bringing exciting and innovative programming and performing artists to Bravo! Vail.

THE SIDNEY E. FRANK FOUNDATION

Bravo! Vail is grateful to The Sidney E. Frank Foundation for its generous underwriting of the Virtual Access and Digital Content Project which creates video content and audio recordings.

THE FRANCIS FAMILY

The Festival gratefully acknowledges the “Profusion of Pianos,” underwritten by the Francis Family, allowing the Festival to ensure the appearance of the highest level of internationally known pianists performing as many of the classical symphonic works as possible with the resident and guest orchestras of the Festival.

BERRY CHARITABLE FOUNDATION

Bravo! Vail gratefully acknowledges the generosity of the Berry Charitable Foundation for the purposes of digital and live stream initiatives, audience development, future planning to promote the growth of the Festival, and more.

TOWN OF VAIL

Bravo! Vail acknowledges the vision of the Town of Vail and its Council Members for their most generous underwriting of the Bravo! Vail Music Festival. Their support of Bravo! Vail since its inception has ensured the Festival’s continued success.

THE LINDA AND MITCH HART SOIRÉE SERIES

Linda and Mitch Hart provide unique and invaluable support to the soirée series,

helping to underwrite the highest level of musical excellence.

THE STURM FAMILY AND ANB BANK

The Festival gratefully acknowledges

The Sturm Family and ANB Bank for their generous underwriting of live streaming initiatives and the Bravo! Vail Music Box.

BECKER VIOLIN FUND

Bravo! Vail gratefully acknowledges the Becker Violin Fund, underwritten by Jayne and Paul Becker, allowing the Festival to ensure the appearance of the highest level of internationally known violinists each season.

REHEARSAL SPACE

Antlers at Vail, Vail Interfaith Chapel and Vail Mountain School all provide invaluable rehearsal space. Thank you for this unique gift.

MEDIA ACKNOWLEDGEMENTS

The Festival is pleased to acknowledge support from CMNM, Colorado Public Radio, Town of Vail, Vail Daily, Vail Valley Partnership, Vail Local Marketing District Advisory Committee, Vail Resorts, Vail Town Council, Vail Committee on Special Events, and Vail Valley Live/Vail Valley Latino.

BRAVO! VAIL MUSIC AWARD

The Bravo! Vail Music Award supports and extends opportunities for students to pursue musical studies of the highest caliber. The goal of the award is to provide financial assistance to a student in their pursuit of serious high-level music studies in an accredited program, camp, academic institution, or another similar setting, or to assist with the costs of instruments, software, or other materials essential to the student’s continued musical studies.

THE THERESE M. GROJEAN VOCALIST FUND

Bravo! Vail gratefully acknowledges The Therese M. Grojean Vocalist Fund, underwritten by Tom Grojean in memory of Therese M. Grojean who was a life-long lover of music and a long-time friend of the Festival. This multi-year fund allows Bravo! Vail to present world-class vocalists during our various concert series’ each summer.

THE FERGUSON MUSIC MAKERS HACIENDO MÚSICA FUND

The Bravo! Vail Education and Engagement Committee gratefully acknowledges The Ferguson Music Makers Haciendo Música Fund, generously provided by Kathy and David Ferguson, long-time supporters of

piano and violin instruction in our community. The fund underwrites Bravo! Vail's three-year strategic plan to grow and expand these important music education programs for local youth in our community.

THE IGOR LEVENTAL

MEMORIAL MUSIC FUND

Bravo! Vail is grateful to Jessica Levental and the Levental Family for the creation of The Igor Levental Memorial Music Fund, established to honor the memory of Igor Levental. This fund will annually underwrite an artistic program or project at the Festival each summer.

THE MCCLEAN FAMILY MUSIC TEACHERS FUND

Bravo! Vail gratefully acknowledges The McClean Family Music Teachers Fund, underwritten by Ferrell and Chi McClean and the McClean Family, This multi-year fund supports the teachers of Bravo! Vail's Music Makers Haciendo Música program.

THE JANE AND GARY BOMBA INTERNSHIP PROGRAM

The Festival gratefully acknowledges The Jane and Gary Bomba Internship Program, underwritten by Jane and Gary Bomba. This multi-year fund supports the Festival's endeavors to provide interns with unparalleled opportunities to develop their skills sets, network with successful professionals, and work on diverse projects.

