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At U.S. Bank, we believe art enriches and inspires our community. That’s why we support the visual and performing arts organizations that push our creativity and passion to new levels. When we test the limits of possible, we find more ways to shine. usbank.com/communitypossible U.S. Bank is proud to support Bravo! Vail.

Bravo! Vail “Music is the universal language of mankind.” – Henry Wadsworth Longfellow

Aitken & Associates salutes the Bravo! Vail Valley Music Festival and all of the talented musicians who make it extraordinary.

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A R R O W H E A D | 8 2 M C C OY S P R I N G S C O U R T 7-bed | 9-bath | 7,758 sq.ft. $4,895,000

A R R O W H E A D | 2 1 1 5 C R E S TA R O A D 6-bed | 8-bath | 9,005 sq.ft. SOLD $7,995,000

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The Caplan Group Proudly sponsors Bravo!Vail Music Festival “When words fail, music speaks”

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TABLE OF CONTENTS 22

Board of Trustees & Advisory Council

The Philadelphia Orchestra

Season At a Glance

New York Philharmonic

Education & Engagement Programs

118 Immersive Experiences

The Saint Paul Chamber Orchestra

137

Artists & Ensembles

Linda & Mitch Hart Soirée Series Al Fresco

144

Ways to Give

145

Donors & Sponsors

Chamber Music Series

158 Staff

Dallas Symphony Orchestra

159

Community Concerts

20 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Special Notes

A MUSICAL ADVENTURE LIKE NO OTHER

WELCOME TO THE 2021 SEASON

ords cannot express how happy we are to welcome you to Bravo! Vail’s 34th season. This year we are especially thankful for the ability to bring live performances back to our community, and for everyone who helps to fulfill our mission: to enrich people’s lives through the power of music. It is our honor to introduce the 2021 Festival, featuring four beloved orchestras in residence, riveting programs for small ensembles, and community concerts from the stage of our mobile Music Box. We are humbled by this opportunity to bring audiences and artists together again in this magnificent setting to experience the magic of live music, which promises inspiration and healing in this extraordinary time. This season, Bravo! Vail is delighted to welcome The Saint Paul Chamber Orchestra for its Vail debut, joined by virtuoso violinist Joshua Bell. We are also thrilled to welcome Maestro Fabio Luisi, music director of the endlessly inventive Dallas Symphony Orchestra, in his Vail debut; showcase The Philadelphia Orchestra’s distinctively luxurious sound and penchant for innovation; and bring our symphonic season to a grand finale with America’s oldest symphony orchestra: the storied New York Philharmonic. The powerful intimacy of chamber music has been at the heart of Bravo! Vail since its beginning. This season, the Chamber Music Series celebrates the genre’s iconic works, and the Immersive Experiences Series takes a deep dive into folk-inspired masterpieces by Bartók. Free lunchtime concerts at the Vail Chapel feature members of resident orchestras and also introduce audiences to our Chamber Musicians in Residence and Piano Fellows: outstanding artists in the early stages of major careers. At Bravo! Vail, we are committed to bringing the power of music to community members of all ages. Through Little Listeners @ the Library and this year’s Family Concert, Robot Piano Teacher, children’s eyes, ears, and minds are opened to exciting possibilities. And keep an eye out for the Music Box, our custom-designed mobile stage that transports musicians to neighborhoods throughout the Valley. We extend our thanks to the community partners, donors, supporters, sponsors, and music lovers who bring Bravo! Vail to life each summer. We are fortunate to welcome wonderful musicians to our community and enjoy their spectacular talents. When words fail, music connects, moves, and invigorates us. We have never been more grateful, and we hope you enjoy every note.

PHOTOS BY ZACHMAHONE.COM U N L E S S O T H E R W I S E N O T E D ALL PROGRAM NOTES ©JAMES M. KELLER

A N N E-M A R I E McDERMOT T Artistic Director

CAITLIN M U R R AY Executive Director

K AT H L E E N ECK Board Chair

Learn more at Bravovail.org or the new Bravo! Vail Music Festival app. 21

BOARD OF TRUSTEES Kathleen Eck, Chair Hank Gutman, Vice Chair Paul Rossetti, Treasurer Carole Segal, Secretary Charlie Allen Ronnie Baker Barry Beracha Bill Burns Carol Cebron

John Dayton Marijke de Vink Cookie Flaum Mark Gordon Linda Hart Ann Hicks Peter Kitchak Fred Kushner Diane Loosbrock John Magee

Shirley McIntyre Sarah Millett Brian Nestor Gary Peterson Steve Pope Kalmon Post Drew Rader Tom Rader Michele Resnick Jeris Romeo

Lisa Schanzer Beth Slifer Randy Smith Cathy Stone Doug Tansill Fred Tresca Michael Warren

Honey Kurtz Robert LeVine Vicki Logan Tony Mayer Matt Morgan Bill Morton Laurie Mullen Brad Quayle Michael Reyes Byron Rose Terie Roubos

Adrienne Rowberry Rod Slifer Rachel Smiley Marcy Spector Tye Stockton Susan Suggs Lisa Tannebaum Greg Walton Carole Watters Steve Yarberry

ADVISORY COUNCIL David Anderson Marilyn Augur Paul Becker Sarah Benjes Gina Browning Jenn Bruno Edwina Carrington Tim Dalton Lucy Davis Brian Doyle Leo Dunn

Kabe ErkenBrack Carole Feistmann Harry Frampton Joan Francis Michael Glass Dan Godec Kim Hackett Martha Head Becky Hernreich Fred Hessler Alan Kosloff

FROM THE FOUNDER After a limited Festival last season, it is a great pleasure to welcome you to the 2021 season of the Bravo! Vail Music Festival. Bravo! Vail is one of America’s best and most steadfast performing arts organizations, growing expectations now and for future years. Each patron, audience member, volunteer, and staff person has made Bravo! Vail the Festival it is today, connecting people to people through the power of music. Very heartfelt and sincere thanks to you all, for without you, this annual celebration of great music in the Rocky Mountains would not be possible. Enjoy!

John W. Giovando FOUNDER & EXECUTIVE DIRECTOR EMERITUS

22 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Moving people worldwide to the mountains ALIDA ZWAAN REAL ESTATE Vail Valley’s premier luxury home specialist Providing customized solutions for your real estate needs Top producing agent for buyers and sellers

Alida Zwaan, CRS (970) 471-0291 alidaz@vail.net vailrealestatecolo.com SERVING THE VAIL VALLEY FOR OVER 30 YEARS

Your family is your joy. Your family is your rock. Finally, you can come together, again. Don’t wait too long. Now more than ever, plan for a family portrait, this summer.

OlgaBarronPhotography.com (970) 445-0750

Learn more at Bravovail.org or the new Bravo! Vail Music Festival app. 23

SUNDAY

MONDAY

TUESDAY

2021 SEASON AT A GLANCE COLOR KEY

Orchestra Concerts

The Saint Paul Chamber Orchestra 6:00PM | GRFA

Soirée Series - Al Fresco 6:00PM | de Vink Residence

Chamber Music 7:00PM | VPAC

Dallas Symphony Orchestra Special time, 2:00PM | GRFA

Dallas Symphony Orchestra 6:00PM | GRFA

Community Concert 1:00PM | VIC Little Listeners 2:30PM | VPL

The Philadelphia Orchestra 6:00PM | GRFA

Little Listeners 2:30PM | APL Community Concert 6:00PM | FPLB

Community Concert 1:00PM | VIC Chamber Music 7:00PM | VPAC

Little Listeners 2:30PM | GPL Soirée Series - Al Fresco 6:00PM | Hicks Residence

Community Concert 1:00PM | VIC Chamber Music 7:00PM | VPAC

Chamber Music Concerts Immersive Experiences Community Concerts Family Concerts Little Listeners @ The Library Community Collaborations Linda & Mitch Hart Soirée Series - Al Fresco

LOCATION KEY APL: Avon Public Library BCP: Brush Creek Pavilion, Eagle EIC: Edwards Interfaith Chapel EPL: Eagle Public Library EVP: EagleVail Pavilion FPLB: Ford Park, Lower Bench, Vail GPL: Gypsum Public Library

GRFA: Gerald R. Ford Amphitheater, Vail

New York Philharmonic 6:00PM | GRFA

Little Listeners 2:30PM | GPL Soirée Series - Al Fresco 6:00PM | Zirkin Residence

Community Concert 1:00PM | VIC New York Philharmonic 6:00PM | GRFA

1 AUGUST

GTP: Gypsum Town Park VHH: Vail Health Hospital VIC: Vail Interfaith Chapel VPAC: Vilar Performing Arts Center, Beaver Creek VPL: Vail Public Library

Community Concert 6:00PM | GTP

24 Get tickets at Bravovail.org or the new Bravo! Vail Music Festival app.

WEDNESDAY 23 JUNE

THURSDAY 24

FRIDAY 25

The Saint Paul Chamber Orchestra 6:00PM | GRFA

SATURDAY 26 The Saint Paul Chamber Orchestra 6:00PM | GRFA

1 JULY

Dallas Symphony Orchestra 6:00PM | GRFA

Little Listeners 2:30PM | VPL Dallas Symphony Orchestra 6:00PM | GRFA

Little Listeners 2:30PM | APL Dallas Symphony Orchestra 6:00PM | GRFA

Family Concert 5:30PM | EVP

Family Concert 5:30PM | BCP

The Philadelphia Orchestra 6:00PM | GRFA

Community Collaboration 11:30AM | VHH Soirée Series - Al Fresco 6:00PM | Beracha Residence

Community Concert 1:00PM | VIC The Philadelphia Orchestra 6:00PM | GRFA

The Philadelphia Orchestra 6:00PM | GRFA

Community Collaboration 11:30AM | VHH

Community Concert 1:00PM | VIC Community Concert 6:00PM | EVP

New York Philharmonic 6:00PM | GRFA

Little Listeners 2:30PM | EPL New York Philharmonic 6:00PM | GRFA

Community Concert 1:00PM | VIC Immersive Experiences Pre-Concert Talk 6:00PM | EIC Performance 7:00PM | EIC

Community Collaboration 11:30AM | VHH Immersive Experiences Pre-Concert Talk 6:00PM | EIC Performance 7:00PM | EIC

Immersive Experiences Pre-Concert Talk 6:00PM | EIC Performance 7:00PM | EIC

Little Listeners 2:30PM | EPL New York Philharmonic 6:00PM | GRFA

Chamber Music 7:00PM | VPAC

CELEBRATING 10 YEARS

ANNE-MARIE MCDERMOTT 10TH ANNIVERSARY The Bravo! Vail community celebrates the 10th anniversary of Anne-Marie McDermott’s extraordinary direction and vision. Her unwavering commitment to bringing live music to our community (particularly instrumental during the 2020 and 2021 seasons) is a tremendous inspiration. We pay tribute to her leadership, her artistry, and her passionate determination in creating and sharing great musical experiences.  26 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Happy Anniversary, Annie! In honor of this milestone, Bravo! Vail has commissioned acclaimed American composer Chris Rogerson to write a piano concerto for Anne-Marie, which will receive its world premiere at Bravo! Vail in a future season. Stay tuned for details!

n 2011*, Anne-Marie McDermott became the third Artistic Director in Bravo! Vail’s history. During her tenure, her artistic vision has led to innovations and new initiatives that have reached tens of thousands of people of all ages and abilities, in service to Bravo! Vail’s mission to enrich lives through the power of music.

2014 Launched Bravo! Vail After Dark series 2015 Launched Classically Uncorked series 2015 Established Piano Fellows program 2016 Expanded orchestral residencies to include an international chamber orchestra (Academy of St Martin in the Fields) 2017 Established New Works Fund, presented first international chamber ensemble (Danish String Quartet)

2018 2019 2020 2021

Expanded year-round educational programming with the AfterSchool Strings Program and Spring Family Concert Presented Bravo! Vail’s first fully staged opera (Tosca), launched Inside the Music series Launched Immersive Experiences series, deployed the Bravo! Vail Music Box, premiered live streams Established Symphonic Commissioning Fund

©TOMAS COHEN

*Discerning readers may note that the 10th anniversary was technically in 2020. We are honored to celebrate in this year when we can all be together again.

Expanding Programming, Increasing Access

Learn more at Bravovail.org or the new Bravo! Vail Music Festival app. 27

EDUCATION & ENGAGEMENT

CREATING MEANINGFUL CONNECTIONS TO MUSIC INSPIRING MUSICAL CURIOSITY ALL SUMMER LONG Bravo! Vail plays a unique role in the Vail Valley by not only inspiring and entertaining, but also educating. Bravo! Vail’s Education & Engagement Programs create meaningful musical experiences, spark lifelong learning, and share the joy and power of music with audiences of all ages year-round. Bravo! Vail is grateful for the generous support of individuals, organizations, and communities that makes these programs possible.

28 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Little Listeners @ the Library FREE Bravo! Vail seeks to cultivate and inspire the musician inside every child. Little Listeners @ the Library introduces music and instruments in an approachable, accessible way. Kids can learn and interact with the Festival musicians, participating in games to capture a few musical insights along the way. Each 30-minute program takes place on a lawn or patio area of each of the four area libraries. New this year, the LL@L Game Board takes children through four fun events, completing stages along the way. The goal is to deepen engagement and inspire the love of music through participation and a sense of achievement. July 1 Vail Public Library July 2 Avon Public Library July 6 Vail Public Library July 12 Avon Public Library July 19 Gypsum Public Library July 21 Eagle Public Library July 26 Gypsum Public Library July 28 Eagle Public Library All LL@L events begin at 2:30PM. Little Listeners @ the Library events are presented by Alpine Bank.

Family Concert: Robot Piano Teacher FREE What happens when two string players are given a grand piano, and then a Robot Piano Teacher and young robot students show up? An energetic show of robotic comedy and wonderful music! Join Bravo! Vail for the Robot Piano Teacher, featuring violinist Oliver Neubauer, violist Tabitha Rhee, and Bravo! Vail’s Artistic Director AnneMarie McDermott, as the robot. Some of the budding musicians in Bravo! Vail Music Makers program will also join the fun on stage, making this the perfect way to introduce children to the joy of music. July 7 EagleVail Pavilion................................ 64 July 8 Brush Creek Pavilion...................... 65 Family Concerts begin at 5:30PM

The Bravo! Vail After-School Piano & Violin Program has a new name that embodies the future of music instruction for the community: Bravo! Vail Music Makers Haciendo Música. The new name opens the possibilities for the future of the instruction program, allowing for growth to add other instruments, creating an easy integration into the summer Festival, and broadening the scope and reach of Bravo! Vail. Its translation in Spanish, “Haciendo Música” reflects the vibrant Latinx population in the community and encapsulates everything the program aspires for young, budding musicians to feel: I am a Music Maker! During the summer season, advanced piano and violin students are invited to the Summer Intensive program for an immersive, week-long camp that gives these young musicians the time and space to learn, compose, play chamber music for the first time, and interact with Festival artists.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS FIRST CHAIR ($50,000+) Betsy Wiegers ENSEMBLE ($30,000+) Bravo! Vail Guild Kathy and David Ferguson IMPRESARIO ($25,000+) Town of Vail VIRTUOSO ($20,000+) Virginia J. Browning The Sturm Family and ANB Bank Carole A. Watters OVATION ($15,000+) Ron Davis Sandi and Leo Dunn

ALLEGRO ($10,000+) Alpine Bank Doe Browning Carol and Harry Cebron Kathy Cole Cookie and Jim Flaum Diane and Lou Loosbrock Teri Perry Leewood and Tom Woodell Nancy and Harold Zirkin SOLOIST ($7,500+) Gina Browning and Joe Illick Town of Gypsum CRESCENDO ($5,000+) Dierdre and Ronnie Baker Kimberly and David Bernstein

Nancy and Andy Cruce Katherine Clayborne and Thomas Shoup Janet and Jim Dulin Gallegos Corp. Sue and Dan Godec Patricia and Peter Kitchak Judy and Alan Kosloff Carolyn and Gene Mercy Beth and Rod Slifer Slifer Smith & Frampton Foundation U.S. Bank U.S. Bank Foundation Vail Rotary Club Martin Waldbaum

Learn more at Bravovail.org or the new Bravo! Vail Music Festival app. 29

PROFESSIONAL DEVELOPMENT

GROWING & LEARNING PIANO FELLOWS / CHAMBER MUSICIANS IN RESIDENCE / SUMMER INTERNS Bravo! Vail strives to enhance the health and vibrancy of the performing arts field through professional development. The Bravo! Vail Piano Fellows program allows two up-and-coming pianists, selected by Bravo! Vail Artistic Director Anne-Marie McDermott, unparalleled access to the orchestra and other renowned Festival musicians and the opportunity to collaborate and perform with other artists. Additionally, Bravo! Vail is proud to showcase outstanding chamber musicians and ensembles in the early stages of major professional careers. All these young artists benefit immeasurably by performing, teaching, and learning throughout the Vail community, in concert and collaboration. Finally, Bravo! Vail’s summer internships give students experience and exposure to the Festival that they can take into successful careers in arts administration and nonprofit management. 30 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

FOR MORE INFORMATION ABOUT THIS SEASON’S PIANO FELLOWS AND CHAMBER MUSICIANS IN RESIDENCE, SEE PAGE 60.

COMMUNITY COLLABORATIONS

THE HEALING POWER OF MUSIC Engage & Interact

©TO M A S CO H EN; © J O H N-RYA N LO C K M A N

Collaborative partnerships with community-serving organizations allow Bravo! Vail to share the joy and healing power of music. Through partnerships with organizations such as Vail Health and local senior centers, Bravo! Vail can safely bring music to these communities. For the Festival’s young friends at Roundup River Ranch, a live-streamed performance provides the opportunity for campers to engage and interact with the musicians without risking their health.

Learn more at BravoVail.org 31

SCHEDULE AT A GLANCE JUN

24 JUN

26 JUN

All-Mozart Evening .......................................................................

The Four Seasons .......................................................................

Schubert & Brahms .......................................................................

THE SAINT PAUL CHAMBER ORCHESTRA

DISTINCTIVE VERSATILITY IN RESIDENCE JUNE 24 – 27, 2021 Renowned for its artistic excellence, remarkable versatility, and adventurous programming, The Saint Paul Chamber Orchestra is widely regarded as one of the finest chamber orchestras in the world. Bravo! Vail is thrilled to present the SPCO in its Vail debut, joined by virtuoso violinist Joshua Bell in music by Mozart, Brahms, Vivaldi, Piazzolla, and more. 32 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

enowned for its artistic excellence, remarkable versatility of musical styles, and adventurous programming, The Saint Paul Chamber Orchestra is widely regarded as one of the finest chamber orchestras in the world. Now in its 62nd season, the SPCO has recently undergone transformational change with the opening of its new home, the Ordway Concert Hall, the addition of a new generation of players, and significant changes in its artistic vision. The SPCO is primarily an unconducted ensemble that performs a broad range of repertoire from Baroque to new music and works in close collaboration with a dynamic roster of Artistic Partners. The virtuoso musicians of the SPCO present more than 100 concerts and educational programs in the Twin Cities each year. The orchestra’s free online Concert Library receives more than 350,000 visits annually and offers both live and on-demand videos of concerts that can be viewed anytime, anywhere, completely free of charge. Through its partnership with Classical Minnesota Public Radio, the SPCO is regularly heard on public radio programs that reach nearly 850,000 listeners each week on over 250 stations. Additionally, the SPCO has released 67 recordings, including the 2018 GRAMMY Award-winning recording of Franz Schubert’s Death and the Maiden with violinist and former Artistic Partner Patricia Kopatchinskaja. The SPCO has commissioned 150 new works and tours nationally and internationally, including recent engagements in Europe and New York City, and a prestigious residency with Cal Performances at the University of California, Berkeley.

The SPCO is nationally recognized for its commitment to broad community accessibility and its innovative audience engagement efforts. Regular subscription series are performed in a variety of different venues across the Twin Cities metropolitan area each season, a unique commitment to geographic accessibility for a major orchestra. The SPCO offers the most affordable ticket prices of any professional orchestra in the United States, with over 50 percent of tickets available for $15 or less, and has expanded accessibility even further by offering free tickets for children and students starting in the 2016-17 season as a part of the New Generation Initiative. The orchestra also offers an innovative ticket membership model

“Probably the leading ensemble of its kind in America.” —N EW YO RK TIM ES

in which members pay $9 per month to attend unlimited concerts. The SPCO’s award-winning CONNECT education program reaches over 3,000 students and teachers annually in 10 Minneapolis and Saint Paul public schools, and its Target Free Family Music program provides engaging and educational experiences for thousands of Twin Cities children and families each year.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE SAINT PAUL CHAMBER ORCHESTRA MAESTRO ($100,000+) Berry Charitable Foundation FIRST CHAIR ($50,000+) Town of Vail ENSEMBLE ($30,000+) Marijke and Lodewijk de Vink

IMPRESARIO ($25,000+) Virginia J. Browning Patricia and Peter Kitchak OVATION ($15,000+) Mrs. Jean Graham-Smith and Mr. Philip Smith

ALLEGRO ($10,000+) Patti Shwayder-Coffin and Steve Coffin The Sturm Family and ANB Bank CRESCENDO ($5,000+) Shelby and Frederick Gans Ann and William Lieff

Learn more at BravoVail.org or the new Bravo! Vail Music Festival app. 33

JUN

THURSDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

THE SAINT PAUL CHAMBER ORCHESTRA Anne-Marie McDermott, piano Joshua Bell, violin

MOZART Piano Concerto No. 9 in E-flat major, K. 271, Jenamy (32 minutes) Allegro Andantino Rondeau: Presto

MOZART Symphony No. 38 in D major, K. 504, Prague (26 minutes) Adagio—Allegro Andante Finale: Presto Led by The Saint Paul Chamber Orchestra Musicians

— INTERMISSION — MOZART Violin Concerto No. 5 in A major, K.219, Turkish (30 minutes) Allegro aperto Adagio Rondeau (Tempo di Menuetto)

ALL-MOZART EVENING THIS EVENING’S PERFORMANCE IS PRESENTED BY

WOLFG ANG AMADEUS MOZ ART

AMY AND STEVE COYER PATRICIA AND PETER KITCHAK STEPHANIE AND LAWRENCE FLINN, JR. THE STURM FAMILY AND ANB BANK

Piano Concerto No. 9 in E-flat major, K.271, Jenamy (1777)

SPECIAL GRATITUDE TO Berry Charitable Foundation The Francis Family The Friends of The Saint Paul Chamber Orchestra The Judy and Alan Kosloff Artistic Director Chair SPONSORED BY Gina Browning and Joe Illick Virginia J. Browning SOLOIST SPONSORS Joshua Bell, violin, sponsored by Becker Violin Fund Anne-Marie McDermott, piano, sponsored by Bobbi and Richard Massman

There’s more to explore on the Bravo! Vail Music Festival app!

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project, Town of Vail and the Bravo! Vail Artistic Excellence Fund. The Lodge at Vail and Sonnenalp Hotel are the official homes of The Saint Paul Chamber Orchestra while in residency at Bravo! Vail. Tonight’s Pre-Concert Donor Reception is sponsored by Alpine Bank.

(1756-91)

hen Mozart wrote his Piano Concerto in E-flat major (K.271), in January 1777, he was just turning 21, but he was already capable of producing a miracle. It is more memorable than the eight Mozart piano concertos that preceded it, thanks to the appeal of its challenging solo part and imaginative wind writing, and the way it imposes bold experimentation on accepted practice. It opens with a surprise. Most Classical concertos began with a stretch of material presented by the orchestra before the soloist entered. Here, however, the piano shares in the opening phrase of the work, providing a response to the orchestra’s introductory fanfare. The slow movement is also a breakthrough. This melancholy Andantino is in the hyper-dramatic Sturm und Drang aesthetic popular at that time. The opening theme incorporates a falling figure—at least a sigh, perhaps a sob. The piano sometimes declaims its sorrow in recitative-like passages, and the restrained strings play with mutes except in an anguished

outburst near the movement’s end. In the finale, Mozart again experiments with structure: in the midst of an energized rondo, he interpolates a minuet—leisurely, long, and unusually expressive—with four elegantly turned variations. This used to be known as the Jeunehomme Concerto, after a French pianist—Mlle. Jeunehomme— whose existence was postulated in 1912 by two French musicologists who were trying to track down a “Mlle. Villieaume” referred to in Mozart family letters. We now know that the pianist associated with this work’s creation was not Mlle. Jeunehomme but rather Mlle. Jenamy—Louise Victoire Jenamy, a daughter of the ballet-master JeanGeorges Noverre, who was a friend of the Mozarts. If we feel inclined to attach a nickname to this work, at least we would do better to call it the Jenamy Concerto rather than the specious Jeunehomme Concerto.

Symphony No. 38 in D major, K.504, Prague (1786) In 1786, Mozart—then living in Vienna—received an invitation to visit Prague, apparently by a coterie of that city’s German-speaking culturati. At the ouset of 1787, he and his wife, plus a considerable entourage (including their dog), traveled by coach to the Bohemian capital for what would be the closest he ever came to a pleasure trip. His musical obligations were few, limited to an evening conducting The Marriage of Figaro and a couple of piano performances. Mozart arrived bearing gifts, chief among them the D-major Symphony that he had completed late in 1786 and that would forthwith have the name of Prague attached to it. He led a distinguished orchestra—though a small one of about 20 players—in the work’s premiere, which appears to have taken place on January 19, 1787. His early biographer Franz Xaver Niemetschek reported two decades later that “the symphonies he composed for this occasion are real masterpieces … full of surprising modulations, and have a quick, fiery gait, so that the very soul is transported to sublime heights. This

applies particularly to the Symphony in D major, which remains a favorite in Prague, although it has doubtless been heard a hundred times.” It is one of Mozart’s most impressive symphonies, despite its having only three movements rather than four, which by then was the norm. It’s anyone’s guess why Mozart decided not to include the traditional third-movement minuet-and-trio, but he more than compensated by attaching a slow introduction to the opening Allegro. Though such introductions are found in the later symphonies of Haydn and in some of Beethoven’s, they are not much associated with Mozart. In this opening, Mozart seems to be looking ahead to the perplexing chromatic ruminations of Don Giovanni, which (as it happens) Prague would idolize within a year.

Violin Concerto No. 5 in A major, K.219, Turkish (1775) We remember Mozart as a composer first and foremost, but in his day he was also renowned as a musical performer. He was acknowledged as an exceptional keyboard virtuoso and an accomplished string player. He was tutored in the violin by his father, Leopold, whose violin treatise stands as a monument of 18thcentury pedagogy. Young Mozart served as court violinist—eventually concertmaster—in his native Salzburg, and after he left for Vienna he sometimes played the viola (the violin’s alto cousin) in chamber music.

He probably composed his five violin concertos for his own use, but other musicians soon mastered them, too. Apparently the first virtuoso to pick them up was Antonio Brunetti, a Neapolitan who was appointed Court Music Director in Salzburg on March 1, 1776, and who succeeded Mozart as concertmaster the following year after one of Mozart’s periodic fallingsout with his boss, Prince-Archbishop Colloredo. On October 9, 1777, Leopold Mozart wrote a letter to his son (away on tour) in which a relevant comment appears: “Brunetti now praises you to the skies! And when I was saying the other day that after all you played the violin passibilmente, he burst out: ‘What? Nonsense! Why, he could play anything! That was a mistaken idea the Prince persisted in, to his own loss.’” Mozart wrote his Violin Concerto No. 5 in Salzburg at the end of 1775. The opening movement is elegantly balanced between the soloist and the orchestra, combining a sense of spaciousness with a crystalline texture. The large-scale Adagio maintains its sense of quiet grace and introspection throughout. The finale is an amiable rondo that leads to a false ending, at which point the music swerves into a long episode with an east-of-Vienna spirit, a highly spiced section that earned this concerto its geographically approximate nickname of Turkish.

IMPRESARIO ($25,000+) Virginia J. Browning Patricia and Peter Kitchak OVATION ($15,000+) Mrs. Jean Graham-Smith and Mr. Philip Smith

ALLEGRO ($10,000+) Patti Shwayder-Coffin and Steve Coffin The Sturm Family and ANB Bank CRESCENDO ($5,000+) Shelby and Frederick Gans Ann and William Lieff

Learn more at BravoVail.org or the new Bravo! Vail Music Festival app. 35

JUN

SATURDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

THE SAINT PAUL CHAMBER ORCHESTRA Joshua Bell, violin

VIVALDI Concerto in E major, Op. 8, No. 1, Spring, for Violin, Strings, and Basso Continuo (11 minutes) Allegro Largo Allegro

PIAZZOLLA/ DESYATNIKOV Summer in Buenos Aires, for Violin and String Orchestra, from The Four Seasons in Buenos Aires (6 minutes)

VIVALDI Concerto in G minor, Op. 8, No. 2, Summer, (11 minutes) Allegro non molto Adagio Presto

PIAZZOLLA/ DESYATNIKOV Autumn in Buenos Aires, from The Four Seasons in Buenos Aires (7 minutes)

— INTERMISSION — VIVALDI Concerto in F major, Op. 8, No. 3, Autumn, (11 minutes) Allegro Adagio molto Allegro

THE FOUR SEASONS TOWN OF VAIL NIGHT THIS EVENING’S PERFORMANCE IS PRESENTED BY SUSAN AND VAN CAMPBELL BARBIE AND TONY MAYER SPECIAL GRATITUDE TO Berry Charitable Foundation The Sidney E. Frank Foundation The Friends of The Saint Paul Chamber Orchestra The Sturm Family and ANB Bank

PIAZZOLLA/ DESYATNIKOV

SPONSORED BY

BERLIN

Letitia and Christopher Aitken James C. Allen Charitable Foundation Holly and Ben Gill

Alexander’s Ragtime Band

ARR. TYZIK New Orleans Spiritual Medley

The Antlers at Vail and the Vail Marriott Mountain Resort and Spa are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

combination of early blues, French march music, and classical song, ragtime laid the foundation for jazz and popular music of the past century thanks to musical innovators like Scott Joplin, Jelly Roll Morton, and W.C. Handy who created exciting, joyous, and sophisticated melodies. A uniquely American music that was born and bred in New Orleans, ragtime evolved from the military march style popularized by John Philip Sousa, and added polyrhythms from African music. (“Rag” refers to distinctive syncopated or “ragged” rhythms.) Ragtime’s swagger and swing influenced the world of dance bands, early jazz, and composers in America and around the world.

“Life is like a trumpet — if you don’t put anything into it, you don’t get anything out of it.” —W. C . H A N DY

©GREENBERG ARTISTS

IMPRESARIO ($25,000+) Lyda Hill VIRTUOSO ($20,000+) Marilyn Augur OVATION ($15,000+) Carole C. and CDR. John M. Fleming Alexia and Jerry Jurschak

JEFF TYZIK

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SCHEDULE AT A GLANCE JUL

6 JUL

Vail Interfaith Chapel .......................................................................

MUSIC BOX: Ford Park, Lower Bench .......................................................................

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Vail Interfaith Chapel .......................................................................

Vail Interfaith Chapel ......................................................................

MUSIC BOX: EagleVail Pavilion................. 101 Vail Interfaith Chapel .....................................................................

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Vail Interfaith Chapel 117

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MUSIC BOX: Gypsum Town Park............ 127

©TOMAS COHEN

60 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

COMMUNITY CONCERTS

GREAT MUSIC, FOR FUN AND FOR FREE! JULY 6 – AUGUST 1, 2021 World-class music comes to communities throughout the Vail Valley at these hour-long solo recitals and chamber music concerts, where Festival musicians connect with music-lovers of all ages in relaxed, accessible settings.

he Community Concert series returns this year with four weeks of mid-day concerts at the Vail Interfaith Chapel, and the Bravo! Vail Music Box takes performances on the road to locations throughout the area, filling the valley with the sound of music.

DOMINIC CHELI

2021 PIANO FELLOWS Dominic Cheli Chaeyoung Park

2021 CHAMBER MUSICIANS IN RESIDENCE Verona Quartet Viano String Quartet Learn more about all these talented musicians in the Artist Biographies section on page 137.

