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From the stage to the seats, everyone who supports the arts deserves applause. Weâ&#x20AC;&#x2122;re honored to play a role in making our community more inspiring. U.S. Bank is proud to support Bravo! Vail.

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Dear Friends, Welcome to the sound of extraordinary at the 28th Season of Bravo! Vail, the only festival in North America to host three of the worldâ&#x20AC;&#x2122;s finest orchestras in a single season. The Dallas Symphony Orchestra, The Philadelphia Orchestra, and the New York Philharmonic take up residence in Vail every summer, featured in programs of the great classics, plus jazz and pops. An astounding line-up of world-renowned chamber music artists round out this extraordinary series, planned just for you. The musicianship of the 28th Season is unsurpassed. The setting varies from the grandeur of the Gore Range surrounding the Gerald R. Ford Amphitheater to intimate spaces throughout the Vail Valley. Best of all is sharing this incredible experience with friends, old and new. Summer 2015 is the best time ever to take advantage of all that Bravo! Vail has to offer. In addition to our three resident orchestras, brilliant featured artists, and incredible core programs, the Festival is expanding around the Vail Valley to serve those interested in engaging with great music in a more relaxed format. Look for concerts and community engagement events in your own neighborhoods and at fine establishments all around town. Thanks to all of you, audiences, donors, volunteers, artists, and music lovers, for your support of Bravo! Vail and all it offers. We provide these programs to enrich the lives of thousands of citizens and students alike all year long. You always do your part to help make transformative moments like this concert possible and for that we are grateful. Without you, this celebration of life and the love of music in the Rocky Mountains would not be possible. Sincerely,

Dan Godec BOARD CHAIR

Anne-Marie McDermott

ZACHMAHONE.COM

ARTISTIC DIRECTOR

John W. Giovando FOUNDER & INTERIM EXECUTIVE DIRECTOR

BOARD OF TRUSTEES Dan Godec, Chair Jeanne Gustafson, Vice Chair Bill Burns, Treasurer Susan Suggs, Secretary Ronnie Baker Paul Becker Sarah Benjes Barry Beracha Doe Browning Jenn Bruno Tim Dalton Glenn Davis Marijke de Vink Gary Edwards Ceil Folz John Galvin Alan Kosloff Rob LeVine Shirley McIntyre Laurie Mullen Brad Quayle Michele Resnick Vicki Rippeto Margaret Rogers Byron Rose Rachel Smiley Cathy Stone Frank Strauss Doug Tansill Greg Walton

Jeremy Krieg Honey Kurtz Dick Liebhaber Vicki Logan Patricia Lynch John Magee Tony Mayer Matt Morgan Bill Morton Sarah Nash Kalmon Post Drew Rader Martha Rehm Susan Rogel Terie Roubos Lisa Schanzer Carole Segal Jim Shpall Rod Slifer Marcy Spector Tye Stockton Sue Sturm Lisa Tannebaum Fred Tresca Paula Verity Steve Virostek Carole Watters

ADVISORY COUNCIL David Anderson Marilyn Augur Dani Bedoni Jan Broman Kay Chester Bill Clinkenbeard Lucy Davis Brian Doyle Tom Edwards Kabe ErkenBrack Sallie Fawcett Cookie Flaum Harry Frampton Joan Francis Mark Gordon Seeme Hasan Martha Head Karen Herman Becky Hernreich Mark Herron Katie Kellen Elaine Kelton

TRUSTEE EMERITUS Marge Burdick, In loving memory Mary Hesburgh Ann Sansbury Phil Smiley Thomas Steinberg L.W. Stolzer Luanne Wells

ARTISTIC DIRECTORS EMERITUS Ida Kavafian Eugenia Zukerman

Learn more at BravoVail.org 27

SUNDAY

MONDAY

TUESDAY

SCHEDULE OF EVENTS

2015 SEASON July 1–August 6, 2015 COLOR KEY Orchestra Concerts Chamber Music Concerts Free Concerts

5 Dallas Symphony Orchestra 6:00 PM | GRFA

Little Listeners 2:00 PM | EPL

Free Concert 1:00 PM | VIC

Dallas Symphony Orchestra 6:00 PM | GRFA

Free Education & Community Events

Little Listeners 2:00 PM | VPL Chamber Music 6:00 PM | DP

Soirée Series

Special Events

Music on the Move 11:00 AM | VV

Little Listeners 2:00 PM | APL

Free Concert 1:00 PM | VIC

Pre-Concert Talk 5:00 PM | MSC

Chamber Music 6:00 PM | DP

LOCATION KEY APL = Avon Public Library BC = Beaver Creek Village

The Philadelphia Orchestra 6:00 PM | GRFA

BCIC = Beaver Creek Interfaith Chapel BCP = Brush Creek Pavilion CMB = Crazy Mountain Brewery DP = Donovan Pavilion EIC = Edwards Interfaith Chapel EPL = Eagle Public Library GESC = Golden Eagle Senior Center GPL = Gypsum Public Library GRFA = Gerald R. Ford Amphitheater GTH = Gypsum Town Hall LSC = Lodge & Spa at Cordillera

VAH = Vail Ale House

21 Free Concert 11:00 AM | GESC

Free Concert 4:30 PM | LSC

Free Concert 1:00 PM | VIC

28th Annual Gala: Dinner, Dancing, Auction 5:30 PM | PHBC

Chamber Music 6:00 PM | DP

MSC = Moroles Sculpture Garden PHBC = Park Hyatt Beaver Creek

Music on the Move 11:00 AM | VV

New York Philharmonic 6:00 PM | GRFA

VIC = Vail Interfaith Chapel VPAC = Vilar Performing Arts Center

Little Listeners 2:00 PM | APL

Free Concert 1:00 PM | VIC

Soirée Series 6:00 PM | de Vink Residence

Little Listeners 2:00 PM | VPL

Free Concert 7:30 PM | BCP

VPL = Vail Public Library

Chamber Music 6:00 PM | DP

VV = Vail Village WMSC = Walking Mountains Science Center

28 Get tickets at BravoVail.org

Free Concert 7:30 PM | BCIC

Classically Uncorked Presented by Pine Ridge Vineyards 7:30 PM | DP

WEDNESDAY 1 JULY Dallas Symphony Orchestra 6:00 PM | GRFA

THURSDAY

FRIDAY

Free Concert 1:00 PM | VIC

Pre-Concert Talk 5:00 PM | MSC

Soirée Series 6:00 PM | Balk Residence

Little Listeners 2:00 PM | GPL

Free Concert 1:00 PM | VIC LIVE RADIO RECORDING!

SATURDAY 4 Dallas Symphony Orchestra 2:00 PM | GRFA

Dallas Symphony Orchestra 6:00 PM | GRFA

10 The Philadelphia Orchestra 6:00 PM | GRFA

11 Music on the Move 1:00 PM | BC

Dallas Symphony Orchestra 6:00 PM | GRFA

From The Top 6:00 PM | VPAC

FREE!

Bravo! Vail After Dark 8:30 PM | VAH

The Philadelphia Orchestra Special time, 8:00 PM GRFA

Little Listeners 2:00 PM | GPL

Instrument Petting Zoo 10:30 AM | GRFA

The Philadelphia Orchestra 6:00 PM | GRFA

Free Family Concert 11:30 AM | GRFA

Free Concert 7:30 PM | GTH

Free Concert 1:00 PM | VIC

The Philadelphia Orchestra 6:00 PM | GRFA FREE!

Bravo! Vail After Dark 8:30 PM | VAH

Music on the Move 1:00 PM | BC Pre-Concert Talk 5:00 PM | MSC The Philadelphia Orchestra 6:00 PM | GRFA

Soirée Series 6:00 PM | Thomas Residence

Soirée Series 6:00 PM | Davis Residence

Free Concert 1:00 PM | VIC

Science Behind: Free Concert 6:30 PM | WMSC

Free Concert 7:30 PM | EIC

New York Philharmonic 6:00 PM | GRFA

1 AUGUST

Pre-Concert Talk 5:00 PM | MSC

Free Concert 1:00 PM | VIC

Pre-Concert Talk 5:00 PM | MSC

New York Philharmonic 6:00 PM | GRFA

New York Philharmonic 6:00 PM | GRFA FREE!

Bravo! Vail After Dark 8:00 PM | CMB

Classically Uncorked Presented by Pine Ridge Vineyards 7:30 PM | DP

DALLAS SYMPHONY ORCHESTRA

UNCOMPROMISING EXCELLENCE IN RESIDENCE JULY 1–8, 2015

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

30 Learn more at BravoVail.org

During Mata’s tenure, the Dallas Symphony Orchestra saw the dedication of its permanent home, the Morton H. Meyerson Symphony Center, in September 1989. In December of 1992, the Dallas Symphony Association named Andrew Litton to succeed Mata as Music Director. Litton launched the Dallas Symphony’s first television venture, the Amazing Music series. He also made numerous recordings with the DSO, including Mahler’s Symphony No. 5 and Gramophone magazine’s Editor’s Choice Award-winning Rachmaninoff Piano Concertos. Litton and the Orchestra had several performances at Carnegie Hall, three European tours, and inaugurated their summer residency here at Bravo! Vail. Following Litton’s departure, the DSO named Jaap van Zweden as its Music Director in February 2007. In addition to his position with the Dallas Symphony, van Zweden serves as Music Director of the Hong Kong Philharmonic Orchestra. Dallas Symphony performances conducted by Jaap

SCHEDULE AT-A-GLANCE JUL

Bravo! Begins: Pinchas Plays Beethoven.......................43

JA AP VAN ZWEDEN MUSIC DIREC TOR ,

JUL

03 JUL

04 JUL

05 JUL

06 JUL

ZACHMAHONE.COM

Mozart’s Requiem............................................ 49

DALL AS SYMPHONY ORCHESTRA

Patriotic Concert............................................... 53 Hollywood Classics & John Williams........................ 55 Symphony Fantastique.....................................59 Let’s Dance....................................................65

van Zweden are regularly hailed by The Dallas Morning News as “exhilarating,” “revelatory,” and “as electrifying as you’ll hear anywhere.” In March 2013, van Zweden conducted a heralded two-week European tour with the Dallas Symphony and the orchestra will return to Europe in April 2016. He also led the Dallas Symphony in an appearance in the inaugural Spring for Music festival at Carnegie Hall in 2011. Van Zweden was named Musical America Conductor of the Year 2012 in recognition of his work as Music Director of the Dallas Symphony and as a guest conductor with the most prestigious U.S. orchestras. For the DSO Live record label, Maestro van Zweden has released the symphonies of Tchaikovsky (Nos. 4 and 5), Beethoven (Nos. 5 and 7), Mahler (Symphony No. 6) and Dvorak (Symphony No. 9) and the world-premiere recording of Steven Stucky’s concert drama August 4, 1964, for which Stucky was nominated for a Grammy Award.

FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA Bravo! Vail gratefully acknowledges the support of the following patrons: PREMIER BENEFACTOR

SILVER ( $10,000+ )

( $30,000+ )

Arlene and John Dayton Mike A. Myers Foundation Patti and Blaine Nelson Doug Rippeto

Shirley and William S. McIntyre, IV The Sturm Family Foundation

PLATINUM ( $25,000+ ) Hill Foundation Billie and Ross McKnight

GOLD ( $15,000+ ) Marilyn Augur Sallie and Robert Fawcett Vicki Rippeto Marcy and Stephen Sands Carole A. Watters

BRONZE ( $5,000+ ) Diane and Hal Brierley Peggy and Gary Edwards Cindy Engles Amy and Vernon Faulconer Carol and Ronnie Goldman Carol and Jeff Heller Alexia and Jerry Jurschak Bobbi and Richard Massman Brenda and Joe McHugh Karen and Al Meitz Jane and Howard Parker Debbie and Ric Scripps

Learn more at BravoVail.org 31

THE PHILADELPHIA ORCHESTRA

THE FABULOUS PHILADELPHIANS IN RESIDENCE JULY 10–18, 2015

HE PHILADELPHIA ORCHESTRA IS ONE of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of innovation in music-making. The Orchestra is inspiring the future and transforming its rich tradition of achievement, sustaining the highest level of artistic quality, but also challenging—and exceeding—that level by creating powerful musical experiences for audiences at home and around the world. Music Director Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth artistic leader of The Philadelphia Orchestra in the fall of 2012. He follows an extraordinary roster of artistic leaders in the Orchestra’s history, including Music Directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, who served as Chief Conductor from 2008 to 2012. Yannick’s highly collaborative style, deeply-rooted musical curiosity, and boundless

32 Learn more at BravoVail.org

enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble…has never sounded better.” The Philadelphia Orchestra continues its decadeslong tradition of presenting learning and community engagement opportunities for listeners of all ages across the Delaware Valley. Today the Orchestra introduces music to a new generation of listeners through programs for children and adults. Through concerts, tours, residencies, presentations, and recordings, The Philadelphia Orchestra is a global ambassador for Philadelphia and for the U.S. The ensemble has a long history of touring, having first performed outside of Philadelphia in the earliest days of its founding, and was the first American orchestra to perform in the People’s Republic of China, in 1973. In 2012 the Orchestra reconnected with its historical roots in China by launching a new partnership with the National Centre for the Performing Arts in Beijing, a pilot residency that united the

SCHEDULE AT-A-GLANCE JUL

10 JUL

11 JUL

12 JUL

15 JUL

17 JUL

Ohlsson Plays Rachmaninoff...............................71 Pixar in Concert............................................... 75 Dvořák: From the New World..................................................... 79 The Musical World of John Williams......................85 Shakespeare at the Symphony........................................93 Celebrating the Philadelphia Sound............... 97

STÉPHANE DENÈVE PRINCIPAL GUES T CONDUC TOR ,

OPPOSITE: ZACHMAHONE.COM; THIS PAGE: JESSICA GRIFFIN

THE PHIL ADELPHIA ORCHESTRA

Orchestra with young Chinese musicians and composers, bringing orchestral music to China’s major cities and provinces. The Orchestra returned to China in 2013 for its Residency and Fortieth Anniversary Tour of China, and in 2014 for its Tour of Asia and China Residency, its first international tour with Yannick. The Philadelphia Orchestra has long pushed the boundaries of convention in the classical music realm. Signature to this reputation are world or American premieres of such important works as Mahler’s Symphony No. 8 (“Symphony of a Thousand”), Stravinsky’s The Rite of Spring, Schoenberg’s Gurrelieder, and Rachmaninoff’s Symphonic Dances. The Orchestra returned to recording under Yannick’s leadership with two CDs on the prestigious Deutsche Grammophon label, which continue the Orchestra’s remarkable history in this area, having made its first recording in 1917. The Orchestra also makes live recordings available on popular digital music services. In 2012 the ensemble also returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

FRIENDS OF THE FABULOUS PHILADELPHIANS Bravo! Vail gratefully acknowledges the support of these patrons: PREMIER BENEFACTOR

BRONZE ( $5,000+ )

( $50,000+ )

Shannon and Todger Anderson Dokie Cookie and Jim Flaum Sue and Dan Godec Kenneth Lubin, in Memory of Norman M. Morris Laura and Jim Marx Linda and Kalmon Post Michele and Jeffrey Resnick Barbara and Howard Rothenberg Roberta and Ernest Scheller, Jr. Dhuanne and Doug Tansill Sharon and Marc Watson

Peggy Fossett The Sturm Family Foundation Town of Vail

GOLD ( $25,000+ ) Karen and Michael Herman Sandra and Greg Walton

SILVER ( $10,000+ ) Anonymous Christine and John Bakalar Arlene and John Dayton Hilda O’Farrill de Compean and J. Compean Teri and Tony Perry Susan and Rich Rogel Carole and Peter Segal Cathy and Howard Stone Susan and Steven Suggs