THE BETSY WIEGERS CHORAL FUND, IN HONOR OF JOHN W. GIOVANDO

Bravo! Vail gratefully acknowledges this fund, created by Betsy Wiegers to honor Festival Founder John Giovando, and will underwrite the performance of a choral work each year for ten years.

LOCAL TRANSPORTATION

The Festival acknowledges Epic Mountain Express and B-Line Xpress for its generous support in assisting Festival artists with local transportation to and from airports in both Denver and Eagle.

HOUSING HOSTS

Bravo! Vail is grateful to the individuals who donate their residence for the use by musicians during their stay at the Festival. Thank you to Jaime Appling, Rhoda and Howard Bernstein, Patty and Earle Bidez, Gina Browning and Joe Illick, Edwina Carrington, Vivien and Andrew Greenberg, Carole and Robert Johns, Carolyn and Paul Landen, Nan Nash, Carolyn and Steve Pope, and Cindy Ridley.

CORPORATE & GOVERNMENT SUPPORT

Bravo! Vail is indebted to the Town of Vail, the Vail Town Council, and the Festival’s many corporate, government, and community partners for their financial support.

MAESTRO ($100,000 and above)

Town of Vail*******

FIRST CHAIR ($50,000 and above)

The Sturm Family and ANB Bank**

ENSEMBLE ($30,000 and above)

Vail Valley Foundation*******

VIRTUOSO ($20,000 and above)

Alpine Bank****

LIV Sotheby’s International Realty**

National Endowment for the Arts

ALLEGRO ($10,000 and above)

Xcel Energy Foundation

SOLOIST ($7,500 and above)

Colorado Creative Industries

Fidelity Investments

Town of Gypsum

Barbara Treat Foundation

CRESCENDO ($5,000 and above)

Arrowhead Association

Bank of America Private Bank

Coca-Cola Foundation

Gallegos Corp.

Town of Minturn

Wall Street Insurance**

FORTISSIMO ($3,000 and above)

El Pomar Foundation

Town of Avon

U.S. Bank****

WESTAF

Williams Weese Pepple & Ferguson

CONCERTO ($1,500 and above)

Adobe Community First Foundation**

First Western Trust

Microsoft

Slifer Smith & Frampton Foundation****

Vail Rotary Club

SONATA ($750 and above)

Cincinnati Insurance

McWhinney

OVERTURE ($350 and above)

Edgewell Personal Care

IBM Corporation

PRELUDE ($100 and above)

Chevron Kroger Community Rewards*

Bravo! Vail is grateful to all who make an impactful gift through donated products, housing, rehearsal space, goods and services, and more.

MAESTRO ($100,000 and above)

The Antlers at Vail Vail Valley Foundation

FIRST CHAIR ($50,000 and above)

Four Seasons Resort and Residences Vail

The Hythe, A Luxury Collection Resort, Vail Lodge at Vail

Sonnenalp Hotel

Town of Vail

Vail, Beaver Creek and EpicPromise

SYMPHONY ($40,000 and above)

Eagle County School District

ENSEMBLE ($30,000 and above)

Manor Vail Lodge

IMPRESARIO ($25,000 and above)

FirstBank

OVATION ($15,000 and above)

The Christie Lodge

ALLEGRO ($10,000 and above)

Applejack Wine and Spirits

The Arrabelle at Vail Square

Jayne and Paul Becker

Dr. David Cohen

Marijke and Lodewijk de Vink

Foods of Vail

Ann Hicks

Jackson Family Wines

The Left Bank

Shirley and William S. McIntyre, IV

Anne and Tom McGonagle

Mirabelle at Beaver Creek

Sally and Byron Rose

Marcy and Gerry Spector

Dhuanne and Douglas Tansill

Vail Catering Concepts

SOLOIST ($7,500 and above)

Edwina P. Carrington

Anne-Marie McDermott and Michael Lubin

CRESCENDO ($5,000 and above)

Jaime Appling

Rhoda and Howard Bernstein

Epic Mountain Express

Vivien and Andrew Greenberg

Carolyn and Paul Landen

Carolyn and Steve Pope

Cindy Ridley

Lisa and Ken Schanzer

Vintage Magnolia

FORTISSIMO ($3,000 and above)

Lake County School District

Mountain Star Homeowners Association

Nan Nash

Trish Price and Matt Herman

Wild Mountain Cellars

CONCERTO ($1,500 and above)

Dierdre and Ronnie Baker

East West Hospitality

Carole and Robert Johns

Splendido at the Chateau

Lisa Tannebaum and Don Brownstein

Vines at Vail Winery

SONATA ($750 and above)

Barbara and Barry Beracha

Patty and Earle Bidez

John Dayton

Vail International Gallery

OVERTURE ($350 and above)

Alpine Bank

AEG Presents

Dallas Symphony Orchestra

Harry and Carol Cebron

Gallegos Corp.