CHAEYOUNG PARK Learn more at BravoVail.org or the new Bravo! Vail Music Festival app. 61

VAIL INTERFAITH CHAPEL 50th Anniversary Capital Campaign

PLEASE DONATE TODAY! www.vailchapel.com

After 50+ years of constant use, renovations will improve the buildings' structural and aesthetic integrity. Use annually includes: 34,000

100

4,200

10,608

$15 million

residents/guests at religious services

families served with emergency shelter

fans at 16 Bravo! Vail concerts

people at 19 support group meetings per week

in wedding revenue to local businesses

Spiritual Heart of Vail Since 1969 www.vailchapel.com • 970-476-3347

JUL

TUESDAY 1:00PM COMMUNIT Y CONCERTS

VA IL IN T ERFA I T H CH A PEL

Oliver Neubauer, violin Tabitha Rhee, viola Anne-Marie McDermott, piano

HALVORSEN Passacaglia (after Handel) (7 minutes)

SCHUBERT Sonata in A minor, D. 821, Arpeggione (25 minutes) Allegro moderato Adagio Allegretto OLIVER NEUBAUER

SCHUBERT

FREE CONCERT

SCHUBERT SONATAS

Fantasy for Violin and Piano, D. 934 (24 minutes) Andante molto – Allegro vivace Andantino Allegro presto

MARK O’CONNOR F.C.’s Jig (3 minutes)

Artist Insights “The heart of this program is two of Franz Schubert’s greatest masterpieces: his ‘Arpeggione’ Sonata and his ‘Fantasy.’ Written only three years apart in the final years of Schubert’s life, these works are completely different in nature. The Arpeggione sonata has a wistful and melancholy quality, balanced with moments of youthful innocence. The Fantasy has a more daring and fiery energy at its core, shrouded by the mystical haze of its other-worldly opening. We hope that pairing these incredible works will give the audience a profound window into Schubert’s universe. The duos that frame the Schubert works are exciting and fun to play; they should have the audience smiling!” —Oliver Neubauer

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT Alpine Bank Virginia J. Browning Kathy Cole Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum

The Francis Family The Judy and Alan Kosloff Artistic Director Chair Diane and Lou Loosbrock Town of Vail

JUL

WEDNESDAY 5:30PM F A M I LY C O N C E R T

E AG LE VAIL PAVILION

Oliver Neubauer, violin Tabitha Rhee, viola Anne-Marie McDermott, piano Members of Bravo! Vail Music Makers

FREE CONCERTS

ROBOT PIANO TEACHER

hat can two young string players and a robot piano teacher learn from each other? In this fun and interactive show, the robot explains the concepts of mechanics and technique, while the humans demonstrate the importance of listening and expressing emotion, all while connecting kids to the art— and science—of making music.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT Berry Charitable Foundation Kathy Cole Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum The Francis Family Diane and Lou Loosbrock The Sturm Family and ANB Bank ANNE-MARIE MCDERMOT T

JUL

THURSDAY 5:30PM F A M I LY C O N C E R T

BRUSH CREEK PAVILION , E AG LE

Oliver Neubauer, violin Tabitha Rhee, viola Anne-Marie McDermott, piano Members of Bravo! Vail Music Makers

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT

OLIVER NEUBAUER

Berry Charitable Foundation Kathy Cole Sandi and Leo Dunn Eagle Ranch Association Kathy and David Ferguson Cookie and Jim Flaum The Francis Family Diane and Lou Loosbrock The Sturm Family and ANB Bank Town of Eagle TA B I T H A R H E E

SCHEDULE AT A GLANCE JUL

09 JUL

10 JUL

YA N N I C K N É Z E T- S É G U I N MUSIC DIREC TOR , THE PHIL ADELPHIA ORCHESTRA

Stutzmann Conducts Shaham ............................................. 68 Mendelssohn Italian Symphony........................................70

Denève Leads Philadelphia................................... 72

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Barber & Dvořák

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16 JUL

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Yannick Returns ......................................................................

McDermott Plays Mozart................................................. 86

THE PHILADELPHIA ORCHESTRA

THE FABULOUS PHILADELPHIANS IN RESIDENCE JULY 9 – 17, 2021 The Philadelphia Orchestra’s distinctively luxurious sound and penchant for innovation are showcased with six diverse programs. Principal Guest Conductor Designate Nathalie Stutzmann makes her Vail debut, and the imaginative power of the Orchestra’s artistic leadership will be on full display as Music Director Yannick Nézet-Séguin takes the podium. Performances feature longtime Festival favorites Stéphane Denève, Gil Shaham, Yefim Bronfman, and more. 66 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

©BRICE TOUL

HE PHILADELPHIA ORCHESTRA is one of the world’s preeminent orchestras. It 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 educational initiatives, and an ongoing commitment to the communities that it serves, the ensemble is on a path to create an expansive future for classical music, and to further the place of the arts in an open and democratic society. Yannick Nézet-Séguin is now in his ninth season as the eighth music director of The Philadelphia Orchestra. He joins a remarkable list that covers the Orchestra’s 121 seasons: Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach. Yannick’s connection to the musicians of the Orchestra has been praised by both concertgoers and critics, and he is embraced by the musicians of the Orchestra, audiences, and the community. In March 2020, in response to the cancellation of concerts due the COVID-19 pandemic, the Orchestra launched the Virtual Philadelphia Orchestra, a portal hosting video and audio of performances, free, on its website and social media platforms. In September 2020 the Orchestra announced Our World NOW, its reimagined season of concerts filmed without audiences and presented on its Digital Stage. Our World NOW also includes free offerings: HearTOGETHER, a podcast series on racial and social justice; educational activities; and Our City, Your Orchestra small ensemble performances from locations throughout the Philadelphia region. Your Philadelphia Orchestra continues the tradition of educational and community engagement for listeners of all ages. 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 awardwinning education and community initiatives engage over 50,000 students, families, and community members through programs such as PlayINs, side-by-sides, PopUP concerts, Free Neighborhood Concerts, School Concerts, sensory-friendly concerts, the School Partnership Program and School Ensemble Program, and All City Orchestra Fellowships. Through concerts, tours, residencies, and recordings, the Orchestra is a global ambassador. It performs annually at Carnegie Hall, the Saratoga Performing Arts Center, and the Bravo! Vail Music Festival. The Orchestra also has a rich history of touring, having first performed outside Philadelphia in the earliest days of its founding. It 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. The Philadelphia Orchestra has given either the world or American premieres of many works that are

N AT H A L I E S T U T Z M A N N PRINCIPAL GUES T CONDUC TOR

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 makes live recordings available on popular digital music services and as part of the Listen On Demand section of its website. Under Yannick’s leadership, the Orchestra returned to recording, with nine celebrated releases on the prestigious Deutsche Grammophon label. 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+) Town of Vail IMPRESARIO ($25,000+) Virginia J. Browning Karen and Michael Herman Sandra and Greg Walton Betsy Wiegers VIRTUOSO ($20,000+) Susan and Van Campbell Donna and Patrick Martin Cathy and Howard Stone OVATION ($15,000+) Anne and Hank Gutman

ALLEGRO ($10,000+) Anonymous John Dayton Susan and Richard Rogel Carole and Peter Segal The Sturm Family and ANB Bank SOLOIST ($7,500+) Sarah and Peter Millett CRESCENDO ($5,000+) Christine and John Bakalar Dierdre and Ronnie Baker Dr. David Cohen Jill and Al Douglass

Laura and Jim Marx Mr. John McDonald and Mr. Rob Wright Linda Farber Post and Dr. Kalmon D. Post Barbara and Howard Rothenberg Mr. and Mrs. Ernest Scheller, Jr. Elaine and Steven Schwartzreich SHS Solutions Susan and Steven Suggs Dhuanne and Douglas Tansill Nancy and Harold Zirkin

Learn more at BravoVail.org or the new Bravo! Vail Music Festival app. 67

JUL

FRIDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

THE PHILADELPHIA ORCHESTRA Nathalie Stutzmann, conductor Gil Shaham, violin

DVOŘÁK Selections from Slavonic Dances, Op. 46 (9 minutes) No. 1 in C major (Presto) No. 2 in E minor (Allegretto scherzando) No. 8 in G minor (Presto)

BOLOGNE Violin Concerto No. 9 in G major, Op. 8 (19 minutes) Allegro Largo Rondeau

— INTERMISSION — BEETHOVEN Symphony No. 7 in A major, Op. 92 (37 minutes) Poco sostenuto–Vivace Allegretto Presto Allegro con brio

STUTZMANN CONDUCTS SHAHAM THIS EVENING’S PERFORMANCE IS PRESENTED BY SANDRA AND GREG WALTON CAROL AND PAT WELSH 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 Debbie and Jim Donahugh Anne and Hank Gutman Mary Lou Paulsen and Randy Barnhart SOLOIST SPONSORS Gil Shaham, violin, sponsored by Valerie and Robert Gwyn Nathalie Stutzmann, conductor, sponsored by Virginia J. Browning

There’s more to explore on the Bravo! Vail Music Festival app!

Funded in part by a generous grant from the Town of Vail. The Antlers at Vail, Manor Vail Lodge, and Vail Marriott Mountain Resort and Spa are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

Selections from Slavonic Dances, Op. 46 (1878) No. 1 in C major (Presto) No. 2 in E minor (Allegretto scherzando) No. 8 in G minor (Presto) A N T O N Í N D V O Ř Á K ( 1 8 4 1-1 9 0 4 )

vořák was 33 years old when he received his first break as a composer, in 1874: he was awarded the Austrian State Stipendium, a grant to assist young, poor, gifted musicians— which described him exactly. The Viennese music critic Eduard Hanslick was on the jury and encouraged him to send some scores to Brahms. Dvořák did, and his friend Johannes Brahms recommended the emerging composer to his own publisher, Fritz Simrock, who immediately published Dvořák’s Moravian Duets, commissioned a collection of Slavonic Dances, and contracted a first option on all the composer’s new works. A Berlin newspaper reviewer proclaimed: “Here is at last a hundred-percent talent and, what is more, a completely natural talent. I consider the Slavonic Dances to be a work which will make its triumphant way through the

world in the same way as Brahms’ Hungarian Dances.” That initial set of eight dances—Dvořák’s Op. 46, scored for piano four-hands—brought him his first composer’s fee, however modest, and it earned a small fortune for the publisher. Within months, Dvořák produced orchestral versions of them, and in 1886 he followed up with eight further Slavonic Dances for piano four-hands (Op. 72), which he similarly enlarged into orchestral settings. Of the movements played here, all from the initial set, Nos. 1 and 8 are examples of the furiant, a fiery dance with shifting accents, while No. 2 is a dumka, in which introspection alternates with exuberance.

Violin Concerto No. 9 in G major, Op. 8 (1776?) JOSEPH BOLOG NE , CHE VALIER DE S A I N T- G E O R G E S ( C A . 1 7 3 9 - 9 9 )

extensive. Acclaimed as a superb violinist, he composed at least 11 demanding and expressive violin concertos, as well as symphonies, symphonies concertantes, violin sonatas, and string quartets—all apparently in the 1770’s—before writing a half-dozen mildly successful operas. He also served as music director of such renowned Parisian orchestras as the Concert des Amateurs, the Masonic Concert de la Loge Olympique (which commissioned six symphonies from Haydn), and the (also Masonic) Cercle de l’Harmonie. There was much more to his extraordinary story, which will flicker across silver screens through a biopic being developed by Disney’s Searchlight Pictures.

Symphony No. 7 in A major, Op. 92 (1811-12) LUDWIG VAN BEE THOVEN

Whether wielding a violin bow or a sword, Joseph Bologne (sometimes spelled Boulogne) was a virtuoso. He was born probably in 1739 (though perhaps as late as 1748) in the Caribbean archipelago of Guadeloupe, a French colony. His father was a French plantation owner, his mother an enslaved woman from Senegal. The family went to France when he was a child, and he enrolled in a school for fencing and horsemanship. After graduating, he was appointed as a royal bodyguard and began using his father’s nobiliary suffix, “de Saint-Georges,” although racial laws prevented him from assuming the title officially. His athletic prowess led to many appearances in fencing exhibitions, in England as well as France, and he was also acclaimed as a rider, runner, marksman, and swimmer, one who entertained onlookers by swimming across the Seine with one hand tied behind his back. His military adventures included heading the Légion des Américains et du Midi, a French regiment of about a thousand “citizens of color” that supported the French Revolution. Accused by a rival of insufficiently revolutionary behavior, he spent 18 months in a military prison but was spared the guillotine. We know little of his musical education, which must have been

( 1 7 7 0 -1 8 2 7 )

When Beethoven composed his Seventh Symphony, from 1811 through April 1812, Napoleon seemed unstoppable in his conquest of Europe. In 1812, however, the tide began to turn. His armies were repulsed from Moscow that autumn, and in June 1813 the Duke of Wellington defeated the French armies in the Iberian Peninsula. In the spring of 1814, Napoleon and a thousand loyalists began their exile on

the Italian island of Elba. Nine months later he sneaked back in an attempt to conquer France again, and his forces picked up considerable steam before being squashed for good in the Battle of Waterloo in June 1815. Napoleon was sent to spend his remaining five and a half years on the remote South Atlantic island of St. Helena, where he died on May 5, 1821, the bicentennial of his passing being marked this year. Beethoven, who had first championed Napoleon and then rejected him, monitored all of this with great interest. On December 8, 1813, two of his works were unveiled in a concert at the University of Vienna organized for the benefit of troops wounded five weeks earlier in the Battle of Hanau: his descriptive symphonic fantasy Wellington’s Victory and his Seventh Symphony. The Seventh became one of Beethoven’s most popular symphonies, and it evoked admiring comment from a Who’s Who of people who should know—beginning with Beethoven himself, who, in an 1815 letter, cited his “Grand Symphony in A” as “one of my best works.” Its second movement, a slow march, gained particular acclaim and was often presented as a standalone excerpt suitable for memorial occasions. Hector Berlioz, noting that this Allegretto was its most famous expanse, proclaimed, “This does not arise from the fact that the other three parts are any less worthy of admiration; far from it.”

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JUL

SATURDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

THE PHILADELPHIA ORCHESTRA Nathalie Stutzmann, conductor Ricardo Morales, clarinet

MISSY MAZZOLI Sinfonia (for Orbiting Spheres) (9 minutes)

MOZART Clarinet Concerto in A major, K. 622 (28 minutes) Allegro Adagio Rondo: Allegro

— INTERMISSION —

N AT H A L I E S T U T Z M A N N

MENDELSSOHN ITALIAN SYMPHONY

MENDELSSOHN THIS EVENING’S PERFORMANCE IS PRESENTED BY

Sinfonia (for Orbiting Spheres) (2013, rev. 2016)

AMY AND CHARLIE ALLEN KATHIE MUNDY AND FRED HESSLER

MISSY MAZZOLI (B.1980)

SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Norma and Charlie Carter Catherine and Philip Edwards Marlys and Ralph Palumbo SOLOIST SPONSORS Nathalie Stutzmann, conductor, sponsored by Virginia J. Browning

There’s more to explore on the Bravo! Vail Music Festival app!

azzoli has composed in many genres, from chamber music to symphonic scores to operas. “To some extent,” she told an interviewer when Sinfonia (for Orbiting Spheres) was played at a 2017 Proms concert in London, “I try to reinvent myself with each piece; I always try to explore a new organizational technique, a different approach to orchestration or texture.” From 2007-10 she served as executive director of the MATA Festival in New York, a forum advocating for emerging composers, and in 201112 she was composer/educator-inresidence at the Albany Symphony. She teaches composition at the Mannes School of Music/The New School in New York and in 2018 began an appointment as the Chicago Symphony Orchestra’s composer-inresidence. In 2012 she was named composer-in-residence of Opera Philadelphia, and by now has had three operas produced. In 2018 the Metropolitan Opera commissioned her to write a further opera.

©CHRIS CHRIS TODOULOU

Symphony No. 4 in A major, Op. 90, Italian (27 minutes) Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

“My music is usually composed of strange, dense harmonies and propulsive rhythms,” she explained, “often layered in unexpected ways. I’m interested in unusual instruments like harmonicas, junk percussion, and gently out-of-tune guitars, and I draw on inspirations as diverse as Baroque music, noise, and modern electronica.” Mazzoli shares this comment about the work played here: Sinfonia (for Orbiting Spheres) is music in the shape of a solar system, a collection of rococo loops that twist around each other within a larger orbit. The word “sinfonia” refers to baroque works for chamber orchestra but also to the old Italian term for a hurdy-gurdy, a medieval stringed instrument with constant, wheezing drones that are cranked out under melodies played on an attached keyboard. It’s a piece that churns and roils, that inches close to the listener only to leap away at breakneck speed, in the process transforming the ensemble … into a makeshift hurdy-gurdy, flung recklessly into space.

1801, the publisher altered it to make it playable on clarinets without such an extension. Although its original version can be reconstructed with some speculation, the manuscript being lost, it is far more commonly heard today as a vehicle for the standard clarinet. A chamber-music quality reigns over the entire concerto, thanks in part to the close integration of soloist and orchestra—the clarinet sometimes serves as an accompanist to the violins, and it never plays an extended cadenza—as well as to the restrained sound of the orchestra itself. The soloist works hard in this concerto. Mozart gives the clarinet few breaks anywhere in the piece and not a single measure in which to relax during the hushed, supernal Adagio. In this valedictory work, Mozart left a testament to happiness and sadness, to hope and resignation, to the realization that such states may represent not distinct polarities but rather concurrent aspects of a deeper truth.

Symphony No. 4 in A major, Op. 90, Italian (1831-33) FELIX MENDEL SSOHN (1809 -47)

Clarinet Concerto in A major, K. 622 (1791) WOLFG ANG AMADEUS MOZ ART ( 1 7 5 6 -1 7 9 1 )

Mozart was strongly drawn to mid-range instruments, reveling in rich sonorities for their own sake and for their almost vocal qualities of expression. A case in point was his love affair with the clarinet which he came to appreciate late in his life through the artistry of Anton Stadler, for whom he composed several works. A staff musician in Vienna’s Imperial Wind Band and, beginning in 1787, the Court Orchestra, Stadler belonged to the same Masonic lodge as Mozart and became one of the composer’s closest friends. This concerto, the last major piece Mozart completed, was written for the basset clarinet, essentially a standard clarinet to which Stadler affixed an extension to provide four extra notes in its lowest register. Basset clarinets failed to catch on, and when this concerto first appeared in print, in

The inspiration for this symphony was a trip Mendelssohn took to Italy in 1830-31. Following a two-week visit with the literary lion Goethe in Weimar—the last time he would see his much older friend—he continued south to spend time in Venice,

Florence, Rome, Naples, Genoa, and Milan. Writing from Rome, he reported: “I have once more begun to compose with fresh vigor, and the Italian symphony makes rapid progress; it will be the happiest piece I have ever written, especially the last movement.” He related that the new work was meant to embody not only impressions of the art and landscape but also the vitality of the people. Distractions delayed his completing the symphony, but impetus to move forward with it arrived in November 1832, when the Philharmonic Society in London offered him a generous commission for a new symphony, an overture, and a vocal composition. Mendelssohn wasted little time moving ahead and completed the symphony in four months. It proved hugely successful at its premiere, but the composer had misgivings and began tinkering with the score, despite the objections of his closest musical confidants. Mendelssohn wrestled with the piece for years, claiming that the Italian Symphony cost him “some of the bitterest moments I have ever endured.” He never allowed it to be played in Germany during his lifetime. At his death, he left sketches for extensive revisions, which few scholars or conductors have accepted as improving on his original conception. The piece seems perfectly balanced as it is, and audiences have embraced it completely, making it one of his most perennially popular works.

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JUL

SUNDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Jean-Efflam Bavouzet, piano

RAVEL Pavane pour une Infante défunte (Pavane for a Dead princess) (6 minutes)

BEETHOVEN Piano Concerto No. 2 in B-flat major, Op. 19 (28 minutes) Allegro con brio Adagio Rondo: Molto allegro

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DENÈVE LEADS PHILADELPHIA

Le tombeau de Couperin (17 minutes) Prélude Forlane Menuet Rigaudon

THIS EVENING’S PERFORMANCE IS PRESENTED BY

PROKOFIEV

BARBARA AND BARRY BERACHA KAREN AND MICHAEL HERMAN

Symphony No. 1 in D major, Op. 25, Classical (15 minutes) Allegro Larghetto Gavotte Molto vivace

SPECIAL GRATITUDE TO Berry Charitable Foundation The Francis Family The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Mr. John McDonald and Mr. Rob Wright Sally and Byron Rose Bea Taplin SOLOIST SPONSORS Jean-Efflam Bavouzet, piano, sponsored by Marge and Phil Odeen

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Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail, Manor Vail Lodge, and Vail Marriott Mountain Resort and Spa are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

Pavane pour une Infante défunte (Pavane for a Dead Princess) (1899, orch. 1910) M A U R I C E R AV E L ( 1 8 7 5 -1 93 7 )

n 1899, the 24-year-old Ravel was learning to navigate the salon culture that was central to Parisian musical life. Attendees were intrigued by his emotional inscrutability. “Is he pleased to hear his music?” Madame René de SaintMarceaux wrote in her diary after one of her at-home gatherings. “One can’t tell. What a strange chap. Talented, with so much mischievousness.” He progressed to the socially stratospheric salon of the Princesse de Polignac; he probably played his Pavane as a piano solo there, since he dedicated the piece to her. Following its high-profile public premiere, at a concert of the Société Nationale de Musique, the Pavane was judged to be “elegant and charming.” It proved immensely popular, so much so that its composer grew to dismiss it as an “inconclusive and conventional work.” He nonetheless esteemed it enough to orchestrate it

in 1910 and to perform it himself for a piano-roll recording in 1922. The title is usually rendered in English as “Pavane for a Dead Princess,” but Ravel pointedly uses the word infante (infanta, the daughter of a reigning Iberian king) rather than princesse. In any case, the title was selected less for its meaning than for its sound. Ravel’s pupil RolandManuel quoted him as insisting, “When I put together the words which make up this title, my only thought was the pleasure of alliteration.”

Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1788-1801) LUDWIG VAN BEE THOVEN ( 1 7 7 0 -1 8 2 7 )

Beethoven was already gaining notice as a pianist when he moved from his native Bonn to Vienna in 1792, bringing in his baggage the preliminary work he had done on his Piano Concerto in B-flat major. It was probably the work he completed just in time to play at a charity concert at Vienna’s Burgtheater in 1795. Franz Gerhard Wegeler, a friend visiting from Bonn, 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.” Beethoven here employs the Mozartian norm of three movements, of which the first is a sonata form with an orchestral exposition, the second a lyrical slow movement, and the third a rondo. The approach is truly orchestral, following the Mozartian ideal of an integrated texture in which the piano plays the role of first among equals. Nonetheless, the pianist keeps plenty busy; and if the finger-work sounds not quite Mozartian, the fact remains that, in this early Beethoven concerto, the apple has not fallen far from the tree.

Le tombeau de Couperin (1914-17/1919)

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

M A U R I C E R AV E L ( 1 8 7 5 -1 93 7 )

S E R G E I P R O K O F I E V ( 1 8 9 1-1 9 5 3 )

At first exempted from World War I military service due to his stature and weight (five-foot-three and 108 pounds), Ravel managed to get assigned to the front lines at Verdun in 1916 as a driver. His eagerness to serve may have exceeded his skill behind the wheel, as his correspondence reveals several incidents of one-car fender-benders. After periods of illness and depression forced his withdrawal from service, he gradually started composing again. Le tombeau de Couperin embraced that period of his life. In a 1914 letter he reported: “I’m beginning … a French Suite—no, it’s not what you think—the Marseillaise doesn’t come into it at all but there’ll be a forlane and a jig; not a tango, though.” He later explained, “The homage is directed less in fact to Couperin himself than to French music of the eighteenth century.” By the time he finished it, what had started as a celebration of French musical tradition had become a personal memorial, its movements individually dedicated to friends lost in combat. Originally comprising six pieces for solo piano, Ravel orchestrated four of the movements in 1919. RolandManuel observed of the new setting that “with extreme economy and simplicity Ravel obtains translucence and variety of color throughout the whole work.”

During Prokofiev’s student years in Russia, composers-in-training were rarely counseled to study the Viennese Classicists as models of style. His conducting professor at the St. Petersburg Conservatory, Nikolai Tcherepnin, was a contrarian in this regard, encouraging his students to immerse themselves in Haydn and Mozart. A happy result was Prokofiev’s Symphony No. 1, premiered in 1918. “It seemed to me that if Haydn had lived into this era,” Prokofiev later wrote, “he would have kept his own style while absorbing things from what was new in music. That’s the kind of symphony I wanted to write: a symphony in the Classical style.” Prokofiev’s four movements are so compact that the entire piece adds up to just 15 minutes—considerably shorter than most symphonies of Mozart’s and Haydn’s maturity. His writing shows striking originality. The opening Allegro, for example, may bustle through a Classically precise sonata form (though without repeating the opening exposition), but it is filled with crisp irony. In bestowing the work’s subtitle, Prokofiev explained that he hoped to honor his Classical predecessors and also that he “secretly hoped that in the course of time it might itself turn out to be a classic.”

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JUL

MONDAY 6:00PM COMMUNIT Y CONCERTS

BR AVO! VAIL MUSIC BOX FORD PARK , LOWER BENCH , VAIL

Dominic Cheli, piano (2021 Bravo! Vail Piano Fellow) Chaeyoung Park, piano (2021 Bravo! Vail Piano Fellow)

SCHUBERT Piano Sonata in A major, D. 664 (24 minutes) Allegro moderato Andante Allegro Ms. Park CHAE YOUNG PARK

J.S. BACH French Suite No. 5 in G major, BWV 16 (17 minutes) Allemande Courante Sarabande Gavotte Bourrée Loure Gigue Mr. Cheli

CHOPIN Etude in C major, Op. 10, No. 1 (2 minutes) Variations brillantes, Op. 12 (8 minutes) Mr. Cheli

FREE CONCERT

SCHUBERT, BACH & CHOPIN Artist Insights “Written during a vacation in ‘unimaginably lovely’ Upper Austria, this Schubert sonata captures myriad emotions best experienced in shared solitude. From the most gracious melody to an introspective reflection, before arriving at an effortlessly enchanting waltz, the ‘little A Major’ sonata is ‘a Viennese waltz danced in heaven’ (Konrad Wolff), or in this case, in the beautiful Vail mountaintops.” —Chaeyoung Park “Chopin was a huge admirer of Bach, and in the French Suite No.5, we see some of the most buoyant and jubilant music ever written. In his etudes, Chopin combines technical virtuosity with a deep musical expression. A huge favorite of audiences, the first etude in C major showcases a flurry of arpeggios in the right hand juxtaposed with masterful harmonies and colors created by the left hand. The Variations brillantes showcase Chopin’s heritage with styles he made famous like the nocturne, as well as Polish dances including the polonaise and mazurka. A festive dance, the mazurka ends the piece with a brilliant display of fireworks.” —Dominic Cheli

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT PRESENTED BY The Sturm Family and ANB Bank SPECIAL GRATITUDE TO Gina Browning and Joe Illick Virginia J. Browning

Kathy Cole Sandi and Leo Dunn David and Kathy Ferguson Cookie and Jim Flaum Diane and Lou Loosbrock Town of Vail

JUL

TUESDAY 1:00PM COMMUNIT Y CONCERTS

VA IL IN T ERFA I T H CH A PEL

Dominic Cheli, piano (2021 Bravo! Vail Piano Fellow)

SCHULHOFF Suite No. 3 for the Left Hand (16 minutes) Preludio Air Zingara Improvisazione Finale

H. LESLIE ADAMS Etude in A-flat minor (Etudes for Solo Piano, Book II, No. 2) (3 minutes)

DOMINIC CHELI

FREE CONCERT

HIDDEN STORIES

CARL VINE Piano Sonata No. 1 (18 minutes) [half-note]=48 Leggiero e legato

BEETHOVEN/CHELI An die Hoffnung, Op. 32 (6 minutes)

Artist Insights “In this program we hear a wide range of music spanning from the 17th century to present day. Notably, many are works that have been forgotten or neglected, and I believe there is a crucial need to show these rediscovered masterpieces and important composers in fresh ways. In addition to performing, during the concert I will be sharing fascinating stories about these individuals so that everyone can experience this music in the context of who these geniuses are.” —Dominic Cheli

SCHUBERT/LISZT Valse-Caprice No. 6, from Soirées de Vienne (7 minutes)

C. SCHUMANN Romanze in A minor, Op. 21, No. 1 (6 minutes)

F. COUPERIN Le Tic-Toc-Choc ou Les Maillotins (3 minutes)

BRAHMS Rhapsody in E-flat major, Op. 119, No. 4 (5 minutes)

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT Alpine Bank Antlers at Vail Virginia J. Browning Kathy Cole Sandi and Leo Dunn

Kathy and David Ferguson Cookie and Jim Flaum Diane and Lou Loosbrock Town of Vail

JUL

TUESDAY 7:00PM CHAMBER MUSIC SERIES

VIL AR PERFORMING ARTS CENTER

Jean-Efflam Bavouzet, piano Anne-Marie McDermott, piano

DEBUSSY Jeux: Poème dansé (transcr. J-E Bavouzet; 17 minutes)

DEBUSSY Nocturnes (25 minutes) Nuages (Clouds; transcr. M. Ravel) Fêtes (Festivals; transcr. M. Ravel) Sirènes (Sirens; transcr. Z. Kocsis)

RAVEL La valse (15 minutes)

GERSHWIN An American in Paris (20 minutes) Program to be performed without intermission.

TWO PIANOS FOUR HANDS

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n 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: Poème dansé (1912-13) C L A U D E D E B U S S Y ( 1 8 6 2-1 9 1 8 ) , TR ANSCRIBED BY JE AN-EFFL AM BAVOUZE T

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) C L A U D E D E B U S S Y ( 1 8 6 2-1 9 1 8 )

Debussy’s first orchestral work following his groundbreaking Prelude to the Afternoon of a Faun, Nocturnes is 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) M A U R I C E R AV E L ( 1 8 7 5 -1 93 7 )

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.

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 himself 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) G E O R G E G E R S H W I N ( 1 8 9 8 -1 93 7 )

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

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS The Francis Family The Sidney E. Frank Foundation

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JUL

WEDNESDAY 6:00PM LINDA & MITCH HART SOIRÉE SERIES - AL FRESCO

BARBAR A AND BARRY BER ACHA RESIDENCE, CORDILLER A

Yefim Bronfman, piano SELECTIONS TO BE ANNOUNCED FROM THE STAGE

YEFIM BRONFMAN

pend an unforgettable evening with one of the most acclaimed and admired pianists in the world, who also happens to be a connoisseur of fine food and wine. “Fima,” as he is affectionately known, was the first classical musician to serve as a judge on the Food Network show Iron Chef America, and even has a wine named after him (Fimasaurus, a Napa Valley cabernet/merlot blend). Mingle with fellow music-lovers and epicures, settle in for a world-class performance outside a spectacular private home, then lift a glass (and fork) in celebration of the finest things in life.

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BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE THIS EVENING’S HOSTS Barbara and Barry Beracha SPECIAL GRATITUDE TO The Francis Family Linda and Mitch Hart The Sturm Family and ANB Bank

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JUL

THURSDAY 1:00PM COMMUNIT Y CONCERTS

VA IL IN T ERFA I T H CH A PEL

Chaeyoung Park, piano (2021 Bravo! Vail Piano Fellow)

STRAVINSKY/AGOSTI Firebird Suite (12 minutes) Infernal Dance of King Kashchei Berceuse Finale

BARTÓK

CHAE YOUNG PARK

FREE CONCERT

WORLD IN CRISIS: 1920/2020

Out of Doors (13 minutes) With Pipes and Drums Barcarolla Musettes Night’s Music The Chase

PROKOFIEV Piano Sonata No. 6 in A major, Op. 82 (26 minutes) Allegro moderato Allegretto Tempo di valser lentissimo Vivace

Artist Insights “2020 was unlike anything any of us has ever experienced or expected to experience. The sudden emergence of an invisible but deadly force markedly changed how we live our lives, and the profound impact COVID-19 has had on all aspects of society cannot be fully captured. Featuring composers who lived through the early 20th century parallel, the Spanish Flu (1918-20), this program highlights the emotional volatility during a time of anxiety.” —Chaeyoung Park

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT Alpine Bank Virginia J. Browning Kathy Cole Destination Resorts Leo and Sandi Dunn

Kathy and David Ferguson Cookie and Jim Flaum Diane and Lou Loosbrock Town of Vail

JUL

THURSDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Juliette Kang, violin

WALKER Lyric for Strings (6 minutes)

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

— INTERMISSION —

STÉPHANE DENÈVE

BARBER & DVOŘÁK

DVOŘÁK Symphony No. 8 in G major, Op. 88 (36 minutes) Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo

THIS EVENING’S PERFORMANCE IS PRESENTED BY JAYNE AND PAUL BECKER ANN AND ALAN MINTZ SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Nancy Gage and Allan Finney June and Peter Kalkus Janet Pyle and Paul Repetto SOLOIST SPONSORS Juliette Kang, violin, sponsored by Susu and George Johnson

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Lyric for Strings (1946) G E O R G E WA L K E R ( 1 9 2 2-2 0 1 8 )

eorge Walker became the first Black composer to be awarded the Pulitzer Prize for Music when his Lilacs for Voice and Orchestra was so honored in 1996. As prestigious as this recognition was, one might observe dispassionately that it was simply another “first” to which Walker’s name would be attached in the history of American music. Born in Washington, D.C., to parents of West Indian extraction, he studied piano as a child, graduated from high school at the age of 14, and pursued his college education at Oberlin College Conservatory of Music. After earning his bachelor’s degree from Oberlin (with highest honors, at the age of 18), he continued his education at the Curtis Institute, studying piano with Rudolf Serkin, chamber music with William Primrose and Gregor Piatigorsky, and composition with Rosario Scalero. With the receipt of Artist Diplomas in piano and in composition from Curtis in 1945, he became that school’s first Black graduate. A decade later he enrolled in the Doctor of Musical Arts program at the Eastman School of Music, and in 1956 he became the first Black

recipient of a doctoral degree from that school. In 1945, he made his piano debut at New York’s Town Hall, and two weeks later he was the soloist in Rachmaninoff’s Third Piano Concerto with The Philadelphia Orchestra, garnering the honor of being the first Black instrumentalist to be heard in either of those forums. In 1946, he composed his First String Quartet, the slow movement of which incorporated the Lament for Strings he had originally written in memory of his departed grandmother; this movement would become his most famous orchestral work when he recast it as his Lyric for Strings. This elegiac piece maintains a deceptively simple posture, lodged in an emotional realm bounded by melancholy, hope, and consolation.