Learn more at BravoVail.org 33

NEW YORK PHILHARMONIC

PRECISION, POWER, SOUL IN RESIDENCE JULY 24–31, 2015

HE NEW YORK PHILHARMONIC PLAYS A leading cultural role in New York City, the United States, and the world. This season’s projects will connect the Philharmonic with up to 50 million music lovers through live concerts in New York City and on its worldwide tours; digital downloads; international broadcasts on television, radio, and online; and as a resource through its wide range of education programs. A champion of the new music of its time, the Philharmonic has commissioned and/or premiered works by leading composers from every era since its founding — Dvořák’s Symphony No. 9, From the New World; Gershwin’s Concerto in F; and Copland’s Connotations, in addition to U.S. premieres including Beethoven’s Symphonies Nos. 8 and 9 and Brahms’s Symphony No. 4. This pioneering tradition continues today, with recent highlights including John Adams’s Pulitzer Prize–winning On the Transmigration of Souls; Christopher Rouse’s Symphony No. 4; Melinda

34 Learn more at BravoVail.org

Wagner’s Trombone Concerto; Wynton Marsalis’s Swing Symphony (Symphony No. 3); Magnus Lindberg’s Piano Concerto No. 2; and, by the end of the 2013–14 season, the world premieres of 20 works in CONTACT!, the new-music series. In the 2013–14 season the Philharmonic and Music Director Alan Gilbert inaugurated the NY PHIL BIENNIAL, an exploration of today’s music. Renowned around the globe, the Philharmonic has appeared in 432 cities in 63 countries — including the groundbreaking 1930 tour of Europe; the unprecedented 1959 tour to the USSR; the historic 2008 visit to Pyongyang, D.P.R.K., the first there by an American orchestra; and the Orchestra’s debut in Hanoi, Vietnam, in 2009. The New York Philharmonic serves as a resource for its community and the world. It complements its annual free concerts across the city with a wide range of education programs — among them the famed, long-running Young People’s Concerts and Philharmonic Schools, an immersive classroom

SCHEDULE AT-A-GLANCE JUL

24 JUL

25 JUL

26 JUL

Bramwell Unravels Elgar’s Enigma...........................111 The Weilersteins & Tchaikovsky........................... 115 Tovey & McDermott............................ 119 Midori with the New York Philharmonic............... 127

ALAN GILBERT MUSIC DIREC TOR ,

JUL

30 JUL

NE W YO RK PHILH A RMO NIC

An American Celebration.................................. 131 Mozart & Shostakovich....................... 135

FRIENDS OF THE NEW YORK PHILHARMONIC

OPPOSITE & THIS PAGE: ZACHMAHONE.COM

Bravo! Vail gratefully acknowledges the support of the following patrons:

program that reaches thousands of New York City students. Committed to developing tomorrow’s leading orchestral musicians, the Philharmonic has established the New York Philharmonic Global Academy, partnerships with cultural institutions at home and abroad to create projects that combine performance with intensive training by Philharmonic musicians. These include collaborations with the Shanghai Symphony Orchestra and Shanghai Conservatory of Music as well as Santa Barbara’s Music Academy of the West. Founded in 1842, the New York Philharmonic is the oldest symphony orchestra in the United States, and one of the oldest in the world. Since 1917 the Philharmonic has made almost 2,000 recordings, including several Grammy Award winners, and its selfproduced download series continues in the 2014–15 season. Music Director Alan Gilbert began his tenure in September 2009, succeeding a distinguished line of 20th-century musical giants that includes Leonard Bernstein, Arturo Toscanini, and Gustav Mahler.

PLATINUM ( $30,000+ ) Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Cynnie and Peter Kellogg Honey Kurtz Kay Lawrence Vicki and Kent Logan Leni and Peter May Billie and Ross McKnight Amy and James Regan Helen and Vincent Sheehy The Sturm Family Foundation Town of Vail Carol and Pat Welsh

GOLD ( $20,000+ ) Jayne and Paul Becker Amy and Steve Coyer Stephanie and Larry Flinn Georgie and Don Gogel Mr. and Mrs. Claudio Gonzalez Judy and Alan Kosloff Donna and Pat Martin Barbie and Tony Mayer Ann and Alan Mintz

Kay and Bill Morton June and Paul Rossetti Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Lisa Tannebaum and Don Brownstein Dhuanne and Doug Tansill

SILVER ( $15,000+ ) Judy and Howard Berkowitz Marlene and John Boll Jeri and Charlie Campisi Martha Head and John Feagin, M.D. Karen and Walter Loewenstern John McDonald and Rob Wright Carolyn and Gene Mercy Sarah Nash and Michael Sylvester Margaret and Alex Palmer Terie and Gary Roubos Slifer, Smith and Frampton Real Estate

Learn more at BravoVail.org 35

CHAMBER MUSIC SERIES

UP CLOSE & MUSICAL EXPERIENCE CHAMBER LIKE NEVER BEFORE

ITH PROGRAMS FEATURING A DIVERSE array of works spanning four centuries, Bravo! Vailâ&#x20AC;&#x2122;s Chamber Music Series offers something for everyone. The series takes place on consecutive Tuesday nights during July at the Donovan Pavilion in Vail. By blending together wellloved favorites and new finds, and creating an intimate performance space where audience members sit in close proximity to the music and the musicians, the series gives you the chance to experience highly intimate, direct, and personal music making at its best.

36 Learn more at BravoVail.org

ALESSIO BAX, PIANO (page 63)

SCHEDULE AT-A-GLANCE JUL

07 JUL

14 JUL

21 JUL

TOP: ZACHMAHONE.COM; FROM LEFT: LISA-MARIE MAZZUCCO; RYAN DONNELL; PAUL GLICKMAN

Music for Two Pianos......................................63 Mozart’s Eine Kleine Nachtmusik....................................83 Hadelich, Costanza, & Yang............................................... 105 Chamber with the New York Philharmonic............... 125

FRIENDS OF CHAMBER MUSIC Bravo! Vail gratefully acknowledges the support of the following patrons: Sam B. Ersan It’s All Good Catering The Judy and Alan Kosloff Artistic Director Chair The Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail Dr. and Mrs. Albert Weihl

DAVID KIM, VIOLIN (page 83)

AUGUSTIN HADELICH, VIOLIN (page 105) Learn more at BravoVail.org 37

CLASSICALLY UNCORKED SERIES

CONTRASTING OLD & NEW PRESENTED BY PINE RIDGE VINEYARDS

LASSICALLY UNCORKED IS A series designed to create an intimate and elegant listening experience surrounded by the beauty of the outdoors. Seating is cabaret style, with the performers in close proximity to the audience. This relaxed arrangement encourages audiences to enjoy great food and distinctive

38 Learn more at BravoVail.org

SCHEDULE AT-A-GLANCE AUG

04 AUG

05 AUG

Baroque Dances Through Time........................... 141 New Music for Strings & Voices.....................142 Gunn & Bartók: Breaking Barriers...................143

P I N E R I D G E V I N E YA R D S I S A N A PA VA L L E Y W I N E R Y T H AT P R O D U C E S M E T I C U L O U S LY

OPPOSITE TOP & BOTTOM: ZACHMAHONE.COM

HAND-CRAF TED WINES

wines specially selected for the series, creating a sense of openness, receptivity, and good spirit—the essence of a great chamber music performance. Classically Uncorked explores the resonances and interplay between the “new” in music and the “old,” spanning five centuries. Through unique, carefully curated programming, this series creates an ongoing dialogue with audiences to connect great music from all eras with present day experiences.

SERIES PRESENTED BY

SERIES CATERED BY

Private Chefs / Catering

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF: Amy and Charlie Allen The Judy and Alan Kosloff Artistic Director Chair Pine Ridge Vineyards Tasteful Creations Catering The Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail Anonymous, in honor of the Vail Mountain Rescue Group

EDUCATION & ENGAGEMENT

ENHANCE YOUR EXPERIENCE MUSIC FOR ALL, ALL SUMMER LONG

PRE-CONCERT TALKS

FAMILY CONCERT

July 3, July 12, July 18, July 29, July 31 | 5:00PM Moroles Sculpture Garden (outside the GRFA)

July 16 | 11:30AM | page 89 Instrument Petting Zoo opens at 10:30AM

Learn from the experts! A series of discussions led by some of Colorado’s most prominent musicologists. Gain insight into the composers’ lives and the repertory on the evening’s concert program.

Bravo! Vail’s annual Family Concert is an exciting and informal introduction to symphonic music. Even the youngest members of the family can be exposed to the sounds of a live symphony orchestra. This year, back by popular demand, enjoy a free performance of Peter and The Wolf with members of The Philadelphia Orchestra. At 10:30AM, children are invited to handle and play many different musical instruments at the Instrument Petting Zoo. Members of The Philadelphia Orchestra perform at 11:30AM.

BRAVO! VAIL AFTER DARK Reimagine your definition of classical music. Bravo! Vail After Dark offers audiences a chance to interact with classical music in a relaxed setting at local bars and breweries. The series features progressive artists comfortably moving between favorite classics and more adventurous repertoire.

July 10 8:30PM, Vail Ale House................................................ 74 July 17 8:30PM, Vail Ale House............................................... 96 July 31 8:00PM, Crazy Mountain Brewery............. 138

SCIENCE BEHIND SOUND July 22 | 6:30PM | page 107 A collaboration between Bravo! Vail and Walking Mountains Science Center, Professor Ron DeLyser will be joined by the Donald Sinta Saxophone Quartet to explore and demonstrate concepts related to the physics of sound.

40 Learn more at BravoVail.org

LITTLE LISTENERS @ THE LIBRARY Resident musicians present free and fun performances designed for children and families at local libraries. Each library performance will include either a participatory musical activity or a small instrument petting zoo, allowing kids to hold, explore, and play musical instruments.

July 6 July 7 July 8 July 13 July 15 July 27 July 28

2:00PM, Eagle Public Library 2:00PM, Vail Public Library 2:00PM, Gypsum Public Library 2:00PM, Avon Public Library 2:00PM, Gypsum Public Library 2:00PM, Avon Public Library 2:00PM, Vail Public Library

FREE

FUN EVENTS & MUSIC FOR EVERYONE!

CONCERT SERIES FUN FOR THE WHOLE FAMLY, AND BACK BY POPULAR DEMAND, PETER AND THE WOLF WITH MEMBERS OF THE PHILADELPHIA ORCHESTRA. F R E E F A M I LY C O N C E R T , J U LY 1 6

MUSIC ON THE MOVE

OPPOSITE & THIS PAGE TOP: ZACHMAHONE.COM

During Bravo! Vail’s 28th season music can happen anywhere, as string and saxophone musicians pop up and play throughout Vail Village and Beaver Creek in July. Please view the full calendar on pages 28-29 for specific program dates.

Free music sounds extraordinary all summer long, throughout the Vail Valley. Free, hour-long chamber music concerts take place at 1:00PM Tuesdays and Thursdays at the Vail Interfaith Chapel, and afternoons and evenings at locations across the valley.

July 2 July 7 July 9 July 14 July 15 July 16 July 19 Jul 21 July 21 July 23 July 23 July 27 July 28 July 30 AUG 3

1:00PM, Vail Interfaith Chapel.......................... 46 1:00PM, Vail Interfaith Chapel.......................... 62 1:00PM, Vail Interfaith Chapel.......................... 68 1:00PM, Vail Interfaith Chapel.......................... 82 7:30PM, Gypsum Town Hall................................. 88 1:00PM, Vail Interfaith Chapel.......................... 90 4:30PM, Lodge and Spa at Cordillera...........................................................................100 11:00AM, Golden Eagle Senior Center, Eagle........................................................................ 103 1:00PM, Vail Interfaith Chapel.......................104 1:00PM, Vail Interfaith Chapel....................... 108 7:30PM, Edwards Interfaith Chapel......... 109 7:30PM, Brush Creek Pavilion, Eagle..... 123 1:00PM, Vail Interfaith Chapel....................... 124 1:00PM, Vail Interfaith Chapel....................... 130 7:30PM Beaver Creek Interfaith Chapel............................................................. 139

Learn more at BravoVail.org 41

Dinner Parties • Weddings & Rehearsal Dinners Special Events •Arts/Music Receptions • Holiday Parties Skiing & Sporting Event Tents • Bar-b-que’s & more! Eric Berg, Chef/Owner • 970.376.5263 eric@vailcateringconcepts.com www.vailcatering concepts.com

DALLAS SYMPHONY ORCHESTRA BRAVO BEGINS:

PINCHAS PLAYS BEETHOVEN

JUL

WEDNESDAY JULY 1, 6:00 PM SYMPHONY SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: THE FRANCIS FAMILY

SPECIAL GRATITUDE TO: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair Anonymous, in honor of the Vail Mountain Rescue Group

SPONSORED BY: Pamela and David Anderson Gail Flesher and David Salvin Holly and Ben Gill Susan and Rich Rogel Sally and Byron Rose Carole A. Watters

SOLOIST UNDERWRITERS: Jaap van Zweden, conductor, underwritten by Kelly and Sam Bronfman, II Pinchas Zukerman, violin, underwritten by Carolyn and Steve Pope and Barbara and Jack Woodhull

JUL

WEDNESDAY JULY 1, 6:00 PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden, conductor Pinchas Zukerman, violin

BEETHOVEN Concerto in D major for Violin and Orchestra, Op. 61 Allegro ma non troppo Larghetto — Rondo: Allegro

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

44 Learn more at BravoVail.org

BRAVO BEGINS: PINCHAS PLAYS BEETHOVEN Concerto in D major for Violin and Orchestra, Op. 61 (1806) (ca. 45 min) LUDWIG VAN BEETHOVEN (1770-1827)

N 1794, TWO YEARS AFTER HE HAD MOVED TO VIENNA from Bonn, Beethoven attended a concert by an Austrian violin prodigy named Franz Clement. Of Clement’s style of violin performance, Boris Schwarz wrote, “His playing was graceful rather than vigorous, his tone small but expressive, and he possessed unfailing assurance and purity in high positions and exposed entrances.” To Clement, then fourteen years old, the young composer wrote, “Dear Clement! Go forth on the way you hitherto have travelled so beautifully, so magnificently. Nature and art vie with each other in making you a great artist. Follow both and, never fear, you will reach the great — the greatest — goal possible to an artist here on earth. All wishes for your happiness, dear youth; and return soon, that I may again hear your dear, magnificent playing. Entirely your friend, L. v. Beethoven.” Beethoven’s wish was soon granted. Clement was appointed conductor and concertmaster of the Theater-an-der-Wien in Vienna in 1802, where he was closely associated with Beethoven in the production of Fidelio and as the conductor of the premiere of the Third Symphony. It was for Clement that Beethoven produced his only Violin Concerto. The five soft taps on the timpani that open the work not only serve to establish the key and the rhythm of the movement, but also recur as a unifying phrase throughout. The main theme is introduced in the second measure by the woodwinds in a chorale-like setting. A transition, with rising scales in the winds and quicker rhythmic figures in the strings, accumulates a certain intensity before it quiets to usher in the second theme, another legato strophe entrusted to the woodwinds. The development is largely given over to wide-ranging figurations for the soloist. The recapitulation begins with a recall of the five drum strokes of the opening, here spread across the full orchestra sounding in unison. Though the hymnal Larghetto is technically a theme and variations, it seems less like some earth-bound form than it does a floating constellation of ethereal tones, polished and hung against a velvet night sky with infinite care and flawless precision. Music of such limited dramatic contrast cannot be brought to a satisfactory conclusion in this context, and so here it leads without pause into the vivacious rondo-finale. The solo violin trots out the principal theme before it is taken over by the full orchestra. This jaunty tune returns three times, the last appearance forming a large coda.