Patti and Drew Rader

Venture Sports

Mia Vlaar

Aneta Youngblood

PRELUDE ($100 and above)

Linda Petrie Bunch

Colorado Ballet

Colorado Symphony Orchestra

Linda Krauss

Mount-N-Frame

Amara Sperber

Mary Addett

Mary Jo Allen

Bruce & Linda Alper

Janet Beals

Pat Blood

Debra Bolon Feeney

Carol Bosserman

Barbara Bower

Carol Brannigan

Judy & David Carson

Nancy Collins

Bob & Jan Cope

Becky Crawford

Jim & Pam Crine

Bruce Crow

Carol & Greg Dobbs

Holly Eastman

Ann & Sandy Faison

Eleanor Finlay

Claire Forsyth

Warren & Laura Garbe

Greer & Jack Gardner

Colleen Gauron

Pam Hamilton

Anne Hatch

Irene Hayes

Jim & Kathy Hill

SPECIAL NOTES

Bravo! Vail will follow all health and safety protocols in place as determined by local and state health officials.

The use of cell phones and electronic devices is prohibited during concerts. Sound recording, photographing, or videoing of concerts is strictly prohibited.

Concerts start punctually at the time indicated. Latecomers may be admitted at the discretion of our ushers, either between movements or between pieces. Please respect our volunteer ushers. We ask that adults accompany young children at all times.

Artists and programs are subject to change without prior notice and such changes are not cause for a refund.

Please save your program book for the duration of the Festival and recycle unwanted materials. You may also access information contained in the printed program book on our website, BravoVail.org.

Lois Hofer

Nina Holmquist

Don Hoolihan

Catherine Hubble

Sharon Johnson

Jane Jones

Carol Kelly

Julie Kenfield

Betty Kerman

Ellen Keszler

Wendy Klein

Deborah Knapp

Don & Marion Laughlin

Helen Lindow

Vicky Litchev

Diane & Jim Luellen

Hank Mader

Maureen McCullough

Louise McGaughey

Suzanne McKenna

Carole Ann McNeill

Bruce & Ferol Menzel

Kevin & Martha Milbery

Sandra Morrison

Rita Neubauer

Suzette Newman

Bill Nussbaum

Mickie Parsons

George Person

Timothy Powell

Barb & Jim Risser

Joanne Rock

Teri Ross

Nancy & Mike Rowe

Tom Russo

George & Nancy Saunders

Gary & Linda Scanlon

Scott Schaefer

Andy Searls

Charles Sherwood

Lisa Simek

Eileen & Michael Sinneck

Joseph Staron

Anne-Marie Tellefsen

Judy & Michael Turtletaub

Ken & Meg Wagner

Carol Walker

Karla Wall

Julia Watson

Katheryn & Steven Willing

Dean & Linda Wolz

Allison Wright

Brian & Chiann-Yi Yawitz

Bravo! Vail

Bravo! Vail and the Bravo! Vail logo are trademarks of Bravo! Colorado @ Beaver Creek-Vail, Inc in the United States. Information is subject to change without notice. © 2023 Bravo! Vail. All rights reserved.

Bravo! Vail Program Book © 2023

Mail/Administration 2271 N Frontage Rd W, Suite C Vail, CO 81657 970.827.5700 | 877.812.5700 toll free Fax 970.827.5707

Tickets

Online: bravovail.org

Phone: 877.812.5700

Email: ticketing@bravovail.org

Box Office: 2271 N Frontage Rd W, Suite C, Vail, CO 81657

Concerts take place rain or shine, unless otherwise specified in event details. The GRFA, community amphitheaters, and

Bravo! Vail Music Box events are openair venues. Refunds are not given due to weather unless a concert is canceled in its entirety with no performance rescheduled. No refund or exchange. Event dates and times are subject to change. All rights reserved. If the event for which this ticket is issued is rescheduled or canceled, the holder shall not be entitled to a refund except as otherwise required by law and will instead will have the right only to attend the rescheduled event, or if an event is not rescheduled, to exchange the ticket for another of equal value. By attending this event you consent to photography, audio and/or video recording and its/their release, publication, exhibition, and/or reproduction to be used for advertising or promotional purposes, or any other purpose by Bravo! Vail Music Festival and its affiliates and representatives. See full ticketing policy details and more at BravoVail.org.