Violin Concerto, Op. 14 (1939-40/1948) SAMUEL BARBER (1910-81)

From 1939-42, Barber served as composition professor at Philadelphia’s Curtis Institute, his alma mater. During those years he composed his Violin Concerto, which also involved a Curtis connection. Samuel Fels, of Fels Naptha soap fame, served on the school’s board, and in 1939 he offered Barber a $1,000 commission to write a violin concerto for Iso Briselli, a Curtis violin student who had come from Odessa to enroll at the age of 12. (Fels eventually adopted Briselli, making him the heir to his substantial estate.) Barber worked on the piece that summer while staying in Switzerland and continued in Paris, where he hoped to complete the finale; but when World War II broke out, he returned to America to complete the piece. This was not the only time a finale proved to be a bugbear for Barber. While he was writing his Violin Concerto, for example, he was also searching for the right way to end his String Quartet (Op. 10), the finale of which he would reinvent several times over the course of seven years. The finale of the Violin Concerto was in part problematic because Briselli and his violin coach expressed displeasure with it. After provisional read-throughs,

including one by the violinist Oscar Shumsky, Barber showed his concerto to the eminent Albert Spalding, who was on the lookout for an American piece to add to his concerto repertoire. Spalding signed on instantly, and it was he who introduced the work, in 1941, with Eugene Ormandy conducting The Philadelphia Orchestra, following its extended gestation. (The revised version was introduced in 1949 by soloist Ruth Posselt, with Serge Koussevitzky conducting the Boston Symphony.) In truth, the finale does seem slight; after two gorgeous, slowish, generously scaled movements, it bustles away and is gone before you know it.

Symphony No. 8 in G major, Op. 88 (1889) A N T O N Í N D V O Ř Á K ( 1 8 4 1-1 9 0 4 )

Except for the New World Symphony, Carnival, and the Slavonic Dances, Dvořák remained rather little played outside his native land until the mid-20th century. In the Czech Lands, however, he was lionized by the time he composed his Eighth Symphony, and in 1890 he dedicated it “for my installation as a member of the Czech Academy of the Emperor Franz Joseph for Sciences, Literature, and Arts,” which inducted him two months after the premiere. Fritz Simrock, Dvořák’s longtime publisher, had paid 3,000 marks

for his Seventh Symphony in 1885. When the composer finished his Eighth Symphony, which occupied him during the late summer and fall of 1889, the firm offered him only 1,000 marks. Large-scale works like symphonies were expensive to publish and hard to market, and Simrock was understandably more interested in acquiring smallerscale pieces, like piano collections or songs. Nonetheless, Dvořák considered the offer a huge insult. Negotiations crept on for a year, and when they stalled at a pricepoint Dvořák deemed unsatisfactory, the famously pious composer dropped his publisher a note in midOctober 1890: “I shall simply do what beloved God tells me to do. That will surely be the best thing.” What God apparently told Dvořák to do was to have the symphony published instead by the London firm of Novello, notwithstanding that doing so was a flagrant breach of his contract with Simrock—or at least so Simrock insisted. Eventually they reconciled and Dvořák returned to Simrock’s fold. The circumstances of the publication gave rise to the fact that dusty volumes occasionally refer to this symphony as the “English,” since it appeared on the imprint of a firm in London. It is a bizarrely inappropriate nickname for a work so audibly drenched in what, thanks in large part to Dvořák, we hear as incontrovertibly Czech.

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JUL

FRIDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Yefim Bronfman, piano

BEETHOVEN Piano Concerto No. 3 in C minor, Op. 37 (33 minutes) Allegro con brio Largo Rondo: Allegro

YA N N I C K N É Z E T- S É G U I N

— INTERMISSION — PRICE Symphony No. 1 in E minor (40 minutes) Allegro ma non troppo Largo, maestoso Juba Dance Finale

YANNICK RETURNS THIS EVENING’S PERFORMANCE IS PRESENTED BY CAROLE AND PETER SEGAL CATHY AND HOWARD STONE BETSY WIEGERS SPECIAL GRATITUDE TO Berry Charitable Foundation The Francis Family The Sidney E. Frank Foundation The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Sturm Family and ANB Bank SPONSORED BY Virginia J. Browning Barbara and Carter Strauss Nancy Traylor Carole A. Watters SOLOIST SPONSORS Yefim Bronfman, piano, sponsored by Gina Browning and Joe Illick

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Piano Concerto No. 3 in C minor, Op. 37 (1796-1803) LUDWIG VAN BEE THOVEN ( 1 7 7 0 -1 8 2 7 )

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

“Beethoven, swaying his body to and fro, marked the time and in every possible manner manifested a delight rising to enthusiasm.” By the dawn of the 19th century, Beethoven was gaining considerable notice in Vienna. On April 2, 1800, at Vienna’s Burgtheater, he had undertaken his first benefit concert (in those days, a benefit concert being understood to mean “for the benefit of the composer”). He planned to unveil his C-minor Piano Concerto on that high-profile occasion but managed to complete only the stormy first movement and a detailed sketch of the second by the time the date arrived. He stopped working on the piece until the opportunity for another prominent concert arose, which it did in 1802. But for some reason that concert was cancelled, and again Beethoven devoted himself to other more immediately profitable projects rather than finish his concerto. By the time he completed the noble second movement and the rather jaunty third, the composition of the C-minor Concerto stretched over some three and a half years, not including preliminary sketches, which reached back to 1796—plus a further year if you count the time it took him to actually write out the piano part, and yet another five beyond that until he wrote down the first-movement cadenza. Neither of these last two was necessary as long as Beethoven was the soloist; he knew how the piece should go, after all. Nonetheless, the fragmentary state of the piano score caused considerable stress for Beethoven’s colleague Ignaz von Seyfried, who served as page-tuner at the premiere. “He gave me a secret glance whenever he was at the end of one of the invisible passages,” Seyfried reported, “and my scarcely concealable anxiety not to miss the decisive moment amused him greatly and he laughed heartily during the jovial supper which we ate afterwards.”

Symphony No. 1 in E minor (1931) F L O R E N C E B E AT R I C E P R I C E ( 1 8 8 7-1 9 5 3 )

of the Boston Symphony and a champion of new American orchestral works, hoping to interest him in her symphonies, of which she had composed three and would shortly complete another. She opened bluntly: “To begin with I have two handicaps— those of sex and race. I am a woman; and I have some Negro blood in my veins. Knowing the worst, then, would you be good enough to hold in check the possible inclination to regard a woman’s composition as long on emotionalism but short on virility and thought content;—until you shall have examined some of my work?” Such a letter would not be written today, thanks partly to people like Price who persevered against a background in which subjugation was assumed. She composed her Symphony No. 1 in 1931 and the following year it won first prize in the orchestral category of a competition sponsored by the National Association of Negro Musicians. (She also submitted her Piano Sonata, which took first prize in the keyboard division.) This caught the attention of Frederick Stock, music director of the Chicago Symphony Orchestra, who led his orchestra in this work in 1933 at the Century of Progress International Exposition, the first time any major American orchestra performed a symphonic piece by an AfricanAmerican woman. Price’s Symphony No. 1 was inspired by and modeled on the Symphony From the New World

by Antonín Dvořák, who had urged African-American musicians to create concert works that drew on vernacular traditions. Although Price does not quote specific pieces here, she does incorporate sounds of a readily recognizable African-American folk idiom. The first movement is an Allegro in sonata form with Dvořákian overtones. The second is a leisurely slow movement; the sonorous brass choir at its opening lends an ecclesiastical flavor, a reminder that Price often worked as a church organist. The vernacular spirit reaches its height in the spirited third movement. It offers a symphonic treatment of the vigorous antebellum folk dance known as the juba, which characteristically involved “body percussion”—stomping feet, perhaps, or drumming with the hands against the chest. Price uses more standard orchestral percussion but she also introduces “wind whistles” here; we don’t know exactly what she had in mind, but any sort of whistle could suggest the exuberance of onlookers at early juba gatherings. Wrote Price, “I have incorporated a juba as one of the several movements because it seems to me to be no more impossible to conceive of Negroid music devoid of the spiritualistic theme on the one hand than strongly syncopated rhythms of the juba on the other.” A vigorous Presto brings the symphony to a close.

In 1943, Price wrote to Serge Koussevitzky, the music director Learn more at BravoVail.org or the new Bravo! Vail Music Festival app. 85

JUL

SATURDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Anne-Marie McDermott, piano

VALERIE COLEMAN Seven O’Clock Shout (5 minutes)

MOZART Piano Concerto No. 25 in C major, K. 503 (31 minutes) Allegro maestoso Andante [Allegretto]

MCDERMOTT PLAYS MOZART

— INTERMISSION — BRAHMS Symphony No. 1 in C minor, Op. 68 (44 minutes) Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Più andante—Allegro non troppo, ma con brio

THIS EVENING’S PERFORMANCE IS PRESENTED BY DIERDRE AND RONNIE BAKER BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT THE STURM FAMILY AND ANB BANK SPECIAL GRATITUDE TO Berry Charitable Foundation The Francis Family The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Sharron and Herbert Bank, Penny Bank Karen and Jay Johnson Linda Farber Post and Dr. Kalmon D. Post Mr. and Mrs. Ernest Scheller, Jr. SOLOIST SPONSORS Anne-Marie McDermott, piano, sponsored by Kelly and Sam Bronfman, II

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Seven O’Clock Shout (2020) VALERIE COLEM AN (B . 1970)

alerie Coleman began studying music at age 11 and by the time she was 14 had completed three symphonies and was winning top awards at flute competitions in her native Kentucky. She earned degrees from Boston University and the Mannes College of Music and in 1997 founded Imani Winds, a wind quintet especially lauded for commissioning and championing music by African-American and Latin-American composers. Many of her own compositions feature the flute or chamber groupings of wind instruments, but she has also fielded symphonic commissions from Carnegie Hall, the American Composers Orchestra, and the Hartford Symphony. Her Umoja, Anthem for Unity (2019) was the first commission The Philadelphia Orchestra extended to an AfricanAmerican woman, and the next year it followed up with a request for Seven O’Clock Shout, inspired by the cheers for pandemic health-care workers. She commented in an interview: It starts off with a trumpet fanfare to commemorate the solidarity.

… Everybody is feeling out of sorts, not being able to physically connect with people, so the trumpet fanfare … is very solitary. But then it moves into this lush, green pasture that basically talks about how Mother Nature, in the midst of this pandemic, is regenerating herself. And it’s also during that time that I want to convey the feeling of these essential workers being out there sacrificing day after day, giving of themselves. … From there the piece turns into that moment at 7 p.m. when people are banging their pots and pans … and clapping and singing and people sharing their hearts … that moment had to be commemorated in music. And why not give a trombone a solo in the form of a call-and-response? Then it goes into an anthem that is a celebration of our humanity—all of that in a five-minute piece!

her losses, she sold the engraved plates to the publishing house of Breitkopf & Härtel. It then used them to publish the piece and market it, which it was in a better position to do than Constanze Mozart was. This stands out among Mozart’s piano concertos as especially noble in character and vast in symphonic scope. It is the longest of all his piano concertos, and the trumpets and timpani infuse the opening movement in particular with a sense of formality and grandeur. Yet the highpoint of the whole work may arrive in the finale, in an episode where the piano passes off the simplest of melodies to the woodwinds—a moment of transcendent peacefulness in the otherwise busy movement.

Symphony No. 1 in C minor, Op. 68 (1862-77) JOHANNES BR AHMS (1833-97)

Piano Concerto No. 25 in C major, K. 503 (1786) WOLFG ANG AMADEUS MOZ ART (1756-91)

Mozart very likely wrote his C-major Piano Concerto (K.503) for a series of four Advent concerts planned for December 1786 at a Viennese casino. He may have been working on it as early as the winter of 1784-85 but he completed it just in time, entering it in the catalogue of his compositions on December 4, the day before the first concert. As there is no extant account of this performance, it may have been cancelled at the eleventh hour. It appears that Mozart did manage to get use out his concerto, since this is probably the piece that was programmed at a Lenten concert at the Kärntnertortheater the following March (though played then by Walburga Willmann, probably his pupil) and that Mozart himself performed at the Leipzig Gewandhaus on May 12, 1789. In 1795, four years after the composer’s death, Mozart’s widow, Constanze, decided to pursue what she termed the “risky venture” of publishing this concerto on her own. Her edition finally appeared two years later but it failed to score success in the marketplace. To minimize

“I shall never write a symphony!” Brahms declared in 1872. “You can’t have any idea what it’s like to hear such a giant marching behind you.” The giant was Beethoven, and although his music provided essential inspiration for Brahms, it also set a standard so high that the younger composer found it intimidating. Nonetheless, the young Brahms proved relentless in confronting his compositional demons. Rather than lead to a creative block, his self-

criticism urged him ahead even when his eventual path seemed obscure. He drafted the first movement of this symphony in 1862 and shared it with his friend Clara Schumann. She copied out the opening and sent it along to their friend Joseph Joachim (the violinist) with this comment: “That is rather strong, for sure, but I have grown used to it. The movement is full of wonderful beauties, and the themes are treated with a mastery that is becoming more and more characteristic of him.” Much work still lay ahead. By the time Brahms finished his First Symphony, in 1877, he was 43 years old and had been struggling with it for more than 14 years. “My symphony is long and not particularly lovable,” wrote Brahms to his fellow composer Carl Reinecke when the piece was unveiled. He was right about it being long, at least when compared to other “typical” symphonies of his era. He was probably also right about it not being particularly lovable. Even the warmth of the second movement and the geniality of the third are interrupted by passages of anxiety, and the outer movements are designed to impress rather than to charm. Brahms’ First is a big, burly symphony, certainly when compared to his next two. It is probably no more “lovable” than Michelangelo’s The Last Judgment, Shakespeare’s King Lear, or Goethe’s Faust.

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The Left Ban The Left Bank

JUL

MONDAY 6:00PM LINDA & MITCH HART SOIRÉE SERIES - AL FRESCO

ANN HICKS RESIDENCE, L AKE CREEK

VIANO STRING QUARTET (Bravo! Vail 2021 Chamber Musicians in Residence) Lucy Wang, violin Hao Zhou, violin Alden Kane, viola Tate Zawadiuk, cello

GRIEG String Quartet No. 2 in F major Sostenuto - Allegro vivace e grazioso Allegro scherzando Adagio Allegro giocoso

VIANO STRING QUARTET

GERSHWIN Lullaby for String Quartet

raised for their “huge range of dynamics, massive sound and spontaneity” (American Record Guide), the Viano String Quartet formed in 2015 at the Colburn Conservatory of Music in Los Angeles, where they are Ensemble-in-Residence through the 2020-21 season, and won First Prize at the 2019 Banff International String Quartet Competition. Of his mercurial second string quartet, Grieg said “It aims at breadth, vigor, flight of imagination and above all, fullness of tone for the instruments for which it is written.” Gershwin’s mesmerizing Lullaby, one of his first “serious” works, was written as a composition exercise when he was 21. Much to the young composer’s satisfaction, private copies soon circulated among friends, and it was often performed at musical gatherings similar to tonight’s soirée.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE THIS EVENING’S HOST Ann Hicks SPECIAL GRATITUDE TO Linda and Mitch Hart The Sturm Family and ANB Bank

SPONSORED BY The Left Bank Vintage Magnolia West Vail Liquor Mart

Catered by The Left Bank

JUL

TUESDAY 1:00PM COMMUNIT Y CONCERTS

VA IL IN T ERFA I T H CH A PEL

Dominic Cheli, piano (2021 Bravo! Vail Piano Fellow) Chaeyoung Park, piano (2021 Bravo! Vail Piano Fellow)

VIANO STRING QUARTET (Bravo! Vail 2021 Chamber Musicians in Residence) Lucy Wang, violin Hao Zhou, violin Alden Kane, viola Tate Zawadiuk, cello

BEETHOVEN

DOMINIC CHELI

FREE CONCERT

BEETHOVEN & FRANCK

Piano Quartet in E-flat major, Op. 16 (27 minutes) Grave—Allegro ma non troppo Andante cantabile Rondo: Allegro, ma non troppo

FRANCK

Artist Insights “I take a special joy every season in bringing our Piano Fellows together with our Chamber Musicians in Residence. It is such a huge privilege to nurture these exciting young talents in the early stages of major professional careers, and to showcase their incredible level of music-making at our free Community Concerts. I have a deeper motivation, too. I know first-hand how solitary the life of a pianist can be, and how important it is to learn how to be part of an ensemble. Playing chamber music—exploring that incredibly rich repertoire—is a tremendous source of inspiration and connection. I selected the repertoire for this program based on what I thought these particular musicians would enjoy playing together. Also, to my ears Beethoven and Franck have a nice balance and complement each other beautifully.” —Anne-Marie McDermott

Piano Quintet in F minor (36 minutes) Molto moderato quasi lento Lento con molto sentimento Allegro non troppo, ma con fuoco

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT Alpine Bank Virginia J. Browning Kathy Cole Sandi and Leo Dunn Kathy and David Ferguson

Cookie and Jim Flaum Four Seasons Resort Vail Diane and Lou Loosbrock Town of Vail

JUL

TUESDAY 7:00PM CHAMBER MUSIC SERIES

VIL AR PERFORMING ARTS CENTER

Anne-Marie McDermott, piano

NEW YORK PHILHARMONIC STRING QUARTET

Frank Huang, violin Sheryl Staples, violin Cynthia Phelps, viola Carter Brey, cello

MENDELSSOHN String Quartet in A minor, Op. 13 (31 minutes) Adagio—Allegro vivace Adagio non lento Intermezzo: Allegretto con moto Presto

R. SCHUMANN

Program to be performed without intermission.

String Quartet in A minor, Op. 13 (1827) FELIX MENDEL SSOHN (1809 -47)

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n 1827, during a family trip to the south of Germany, the 18-year-old Felix Mendelssohn became romantically smitten. The infatuation passed, but not before he wrote a song to a poem by his friend Johann Gustav Droyson, “Frage” (Questions). The text has to do with young love—“Is it true that you’ll always be waiting for me beneath the arbor?” The lyrics are hopeful, but they require insistent reassurance as the singer repeats the three-syllable, three-note opening phrase “Ist es wahr?” (Is it true?). That motto would also serve as the central musical theme and emotional engine of this string quartet, which Mendelssohn composed shortly thereafter. The phrase is first heard following the slow introduction, and it returns often with great rhetorical effect. The piece was completed two years before the composer’s String

Quartet in E-flat major. The latter was published first, though, which is why it bears the lower opus number of 12. Confusion also extends to the key of this piece. The work as a whole is in A minor, but because the first movement begins with an introduction in A major one often sees the piece identified as being in that key. The Op. 13 Quartet tends toward the passionate (as befits the idea that generated it), nowhere more than in the second movement, an intense Adagio that even incorporates a serious fugato section, recalling a musical procedure that Beethoven explored in his late quartets. The spirit of late Beethoven also infuses the larger conception of Mendelssohn’s piece, in which thematic material is recalled repeatedly. This is true of the “Ist es wahr?” motif generally, but it is played out with considerable imagination as the whole raison d’être of the finale. The movement opens with a powerful recitative proclamation with dramatic tremolos— an allusion, perhaps, to Beethoven’s

©CHRIS LEE

NEW YORK PHILHARMONIC STRING QUARTET

Piano Quintet in E-flat major, Op. 44 (31 minutes) Allegro brillante In modo d’una Marcia. Un poco largamente—Agitato Scherzo molto vivace—Trio I—Trio II Allegro, ma non troppo

NEW YO RK PHILHARMO NIC STRING QUARTET

Op. 132 Quartet, also in A minor, and to his Ninth Symphony. A certain clueless Abbé Bernardin, seated next to Mendelssohn during an 1832 performance of this quartet in Paris, leaned over at this point of the piece to share an insight: “He has that in one of his symphonies.” “Who?” asked the puzzled Mendelssohn. “Why, Beethoven, the composer of this quartet,” the Abbé responded. So reported Mendelssohn in a letter to his sister Fanny, allowing that “this was a very dubious compliment.” Following the recitative, Mendelssohn introduces a wealth of themes, many of which are at least closely related to melodies we have heard before. The movement’s end plunges again into the music of the quartet’s firstmovement introduction. This brings Mendelssohn’s musical narrative full circle—a trick he may have learned from Beethoven’s song cycle An die ferne Geliebte or (even more à propos) his Op. 131 String Quartet.

Piano Quintet in E-flat major, Op. 44 (1842) ROBERT SCHUMANN (1810-56)

Schumann began the year 1842 engrossed in the study of counterpoint and fugue. He gave voice to his

newly refined skills in a stream of chamber works as the year unrolled. That September he embarked on his Piano Quintet, crafted to spotlight the pianistic strengths of his wife, Clara. Schumann’s is the earliest of the standard-repertoire works for piano plus string quartet. Whereas later composers would seek greater democracy among the five instruments, Schumann seems to have viewed the piano and the string quartet as more or less balancing each another as self-contained entities. The pianist works hard in this piece, scarcely relaxing for a single measure. The first movement is dominated by the opening theme. Its upward jumps pop out all over the place, though not in the irresistibly tender second theme (first presented by cello and viola). After the ebullient first movement, the second movement comes across as a somber funeral march, a contrast that may or may reflect the composer’s bipolar mood swings. Schumann’s original sketch shows a G-minor Adagio following after that, but he decided to drop this idea. Instead we proceed directly to the whirling scales of the Scherzo, with its two Trios providing respite of different kinds. In the first, Schumann shows off his expertise in counterpoint as first

violin and viola spin out a lyrical canon. The second contains bustling, protoBrahmsian music that contrasts with its surroundings in both mood and meter. It is widely related that this second Trio replaced what Schumann originally wrote for that spot, in response to a suggestion by Felix Mendelssohn that “a certain part” of the piece lacked liveliness. (Mendelssohn knew this composition from its outset, having served as the last-minute substitute for an ailing Clara Schumann at the work’s premiere.) It’s a questionable tale, and even if it contains a kernel of truth, the source from which it is drawn fails to identify which Trio was replaced, or, for that matter, in which of the middle movements the replacement fell. Both movements as we know them adhere closely to the way Schumann planned them in his initial sketches, although the Scherzo’s first Trio did pick up additional piano figuration at some point, perhaps the “liveliness” in question. The brilliant finale is a strongboned, imaginative sonata-rondo into which the composer works two fugal passages. The second, arriving after a pregnant pause near the end, is a breathtaking double fugue in three parts that spectacularly incorporates themes from the opening and closing movements, thereby helping unify the whole quintet. Writing in her diary just as the piece was completed, Clara Schumann described this quintet as “magnificent—a work filled with energy and freshness,” which it certainly is.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS The Francis Family The Sidney E. Frank Foundation

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JA AP VAN ZWEDEN MUSIC DIREC TOR , NE W YO RK PHILH A RMO NIC

Van Zweden Returns............................................... 96 Tchaikovsky & Haydn.......................................... 102 Tao Plays Shostakovich............................ 104 Van Zweden & Thibaudet................................ 106 Tovey & Hadelich ....................................................................

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NEW YORK PHILHARMONIC

PRECISION, POWER, SOUL IN RESIDENCE JULY 21 – 28, 2021 The storied New York Philharmonic, with Music Director Jaap van Zweden, leads Bravo! Vail’s orchestral series to a brilliant finale. Its six-concert residency opens with pianist Daniil Trifonov playing Beethoven and features many of the world’s greatest musical artists. 94 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

he NEW YORK PHILHARMONIC plays a leading cultural role in New York City, the United States, and the world, and has built a tradition of innovation that has allowed it to adapt and thrive over more than 178 years. Each season the Orchestra connects with up to 50 million music lovers through live concerts in New York and around the world, broadcasts, recordings, and education programs. The 2019–20 season began with Music Director Jaap van Zweden and the Philharmonic reaffirming their vital commitments to serving as New York’s orchestra and to championing new music through the kick-off of Project 19, which is marking the centennial of the 19th Amendment with commissions by 19 women composers. In collaboration with Lincoln Center, Inc., the Orchestra announced plans for the renovation of David Geffen Hall as one of the world’s most vibrant concert halls and a hub for dynamic community engagement. When safety concerns due to the COVID-19 pandemic compelled the cancellation of live concerts, the New York Philharmonic responded with a determination to connect with audiences. The Orchestra created a portal to share performance video and audio and presented NY Phil Bandwagon, free, outdoor concerts featuring ensembles of Philharmonic musicians that brought live music back to New York City, an initiative that has been emulated across America. The Orchestra has established a new leadership structure and embarked on a path to a revitalized future with the launch of NYPhil+, a state-of-the-art streaming platform, and the accelerated plans to reopen a renovated, vibrant home in David Geffen Hall. Long a leader in American cultural life, 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 John Adams’s Pulitzer Prize–winning On the Transmigration of Souls and Ellen

Reid’s When the World as You’ve Known It Doesn’t Exist. A media pioneer, the Philharmonic has made more than 2,000 recordings since 1917. In 2018 it launched a partnership with Decca Gold, Universal Music Group’s newly established US classical music label; the most recent releases are Julia Wolfe’s GRAMMY-nominated Fire in my mouth and David Lang’s prisoner of the state. The Orchestra’s extensive history is available free online through the New York Philharmonic Leon Levy Digital Archives, which comprises approximately four million pages of documents, including every printed program since 1842 and scores and parts marked by past musicians and Music Directors such as Mahler and Bernstein. A resource for its community and the world, the Orchestra complements annual free concerts across the city — including the Concerts in the Parks, Presented by Didi and Oscar Schafer — with Philharmonic Free Fridays, the low-cost Phil the Hall, and education projects, including the famed Young People’s Concerts. The Orchestra has appeared in 435 cities in 63

BR AMWELL TOVEY CONDUC TOR

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 the oldest symphony orchestra in the United States, and one of the oldest 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 Leonard Bernstein, Arturo Toscanini, and Gustav Mahler.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC FIRST CHAIR ($50,000+) Marijke and Lodewijk de Vink Town of Vail SYMPHONY ($40,000+) Julie and Tim Dalton Georgia and Don Gogel Lyn Goldstein Mr. Claudio X. Gonzalez Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan ENSEMBLE ($30,000+) Stephanie and Lawrence Flinn, Jr. Vera and John Hathaway Cynnie and Peter Kellogg Leni and Peter May Barbie and Tony Mayer Ann and Alan Mintz June and Paul Rossetti VIRTUOSO ($20,000+) Jayne and Paul Becker Amy and Steve Coyer Tom Grojean Judy and Alan Kosloff

Honey M. Kurtz Kay and Bill Morton Didi and Oscar Schafer Cathy and Howard Stone The Sturm Family and ANB Bank Dhuanne and Douglas Tansill Carol and Pat Welsh OVATION ($15,000+) Jean and Harry Burn Jeri and Charlie Campisi Susan and John Dobbs Penny and Bill George Melinda and Tom Hassen Patricia and William Kleh Museo Kaluz Margaret and Alex Palmer Martha Dugan Rehm and Cherryl Hobart Sandra and Alejandro Rojas Terie and Gary Roubos Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein

ALLEGRO ($10,000+) Pamela and David Anderson Liz and Tommy Farnsworth Carole C. and CDR. John M. Fleming Laura and Bill Frick Martha Head Karen and Jay Johnson June and Peter Kalkus Elaine and Art Kelton Dr. and Mrs. Frederick Kushner Ferrell and Chi McClean Mr. John McDonald and Mr. Rob Wright Jean and Ray Oglethorpe Carolyn and Steve Pope Linda Farber Post and Dr. Kalmon D. Post Ann and Tom Rader Carole and Peter Segal Sue and Marty Solomon and P&S Equities, Inc. Marcy and Gerry Spector Michael Sylvester Anne and Chris Wiedenmayer Nancy and Harold Zirkin

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JUL

WEDNESDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

NEW YORK PHILHARMONIC Jaap van Zweden, conductor Daniil Trifonov, piano

BEETHOVEN Piano Concerto No. 4 in G major, Op. 58 (35 minutes) Allegro moderato Andante con moto Rondo vivace JA AP VAN ZWEDEN

— INTERMISSION — MOZART Symphony No. 40 in G minor, K. 550 (30 minutes) Molto allegro Andante Menuetto Allegro assai

VAN ZWEDEN RETURNS SPECIAL THANKS AND APPRECIATION TO LENI AND PETER MAY

Piano Concerto No. 4 in G major, Op. 58 (1806)

THIS EVENING’S PERFORMANCE IS PRESENTED BY

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LINDA AND MITCH HART SPECIAL GRATITUDE TO Berry Charitable Foundation The Francis Family The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair SPONSORED BY

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

Pamela and David Anderson Jeri and Charlie Campisi Jean and Ray Oglethorpe Martha Dugan Rehm and Cherryl Hobart

Tonight’s Pre-Concert Donor Reception is sponsored by LIV Sotheby’s International Realty.

SOLOIST SPONSORS

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

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Daniil Trifonov, piano, sponsored by Gina Browning and Joe Illick Jaap van Zweden, conductor, sponsored by The Gramshammer Family, in memory of Pepi Gramshammer

LUDWIG VAN BEE THOVEN

udwig van Beethoven unveiled his Fourth Piano Concerto at a private concert in the mansion of his patron Prince Lobkowitz in March 1807. Then he put it away for nearly two years and performed it only one more time—in his last public appearance as a concerto soloist, at a concert at Vienna’s Theater an der Wien on December 22, 1808. That all-Beethoven marathon was one of the most extraordinary events in all of music history. In addition to this concerto, it included the world premieres of the Symphonies No. 5 and No. 6 as well as of the Choral Fantasy, the Vienna premieres of three movements from the C-major Mass and the concert scena “Ah Perfido!,” and a solo keyboard improvisation by the composer. To encounter all of these revolutionary pieces at one sitting must have been overwhelming, and to many listeners the Fourth Piano Concerto must have sounded like just more of the same madness. His pupil Carl Czerny termed Beethoven’s performance on that occasion to be

“playful,” an odd enough descriptive that it invites one to wonder what really went on. Informed members of that audience would have expected a concerto to begin with a long introduction during which the orchestra presented some of the first movement’s principal themes. But this concerto fades into existence with unexpected gentleness, played softly by the solo piano, after which the featured instrument withdraws, not to be heard again for another 69 measures. Suspense mounts during that span. You might say that the silent piano is unusually “present” during those 69 measures precisely because it made its mark so indelibly at the outset. The second movement is also extraordinary, even apart from its uncharacteristic brevity (lasting as it does only about five minutes). In his 1859 biography of Beethoven, the music theorist Adolf Bernhard Marx suggested that this Andante con moto bore some relationship to Gluck’s opera Orfeo ed Euridice— specifically, to how Orpheus used music to tame wild beasts. In 1985, the musicologist Owen Jander pointed out that Beethoven’s music—indeed, in the whole concerto, not just the slow movement—seems to follow point by point a popular version of the Orpheus legend that was presented as street theatre in Beethoven’s Vienna. Opinions are divided about whether Beethoven would have interpreted text into tones so literally; yet Jander put forth a strong argument, and the idea does capture the imagination. The finale brings this essentially lyric concerto to an ebullient end, with trumpets and timpani added for the first time. But even here Beethoven seems less interested in impressing audiences with stentorian sounds than in exploring harmonic subtleties and seducing his listeners with captivating melodies and appealing touches of orchestration.