Symphony No. 7 in A major, Op. 92 (1811-1812) (ca. 42 min)

INSIDE STORY

LUDWIG VAN BEETHOVEN (1770-1827)

The Seventh Symphony is a magnificent creation in which Beethoven displayed several technical innovations that were to have a profound influence on the music of the 19th century: he expanded the scope of symphonic structure through the use of more distant tonal areas; he brought an unprecedented richness and range to the orchestral palette; and he gave a new awareness of rhythm as the vitalizing force in music. It is particularly the last of these characteristics that most immediately affects the listener and to which commentators have consistently turned to explain the vibrant power of the work. Perhaps the most famous such observation about the Seventh Symphony is that of Richard Wagner, who called the work “the apotheosis of the Dance in its highest aspect ... the loftiest deed of bodily motion incorporated in an ideal world of tone.” “Beethoven,” John N. Burk explained, “seems to have built up this impression by willfully driving a single rhythmic figure through each movement, until the music attains (particularly in the body of the first movement and in the Finale) a swift propulsion, an effect of cumulative growth which is akin to extraordinary size.” A slow introduction, almost a movement in itself, opens the Symphony. This initial section employs two themes: the first, CONTINUED ON PAGE 180

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

SILVER ( $10,000+ )

( $30,000+ )

Arlene and John Dayton Mike A. Myers Foundation Patti and Blaine Nelson Doug Rippeto

Shirley and William S. McIntyre, IV The Sturm Family Foundation

PLATINUM ( $25,000+ ) Hill Foundation Billie and Ross McKnight

GOLD ( $15,000+ )

ANTONIE BRENTANO

Marilyn Augur Sallie and Robert Fawcett Vicki Rippeto Marcy and Stephen Sands Carole A. Watters

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

BEETHOVEN’S IMMORTAL BELOVED Beethoven is often depicted as being a lonely, tortured soul with a stormy and brooding disposition. While it is true that the composer dealt with increasing feelings of frustration and isolation due to his hearing loss, he maintained close relationships with many people, including having a famous love affair in 1812 with an unknown woman. Beethoven never disclosed the name of this woman, but among his papers scholars have found a long and impassioned letter addressed only to his “Immortal Beloved.” Beethoven wrote this letter in the summer of 1812, shortly after completing work on his Seventh Symphony. He dedicated his Diabelli Variations to Antonie Brentano, the wife of an important German Romantic literary figure, which has led scholars to believe that she was the mysterious “Immortal Beloved”, yet no one can definitively say if it was her or another woman who held the composer’s heart. 45

JUL

THURSDAY JULY 2, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE CHAMBER MUSIC CONCERT Fei Fei Dong, 2015 Bravo! Vail Piano Fellow Nicolas Namoradze, 2015 Bravo! Vail Piano Fellow

WORKS TO BE ANNOUNCED FROM STAGE BY THE FIRST-EVER BRAVO! VAIL PIANO FELLOWS

INTRODUCING

THE PIANO FELLOWS PROGRAM

HIS SUMMER BRAVO! VAIL LAUNCHES ITS FIRST professional development program for exceptionally talented pianists at the beginning stages of their careers. Fei Fei Dong and Nicolas Namoradze have been selected by Artistic Director, pianist Anne-Marie McDermott, for a two-week immersion into the life of the festival. Inspired by Ms. McDermott’s experiences as a young pianist, the program centers on these ideals:

MUSICAL CITIZENRY Musical training often leaves out exposure to the wider world of orchestral and chamber repertoire, as well as outreach. In addition to performing and receiving coaching, Piano Fellows will attend all Bravo! Vail concerts, follow scores, and talk with conductors, soloists and audiences.

COMMUNITY CONNECTION Piano Fellows will perform free concerts where they will hone their skills as communicators and ambassadors for music, speaking from the stage about themselves and the music, and interacting with the audience.

NURTURING TALENT FEI FEI DONG

The life of a pianist can be very solitary. A non-competitive environment in which to play, experiment, exchange ideas, ask questions and learn from experienced musicians is not only rare, but also essential to healthy musical growth and development. Attend and be among the first to enjoy this exciting new program.

NICOLAS NAMORADZE

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Four Seasons Resort Vail The Judy and Alan Kosloff Artistic Director Chair The Tippet Rise Fund of the Sidney E. Frank Foundation Anonymous, in honor of the Vail Mountain Rescue Group

46 Learn more at BravoVail.org

JUL

THURSDAY JULY 2, 6:00PM SOIRÉE SERIES

BALK RESIDENCE, BEAVER CREEK

ZUKERMAN TRIO SOIRÉE I

ZUKERMAN TRIO SOIRÉE

OPPOSITE FROM TOP: ELLEN APPEL-MIKE MORELAND; ZSOFIA RAFFAY. THIS PAGE: CLOCKWISE: CHERYL MAZAK; MISHA BYALIK; LISA KOHLER

OLTÁN KODÁLY (1882-1967) CAME TO BUDAPEST from his home village of Nagyszombat in 1900 to study composition and education at the city’s university and at Eötvös College, and there met Béla Bartók, a fellow musician and kindred spirit just one year his senior. They were drawn together not just by their age and shared profession, but also by a zeal to research and preserve the disappearing indigenous music and customs of their native Hungary, and in 1905 they set out on the first of many expeditions to collect folksongs and dances. Among Kodály’s first instrumental works to transmute the characteristic idioms and ethos of native folksong and dance into concert music was the Duo for Violin and Cello of 1914. The D minor Piano Trio of Felix Mendelssohn (1809-1847) is among his most popular chamber works. Robert Schumann hailed it as “the master trio of the age” and Pablo Casals chose to play it with Mieczyslaw Horszowski and Alexander Schneider when he was invited by President John F. Kennedy to perform at the White House in 1961.

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

Pinchas Zukerman, violin Amanda Forsyth, cello Angela Cheng, piano

KODÁLY Duo for Violin and Cello, Op. 7 Allegro serioso, non troppo Adagio Maestoso e largamente, ma non troppo lento — Presto

MENDELSSOHN Trio in D minor for Violin, Cello and Piano, Op. 49 Molto allegro ed agitato Andante con moto tranquillo Scherzo: Leggiero e vivace Finale: Allegro assai appassionato

CATERED BY VAIL CATERING CONCEPTS, EXECUTIVE CHEF ERIC BERG

PINCHAS ZUKERMAN

AMANDA FORSYTH

THIS EVENING’S HOSTS Marcy and Michael Balk

SPONSORED BY Anonymous Crazy Mountain Brewing Company Kent Pettit Photography The Judy and Alan Kosloff Artistic Director Chair Vail Catering Concepts Vintage Magnolia West Vail Liquor Mart

ANGELA CHENG

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DALLAS SYMPHONY ORCHESTRA JUL

MOZART’S REQUIEM

FRIDAY JULY 3, 6:00PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: THE BETSY WIEGERS CHORAL FUND IN HONOR OF JOHN W. GIOVANDO SHIRLEY AND WILLIAM S. MCINTYRE, IV

SPECIAL GRATITUDE TO: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Sallie and Robert Fawcett Molly and Jay Precourt Stolzer Family Foundation

SOLOIST UNDERWRITERS: Duain Wolfe, Colorado Symphony Chorus conductor, underwritten by Barbie and Tony Mayer Jaap van Zweden, conductor, underwritten by Carol and Ronnie Goldman

JUL

FRIDAY JULY 3, 6:00PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden, conductor Joelle Harvey, soprano Michelle DeYoung, mezzo-soprano John Tessier, tenor Evan Boyer, bass Colorado Symphony Chorus Duain Wolfe, choral director

MOZART Symphony No. 25 in G minor, K. 183 Allegro con brio Andante Menuetto Allegro

— INTERMISSION —... MOZART Requiem Mass in D minor for Soprano, Mezzo-Soprano, Tenor, and Bass Soloists, Chorus, and Orchestra, K. 626 Requiem: Adagio (Chorus and Soprano) — Kyrie: Allegro (Chorus) Dies irae: Allegro assai (Chorus) Tuba mirum: Andante (Soloists) Rex tremendae: Grave (Chorus) Recordare (Soloists) Confutatis: Andante (Chorus) Lacrymosa (Chorus) Domine Jesu: Andante con moto (Chorus and Soloists) Hostias: Andante (Chorus) Sanctus: Adagio (Chorus) — Osanna: Allegro (Chorus) Benedictus: Andante (Soloists) — Osanna: Allegro (Chorus) Agnus Dei (Chorus) — Lux aeterna: Adagio (Soprano and Chorus) — Cum sanctis: Allegro (Chorus) Ave verum corpus for chorus and orchestra, K. 618 50 Learn more at BravoVail.org

FREE PRE-CONCERT TALK, 5:00PM Moroles Sculpture Garden, Ford Park Jack Sheinbaum, University of Denver

MOZART’S REQUIEM Symphony No. 25 in G minor, K. 183 (1773) (ca. 23 min) WOLFGANG AMADEUS MOZART (1756-1791)

IENNA WAS HOME TO MANY OF THE MOST outstanding musicians of the late 18th century. Hasse, Gluck, Gassmann, Wagenseil, Salieri, Haydn, Dittersdorf, Vanhal and many others made Vienna the greatest music city of the day. Several of those composers, most notably Joseph Haydn, were experimenting in the 1770s with a style that brought a new, passionately romantic sensibility to their music — the so-called Sturm und Drang (“Storm and Stress”) — that was characterized by minor keys, expressive harmonies and rhythmic agitation. During his visit to Vienna in the summer of 1773, the seventeen-year-old Mozart heard Haydn’s Symphony No. 39 in G minor, and it stirred his interest in exploring the expressive possibilities of this revolutionary musical language. On his return to Salzburg in September, Mozart wrote his own Sturm und Drang symphony — No. 25, K. 183 — casting it in the dramatic key of G minor. He was to write only one other minor-key symphony: the sublime No. 40 of 1788, also in G minor. The Symphony opens with a pulsing motive, more rhythmic than melodic, as the first movement’s main theme; the second subject is a step-wise motive presented by the violins in a brighter key. A compact development section leads to a recapitulation of the earlier themes, with the second theme heard in the dark coloring of the principal tonality. A short coda returns the opening pulsing motive to close the movement. The Andante is a marvelous synthesis of Italian charm and Germanic emotion. The Minuet, with its bare octaves, returns the Symphony to the stark mood of the opening movement; the contrasting central trio for wind choir without strings provides the only emotionally untroubled portion of the work. The finale, another sonata structure, maintains the mood of restless agitation to the end.

Requiem Mass in D minor for Soprano, Mezzo-Soprano, Tenor, and Bass Soloists, Chorus, and Orchestra, K. 626 (1791) (ca. 50 min)

INSIDE STORY

WOLFGANG AMADEUS MOZART (1756-1791)

In early July 1791, while he was busy composing The Magic Flute, Mozart received a letter testifying to the glories of his music and alerting him that he would be having a visitor with a proposal on the following day. The letter was unsigned. The visitor, “an unknown, grey stranger,” according to Mozart, appeared on schedule and said that he represented the writer of the letter, who wanted to commission a new piece — a Requiem Mass — but added the curious provision that Mozart not try to discover the patron’s identity. Despite the somewhat foreboding mystery surrounding this venture, Mozart was in serious financial straits just then and the money offered was generous, so he accepted the commission. The Magic Flute was pressing, however, and he also received another commission at the same time, one too important to ignore, for an opera to celebrate the September coronation in Prague of Emperor Leopold as King of Bohemia — La Clemenza di Tito, based on one of Metastasio’s old librettos — that demanded immediate attention. Mozart worked on the Requiem as time allowed. From midAugust until mid-September, he was in Prague for the CONTINUED ON PAGE 180

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

SILVER ( $10,000+ )

( $30,000+ )

Arlene and John Dayton Mike A. Myers Foundation Patti and Blaine Nelson Doug Rippeto

Shirley and William S. McIntyre, IV The Sturm Family Foundation

PLATINUM ( $25,000+ ) Hill Foundation Billie and Ross McKnight

COLORADO SYMPHONY ORCHESTRA

GOLD ( $15,000+ ) Marilyn Augur Sallie and Robert Fawcett Vicki Rippeto Marcy and Stephen Sands Carole A. Watters

DUAIN WOLFE ON MOZART’S REQUIEM “Mozart. Genius. Immortal artist. We touch his genius and his immortality each time we approach his sublime Requiem. Having performed this piece countless times, I relish every opportunity to delve once again into the profoundly moving lines of each movement. In rehearsal, we examine each word, each melodic fragment, each vertical structure. Preparing this music requires intense concentration from every singer. The details of the diction are daunting as each singer must commit to clarity, projection, vowel purity, and above all, intelligibility. Then there is the challenge of vocal beauty – and determinations of what that means with each phrase and each new elevation of verbal exposition. There is sonorous abundance at every turn to explore and to indulge. These are the artistic elements we explore every time we perform this magnificent work. Mozart’s mortality is indeed present in his Requiem, as is his immortality.” 51

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JUL

PATRIOTIC CONCERT

“

ODAY WILL BE THE MOST MEMORABLE EPOCHA IN the history of America,” wrote John Adams to his beloved Abigail about the Declaration of Independence he had just voted to endorse with the other members of the Continental Congress assembled in Philadelphia. “I am apt to believe that it will be celebrated by succeeding generations as the country’s great anniversary festival.” The date? July 2, 1776. After the final revisions of the document, it was printed two days later for distribution across the nascent states, fixing The Fourth of July as the date ever after associated with the event. The Declaration of Independence was first published on July 6th in the Pennsylvania Evening Post and first read publicly on July 8th in Philadelphia; formal signing of the original parchment copy (the hallowed document now in the National Archives) began on August 2nd and was not completed for several months. The celebration staged in Philadelphia on July 4th the following year — reported as “the discharge of cannon (one round for each state in the union), the ringing of bells, a dinner, the use of music, the drinking of toasts, loud huzzas, a parade, fireworks and the presentation of the nation’s colors” — set the precedent for the patriotic observances that continue on this day from “purple mountain majesties” to the “fruited plain.”

SATURDAY JULY 4, 2:00 PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Captain Michael Caspers, narrator Alumnus, Vail Veterans Program

SOUSA Semper Fidelis

WARD/ ARR. ROTHMAN America, the Beautiful

COHAN/ ARR. TYZIK A George M. Cohan Medley Yankee Doodle Dandy — Grand Old Flag

WILLIAMS The Patriot

THE SWING MUSIC OF GLENN MILLER / ARR. TYZIK & LEYDEN* HANDY St. Louis Blues March MEACHAM American Patrol* GRAY A String Of Pearls MILLER Moonlight Serenade GARLAND In The Mood

— INTERMISSION —... BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: THIS EVENING’S PERFORMANCE IS PRESENTED BY VAIL VALLEY FOUNDATION

SOLOIST UNDERWRITERS Jeff Tyzik, conductor, underwritten by Barbie and Tony Mayer

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

WILLIAMS Liberty Fanfare

SOUSA The Liberty Bell

BECKEL Gardens of Stone for Narrator and Orchestra

ARR. TYZIK Armed Forces Song Medley

This project funded in part by a generous grant from the Vail Valley Foundation.