ORCHESTRA NOTES

Program

James M. Keller

Liebesleid (Love’s Sorrow), for Violin and Orchestra (1905)

FRITZ KREISLER (1875-1962)

Vienna-born Fritz Kreisler was a violinist of legendary technique and charm to match, but he also kept busy as a composer; his output included a string quartet, cadenzas for the Beethoven and Brahms Violin Concertos, and numerous light pieces for the violin, including quite a few that he mischievously attributed to obscure composers of earlier centuries. He published Liebesleid in 1910 in a collection of what he bizarrely, and falsely, claimed were transcriptions of folk dances (ländler, to be specific) by way of the Viennese composer Joseph Lanner, a contemporary of Schubert’s.

La valse (1919-20)

MAURICE RAVEL (1875-1937)

In 1906, Maurice Ravel started planning a musical tribute to Johann Strauss II, but he didn’t get farther than choosing its title: Wien (Vienna). Years passed, Europe crumbled in World War I, and by the time he got around to composing La valse , the gaiety of the Viennese ballroom could no longer be presented without irony. Instead, Ravel’s tone poem reveals itself, ever so gradually, as a danse macabre : its spirit is often woozy, and in its final minutes we are forced to accept that the waltz has run irretrievably amok.

July 19, Continued From Page 121

that it signified nothing more than “impressions and greetings from the New World.” But for that subtitle, a listener encountering the piece for the first time might not consider it less imbued with the “Czech spirit” than the composer’s other symphonies. Still, Dvořák really was interested in African-American and Native American music, and musicologists have found in the symphony’s

melodies echoes of such undeniably American tunes as “Swing Low, Sweet Chariot,” which seems to inform one of the prominent themes in the first movement. The famous English horn melody of the Largo was a strictly original invention, but when a Dvořák pupil arranged it into the song “Goin’ Home,” it was mistakenly assumed to be an authentic spiritual. Dvořák’s pronouncements on the American character of this work are ambiguous. To one reporter, he pointed out certain parallels to Longfellow’s poem “The Song of Hiawatha.” To another, he insisted, “I have simply written original themes embodying the peculiarities of Indian music, and using these themes as subjects, have developed them with all the resources of modern rhythms, harmony, counterpoint, and orchestral color.”

July 21, Continued From Page 127

technology center IRCAM. There she developed her characteristic sound, which often involves—or at least suggests—an interaction of acoustic and electronic instruments weaving textures that are simultaneously sensual and mysterious. One of the most prominent composers of her generation, Saariaho has produced a generous body of work that includes five operas and an oratorio, numerous large-scale pieces for voices with orchestra, symphonic works, and many compositions for chamber combinations. She has been recognized with many of her field’s top international awards, including the Grawemeyer Award, Wihuri Prize, Nemmers Prize, Sonning Prize, and Polar Music Prize.

Ciel d’hiver traces its ancestry to Saariaho’s orchestral work Orion , from 2002—three movements relating to the figure of Greek mythology who was an adventurous hunter on Earth before taking permanent form as a heavenly constellation. In 2013 she revised the second movement into the standalone Ciel d’hiver , downsizing the extravagance of her original orchestration while

maintaining the sense of a frigid night sky where melodic motifs glisten and flicker like stars within a frame of incomprehensible vastness.

July 22, Continued From Page 131

BRADY BEAUBIEN, PRODUCER

A Stanford graduate and All-American athlete, Brady Beaubien studied cognitive neuroscience before founding Interlace Media, an award-winning motion graphics company.

As a premiere CG animation studio and creative agency for feature films, Interlace defined the global campaigns of over 100 major Hollywood movies, including the Avatar , X-Men , Rio , Ice Age , and Die Hard franchises.

In 2013 Beaubien co-founded CineConcerts, a company dedicated to reinventing the experience of theatrical presentation and orchestral music. He currently produces CineConcerts’ full repertoire of film-concert experiences, including Gladiator Live, The Godfather Live, DreamWorks Animation in Concert, Elf in Concert, and the entire Harry Potter Film Concert Series.