Symphony No. 40 in G minor, K. 550 (1788) WOLFG ANG AMADEUS MOZ ART (1756-91)

Even music-lovers accustomed to thinking of Wolfgang Amadeus Mozart

as an unstoppable vessel of creativity have to be impressed by how fast he produced his final three symphonies— Nos. 39, 40, and 41. He composed these three works, 12 movements in all, in about nine weeks during the summer of 1788—an average of five days and a few hours for each movement. He was also writing other pieces at the same time, giving piano lessons, tending a sick wife, enduring the death of a six-month-old daughter, entertaining friends, moving to a new apartment, and begging his fellow freemason Michael Puchberg for a cash-flow loan. In one of his letters to Puchberg, Mozart mentioned that he anticipated income from two upcoming concerts at the Vienna Casino. Probably they would have included these symphonies, but it appears that the concerts were cancelled. It was long assumed that the G-minor Symphony was never performed in Mozart’s lifetime, but in 2011 the musicologist Milada Jonášová unveiled a newly discovered period document revealing that it was played in a concert under the patronage of Mozart’s friend Baron Gottfried van Swieten. It also figured on a program

given twice in Vienna, on April 16-17, 1791. This helps explain why the score exists in two distinctly orchestrated versions. Mozart originally scored it for flute, two oboes, two bassoons, two horns, and strings—likely the setting used for the van Swieten concert. Before the 1791 performances, he added a pair of clarinets and revised the oboe parts to interlace with them. The warm-timbred version with clarinets is standard in modern performances, though the one without clarinets is occasionally revived. The work’s four movements are poised in exquisite balance: the urgency of the opening Molto allegro, which in some interpretations can verge on panic; the mysterious, potentially woozy grace of the Andante; the grim counterpoint of the Menuetto, with its blunt cross-rhythms (Brahms, who owned the work’s manuscript for a while, must have loved them); the almost unbearable tension of the finale. Perhaps the most shocking of the symphony’s

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 160

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JUL

THURSDAY 1:00PM COMMUNIT Y CONCERTS

VA IL IN T ERFA I T H CH A PEL

VIANO STRING QUARTET (Bravo! Vail 2021 Chamber Musicians in Residence) Lucy Wang, violin Hao Zhou, violin Alden Kane, viola Tate Zawadiuk, cello

CAROLINE SHAW Evergreen (20 minutes) NEW WORKS PROJECT Moss Stem Water Root

VIANO STRING QUARTET

FREE CONCERT

SHAW & DVOŘÁK Artist Insights

DVOŘÁK String Quartet in G major, Op. 106 (40 minutes) Allegro moderato Adagio ma non troppo Molto vivace Finale: Andante sostenuto—Allegro con fuoco

“Caroline Shaw’s ‘Evergreen’ was inspired by a visit to Galiano Island in British-Columbia, Canada, during which she encountered an evergreen tree. This tree—old, scraggly, and covered in moss—inspired her to write this work. “On the other hand, Dvořák’s Op. 106 quartet was composed shortly after his return home to Bohemia from the United States. There is a celebratory tone to this quartet that to us, sounds like ‘homecoming.’ Both of these quartets embody the feeling that the soil on which the composers have set foot, is where they truly belong at that moment in time.” —Viano String Quartet

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT Alpine Bank Bravo! Vail Artistic Excellence Fund Virginia J. Browning Kathy Cole Sandi and Leo Dunn Kathy and David Ferguson

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PROKOFIEV

VIANO STRING QUARTET

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PROKOFIEV & KORNGOLD Artist Insights

String Quartet No. 2 in F major (on Kabardinian Themes), Op. 92 (22 minutes) Allegro sostenuto Adagio Allegro—Andante molto

KORNGOLD String Quartet No. 1 in A major, Op 16 (32 minutes) Allegro molto Adagio quasi Fantasia Intermezzo Finale. Allegretto amabile e comodo

“Both Prokofiev and Korngold travelled overseas in order to share their music within the United States. Each composer had a vastly different experience. Prokofiev struggled because the American audiences had fallen in love with Rachmaninoff and did not appreciate his talent. In contrast, Hollywood embraced Korngold’s compositional style, which became the standard for all major Hollywood film scores.” —Viano String Quartet

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT PRESENTED BY The Sturm Family and ANB Bank SPECIAL GRATITUDE TO Gina Browning and Joe Illick Virginia J. Browning

Kathy Cole Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum Diane and Lou Loosbrock

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JUL

FRIDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

NEW YORK PHILHARMONIC Jaap van Zweden, conductor Carter Brey, cello

CARLOS SIMON Fate Now Conquers (5 minutes)

HAYDN Cello Concerto in C major, Hob. VIIb:1 (25 minutes) Moderato Adagio Finale: Allegro molto

— INTERMISSION — TCHAIKOVSKY Souvenir de Florence, Op. 70 (30 minutes) Allegro con spirito Adagio cantabile e con moto Allegro moderato Allegro vivace

TCHAIKOVSKY & HAYDN THIS EVENING’S PERFORMANCE IS PRESENTED BY ANN HICKS JUDY AND ALAN KOSLOFF KAY AND BILL MORTON THE STURM FAMILY AND ANB BANK SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Laura and Bill Frick Melinda and Tom Hassen Elaine and Art Kelton Sue and Marty Solomon and P&S Equities, Inc.

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Funded in part by a generous grant from the Town of Vail. The Antlers at Vail, Manor Vail Lodge, and Vail Marriott Mountain Resort and Spa are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

Fate Now Conquers (2019) CARLOS SIMON (B.1986)

he son of a minister, Carlos Simon began playing the organ at the age of 12 in his father’s church. “That’s where my interest in music was born and I decided to keep pursuing it through high school and into college,” he explained in an interview at Georgetown University, where he serves on the music faculty. He holds degrees from Georgia State University and Atlanta’s Morehouse College, and earned his doctorate at the University of Michigan. In 2021 he was awarded the Sphinx Medal of Excellence, which—as the Sphinx Organization describes it—recognizes “extraordinary classical Black and Latinx musicians … who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities.” “I can play with almost an endless number of sound combinations

that don’t exist anywhere else,” he has said, “and this allows me to say what I want to say in music.” What he wants to say in music often has to do with social justice, but Fate Now Conquers, commissioned by The Philadelphia Orchestra, is more of a strictly musical conversation. “This piece,” he writes, “was inspired by a journal entry from Ludwig van Beethoven’s notebook written in 1815: Iliad. The Twenty-Second Book But Fate now conquers; I am hers; and yet not she shall share In my renown; that life is left to every noble spirit And that some great deed shall beget that all lives shall inherit. He continues: “Using the beautifully fluid harmonic structure of the second movement of Beethoven’s Seventh Symphony, I have composed musical gestures that are representative of the unpredictable ways of fate. ... Frenzied arpeggios in the strings that morph into an ambiguous cloud of freeflowing running passages depict the uncertainty of life that hovers over us.”

Cello Concerto in C major, Hob. VIIb:1 (ca. 1765) F R A N Z J O S E P H H AY D N ( 1 7 3 2-1 8 0 9 )

Franz Joseph Haydn’s Cello Concerto in C major, which is today one of his most popular concertos, lay in oblivion for nearly two centuries, adding nothing to its composer’s renown. Haydn entered it in the catalogue of compositions he began around 1765, so the piece must have been written by that year at the latest. This was therefore a work of the composer’s first years at the Esterházy Court, when he also included cello solos in several of his symphonies. The cellist in all these works was Joseph Franz Weigl, one of the first musicians Haydn hired when he was brought on board by the Esterházys. Weigl’s contract began on June 1, 1761, and he remained at the court until 1769. He probably kept this concerto in his repertoire, but it was not published. At some point a copyist’s manuscript parts landed

in a Czech library, were eventually deposited in the National Museum of Prague, and miraculously made it through World War II. The parts were uncovered there in 1961, at which point this cherished work re-entered the active repertoire. The first movement unrolls at a spacious pace, without calling undue attention to the expertise required of the soloist. Pairs of oboes and horns add body to the tutti sections, although Haydn limits the accompaniment to a string orchestra when the cello is playing. Indeed, the winds remain silent throughout the elegant, even poignant second movement. The finale is a tour de force. The cello dazzles with its quick scales, which 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. This relatively long movement has a strong sense of personality, with each return of the ritornello offering a distinct character and a momentum of musical interest.

Souvenir de Florence, Op. 70 (1890) P Y O T R I LY I C H T C H A I K O V S K Y (1840-93)

In 1886, the St. Petersburg Chamber Music Society elected Pyotr Ilyich Tchaikovsky to membership and asked him to write a piece for its musicians to unveil. The composer delayed fulfilling the request; but once a seed was planted in Tchaikovsky’s mind it tended to germinate, however slowly. The following June he set down some preliminary sketches for a string sextet, but it failed to hold his interest for more than a few days. The project lay dormant until the winter of 1890, when he was in Florence, Italy. He jotted down a melody that would eventually evolve into the sextet’s slow movement. This theme is, in fact, the “souvenir of Florence” to which the title refers; nothing else in the piece particularly evokes Italy.

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 160

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JUL

SATURDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

NEW YORK PHILHARMONIC Jaap van Zweden, conductor Conrad Tao, piano Christopher Martin, trumpet

JESSIE MONTGOMERY Records from a Vanishing City (14 minutes)

SHOSTAKOVICH Concerto No. 1 for Piano, Trumpet, and Strings (21 minutes) Allegretto Lento Moderato Allegro con brio (No breaks between movements)

— INTERMISSION —

CO N R A D TAO

HAYDN Symphony No. 92 in G major, Oxford (27 minutes) Adagio—Allegro spiritoso Adagio Menuet (Allegretto) Presto

TAO PLAYS SHOSTAKOVICH THIS EVENING’S PERFORMANCE IS PRESENTED BY

Records from a Vanishing City (2016)

MR. CLAUDIO X. GONZALEZ CAROLE C. AND CDR. JOHN M. FLEMING

JESSIE MONTGOMERY (B. 1981)

SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Martha Head Museo Kaluz Margaret and Alex Palmer Carolyn and Steve Pope There’s more to explore on the Bravo! Vail Music Festival app!

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Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail, Manor Vail Lodge, and Vail Marriott Mountain Resort and Spa are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

his summer Jessie Montgomery begins a three-year appointment as composer-in-residence of the Chicago Symphony. A graduate of the Juilliard School and New York University, she is a graduate fellow in composition at Princeton University and professor of violin and composition at The New School. She appears regularly as a violinist with the Silkroad Ensemble and Sphinx Virtuosi (for which she also served as composer-in-residence). She is one of the 19 composers commissioned by the New York Philharmonic to create works marking the centennial of the ratification of the 19th Amendment. “Records from a Vanishing City,” she writes, “is a tone poem based on my recollections of the music

that surrounded me as I grew up on Manhattan’s Lower East Side in the 1980s and 1990s. … Partly because my parents were artists … I soaked up all that surrounded me: Latin jazz, alternative rock, Western classical, avant-garde jazz, poetry, and Caribbean dance music, to name a few. A year before completing this work, a very dear family friend passed away and it was decided that I would be the one to inherit a large portion of his eclectic record collection. ... [The] record collection was a treasure trove of the great jazz recordings of the 1950s, 1960s and beyond—he was mad for John Coltrane, but also Miles Davis and Thelonious Monk and Ornette Coleman, as well as traditional folk artists. “In the process of imagining this piece, a particular track on a record of music from Angola caught my ear: a traditional lullaby which is sung in call and response by a women’s chorus. This lullaby rang with an uncanny familiarity in me. An adaptation of this lullaby and the rhythmic chant that follows it appears in each of the three main sections of Records from a Vanishing City.”

Concerto No. 1 for Piano, Trumpet, and Strings (1933) D M I T R I S H O S T A K O V I C H ( 1 9 0 6 -7 5 )

Dmitri Shostakovich composed his Concerto for Piano, Trumpet, and Strings in the aftermath of the official censure that greeted his opera The Nose in January 1930 and then for his ballet The Golden Age that October. Some drastic step was in order, so Shostakovich issued a selfflagellating tract he titled “Declaration of a Composer’s Duties,” in which he confessed the wrong-headedness of essentially all the theatre music he had written to date and deplored the low state to which music had sunk in such collaborative ventures. Yet again, the official response was harsh: Shostakovich, the government bureaucrats insisted, was shifting the burden of his own shortcomings onto his collaborators and, even worse, he wasn’t behaving like a team player. Amid this turmoil, Shostakovich had all but ceased appearing as a

concert pianist, which had been an essential strand of his earlier musical persona. But in 1933 he focused on the keyboard again and from March through July produced this concerto, which proved wildly successful. Listeners reveled in its optimistic bonhomie and its understated references to Bach, Haydn, Beethoven, Mahler, and various styles of popular music; and it left the critics without anything to attack. When he started working on this piece, he envisioned it as a trumpet concerto. As he progressed, he began imagining a piano part, which eventually ended up moving to center stage. The trumpet was still there, to be sure; but whereas the piece was originally going to spotlight the trumpet, with a supporting part from the piano and the string orchestra, the roles became reversed. The piano is the busier of the soloists—indeed, this is often called his Piano Concerto No. 1—but the trumpet part nonetheless reveals its early prominence, and that instrument provides a particularly conspicuous and involved strand of the overall texture.

Symphony No. 92 in G major, Oxford, Hob. I: 92 (1788 or 1789) F R A N Z J O S E P H H AY D N ( 1 7 3 2-1 8 0 9 )

In 1785-86, Franz Joseph Haydn composed six symphonies on commission from a recently founded musical organization in Paris, the Concerts de la Loge Olympique. One of the group’s principal backers, Claude-François-Marie Rigoley, Count d’Ogny, was the direct instigator of the extremely generous commission. He was so enthusiastic about Haydn’s music that once the Paris Symphonies project had ended he privately commissioned three further pieces with his own purse—Haydn’s Symphonies Nos. 90-92. We don’t know if he ever heard them. The year 1789, when Symphony No. 92 would have arrived, was not a propitious moment for French aristocrats. D’Ogny died in 1790 at the age of only 33—“suddenly,” it was reported,

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 160

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JUL

SUNDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

NEW YORK PHILHARMONIC Jaap van Zweden, conductor Jean-Yves Thibaudet, piano

JULIA PERRY Study for Orchestra (7 minutes)

RAVEL Piano Concerto in G major (21 minutes) Allegramente Adagio assai Presto

— INTERMISSION — STRAVINSKY Suite from Pulcinella (24 minutes) I. Sinfonia (Overture) II. Serenata III. a. Scherzino b. Allegro c. Andantino IV. Tarantella V. Toccata VI. Gavotta con due variazioni VII. Duetto VIII. a. Minuetto b. Finale

VAN ZWEDEN & THIBAUDET THIS EVENING’S PERFORMANCE IS PRESENTED BY GEORGIA AND DON GOGEL DIDI AND OSCAR SCHAFER DHUANNE AND DOUGLAS TANSILL SPECIAL GRATITUDE TO Berry Charitable Foundation The Francis Family The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail, Manor Vail Lodge, and Vail Marriott Mountain Resort and Spa are the official homes of the New York Philharmonic while in residence at Bravo! Vail.

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SPONSORED BY Jean and Harry Burn Terie and Gary Roubos Michael Sylvester Marion Woodward, in memory of James Woodward SOLOIST SPONSORS Jean-Yves Thibaudet, piano, sponsored by Gina Browning and Joe Illick

Study for Orchestra (1952) J U L I A P E R R Y ( 1 9 2 4 -7 9 )

ulia Perry earned her bachelor’s and master’s degrees at Westminster Choir College and furthered her musical studies at The Juilliard School and The Berkshire Music Center (Tanglewood). She spent much of the 1950s in Europe, where she worked with Luigi Dallapiccola in Florence and Nadia Boulanger in Paris. Returning to the United States in 1959, she taught briefly at Florida A&M College and Atlanta College, but most of her time was devoted to composition. She was prolific, writing four operas, 12 symphonies, three concertos (two for piano, one for violin), and numerous large-scale choral pieces, among many other works. A stroke in 1971 led to several years of hospitalization but did not end her composing; though partially paralyzed, she taught herself to write with her left hand instead of

her right. Her music covers a broad stylistic spectrum, including modernist and neoclassical works as well as quite a few pieces based on AfricanAmerican spirituals and folk idioms, as in her 1973 Soul Symphony. She wrote her Study for Orchestra (also known as Short Piece for Orchestra) in Florence in 1952. It was premiered in Turin, was introduced to New York audiences by the Little Orchestra, and received two performances from conductor William Steinberg and the New York Philharmonic in 1965. Her efforts to persuade Steinberg to then program her Second Piano Concerto went nowhere. The single movement of the Study passes through contrasting episodes, with vigorous, angular sections alternating with slow, mysterious writing that may recall Ives, particularly in passages near the work’s end. Her teacher Dallapiccola would doubtless have applauded her harmonic boldness, yet the Study’s overall impact is lyrical as well as athletic, its idiom resembling that of a dramatic film score.

his immediate arrival with the manuscript. I had hardly composed myself when he entered holding out the precious pages. Hastily I turned to the last page to look for the pianissimo and the trills: they had become fortissimo and percussive ninths!” Ravel told another friend: “The music of a concerto should, in my opinion, be lighthearted and brilliant, and not aim at profundity or at dramatic effects. It has been said of certain classics that their concertos were written not ‘for’ but ‘against’ the piano. I heartily agree. I had intended to title this concerto ‘Divertissement.’ Then it occurred to me that there was no need to do so because the title ‘Concerto’ should be sufficiently clear.” Brilliant it is, but also profound, especially in the time-stands-still hush of the middle movement.

Suite from Pulcinella (1920) I G O R S T R AV I N S K Y ( 1 8 8 2-1 9 7 1 )

Igor Stravinsky owed much of his early fame to ballet scores he created to be danced by Serge Diaghilev’s

Ballets Russes, of which Pulcinella was among the most endearing to audiences. Stravinsky reported what Diaghilev proposed: “I want you to look at some delightful eighteenth century music with the idea of orchestrating it for a ballet,” specifically mentioning the short-lived Giovanni Battista Pergolesi (1710-36). Stravinsky dug into available editions and chose movements he could fit to a scenario involving Pulcinella, the hero of the commedia dell’arte that was popular in Pergolesi’s Naples. He maintained the original melodies and bass lines practically unaltered but transposed the music to 1920 by way of his modernist harmonies, rhythms, and alterations of phrase lengths. Although Stravinsky viewed Pulcinella essentially as a pièce d’occasion, he later realized that it played a part in ushering him into the neoclassical phase of his composing career. “Pulcinella was my discovery of the past,” he wrote, “the epiphany through which the whole of

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 160

Piano Concerto in G major (1929-31) M A U R I C E R AV E L ( 1 8 7 5 -1 93 7 )

Maurice Ravel composed his G-major Piano Concerto from 1929 to 1931, but he incorporated some material he had sketched many years earlier for a piano concerto on Basque themes that he never completed. He sometimes surprised colleagues by revealing that pieces they didn’t know about were well along in their gestation. So it was that the pianist Marguerite Long recalled a gathering sometime in the 1920s: “One day at a dinner in the house of Mme de Saint-Marceaux, whose salon, according to Colette, was ‘a citadel of artistic intimacy,’ Ravel said to me point-blank: ‘I am composing a concerto for you. Do you mind if it ends pianissimo and with trills?’ ‘Of course not,’ I replied, only too happy to realize the dream of all virtuosi.’” Time passed, and then suddenly … “It can be understood how I was seized with agitation when on November 11, 1931, Ravel telephoned [to announce]

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MONDAY 6:00PM LINDA & MITCH HART SOIRÉE SERIES - AL FRESCO

NANCY AND HAROLD ZIRKIN RESIDENCE, ARROWHEAD

Anne-Marie McDermott, piano SELECTIONS TO BE ANNOUNCED FROM THE STAGE

ANNE-MARIE MCDERMOT T

ANNE-MARIE MCDERMOTT

n a career that has spanned more than 25 years, Anne-Marie McDermott has played concertos, recitals, and chamber music in hundreds of cities throughout the United States, Europe, and Asia. She performs over 100 concerts a year, and the breadth of her repertoire reaches from Bach, Haydn, and Beethoven to Rachmaninoff, Prokofiev, and Scriabin, to works by today’s most influential composers. Her playing has been described as “electric in its eagerness but always poised” with “rippling clarity and élan” (New York Times) and “emotionally vulnerable and with a sense of poetry that unusually also embraces precision as its ally” (Gramophone). At the onset of her inaugural season as Bravo! Vail’s Artistic Director, McDermott outlined her “mission to build programs that not only give the public what they love, but also provide thoughtful stimulation and cause for reflection. After all, no work of art affects every person the same way. … I’m so in love with what I’m doing, and so fortunate that I’m doing what I’m doing. It’s so important, with the craziness of the world, for us to be together and listen to great music and get transformed for an hour or two. It is incredible and inspiring.”

©TOMA S COHEN

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TUESDAY 1:00PM COMMUNIT Y CONCERTS

VA IL IN T ERFA I T H CH A PEL

VERONA QUARTET (Bravo! Vail 2021 Chamber Musicians in Residence) Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello

STRAVINSKY Concertino for String Quartet (6 minutes)

BEETHOVEN

VERONA QUARTET

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STRAVINSKY & BEETHOVEN Artist Insights

String Quartet No. 14 in C-sharp minor, Op. 131 (38 minutes) Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro

“We are excited to share with you this electrifying pairing of Stravinsky’s Concertino for String Quartet and Beethoven’s Op. 131 Quartet. The Concertino, a unique single-movement work, showcases Stravinsky’s liberation from the constraints of classical form. This is especially apparent in the middle section where Stravinsky forgoes the development entirely, instead replacing it with a first violin cadenza that transports the listener from the frenetic opening to a meditative, almost wandering soliloquy. This doesn’t last long as we are quickly pulled back into a rhythmic frenzy that erupts into a lively folk dance. The constant juxtaposition of moods—all within the span of a few minutes—leaves us all on the edge of our seats! “Beethoven, likewise known for his daring approach to composing, constantly pushed the envelope in terms of musical language and structure. This was especially prominent in his Op.131 string quartet; Beethoven strayed away from the traditional four-movement form, opting instead for a mammoth, sevenmovement through-composed work. Composed during a time when he suffered from near-complete hearing loss, this revelatory work is arguably the zenith of his late string quartets, unprecedented in its originality and scope.” —Verona Quartet

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT Alpine Bank Virginia J. Browning The Christie Lodge Kathy Cole Sandi and Leo Dunn

Kathy and David Ferguson Cookie and Jim Flaum Diane and Lou Loosbrock Town of Vail

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JUL

TUESDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

NEW YORK PHILHARMONIC Bramwell Tovey, conductor John Fleming, special guest conductor Augustin Hadelich, violin

DVOŘÁK Slavonic Dance in G minor, Op. 46, No. 8 (4 minutes)

PROKOFIEV Violin Concerto No. 2 in G minor, Op. 63 (26 minutes) Allegro moderato Andante assai—Allegretto—Tempo I Allegro ben marcato

— INTERMISSION —

AUGUSTIN HADELICH

TOVEY & HADELICH

BEETHOVEN Symphony No. 6 in F major, Op. 68, Pastoral (42 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

THIS EVENING’S PERFORMANCE IS PRESENTED BY

Slavonic Dance in G minor, Op. 46, No. 8 (1878)

JULIE AND TIM DALTON LYN GOLDSTEIN TOM GROJEAN AMY AND JAMES REGAN

A N T O N Í N D V O Ř Á K ( 1 8 4 1-1 9 0 4 )

SPECIAL GRATITUDE TO Berry Charitable Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Dr. and Mrs. Frederick Kushner Ann and Tom Rader Sandra and Alejandro Rojas Lisa Tannebaum and Don Brownstein SOLOIST SPONSORS Augustin Hadelich, violin, sponsored by Gina Browning and Joe Illick

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ntonín Dvořák was 33 years old when he received his first break as a composer, in 1874: he was awarded the Austrian State Stipendium, a grant to assist young, poor, gifted musicians— which described him exactly. That he received the award five years in a row underscores how little his financial situation improved in the 1870s. The Viennese music critic Eduard Hanslick was on the jury that first year, and Johannes Brahms joined him as a judge beginning in 1875. In 1877, Hanslick encouraged Dvořák to send some scores to Brahms. Dvořák did, and Brahms recommended the emerging composer to his own publisher, Fritz Simrock, who immediately published Dvořák’s Moravian Duets, commissioned a collection of Slavonic Dances, and contracted a first option on all the composer’s new works. Simrock hoped the Slavonic Dances would resemble Brahms’ Hungarian Dances, and that is the spirit in which the

public received them. A Berlin newspaper reviewer proclaimed: “Here is at last a hundred-percent talent and, what is more, a completely natural talent. I consider the Slavonic Dances to be a work which will make its triumphant way through the world in the same way as Brahms’ Hungarian Dances.” They put Dvořák on the musical map. That initial set of eight dances—Dvořák’s Op. 46, scored for piano four-hands—brought him his first composer’s fee, however modest, and it earned a small fortune for the publisher. Within months, Dvořák produced orchestral versions of them, and in 1886 he followed up with eight further Slavonic Dances for piano four-hands (Op. 72), which he similarly enlarged into orchestral settings. Slavonic Dance No. 8 from the first set is an example of the furiant, a fiery dance with shifting accents.

Violin Concerto No. 2 in G minor, Op. 63 (1935)

it simply Violin Concerto No. 2, his Violin Concerto No. 1 having been premiered a dozen years earlier. Prokofiev was a master orchestrator, and his Violin Concerto No. 2 brims with extraordinary, often spare, instrumental effects. He calls for five percussion instruments in the score—bass drum, snare drum, triangle, cymbals, and castanets— arranging everything so that all can be handled by a single player if necessary. It has been suggested that the castanets were added late in the orchestration process, just after plans changed such that the concerto would be premiered in Madrid rather than Paris. Whether a passage of “Spanish rhythms” in the string parts near the end of the third movement was already in place is anyone’s guess.

Symphony No. 6 in F major, Op. 68, Pastoral (1808) LUDWIG VAN BEE THOVEN

sustenance from the city—in his case, Vienna—but complained about its inconveniences. He enjoyed escaping to places like the village of Heiligenstadt, where he installed himself while composing his Sixth Symphony in the summer of 1808. “How delighted I shall be to ramble for a while through bushes, woods, under trees, through grass, and around rocks,” he wrote two years later. “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.” Beethoven worried that priming listeners to hear specific images in his music might restrict their experience of a work. Jottings in his sketches for the Sixth Symphony reinforce that idea: “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. Nonetheless, he condoned the use of the title Pastoral even as he

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Just before the Russian Revolution broke out, Sergei Prokofiev boarded the Trans-Siberian Railway to Vladivostok, sailed on to Japan, Honolulu, and San Francisco, and from there proceeded cross-country to New York. New York and Paris would be his base for more than a decade, but by 1932 his steps began turning homeward to what in the meantime had become the Soviet Union—and in 1936 he settled in Moscow for good. He composed his Violin Concerto No. 2 while he was still based part-time in Paris and on the verge of returning to the Soviet Union. “Reflecting my nomadic concertizing experience,” Prokofiev stated in his so-called Short Autobiography of 1939-41, “the concerto was written in the most diverse countries: the main subject of the first movement was written in Paris, the first theme of the second movement in Voronezh, the instrumentation was completed in Baku, and the premiere took place in December of 1935 in Madrid.” He initially thought of titling the piece “Concert Sonata for Violin and Orchestra,” but he finally gave up that unnecessary complication and called

Like many modern urbanites, Ludwig van Beethoven drew

PROGRAM NOTES BY JAMES M. KELLER CONTINUED ON PAGE 160

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JUL

WEDNESDAY 6:00PM ORCHESTR A SERIES

G E R A L D R . F O R D A M P H I T H E AT E R , VA I L

NEW YORK PHILHARMONIC Bramwell Tovey, conductor Kelli O’Hara, vocalist

BROADWAY AND POPULAR SONGS To Be Announced from the Stage

— INTERMISSION — BERNSTEIN Three Dance Episodes from On the Town (11 minutes) The Great Lover Lonely Town: Pas de deux Times Square: 1944

KELLI O’HARA

COPLAND Four Dance Episodes from Rodeo (20 minutes) Buckaroo Holiday Corral Nocturne Saturday Night Waltz Hoe-Down

KELLI O’HARA SINGS BROADWAY THIS EVENING’S PERFORMANCE IS PRESENTED BY

Broadway and popular songs to be announced from the stage

BILLIE AND ROSS MCKNIGHT

Berry Charitable Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society SPONSORED BY Liz and Tommy Farnsworth Anne and Chris Wiedenmayer SOLOIST SPONSORS Kelli O’Hara, vocalist, sponsored by Billie and Ross McKnight

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Three Dance Episodes from On the Town (1944-46) LEONARD BERNSTEIN (1918-90)

n 1944, Leonard Bernstein and choreographer Jerome Robbins created the ballet Fancy Free. They then enlarged it into a full-length musical comedy, with Betty Comden and Adolphe Green preparing the book and lyrics. Like the ballet that inspired it, On the Town follows the adventures of three city-struck sailors on shore leave in New York, including the romantic situations in which they become entangled. Where Fancy Free had been a simple divertissement, the new theatre-piece was fleshed out with such memorable characters as Hildy the cabdriver, Claire de Loon (a libidinous anthropologist), and Ivy Smith, that month’s Miss Turnstiles.

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SPECIAL GRATITUDE TO

On the Town lifted spirits during the dark months when World War II still had a distance to go before American life could return to normal. Both Bernstein and Green spent time in the hospital while developing On the Town. “The floor nurses and patients in nearby rooms were alternately amused and irritated by the singing and laughter that erupted from Room 669,” Bernstein’s sister Shirley recalled later. That August, Bernstein traveled by train to California to conduct performances of Fancy Free. It was while en route that he penned “New York, New York,” an anthem to the nation’s largest metropolis, as Nebraska passed by outside. In the wake of the show’s success, Bernstein crafted the Three Dance Episodes from On the Town. In the first section, Gabey (the dreamy Romantic of the three sailors) imagines himself not as a shy serviceman but rather as a great lover. In the second, a young girl falls for—and is jilted by— another sailor, to the strains of the bluesy tune “Lonely House,” and the final Episode bristles with the snazzy strains of “New York, New York.”

BR AMWELL TOVEY

in 1957 by the English composer Malcolm Arnold. Its concluding movement is a reel (or a Highland fling, perhaps) that seems almost a twin sibling to Copland’s “Hoe-Down.” Copland acknowledged that his piece included “a few measures of ‘McLeod’s Reel’ played in folk fiddle style”— so this qualifies as a coincidence of shared musical ancestry. Rodeo—which, by the way, Copland always pronounced “ROdee-o,” although many people seem

to call this piece “Ro-DAY-o”—was a smash hit at its premiere in October 1942. Its folksong-infused score was perfectly in sync with wartime nationalism, but it has stood the test of time without fading. The following year Copland extracted an orchestral suite, which he titled Four Dance Episodes from Rodeo. It includes almost everything from the original score; in arranging the suite, Copland eliminated only about five minutes of music.

Four Dance Episodes from Rodeo (1942) A ARON COPL AND (1900-90)

Aaron Copland composed Rodeo in 1942 as a ballet to be choreographed by Agnes de Mille for the Ballet Russe de Monte Carlo. She initially described it to him as “the story of the Taming of the Shrew—cowboy style.” To capture the national spirit of the subject, Copland borrowed directly from the well of American folksong. Folk tunes here play an almost constant role (except in the “Corral Nocturne” movement), drawn largely from the collections Our Singing Country (by John A. and Alan Lomax) and Traditional Music of America (by Ira Ford). “Buckaroo Holiday” incorporates the tunes “Sis Joe” and “If He’d Be a Buckaroo”; “Saturday Night Waltz” introduces the famous tune “I Ride an Old Paint”; and “Hoe-Down” makes use of several traditional fiddle tunes. Curious music-lovers may enjoy seeking out the Four Scottish Dances (Op. 59), an orchestral suite composed

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COLORADO

Nothing Compares. 25 Casteel Creek CASTEELCREEK.COM

Malia Cox Nobrega 970.977.1041 malia@vailluxurygroup.com VA I L L U X U R Y G R O U P. C O M

Barbara Scrivens 970.471.1223 bscrivens@livsothebysrealty.com BARBARASCRIVENS.COM

JUL

THURSDAY 1:00PM COMMUNIT Y CONCERTS

VA IL IN T ERFA I T H CH A PEL

VERONA QUARTET (Bravo! Vail 2021 Chamber Musicians in Residence) Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello

REENA ESMAIL String Quartet (Ragamala) (20 minutes) Fantasie Scherzo Recitativo Rondo

VERONA QUARTET

FREE CONCERT

ESMAIL, DVOŘÁK & SZYMANOWSKI Artist Insights “Each of the pieces on this program express a deeply personal spirituality for composer, performer and listener. Dvořák’s Cypresses, originally a set of 18 love songs, were works that he frequently returned to throughout his life, perhaps most poignantly incorporating one into his B minor cello concerto upon hearing of the death of his sister-in-law, the original muse behind this enchanting music. “For us, Reena Esmail’s Quartet ‘Ragamala’ fuses essences of Indian Rags to the timeless idiom of the string quartet. Each movement is preceded by a short introduction which prepares the energy for the Rag that is about to come. “Much like the Esmail. Szymanowski’s Quartet No. 2 begins out of the air with celestial harmonies and a unique hyper-romantic quality, that in a condensed time frame has a sonic world unique to itself. This is music that we adore and feel compelled to champion: this is among the reasons we chose this to be on our debut album, Diffusion.” —Verona Quartet

DVOŘÁK Cypresses for String Quartet (selections) (14 minutes) Death reigns in many a human breast (Allegro ma non troppo) When thy sweet glances on me fall (Andante con moto) You ask why my songs (Allegro animato) Thou only, dear one, but for thee (Moderato) Over the landscape ruled by dreams (Allegro animato)

SZYMANOWSKI String Quartet No. 2, Op. 56 (19 minutes) Moderato, dolce e tranquillo Vivace, scherzando Lento

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Cookie and Jim Flaum Diane and Lou Loosbrock Vail Marriott Mountain Resort and Spa Town of Vail

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IMMERSIVE EXPERIENCES

DIVE INTO GREAT MUSIC JULY 29 – 31, 2021 Influenced by both classical and Eastern European folk traditions, Bartók’s six string quartets are among the crowning achievements of 20th-century chamber music. These masterful works receive insightful performances from the Escher Quartet, joined by Bravo! Vail Artistic Director Anne-Marie McDermott.

his deep dive provides a rare immersion into a sonic world central to the composer’s life. Post-concert “Talk Backs” with the musicians enhance a fascinating journey into one of the most influential composers of the 20th century.

ANNE-MARIE MCDERMOTT (page 124)

Bravo! Vail Artistic Excellence Fund Gina Browning and Joe Illick The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair

ESCHER STRING QUARTET 118 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

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SCHEDULE AT A GLANCE JUL

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Bartók I ...................................................................

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Bartók II ....................................................................

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Bartók III ....................................................................