TCHAIKOVSKY

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

1812 Overture

SOUSA The Stars and Stripes Forever 53

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DALLAS SYMPHONY ORCHESTRA JUL

HOLLYWOOD CLASSICS & JOHN WILLIAMS

SUNDAY JULY 5, 6:00 PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: THE STURM FAMILY FOUNDATION

SPECIAL GRATITUDE TO: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Penny Bank and Family, Herbert Bank and Family Susan and John Dobbs Debbie and Jim Donahugh Doug Rippeto

SOLOIST UNDERWRITERS: Jeff Tyzik, conductor, underwritten by Barbie and Tony Mayer

JUL

SUNDAY JULY 5, 6:00 PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor

KORNGOLD Overture to Captain Blood

STEINER “Tara’s Theme” from Gone with the Wind Suite from Casablanca

RÓZSA Overture, Love Theme, and March from El Cid

ARLEN/ ARR. TYZIK Suite from The Wizard of Oz

MANCINI Theme from The Pink Panther “Moon River” from Breakfast at Tiffany’s Theme from Peter Gunn

— INTERMISSION —... WILLIAMS Superman March “Hedwig’s Theme” from Harry Potter “Adventure on Earth” from E.T. (The Extra-Terrestrial) “Flight to Neverland” from Hook Suite from Far and Away Theme from Jurassic Park “The Throne Room” from Star Wars

56 Learn more at BravoVail.org

HOLLYWOOD CLASSICS & JOHN WILLIAMS

ARNER BROTHERS’ CAPTAIN BLOOD (1935), directed by Michael Curtiz, was Erich Wolfgang Korngold’s (1897-1957) first original Hollywood score and the first of eight movies starring Errol Flynn and Olivia de Havilland. The sweeping tale, set in the 17th century, concerns Dr. Peter Blood (Flynn), who is wrongly sentenced for treason in England and transported to the West Indies to be sold into slavery. Blood escapes and takes up piracy, but redeems himself by saving a British colony from a French invasion, after which he is made governor of the island and wins the hand of the lovely Arabella (de Havilland). Gone with the Wind, producer David O. Selznick’s screen adaptation of Margaret Mitchell’s Pulitzer Prize-winning epic novel about the South during the Civil War and Reconstruction, was a phenomenon at its release in 1939 and remains one of Hollywood’s enduring classics. Tara’s Theme from the Oscarnominated score by Max Steiner (1888-1971) is associated with the Georgia cotton plantation that is the film’s symbolic image. In Casablanca (1942), Rick (Humphrey Bogart) is the American owner of a café in Morocco that is a clandestine center for Europeans trying to escape to the west. Two who solicit his help are Victor Laszlo (Paul Henreid), a fugitive Czech Resistance leader, and his wife, Ilsa (Ingrid Bergman), with whom Rick had an affair in Paris years before. Rick helps them leave the country, but at the sacrifice of his own feelings for Ilsa. Steiner’s Oscar-nominated score brilliantly utilizes his original background music, popular songs, traditional French and German patriotic anthems, and As Time Goes By, originally written by Herman Hupfeld for the 1931 Broadway musical Everybody’s Welcome. Rodrigo Díaz de Vivar, El Cid (“The Conqueror”), was the 11th-century Spanish nobleman and warrior who sought to free his country from civil war and protect it from Moorish invaders. Miklós Rózsa (1907-1995) received Oscar nominations for Best Score and for Best Song for the film. Frank L. Baum’s fantasy for children The Wonderful Wizard of Oz (1900) had already been treated as a 1903 Broadway musical and a silent movie in 1925 before MGM made its screen version in 1939. Composer Harold Arlen (1905-1986) and lyricist E.Y. “Yip” Harburg wrote the songs and veteran MGM staff arranger, composer and conductor Herbert Stothart provided the background score. The Pink Panther (1963), named for a fabulous pink diamond with a flaw at its center said to resemble a leaping panther, was

the first of eleven film comedies featuring the character of the bumbling French police inspector Jacques Clouseau, an iconic screen character originated by Peter Sellers. The film was written and directed by Blake Edwards with music by Henry Mancini (19241994), whose score earned Oscar and Grammy nominations. Blake Edward’s 1961 Breakfast at Tiffany’s, based on Truman Capote’s novella, starred the irresistible Audrey Hepburn as the aspiring socialite Holly Golightly in a performance that earned her an Oscar nomination. Mancini’s music won him one Academy Award for Best Score and another for Best Song, Moon River, with lyrics by Johnny Mercer. Peter Gunn, which ran on NBC and later ABC from 1958 to 1961, won an Emmy and two Grammys for Mancini and set a precedent for the use of cool modern jazz in television soundtracks. The series, which starred Craig Stevens as a suave, well-dressed private eye, was created, written and directed by Blake Edwards. Superman, starring Christopher Reeve, was director Richard Donner’s 1978 screen realization of America’s quintessential superhero, created in Cleveland in 1932 by writer Jerry Siegel and artist Joe Shuster. The film was nominated for four Oscars, including the score by John Williams (b. 1932), which received a Grammy. J.K. Rowling tapped a deep vein of wonder, magic and mystery in millions of readers with her books about the boy wizard Harry Potter and the forces of good and evil ranged around him at CONTINUED ON PAGE 181

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

SILVER ( $10,000+ )

( $30,000+ )

Arlene and John Dayton Mike A. Myers Foundation Patti and Blaine Nelson Doug Rippeto

Shirley and William S. McIntyre, IV The Sturm Family Foundation

PLATINUM ( $25,000+ ) Hill Foundation Billie and Ross McKnight

GOLD ( $15,000+ )

HENRY MANCINI ENTERPRISES

Marilyn Augur Sallie and Robert Fawcett Vicki Rippeto Marcy and Stephen Sands Carole A. Watters

This project funded in part by a generous grant from the Vail Valley Foundation.

INSIDE STORY

ON MUSIC, MOVIES & STORYTELLING It was on my twelfth birthday that my father really gave my life a direction and purpose when he took me to a Pittsburgh movie palace, where we saw Cecil B. DeMille’s epic The Crusades. I was so naïve, so unworldly, I thought the music was coming from behind the screen. When I learned that the sound of the orchestra was actually in the movie, that music was an integral part of the storytelling, I knew that one day when I grew up, I was going to write music for the movies. It’s easy to take music for granted, to not think about where all the songs and singers and symphonies come from—but we should. We should think about it, because music affects our lives every day. Through music and the other arts we can capture life, reflecting its joys, its sorrows, and its complexities.

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

CONGR AT U L AT ION S B R AV O ! VA I L O N D E L I V E R I N G O U T S TA N D I N G P E R F O R M A N C E S A N D E N T E R TA I N I N G O U R C O M M U N I T Y F O R 2 8 Y E A R S !

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DALLAS SYMPHONY ORCHESTRA JUL

SYMPHONIE FANTASTIQUE

MONDAY JULY 6, 6:00 PM SYMPHONY SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT

SPECIAL GRATITUDE TO: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society Anonymous, in honor of the Vail Mountain Rescue Group

SPONSORED BY: Marilyn Augur Carolyn and Gary Cage Patti and Blaine Nelson Martha Dugan Rehm and Cherryl Hobart Vicki Rippeto Marcy and Stephen Sands

SOLOIST UNDERWRITERS: Alessio Bax, piano, underwritten by Sally and Wil Hergenrader Anne-Marie McDermott, piano, underwritten by Bobbi and Richard Massman

JUL

MONDAY JULY 6, 6:00 PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

SYMPHONIE FANTASTIQUE

DALLAS SYMPHONY ORCHESTRA

Concerto in D minor for Two Pianos and Orchestra (1932) (ca. 19 min)

Jaap van Zweden, conductor Alessio Bax, piano Anne-Marie McDermott, piano

FR ANCIS POULENC (1899-1963)

POULENC Concerto in D minor for Two Pianos and Orchestra Allegro ma non troppo Larghetto Finale: Allegro molto

— INTERMISSION —... BERLIOZ Symphonie fantastique, Op. 14a Reveries and Passions: Largo — Allegro agitato e appassionato assai A Ball. Valse: Allegro non troppo Scene in the Country: Adagio March to the Scaffold: Allegretto non troppo Dream of a Witches’ Sabbath: Larghetto — Allegro

60 Learn more at BravoVail.org

NSOUCIANT WIT AND A SURE SENSE OF MELODY GROWN from popular musical sources are the dominant characteristics of Poulenc’s early music. (Following the death of a close friend in an automobile accident in 1936, Poulenc experienced a revitalization of his Catholic faith, and a new strain of seriousness entered the music of his later years.) Abraham Veinus wrote, “[Poulenc’s] tone is easy, urbane, popular in the sense that street song and café music are popular. He is a contriver of delightful witticisms, and, while clearly anti-romantic, he is, within the limitations of his idiom, a composer of sensibility.” These words are exactly applicable to the Concerto for Two Pianos, a work written quickly during the summer of 1932 at the request of the Princess Edmond de Polignac, née Winaretta Singer, the American heiress to the sewing machine fortune. Poulenc is absolutely profligate with melodies in the opening Allegro; there are no fewer than eleven distinct thematic units that pass in medley-like parade during the course of the movement. Most are fast and saucy, sprung from the fertile soil of Poulenc’s prized “Parisian folklore,” but there are two contrasting sections — one in the middle and the other at the very end — given to slower tempos and a certain bittersweet nostalgia. One of the attractions of hearing the following Larghetto is anticipating when Poulenc will pop out from behind the mask of Mozart. The deception is quite successful (and quite lovely) for many measures, but the true Poulenc, whom Claude Rostand once described as “half monk, half bounder,” emerges bit by bit, standing revealed for all to see in the movement’s vivacious center section. Decorum and musical balance demand the return of the Mozartian melody to conclude the movement, but the tune from the center section, given slowly, takes a final, brief bow as a coda. The finale returns the musichall mood of the first movement, though here the soloists are given even more dazzling feats of virtuosity with which to amaze the crowd. Another set of street songs, most happy, a few sad, is brought out for display, some tunes taking a second turn in the spotlight before being upstaged by another pushy thematic ingénue. The pianists are allowed one final curtain call, during which they try to elbow each other to the rear. The Concerto ends abruptly.

Symphonie fantastique, Op. 14a (1830) (ca. 50 min) HECTOR BERLIOZ (1803-1869)

INSIDE STORY

By 1830, when he turned 27, Hector Berlioz had won the Prix de Rome and gained a certain notoriety among the fickle Parisian public for his perplexingly original compositions. Hector Berlioz was also madly in love. The object of his amorous passion was an English actress of middling ability, one Harriet Smithson, whom the composer first saw when a touring English theatrical company performed Shakespeare in Paris in 1827. During the ensuing three years, this romance was entirely one-sided, since the young composer never met Harriet, but only knew her across the footlights as Juliet and Ophelia. He sent her such frantic love letters that she never responded to any of them, fearful of encouraging a madman. Berlioz was still nursing his unrequited love for Harriet in 1830 when, full-blown Romantic that he was, his emotional state served as the germ for a composition based on this “Episode from the Life of an Artist,” as he subtitled the Symphonie fantastique. In this work, the artist visualizes his beloved through an opium-induced trance, first in his dreams, then at a ball, in the country, at his execution and, finally, as a participant in a witches’ sabbath. She is represented by a musical theme that appears in each of the five movements, an idée fixe (a term that Berlioz borrowed from CONTINUED ON PAGE 181

ALESSIO BAX ON POULENC’S PRIDE

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

SILVER ( $10,000+ )

( $30,000+ )

Arlene and John Dayton Mike A. Myers Foundation Patti and Blaine Nelson Doug Rippeto

Shirley and William S. McIntyre, IV The Sturm Family Foundation

PLATINUM ( $25,000+ ) Hill Foundation Billie and Ross McKnight

GOLD ( $15,000+ )

LISA-MARIE MAZZUCCO

Marilyn Augur Sallie and Robert Fawcett Vicki Rippeto Marcy and Stephen Sands Carole A. Watters

This project funded in part by generous grants from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Vail Valley Foundation. The Antlers at Vail and Manor Vail Lodge are the official homes of the Dallas Symphony Orchestra while in residence at Bravo! Vail.

“The Poulenc Concerto for Two Pianos and Orchestra is one of the staples of piano concerto repertoire. Poulenc’s early style, often wrongly dismissed as a period of lesser importance in the composer’s output, is represented in its full glory in this work. In fact Poulenc himself was very proud of this piece and of its success. Through echoes of the music of Mozart, Liszt, Ravel, together with jazz accents and French perfumes, Poulenc creates a world of beauty, naiveté, and cheekiness, while at the same time touching upon sheer elegance and love through the beautiful melodies. This concerto is the most fun a piano duo and an orchestra can have together. I hope that each one of you will enjoy this exhilarating ride tonight as much as we will!” 61

JUL

TUESDAY JULY 7, 1:00 PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

Alex Kerr, violin David Cooper, horn Fei-Fei Dong, piano fellow Nicolas Namoradze, piano fellow

MOZART Sonata for Violin and Piano in B-flat major, K. 454 Largo — Allegro Andante Allegretto

BRAHMS Trio for Violin, Horn and Piano in E-flat major, Op. 40 Andante — Poco più animato — Tempo I — Poco più animato — Tempo I Scherzo: Allegro Adagio mesto Finale: Allegro con brio

MOZART & BRAHMS

OLFGANG AMADEUS MOZART (1756-1791) WROTE his Sonata for Violin and Piano in B-flat major in April 1784 for Regina Strinasacchi of Mantua, a brilliant violin and guitar player (Nicolò Paganini was also a dual virtuoso on those same instruments) who had just turned twenty and was busily touring Europe after completing her education at the school where Antonio Vivaldi spent his teaching career, the Ospedale della Pietà in Venice. In his Trio for Violin, Horn and Piano, Johannes Brahms (1833-1897) captured the sylvan mood of a vacation he took in the spring of 1865 at the ancient German spa town of Baden-Baden. Of the view from the comfortable rooms he stayed in there, he wrote to a friend, “I look out on three sides at the dark, wooded mountains, the roads winding up and down them, and the pleasant houses.” It has been speculated that the leisurely speed of the opening movement may have matched the pace of his gait during his walks upon the Baden hills.

WOLFGANG AMADEUS MOZART

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM:

JOHANNES BRAHMS 62 Learn more at BravoVail.org

Antlers at Vail The Tippet Rise Fund of the Sidney E. Frank Foundation Anonymous, in honor of the Vail Mountain Rescue Group

JUL

MUSIC FOR TWO PIANOS

HE 2002 KLAVIER-FESTIVAL RUHR (“RUHR PIANO Festival”) in Essen, Germany featured works by Philip Glass (b. 1937), Steve Reich, Earle Brown, John Cage and Terry Riley in a concert of keyboard music by contemporary American composers. The Festival invited Glass to return six years later and commissioned him to write a new work for pianists Dennis Russell Davies, widely known as a conductor of Glass’ music, and Tokyo-born Maki Namekawa, who has made a significant career in Europe as soloist and recitalist and internationally as Davies’ duo-piano partner. Though keyboards are ubiquitous in Glass’ works, Four Movements for Two Pianos is his only composition for that instrumental combination other than the one-minute In Again Out Again of 1967. (ca. 26 min) In the years after Felix Mendelssohn arrived in Leipzig in 1836 to take over the direction of the Gewandhaus concerts, the cultural life of that city blossomed. Robert Schumann (1810-1856), who moved to Leipzig from his native Zwickau eight years before to attend the University, was stimulated creatively by the vibrant atmosphere of the town, and he composed prodigiously there — a steady stream of solo piano works through 1839, a year of songs in 1840 (when he and Clara Wieck were finally married), symphonies and a piano concerto in 1841, and a flurry of chamber works beginning in 1842. Schumann’s fit of chamber composition carried into the following year, when he wrote the Andante and Variations on a Romantic theme for two pianos. (ca. 19 min.) Ananda Sukarlan, one of Indonesia’s most prominent musicians, was born in Jakarta in 1968, began piano lessons with his older sister when he was five, studied music formally at Jakarta Canisius High School, and attended the Royal Conservatory of CONTINUED ON PAGE 181

TUESDAY JULY 7, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION

Alessio Bax, piano Fei-Fei Dong, piano fellow Anne-Marie McDermott, piano Nicolas Namoradze, piano fellow Christopher O’Riley, piano

GLASS Four Movements for Two Pianos I. II. III. IV.

SCHUMANN Andante and Variations for Two Pianos, Op. 46

SUKARLAN The Humiliation of Drupadi for Two Pianos

SMETANA Sonata in E minor for Two Pianos, Eight Hands

— INTERMISSION —... SAINT-SAËNS Danse macabre for Two Pianos, Eight Hands, Op. 40

LISZT Hungarian Rhapsody No. 2 for Two Pianos, Eight Hands

SOUSA The Stars and Stripes Forever

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: The Judy and Alan Kosloff Artistic Director Chair The Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail

FIVE-STAR DINING. THOUSANDSTAR VIEWS.