Beaubien helps lead the company’s vision for immersive XR technology and innovative presentations of media, including writing Star Trek: The Ultimate Voyage , a live concert experience that celebrates 50 years of iconic material. He also works to ensure that CineConcerts inspires a return to communal entertainment and continues to offer modern audiences and the world’s youth a chance to reconnect with concert halls and local orchestras.

Beaubien is a member of YPO Beverly Hills and is on the board of several companies dedicated to Web3 and frontier technologies.

Beaubien is also accomplished in the world of architectural design, with his projects including Matsuhisa Paris at the Le Royal Monceau-Raffles and The Citrus on Hollywood’s Melrose Avenue, an impassioned commercial structure that represents a commitment to the metropolitan providence of Los Angeles. At The Citrus, advanced technologies merge with wood, glass, and Japanese gardens, in an organic and modernist design. Additionally, Beaubien partnered with world-renowned sushi chef Nobu Matsuhisa to personally design his new restaurant concept in the picturesque building.

Beaubien lives in Massachusetts and California, with his wife Emmy and their two children, Archer and Channing.

ABOUT CINECONCERTS

CineConcerts is one of the leading producers of live music experiences

performed with visual media, and is continuously redefining live entertainment. Founded by Producer/Conductor Justin Freer and Producer/Writer Brady Beaubien, CineConcerts has engaged over 1.3 million people worldwide in concert presentations in over 900 performances in 48 countries working with some of the best orchestras and venues in the world including the Chicago Symphony Orchestra, Cleveland Orchestra, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, and many more. Recent and current live concert experiences include Rudy in Concert , The Harry Potter Film Concert Series , Gladiator Live , The Godfather Live It’s a Wonderful Life in Concert , DreamWorks Animation In Concert , Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour Breakfast at Tiffany’s in Concert , and A Christmas Dream Live

Justin Freer President/Founder/Producer Brady Beaubien Co-Founder/Producer

Chief XR Officer / Head of Publicity & Communications Andrew P. Alderete

Director of Operations Andrew McIntyre

Senior Marketing Manager Brittany Fonseca

Senior Social Media Manager Si Peng

Worldwide Representation WME

Music Preparation J oAnn Kane Music Service Sound Remixing Justin Moshkevich, Igloo Music Studios

ABOUT WARNER BROS. DISCOVERY GLOBAL

THEMED ENTERTAINMENT (WBDGTE), Warner Bros. Discovery Global Themed Entertainment (WBDGTE), part of Warner Bros. Discovery Global Brands and Experiences, is a worldwide leader in the creation, development, and licensing of location-based entertainment, live events, exhibits, and theme park experiences based on the biggest franchises, stories, and characters from Warner Bros.’ film, television, animation, and games studios, HBO, Discovery, DC, Cartoon Network, and more. WBDGTE is home to the groundbreaking locations of The Wizarding World of Harry Potter at Universal theme parks around the world, Warner Bros. World Abu Dhabi, The WB Abu Dhabi, The FRIENDS Experience, The Game of Thrones Studio Tour and countless other experiences inspired by the Wizarding World, DC, Looney Tunes, Scooby-Doo, Game of Thrones, FRIENDS, and more. With best-in-class partners, WBDGTE allows fans around the world to physically immerse themselves inside their favorite brands and franchises.

WIZARDING WORLD and all related trademarks, characters, names, and indicia are © & ™ Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s23)

July 23, Continued From Page 133

composer when we hear his Sixth Symphony, the Pastoral , which was roughly coeval to the Fifth. We are not necessarily wrong to suppose that biographical overtones reside in Beethoven’s Fifth Symphony, but we shouldn’t be blind to the sheer breadth of character they cover. When all is said and done, this is a unique work, just as all of Beethoven’s masterpieces are, a vehicle in which the composer explores and works out strictly aesthetic challenges that he has set for himself.

July 25, Continued From Page 139

New York, this time with the New York Philharmonic conducted by its then music director Gustav Mahler, who extended the rehearsal by an hour to do the piece justice.