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JUL

THURSDAY 7:00PM IMMERSIVE EXPERIENCES

EDWA RDS IN T ERFA I T H CH A PEL

PRE-CONCERT TALK 6:00PM EDWARDS INTERFAITH CHAPEL Members of the Escher Quartet

ESCHER STRING QUARTET

Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Brook Speltz, cello

BARTÓK String Quartet No. 1, Op. 7 (28 minutes) Lento Allegretto - Introduzione - Allegro Allegro vivace—Presto (Played without pause) String Quartet No. 3 (15 minutes) Prima parte: Moderato Seconda parte: Allegro Ricapitulazione della prima parte: Moderato Coda: Allegro molto

BARTÓK I

(Played without pause)

String Quartet No. 5 (30 minutes) Allegro Adagio molto Scherzo. Alla bulgarese (Vivace) Andante Finale. Allegro vivace

String Quartet No. 1, Op. 7 (1908-09) String Quartet No. 3 (1927) String Quartet No. 5 (1934) B É L A B A R T Ó K ( 1 8 8 1-1 9 4 5 )

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éla Bartók’s six string quartets span most of his career as a composer, and they document his evolution as a man and an artist. His First—not counting a student work he disowned —dates from 1908-09 and includes a direct quotation from a Hungarian folk song, a passion he was then exploring as an ethnomusicologist. The Second (1914-17) was slowly birthed during the chaotic years of World War I. The Third (1927) reflects his evolving interest in neo-Baroque techniques, and the Fourth (1928) demonstrates

the perfection of his formal esthetic. The Fifth (1934) shows the complete absorption of folk inspiration into the composer’s “art-music” style, and the Sixth (1939) suggests both Bartók’s growing despair at the onset of another war and how he countered concerns of mortality through the transcendence of art. In December 1944, the publishing firm of Boosey & Hawkes commissioned a further quartet, which Bartók was eager to write. The piece failed to take form in the nine remaining months of his life, leaving his six quartets to stand as one of the most monumental and indispensable achievements in the entire repertoire of chamber music. In this week’s Immersive Experience, the Escher String Quartet plays the six works not in start-tofinish chronological order but rather

©ANNA K ARIEL

— INTERMISSION —

ESCHER STRING QUARTET

staggered—odd numbers, then even numbers—which lends an optimally satisfying equilibrium to each program. Quartet No. 1 is a child of its time, less obviously revolutionary than Bartók’s later quartets (or, for that matter, Arnold Schoenberg’s Quartet No. 2, its exact contemporary) but nonetheless a fine specimen of highly chromatic, turn-of-the-century, postWagnerian lyricism and yearning. Bartók stated that its first movement embodied the sadness he felt when an incipient romance dissolved. In his last letter to Stefi Geyer, the object of his affection, he described it as “my funeral dirge.” The quartet unrolls in a single, uninterrupted span, although sections are demarcated within that expanse. They generally accelerate from beginning to end, and motifs, themes, and signature rhythmic patterns recur throughout, their contexts constantly transformed. The First Quartet waited over a year after completion for its premiere to take place. That performance, in 1910,

was entrusted to the WaldbauerKerpely Quartet, which would go on to premiere and champion his Second, Third, and Fourth Quartets before it disbanded in the 1930s. Quartet No. 3 is not traditionally tonal in its harmonic behavior, although it is anchored on the note C-sharp. The centripetal force of that underlying C-sharp is not constant, controlling only the beginning and the end. The interval of the tritone fuels much of the structural development in this work, and the fact that it is among the least stable of all note combinations adds much to the sense of tension and tonal ambiguity. This is the Bartók quartet that most approximates the unnerving spirit of the Viennese Expressionists, particularly suggesting the sound of Alban Berg. Its four movements— or perhaps we should call them sections—are all connected into a single 15-minute span, making this the shortest of Bartók’s quartets. Its character changes greatly along the way, offering typically Bartókian vistas: Magyar folk-scales and rhythms, mysterious “night music” with chirping insects, brilliant excursions of dense counterpoint, dreamlike reminiscence, mystical secretiveness. Bartók entered his Third Quartet in a competition for chamber works sponsored by the Musical Fund Society of Philadelphia. It shared the first prize of $6,000 with a largely forgotten work by Alfredo Casella, his Serenata for clarinet, bassoon, trumpet, violin, cello, and piano. Among the 643 entries they edged out was Karol Szymanowski’s String Quartet No. 2, which the Verona Quartet played this afternoon. Quartet No. 5 is designed in an arch form. Its first and fifth movements mirror each other in their general impression, as do the second and fourth, leaving the third to stand as the fulcrum in the middle. In this work, Bartók balances the harsh outbursts and unremitting intensity found in some of his scores with the lyrical melodies and glittering details that captivate in others. This stylistic breadth helped make the Fifth become the most frequently played of his quartets. Although it pre-dates Bartók’s emigration to America—all of the quartets do—its

impetus came from the United States; it was commissioned by the Elizabeth Sprague Coolidge Foundation, was dedicated to that great American patron of chamber music, and was premiered in 1935 in Washington, D.C. Its themes pour out generously, a contrast to the tersely telegraphed motivic statements of the preceding quartets. Nonetheless, the opening music consists of vehemently hammered notes that launch a vibrantly energized movement that is itself a sort of palindrome: when its three principal themes return in the movement’s recapitulation, they appear in reverse order from how they were presented in the exposition. The second movement reveals Bartók in his irresistible night music mode, a gentle tone poem of bird calls and insect chirps with folk-song phrases wafting in from afar. The third movement, the work’s fulcrum, is a scherzo-with-trio (itself a symmetrical structure), its complex rhythm patterns and modal melody deriving from Bulgarian folk style. Having rounded the central point of the arch, Bartók returns to another slow movement: more night music, but the evening has progressed and the atmosphere has grown darker. The fascinating finale includes a bizarre fugue and an amusing depiction of an organ-grinder, his instrument none too well tuned—this last being a variant, simplified to the point of banality, of the movement’s main theme.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS Bravo! Vail Artistic Excellence Fund Gina Browning and Joe Illick The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair

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JUL

FRIDAY 7:00PM IMMERSIVE EXPERIENCES

EDWA RDS IN T ERFA I T H CH A PEL

PRE-CONCERT TALK 6:00PM EDWARDS INTERFAITH CHAPEL Members of the Escher Quartet

ESCHER STRING QUARTET

Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Brook Speltz, cello

BARTÓK String Quartet No. 2, Op. 17 (26 minutes) Moderato Allegro molto capriccioso Lento String Quartet No. 4 (23 minutes) Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

— INTERMISSION — String Quartet No. 6 (29 minutes) Mesto—Più mosso, pesante—Vivace Mesto—Marcia Mesto—Burletta. Moderato Mesto

String Quartet No. 2, Op. 17 (1914-17) String Quartet No. 4 (1928) String Quartet No. 6 (1939) B É L A B A R T Ó K ( 1 8 8 1-1 9 4 5 )

rank Whitaker, a British journalist who in 1926 embarked on a biography of Béla Bartók but failed to get beyond the first chapter, did manage to contribute a description of him to a BBC publication in 1932:

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Béla Bartók is a quiet little man with a springy walk and a complexion like faded parchment. His lean, alert face suggests the man of forty, his white hair and scholar’s stoop the man of sixty. … His brown eyes

shine like sunlight in a witchball, and seem to expand as his interest in a subject grows. He has a trick of tilting his head back as he talks. He speaks English and French fairly well and German fluently, in addition to his native Hungarian. The English words he uses oftenest to describe his music are “provoking” and “unaccustomed.” For instance, he will say, “My Bagatelles were my first provoking work,” or “My second string quartet was too unaccustomed for the public of the day.” His String Quartet No. 2 must reflect its composer’s state of mind during World War I. Bartók was deeply affected by the outbreak of the War in the summer of 1914. Several months

©ANNA K ARIEL

BARTÓK II

ESCHER STRING QUARTET

later, on October 30, he wrote to his friend Rev. Sámuel Bobál, a Slovak minister: “I also belong to the agegroup which is to be called up for military service. There’s a good chance that I shall be rejected on health grounds. But nowadays there’s no knowing anything in advance.” In fact, he did receive a medical deferment and instead was assigned by the state to collect folksongs from soldiers—a mission that agreed with him perfectly. He continued to be productive as a composer, and even under straitened circumstances he continued to see some of his musical colleagues. In the Second String Quartet we find Bartók working in a freely chromatic and rhythmically complex idiom, meticulously molding his themes and motives into tight, rigorous musical arguments. The relationships of tempos among the work’s movements are unorthodox compared to the progressive acceleration of the First Quartet: a Moderato leading to an

Allegro molto capriccioso and then to a concluding Lento. Bartók’s colleague Zoltán Kodály described the three movements as “1.) A quiet life; 2.) Joy; 3.) Sorrow.” Otherwise put, it is a progression that may first evoke normalcy, then what Bartók described as his “devil-may-care” exhilaration (and, in the brief middle episode of the second movement, outright nonchalance), and finally his lamenting depression over the sad state of things. Though not as “abstract” as the Third (heard yesterday), the athletic, dissonant Fourth Quartet shares its general musical vocabulary, to the extent that some commentators view it as continuing the conversation begun in the Third. We mentioned Bartók’s partiality to symmetrical arch forms in connection with the Fifth Quartet, and here it is also in the Fourth. The piece is a sort of palindrome, with the first and fifth movements (both being Allegros) bearing some kinship, the second and fourth similarly reflecting each other (both are scherzos), and the relaxed third standing as a fulcrum in the middle, its ternary A-B-A layout serving as an exquisite turnabout for the symmetry of the entire Quartet. In this middle movement, the cello sings out a highly ornamented melody that musicologists have identified as Bartók’s original take on Hungarian or Romanian folk laments. Bartók rarely offered commentary about his music, but he did describe his Quartet No. 4 matter-of-factly in an essay: The work is in five movements; their character corresponds to Classical sonata form. The slow movement is the kernel of the work; the other movements are, as it were, arranged in layers around it. Movement IV is a free variation of II, and I and V have the same thematic material; that is, around the kernel (Movement III), metaphorically speaking, I and V are the outer, II and IV the inner layers. Bartók’s life was increasingly uneasy when he worked on his Quartet No. 6. Although Hungary did not officially join the Axis alliance until a year into World War II, the encroaching conflict struck a blow to the composer’s humanitarian spirit.

His work as an ethnomusicologist brought him close to ethnic minorities, the sorts of groups whose lives became untenable during the War. Bartók’s beloved mother was in rapidly failing health; she would die just a month after he finished this piece. He mourned her profoundly, but with her passing he no longer had a compelling reason to remain in his native Hungary. In October 1940 he moved to the United States to spend the rest of his life, most of it unhappy. The Sixth Quartet is therefore sometimes interpreted as both bitter farewell to the European political tragedy and cathartic leave-taking of his mother. Each of the four movements begins with an introduction that is slow and sad—literally, since he heads them with the marking Mesto (“sad”). Each of the introductions grows from the same material into something progressively longer, more complex, and more richly textured. By the last movement, the Mesto turns out not to be an introduction at all, instead consuming the entire finale. This is the most authentic expression of Bartók’s sorrow, which may elsewhere be disguised as satire or mere melancholy. Rarely in chamber music does a movement combine restraint and powerful expression to achieve an impact as profound as Bartók does here, at the conclusion of his last quartet.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS Bravo! Vail Artistic Excellence Fund Gina Browning and Joe Illick The Sidney E. Frank Foundation

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SATURDAY 7:00PM IMMERSIVE EXPERIENCES

EDWA RDS IN T ERFA I T H CH A PEL

PRE-CONCERT TALK 6:00PM EDWARDS INTERFAITH CHAPEL Members of the Escher Quartet

Anne-Marie McDermott, piano

ESCHER STRING QUARTET

Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Brook Speltz, cello

BARTÓK Selections from 44 Violin Duos (14 minutes) Adam Barnett-Hart, violin Aaron Boyd, violin 35. Rutén kolomejka (Ruthenian Kolomejka) 10. Rutén Nóta (Ruthenian Song) 19. Mese (Fairy Tale) 25. Magyar nóta (Hungarian Song II) 29. Újévköszöntő (New Year’s Greeting II) 22. Szúnyogtánc (Mosquito Dance) 13. Lakodalmas (Wedding Song) 36. Szól a duda változata (Bagpipes, Variant) 32. Máramarosi tánc (Dance from Máramaros) 38. Forgatós (Romanian Whirling Dance) 44. Erdélyi tánc (Transylvanian Dance)

— INTERMISSION — Piano Quintet in C major (40 minutes) Andante—Allegro Vivace (Scherzando) Adagio [attacca] Poco A Poco Più Vivace

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BARTÓK III Selections from 44 Violin Duos (1931) Piano Quintet in C major (1903-04) B É L A B A R T Ó K ( 1 8 8 1-1 9 4 5 )

éla Bartók’s six string quartets, which stand at the heart of this season’s Immersive Experiences, thread through much of the composer’s career, from the First, in 1908-09, to the Sixth, in 1939. In this concert, however, we look to the side of the imposing succession of quartets to first consider Bartók’s imaginative contribution to pedagogical music and then to visit one of his earliest major pieces, which shows the stream of

influences that would coalesce into his distinctive musical character. Music-lovers most often encounter Bartók through his large-scale concert works, but many musicians meet him early on thanks to a large body of music he wrote primarily for teaching purposes. Student pianists may work through his For Children (85 pieces from 1908-10) or Mikrokosmos (153 movements composed from 1926 to 1939), and string players may turn to his 44 Violin Duos. The Duos came about through a request from Erich Doflein, a German musicologist who was particularly interested in music pedagogy. In the 1930s, he and his wife, Elma, produced a series of instructional volumes

ANNE-MARIE MCDERMOT T

for violin pupils. They wanted to go beyond predictable exercises for fingering and bowing. Instead, wrote Erich Doflein, “This is training, but not as on the athletic field—it is rather a journey through many lands of music, and the music of many lands.” They were also intent on making students comfortable with the vocabulary of contemporary music. To that end, they convinced notable living composers, including Hindemith, Orff, and Bartók, to write pieces they could intermix with Baroque and Classical pieces, placing everything in progressive order of difficulty. Bartók’s first submissions were quite challenging; they ended up being placed at the end of his Duos. Doflein kept urging him toward greater technical simplicity. “For a whole year,” he wrote, “we received further consignments of duos from Bartók, which gradually became simpler and easier until the first pieces of today’s cycle finally arrived.”

Bartók’s Duos were issued in an independent collection in 1933. Before he submitted them to his publisher, he asked his violinist-friend Zoltán Székely to help decide how to order the first five pieces. “Let us pretend we are two beginners,” he told Székely. “Hand me a violin and I assure you that I will sound like a beginner. But you, a professional, have to take a handicap …. Hold your violin with your right hand and bow it with your left. That little trick may put us on even terms.” These miniatures—the longest run two minutes, the shortest thirty seconds—mostly draw on folk pieces from regions he had visited as an ethnomusicologist: Transylvania, Romania, Ukrainian Ruthenia, Slovakia, Serbia, and North Africa, in addition to Hungary. The early pieces in the set are relatively straightforward, but as the collection proceeds, the rhythms, articulation, and general playing technique pose increasing complication. Often the first violin hews closely to the folk material while the second violin sheds unexpected shadings of harmony and rhythm. Bartók showed unusual musical prowess as a child. He started piano lessons at five and by the age of ten was composing his first pieces, mostly dances for piano. In 1899 he entered the Budapest Academy of Music, where he was particularly lauded as a pianist. A review of one of his performances at that time predicted that, of all the Academy’s piano students, he was the most likely to follow in the tracks of Ernő Dohnányi, a recent graduate who was already making waves as a notable concert pianist. Bartók’s composing took a back seat during his conservatory years, but a few months before his graduation his encounter with the music of Richard Strauss reinvigorated his creativity. He composed a Straussian orchestral tone poem, Kossuth (on a Hungarian historical topic), but in 1903-04 he mostly wrote music for his own use as a pianist, including the Piano Quintet. He completed it while staying at a resort in northern Hungary, where he hatched the plan to begin collecting folk songs—a passion that would lead to earning a doctorate in musicology (his dissertation was about the stanzaic

structure of Hungarian folksong), carrying out extensive field-work in ethnomusicology, and absorbing a vocabulary that would leave a deep mark on his compositions. The Piano Quintet displays touches of folkish influence. In the opening movement, some of the piano’s ornaments and scales suggest a cimbalom (a Hungarian hammered dulcimer) and a violin theme has a “Hungarian Gypsy” flavor, as do gestures in the slow third movement and the high-kicking csárdás spirit of the finale. Since Bartók had not quite yet plunged into folk research himself, these sounds probably came his way at least partly through such works as Liszt’s Hungarian Rhapsodies and Brahms’ Hungarian Dances. Brahms seem to hover over expanses of this work, certainly in the grandeur of the first movement’s main melody, but one also hears the influence of Strauss (in the lyrical writing of the Adagio, for example) and Dvořák (especially in a relaxed interlude of the Scherzo). The Bartók we meet in this piece is a young composer absorbing musical influences like a sponge. Bartók played the piano in the work’s 1904 premiere as well as in a few later performances. He effected revisions in 1920 but never published it. The manuscript went missing and was assumed to be lost, but it resurfaced in 1963 and was finally edited and published in 1970, 35 years after its composer’s passing.

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BEAVER CREEK

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2021_BravoAd.indd 1

4/13/21 2:38 PM

AUG

SUNDAY 6:00PM COMMUNIT Y CONCERTS

BR AVO! VAIL MUSIC BOX GYP SUM TOWN PARK , GYP SUM

VERONA QUARTET (Bravo! Vail 2021 Chamber Musicians in Residence) Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello

SHOSTAKOVICH

VERONA QUARTET

FREE CONCERT

SHOSTAKOVICH & DVOŘÁK Artist Insights “These works are so beloved within our repertoire, it is hard to imagine any level of dissatisfaction with either one at any point. But both works were born from some degree of frustration or at least a desperation for personal expression. Dvořák reveled in solitude and the outdoors during the summer of 1893 that he spent in a Czech community in Spillville, Iowa writing his ‘American’ String Quartet. It might be an exaggeration to say that Dvořák was ‘frustrated’ prior to writing his Op. 96 ‘American’ String Quartet but after having completed it, he felt enough relief as to have inscribed the draft, ‘Thanks be to God! I am satisfied. It went quickly.’ “Shostakovich was not nearly as contented throughout the genesis of his String Quartet No. 9. In fact he wrote a first draft, and was so displeased with it that he is said to have ‘burnt it in the stove.’ Given that his first draft was based on themes from his childhood, the act of burning those musical memories is even more disquieting. But when we remember that Shostakovich was born into a life with constant undercurrents of strife, censure and censorship, it is really no wonder that he went to such pains in writing any of his extraordinary music. —Verona Quartet

String Quartet No. 9 in E-flat major, Op. 117 (26 minutes) Moderato con moto Adagio Allegretto Adagio Allegro

DVOŘÁK String Quartet No. 12 in F major, Op. 96, American (25 minutes) Allegro ma non troppo Lento Molto vivace Finale. Vivace ma non troppo

©K AUPO KIKK AS

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Kathy Cole Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum Diane and Lou Loosbrock Town of Gypsum

127

AUG

TUESDAY 7:00PM CHAMBER MUSIC SERIES

VIL AR PERFORMING ARTS CENTER

David Finckel, cello Wu Han, piano

BACH Sonata No. 1 in G major, BWV 1027 (13 minutes) Adagio Allegro ma non tanto Andante Allegro moderato

BEETHOVEN Cello Sonata No. 4 in C major, Op. 102, No. 1 (15 minutes) Andante–Allegro vivace Adagio–Tempo d’Andante–Allegro vivace

MENDELSSOHN Cello Sonata No. 2 in D major, Op. 58 (24 minutes) Allegro assai vivace Allegretto scherzando Adagio Molto allegro e vivace

HAN & FINCKEL IN CONCERT

DEBUSSY Sonata for Cello and Piano (12 minutes) Prologue (Lent, sostenuto e molto risoluto) Sérénade (Modérément animé) Finale (Animé, léger et nerveux) The Girl with the Flaxen Hair (2 minutes)

JOHANN SEBASTIAN B A C H ( 1 6 8 5 -1 7 5 0 )

BRITTEN Cello Sonata, Op. 65 (20 minutes) Dialogo (Allegro) Scherzo-Pizzicato (Allegretto) Elegia (Lento) Marcia (Energico) Moto perpetuo (Presto) Program to be performed without intermission.

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Sonata No. 1 in G major, BWV 1027 (ca.1740)

or much of its early history the cello developed in parallel with the viola da gamba, with which it shared something of its appearance and most of its range, but from which it differed in design and acoustics. Modern cellists can comfortably assume the Baroque gamba literature, such as the three sonatas for viola da gamba and obbligato harpsichord that Bach produced during his years in Leipzig. The first, in G major, is cast as a trio sonata, with the keyboard instrument assuming a solo line in the right hand to play as an equal partner to the gamba/cello, and the left hand handling the bass line. All three of Bach’s sonatas exist in alternatively

scored arrangements, with the G-major Sonata also surviving as a trio sonata for two flutes and continuo, from which Bach transcribed the gamba version around 1740.

Cello Sonata No. 4 in C major, Op. 102, No. 1 (1815) LUDWIG VAN BEE THOVEN ( 1 7 7 0 -1 8 2 7 )

Ludwig van Beethoven was just entering his visionary late period when he composed the concluding pair of his five sonatas for cello and piano. The Fourth is cast in two movements. The first movement is divided into a slow introduction and a “main” fast section, while the second movement comprises an “interior slow movement” (Adagio, leading to an Andante) and a rapid finale. Contrapuntal episodes permeate this work, and the ethereal first-movement

this piece—in the ebullience of the first and last movements, for example, or in the way that sly tiptoeing mixes with warm-hearted lyricism in the second. The sonata’s most extraordinary expanse may be its Adagio movement, in which the piano’s sweeping arpeggios introduce a newly composed chorale, which the cello answers in expressive arioso phrases— the whole proclaiming Mendelssohn’s immeasurable adoration of Bach.

Sonata for Cello and Piano (1915) The Girl with the Flaxen Hair (1910) C L A U D E D E B U S S Y ( 1 8 6 2-1 9 1 8 )

DAVID FINCKEL AND WU HAN

introduction features a device that will become a fingerprint in his later works: transforming the onceornamental contrivance of the trill into a sustained method for intensifying texture. The second movement proper begins with slow music that ranges from the timelessly metaphysical to the humanly brooding, and then breaks forth in an ebullient Allegro vivace—one that includes a false ending that has embarrassed more than a few over-eager applauders.

Cello Sonata No. 2 in D major, Op. 58 (1842-43) FELIX MENDEL SSOHN (1809 -47)

The Mendelssohn family’s musical talent was concentrated in Felix and his older sister, Fanny, but their younger brother, Paul—who carried on the family profession of banking—was an accomplished amateur cellist. It was for him that Felix composed his Second Cello Sonata and to whom he announced in a letter, in May 1843, that he would shortly “arrive in Berlin, God willing, and bring you your Cello Sonata.” The composer’s distinctly recognizable fingerprints are all over

Claude Debussy sank into depression when World War I broke out in 1914, and a struggle against cancer brought his work to a standstill. In the summer of 1915, however, he took lodgings in Normandy, along the English Channel, and embarked on a set of six sonatas for various instrumental combinations in which he strove to convey the elegance of French Baroque harpsichordistcomposers. He completed only three of the projected works, beginning with the Cello Sonata. Debussy reported to his publisher, “It’s not for me to judge its excellence but I like its proportions and its almost classical form, in the good sense of the word.” The Sérénade movement in particular delves into the rich sonic possibilities of the cello; Debussy’s biographer Léon Vallas remarked how the cello “seems to strike the tambourine, to pluck the guitar, to play the flute.” Debussy viewed his Preludes for the Piano as small-scale pieces that stood as scenes in and of themselves. Each prelude is headed by a traditional marking denoting tempo or mood, and its more literary “title” is printed only at the end of the piece, invariably following a three-dot ellipsis, as if it were an afterthought. The Girl with the Flaxen Hair, published in Book One of the Preludes (1910), is headed Très calme et doucement expressif (Very calm and sweetly expressive). A much-loved chestnut in the composer’s catalogue, it is a quiet and uncomplicated reverie less equivocal in its harmony than many of

Debussy’s compositions. Its pentatonic melody and its use of parallel chords may relate to Debussy’s infatuation with Javanese gamelan music, as may its general sense of serenity, which is enlivened by slightly faster material at the prelude’s center.

Cello Sonata, Op. 65 (1960-61) B E N J A M I N B R I T T E N ( 1 9 1 3 -7 6 )

Benjamin Britten was enraptured by a London performance by Mstislav Rostropovich in 1960, and in its aftermath he embarked on his Cello Sonata, the first of six works he composed for the Russian cellist. The two had become great friends by the time they introduced the Sonata the following summer at Britten’s Aldeburgh Festival, in a recital that also included Debussy’s Sonata. After the premiere, critic William Mann wrote in the Times of London that Britten “may have intended it … to reflect the player to whom it is dedicated: gay, charming, an astonishingly brilliant executant, but behind all these qualities a searching musician with the mind of a philosopher.” The movement titles suggest the Sonata’s dramatic range, which is supported by the breadth of techniques Britten harnesses to expressive purpose, including telling use of pizzicato, multiple-stopping, harmonics, and brilliant bow work.

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T H E F U R T H E R Y O U G O, THE MORE YOU’LL FIND This summer, relax, recharge and reflect in a place where your opportunities to discover are endless. With nearly 150 shops, more than 75 restaurants and world-class events, set in a Bavarian-inspired village, there’s always something new to experience in Vail.

THE SAINT PAUL CHAMBER ORCHESTRA OUR MISSION is to sustain a world-class chamber orchestra at the highest standards of artistic excellence that enriches the Twin Cities community by sharing dynamic, distinctive and engaging performances. We are actively committed to accessibility and intentional inclusivity in all aspects of our work and continually strive to provide all people in our community with opportunities to connect with the music we perform.

VIOLIN

BASS

TIMPANI

Kyu-Young Kim Eunae Koh Eunice Kim Nina Tso-Ning Fan Nicholas Tavani Sandy Yamamoto Maureen Nelson Daria T. Adams Rolf Haas Kathryn Bennett Emilia Mettenbrink

Zachary Cohen Nathan Farrington

Matthew McClung

KEYBOARD FLUTE

Jeffrey Grossman

Julia Bogorad-Kogan Alicia McQuerrey

OBOE Cassie Pilgrim Barbara Bishop

BASSOON VIOLA

J. Christopher Marshall Carole Mason Smith

Hyobi Sim David Auerbach Jennifer Strom Anne Ainomae

HORN

Learn more about the SPCO musicians, including biographies and photos, go to: thespco.org/musicians For a complete listing of musicians performing on these programs, go to: thespco.org/roster

James Ferree Matthew Wilson

CELLO Wilhelmina Smith Joshua Koestenbaum Sarah Lewis Richard Belcher

TRUMPET Lynn Erickson Martin Hodel

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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

Katharina Wincor Assistant Conductor Marena & Roger Gault Chair

Angélica Negrón Composer-in-Residence

Chorus Director Jean D. Wilson Chair

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 Maria Schleuning Norma & Don Stone Chair Lucas Aleman Jenna Barghouti Mary Reynolds Andrew Schast

CLARINET

TIMPANI

Meredith Kufchak Principal Hortense & Lawrence S. Pollock Chair Sarah Kienle Acting Associate Principal Pamela Askew Thomas Demer Valerie Dimond John Geisel Christine Hwang Xiaohan Sun David Sywak Dan Wang Debra & Steve Leven Chair

Gregory Raden Principal Mr. & Mrs. C. Thomas May, Jr. Chair Paul Garner Associate Principal + E-Flat Robert E. & Ruth Glaze Chair Stephen Ahearn Andrew Sandwick Bass Clarinet + Utility

Brian Jones Principal Dr. Eugene & Charlotte Bonelli Chair

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 Jennifer Yunyoung Choi Kari Kettering Emileigh Vandiver Nan Zhang

BASS

Joshua Habermann

VIOLIN I

VIOLA

Motoi Takeda Associate Concertmaster Emeritus Daphne Volle Bruce Wittrig 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 Lilit Danielyan* Shu Lee Nora Scheller* Aleksandr Snytkin* Lydia Umlauf

Nicolas Tsolainos Principal Anonymously Endowed Chair Thomas Lederer Co-Principal Roger Fratena Associate Principal Paula Holmes Fleming Brian Perry Clifford Spohr Principal Emeritus

FLUTE David Buck Principal Joy & Ronald Mankoff Chair Deborah Baron Associate Principal + Piccolo Kara Kirkendoll Welch Caroline Rose Hunt Chair

OBOE Erin Hannigan Principal Nancy P. & John G. Penson Chair Willa Henigman Associate Principal Brent Ross David Matthews + English Horn Karen & Jim Wiley Chair

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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

PERCUSSION George Nickson Principal Margie & William H. Seay Chair Daniel Florio Associate Principal Ronald Snider (1947-2020) Assistant Principal

HARP Emily Levin Principal Elsa von Seggern Chair

ORGAN Bradley Hunter Welch Resident Organist Lay Family Chair

HORN

KEYBOARD

David Heyde Associate Principal + Acting Principal Linda VanSickle Chair Haley Hoops Becky & Brad Todd Chair Yousef Assi Kevin Haseltine Alexander Kienle Assistant Principal + Utility Vacant Principal Howard E. Rachofsky Chair

Jeanne R. Johnson Chair Gabriel Sanchez Classical Anastasia Markina Classical Steven Harlos Pops

TRUMPET L. Russell Campbell Associate Principal + Acting Principal Yon Y. Jorden Chair Kevin Finamore Elmer Churampi Vacant Principal Diane & Hal Brierley Chair

TROMBONE Barry Hearn Principal Cece & Ford Lacy Chair Christopher Oliver Associate Principal Darren McHenry Bass Trombone

TUBA Matthew Good Principal Dot & Paul Mason Chair

LIBRARY Karen Schnackenberg Principal Jessie D. & E. B. Godsey Chair Mark Wilson Associate Principal Robert Greer Assistant Melanie Gilmore Choral

PERSONNEL MANAGEMENT Nishi Badhwar Manager of Orchestra Personnel Scott Walzel Consultant for Orchestra Community Development & Outreach Chris Oliver Auditions Coordinator

STAGE Shannon Gonzalez Stage Manager Kenneth Winston Lighting Board Operator Kevin Ealy Stagehand *Performs in both Violin I and Violin II sections °Leave of Absence

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin Music Director Walter and Leonore Annenberg Chair

Nathalie Stutzmann Principal Guest Conductor Designate

Gabriela Lena Frank Composer-in-Residence

Erina Yashima

VIOLAS

FLUTES

TRUMPETS

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

Jeffrey Khaner, Principal Paul and Barbara Henkels Chair Patrick Williams, Associate Principal Rachelle and Ronald Kaiserman Chair Olivia Staton Erica Peel, Piccolo

David Bilger, Principal Marguerite and Gerry Lenfest Chair Jeffrey Curnow, Associate Principal Gary and Ruthanne Schlarbaum Chair Anthony Prisk

CELLOS

Assistant Conductor

Lina Gonzalez-Granados Conducting Fellow

Frederick R. Haas Artistic Advisor Fred J. Cooper Memorial Organ Experience

FIRST VIOLINS

SECOND VIOLINS

David Kim, Concertmaster Juliette Kang, First Associate Concertmaster Joseph and Marie Field Chair 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

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 Dmitri Levin Boris Balter Amy Oshiro-Morales Yu-Ting Chen Jeoung-Yin Kim Christine Lim

Hai-Ye Ni, Principal Priscilla Lee, Associate Principal Yumi Kendall, Assistant Principal Richard Harlow Gloria dePasquale 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 Harold Robinson, 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 Some members of the string sections voluntarily rotate seating on a periodic basis.

TROMBONES 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

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

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 Jeffry Kirschen Ernesto Tovar Torres Shelley Showers

PIANO AND CELESTA Kiyoko Takeuti

KEYBOARDS Davyd Booth

HARP Elizabeth Hainen, Principal

LIBRARIANS Nicole Jordan, Principal Steven K. Glanzmann

STAGE PERSONNEL James J. Sweeney, Jr., Manager Dennis Moore, Jr.