DALLAS SYMPHONY ORCHESTRA JUL

LET’S DANCE

WEDNESDAY JULY 8, 6:00 PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: HILL FOUNDATION

SPECIAL GRATITUDE TO: Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society Anonymous, in honor of the Vail Mountain Rescue Group

SPONSORED BY: Christine and John Bakalar Doe Browning Mike A. Myers Foundation Chuck and Margie Pabst Steinmetz

SOLOIST UNDERWRITERS: This evening’s dancers are underwritten by Liz and Tommy Farnsworth and Brooke and Hap Stein Ted Louis Levy, tap dancer and vocalist, underwritten by Kathy and Roy Plum Jeff Tyzik, conductor, underwritten by Barbie and Tony Mayer

JUL

WEDNESDAY JULY 8, 6:00 PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Stephen Edward Sayer, Chandrae Roettig, Patricio Touceda, Eva Lucero, Forrest Walsh, Melissa Shahin, dancers Ted Louis Levy, tap dancer / vocalist Michael Lynche, vocalist Julie Jo Hughes, vocalist

BERNSTEIN/ ARR. PERESS Overture to West Side Story

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

JOHNSON Charleston

WILLIAMS Shimmy

VILLOLDO Kiss of Fire

RUIZ Sway

BIZET “Danse Bohème” from Carmen

RICH Smile, Darn Ya, Smile

1950’S DANCE MEDLEY — INTERMISSION —... OFFENBACH Can-Can from Orpheus in the Underworld

SWING DANCE MEDLEY MATOS RODRIGUEZ La Cumparsita

SAINT-SAËNS “Danse Bacchanale” from Samson et Dalila

BLACKWELL Fever

MORES Tanguera

HEFTI Cute

PREVITE I’ve Had the Time of My Life 66 Learn more at BravoVail.org

LET’S DANCE

ANCE IS AS OLD AS CIVILIZATION ITSELF. THE ancient Greeks regarded dance as both a civilizing activity and a cathartic one in its use in the theater and in the rituals celebrating the high-minded god Apollo as well as the earthy Dionysius. The rebirth of dance as an integral part of the culture was one of the many aspects of the European Renaissance, when the observance of its meticulously defined patterns and manners was an attribute of a refined social life and its use in theatrical contexts was revived. Ballet as an independent art form originated in the courts of Italy in the 15th century and was inevitably included in the revolutionary genre of opera when it was developed around 1600. The form flourished at the court of the music and dance-loving King Louis XIV, who founded the Académie Royale de Danse in Paris in 1661 and often participated in their productions. (The entire court DANCE IS to a person agreed that Louis was THE ONLY ART the most wonderful of dancers.) OF WHICH WE Dance as a narrative and draOURSELVES ARE matic vehicle has ever since been THE STUFF FROM continuously on the stage. It was WHICH IT IS MADE.” de rigueur in all productions at TED SHAWN (1891-1972), the Paris Opéra well into the 20th PIONEER IN AMERICAN century (it had to be staged in the MODERN DANCE second act so that the gentlemen of the exclusive Jockey Club would have ample time to finish their dinner and still be able to observe the latest female additions to the corps de ballet) and figured prominently in such later French musical theater works as Offenbach’s Orpheus in the Underworld (1858), whose delightfully lubricious Can-Can perfectly suited that riotous musical satire based on the more unseemly exploits of the ancient gods, Saint-Saëns’ Samson et Dalila (1874), whose Bacchanale (named for the Greek god of wine) accompanies revels in a pagan temple, and Bizet’s Carmen (1875), whose Danse Bohême reflects the title character’s fiery temperament as well as her Gypsy heritage. Dance also proved perfectly suited to the American musical comedy, at first as a pleasant inserted sequence but eventually developing into a powerful expressive element of the drama with Agnes de Mille’s choreography for Rodgers & Hammerstein’s Oklahoma! (1943). Dance on Broadway reached a pinnacle with Leonard Bernstein’s brilliant score for West Side Story (1957), which Brooks Atkinson, critic of The New York Times, wrote was “a harsh ballad of the city, taut, nervous and flaring, the melodies choked apprehensively, the rhythms wild, swift and deadly.” Jerome Rob-

bins won a Tony for his choreography and Bernstein’s music has remained a fixture in both the theater and the concert hall. Wolfgang Mozart was an avid social dancer, and so was George Washington, but the contradances and cotillions they knew were group and line dances rather than couple’s dances. Ballroom dancing as it is known today originated with the waltz, developed from the Austrian Ländler in the 1830s by the Viennese violinist and composer Johann Strauss, Sr. and his colleague Josef Lanner. The waltz created a sensation as the first widely popular genre in which couples danced in each other’s arms, refusing to keep the respectable distance that characterized all the good old dances. One English writer of the day characterized it as a “fiend of German birth, destitute of grace, delicacy and propriety, a disgusting practice”; Richard Wagner thought it to be “a stronger narcotic than alcohol” arousing “passions bordering on mad fury.” The waltz easily survived its risqué infancy and is today regarded as the most traditional and elegant of all the social dances. Social dance in the 20th century mirrored the explosion of popular music styles that became the soundtrack of American life through broadcast, recording and performance. The Charleston, the musical icon of the Roaring 20s, was rooted in the dances of Afro-American slaves; the Shimmy, a 1920s flapper favorite, embodied the rhythms and attitude of the Jazz Age. The upbeat Smile, Darn Ya, Smile was written by Max Rich in 1931 as a musical CONTINUED ON PAGE 182

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

SILVER ( $10,000+ )

( $30,000+ )

Arlene and John Dayton Mike A. Myers Foundation Patti and Blaine Nelson Doug Rippeto

Shirley and William S. McIntyre, IV The Sturm Family Foundation

PLATINUM ( $25,000+ ) Hill Foundation Billie and Ross McKnight

GOLD ( $15,000+ )

GREENBERG ARTISTS

Marilyn Augur Sallie and Robert Fawcett Vicki Rippeto Marcy and Stephen Sands Carole A. Watters

INSIDE STORY

FORREST WALSH ON DANCING Dancing in Let’s Dance is a dream come true. The sound of the orchestra inspires us to move and to dance to our greatest potential, creating an amazing experience for ourselves and hopefully for the audience, too! I am very grateful to be a part of this wonderful production. The choreography was put together by listening to Maestro Tyzik’s arrangements and then discovering how they move us. What does the music say? What movement or action does the sound inspire? The music informed our movements. My grandfather said to me once, “You kids today don’t know what it’s like to dance with a woman in your arms.” I took it to heart, and made it my life. And I am very proud and grateful to share that romance, beauty, and joy with you now!

JUL

THURSDAY JULY 9, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE CHAMBER MUSIC CONCERT Fei Fei Dong, piano fellow Nicolas Namoradze, piano fellow

WORKS TO BE ANNOUNCED FROM STAGE BY THE FIRST-EVER BRAVO! VAIL PIANO FELLOWS

INTRODUCING

THE PIANO FELLOWS PROGRAM

NURTURING TALENT FEI FEI DONG

NICOLAS NAMORADZE

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Sitzmark Lodge The Tippet Rise Fund of the Sidney E. Frank Foundation Anonymous, in honor of the Vail Mountain Rescue Group

68 Learn more at BravoVail.org

JUL

THURSDAY JULY 9, 6:00PM SPECIAL EVENT

VILAR PERFORMING ARTS CENTER

NPR’S FROM THE TOP WITH HOST CHRISTOPHER O’RILEY

Christopher O’Riley, host / piano National Repertory Orchestra Carl Topilow, music director

OPPOSITE FROM TOP: ELLEN APPEL-MIKE MORELAND; ZSOFIA RAFFAY. THIS PAGE FROM TOP: MIKKI ANSIN, TV SEASON 2, NEALE ECKSTEIN

N AN EXCITING NEW COLLABORATION THAT INCLUDES Colorado’s prestigious National Repertory Orchestra for preprofessional orchestra players aged 18 to 28, Bravo! Vail hosts the live concert taping of the acclaimed radio show, From the Top. America’s largest national platform dedicated to celebrating the stories, talents, and character of classically-trained young musicians, the show is now the most popular weekly one-hour classical music program on public radio, broadcast on more than 220 stations nationwide to more than half a million listeners. As an audience member, you will be part of the show’s creation before it airs on the radio, while meeting a young generation in love with classical music—a positively rare insiders opportunity!

FROM THE TOP GIVES YOUNG MUSICIANS THE STAGE BUT LETS THEM ACT THEIR AGE. IT’S SERIOUS MUSIC BUT CLASSICALLY KIDS.” THE NEW YORK TIMES

PLEASE NOTE: SUITABLE FOR CHILDREN 7 AND UP.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: The Tippet Rise Fund of the Sidney E. Frank Foundation Westin Riverfront Resort and Spa

C ELEBRATING 20 Y EARS OF M AKING M EMORIES B EAVER C REEK AND THE V AIL V ALLEY 970-845-8808 – BEAVER CREEK, COLORADO SPLENDIDOBEAVERCREEK.COM

THE PHILADELPHIA ORCHESTRA JUL

OHLSSON PLAYS RACHMANINOFF

FRIDAY JULY 10, 6:00PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: PEGGY FOSSETT

SPECIAL CHALLENGE GRANT FUNDING PROVIDED BY: Peggy Fossett The Sturm Family Foundation

SPECIAL GRATITUDE TO: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair Anonymous, in honor of the Vail Mountain Rescue Group

SPONSORED BY: Barbara and Barry Beracha Lyn Goldstein Irmgard and Charles Lipcon Nancy and Richard Lubin Carolyn and Gene Mercy

SOLOIST UNDERWRITERS: Cristian Măcelaru, conductor, underwritten by Barbie and Tony Mayer Garrick Ohlsson, piano, underwritten by Linda and Kalmon Post and Jean Graham-Smith and Phillip Smith

JUL

FRIDAY JULY 10, 6:00PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Cristian Măcelaru, conductor Garrick Ohlsson, piano

BEETHOVEN Symphony No. 6 in F major, Op. 68, “Pastoral” The Awakening of Cheerful Feelings at the Arrival in the Country: Allegro ma non troppo Scene at the Brook: Andante molto mosso Merry Gathering of the Peasants: Allegro — Storm: Allegro — Shepherds’ Song: Joyful, Thankful Feelings after the Storm: Allegretto

— INTERMISSION —... RACHMANINOFF Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 Allegro ma non tanto Intermezzo: Adagio — Finale: Alla breve

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OHLSSON PLAYS RACHMANINOFF Symphony No. 6 in F major, Op. 68, “Pastoral” (1807-1808) (ca. 44 min) LUDWIG VAN BEETHOVEN (1770 -1827)

EETHOVEN GAVE EACH OF THE FIVE MOVEMENTS OF his “Pastoral” Symphony a title describing its general character. The first movement, filled with verdant sweetness and effusive good humor, is headed The Awakening of Cheerful Feelings at the Arrival in the Country. The violins present a simple theme that pauses briefly after only four measures, as though the composer were alighting from a coach and taking a deep breath of the fragrant air before beginning his walk along a shaded path. The melody grows more vigorous before it quiets to lead almost imperceptibly to the second theme, a descending motive played by violins above a rustling string accompaniment. Again, the spirits swell and then relax before the main theme returns to occupy most of the development. To conclude the first movement, the recapitulation returns the themes of the exposition in more richly orchestrated settings. The second movement, Scene at the Brook, exudes an air of tranquility amid pleasing activity. The form is a sonata-allegro whose opening theme starts with a fragmentary idea in the first violins sounded above a rich accompaniment. The second subject begins with a descending motion, like that of the first movement, but then turns back upward to form an inverted arch. A full development section utilizing the main theme follows. The recapitulation recalls the earlier themes with enriched orchestration and leads to a most remarkable coda. In the closing pages of this movement, the rustling accompaniment ceases while all Nature seems to hold its breath to listen to the songs of three birds — the nightingale, the dove and the cuckoo. Twice this tiny avian concert is performed before the movement comes quietly to its close. Beethoven titled the scherzo Merry Gathering of the Peasants and filled the music with a rustic bumptiousness and simple humor that recall a hearty if somewhat ungainly country dance. The central trio shifts to duple meter for a stomping dance before the scherzo returns. The festivity is halted mid-step by the sound of the distant thunder that portends a Storm. As the tempest passes over the horizon, the silvery voice of the flute leads directly into the finale, Shepherd’s Song: Joyful, Thankful Feelings after the Storm. The clarinet and then the horn sing the unpretentious melody of the shepherd, which returns, rondo-fashion, to support the form of the movement. The mood of well-being and contented satisfaction continues to the end of this wonderful work.

Concerto No. 3 for Piano and Orchestra in D minor, Op. 30 (1909) (ca. 40 min)

INSIDE STORY

SERGEI R ACHMANINOFF (1873-1943)

The worlds of technology and art sometimes brush against each other in curious ways. In 1909, it seems, Sergei Rachmaninoff wanted one of those new mechanical wonders — an automobile. And thereupon hangs the tale of his first visit to America. The impresario Henry Wolfson of New York arranged a thirtyconcert tour for the 1909-1910 season for Rachmaninoff so that he could play and conduct his own works in a number of American cities. Rachmaninoff was at first hesitant about leaving his family and home for such an extended overseas trip, but the generous remuneration was too tempting to resist. With a few tour details still left unsettled, Wolfson died suddenly in the spring of 1909, and the composer was much relieved that the journey would probably be cancelled. Wolfson’s agency had a contract with Rachmaninoff, however, and during the summer finished the arrangements for his appearances so that the composer-pianist-conductor was obliged to leave for New York as scheduled. Trying to look on the bright side of this daunting prospect, Rachmaninoff wrote to his longtime friend Nikita Morozov, “I don’t want to go. But then perhaps, after America I’ll be able to buy myself that automobile.... It may CONTINUED ON PAGE 183

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Peggy Fossett The Sturm Family Foundation Town of Vail

GOLD ( $25,000+ ) Karen and Michael Herman Sandra and Greg Walton

SILVER ( $10,000+ )

PAUL BODY

Anonymous Christine and John Bakalar Arlene and John Dayton Hilda O’Farrill de Compean and J. Compean Teri and Tony Perry Susan and Rich Rogel

Carole and Peter Segal Cathy and Howard Stone Susan and Steven Suggs

BRONZE ( $5,000+ ) Shannon and Todger Anderson Dokie Cookie and Jim Flaum Sue and Dan Godec Kenneth Lubin, in Memory of Norman M. Morris Laura and Jim Marx Linda and Kalmon Post Michele and Jeffrey Resnick Barbara and Howard Rothenberg Roberta and Ernest Scheller, Jr. Dhuanne and Doug Tansill Sharon and Marc Watson

This project funded in part by generous grants from the Lyn and Phillip Goldstein Piano Concerto Artist Project, the Town of Vail and the Vail Valley Foundation.

GARRICK OHLSSON ON YOUTH AND LEARNING The four-minute mile seemed unattainable until it was attained. Then it was frequently surpassed. The Rachmaninoff Third Concerto once occupied a similar category. Only the composer played it (probably the greatest pianist of the first half of the 20th century), then Vladimir Horowitz, then Walter Gieseking, who gave it up, saying he feared it because he learned it too late. Rach Three, as we musicians call it, asks for everything in the pianist’s arsenal, technically, tonally, and musically. In 1963, when I was 15, my distinguished Juilliard teacher Sascha Gorodnitzki, assigned me the Rachmaninoff Third to learn over the summer. He told me that if I learned it while young I would never fear it, as Gieseking had. He was right. Although the work challenged me immensely, it was also a laboratory for learning and growth. Rach Three has been my constant companion for 51 years.

Antlers at Vail and Vail Cascade Resort & Spa are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.

JUL

FRIDAY JULY 10, 8:30PM BRAVO! VAIL AFTER DARK

VAIL ALE HOUSE, VAIL

FREE BRAVO! VAIL AFTER DARK

OUT OF MY HANDS: AN EVENING WITH PIANIST CHRISTOPHER O’RILEY Christopher O’Riley, piano

REIMAGINE YOUR DEFINITION OF CLASSICAL MUSIC

AMED FOR THE RECORDING, OUT OF MY HANDS, this evening is about the jazz-like spontaneity O’Riley brings to the music he loves. Genre distinctions are not foremost in Chris’s consideration of what music he believes in and wants to share. O’Riley is well-known for his piano arrangements of songs by pop and rock icons such as Tori Amos, Portishead, Curt Cobain, Radiohead, Elliot Smith and Nick Drake, and many “unsung masters.”