July 26, Continued From Page 143

by two of them, Franz Schalk and Ferdinand Löwe, as well as by Arthur Nikisch, who conducted the premiere. Bruckner apparently approved these changes, perhaps enthusiastically, perhaps not. Around 1930, the International Bruckner Society began issuing new editions grounded on the original manuscripts, including, in 1944, one of the Seventh Symphony that eliminated these alterations. A decade later, however, the Society published an edition by Leopold Nowak, used in this performance, that restores the “first edition” changes but presents some of them as options that conductors may use or not, according to their musical preference. sophistication. Following the premiere that November, with Walter Damrosch conducting the New York Symphony Society (it would merge with the New York Philharmonic in 1928), the critics were cool but the audience was delighted. The New York Herald reported: “Mr. Rachmaninoff was recalled several times in the determined effort of the audience to make him play again, but he held up his hands with a gesture which meant that although he was willing, his fingers were not.” Later in the same tour he played the piece again in

ARTISTIC DIRECTOR

Anne-Marie McDermott

EXECUTIVE DIRECTOR

Caitlin Murray

EXECUTIVE FOUNDER

John W. Giovando

ARTISTIC FOUNDER

Ida Kavafian

ARTISTIC

Director of Artistic Planning

Jacqueline Taylor

Artist Liaison

Shannon Murray

ADMINISTRATION & FINANCE

Vice President of Finance & Human Resources

Monica White

Executive Assistant

Hannah Ploughman

Human Resources & Volunteer Coordinator

Palmer Monroe

EDUCATION & ENGAGEMENT

Director of Education & Engagement

Aileen Pagán-Rohwer

Education & Engagement Programs Coordinator

Amara Sperber

Education & Patron Services Associate

Emily Waldman

BRAVO! VAIL MUSIC MAKERS

HACIENDO MÚSICA TEACHING STAFF

Cindy Allard

Celesta Cairns

Scott Carroll

Kinsey Corby

Abigail Dreher

Lindsay Erickson

Hannah Ploughman

Susan Reid

Jenny Roussel

Amara Sperber

Hannah Terrell

INSTITUTIONAL ADVANCEMENT

Senior Vice President of Institutional

Advancement

Ronda Helton

Vice President of Philanthropy

Jason Denhart

Director of Business Intelligence & Systems

David Judd

Director of Development

Jackie Ernst

Director of Marketing

Parker Owens

Database Manager

Beth Pantzer

Digital Media Associate

Henry Smith

Development Manager

Chatham Mayberry

Project Manager & Communication Specialist

Linda Stamper Boyne

Sales Manager

Nancy Stevens

Box Office Associates

Willem Rohwer

Jonny Stevens

OPERATIONS AND TECHNICAL PRODUCTION

Director of Artistic Operations

Elli Monroe

Technical Director

Jake Cacciatore

Audio Engineers

Marty Bierman

Taylor Sobol

Production Crew Manager

Robert Pastore Jr.

Production Crew

Jeremy Almeter

Todd Bethune

Paul Casey

Benjamin Kust

Steve Schrader

Piano Technician

Mike Toia

JANE AND GARY BOMBA

INTERNSHIP PROGRAM

Institutional Advancement Interns

Emma Cerovich - Missouri State University

Maggie Lashley, University of Nebraska - Lincoln

Erina Lee - Davidson College, Alumna

Institutional Advancement/Artistic Operations Intern

Lydia Lee - Iowa State University

Education and Engagement Intern

Charlotte Kazalski - Ithaca College

Operations Intern

Sheridan Eggers - University of California - Berkeley

Audio and Technical Interns

Kamryn Charles - University of Miami

Kaiden Larson - Berklee College of Music

RESIDENT ORCHESTRA PHYSICIAN

Steve Yarberry, MD

RESIDENT ORCHESTRA PHYSICAL THERAPIST

Jennifer Martin, PT, DPT, OCS, FAAOMPT

MARKETING AND DEVELOPMENT CONTENT

Managing Editor

Alice Kornhauser

Public Relations

8VA Music Consultancy

Communication and Grants Specialist

Christy Pierce

FILMMAKING

Director

Tristan Cook

PHOTOGRAPHY

Tom Cohen

CREATIVE DESIGN

Ali & Aaron Creative

A LEGACY OF LIVE MUSIC STARTS WITH YOU

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

With your support, we have grown our Bravo! Vail Music Festival into its 36th Season and are continuing to expand our reach year-round by leading music education and outreach through our Music Makers Haciendo Música program and more.