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NEW YORK PHILHARMONIC

FLUTES

JAAP van ZWEDEN

Robert Langevin Principal The Lila Acheson Wallace Chair Alison Fierst* Yoobin Son Mindy Kaufman The Edward and Priscilla Pilcher Chair

Music Director

PICCOLO

Mindy Kaufman

Leonard Bernstein Laureate Conductor, 1943–1990

Kurt Masur Music Director Emeritus, 1991–2015

VIOLINS

Frank Huang Concertmaster The Charles E. Culpeper Chair Sheryl Staples Principal Associate Concertmaster The Elizabeth G. Beinecke Chair Michelle Kim Assistant Concertmaster The William Petschek Family Chair Quan Ge Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair Lisa GiHae Kim Kuan Cheng Lu Kerry McDermott Su Hyun Park Anna Rabinova Fiona Simon The Shirley Bacot Shamel Chair Sharon Yamada Elizabeth Zeltser The William and Elfriede Ulrich Chair Yulia Ziskel The Friends and Patrons Chair Qianqian Li Principal Lisa Kim* In Memory of Laura Mitchell Soohyun Kwon The Joan and Joel I. Picket Chair Duoming Ba Hannah Choi Marilyn Dubow The Sue and Eugene Mercy, Jr. Chair Dasol Jeong Hyunju Lee Kyung Ji Min Joo Young Oh Marié Schwalbach Na Sun The Gary W. Parr Chair Jin Suk Yu Andi Zhang

VIOLAS

OBOES

Liang Wang Principal The Alice Tully Chair Sherry Sylar* Robert Botti The Lizabeth and Frank Newman Chair Ryan Roberts

ENGLISH HORN

Cynthia Phelps Principal The Mr. and Mrs. Frederick P. Rose Chair Rebecca Young* The Joan and Joel Smilow Chair Cong Wu** The Norma and Lloyd Chazen Chair Dorian Rence

Ryan Roberts

Leah Ferguson Katherine Greene The Mr. and Mrs. William J. McDonough Chair Vivek Kamath Peter Kenote Kenneth Mirkin Robert Rinehart The Mr. and Mrs. G. Chris Andersen Chair

E-FLAT CLARINET

CELLOS

Judith LeClair Principal The Pels Family Chair Kim Laskowski* Roger Nye The Rosalind Miranda Chair in memory of Shirley and Bill Cohen

Carter Brey Principal The Fan Fox and Leslie R. Samuels Chair Eileen Moon-Myers* The Paul and Diane Guenther Chair Patrick Jee Elizabeth Dyson The Mr. and Mrs. James E. Buckman Chair Alexei Yupanqui Gonzales Maria Kitsopoulos The Secular Society Chair Sumire Kudo Qiang Tu Nathan Vickery Ru-Pei Yeh The Credit Suisse Chair in honor of Paul Calello

BASSES

Timothy Cobb Principal Max Zeugner* The Herbert M. Citrin Chair Blake Hinson** Satoshi Okamoto Randall Butler The Ludmila S. and Carl B. Hess Chair David J. Grossman Orin O’Brien The Secular Society Chair Isaac Trapkus Rion Wentworth

CLARINETS

Anthony McGill Principal The Edna and W. Van Alan Clark Chair Pascual Martínez Forteza*** The Honey M. Kurtz Family Chair Amy Zoloto

TROMBONES

Joseph Alessi Principal The Gurnee F. and Marjorie L. Hart Chair Colin Williams* David Finlayson The Donna and Benjamin M. Rosen Chair

BASS TROMBONE

George Curran The Daria L. and William C. Foster Chair

TUBA

Alan Baer Principal

TIMPANI

Markus Rhoten Principal The Carlos Moseley Chair Kyle Zerna**

PERCUSSION

Christopher S. Lamb Principal The Constance R. Hoguet Friends of the Philharmonic Chair Daniel Druckman* The Mr. and Mrs. Ronald J. Ulrich Chair Kyle Zerna

HARP

Pascual Martínez Forteza

Nancy Allen Principal

BASS CLARINET

KEYBOARD

Amy Zoloto

In Memory of Paul Jacobs

SAXOPHONE

HARPSICHORD

BASSOONS

PIANO

Dan Goble+

Paolo Bordignon

Eric Huebner The Anna-Maria and Stephen Kellen Piano Chair

ORGAN Kent Tritle

HONORARY MEMBERS OF THE SOCIETY Emanuel Ax Stanley Drucker Zubin Mehta

NEW YORK PHILHARMONIC

Peter W. May and Oscar L. Tang Co-Chairmen Deborah Borda Linda and Mitch Hart President and CEO Adam W. Cox Executive Director Isaac Thompson Managing Director Justin Brown Vice President, Production and Venues Patrick Castillo Vice President, Artistic Planning Adam Crane Vice President, External Affairs John Haley Senior Vice President for Philanthropy and Special Advisor to the President Jen Luzzo Director, Public Relations Patrick O’Reilly Operations Associate Brendan Timins Director of Touring and Operations Galiya Valerio Assistant to the Music Director Ankush Bahl Residency Assistant Conductor Robert W. Pierpont Stage Crew Robert Sepulveda Stage Crew

LIBRARIANS

Lawrence Tarlow Principal Sara Griffin**

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

Richard Deane Acting Principal Leelanee Sterrett*** R. Allen Spanjer The Rosalind Miranda Chair _____ The Ruth F. and Alan J. Broder Chair Alana Vegter+ Chad Yarbrough+

ORCHESTRA PERSONNEL

Steinway is the Official Piano of the New York Philharmonic.

TRUMPETS

Lawrence Rock

CONTRABASSOON Mark Romatz+

HORNS

Christopher Martin Principal The Paula Levin Chair Matthew Muckey* Ethan Bensdorf Thomas Smith

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DeAnne Eisch Orchestra Personnel Manager

STAGE REPRESENTATIVE Joseph Faretta

AUDIO DIRECTOR * Associate Principal ** Assistant Principal *** Acting Associate Principal + Replacement / Extra The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster.

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

Announcing our nine state-of-the-art residences, located steps away from the gondola in Lionshead Village.

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LIONSHEAD | 745 Forest Road #B 4 Beds | 5 Baths | 3,667 sq.ft. $10,500,000 | 745BForestRoad.com

LAKE CREEK | 40 acres 6 Beds | 8 Baths | 10,126 sq. ft. $14,500,000 | HolyCrossRanch.com

LIVE JAZZ RETURNS TO VAIL THIS SUMMER WITH A STELLAR LINEUP OF OUTDOOR PERFORMANCES! Headliner series on Thursday evenings

Free outdoor performances on Sunday evenings

Vail Jazz Party on Labor Day weekend

VIEW LINEUP AND GET TICKETS AT VA I L JA Z Z .O R G *All shows will be held in accordance with state and local health guidelines and may be subject to change. See VailJazz.org for the most current information.

ARTISTS & ENSEMBLES Jean-Efflam Bavouzet (piano) a native of France, regularly performs with such orchestras as

the Cleveland Orchestra, San Francisco Symphony, London Philharmonic, BBC Symphony, and NHK Symphony. His continuing collaboration with Manchester Camerata recently included an extensive tour of China. He appeared at Carnegie Hall as part of a major North American tour with the London Philharmonic under Vladimir Jurowski. He has given recitals at the Louvre, Wigmore Hall, and the Verbier Festival. The pianist records exclusively for Chandos, and his recordings have garnered Gramophone Awards, BBC Music Magazine Awards, a Diapason d’Or and Choc de l’année.

Alessio Bax (piano) won First Prize at both the Leeds and Hamamatsu International Piano Competitions, and is now a familiar face on five continents as a recitalist, chamber musician, and concerto soloist. He has appeared with the London, Royal, and St. Petersburg Philharmonic Orchestras, the Boston, Dallas, Cincinnati, Sydney, and City of Birmingham Symphony Orchestras, and the NHK Symphony, collaborating with such eminent conductors as Alsop, Ashkenazy, Davis, Rattle, Temirkanov, and van Zweden.

Joshua Bell (violin) a native of Bloomington, Indiana, came to national attention at 14 when he debuted with Riccardo Muti and The Philadelphia Orchestra, and is now celebrated worldwide. His credits include more than forty award-winning recordings; an Oscar-winning film score; and a famous incognito appearance in a D.C. Metro Station, which became the subject of a Pulitzer Prize-winning feature in the Washington Post. This is his fourth summer at Bravo! Vail performing as Music Director of the Academy of St Martin in the Fields, which he took over from founder Sir Neville Marriner in 2011.

Carter Brey (cello) was appointed Principal Cello, The Fan Fox and Leslie R. Samuels Chair, of the New York Philharmonic in 1996. He has since appeared with the orchestra as soloist almost every season, and was featured during The Bach Variations: A Philharmonic Festival, giving two performances of Bach’s six cello suites. He has made solo appearances with virtually all of America’s major orchestras. A member of the New York Philharmonic String Quartet, he also appears regularly with the Tokyo and Emerson string quartets, The Chamber Music Society of Lincoln Center, and festivals worldwide. He made his Bravo! Vail solo debut in 2005 in Strauss’s Don Quixote, and his most recent Bravo! Vail solo appearance was in 2013 in Dvořák’s Cello Concerto. His violoncello is a 1754 Guadagnini.

Yefim Bronfman (piano) emigrated to Israel from the Soviet Union in 1973. He has given recitals around the world, including his acclaimed debut at Carnegie Hall in 1989, and in 1991 gave joint recitals with Isaac Stern in Russia. His chamber music partners have included Pinchas Zukerman, Martha Argerich, Magdalena Kožená, Anne-Sophie Mutter and Emmanuel Pahud. Nominated for six GRAMMY Awards, he won with Esa-Pekka Salonen and the Los Angeles Philharmonic for their recording of the Bartok concertos. He has been coming to Bravo! Vail since 2012, and was appointed to the piano faculty of the Curtis Institute of Music in 2020.

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Dominic Cheli (piano) first prize winner of the 2017 Concert Artists Guild Competition, recently gave his Carnegie Hall recital debut. The St. Louis native recently debuted at the Ravinia Festival, Mostly Mozart Festival, and Virginia Arts Festival, and performed with Pianist Orli Shaham at Le Poisson Rouge. He recently recorded his second CD, on Naxos, of music of Liszt/Schubert; his first CD featured music of Clementi. Upcoming engagements include appearances with the Seattle Symphony, Ravinia, his debut at Alice Tully Hall, and recitals in Philadelphia and Washington D.C.

Stéphane Denève (conductor) is well known to Bravo! Vail audiences from his many appearances as Principal Guest Conductor of the Philadelphia Orchestra, and championing of the music of John Williams. He is Music Director of both the St. Louis Symphony and the Brussels Philharmonic, where he also directs the Centre for Future Orchestral Repertoire. Prior posts include Chief Conductor of the Stuttgart Radio Symphony Orchestra and Music Director of the Royal Scottish National Orchestra. He has a special affinity for music of his native France and is a passionate advocate of 21st Century music.

James Ehnes (violin) a native of Canada, debuted with Orchestre Symphonique de Montréal at thirteen, and later graduated from Juilliard, winning its Peter Mennin Prize. Founder of the Ehnes String Quartet, he also directs the Seattle Chamber Music Festival. He has won GRAMMY Awards for recordings of the Barber, Korngold, and Walton concertos with the Vancouver Symphony under Bramwell Tovey and the Kernis concerto with the Seattle Symphony under Ludovic Morlot. He last appeared at Bravo! Vail in 2019 performing the Beethoven Violin Concerto with the Dallas Symphony Orchestra. He plays the 1715 “Marsick” Stradivarius.

Escher Quartet (string quartet) formed in 2005, comprise Adam Barnett-Hart and Brendan Speltz, violins, Pierre Lapointe, viola, and Brook Speltz, cello. Members of the Chamber Music Society of Lincoln Center, they toured with that group to China. The Escher was invited by Pinchas Zukerman and Itzhak Perlman to be Quartet in Residence at each artist’s summer festival, and is now string quartet in residence at Southern Methodist University. For the BIS label the quartet has recorded the complete Mendelssohn quartets and quartets by Dvorák, Borodin, and Tchaikovsky, and recorded the Zemlinsky quartets for Naxos.

David Finckel (cello) and Wu Han (piano) are recipients of Musical America’s Musicians of the Year award, one of the highest honors granted by the music industry. Their musical life as performing artists, artistic directors, record company and media entrepreneurs, and mentors of young talent is global in scope. They are currently in their third term as Artistic Directors of The Chamber Music Society of Lincoln Center, and are the founders of both Music@Menlo in Silicon Valley and of Chamber Music Today, a festival held in Seoul, South Korea. This concert marks their first appearance as a duo at the Bravo! Vail Music Festival.

Zlatomir Fung (cello) was the first American in four decades, and youngest musician ever, to win First Prize at the International Tchaikovsky Competition Cello Division. Mr. Fung was a winner of the 2017 Young Concert Artists International Auditions and the 2017 Astral National Auditions, among other top prizes. He was selected as a 2016 U.S. Presidential Scholar for the Arts and was awarded the 2016 Landgrave von Hesse Prize at the Kronberg Academy Cello Masterclasses. He has been featured on National Public Radio’s Performance Today and has appeared on From the Top six times.

138 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Augustin Hadelich (violin) was born in Italy to German parents. He came to national attention as the Gold Medal winner of the Indianapolis Competition in 2006. Among his many honors is a GRAMMY Award for his recording of Dutilleux’s Violin Concerto with the Seattle Symphony under Ludovic Morlot, and in 2018 he was named Musical America’s Instrumentalist of the Year. In worldwide demand today as soloist, he gave the American premiere of Thomas Adès’s new cadenzas for the Ligeti Concerto, with Adès conducting the Boston Symphony. He first appeared at Bravo! Vail in 2010 with the New York Philharmonic.

Juliette Kang (violin) a native of Canada, was appointed first associate concertmaster of the Philadelphia Orchestra in 2005, having served as assistant concertmaster of the Boston Symphony and a member of the Metropolitan Opera Orchestra. Solo engagements have included the San Francisco Symphony, l’Orchestre National de France, Baltimore Symphony, and the major Canadian orchestras. She was presented at Carnegie Hall in 1994 in a recital that was recorded and released on CD, and has recorded the Schumann and Wieniawski concertos with the Vancouver Symphony. She is member of the Clarosa Quartet.

James M. Keller (program annotator) recently completed his 21st 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. In demand as a lecturer and interviewer, 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.

Kyu-Young Kim (violin) is artistic director and principal violin of The Saint Paul Chamber Orchestra, and one of the most versatile and accomplished musicians of his generation. His appointment as the SPCO’s Artistic Director in January 2016 marks the first time a playing member has been tapped to take the artistic helm of a major American orchestra. Since assuming his dual role in 2013, the SPCO has toured throughout the U.S. and to Europe to great critical acclaim. It also won a GRAMMY Award in 2018 for its recording of Schubert’s Death and the Maiden.

Fabio Luisi (conductor) is a maestro of major international standing. He launched his tenure as Louise W. & Edmund J. Kahn Music Director of the Dallas Symphony Orchestra at the start of the 2020/21 season, and his contract was recently extended through the 28/29 season. He is also Principal Conductor of the Danish National Symphony Orchestra. He led the Zurich Opera for nine years and served for six seasons as Principal Guest Conductor of The Metropolitan Opera. His live recording of Wagner’s Siegfried and Gðtterdämmerung with The Met won a 2012 GRAMMY Award.

Christopher Martin (trumpet) joined the New York Philharmonic as Principal Trumpet, The Paula Levin Chair, in September 2016. He served as principal trumpet of the Chicago Symphony Orchestra (CSO) for 11 seasons, and enjoyed a distinctive career of almost 20 years in many of America’s finest orchestras, including as principal trumpet of the Atlanta Symphony Orchestra and associate principal trumpet of The Philadelphia Orchestra. He made his New York Philharmonic solo debut in October 2016, performing Ligeti’s The Mysteries of the Macabre, led by then Music Director Alan Gilbert.

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Anne-Marie McDermott (piano) has been artistic director of Bravo! Vail since 2011. She enjoys performing, recording, commissioning and planning an awe-inspiring variety of music, and is currently working on the complete Mozart Concertos with the Odense Symphony in Denmark for release on Bridge Records. She recently performed her first complete Beethoven Concerto cycle with Sante Fe Pro Musica, where she also serves as Artistic Director. A highly sought after chamber musician, she regularly performs with the Chamber Music Society of Lincoln Center, where she has been a member since 1995. At Bravo! this summer she will collaborate for the first time with conductor Yannick NézetSéguin, performing Mozart.

©JIM MCGUIRE

Edgar Meyer (double bass), a MacArthur Award winner, straddles the classical and bluegrass worlds. The Goat Rodeo Sessions, teaming him with Yo-Yo Ma, Chris Thile, and Stuart Duncan, won a GRAMMY Award. With Ma and Mark O’Connor he recorded Appalachia Waltz and the GRAMMYwinning Appalachian Journey. For Bravo! Vail’s 30th Anniversary in 2017, he was commissioned by the festival to compose a work for Joshua Bell, which the violinist premiered with the Academy of St. Martin in the Fields.

Ricardo Morales (clarinet) a native of San Juan, joined the Philadelphia Orchestra as principal clarinet in 2003 and made his solo debut with the Orchestra in 2004. Previously he was principal clarinet of the Metropolitan Opera Orchestra, with which he soloed at Carnegie Hall. With the U.S. Marine Band, he recorded Jonathan Leshnoff’s Clarinet Concerto, commissioned for him by the Philadelphia Orchestra. He has been a featured soloist with the Chicago Symphony, among several other orchestras. His recent recordings include a performance with the Pacifica Quartet, which was nominated for a Latin GRAMMY Award.

Oliver Neubauer (violin) returns to Bravo! Vail having performed as guest concertmaster with the Adelphi Orchestra, whose 2020 competition he won. This summer he also attends the Perlman Music Program Chamber Workshop and the Verbier Festival Academy, and returns to Music from Angel Fire. In New York City he has performed at Carnegie’s Weill Recital Hall on numerous occasions as well as Symphony Space, American Museum of Natural History, Neue Gallery, Alice Tully Hall, and David Geffen Hall. Past appearances also include Summerfest La Jolla, Music@Menlo, and Chamber Music Northwest.

New York Philharmonic String Quartet comprises four of the orchestra’s principal string players: Concertmaster Frank Huang (The Charles E. Culpeper Chair), Principal Associate Concertmaster Sheryl Staples (The Elizabeth G. Beinecke Chair), Principal Viola Cynthia Phelps (The Mr. and Mrs. Frederick P. Rose Chair), and Principal Cello Carter Brey (The Fan Fox and Leslie R. Samuels Chair). The group formed in January 2017 during the Philharmonic’s 175th anniversary season. It made its debut as the solo ensemble in John Adams’s Absolute Jest in New York and reprised the work on the Orchestra’s spring tour to Europe.

Yannick Nézet-Séguin (conductor) is music director of The Philadelphia Orchestra and the Metropolitan Opera, artistic director and principal conductor of Montreal’s Orchestre Métropolitain, 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 Giulini; he also studied at Westminster Choir College. Yannick is an exclusive Deutsche Grammophon recording artist. His honors include Musical America’s 2016 Artist of the Year and six honorary doctorates. Read Yannick’s full bio at www.philorch.org/conductor.

140 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Kelli O’Hara (vocalist) won Broadway’s coveted Tony Award for her portrayal of Anna in Lincoln Center’s 2015 revival of The King and I. She received Tony nominations for The Bridges of Madison County, Nice Work If You Can Get It, South Pacific, The Pajama Game, and The Light in the Piazza, and an Emmy nomination for The Accidental Wolf. Ms. O’Hara made her Metropolitan Opera debut in The Merry Widow and returned in Così fan tutte. She opened the New York Philharmonic’s 2019-20 season singing Barber’s Knoxville: Summer of 1915. Her solo recordings have garnered two GRAMMY nominations.

Chaeyoung Park (piano) born in South Korea, moved to Kansas at age ten. In 2019 she was the first female Korean pianist ever to take First Place in the Hilton Head International Piano Competition. She made her solo recital debut at Carnegie’s Weill Recital Hall with the Hilton Head Symphony. She has performed with the Juilliard Chamber Orchestra, Rochester Philharmonic, Utah Symphony, New Millennium Symphony, Canton Symphony, and all major orchestras in Kansas. Her debut album on the Steinway label features the complete set of Ligeti’s Musica Ricercata and Brahms’s Third Piano Sonata.

Tabitha Rhee (viola) is pursuing a Bachelor of Music degree at The Juilliard School, where she studies with Misha Amory and Heidi Castleman and is a recipient of the Kovner Fellowship. She has performed as a soloist with the Madison, Milwaukee, and Juilliard Orchestras, among others. She has attended the Music@Menlo International Program and Aspen Music Festival, and attends the Verbier Festival Academy this summer. Previously, she was a student of Roland and Almita Vamos at the Music Institute of Chicago Academy.

Gil Shaham (violin) regularly performs with the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Israel Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Orchestre de Paris, and San Francisco Symphony, and has multi-year residencies with the Orchestras of Montreal, Stuttgart and Singapore. Recent highlights include his recording and performances of Bach’s complete sonatas and partitas for solo violin. He and duo partner Akira Eguchi give recitals throughout North America, Europe, and Asia. Nominated for eleven GRAMMY Awards, Mr. Shaham won a 1998 GRAMMY for his recording of American chamber works. He was named “Instrumentalist of the Year” by Musical America in 2012.

Hyobi Sim (viola) is the associate principal violist of The Saint Paul Chamber Orchestra. A prizewinner at the Tertis International Viola Competition, the Music Chunchu Competition and the Seoul Arts Center Competition, Sim has made solo appearances with orchestras such as the Czech Philharmonic Orchestra, Gyungki Philharmonic Orchestra, Gyungchal Symphony Orchestra, and the Curtis Chamber Orchestra. As an active chamber musician, Sim has performed with Steven Tenenbom, Ida Kavafian, Peter Wiley, Steven Isserlis, Jeremy Denk, Michael Kannen, Daniel Phillips, Pamela Frank, Roger Tapping and others.

Shayna Steele (vocalist) born in California and raised in Mississippi, appeared on Broadway in Rent, Jesus Christ Superstar and the original cast of Hairspray. A vocalist with the GRAMMY-nominated Broadway Inspirational Voices, she tours regularly as a featured vocalist with GRAMMY winning trumpeter Chris Botti. Previously, she performed as background vocalist for Bette Midler, John Legend, Queen Latifah, Dolly Parton, Rihanna, Kelly Clarkson, and Steely Dan. Her sophomore album RISE reached #4 on the U.S. iTunes jazz charts. Since 2017, she has performed with the Dallas Symphony, Detroit Symphony and Long Beach Symphony.

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Byron Stripling (trumpet) Principal Pops conductor of the Pittsburgh Symphony, is also artistic director and conductor of the Columbus Jazz Orchestra. He was featured soloist on the PBS special “Evening at Pops.” Since his Carnegie Hall debut with the New York Pops, he has performed with orchestras around the world. He was chosen for the lead role of the Broadway-bound musical, “Satchmo.” Former lead trumpeter and soloist with the Count Basie Orchestra, he performed with the bands of Dizzy Gillespie, Woody Herman, Dave Brubeck, and Lionel Hampton, and The Lincoln Center Jazz Orchestra and Carnegie Hall Jazz Band.

Nathalie Stutzmann (conductor) begins her tenure as the Philadelphia Orchestra’s Principal Guest Conductor this coming season. She is Chief Conductor of Norway’s Kristiansand Symphony Orchestra, and was Principal Guest Conductor of Ireland’s RTE National Symphony Orchestra from 2017 to 2020. Upcoming guest conductor stints include the Royal Stockholm Philharmonic, Atlanta Symphony, San Francisco Symphony, Minnesota Orchestra, Los Angeles Philharmonic, Seattle Symphony, Pittsburgh Symphony, Orchestre Métropolitain Montreal, London Symphony, and Royal Liverpool Philharmonic. A highly acclaimed contralto, she makes her Metropolitan Opera conducting debut in 2021-22. She is a Chevalier in her native France’s “Légion d’Honneur.”

Conrad Tao (piano), a native of Urbana, Illinois, made his Bravo! Vail debut in 2019 playing Beethoven’s Piano Concerto No. 2 with the New York Philharmonic. He was awarded an Avery Fisher Career Grant in 2012, and in 2018 was named a Lincoln Center Emerging Artist. While he was the Dallas Symphony’s artist-in-residence as a composer, the orchestra premiered his The world is very different now, commissioned in observance of the 50th anniversary of President Kennedy’s assassination. In 2018 the New York Philharmonic premiered his Everything Must Go, a work commissioned by the orchestra.

Jean-Yves Thibaudet (piano) has performed around the world for more than thirty years, and is a frequent guest of Bravo! Vail. Passionate about fostering young talent, he is the first-ever Artist-inResidence at the Colburn School in Los Angeles, where he resides. Last year he was named Special Representative for the promotion of French Creative and Cultural Industries in Romania. Having recorded more than fifty albums, he has been nominated for two GRAMMY Awards and has won the Schallplattenpreis, Diapason d’Or, Choc du Monde de la Musique, a Gramophone Award, two ECHO awards, and Edison Prize.

Bramwell Tovey (conductor) is the GRAMMY and JUNO Award-winning Principal Conductor of London’s BBC Concert Orchestra, Music Director Emeritus of the Vancouver Symphony Orchestra, and Artistic Advisor of the Rhode Island Philharmonic. His many New York Philharmonic performances have included annual appearances at Bravo! Vail since 2007, and the nationally telecast 2017 New Year’s Eve tribute to Leonard Bernstein. A Fellow of London’s Royal Academy of Music and Toronto’s Royal Conservatory of Music, he holds honorary degrees from four universities. In 2013 he was appointed honorary Officer of the Order of Canada for services to music.

Daniil Trifonov (piano) made his Bravo! Vail debut in 2017, stepping in at the last minute to perform Chopin with the New York Philharmonic. During the 2010-11 season, at the age of 20, he won medals at three of the world’s most influential piano competitions—the Chopin Competition in Warsaw, the Rubinstein Competition in Tel Aviv, and the Tchaikovsky Competition in Moscow. In 2016 he received Gramophone’s Artist of the Year Award, and in 2018 his recording of Liszt’s Transcendental Études won a GRAMMY Award for Best Classical Instrumental Solo.

142 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Jeff Tyzik, (conductor/composer/arranger) was a member of Chuck Mangione’s jazz orchestra in the 1970s. He has been Principal Pops Conductor of the Rochester Philharmonic for more than a quarter century. He also serves in that role for the symphonies of Dallas, Detroit, and Oregon, and The Florida Orchestra. At Bravo! Vail, he has conducted jazz, classical, Motown, Broadway, film, dance, Latin and swing, and the annual Fourth of July celebration. He has produced and composed theme music for major television networks and released six of his own albums. He produced the GRAMMY Award-winning “The Tonight Show Band” with Doc Severinsen, Vol. 1.

Verona Quartet comprises Jonathan Ong and Dorothy Ro, violins, Abigail Rojansky, viola, and Jonathan Dormand, cello. The group made its Bravo! Vail debut in 2019, performing Michael Gilbertson’s Quartet, a finalist for the 2018 Pulitzer Prize in Music. In 2020 the quartet earned Chamber Music America’s coveted Cleveland Quartet Award. The ensemble serves as Quartet-in-Residence at Oberlin College and Conservatory, the Lunenberg Academy of Music Performance, and Indiana University Summer String Academy. Its collaborations include one with the GRAMMY-winning folk supergroup I’m With Her.

Viano String Quartet, First Prize winners of the 2019 Banff International String Quartet Competition, is composed of Lucy Wang and Hao Zhou, violins, Aiden Kane, viola, and Tate Zawadiuk, cello. Formed in 2015 at the Colburn Conservatory of Music, where they have been Ensemble-inResidence, the quartet will be in residence at the Meadows School of Music at Southern Methodist University through the 2022-23 season. The ensemble has performed in Wigmore Hall, Place Flagey, Konzerthaus Berlin, and Segerstrom Center for the Arts, and in 2019-20 debuted in Paris, Bremen, Vancouver, and Beijing among other cities.

Shai Wosner (piano) has appeared with the major orchestras of Atlanta, Baltimore, Chicago, Cleveland, Dallas, Los Angeles, Milwaukee, Philadelphia, Pittsburgh, Ottawa, San Francisco, and Toronto. He has also appeared led the Los Angeles Chamber Orchestra from the keyboard, and soloed with the BBC orchestras, Bournemouth Symphony, Frankfurt Radio Symphony, Gothenburg Symphony, Staatskapelle Berlin, and Vienna Philharmonic. He has recorded Beethoven’s complete sonatas and variations for cello and piano with Ralph Kirshbaum, and works by Bartók, Janáček, and Kurtág with longtime duo partner Jennifer Koh. He recently completed his recordings of Schubert’s last six sonatas.

Jaap van Zweden (conductor) is Music Director of the New York Philharmonic and the Hong Kong Philharmonic. He regularly guest conducts leading orchestras including the Orchestre de Paris, Amsterdam’s Royal Concertgebouw, Cleveland Orchestra, Chicago Symphony, and Los Angeles Philharmonic. Born in Amsterdam, early in his career he served as the Royal Concertgebouw’s youngest-ever concertmaster. He began his conducting career in 1996 and has received many honors including the Concertgebouw Prize (2020). In 1997 he and his wife, Aaltje, established the Papageno Foundation to serve children and young adults with autism.

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WAYS TO GIVE BEQUESTS When you include a bequest to the Festival in your estate plans, you make an investment in Bravo! Vail’s future.

GIFTS TO THE ENDOWMENT JOIN THE BRAVO! VAIL COMMUNITY The Festival relies on its incredible donors to continue its legacy of musical excellence and fulfill its mission to enrich peoples’ lives through the power of music. There are many ways to join this community of arts supporters and make an impact.

ONLINE AUCTION & PADDLE RAISE Support Bravo! Vail’s year round Education & Engagement Programs through the online auction at bravovail.org/auction.

ANNUAL FUND Your gift ensures that music continues to resound throughout the Vail Valley.

ORCHESTRAL UNDERWRITING The world’s top orchestras come to Vail each summer. Designate your gift to support your favorite.

EDUCATION PROGRAMS Support Bravo! Vail’s mission at work by underwriting the many education programs which make music accessible to all.

THE NEW WORKS FUND The New Works Fund serves two purposes: to underwrite future premieres of new music and to present music that may be unfamiliar to Vail audiences. 144 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Create a legacy that lasts in perpetuity when you contribute to Bravo! Vail’s Endowment.

TRIBUTE AND MEMORIAL GIFTS Give a meaningful gift to a music lover, or honor the memory of a loved one.

CORPORATE Enjoy benefits like donor events and sponsor recognition while aligning your business with other arts supporters.

GIFTS OF STOCK Donating stock and securities can help maximize tax benefits.

QUALIFIED CHARITABLE DISTRIBUTION Donors aged 70 ½ or older can donate directly to Bravo! Vail from their IRA and receive tax benefits.

IN-KIND GIFTS Donations of products, housing, goods, and services are an impactful way to show your support.

THE GOLDEN CIRCLE

he 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) Berry Charitable Foundation* Virginia J. Browning* Linda and Mitch Hart* Billie and Ross McKnight* June and Paul Rossetti* The Sturm Family and ANB Bank** Town of Vail****** FIRST CHAIR ($50,000 and above) Gina Browning and Joe Illick* Marijke and Lodewijk de Vink**** The Francis Family***** Cathy and Howard Stone***** Betsy Wiegers***** SYMPHONY ($40,000 and above) Jayne and Paul Becker***** Julie and Tim Dalton*** Georgia and Don Gogel** Lyn Goldstein***** Mr. Claudio X. Gonzalez**** Judy and Alan Kosloff***** Amy and James Regan***** Nancy and Harold Zirkin* ENSEMBLE ($30,000 and above) Anonymous*** Barbara and Barry Beracha** Angela and Peter Dal Pezzo* John Dayton*** Kathy and David Ferguson Stephanie and Lawrence Flinn, Jr.***** The Sidney E. Frank Foundation** Vera and John Hathaway** Ann Hicks* Cynnie and Peter Kellogg**** Patricia and Peter Kitchak* Donna and Patrick Martin* Leni and Peter May***** Barbie and Tony Mayer***** Shirley and William S. McIntyre, IV**** Ann and Alan Mintz**** Kathie Mundy and Fred Hessler Marcy and Stephen Sands** Vail Valley Foundation***** Carole A. Watters*** IMPRESARIO ($25,000 and above) Amy and Charlie Allen* Dierdre and Ronnie Baker***

Doe Browning** Carole C. and CDR. John M. Fleming Karen and Michael Herman*** Lyda Hill**** Dhuanne and Douglas Tansill**** Martin Waldbaum**** Sandra and Greg Walton** Barb and Dick Wenninger** VIRTUOSO ($20,000 and above) Marilyn Augur**** Susan and Van Campbell*** Amy and Steve Coyer*** Penny and Bill George**** Tom Grojean***** Honey M. Kurtz*** LIV Sotheby’s International Realty** Rose and Howard Marcus***** Kay and Bill Morton***** Didi and Oscar Schafer*** Carole and Peter Segal*** Marcy and Gerry Spector*** Carol and Pat Welsh**** OVATION ($15,000 and above) Anonymous* Letitia and Christopher Aitken** Alpine Bank*** Jean and Harry Burn* Jeri and Charlie Campisi**** Norma and Charles Carter***** Ron Davis* Susan and John Dobbs**** Debbie and Jim Donahugh** Sandi and Leo Dunn*** Cookie and Jim Flaum**** Nancy Gage and Allan Finney* Holly and Ben Gill**** Mrs. Jean Graham-Smith and Mr. Philip Smith***** Jane and Michael Griffinger***** Anne and Hank Gutman** Melinda and Tom Hassen* Alexia and Jerry Jurschak* Patricia and William Kleh Dr. and Mrs. Frederick Kushner** Mr. John McDonald and Mr. Rob Wright**** Museo Kaluz* Margaret and Alex Palmer** Linda Farber Post and Dr. Kalmon D. Post*** Martha Dugan Rehm and Cherryl Hobart**** Susan and Richard Rogel***** Sandra and Alejandro Rojas Sally and Byron Rose*** Terie and Gary Roubos****

Each * denotes five years of consecutive donations.