CHRISTOPHER O’RILEY IS ARGUABLY THE COOLEST GUY IN THE BUSINESS... WITH UNASSAILABLE CREDENTIALS IN THE CLASSICAL MUSIC WORLD.” THE OREGONIAN, PORTLAND

CHRISTOPHER O’RILEY

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Amy and Charlie Allen The Judy and Alan Kosloff Artistic Director Chair The Tippet Rise Fund of the Sidney E. Frank Foundation Vail Ale House Anonymous, in honor of the the Vail Mountain Rescue Group

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THE PHILADELPHIA ORCHESTRA JUL

PIXAR IN CONCERT

SATURDAY JULY 11, 8:00PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: ANGELA AND PETER DAL PEZZO THE MOLINA FAMILY SANDI AND GREG WALTON

SPECIAL CHALLENGE GRANT FUNDING PROVIDED BY: Peggy Fossett The Sturm Family Foundation

SPECIAL GRATITUDE TO: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Vicky V. Garza-Mohajer George Family Foundation, Penny and Bill George Roberta and Ernest Scheller, Jr. Carole and Peter Segal

SOLOIST UNDERWRITERS:

OPPOSITE: EDY PEREZ; THIS PAGE: PIXAR

Cristian Măcelaru, conductor, underwritten by Barbie and Tony Mayer

JUL

SATURDAY JULY 11, 8:00PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Cristian Măcelaru, conductor

RANDY NEWMAN Fanfare – Toy Story

THOMAS NEWMAN Finding Nemo

GIACCHINO Ratatouille

R. NEWMAN A Bug’s Life

T. NEWMAN WALL•E

R. NEWMAN Toy Story 2 Cars Up

— INTERMISSION —... GIACCHINO The Incredibles

R. NEWMAN Monsters, Inc.

GIACCHINO Cars 2

R. NEWMAN Toy Story 3

PATRICK DOYLE Brave

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PIXAR IN CONCERT

HE PHILADELPHIA ORCHESTRA CONTINUES THE tradition of combining symphonic music with film it pioneered with Disney’s 1938 Fantasia with PIXAR IN CONCERT, featuring live performances of music from accompanying film clips from some of the studio’s most beloved hits. The fourteen features Pixar Studios has produced have changed the way animation is regarded in the film world. One of the distinguishing aspects of the Pixar films is serious and respectful attention to music and its role in storytelling. All of the scores have been written by just four composers and, collectively, have received thirteen Oscar nominations, winning three Academy Awards as well as ten Grammys and a Golden Globe. “Music, to me, is one of the most important things to give a movie emotion,” said John Lasseter, chief creative officer at Pixar and Walt Disney Animation Studios. “Lighting, color and music are all things I use as a storyteller.” Patrick Doyle was born in 1953 in the Glasgow suburb of Uddingston and studied at that city’s Royal Scottish Academy of Music and Drama. His earliest credits were for children’s television shows, but he soon turned to writing for the theater, becoming music director of Kenneth Branagh’s Renaissance Theatre Company in London in 1987. Branagh’s 1989 screen adaptation of Shakespeare’s Henry V established both him and Doyle as international film figures — Doyle received an Oscar nomination for his score — and they have since collaborated on many films, including Much Ado About Nothing, Hamlet, Love’s Labour’s Lost, Mary Shelley’s Frankenstein, As You Like It, Sleuth, Thor and Jack Ryan: Shadow Recruit. Among Doyle’s other screen credits are Carlito’s Way, Great Expectations, Sense and Sensibility, Gosford Park, Rise of the Planet of the Apes and Harry Potter and the Goblet of Fire, as well as Pixar’s Brave (2012). His latest project is Disney’s live-action, Branagh-directed Cinderella, released in March 2015. In 1997, Doyle was diagnosed with leukemia. He recovered fully and the following year produced “Patrick Doyle’s Music from the Movies” at Royal Albert Hall, directed by Kenneth Branagh with appearances by Emma Thomson, Dame Judi Dench, Sir Derek Jacobi and other leading British actors, to benefit Leukeamia Research UK. In 2013, Doyle was presented with ASCAP’s Henry Mancini Award in recognition of his “outstanding achievements and contributions to the world of film and television music.” Michael Giacchino (pronounced “Juh-keen-oh”) was enthralled with films and music by the time he was ten. He worked in the publicity offices of Universal and Disney while studying at the School of Visual Arts in New York, Juilliard and UCLA, and in 1997 started composing for video games — among his

earliest projects was the game adaptation of Jurassic Park, which fortuitously was the first PlayStation game to have a live orchestral score. That achievement was followed by highly successful work in both video games (including the award-winning Medal of Honor series) and television (Lost, Alias, The Muppets’ Wizard of Oz). He scored his first feature film in 1997 (Legal Deceit) and made his Hollywood breakthrough with Pixar’s The Incredibles in 2004. In addition to such high-profile movies as Dawn of the Planet of the Apes, Super 8, Mission: Impossible III, Mission: Impossible – Ghost Protocol, Jupiter Ascending and Star Trek Into Darkness, Giacchino has scored Pixar’s Ratatouille (2007, Oscar nomination), Up (2009, Academy Award, Golden Globe, Grammy) and Cars 2 (2011), as well as TV series (Alcatraz, Fringe) and the music for Space Mountain and Star Tours at the Disneyland parks. Michael Giacchino’s current film projects include Disney’s Tomorrowland (starring George Clooney) and the Universal sequel Jurassic World: The Park Is Open. Randy Newman belongs to one of Hollywood’s most distinguished musical families: one uncle was Alfred Newman, composer of 230 film scores, nine of which won Oscars; another uncle, conductor-composer Lionel, headed the music department at 20th Century Fox; a third uncle, Emil, scored more than fifty films; among his cousins are composer, singer and songwriter CONTINUED ON PAGE 183

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

Peggy Fossett The Sturm Family Foundation Town of Vail

GOLD ( $25,000+ ) Karen and Michael Herman Sandra and Greg Walton

SILVER ( $10,000+ ) Anonymous Christine and John Bakalar Arlene and John Dayton Hilda O’Farrill de Compean and J. Compean Teri and Tony Perry Susan and Rich Rogel

Carole and Peter Segal Cathy and Howard Stone Susan and Steven Suggs

PIXAR

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

INSIDE STORY

PIXAR: DID YOU KNOW? Pixar is known for its attention to detail, hidden “Easter Eggs,” and industry innovation. Here are some fun facts about Pixar movies that make these animated films so rich: • It took between 4 and 13 hours to render each frame of Toy Story, the first fully computer generated film. • The Monsters, Inc. character “Boo” was voiced by a two year old who couldn’t sit still long enough to record lines; the recording team followed her around to record any dialogue or sounds, then worked them into the film. • A Pixar creative team came up with the story lines for A Bug’s Life, Monster’s Inc., Finding Nemo, and WALL-E at one lunch meeting. • 20,622 balloons are shown in Up to lift Carl’s house. • Part of the marketing plan for Monsters University (the Monsters, Inc. prequel) was to create a fully-functioning admissions website for the “university.” 77

THE PHILADELPHIA ORCHESTRA JUL

DVOŘÁK: FROM THE NEW WORLD

SUNDAY JULY 12, 6:00PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: PAT AND PETE FRECHETTE

SPECIAL CHALLENGE GRANT FUNDING PROVIDED BY: Peggy Fossett The Sturm Family Foundation

SPECIAL GRATITUDE TO: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society Anonymous, in honor of the Vail Mountain Rescue Group

SPONSORED BY: Dierdre and Ronnie Baker Susan and Van Campbell Sally and Tom Gleason June and Peter Kalkus Mary Sue and Mike Shannon

SOLOIST UNDERWRITERS: Benjamin Beilman, violin, underwritten by Norma Lee and Morton Funger and Mary Lou Paulsen and Randy Barnhart Robert Spano, conductor, underwritten by Barbie and Tony Mayer

JUL

SUNDAY JULY 12, 6:00PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

PRE-CONCERT TALK, 5:00PM Moroles Sculpture Garden, Ford Park Jonathan Bellman, University of Northern Colorado

THE PHILADELPHIA ORCHESTRA Robert Spano, conductor Benjamin Beilman, violin

BERNSTEIN Overture to Candide

HIGDON Violin Concerto 1726 Chaconni Fly Forward

— INTERMISSION —... DVOŘÁK Symphony No. 9 in E minor, Op. 95, “From the New World” Adagio — Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

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DVOŘÁK: FROM THE NEW WORLD Overture to Candide (1956) (ca.4 min) LEONARD BERNSTEIN (1918-1990)

ILLIAN HELLMAN CONCEIVED A THEATER PIECE BASED on Voltaire’s Candide as early as 1950, but it was not until 1956 that the project materialized. She originally intended the work to be a play with incidental music, which she asked Leonard Bernstein to compose, but his enthusiasm for the subject was so great that the venture swelled into a full-blown comic operetta; Tyrone Guthrie was enlisted as director and Richard Wilbur wrote most of the song lyrics. Candide was first seen in a pre-Broadway tryout at Boston’s Colonial Theatre on October 29, 1956 (just days after Bernstein’s appointment as comusic director of the New York Philharmonic had been announced for the following season), and opened at the Martin Beck Theatre in New York on December 1st. The Overture, largely drawn from the show, captures perfectly the wit, brilliance and slapstick tumult of the operetta.

Violin Concerto (2008) (ca.32 min) JENNIFER HIGDON (BORN IN 1962)

Jennifer Higdon, born in Brooklyn, New York on New Year’s Eve 1962 and raised in Atlanta and Tennessee, is one of America’s foremost composers. She took her undergraduate training in flute performance at Bowling Green State University, and received her master’s and doctoral degrees in composition from the University of Pennsylvania; she also holds an Artist Diploma from the Curtis Institute of Music in Philadelphia. Higdon joined the composition faculty at Curtis in 1994 after having taught at the University of Pennsylvania and Bard College; she now holds the Milton L. Rock Chair in Composition Studies at Curtis. She also served as Karel Husa Visiting Professor at Ithaca College in 2006-2007 and Composer-in-Residence at the Mannes College The New School for Music in 2007-2008. Her distinctions include three Grammy Awards and a Pulitzer Prize. Among her current projects is an opera with a libretto by Gene Scheer based on Charles Frazier’s best-selling novel Cold Mountain, scheduled for its premiere at Santa Fe Opera in 2015. Higdon wrote of her Violin Concerto (2008), winner of the 2010 Pulitzer Prize for Music, “I believe that one of the most rewarding aspects of life is exploring and discovering the magic

and mysteries held within our universe. For a composer this thrill often takes place in the writing of a concerto … it is the exploration of an instrument’s world, a journey of the imagination, confronting and stretching an instrument’s limits, and discovering a particular performer’s gifts. “The first movement, written for violinist Hilary Hahn, carries a somewhat enigmatic title — 1726. This number represents an important aspect of such a journey of discovery, for both the composer and for Hilary, since 1726 happens to be the street address of the Curtis Institute, where I first met her as a student in my 20th-Century Music Class. As Curtis was also a primary training ground for me as a young composer, it seemed an appropriate tribute. To tie into this title, I make extensive use the intervals of unisons, 7ths and 2nds throughout this movement. “The excitement of the first movement’s intensity certainly deserves the calm and pensive relaxation of the second movement. Its title, Chaconni, comes from the word ‘chaconne.’ A chaconne is a chord progression that repeats throughout a section of music. In this particular case, there are several chaconnes, which create the stage for a dialog between the soloist and various members of the orchestra. The beauty of the violin’s tone and the artist’s gifts are on display here. “The third movement, Fly Forward, seemed like such a CONTINUED ON PAGE 183

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SILVER ( $10,000+ )

SARAH R BLOOM

Anonymous Christine and John Bakalar Arlene and John Dayton Hilda O’Farrill de Compean and J. Compean Teri and Tony Perry Susan and Rich Rogel

Carole and Peter Segal Cathy and Howard Stone Susan and Steven Suggs

INSIDE STORY

JENNIFER HIGDON ON THE VIOLIN “How does a composer express the virtuosity and the soul of the violin? Daydreaming is involved, while trying to imagine “cool” sounds (this piece starts with knitting needles in the percussion section). Figuring out ways to mold and shape a 3-movement tour de force is like swimming in thousands of notes. Most importantly, the violin must be heard at all times (don’t cover it with the orchestra). For the audience, the music needs to be interesting at all times. And I always believe there is an element of magic involved as well…that mysterious alchemy of notes, harmony, rhythm, and color has to be mixed, like a good meal. But ultimately what makes the audience sit up and pay attention? Is it explainable? I don’t know. Maybe it doesn’t matter. Maybe the only thing that is important is that it speaks to you.”

JUL

TUESDAY JULY 14, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

DOVER STRING QUARTET

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

WOLF Italian Serenade in G major

BEETHOVEN Quartet No. 7 in F major, Op. 59, No. 1, “Razumovsky” Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto Thème Russe: Allegro

STRING QUARTET AT THE CHAPEL

HE ITALIAN SERENADE BY THE AUSTRIAN COMPOSER Hugo Wolf (1860-1903) was inspired by the novella Aus dem Leben eines Taugenichts (“From the Life of a Ne’er-Do-Well”) of the German Romantic writer Joseph Eichendorff. “Central to the plot of Eichendorff’s book,” wrote Eric Sams, “is a serenade played by a small orchestra.... the story’s hero is a young musician, a violinist, who leaves his country home and his grumbling father to seek his fortune. He soon charms everyone with his gifts, or antagonizes them with his inconsequence.” Russian-born Count Andreas Kyrillovitch Razumovsky was one of the most prominent figures in Viennese society, politics and art at the turn of the 19th century. In 1806, he commissioned Ludwig van Beethoven (1770-1827) to write three new string quartets that would be played in the grand palace he was building on the Danube Canal near the Prater. In honor of (or, perhaps, at the request of) his patron, Beethoven included in the Op. 59 set traditional Russian themes, one of which is heard in the finale of the F major Quartet.

HUGO WOLF

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Vail Marriott Mountain Resort and Spa Anonymous, in honor of the Vail Mountain Rescue Group

JUL

MOZART’S EINE KLEINE NACHTMUSIK Concerto for Two Violins in D minor, BWV 1043 (ca. 1720 or 1730) (ca. 16 min.) JOHANN SEBASTIAN BACH (1685-1750)

T WAS LONG THOUGHT THAT BACH COMPOSED HIS THREE extant violin concertos — two for solo violin and one for two violins — while serving as “Court Kapellmeister and Director of the Princely Chamber Musicians” at Anhalt-Cöthen, north of Leipzig, from 1717 to 1723, a productive period for instrumental music when he wrote the Brandenburg Concertos, orchestral suites, many sonatas and suites for solo instruments and keyboard, and suites and sonatas for unaccompanied violin and cello. In the Bach tercentenary issue of Early Music published in May 1985, however, Harvard professor and Bach authority Christoph Wolff surmised from stylistic evidence and from the fact that the only extant performance materials for the Concerto in A minor (BWV 1041) and the Concerto in D minor for Two Violins (BWV 1043) were copied around 1730 that at least those two works date from the years (1729-1736) that Bach was directing the Leipzig Collegium Musicum, the city’s leading concert-giving organization. The first movement of the Concerto for Two Violins is filled with a darkly expressive vitality. In the second movement, one of the most poignantly beautiful pieces of music ever written, the soloists soar above a simple accompaniment from the orchestra. This gently swaying lullaby, in a key suffused with cool sunlight, is full of surpassing calm and ravishing beauty. The sense of urgency and drama from the first movement returns in the finale, which is propelled by Bach’s characteristic rhythmic energy.