BRAVO! VAIL IS BUILDING A BRIDGE TO THE FUTURE.

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

There are many ways to create a legacy gift, including:

• A charitable gift in your will or living trust

• Naming Bravo! Vail as co-beneficiary of your IRA

• Remembering us with a charitable remainder trust

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

To learn more about creating a legacy gift, please visit us online at PlannedGiving.BravoVail.org.

Questions? Contact Vice President of Philanthropy Jason Denhart at 970.827.4305 or jdenhart@bravovail.org

ANNOUNCING 2024’S INTERNATIONAL CHAMBER ORCHESTRA AT YOUR BRAVO! VAIL MUSIC FESTIVAL

MEXICO’S ORQUESTA SINFÓNICA DE MINERÍA

ARTISTIC DIRECTOR CARLOS MIGUEL PRIETO TO LEAD FIRST LATIN AMERICAN ORCHESTRA AT BRAVO! VAIL

Your Bravo! Vail Music Festival is thrilled to announce the debut of Mexico’s Orquesta Sinfónica de Minería for a three-concert residency on June 20, 22, and 23, 2024, opening its 2024 Festival season.

Led by Artistic Director and renowned Mexican conductor Carlos Miguel Prieto, the acclaimed ensemble will be Bravo! Vail’s 2024 International Chamber Orchestra and the first Latin American orchestra featured at Bravo! Vail.

As part of its residency, the Orchestra will perform an expansive breadth of repertoire—from Beethoven and Haydn to leading Mexican and Latin American composers such as Pacho Flores, Gabriela Ortiz, and Alberto Ginastera, and Spaniards Joaquín Rodrigo and Manuel de Falla. Members of the Orchestra will also participate in Bravo! Vail’s free education and engagement programs that will take place throughout the local community.

Bravo! Vail will announce additional details of the Orchestra’s residency and full details of its 2024 Festival on January 30, 2024. The 37th season of Bravo! Vail Music Festival will take place from June 20-August 1, 2024.

Learn more about Orquesta Sinfónica de Minería at BravoVail.org and sign up for the Bravo! Vail Beat newsletter for the latest news.

“The Orquesta Sinfónica de Minería, now in its 45th season, is truly one of the treasures of the fascinating classical music world in Mexico. It is a huge honor to be part of the 2024 Bravo! Vail Music Festival, one of the greatest of its kind, with a vibrant audience in a heavenly setting,”

 Carlos Miguel Prieto, Artistic Director of the Orquesta Sinfónica de Minería.

CRAFTED FOR YOUR MOMENT.

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

– Anne-Marie McDermott, Yamaha Artist and Artistic Director, Bravo! Vail

Classic Pianos

classicpianosdenver.com

Authorized Yamaha Piano Representative, Vail, CO

YamahaPianos.com

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

BRAVO! VAIL AFTER-SCHOOL PROGRAMS

Music Makers Haciendo

Música is an afterschool program teaching piano, violin, and chamber ensemble classes across Eagle and Lake counties. Growing to over 300 students from grades 2-12, Music Makers cultivates and inspires the musician inside every child through weekly classes and performance opportunities throughout the school year.

Dierdre and Ronnie Baker

Kimberly and David Bernstein

Virginia J. Browning

Carol and Harry Cebron

Kathy Cole

Colorado Creative Industries

D’Addario Foundation

Sandi and Leo Dunn

Eagle County School District

Edwards Rotary Club

El Pomar Foundation

Julie and Bill Esrey

Kathy and David Ferguson and the Ferguson Music Makers Haciendo

Música Fund

Cookie and Jim Flaum

Gallegos Corp.

Sue and Dan Godec

Judy and Alan Kosloff

Lake County School District

Diane and Lou Loosbrock

Ferrell and Chi McClean and The McClean Family Music Teachers Fund

Drs. Rob and Julie Rifkin

Slifer Smith & Frampton Foundation

Barbara Treat Foundation

Town of Avon

Town of Gypsum

Town of Vail

Vail Rotary Club

Wall Street Insurance

Carole A. Watters

WESTAF

Xcel Energy Foundation

WHO: Beginner students entering grades 2-5. Intermediate or Advanced students contact education@bravovail.org for placement

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

WHEN: Classes run September 2023 - April 2024

WHERE: Several locations from Vail to Gypsum.

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

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

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Bravo! Vail Gratefully Acknowledges the Support of the Following Patrons