Mary Sue and Mike Shannon** Sue and Marty Solomon and P&S Equities, Inc.*** Margie and Chuck Steinmetz**** Barbara and Carter Strauss* Lisa Tannebaum and Don Brownstein* Leewood and Tom Woodell* ALLEGRO ($10,000 and above) Anonymous* James C. Allen Charitable Foundation Pamela and David Anderson** Herbert and Sharron Bank; Penny Bank**** Diane and Hal Brierley Carol and Harry Cebron* Caryn Clayman*** Kathy Cole** Nancy and Andy Cruce**** Kathleen and Jack Eck**** Catherine and Philip Edwards Liz and Tommy Farnsworth**** Susan and Harry Frampton***** Laura and Bill Frick***** Guy Griffin* Martha Head***** Karen and Jay Johnson** June and Peter Kalkus***** Elaine and Art Kelton***** Jan and Lee Leaman** Diane and Lou Loosbrock* Nancy and Richard Lubin*** Ferrell and Chi McClean** Brenda and Joe McHugh**** Sarah and Peter Millett* Jean and Ray Oglethorpe Marlys and Ralph Palumbo* Mary Lou Paulsen and Randy Barnhart** Teri Perry***** Carolyn and Steve Pope**** Janet Pyle and Paul Repetto* Ann and Tom Rader* Wendy and Paul Raether* Mr. and Mrs. Ernest Scheller, Jr.*** Patti Shwayder-Coffin and Steve Coffin Donna and Randy Smith Brooke and Hap Stein**** The Stolzer Family Michael Sylvester*** Bea Taplin*** Nancy Traylor***** Debbie and Fred Tresca** US Bank**** U.S. Bank Foundation** Anne and Chris Wiedenmayer** Marion Woodward, in memory of James Woodward

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

THE FRIENDS OF THE SAINT PAUL CHAMBER ORCHESTRA MAESTRO ($100,000 and above) Berry Charitable Foundation* FIRST CHAIR ($50,000 and above) Town of Vail****** ENSEMBLE ($30,000 and above) Marijke and Lodewijk de Vink**** IMPRESARIO ($25,000 and above) Virginia J. Browning* Patricia and Peter Kitchak* OVATION ($15,000 and above) Mrs. Jean Graham-Smith and Mr. Philip Smith*****

ALLEGRO ($10,000 and above) Patti Shwayder-Coffin and Steve Coffin The Sturm Family and ANB Bank** CRESCENDO ($5,000 and above) Shelby and Frederick Gans* Ann and William Lieff*** FORTISSIMO ($3,000 and above) Susan and Albert Weihl** Kathy and Jonathan Zeschin* CONCERTO ($1,500 and above) Amy and Steve Coyer*** Kathy and Dick McCaskill Debbie and Fred Tresca** Ellen and Ray van der Horst* Leewood and Tom Woodell* Nancy and Harold Zirkin*

SONATA ($750 and above) Gail and Jack Klapper OVERTURE ($350 and above) Alberta and Reese Johnson* Masako and Midori Oishi Carol and James Salbenblatt Marilyn and James H. Steane, II PRELUDE ($100 and above) Linda Lee Helena and Peter Leslie**** Tom Swarsen

THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA ENSEMBLE ($30,000 and above) Linda and Mitch Hart* Shirley and William S. McIntyre, IV**** Billie and Ross McKnight* Marcy and Stephen Sands** IMPRESARIO ($25,000 and above) Lyda Hill**** VIRTUOSO ($20,000 and above) Marilyn Augur**** OVATION ($15,000 and above) Carole C. and CDR. John M. Fleming Alexia and Jerry Jurschak* Margie and Chuck Steinmetz**** Carole A. Watters*** ALLEGRO ($10,000 and above) Diane and Hal Brierley John Dayton*** Brenda and Joe McHugh**** Donna and Randy Smith Marcy and Gerry Spector*** Cathy and Howard Stone***** The Sturm Family and ANB Bank**

SOLOIST ($7,500 and above) Carol and Ronnie Goldman** Bobbi and Richard Massman*** CRESCENDO ($5,000 and above) Edwina P. Carrington*** Peggy and Gary Edwards** Cindy Engles** Rebecca and Ron Gafford** Neal Groff***** Fanchon and Howard Hallam* Karen and Al Meitz* The Parker and Little Families Vicki Rippeto Debbie and Ric Scripps** Dr. and Mrs. Bill Weaver** Gena Whitten and Bob Wilhelm* Carolyn Wittenbraker and Arkay Foundation Nancy and Harold Zirkin* FORTISSIMO ($3,000 and above) Susan and Gordon Coburn Randi and Ed Halsell** Yon Y. Jorden Jere W. Thompson*** Leewood and Tom Woodell*

146 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

CONCERTO ($1,500 and above) Larry Abston Penny and Bill George**** Karen and Steve Livingston**** Patty and Denny Pearce** Margot Perot* SONATA ($750 and above) Meg and Jamie Duke Jane and Stephen Friedman Jane and Gerald Gamble* Reyes Family Karen and Marty Sosland OVERTURE ($350 and above) Lucy and Henry Billingsley Helen Neuhoff Butler Google Jane E. and Stanton Rosenbaum Jane and Chuck Schultz PRELUDE ($100 and above) Anonymous Priscilla and David Kellogg Marshall Gordon Carlos Gracia

THE FRIENDS OF THE FABULOUS PHILADELPHIANS FIRST CHAIR ($50,000 and above) Town of Vail******

SOLOIST ($7,500 and above) Sarah and Peter Millett*

IMPRESARIO ($25,000 and above) Virginia J. Browning* Karen and Michael Herman*** Sandra and Greg Walton** Betsy Wiegers*****

CRESCENDO ($5,000 and above) Christine and John Bakalar*** Dierdre and Ronnie Baker*** Dr. David Cohen* Jill and Al Douglass Laura and Jim Marx*** Mr. John McDonald and Mr. Rob Wright**** Linda Farber Post and Dr. Kalmon D. Post*** Barbara and Howard Rothenberg** Mr. and Mrs. Ernest Scheller, Jr.*** Elaine and Steven Schwartzreich SHS Solutions* Susan and Steven Suggs** Dhuanne and Douglas Tansill**** Nancy and Harold Zirkin*

VIRTUOSO ($20,000 and above) Susan and Van Campbell*** Donna and Patrick Martin* Cathy and Howard Stone***** OVATION ($15,000 and above) Anne and Hank Gutman** ALLEGRO ($10,000 and above) Anonymous*** John Dayton*** Susan and Richard Rogel***** Carole and Peter Segal*** The Sturm Family and ANB Bank**

FORTISSIMO ($3,000 and above) Shannon and Todger Anderson** Patricia and Lawrence Herrington Cathy and Graham Hollis** Michele and Jeffrey Resnick**

CONCERTO ($1,500 and above) Elia Buck and Caroline Rogers* Penny and Bill George**** Jessica and Igor Levental* SONATA ($750 and above) Barbara Earnest** Michelle Fitzgerald and Jonathan Guyton Kathy and Peter Huddleston Susan and Bruce Smathers*** Judy and John Stovall* OVERTURE ($350 and above) Anonymous Anonymous* Constance and Robert Anderson* Zeppelin Family Foundation PRELUDE ($100 and above) Molly Casey Bernice and John Davie** Melissa and Mike Demos Laura and Peter Frieder**** Brenda and Alan Himelfarb Coleen and Klaus Roggenkamp Pat and Tom Vernon

THE FRIENDS OF THE NEW YORK PHILHARMONIC FIRST CHAIR ($50,000 and above) Marijke and Lodewijk de Vink**** Town of Vail****** SYMPHONY ($40,000 and above) Julie and Tim Dalton*** Georgia and Don Gogel** Lyn Goldstein***** Mr. Claudio X. Gonzalez**** Linda and Mitch Hart* Billie and Ross McKnight* Amy and James Regan***** ENSEMBLE ($30,000 and above) Stephanie and Lawrence Flinn, Jr.***** Vera and John Hathaway** Cynnie and Peter Kellogg**** Leni and Peter May***** Barbie and Tony Mayer***** Ann and Alan Mintz**** June and Paul Rossetti* VIRTUOSO ($20,000 and above) Jayne and Paul Becker***** Amy and Steve Coyer*** Tom Grojean*****

Judy and Alan Kosloff***** Honey M. Kurtz*** Kay and Bill Morton***** Didi and Oscar Schafer*** Cathy and Howard Stone***** The Sturm Family and ANB Bank** Dhuanne and Doug Tansill**** Carol and Pat Welsh**** OVATION ($15,000 and above) Jean and Harry Burn* Jeri and Charlie Campisi**** Susan and John Dobbs**** Penny and Bill George**** Melinda and Tom Hassen* Patricia and William Kleh Museo Kaluz* Margaret and Alex Palmer** Martha Dugan Rehm and Cherryl Hobart**** Sandra and Alejandro Rojas Terie and Gary Roubos**** Barbara and Carter Strauss* Lisa Tannebaum and Don Brownstein*

Each * denotes five years of consecutive donations.

ALLEGRO ($10,000 and above) Pamela and David Anderson** Liz and Tommy Farnsworth**** Carole C. and CDR. John M. Fleming Laura and Bill Frick***** Martha Head***** Karen and Jay Johnson** June and Peter Kalkus***** Elaine and Art Kelton***** Dr. and Mrs. Frederick Kushner** Ferrell and Chi McClean** Mr. John McDonald and Mr. Rob Wright**** Jean and Ray Oglethorpe Carolyn and Steve Pope**** Linda Farber Post and Dr. Kalmon D. Post*** Ann and Tom Rader* Carole and Peter Segal*** Sue and Marty Solomon and P&S Equities, Inc.*** Marcy and Gerry Spector*** Michael Sylvester*** Anne and Chris Wiedenmayer** Nancy and Harold Zirkin*

147

FESTIVAL SUPPORT

he gifts listed below represent charitable donations to Bravo! Vail for the 2021 Season through May 15, 2021. The Board of Trustees expresses its sincere thanks to each supporter for making it possible for Bravo! Vail to achieve its mission.

PERMANENT RESTRICTED FUNDS The Artistic Excellence Fund Becker Violin Fund Best Friends of the Bravo! Vail Endowment Berry Charitable Foundation The Francis Family The Lyn and Phillip Goldstein Maestro Society The Lyn and Phillip Goldstein Piano Concerto Artist Project The Judy and Alan Kosloff Artistic Director Chair The New Works Fund The Betsy Wiegers Choral Fund, in honor of John W. Giovando

MAESTRO ($100,000 and above) Berry Charitable Foundation* Virginia J. Browning* Linda and Mitch Hart* Billie and Ross McKnight* June and Paul Rossetti* The Sturm Family and ANB Bank** Town of Vail******

FIRST CHAIR ($50,000 and above) Gina Browning and Joe Illick* Marijke and Lodewijk de Vink****(s) The Francis Family***** Cathy and Howard Stone***** Betsy Wiegers*****

SYMPHONY ($40,000 and above) Jayne and Paul Becker***** Julie and Tim Dalton*** Georgia and Don Gogel** Lyn Goldstein***** Mr. Claudio X. Gonzalez**** Judy and Alan Kosloff***** Amy and James Regan***** Nancy and Harold Zirkin* (s)

ENSEMBLE ($30,000 and above) Anonymous*** Barbara and Barry Beracha**(s) Angela and Peter Dal Pezzo* John Dayton*** Kathy and David Ferguson

Stephanie and Lawrence Flinn, Jr.***** The Sidney E. Frank Foundation** Vera and John Hathaway** Ann Hicks*(s) Cynnie and Peter Kellogg**** Patricia and Peter Kitchak* Donna and Patrick Martin* Leni and Peter May***** Barbie and Tony Mayer***** Shirley and William S. McIntyre, IV**** Ann and Alan Mintz**** Kathie Mundy and Fred Hessler Marcy and Stephen Sands** Vail Valley Foundation***** Carole A. Watters***

IMPRESARIO ($25,000 and above) Amy and Charlie Allen* Dierdre and Ronnie Baker*** Doe Browning** Carole C. and CDR. John M. Fleming Karen and Michael Herman*** Lyda Hill**** Dhuanne and Douglas Tansill**** Martin Waldbaum**** Sandra and Greg Walton** Barb and Dick Wenninger**

VIRTUOSO ($20,000 and above) Marilyn Augur**** Susan and Van Campbell*** Amy and Steve Coyer*** Penny and Bill George**** Tom Grojean***** Honey M. Kurtz*** LIV Sotheby’s International Realty** Rose and Howard Marcus***** Kay and Bill Morton***** Didi and Oscar Schafer*** Carole and Peter Segal*** Marcy and Gerry Spector*** Carol and Pat Welsh****

OVATION ($15,000 and above) Anonymous* Letitia and Christopher Aitken** Alpine Bank*** Jean and Harry Burn* Jeri and Charlie Campisi**** Norma and Charles Carter***** Ron Davis* Susan and John Dobbs**** Debbie and Jim Donahugh** Sandi and Leo Dunn*** Cookie and Jim Flaum**** Nancy Gage and Allan Finney* Holly and Ben Gill****

148 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Mrs. Jean Graham-Smith and Mr. Philip Smith***** Jane and Michael Griffinger***** Anne and Hank Gutman** Melinda and Tom Hassen* Alexia and Jerry Jurschak* Patricia and William Kleh Dr. and Mrs. Frederick Kushner** Mr. John McDonald and Mr. Rob Wright**** Museo Kaluz* Margaret and Alex Palmer** Linda Farber Post and Dr. Kalmon D. Post*** Martha Dugan Rehm and Cherryl Hobart**** Susan and Richard Rogel***** Sandra and Alejandro Rojas Sally and Byron Rose*** Terie and Gary Roubos**** Mary Sue and Mike Shannon** Sue and Marty Solomon and P&S Equities, Inc.*** Chuck and Margie Steinmetz**** Barbara and Carter Strauss* Lisa Tannebaum and Don Brownstein* Leewood and Tom Woodell*

ALLEGRO ($10,000 and above) Anonymous* James C. Allen Charitable Foundation Pamela and David Anderson** Herbert and Sharron Bank; Penny Bank**** Diane and Hal Brierley Carol and Harry Cebron* Caryn Clayman*** Kathy Cole** Nancy and Andy Cruce**** Kathleen and Jack Eck**** Catherine and Philip Edwards Liz and Tommy Farnsworth**** Susan and Harry Frampton***** Laura and Bill Frick***** Guy Griffin* Martha Head***** Karen and Jay Johnson** June and Peter Kalkus***** Elaine and Art Kelton***** Jan and Lee Leaman** Diane and Lou Loosbrock* Nancy and Richard Lubin*** Ferrell and Chi McClean** Brenda and Joe McHugh**** Sarah and Peter Millett* Jean and Ray Oglethorpe S indicates Soiree Host

Marlys and Ralph Palumbo* Mary Lou Paulsen and Randy Barnhart** Teri Perry***** Carolyn and Steve Pope**** Janet Pyle and Paul Repetto* Ann and Tom Rader* Wendy and Paul Raether* Mr. and Mrs. Ernest Scheller, Jr.*** Patti Shwayder-Coffin and Steve Coffin Donna and Randy Smith Brooke and Hap Stein**** Michael Sylvester*** Bea Taplin*** Nancy Traylor***** Debbie and Fred Tresca** US Bank**** U.S. Bank Foundation** Anne and Chris Wiedenmayer** Marion Woodward, in memory of James Woodward

SOLOIST ($7,500 and above) Kelly and Sam Bronfman, II** Dr. David Cohen* GMC Carol and Ronnie Goldman** Valerie and Robert Gwyn***** Susu and George Johnson Joyce and Paul Krasnow**** Linda and Ronn Lytle Bobbi and Richard Massman*** Marge and Phil Odeen** Town of Gypsum***

CRESCENDO ($5,000 and above) Anonymous* Christine and John Bakalar*** Kimberly and David Bernstein Margot and Terence Boyle* Edwina P. Carrington*** Kay Chester**** Katherine Clayborne and Thomas Shoup Mr. and Mrs. Robert Damico Jill and Al Douglass Janet and Jim Dulin* Lois and John Easterling* Peggy and Gary Edwards** Gail and Jim Ellis* Cindy Engles** Mikki and Morris Futernick***** Rebecca and Ron Gafford** Gallegos Corp. Linda Galvin***** Shelby and Frederick Gans* Sue and Dan Godec*** Dr. and Mrs. Ty H. Goletz

Sheika Gramshammer***** Neal Groff***** Francie and Michael Gundzik*** Mary Hagopian and Wright B. George* Fanchon and Howard Hallam* Susan Hill and Eric Noreen* Debbie and Patrick Horvath* Kathy and Al Hubbard Barbara and Tim Kelley* Bonnie and Jerry Kelly and Kelly Family Foundation Wendi and Brian Kushner*** Sue B. and Robert J. Latham** Janet and Paul Lewis Ann and William Lieff*** Gail and Jay Mahoney**** Laura and Jim Marx*** Jean and Tom McDonnell*** Karen and Al Meitz* Leslie Melzer Carolyn and Gene Mercy***** Dr. Rita Numerof and Mr. Michael Abrams Sally and Dick O’Loughlin*** Mary Beth and Charlie O’Reilly* The Parker and Little Families Nancy and Douglas Patton** Mimi and Keith Pockross**** Jackie and James Power**** Michele and Jeffrey Resnick** Vicki Rippeto Jane and Dan Roberts* Amy Roth and Jack Van Valkenburgh** Barbara and Howard Rothenberg** Sue and Michael Rushmore Maria Santos** Suzanne and Bernard Scharf*** Dr. Kim Schilling Elaine and Steven Schwartzreich Peggy and Tony Sciotto**** Debbie and Ric Scripps** Judy and Martin Shore* Debbie and Jim Shpall* SHS Solutions* Beth and Rod Slifer* Slifer Smith & Frampton Foundation*** Slifer Smith & Frampton Real Estate**** Pat and Larry Stewart*** Susan and Steven Suggs** Vail Rotary Club Wall Street Insurance** Michael Watters* Dr. and Mrs. Bill Weaver** Westhaven Capital LLC Gena Whitten and Bob Wilhelm* Jane and Thomas Wilner* Carolyn Wittenbraker and Arkay Foundation

Each * denotes five years of consecutive donations.

FORTISSIMO ($3,000 and above) Shannon and Todger Anderson** Terre and Jack Bergman Dan Braun Jan Broman* Trent Campbell*** Elizabeth Chambers and Ronald Mooney* Susan and Gordon Coburn Rebecca and Leon Colafrancesco Dimond-Bross Charitable Fund Holly and Buck Elliott**** Carole and Peter Feistmann*** Barbara and Professor Meyer Feldberg* FirstBank*** The Frigon Family* Dr. and Mrs. Gerald Gold*** Joan and Joseph Goltzman** Vivien and Andrew Greenberg* Randi and Ed Halsell** Ronda and Hank Helton Patricia and Lawrence Herrington Cathy and Graham Hollis** Yon Y. Jorden Lynn and Dr. Andrew B. Kaufman*** Kay Lawrence*** Alexandra and Robert Linn Linda and Chris Mayer J. Frederick Merz, Jr.** Ellen Mitchell** Jerri and Avery More Caitlin and Dan Murray* Lynne Murray Sr. Educational Fund and Carolyn Landen Priscilla O’Neil***** Kathy and Roy Plum***** Ronnie Potter***** Amanda Precourt Patti and Drew Rader*** Rader Engineering*** Drs. Rob and Julie Rifkin Lisa and Ken Schanzer* Annette and Paul Smith Anne and Joe Staufer**** Jere W. Thompson*** Mrs. W. E. Walker, Jr. Susan and Albert Weihl** Kathy and Jonathan Zeschin*

CONCERTO ($1,500 and above) Anonymous Anonymous* Anonymous** Larry Abston Constance and Robert Anderson* Barbara Baldrey 149

FESTIVAL SUPPORT Sandy and Stephen Bell* Mia and Bill Benjes Laura and Len Berlik* Sarah Benjes and Aaron Ciszek* Sally Blackmun and Michael Elsberry* Anne and John Blair* Stephen Brint and Mark Brown Sunny and Phil Brodsky** Linda and Joe Broughton** Elia Buck and Caroline Rogers* Patsy and Pedro Cerisola***** Martha Chamberlin* Toko and Bill Chapin** Karen and Nate Cheney* Coca-Cola Foundation Alix and John Corboy* Mr. and Mrs. David Cross Mary Beth and Neil Dermody Doris Detwon** Martinna and Charlie Dill** Mary and Rodgers Dockstader*** Jenny and Wendell Erwin***** Julie and Bill Esrey***** Diane and Lawrence Feldman* First Western Trust Margie and Tom Gart** Sue and Dr. Brian Gordon Anne and Donald Graubart***** Julie Grimm-Reeves and Rich Reeves* Jan and George Grubbs, Jr. Rebecca Hernreich* Lola Higbie Helen Hodges* Nancy and Carrick Inabnett Bonnie and Lawrence Kivel*** Rosalind A. Kochman***** Allison Krausen and Kyle Webb Mr. and Mrs. Lawrence H. Kyte**** Ellen Lautenberg and Doug Hendel Karen Lechner and Mark Murphy* Helena and Peter Leslie**** Jessica and Igor Levental* Karen and Steve Livingston**** Judy and Bob Love Suzanne and James MacDougald Wolfgang Mairhofer Evi and Evan Makovsky* Cheryl and Richard Marks Margaret and Peter Mason* Marcia and Tom McCalden*** Kathy and Dick McCaskill Chi McClean Liz and Luc Meyer** Mrs. Diane and Dr. Glen Mogan Kathy and Bob Moore

Jeanne and Dale Mosier* Laurie and Tom Mullen* Mr. and Mrs. W. Peterson Nelson***** Claire and Mark Noble Karen Nold and Bob Croteau* Renee Okubo** Pamela Y. Paul Patty and Denny Pearce** Margot Perot* Pam and Ben Peternell* Gretchen Price and Mark Schar Kathleen and William Roe Nancy and Robert Rosen* Gussie Ross* Jo Dean and Juris Sarins Laura and Dr. Michael Schiff* David Schlendorf Susan and Ambassador Alvin Schonfeld Carole Schragen***** Kathie and Bob Shafer Rhonda and Marc Strauss Solly Toussier* UBS Ellen and Ray van der Horst* Lois and John Van Deusen*** Sheila Wald Laura and Howard Willard Judy and Bob Wilner Ann and Phil Winslow* Ellen and Bruce Winston** Betty and Michael Wohl Linda and Jim Wolcott* Janice and William Woolford* Diane and Michael Ziering

SONATA ($750 and above) Anonymous Anonymous* (2) Shelly and Arthur Adler* Janet and Bill Adler* Joanne and Richard Akeroyd* Ellen Arnovitz* Pamela and William Bailey Sheryl and Eliot Barnett* Bonnie and Stan Beard Nancy Bedlington and Robert Elkins* Rhoda and Howard Berstein Wendy and Andrew Bernstein Cathy and Bill Bethke Judy and Tom Biondini* David J. Borns Mr. and Mrs. Marion P. Brawley* Loretta and David Brewer* Barbara and Christopher Brody** Shirley and Jeff Bowen*** Nancy L. Bryan*

150 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

April and Art Carroll* Robin and Dan Catlin* Ellie Caulkins* Maryalice Cheney and Scott Goldman** Jenny and Terry Cloudman Lynn Cohagan* Community First Foundation** Lucinda and Andy Daly* Silvia and Alan Danson* Fran and Don Diones* Dr. Fred W. Distelhorst** George Dodson Suzy and Jim Donohue*** Meg and Jamie Duke Eagle Ranch Association** Barbara Earnest** Jana Edwards and Rick Poppe* Jane Eisner and Sam Levy* Anne Esson***** Joan and Joel Ettinger* Marisol and Frank Ferraiuoli* Leslie Fielden and Jeff Seidel Dr. and Mrs. Michael Fisher Michelle Fitzgerald and Jonathan Guyton Mercedes and Elmer Franco Jane and Stephen Friedman Jeanne Fritch Sheila and Robert Furr Jane and Gerald Gamble* Betty Ann and Robert Gaynor* Donna M. Giordano***** Andrea and Mike Glass Bonnie and Gary Goldberg Karen and Clifford Goldman Mari Jo and Gene Grace Alison and Michael Greene** Donna and Rob Gregg Dana Dennis Gumber The Halperin Family Patricia Hammon Colleen M. and David B. Hanson**** Amber and Peter Herron Jennifer and Don Holzworth* Jill and Loyal Huddleston* Kathy and Peter Huddleston Vina and Tom Hyde IBM Matching Grants Program** Jacqueline and David Irwin Kathrine and David Jansen Deborah and Todd Johnson Sue and Rich Jones* Elizabeth Keay**** Gail and Jack Klapper Georgeanna and Bill Klingensmith* Sally and Jim Kneser* S indicates Soiree Host

Susan and Anthony Krausen Nancy and Carl Kreitler* Margaret and Ed Krol* Laine and Merv Lapin* Claudia and Gregg Laswell Drs. Nancy and Richard Lataitis* Polly and John Loewy Peggy Lyon and Peter Lyons* Lynne and Peter Mackechnie*** M. Elaine and Carl E. Martin*** Anne-Marie McDermott and Michael Lubin* Paul Mesard and Larned Waterman David Meyer Elaine and Ed Nafus Tiffany and David Oestreicher* James Stanley Ogsbury, III Gerry and Ed Palmer* Alice and Norman Patton* Lynn M. Pearson Susan and David Perdue Diane Pitt and Mitchell Karlin* Lorne Polger* Mary Pownall Kathi Renman and Jim Picard* Reyes Family Etty and Alberto Rimoch Melissa and Jeris Romeo Adrienne and Chris Rowberry* Patricia Rowe Susan and John Ryzewic Linda and Shaun Scanlon** Dr. Christine Scheetz and Mr. Douglas Scheetz* Lanning Schiller Ingrid Seade Carol and Dr. Stanley Shapiro Harriett and Bernard Shavitz* Suzie Shepard* Gail and Ronny Shoss Lynn and Ray Siegel* Marty Sloven*** Susan and Bruce Smathers*** Carolyn Smith and George Mizner***** Nancy Smith Patricia M. Smith Karen and Marty Sosland Marilyn and James H. Steane, II Jill R. Stewart and Michael E. Huotari Judy and John Stovall* Steve and Phyllis Straub* Kaye Summers and Danny Carpenter Sabrina and Robert Triplett* Anne and Robert Verratti Patty and Ed Wahtera**

Jackie and Norm Waite* Katie and Mike Warren* Annette and Seth Werner Brenda and Michael Whealy Janice and Dee Wisor Dr. and Mrs. Larry Wolff* Rosalie Wooten**** Luanne and Jim Wright Mariette and Wayne Wright* Mrs. Kathleen and Dr. Marvin Zelkowitz

OVERTURE ($350 and above) Anonymous (6) Anonymous* (2) Nadine Ainbinder and Dennis Ainbinder, MD Larry Allen Alfonso Alvarez Basak Araz and Osman Nalbantoglu Karin and Ron Artinian Tracy and Mike Autera Deborah Avant and Tim Herbst Lisa and Joe Bankoff* Elise and Brian Barish* Patti and John Bartholomew Francesca and Edward Beach Susan and Jesse Beasley Nancy and Peter Berkley** Gail and Martin Berliner Lucy and Henry Billingsley John Blue* Wendy and Warren Blumenthal Pamela and Brooks Bock** Rachel and David Bondelevitch Dr. Joan and Mr. Henry Bornstein Carolyn Borus Vicki and Jack Box Gretchen Bridgen Julian Bridgen Marc Brombert Patricia and Rex Brown* Janie and Bill Burns* Helen Neuhoff Butler Anna Marie Campbell and Andrew McElhany* Karen and Dave Cannan Connie and Miles Carson Margie and Asa Clark Rhoda and Larry Coben Jacqueline Cohen Jo Ellen Cohen Mr. and Mrs. Lester Cole John Connell and Eric Versch* Kathi and Steve Cramer Pamela and James Crane Marilyn S. Cranin*

Each * denotes five years of consecutive donations.

Curtis Darbasie Sallie Dean and Larry Roush***** Phyllis and Robert Decker* Fara and Jason Denhart Lee DePaolo Amy and Jonathan Dobrin Kathy and Brian Doyle** Cynthia and Robert Ebert and Ebert Appraisal Service Gina Erickson and Clark Brook Patricia and Steven Erlanger Claire and R. Marshall Evans**** Marty and John Farrell Signe and Donald Ferguson Gail Ferry Barbara and Larry Field***** Regina and Kyle Fink*** Denise and Michael Finley*** Nancy and Clark Fitzmorris* Jenny and John Fleming Victoria Frank Ann and Jorge Gamba Andres Garcia Wilma and Arthur Gelfand Sharon and Herbert Glaser James D. Goerke Karen and Barry Goldberg Google Mary Ellen Guy* Cynthia Harris and Johannes Rudolph Karen J. Hedlund Beth and Dean Hennings Debra Herz* Joel L. High* Pamela and Richard Hinds* Donna and Dale Hughes Sonny and Steve Hurst* Dr. Susan Rae Jensen and Tom Adams Trainer Alberta and Reese Johnson* Geraldine Karkowsky Donna and Ward Katz Jayne and Jack Kendall* Donald Kirkpatrick Kathleen and William Knaus Bob Knous Cindy and Robert Koch Joan and Irwin Kowal Dr. and Mrs. Robert Landgren***** Evelyn and Fred Lang**** Shelia and Aaron Leibovic Harrel Lawrence and Jerry McMahan Terry and John Leopold** Beth Levine, Architect, Inc. Nancy and John Lindahl** 151

FESTIVAL SUPPORT Jane and Tod Linstroth Gretchen and Charles Lobitz**** Candace and Brian Loftus Peter L. Macdonald***** Ginnie Maes and Kanter Kallman Foundation Joan Manley Houlton*** Judith McBride and Bruce Baumgartner* Jan and Gary McDavid* Linda McKinney* BJ and Bud Meadows* Dr. Micahel A. Mertens* Leila and Stephen Messier Laura and Cary Meyers Linda and Jim Montgomery Pamla Moore Harriet and Ed Moskowitz Dee and Tom Mulvihill Hazel and Matthew Murray** Heather Mutterperl Dr. and Mrs. Robert Nathan** M. G. Newkirk Donna Newmyer* Masako and Midori Oishi Dr. and Mrs. Thomas Okner Jean and Ed Onderko* Virginia and Dennis O’Neal Peg and Gary Pantzer Monica and Mark Perin* Sydney and Mark Pittman Laurel Raines and William Vitek Anne and Albert Reynolds* Dr. and Mrs. W. Michael Robertson Lucila and Louis Rojas Jane E. and Stanton Rosenbaum Mary Jane and Warren Rothstein* Elizabeth and Kenneth Roush Marilyn and Jack Rubin Drs. Edward and Carla Rutschamn Nina Saks Sallie and Don Salanty* Carol and James Salbenblatt Julie and Peter Savoie Jane and Chuck Schultz Sharon and Dr. Samuel Schwartz* Ivylyn and Dick Scott* Connie and Ken Scutari* Secor Family Andy and Stuart Shatken Sidhu Family Eileen Silvers and Richard Bronstein* Gregory Smith Colleen and John Sorte* Dorothy and Stanley Stein Elissa Stein and Richard Replin

Harvey Sweetbaum Margot and Ned Timbel Pam Timmins Town of Eagle* Heidi Fremont Troester Anne and Robert Trumpower Carol and Albert Tucker** Sarah Adair Valente Anne and Jim von der Heydt Cheryl and Jeffrey Wall Jill and Bob Warner Bobbie and Stanley Weinstein Enid and Steve Wenner* Clare Anne and Jonathan Whitfield* Mrs. Joan Whittenberg***** Liby and Bobby Zachariah Zeppelin Family Foundation Victor Zorrilla

PRELUDE ($100 and above) Anonymous (12) Anonymous* (2) Donna Abbruzzese Sheri Ball* Margo and Roger Behler***** Barbara Behrendt Drs. Douglas and Michelle Bell Karla and David Berman Elinor and Howard Bernstein* Patricia and Brian Blood* Jamie and Rob Blume David and Patty Bomboy Linda Boyne Kathleen and Howard Brand Martha Brassel Barbara P. Bridgewater*** Tom Brix Steve Brown Shan and Caleb Burchenal* Althea T. Callaway Charlyn Canada*** Debby and Rich Carnahan Molly Casey Lynn and Jim Chapin* Renee Ann Chelm Liane and Robert Clasen Sharon and Martin Coloson Scott Conklin Mr. and Mrs. Joseph Alan Cope Marjorie and Elliot Davidoff Bernice and John Davie** J. Lynn Davis Linda and Al Demarest Melissa and Mike Demos Stephen Dilts Abby Dixon*

152 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

Sherry Dorward Robin Dow and Howard Siegel Susan Eaton Delight and John Eilering**** Lucy and Dan Ellerhorst* Pam and Ernie Elsner* Margaret Enright Julie and Barnet Feinblum James E. Fell, Jr.* Eleanore and Thomas Flynn Tom Franks Jorgina Alcayaga Franzheim Dr. and Mrs. Alan L. Freeman* Helen Freemyer Laura and Peter Frieder**** Linda and Norbert Frueh Laura and Warren Garbe* Carol and Marc Gordon Marshall Gordon Carlos Gracia Mary Ann and Dirk Gralka* Marjorie and Fred Greenberg Ron and Susan Gruber**** Carla Guarascio Jeri and Brian Hanly* Cynthia Harris Matt Heimerich Cliff Hendrick* Dwight Henninger* Cathey A. Herren***** Brenda and Alan Himelfarb Judy and Bob Holmes Nan and Charles Holt Margie and Dave Hunter Christine and Ernesto Infante Pia and Tomas Jablonski Susan and David Joffe* Sarah and Tait Johnson Karen Kaplan* Marilyn Katz Ross and Vicki Kazer Shannon and Bob Keller* Priscilla and David Kellogg Sergio Jinich Grant Kesler Julie and Mike Kirk Ann and Collier Kirkham Denisse and Jonathan Klip Linda and Mark Kogod Diane Kovalik and Scott Raub Mr. and Mrs. Steven Kumagai Diane Larsen and David Floyd** Monique and Peter Lathrop*** Bettan Laughlin Carol Laycob S indicates Soiree Host

Linda Lee Rob LeVine Mary and Herrick Lidstone Arnold Lieberman Michele Lier David Lippman Linda and Bob Llewellyn Suzi and James Locke Mary and John Lohre* Barbara and Edward Lukes Teresa Madigan and Michael Baskins Dr. and Mrs. Douglas Mair Leslie and Jack Manes Paulette Marcus Veryl and Michael McBride Sharon McKay-Jewett** Nancy and Michael McKeever Robert Montgomery Beverly and Jon Myers Lois and Steve Nadler Jean Naumann* Sara Newsam** Jo Norris Kathleen and Michael Oldfather Dr. and Mrs. Jules Paderewski Susan Parker and Saul Hoffman Nancy G. Peller Glenna and Bruce Pember Stephen Penrose* Martha and Kent Petrie*** Toni Phillips Christy Crytzer Pierce Diane Pincus and Tomas Berl Myra and John Porter* Mindy and Jay Rabinowitz* Melanie Reed and Jerry Freier Kathleen and Kenneth Reynard Barbara and Stephen Ritchie Coleen and Klaus Roggenkamp Barbara and Bob Rosen Shelley Roth and Jed Weissberg Emily and Andrew Rubin Gray and Mel Rueppel Lynn and Richard Russell* Aline and Richard Sandomire Arlene and Jack Schierholz*** Bobbi and Jon Schwartz*** Julie and Gary Schwedt, West Vail Liquor & KZYR/KKVM Emely and Dennis Scioli* Ricki and Gabe Shapiro* Anne Sheldon***** Ricki and Steve Sherlin Patricia and Ralph Silversmith***** Eileen and Michael Sinneck

Carol and Roger Sperry* Drs. Michael and Michella Stiles Jenene and James Stookesberry* Shelley and Dale Stortz Myrna and Ronald Strong Tom Swarsen Joe Tonahill, Jr.** Pat and Tom Vernon Linda and William Vigor Irit and Art Waldbaum* Barbara Wallace Trudy and Bob Walsh** Anne Wattenberg Deborah Webster and Stephen Blanchard**** Jan Weiland and Alan Gregory* Sheila Whitman*** LaDonna and Gary Wicklund Maggie and Hans Wiemann Vali and Willy Wilcox James Wolfe Valinda and Steve Yarberry Laura and Peter Zwiebach

Helen and Robert Fritch Jeanne Fritch

IN HONOR OF

Peg and Gary Pantzer

John Dayton Stephen Penrose Denisse Fledman Denisse and Jonathan Klip Kevin Forrest Colleen Forrest Brett Logan Bravo! Vail Board of Trustees and Advisory Council Shirley and William S. McIntyre, IV Fanchon and Howard Hallam Melissa Meyers Laura and Cary Meyers Caitlin Murray Barbara and Howard Rothenberg Carole and Peter Segal Carol and Albert Tucker Rae Silberman Gail and Ronny Shoss Clare Anne Whitfield Jonathan Whitfield Glen Yarberry Valinda and Steve Yarberry

IN MEMORY OF

Pepi Gramshammer Sheika Gramshammer Cindy Griffin Guy Griffin Bill Hammon Margot and Ned Timbel John Harris Cynthia Harris and Johannes Rudolph Norman Helwig Susan Eaton Jimmie Heuga Debbie and Patrick Horvath Carol Horvath Debbie and Patrick Horvath Mike Kaplan Karen Kaplan Walter Kowalchik Anonymous Floretta Kreppel Beth Pantzer Jeremy Krieg Martha Brassel Rosalie and Philip Lier Michele Lier David Macdonald Rachel and David Bondelevitch Jane and Howard Parker The Parker and Little Families Aileen Putterman Rhonda and Marc Strauss Peter Rudolph Cynthia Harris and Johannes Rudolph Gladys and Ed Rutschman Drs. Edward and Carla Rutschman H. William Smith, Jr. Patricia M. Smith Susan Stearns Bravo! Vail Board of Trustees and Advisory Council Caitlin and Dan Murray Tom Steinberg Marilyn S. Cranin Sheila Strauss Rhonda and Marc Strauss

Clifford K. Callaway Althea T. Callaway

Andrea Westcott John O. Westcott

Bette Campbell Trent Campbell

James Woodward Marion Woodward

Each * denotes five years of consecutive donations.