THIS PAGE: RYAN DONNELL

CONTINUED ON PAGE 184

TUESDAY JULY 14, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION, VAIL

David Kim, violin Ying Fu, violin Members of The Philadelphia Orchestra Dover String Quartet Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello

J.S. BACH Concerto for Two Violins in D minor, BWV 1043 Vivace Largo ma non tanto Allegro

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

— INTERMISSION —... GRIEG From Holberg’s Time, Suite in Olden Style for Strings, Op. 40 Praelude: Allegro vivace Sarabande: Andante Gavotte: Allegretto — Musette: Poco più mosso — Gavotte Air: Andante religioso Rigaudon: Allegro con brio

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: The Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail

DAVID KIM

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THE PHILADELPHIA ORCHESTRA JUL

THE MUSICAL WORLD OF JOHN WILLIAMS

WEDNESDAY JULY 15, 6:00 PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: BARB AND DICK WENNINGER

SPECIAL CHALLENGE GRANT FUNDING PROVIDED BY: Peggy Fossett The Sturm Family Foundation

SPECIAL GRATITUDE TO: Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society Anonymous, in honor of the Vail Mountain Rescue Group

SPONSORED BY: Nancy Gage and Allan Finney Susan and Harry Frampton Joyce and Paul Krasnow

SOLOIST UNDERWRITERS: Stéphane Denève, conductor, underwritten by Barbie and Tony Mayer James Ehnes, violin, underwritten by Valerie and Robert Gwyn and Rose and Howard Marcus

JUL

WEDNESDAY JULY 15, 6:00 PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor James Ehnes, violin

WILLIAMS Sound the Bells! Violin Concerto Moderato Slowly (in peaceful contemplation) Broadly (Maestoso)—Quicklyd

— INTERMISSION —... WILLIAMS Excerpts from Close Encounters of the Third Kind “Adventures on Earth,” from E.T.: the Extra-Terrestrial Selections from Star Wars “The Imperial March,” from Star Wars “Yoda’s Theme,” from The Empire Strikes Back “Main Theme”, from Star Wars

THE MUSICAL WORLD OF JOHN WILLIAMS

OHN WILLIAMS IS ONE OF AMERICA’S MOST WIDELY known and highly respected composers. Born in New York in 1932, Williams moved with his family when he was sixteen to Los Angeles, where his father worked as a studio musician. After serving in the Air Force, Williams returned to New York in 1954, working there as a jazz pianist in clubs and on recordings while attending the Juilliard School. He subsequently moved back to Los Angeles to enroll at UCLA and also studied privately with Mario Castelnuovo-Tedesco. By the early 1960s, he was composing for feature films and television, as well as working as a pianist, arranger and conductor for Columbia Records. His music began to receive wide recognition during the 1960s, when he won Emmys for his scores for the television movies Heidi and Jane Eyre. Williams has since composed music and served as music director for well over 300 movies and television shows. He has received 49 Academy Award nominations (the most of any living person and second only to Walt Disney) and won five Oscars, 21 Grammys, four Golden Globes and four Emmys, as well as numerous gold and platinum records. In addition to his film music, Williams has written many concert works, including two symphonies, eight concertos and numerous chamber and orchestral works. From 1980 to 1993, he served as conductor of the Boston Pops and has also appeared as guest conductor with many major orchestras. Among John Williams’ many distinctions are twenty honorary degrees, induction into the Hollywood Bowl Hall of Fame, a Kennedy Center Honor (America’s highest award for artistic achievement), Golden Baton Award for Lifetime Achievement from the League of American Orchestras, and National Medal of Arts.

Sound the Bells! (1993) (ca. 3 min) JOHN WILLIAMS (BORN IN 1932)

Sound the Bells was written for the royal wedding of Crown Prince Masako of Japan and Masako Owada in June 1993. Williams took his inspiration for the work from the great temple bells of Japan, so orchestral bells and percussion are featured prominently, but there are few traces of overt Orientalism in this joyous and festive showpiece.

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Violin Concerto (1974-1976) (ca. 32 min) JOHN WILLIAMS (BORN IN 1932)

Williams began his Violin Concerto in 1974, following the death of his first wife, Barbara Ruick. When the score was completed, on October 19, 1976, he dedicated it to her memory. The composer wrote, “The Violin Concerto is in three movements, each with expansive themes and featuring virtuosic passage work used both for effective contrast and for display. The first movement starts with an unaccompanied presentation by the solo violin of the principal theme, which is composed of broad melodic intervals and rhythmic contour, in contrast to the more jaunty second subject. Orchestra and soloist share the exploitation of this material, and after the solo cadenza the movement is brought to a quiet conclusion. The second movement features an elegiac melodic subject. While this melody is the central feature of the movement, there is, by way of contrast, a brisk middle section based on rushing figures that are tossed back and forth between soloist and orchestra. The finale begins with chiming chords of great dissonance from the orchestra. The solo part commences on a journey of passagework in triple time that forms a kind of moto perpetuo which propels the movement. In rondo-like fashion, several melodies emerge until insistent intervals, borrowed from CONTINUED ON PAGE 185

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Peggy Fossett The Sturm Family Foundation Town of Vail

GOLD ( $25,000+ ) Karen and Michael Herman Sandra and Greg Walton

SILVER ( $10,000+ )

DREW FARRELL

Anonymous Christine and John Bakalar Arlene and John Dayton Hilda O’Farrill de Compean and J. Compean Teri and Tony Perry Susan and Rich Rogel

Carole and Peter Segal Cathy and Howard Stone Susan and Steven Suggs

INSIDE STORY

STÉPHANE DENÈVE ON JOHN WILLIAMS “I met John Williams, luckily, in 2007 in Los Angeles…and I treasure my relationship with the most tender, brilliant, elegant, modest, and – of course – genius man I certainly ever met. I belong to a generation who grew up with the music of John Williams. I have to confess that I cried for the first time in a movie theater thanks to his music for E.T.; I dreamt of space with [his] Star Wars music; I dreamt of adventure with Indiana Jones. But it was only much later that I discovered his fantastic concert music. This music is often overshadowed by his tremendously successful movie music.” On this evening’s concert, Maestro Denève will collaborate with virtuoso violinist James Ehnes to perform a work that Denève describes as “very touching [and] very moving”: Williams’ Violin Concerto, which was composed in memory of his first wife.

JUL

WEDNESDAY JULY 15, 7:30PM FREE CONCERT SERIES

GYPSUM TOWN HALL

DOVER STRING QUARTET Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello

SCHUMANN Quartet No. 1 in A minor, Op. 41, No. 1 Introduzione: Andante espressivo — Allegro Scherzo: Presto — Intermezzo — (Tempo I) Adagio Presto

DVOŘÁK Quartet in F major, Op. 96, American Allegro ma non troppo Lento Molto vivace Finale: Vivace ma non troppo

DOVER STRING QUARTET

ROBERT SCHUMANN

DOVER QUARTET IN GYPSUM

HE A MINOR QUARTET OF ROBERT SCHUMANN (18101856) is the first of the six masterful chamber works he created during five months of creative frenzy in 1842. It is a finely crafted composition that shows his intense study not only of the chamber music of Haydn and Beethoven, but also of the polyphonic intricacies of Bach. Though usually restrained in speaking of his own works, Schumann wrote to the publisher Härtel, “You may be sure that I have spared no pains to compose something really good; indeed, I sometimes think, my best.” Antonín Dvořák (1841-1904) wrote his F major Quartet in 1893, during the three years he was Director of the National Conservatory in New York. It was composed that summer in Spillville, Iowa, a settlement of a few hundred souls founded forty years before by a “Bavarian-German” named Spielmann. It was not the Germans, however, who followed Spielmann to Iowa, but the Czechs and the Bohemians, Dvořák’s countrymen, among whom were members of his secretary’s family, the clan Kovařík. The work inevitably became known as his “American” Quartet.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Eagle County Kathy and David Ferguson Town of Gypsum Anonymous, in honor of the Vail Mountain Rescue Group

ANTONÍN DVOŘÁK

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DOVER STRING QUARTET: LISA-MARIE MAZZUCCO

JUL

THURSDAY JULY 16, 11:30AM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

GATES OPEN 10:30AM Instrument Petting Zoo and other activities for the whole family!

FREE FAMILY CONCERT

VERYBODY LOVES A GOOD STORY, ESPECIALLY WHEN music lends it an added dimension. American composer Daniel Dorff (b. 1956) created his Three Fun Fables (1996) around humorous tales by the ancient Greek storyteller Aesop that have been passed down through the ages. Sergei Prokofiev (1891-1953) devised his own story for Peter and the Wolf, the tale of a boy and his adventures with the creatures around his forest home, which was written in 1936 for the Moscow Children’s Theater. The two dances that complement the narrated tales on this concert invite listeners to imagine their own scenarios. The Danza de Jalisco (1959) by Aaron Copland (1900-1990), based on a vivacious dance type from the central Mexican state of Jalisco, suggests a fiesta. The lilting Waltz from the Serenade for Strings (1880) by Peter Ilyich Tchaikovsky (1840-1893) calls to mind the elegance of a European ballroom from an earlier time. (Program will last ca. 60 min.)

THE PHILADELPHIA ORCHESTRA Lio Kuokman, conductor Sara Valentine, narrator Michael Boudewyns, Narrator

COPLAND Danza de Jalisco from Three Latin American Sketches

DORFF Three Fun Fables The Fox and the Crow The Dog and His Reflection The Tortoise and the Hare Sara Valentine, narrator

TCHAIKOVSKY Waltz, from Serenade in C major, Op. 48, for strings

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

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: SPECIAL CHALLENGE GRANT FUNDING PROVIDED BY

Anonymous, in Honor of the Vail Mountain Rescue Group

Peggy Fossett The Sturm Family Foundation

SOLOIST UNDERWRITERS

SPECIAL GRATITUDE TO

Lio Kuokman, conductor, underwritten by Barbie and Tony Mayer

Friends of the Fabulous Philadelphians Lyn and Phillip Goldstein Maestro Society

FREE FAMILY CONCERT

JUL

THURSDAY JULY 16, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

DOVER STRING QUARTET Joel Link, violin Bryan Lee, violin Milena Pajaro-Van De Stadt, viola Camden Shaw, cello Anne-Marie McDermott, piano

SHOSTAKOVICH Quartet No. 7 in F-sharp minor, Op. 108 Allegretto Lento — Allegro — Allegretto

SHOSTAKOVICH Quintet for Piano, Two Violins, Viola and Cello in G minor, Op. 57 Prelude: Lento — Fugue: Adagio Scherzo: Allegretto Intermezzo: Lento — Finale: Allegretto

SHOSTAKOVICH AT THE CHAPEL

MITRI SHOSTAKOVICH (1906-1975) DEDICATED HIS Quartet No. 7 (1960) to the memory of his first wife, Nina, who had died in 1954 after 22 years of marriage. In his study of the composer, Ian MacDonald wrote of the Quartet, “It is tempting to see it as programmatic: the bustling first movement, a portrait of its dedicatee; the nocturnal second, with its unhappy memories and premonitions, a picture of husband and wife separated; and, in the third, the composer flying fretfully to the hospital — the whole concluded by further recollections of Nina’s personality.” Shostakovich retained a love of the piano throughout his life and played it whenever he could, but the lack of practice time prevented him from performing much music other than his own. After years of prompting, the Beethoven String Quartet, which premiered all of his fifteen quartets except No. 1, finally convinced him in 1940 to write a Quintet for Piano and Strings that would allow them to perform together. The Quintet was greeted with universal acclaim when they premiered it at a festival of Soviet music in Moscow on November 23rd.

DOVER STRING QUARTET

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM:

ANNE-MARIE MCDERMOTT

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Sebastian Vail Anonymous, in honor of the Vail Mountain Rescue Group

JUL

THURSDAY JULY 16, 6:00PM SOIRÉE SERIES

THOMAS RESIDENCE, ARROWHEAD

DOVER STRING QUARTET

SOIRÉE II

PUCCINI & MOZART SOIRÉE

OPPOSITE FROM TOP: LISA-MARIE MAZZUCCO, ZACHMAHONE.COM. THIS PAGE FROM TOP: LISA-MARIE MAZZUCCO, BONNIE GU

HE ITALIAN SERENADE BY AUSTRIAN COMPOSER Hugo Wolf (1860-1903) was inspired by the novella Aus dem Leben eines Taugenichts (From the Life of a Ne’erDo-Well) of German Romantic writer Joseph Eichendorff. “Central to the plot of Eichendorff’s book,” wrote Eric Sams, “is a serenade played by a small orchestra.... The story’s hero is a young violinist who leaves his country home and his grumbling father to seek his fortune. He soon charms everyone with his gifts, or antagonizes them with his inconsequence.” Chrysanthemums are traditionally associated with funerals and mourning in Italy, and Giacomo Puccini (1858-1924) wrote his Crisantemi, one of just a handful of non-operatic works he composed, in memory of Amedeo of Savoy, Duke of the ruling house of Aosta. In 1787 Wolfgang Amadeus Mozart (1756-1791) arranged his deeply expressive Wind Serenade of 1782 (K. 388), his only such piece of “entertainment” music in a minor key, as the C minor String Quintet (K. 406). “If G minor is the fatalistic key for Mozart,” Alfred Einstein wrote, “then C minor is the dramatic one, the key of contrasts between aggressive unisons and lyric passages. The lyric quality is always overtaken by gloomy outbursts.”

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

WOLF Italian Serenade for String Quartet in G major

PUCCINI Crisantemi for String Quartet

MOZART Quintet for Two Violins, Two Violas and Cello in C minor, K. 406 (K. 516b) Allegro Andante Minuetto in Canone — Trio in Canone al rovescio — Minnuetto in Canone Allegro

CATERED BY THE LEFT BANK, EXECUTIVE CHEF JEAN-MICHEL CHELAIN

DOVER STRING QUARTET BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: THIS EVENING’S HOSTS

SPONSORED BY

Marijke and Lodewijk de Vink

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

JUL

MONDAY JULY 27, 7:30PM FREE CONCERT SERIES

BRUSH CREEK PAVILION, EAGLE

STRING QUARTETS OF MOZART AND GRIEG

OPPOSITE CLOCKWISE: CHRIS LEE (3), CHRISTIAN STEINER. THIS PAGE: LISA-MARIE MAZZUCCO

F ALL THE FAMOUS COMPOSER PAIRS — BACH AND Handel, Bruckner and Mahler, Debussy and Ravel — only Wolfgang Amadeus Mozart (1756-1791) and Joseph Haydn were friends. Mozart first met the older composer soon after moving to Vienna in 1781, and four years later he began a set of six masterful string quartets, including the G major Quartet, that were not only dedicated to Haydn but also extensively used the advanced techniques for chamber music writing he had developed. Edvard Grieg (1843-1907) spent the summer of 1877 in the village of Börve, perched atop the scenic Sörfjord east of his hometown and professional base, Bergen. He loved listening to the songs of the local country folk there, and the String Quartet he wrote during the following months utilizes that music’s spirit and style as well as one of his own songs — Spillmaend (“Minstrels”) — about an musician who can learn the deepest secrets of the art from the spirit of a Norwegian waterfall only against the chance that he might lose his happiness and peace of mind in exchange.

ATTACCA STRING QUARTET

Amy Schroeder, violin Keiko Tokunaga, violin Luke Fleming, viola Andrew Yee, cello

MOZART Quartet in G major, K. 387 Allegro vivace assai Minuetto: Allegro Andante cantabile Molto Allegro

GRIEG Quartet in G minor, Op. 27 Un poco Andante — Allegro molto ed agitato Romanze: Andantino — Allegro agitato Intermezzo: Allegro molto marcato — Più vivo e scherzando — Tempo I Finale: Lento — Presto al Saltarello

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Kathy and David Ferguson Eagle County Eagle Ranch Homeowners Association Town of Eagle Anonymous, in honor of the Vail Mountain Rescue Group

ATTACCA STRING QUARTET

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JUL

TUESDAY JULY 28, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

ATTACCA STRING QUARTET

Amy Schroeder, violin Keiko Tokunaga, violin Luke Fleming, viola Andrew Yee, cello

HAYDN Quartet in D major, Op. 71, No. 2 Adagio — Allegro Adagio cantabile Menuetto: Allegro Finale: Allegretto

HAYDN Quartet in E-flat major, Op. 20, No. 1 Allegro moderato Menuetto: Allegretto Affettuoso e sostenuto Finale: Presto

HAYDN Quartet in E-flat major, Op. 64, No. 6 Allegro Andante Menuet: Allegretto Finale: Presto

JOSEPH HAYDN

HAYDN STRING QUARTETS

OSEPH HAYDN (1732-1809) PERFECTED THE GENRE of the string quartet. He composed nearly seventy such works, from the early divertimento-like pieces of the late 1750s, through the sublime masterworks he created for his two London residencies almost forty years later, to the unfinished Op. 103 of 1803, which he called “my last child, but it still looks like me.” The techniques he evolved across these works — thorough integration of the ensemble’s four parts, precisely constructed themes built to be developed continuously throughout a movement, idiomatic writing for the instruments, integration of contrapuntal devices into the essential melody, and accompaniment texture of his day — have provided both the standard and the model for composers for the next two centuries. His influence on the musical art is inestimable, matched only by the continuing delight his music provides. “A lack of appreciation for Haydn,” wrote British musicologist Bernard Jacobson, “is a species of the inability to enjoy the good things in life.”