153

EDUCATION AND ENGAGEMENT PROGRAMS

ravo! 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. FIRST CHAIR ($50,000 and above) Betsy Wiegers***** ENSEMBLE ($30,000 and above) Bravo! Vail Guild***** Kathy and David Ferguson IMPRESARIO ($25,000 and above) Town of Vail****** VIRTUOSO ($20,000 and above) Virginia J. Browning* The Sturm Family and ANB Bank** Carole A. Watters*** OVATION ($15,000 and above) Ron Davis* Sandi and Leo Dunn*** ALLEGRO ($10,000 and above) Alpine Bank*** Doe Browning** Carol and Harry Cebron* Kathy Cole** Cookie and Jim Flaum**** Diane and Lou Loosbrock* Teri Perry***** Leewood and Tom Woodell* Nancy and Harold Zirkin* SOLOIST ($7,500 and above) Gina Browning and Joe Illick* Town of Gypsum*** CRESCENDO ($5,000 and above) Dierdre and Ronnie Baker*** Kimberly and David Bernstein Nancy and Andy Cruce**** Katherine Clayborne and Thomas Shoup

Janet and Jim Dulin* Gallegos Corp. Sue and Dan Godec*** Patricia and Peter Kitchak* Judy and Alan Kosloff***** Carolyn and Gene Mercy***** Beth and Rod Slifer* Slifer Smith & Frampton Foundation*** US Bank**** U.S. Bank Foundation** Vail Rotary Club Martin Waldbaum**** FORTISSIMO ($3,000 and above) Jayne and Paul Becker***** John Dayton*** Lynne Murray Sr. Educational Fund and Carolyn Landen Drs. Rob and Julie Rifkin Susan and Richard Rogel***** June and Paul Rossetti* CONCERTO ($1,500 and above) Mia and Bill Benjes Dr. David Cohen* Julie Grimm-Reeves and Rich Reeves* Shirley and William S. McIntyre, IV**** Sarah and Peter Millett* Claire and Mark Noble Michele and Jeffrey Resnick** Sally and Byron Rose*** Wall Street Insurance** Monica and Dan White* Judy and Bob Wilner SONATA ($750 and above) Sarah Benjes and Aaron Ciszek* Barbara and Barry Beracha** Edwina P. Carrington*** Eagle Ranch Association** Peggy and Gary Edwards** FirstBank*** Andrea and Mike Glass Anne and Hank Gutman** Sue and Rich Jones*

Ann and William Lieff*** Melissa and Jeris Romeo Cathy and Howard Stone***** Susan and Steven Suggs** Anne and Robert Verratti Jackie and Norm Waite* Mrs. Kathleen and Dr. Marvin Zelkowitz OVERTURE ($350 and above) Larry Allen Linda and Joe Broughton** Fara and Jason Denhart Kathy and Brian Doyle** Mari Jo and Gene Grace Dr. Susan Rae Jensen and Tom Adams Trainer Dr. and Mrs. Frederick Kushner** Laurie and Tom Mullen* Hazel and Matthew Murray** Carolyn and Steve Pope**** Patti and Drew Rader*** Town of Eagle* Anne and Jim von der Heydt PRELUDE ($100 and above) Anonymous* Elinor and Howard Bernstein* Linda Boyne Nancy L. Bryan* Janie and Bill Burns* Debby and Rich Carnahan Jacqueline Cohen Wilma and Arthur Gelfand Judy and Bob Holmes Sarah and Tait Johnson Rob LeVine Caitlin and Dan Murray* Lois and Steve Nadler Emily and Andrew Rubin Marilyn and James H. Steane, II Joe Tonahill, Jr.** Deborah Webster and Stephen Blanchard**** Vali and Willy Wilcox Valinda and Steve Yarberry

ARTISTIC EXCELLENCE FUND

ravo! Vail is committed to presenting the greatest musicians and finest orchestras and has established The Artistic Excellence Fund to uphold that legacy. The Fund supports the amazing

musical experiences Bravo! Vail provides by enabling the Festival to continue to elevate the level of artistic quality it offers.

154 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

FIRST CHAIR ($50,000 and above) June and Paul Rossetti* CRESCENDO ($5,000 and above) Dr. and Mrs. Frederick Kushner**

ENDOWMENT AND ENCORE SOCIETY GIFTS TO THE ENDOWMENT

he 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 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 Anonymous 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

THE BRAVO! VAIL ENCORE SOCIETY

embers 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 Vicki and Kent Logan $100,000 and above Anne and Donald Graubart Maryan and K Hurtt/Lockheed Martin Corporation Directors Charitable Award Fund Judy and Alan Kosloff Dhuanne and Doug Tansill $50,000 and above Rosalind A. Kochman $20,000 and above Steven and Julie Johannes $10,000 and above John W. Giovando Jeanne and Craig White Encore Society Members Virginia J. Browning Valerie and Noel Harris Cathey A. Herren Laurie and Tom Mullen Caitlin and Dan Murray Martha Dugan Rehm and Cherryl Hobart Sally and Byron Rose Carole Schragen Carole and Peter Segal Susan Stearns Cathy and Howard Stone Betsy and George Wiegers BRAVO! VAIL EMERITUS SOCIETY Judy and Howard Berkowitz Sharon and Bill Donovan Sallie and Robert Fawcett Vicki and Kent Logan Molly and Jay Precourt 155

SPECIAL GIFTS ARTISTIC EXCELLENCE FUND

THE FRANCIS FAMILY

TOWN OF VAIL

Bravo! Vail is committed to presenting the greatest musicians and finest orchestras, and has established The Artistic Excellence Fund to uphold that legacy. The Fund supports the amazing musical experiences Bravo! Vail provides by enabling the Festival to continue to elevate the level of artistic quality it offers.

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.

Bravo! Vail acknowledges the vision of the Town of Vail and its Council Members for their most generous underwriting of the residencies of Saint Paul Chamber Orchestra, The Philadelphia Orchestra, and the New York Philharmonic, as well as Education & Engagement Programs. Their support of Bravo! Vail since its inception has ensured the Festival’s continued success.

THE LYN AND PHILLIP GOLDSTEIN MAESTRO SOCIETY

BERRY CHARITABLE FOUNDATION

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 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 important programs including digital and live stream initiatives.

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

THE LINDA AND MITCH HART SOIRÉE SERIES - AL FRESCO 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 NEW WORKS FUND The New Works Fund serves two purposes: to underwrite future premieres of new music and to present music that may be unfamiliar to Vail audiences. Special thanks to the Town of Vail for their support of the fund.

REHEARSAL SPACE Antlers at Vail, Gina Browning and Joe Illick, Cathy and Howard Stone, Vail Mountain School, and the Vail Interfaith Chapel all provide invaluable rehearsal space. Thank you for this unique gift.

The Festival gratefully acknowledges The Sturm Family and ANB Bank for their generous underwriting of the residencies of Saint Paul Chamber Orchestra, the Dallas Symphony Orchestra, The Philadelphia Orchestra, and the New York Philharmonic, as well as live streaming initiatives and the Bravo! Vail Music Box.

MEDIA ACKNOWLEDGEMENTS

BECKER VIOLIN FUND

LUIS D. JUAREZ HONORARY MUSIC AWARD

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.

156 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

The Festival is pleased to acknowledge support from CMNM, Colorado Public Radio, Street Media Group, Town of Vail, Vail Daily, Vail Valley Partnership, Vail Local Marketing District Advisory Committee, Vail Resorts, and Vail Town Council.

The Luis D. Juarez Honorary Music Award supports and extends opportunities for students to pursue musical studies. Bravo! Vail thanks the donors whose support provides financial assistance to students for the costs of instruments, lessons, software, and other essential materials.

CORPORATE & GOVERNMENT SUPPORT

ravo! 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.

OVATION ($15,000 and above) Alpine Bank***

GRAND BENEFACTOR ($100,000 and above) The Sturm Family and ANB Bank** Town of Vail******

SOLOIST ($7,500 and above) GMC Town of Gypsum***

PLATINUM ($30,000 and above) Vail Valley Foundation****** VIRTUOSO ($20,000 and above) LIV Sotheby’s International Realty**

ALLEGRO ($10,000 and above) U.S. Bank**** U.S. Bank Foundation**

BENEFACTOR ($5,000 and above) Gallegos Corp. Slifer Smith & Frampton Foundation**** Slifer Smith & Frampton Real Estate**** Vail Rotary Club Wall Street Insurance**

FORTISSIMO ($3,000 and above) FirstBank*** Rader Engineering*** CONCERTO ($1,500 and above) Coca-Cola Foundation First Western Trust UBS SONATA ($750 and above) Community First Foundation** Eagle Ranch Association** IBM Matching Grants Program** OVERTURE ($350 and above) Google Town of Eagle*

IN-KIND GIFTS

ravo! Vail is grateful to all its partners who provide in-kind donations to the Festival. PREMIERE BENEFACTOR ($100,000 and above) The Antlers at Vail Vail Valley Foundation FIRST CHAIR ($50,000 and above) FirstBank Sonnenalp Vail Marriott Mountain Resort and Spa Vail Resorts Vail Resorts EpicPromise SYMPHONY ($40,000 and above) Eagle County School District ENSEMBLE ($30,000 and above) West Vail Liquor Mart

IMPRESARIO ($25,000 and above) Ali & Aaron Creative VIRTUOSO ($20,000 and above) CEAVCO ALLEGRO ($10,000 and above) Barbara and Barry Beracha Marijke and Lodewijk de VInk Foods of Vail Four Seasons Resort Vail Ann Hicks Left Bank Restaurant Mirabelle at Beaver Creek Splendido at the Chateau Vail Catering Concepts Nancy and Harold Zirkin CRESCENDO ($5,000 and above) The Christie Lodge Destination Resorts Linda Kogod and XIV Karat Ltd Ivy and Fred Kushner

Each * denotes five years of consecutive donations.

CONCERTO ($1,500 and above) The Club at Cordillera Country Club of the Rockies Eagle Springs Diane and Lou Loosbrock Sonnenalp Golf Club Vintage Magnolia SONATA ($750 and above) Frost Creek Gallegos Corp. Uplift by Polly OVERTURE ($350 and above) Root & Flower Lisa and Ken Schanzer PRELUDE ($100 and above) Costco

Tennessee Pass Cookhouse Vista Restaurant 157

BRAVO! VAIL STAFF ARTISTIC DIRECTOR Anne-Marie McDermott EXECUTIVE DIRECTOR Caitlin Murray EXECUTIVE FOUNDER John W. Giovando ARTISTIC FOUNDER Ida Kavafian ARTISTIC Director of Artistic Planning Jacqueline Taylor Artistic Liaison Henry Bowen INSTITUTIONAL ADVANCEMENT Senior Vice President of Marketing & External Communication Ronda Helton Institutional Advancement Coordinator Linda Boyne Director of Technology David Judd DEVELOPMENT Vice President of Philanthropy Jason Denhart Database Manager Beth Pantzer Corporate Partnerships and Events Manager Emily Block MARKETING AND SALES Senior Marketing Manager Jordan Halter Sales Manager Nancy Stevens Marketing Content Specialist Henry Bowen Box Office Associates Amy Sherman Maddie Stevens Jonny Stevens

ADMINISTRATION Vice President of Finance and Human Resources Monica White Front Office Manager Heidi Young OPERATIONS Director of Artistic Operations Elli Varas Technical Director and Lead Audio Engineer Todd Howe Concert Production Manager Robert Pastore Jr. PRODUCTION CREW Paul Casey Kevin Early Devin Klepper Blake Petersen Kate Redmond Steve Schrader

FESTIVAL INTERNSHIP PROGRAM: Institutional Advancement Interns Emily Jimenez, Colorado Mesa University, Guardian Scholar Emily Larson, Miami University Antonia Saucedo, Colorado Mesa University, Guardian Scholar Education Intern Amara Sperber, Cleveland Institute of Music Sound Recording Interns Justin Given, University of Denver Mariela Melgar, University of Denver RESIDENT ORCHESTRA PHYSICIAN Dr. Steve Yarberry MARKETING AND DEVELOPMENT CONTENT Managing Editor Alice Kornhauser

Piano Technician Michael Jackson

Public Relations 8VA Music Consultancy

Sound Engineering and Recording THD Productions Todd Howe Erickson Hirn

Grant Writer Christy Pierce

EDUCATION AND ENGAGEMENT Director of Education and Engagement Brooklynn Phillips Education & Engagement Programs Assistant Amara Sperber BRAVO! VAIL MUSIC MAKERS TEACHING STAFF Cindy Allard Mike Barca Sarah Blasser Celesta Cairns Scott Carroll Lindsay Erickson Lauren Miligan Brooklynn Phillips Jenny Roussel

158 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

FILMMAKING Director Tristan Cook Camera Jonah Koplin Zachary Nicholson Iskra Valtcheva PHOTOGRAPHY Tomas Cohen CREATIVE DESIGN Ali & Aaron Creative

GUILD & SPECIAL NOTES GUILD Mary Jo Allen Bruce & Linda Alper Ann Antonius Virginia Bartley Janet Beals Pat Blood Debra Bolon-Feeney Carol Bosserman Barbara Bower Carol Brannigan Fern & Sherman Canter Edwina Carrington Judy & David Carson Kris Cashman Joyce Chizmadia Nancy Collins Bob & Jan Cope Jim & Pam Crine Bruce Crow William David Doris Dewton Carol & Greg Dobbs Ruth Dukart Debbie & Richard Durben Holly Eastman Ann & Sandy Faison Eleanor Finlay Claire Forsyth

Laura & Warren Garbe Greer & Jack Gardner Colleen Gauron Pam Hamilton Anne Hatch Irene Hayes Don Hoolihan Sharon Johnson Jane Jones Elizabeth Keay Julie Kenfield Betty Kerman Charlene Koegel Don & Marion Laughlin Vicky Litchev Yasmeen Lookman Nicole Lucido Diane & Jim Luellen Hank Mader Maureen McCullough Suzanne McKenna Carole Ann McNeill Bruce & Ferol Menzel Kevin & Martha Milbery Sandra Morrison Rita Neubauer Suzette Newman Nancy Nottingham

Bill Nussbaum Mickie Parsons George Person Barb & Jim Risser Joanne Rock Tom Russo George & Nancy Saunders Gary & Linda Scanlon Scott Schaefer Carol Schimmer Andy Searles Charles Sherwood Diane & Mark Smooke Eileen Sordi Nicolas Sordi Judy & Michael Turtletaub Elli Varas Karla Wall Christine & Matthew Wardlaw Julia Watson Dianne & Leo Williams Steven Willing Carol Wolff-Sowers Dean & Linda Wolz Allison Wright Brian & Chiann-Yi Yawitz

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

allow you to access information contained in the printed program book right on your smartphone.

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

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. © 2021 Bravo! Vail. All rights reserved.

Concerts take place rain or shine with the exception of The Linda and Mitch Hart Soiree Series - Al Fresco. The GRFA is an open-air venue. Refunds are not given due to weather unless a concert is canceled in its entirety with no performance rescheduled.

SPECIAL NOTES

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 are subject to change without prior notice and a change of artist is not cause for a refund. Please save your program book for the duration of the Festival and recycle unwanted materials. New this year, we are unveiling the Bravo! Vail app, which will

While our standard policy is that tickets are non-refundable, we understand the necessity to be flexible in these unprecedented times. Should you need to change your plans to attend a concert this summer, we ask that you consider donating the value of your tickets to Bravo! Vail. If you prefer a refund rather than donating the value of your tickets, please contact the Box Office at 877.812.5700.

TICKETS Online: bravovail.org Phone: 877.812.5700 Email: ticketing@bravovail.org Box Office: 2271 N Frontage Rd W, Suite C, Vail, CO 81657 159

July 21, Continued From Page 97

July 24, Continued From Page 105

many astonishments falls at the beginning of the development section in the last movement. Here Mozart’s woodwinds and strings play loudly and in unison (or at the octave, to accommodate the different ranges of instruments) a passage in which 11 of the 12 notes of the chromatic scale are sounded. The only note missing is G, which, being the tonic key of the entire symphony, might be said to hover in the background anyway. Mozart’s Symphony No. 40 is certainly not a piece of 12-tone music, but these eight measures do qualify as a passage of 12-tone music. Imagine what Mozart might have accomplished if he had lived longer!

though the cause was not revealed. In the event, Haydn pressed these new symphonies into double service to fulfill a commission extended by a prince in Bavaria. Symphony No. 92 may accordingly have been premiered there in 1791, when Haydn was passing through on his way to an extended residency in England. He included the piece in his first London concert, on March 11, 1791, at the Hanover-Square Concert Rooms, which seated 800. The symphony’s second movement was encored—a rare occurrence in Georgian England— and the audience cheered in vain to have the third movement similarly repeated. Oxford University soon announced that it would bestow a Doctor of Music degree on Haydn. He planned to unveil a brandnew symphony at the festivities, but, the Morning Herald reported, “as Haydn did not reach Oxford [in] time enough for a rehearsal, one of his former pieces was the substitute, and the Composer himself sat at the Organ.” That “former piece” was his Symphony No. 92, already well known to music lovers, and it is to that last-minute substitution that this smart and witty piece owes its enduring nickname, Oxford.

July 23, Continued From Page 103 After returning to Russia, Tchaikovsky wrote to his brother: “One needs six independent but, at the same time, homogenous voices. This is frightfully difficult.” After much revision, Souvenir de Florence finally received its public premiere in late 1892, when it was enthusiastically received. At an ensuing performance, the St. Petersburg Chamber Music Society presented the composer its medal of merit, to thunderous applause. Despite its minor key, this is an ebullient, untroubled composition. There existed few precedents for the ensemble of two violins, two violas, and two cellos—apart from two examples by Brahms and one by Dvořák—and Tchaikovsky worried that his piece might end up sounding like a symphonic work with a reduced orchestration. It appears that the first time the piece was performed “scaled up” for orchestral string sections was when the New York Philharmonic presented it in 1893. “The present Sextuor,” read the program, “is well calculated to meet with popular favor, especially when its sonority is augmented by employing a large body of string instruments, for which it is admirably adapted.”

July 25, Continued From Page 107 my late work became possible. It was a backward look, of course—the first of many love affairs in that direction— but it was a look in the mirror, too.” In 1922, he created an 11-movement concert suite out of his ballet score. Many of the Pergolesi pieces Stravinsky chose were later discovered to be misattributed. So far as the Suite is concerned, the Serenata, Vivo, and Minuetto are all based on authentic Pergolesi pieces. The Sinfonia (Overture), Scherzino, the first Allegro, Andantino, and concluding Allegro assai originated in trio sonatas by Domenico Gallo (1730-68); the Tarantella is by Unico Wilhelm van Wassenaer (1692-1766);

160 Learn more at BravoVail.org or the new Bravo! Vail Music Festival app.

and the Toccata and Gavotta are from a harpsichord suite by Carlo Ignazio Monza (1680-1739). July 27, Continued From Page 113 downplayed the music’s illustrative qualities. At the head of a violin part used in the first performance (and only parts were available at that time, since the orchestral score was not published until 1826) is written “Sinfonia Pastorella / Pastoral Symphony / or / Recollection of Country Life / More an Expression of Feeling than Painting.” Each of the five movements also carries an individual motto describing a rural experience. Numerous compositions have been cited as prefiguring the programmatic bent of Beethoven’s Pastoral Symphony, including a piano fantasia by Franz Jakob Freystädtler called A Spring Morning, Noon, and Night, and a symphony by Justin Heinrich Knecht titled Le portrait musical de la nature. Such pieces were characteristic of an epoch nursed by the back-to-nature philosophy of Rousseau and Herder. In Beethoven’s Pastoral Symphony, nature found its supreme musical mirror.

YOUR STYLE. YOUR SOUL. Made with an unwavering dedication to art, a mastery of craft and a love of music. When you touch the perfectly balanced keys and hear the rich harmonics and subtle, silky colors, you know it’s not just any grand piano. It’s a Yamaha. Proud sponsor and instrument provider of Bravo! Vail Music Festival. Learn more at YamahaPianos.com

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• WAlls of WindoWs frAming tHe mountAin vieWs • internAl elevAtor • 2 mAster suites WitH mArBle steAm sHoWers, Jetted tuBs • 5 Bedrooms, 7 BAtHrooms, 5,347 sq.ft. • totAlly furnisHed, including Art Work move in todAy • perfect for your HAppy fAmily life in vAil • priced At $13,300,000

ABSOLUTELY – hire Brooke Ferris as your Vail Real Estate Broker. Brooke has been our only Vail Valley Real Estate broker for years! Brooke makes Property buying & selling a smooth, stress free & pleasant experience – combined with expert marketing, professional detailed service and quick, lucrative results – she fulfills the expectations of the most demanding clients. Dani Bedoni – previous member of Bravo Board of Directors

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information contained herein is believed accurate but not guaranteed.

THE ENCORE SOCIETY OUR BRIDGE TO THE FUTURE

hen you picture your favorite memory from the Bravo! Vail Music Festival, what do you see? Perhaps it is experiencing an evening of incredible music with The Philadelphia Orchestra against the backdrop of the Rockies. Or maybe it is hearing the New York Philharmonic perform a new classical work for the very first time. Possibly you see your children or grandchildren learning about music from a Dallas Symphony Orchestra musician. Whatever memories you cherish most, we can all agree that the Bravo! Vail is a special place where magic happens each summer.

Bravo! Vail is building a bridge to the future. To ensure that Bravo! Vail is here for your family and for generations to come, we need to build a strong endowment. Although our current endowment is valued at $7 million, we need to strengthen it through generous legacy gifts to our Encore Society from supporters like you.

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

To learn more about creating a legacy gift, please visit us online at PlannedGiving.BravoVail.org. Questions? Please feel free to contact Jason Denhart at 877-812-5700 or jdenhart@bravovail.org

Learn More & Follow Us BRAVOVAIL.ORG | 877.812.5700

A legacy gift in your estate plan helps ensure that Bravo! Vail will be here to thrill and excite future generations.

YOU CAN MAKE A DIFFERENCE Our vibrant, inclusive Jewish community welcomes you. Family Friendly Shabbat Services in Vail, every Friday Night at 6:00pm Holiday Celebrations Religious School Education & Bar and Bat Mitzvah Training Year Round and Seasonal Membership Available Lifecycle Events Created For You

We hope you’ll join us… Rabbi Joel D. Newman & Cantor Michelle Cohn Levy

For schedule information, please see our website or contact Executive Director, Jeanne Whitney (970) 477-2992 or admin@bnaivail.org

www.bnaivail.org

The Community Market provides access to free, healthy food throughout Eagle County. We believe it is every human’s right to have access to nutrient-rich foods on a consistent, daily basis. For every $1 donated, The Community Market redistributes $8.60 worth of food.

You can help support our mission. Make a donation today at eaglevalleycf.org

GETTING THE MOST OUT OF THE MUSIC Bravo! Vail Music Festival offers tons of content and convenience on a wide variety of platforms. • There’s an app for that! Bravo! Vail Music Festival is now available on your smartphone. Buy tickets, read program notes, plan your visit, and more. Search for “Bravo! Vail Music Festival” in the Apple App Store or Google Play Store and download today. • BravoVail.org has comprehensive season information, personalized concert recommendations, FAQs, and more. • This program book* has QR codes for easy access to additional information. Just scan any code with your smartphone’s camera and follow the provided links.

Bravo! Vail app presented by the Berry Charitable Foundation

Live Stream Concerts Presented by The Sturm Family and ANB Bank Amidst the uncertainty of the 2020 season, Bravo! Vail rose to the occasion and invested in recording and broadcast technology to provide online access to live concerts. Cameras with cinema-quality lenses, strategically placed to follow the musical score, create exceptionally sensitive and profound virtual concert experiences.

Watch live online for just $15 per concert per household! Visit bravovail.org/livestream or scan this code for details.

Learn More & Follow Us BRAVOVAIL.ORG | 877.812.5700 * Please save your program book and use it throughout the Festival season, then recycle or enjoy it as a commemorative keepsake.

! c i s u m h t i w r e m m u s r u Fill yo California IVAL of CABRILLO FEST RY MUSIC CONTEMPORA cabrillomusic.org Santa Cruz, CA

FESTIVAL CARMEL BACH .org al iv bachfest C , Carmel A

LA JOLLA MUSIC SOCIETY SUMMERFEST ljms.org La Jolla, CA

MAINLY MOZART FESTIVAL mainlymozart.org San Diego, CA

Colorado ASPEN MUSIC FESTIVAL and SCHOOL aspenmusicfestival.com Aspen, CO

BRAVO! VAIL bravovail.org Vail, CO

CHAMBER MUSI C NORTHWEST SUMMER FESTIV AL cmnw.org Portland, OR

Washington

COLORADO MUSIC FESTIVAL coloradomusicfestival.org Boulder, CO

STRINGS MUSIC FESTIVAL stringsmusicfestival.com Steamboat Springs, CO

New Mexico MUSIC@MENLO rg musicatmenlo.o A C , Atherton

Oregon

SEATTLE CHAM BER MUSIC SOCIETY SUMMER FESTIV AL seattlechamberm usic.org Seattle, WA

Wyoming GRAND TETON MUSIC FESTIVAL gtmf.org Jackson Hole, W Y

SANTA FE CHAMBER MUSIC FESTIVAL santafechambermusic.com Santa Fe, NM

Idaho SUN VALLEY MUSIC FESTIVAL rg svmusicfestival.o ID Ketchum,

Enjoy concerts this summer bo th in-person and o nline from these allied festivals of the Western United States.

CLASSICAL MUSIC FESTIVALS OF THE WEST 2021

SUPPORT BRAVO! VAIL’S EDUCATION & ENGAGEMENT PROGRAMS Online Auction & Paddle Raise Raise a paddle to support Bravo! Vail’s mission-critical Education & Engagement programs, which provide access, instruction, enrichment, and professional development opportunities, all year long. Your generosity brings music to thousands of community members of all ages and abilities throughout the Vail Valley.

Items for bidding include: Intimate Dinners with Festival Musicians Opportunity to Conduct the New York Philharmonic Unique Adventure Experiences... and more!

Scan this code to view additional bidding items

June 24 – July 28 Bid early, bid often… inspire and support a musicloving community!

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

“Bravo! Vail has a proven track record of reaching out to elementary students to create a deep appreciation for the arts and inspire a new generation of musicians and patrons.” —Philip Qualman, Superintendent Eagle County School District

Bravo! Vail’s Music Makers Program offers children grades 2 through 12 the opportunity to learn the fundamentals of instrument training, musical concepts, performance skills, and reading music throughout the academic year.

Learn More & Follow Us BRAVOVAIL.ORG | 877.812.5700

The Vail Dance Festival is a celebration of exceptional artistry taking place at the Gerald R. Ford Amphitheater in Vail, Colorado. Friday, July 30 | 7:30pm

Wednesday, August 4 | 6pm

Saturday, July 31 | 7:30pm

Thursday, August 5 | 5:30pm

Sunday, August 1 | 6pm

Friday, August 6 | 7:30pm

Opening Night

New York City Ballet MOVES UpClose: Artist-In-Residence Calvin Royal III

Monday, August 2 | 7:30pm

BalletX: Sunset, o639 Hours

UpClose

Dancing in the Park: BalletX*

International Evenings of Dance I Saturday, August 7 | 5pm & 8pm

International Evenings of Dance II

Monday, August 9 | 7:30pm

NOW: Premieres

*Performance takes place at the Avon Performance Pavilion at Nottingham Park

Schedule is subject to change.

VAILDANCE.ORG | ��.��.TIXS ��

Calvin Royal III. Photo by Erin Baiano.

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www.JamesMontgomeryLaw.com Mergers & Acquisitions

2021 A musical adventure through Colorado.

June 18 - August 22 on CPR Classical Let CPR Classical be your guide on a musical adventure through Colorado this summer. There’s no better way to tour the state than through the gorgeous sounds of world-class classical music at Colorado’s wide array of outdoor and state-of-the-art venues. CPR Classical brings you the best from Colorado’s summer music festivals through weekend concerts and special features all summer long. Tour the state — without ever leaving home.

Ask your smart speaker to play CPR Classical

89.1 FM Vail 101.5 FM Aspen 90.5 FM Glenwood Springs 88.1 FM Denver

Visit us at cprclassical.org

photo: Craig Hensel

Silver Rush Elegance. Just a Short Drive Away in Historic Leadville, North America’s Highest City

Explore world-class arts in a Wild West setting. Summer Tours Walk our historic stage. Explore our 1879 scenery set. Stand where John Philip Sousa appeared and Harry Houdini disappeared. Historic rehabilitation underway!

Schedule a Tour: TaborOperaHouse.net Facebook: @TaborOperaFoundation 719-486-8409

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LIVE IN-PERSON — in — BEAVER CREEK JUN 27 The Allman Betts Band JUL 2 Randy Rodgers Band

JUL 25 LeAnn Rimes Acoustic JUL 31 A NEW WORLD RECORD

A Tribute to the Music of the Electric Light Orchestra

JUL 15 Comedian Rob Schneider

AUG 5 Amy Grant

JUL 22 Ricky Skaggs & Kentucky Thunder

AUG 15 NOT OUR FIRST GOAT RODEO Yo-Yo Ma + Stuart Duncan + Edgar Meyer + Chris Thile

AUG 21 Del McCoury Band AUG 28 Keb’ Mo’ Acoustic SEPT 3 DOUBLE HEADLINERS: Sierra Ferrell + The East Pointers

— with guest Aoife O’Donovan —

—

More to be Announced! —

UNDER THE ICE RINK IN BEAVER CREEK | FREE Parking Available

the life you love

Your home is more than a building or an address. It’s where you experience life, family,

connection, growth. Your home should be as exceptional as you are, and as you are going to be. For a lifestyle inspired by your potential, there is only LIV Sotheby’s International Realty.

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