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JUL

CHAMBER WITH THE NEW YORK PHILHARMONIC Sonata for Horn and Piano in F Major, Op. 17 (1800) (ca. 15 min.) LUDWIG VAN BEETHOVEN (1770-1827)

IOVANNI PUNTO WAS ONE OF THE MOST COLORFUL musical characters in enlightenment Europe. Born in 1748 as Jan Vaclav Stich into a family of Czech serfs on the estate of count Joseph von Thun, he showed such talent as a horn player that he was sent by the count to Prague, Munich and Dresden for study with the best hornists of the day. He returned to the service of count Thun, but was dissatisfied with life as a serf and, in 1768, bolted. The count sent his soldiers after him with orders to knock out all of his teeth, but Stich escaped unharmed to Germany, where he played with court orchestras in Hechingen and Mainz. After the fashion of the day (and perhaps to avoid the emissaries of count thun), he Italianized his name to Giovanni Punto. His reputation as a virtuoso spread quickly: he toured throughout Europe as a soloist (playing concertos of his own composition) and held positions with several important court orchestras. He met Mozart in Paris in 1778, and the young composer was so inspired by Punto’s playing that he composed for him the Sinfonia Concertante for Oboe, Clarinet, Bassoon, Horn and Strings, k. 297b. After some years in Paris, Punto arrived in Vienna early in 1800, where he met Beethoven. Punto scheduled a public concert for April 18, 1800 in Vienna’s court theater, and invited his new friend to compose a horn and piano sonata for the occasion; Beethoven agreed to write the piece and join Punto for the program. The horn sonata is in three movements, the second being little more than a slow-tempo preface to the finale. The opening

TUESDAY JULY 28, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION

MUSICIANS FROM THE NEW YORK PHILHARMONIC Kerry McDermott, violin Rémi Pelletier, violin Eileen Moon, cello Anthony McGill, clarinet Philip Myers, horn Anne-Marie McDermott, piano

BEETHOVEN Sonata for Horn and Piano in F Major, Op. 17 Allegro Moderato Poco Adagio, Quasi Andante — Rondo: Allegro Moderato

BARTÓK Contrasts for Violin, Clarinet, and Piano Verbunkos: Moderato, Ben Rimato Pihenö (“Relaxation”): Lento Sebes (“Fast Dance”): Allegro Vivace

DOHNÁNYI Sextet for Piano, Violin, Viola, Cello, Clarinet, and Horn in C Major, Op. 37 Allegro Appassionato Intermezzo: Adagio Allegro Con Sentimento — Finale: Allegro Vivace, Giocoso

THIS PAGE FROM LEFT: ZACHMAHONE.COM

CONTINUED ON PAGE 193

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

ANNE-MARIE MCDERMOTT

ERNST VON DOHNÁNYI

The Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail

125

970-926-5000 * The Riverwalk at Edwards * vailvintagemagnolia.com

NEW YORK PHILHARMONIC JUL

MIDORI WITH THE NEW YORK PHILHARMONIC

WEDNESDAY JULY 29, 6:00 PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: FRIENDS OF THE NEW YORK PHILHARMONIC

SPECIAL GRATITUDE TO:

TIMOTHY GREENFIELD-SANDERS

The Lyn and Phillip Goldstein Maestro Society Anonymous, in honor of the Vail Mountain Rescue Group

127

JUL

WEDNESDAY JULY 29, 6:00 PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Alan Gilbert, conductor Midori, violin

MENDELSSOHN Concerto in E minor for Violin and Orchestra, Op. 64 Allegro molto appassionata — Andante — Allegretto non troppo — Allegro molto vivace

— INTERMISSION —... MAHLER Symphony No. 5 in C-sharp minor PART I Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt Stürmisch bewegt, mit grösster Vehemenz PART II Scherzo: Kräftig, nicht zu schnell PART III Adagietto: Sehr langsam Rondo-Finale: Allegro giocoso. Frisch

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FREE PRE-CONCERT TALK, 5:00PM Moroles Sculpture Garden, Ford Park Steven Bruns, University of Colorado

MIDORI WITH THE NEW YORK PHILHARMONIC Concerto in E minor for Violin and Orchestra, Op. 64 (1844) (ca. 25 min) FELIX MENDELSSOHN (1809-1847)

ENDELSSOHN WROTE HIS E MINOR VIOLIN Concerto for his friend Ferdinand David. They first met at about the age of fifteen while the young violinist was on a concert tour through Germany, and were delighted to discover the coincidence that they had been born in the same neighborhood in Hamburg only eleven months apart. Already well formed even in those early years, David’s playing was said to have combined the serious, classical restraint of Ludwig Spohr, his teacher, the elegance of the French tradition and the technical brilliance of Paganini. Mendelssohn, who admired both the man and his playing, saw to it that David was appointed concertmaster of the Leipzig Gewandhaus Orchestra when he became that organization’s music director in 1835. They remained close friends and musical allies. The Concerto opens with a soaring violin melody whose lyricism exhibits a grand passion tinged with restless, Romantic melancholy; the second theme is a sunny strain shared by woodwinds and soloist. The succinct development section is largely based on the opening theme. The cadenza is used as a bridge to the recapitulation and leads seamlessly into the restatement of the movement’s thematic material. The thread of a single note sustained by the bassoon carries the Concerto to the Andante, a song rich in warm sentiment and endearing elegance. This slow movement’s center section is distinguished by its rustling accompaniment and bittersweet minor-mode melody. A dozen measures of chordal writing for strings link this movement with the finale, an effervescent sonata form.

INSIDE STORY

Symphony No. 5 in C-sharp minor (1902-1911) (ca. 70 min) GUSTAV MAHLER (1860-1911)

In November 1901, Mahler met Alma Schindler, daughter of the painter Emil Jacob Schindler, then 22 and regarded as one of the most beautiful women in Vienna. Mahler was 41. Romance blossomed. They were married in March, and were parents by November. Their first summer together (1902) was spent at Maiernigg, Mahler’s country retreat on the Wörthersee in Carinthia in southern Austria. It was at that time that the Fifth Symphony was composed, incorporating some sketches from the previous summer. He thought of this work as “their” music, the first artistic fruit of his married life with Alma. But more than that, he may also have wanted to create music that would be worthy of the new circle of friends that Alma, the daughter of one of Austria’s finest artists and most distinguished families, had opened to him — Gustav Klimt, Alfred Roller (who became Mahler’s stage designer at the Court Opera), architect Josef Hoffmann and the rest of the cream of cultural Vienna. In the Fifth Symphony, Mahler seems CONTINUED ON PAGE 194

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TRANSCENDING CULTURAL IDENTITY Mendelssohn and Mahler both shared the common experience of being Christian Jews in a politically tumultuous Europe threaded with an undercurrent of anti-Semitism. Both of these composers straddled their split religious identities, and faced backlash because they were neither fully Jewish nor fully Christian. Wagner famously denounced the works of Mendelssohn, saying that because Mendelssohn was Jewish his compositions were only mere imitations of Bach and Beethoven. Mahler once articulated his view of his place in the world: “…A native of Bohemia in Austria…an Austrian among Germans…a Jew throughout the world—always an intruder, never welcomed.” Yet both Mahler and Mendelssohn composed works without religious constraint: Mahler never felt the need to prove his religious convictions through music, and Mendelssohn often set texts from multiple faiths. They both transcended their religious identities, and in doing so, solidified their musical identities as two of the greatest composers in Western music. 129

JUL

TUESDAY JULY 30, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

ATTACCA STRING QUARTET

Amy Schroeder, violin Keiko Tokunaga, violin Luke Fleming, viola Andrew Yee, cello

MENDELSSOHN Quartet in A minor, Op. 13, “Ist Es Wahr?” Adagio — Allegro vivace Adagio non lento — Poco più animato — Tempo I Intermezzo: Allegretto con moto — Allegro di molto — Tempo I Presto — Adagio non lento — Adagio

FANNY MENDELSSOHN HENSEL String Quartet in E-flat major Adagio ma non troppo Allegretto Romanze Allegro molto vivace

MENDELSSOHN & MENDELSSOHN

HE A MINOR STRING QUARTET THAT FELIX Mendelssohn (1809-1847) completed on October 26, 1827 was enflamed by a petite affaire de le coeur. The previous spring, shortly before matriculating at Berlin University, Mendelssohn had indulged in a short holiday at Sakrow, near Potsdam, and there he fell in love, at least a little. The circumstances, even the maiden’s name, are unknown, but he was sufficiently moved by the experience to set to music a poem that began, “Is it true [Ist es wahr?] that you are always waiting for me in the arbored walk?” The song was woven as thematic material into the A minor Quartet. Felix’s older sister, Fanny (1805-1847), shared his talent but not his recognition. Though she composed some 400 works and was a gifted pianist, she was discouraged by her own family from following a career as a professional musician and has only come to be recognized for her outstanding talents in recent decades. Her only String Quartet was composed in 1834 but not published until 1988.

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ATTACCA QUARTET

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LISA-MARIE MAZZUCCO

Evergreen Lodge Anonymous, in honor of the Vail Mountain Rescue Group

NEW YORK PHILHARMONIC JUL

AN AMERICAN CELEBRATION

THURSDAY JULY 30, 6:00 PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: FRIENDS OF THE NEW YORK PHILHARMONIC

SPECIAL GRATITUDE TO: The Lyn and Phillip Goldstein Maestro Society

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES: The Molina Family and the Make-a-Wish Foundation for the appearance of guest conductor Mikayla Wilson

131

JUL

THURSDAY JULY 30, 6:00 PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Alan Gilbert, conductor Julia Bullock, vocalist Ben Bliss, vocalist Mikayla Wilson, special guest conductor

SOUSA The Thunderer

BARBER The School for Scandal Overture, Op. 5

COPLAND Suite from Appalachian Spring

ANDERSON Fiddle-Faddle

RODGERS

AN AMERICAN CELEBRATION The School for Scandal Overture, Op. 5 (1931) (ca. 8 min) SAMUEL BARBER (1910-1981)

HE SCHOOL FOR SCANDAL OVERTURE WAS NOT written for a particular production of Sheridan’s play and does not attempt to portray its specific characters or actions, but rather conveys the comedy’s sprightly nature through music of changing moods and superb craftsmanship. The Overture follows traditional sonata form. The main theme is a wide-ranging melody begun by violins that accumulates energy as it unfolds; the solo oboe sings the haunting second subject. An undulating theme from the clarinet closes the exposition. The brief development recalls the introductory gesture and the main theme before it reaches a climax of rushing scales in the strings. The recapitulation follows the events of the exposition, but with the lovely second theme entrusted to the English horn. A dancing coda maintains to the end the vivacious air of joie de vivre appropriate to the closing pages of any proper comedy.

Carousel Waltz

— INTERMISSION —... BERNSTEIN Concert Suite No. 1 from West Side Story for Soprano, Tenor, and Orchestra

GERSHWIN Lullaby for Strings

SOUSA The Washington Post

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Suite from Appalachian Spring (1943-1944) (ca. 24 min) A ARON COPL AND (1900-1990)

In 1942, dancer and choreographer Martha Graham commissioned a new ballet from Aaron Copland set to a scenario titled Appalachian Spring, based on her memories of her grandmother’s farm in turn-of-the-20th-century Pennsylvania. Edwin Denby’s description of the ballet’s action from his review of the New York premiere in May 1945 was reprinted in the published score: “[The ballet concerns] a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the 19th century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end, the couple are left quiet and strong in their new house.”

INSIDE STORY

Fiddle-Faddle (1947-1948) (ca. 3 min) LEROY ANDERSON (1908-1975)

Leroy Anderson earned undergraduate and master’s degrees in music from Harvard University, taught briefly at Radcliffe College, and in 1931 became music director and arranger of the Harvard University Band. In 1936, George Judd, manager of the Boston Symphony, asked Anderson to make a symphonic setting of some traditional Harvard songs for the 25th reunion of Mr. Judd’s class and to conduct the number at a special performance of the Boston Pops. Arthur Fiedler, music director of the Pops, was impressed with Anderson’s work, and he encouraged him to write some original compositions for the orchestra. The first of those pieces, Jazz Pizzicato, was an immediate hit when it was premiered in 1937, and Anderson was appointed chief arranger and pianist for the Boston Pops, a position he held for the next quarter-century. Fiddle-Faddle, composed in 1947 as a moto perpetuo showpiece for strings, was premiered on a Boston Pops broadcast on March 30, 1947, conducted by Arthur Fiedler. Fiedler recorded the piece soon thereafter for RCA, and Fiddle-Faddle became Leroy CONTINUED ON PAGE 195

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CHRIS LEE

Jayne and Paul Becker Amy and Steve Coyer Stephanie and Larry Flinn Georgie and Don Gogel Mr. and Mrs. Claudio Gonzalez

ALAN GILBERT ON AMERICAN MUSIC American music is as diverse as the people who make up this wonderful country. In the concert hall audiences are uplifted by evocative and diverse pieces — whether classically refined, like the Barber on this program, or clearly depictive, like the Copland. Broadway represents a truly American art form, manifest in standards by Rogers & Hammerstein and in grittier pieces like Bernstein’s West Side Story. And there is pure, unabashed Americana, by the likes of Anderson and Sousa. But what I really love about American music is how it defies genre. Are Bernstein and Gershwin classical composers, or are they Broadway, jazz, or even pop? Should Sousa best be heard on a football field, or in a concert hall? Happily, we don’t need to decide, but just revel in the rich variety of America’s music.

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Robert Pummill Claggett/Rey Gallery 100 East Meadow Drive Vail Village www.claggettrey.com 970.476.9350

NEW YORK PHILHARMONIC JUL

MOZART & SHOSTAKOVICH

FRIDAY JULY 31, 6:00 PM SYMPHONY SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: FRIENDS OF THE NEW YORK PHILHARMONIC

SPECIAL GRATITUDE TO: The Lyn and Phillip Goldstein Maestro Society Anonymous, in honor of the Vail Mountain Rescue Group

135

JUL

FRIDAY JULY 31, 6:00 PM SYMPHONY SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Alan Gilbert, conductor Sheryl Staples, violin Cynthia Phelps, viola

MOZART Sinfonia Concertante in E-flat major for Violin, Viola, and Orchestra, K. 364 (K. 320d) Allegro maestoso Andante Presto

— INTERMISSION —... SHOSTAKOVICH Symphony No. 10 in E minor, Op. 93 Moderato Allegro Allegretto Andante — Allegro

JOIN US FOR BRAVO! VAIL AFTER DARK, 8:00PM CRAZY MOUNTAIN BREWERY (details on page 138)

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FREE PRE-CONCERT TALK, 5:00PM Moroles Sculpture Garden, Ford Park Kris Shaffer, University of Colorado

MOZART & SHOSTAKOVICH Sinfonia Concertante in E-flat major for Violin, Viola, and Orchestra, K. 364 (K. 320d) (1779) (ca. 30 min) WOLFGANG AMADEUS MOZART (1756-1791)

ROM STYLISTIC EVIDENCE WITHIN THE MUSIC OF Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra, the date of its composition is placed during late summer 1779, about six months after he had returned from his exhausting journey through Germany and France in a fruitless attempt to find a secure position. He came back to his “Salzburg slavery,” as he rather injudiciously called his local employment, and reluctantly resumed his hated job as composer, orchestra musician and organist in Archbishop Colloredo’s provincial musical establishment. This time, though, when he put on the Archbishop’s livery (how demeaning he thought it was to be dressed like a common servant!), he refused to play the violin in the orchestra any longer despite his father’s insistence that he could be the best player in Europe if he would just put his mind to it. He chose instead the viola — still a distant second choice to his beloved piano — and it is a charming thought that he might have composed the Sinfonia Concertante for a father-son musical outing: Papa on violin, Wolfgang on viola. There is, however, not a shred of evidence to support this or any other conjecture. The first movement’s orchestral introduction comprises a bold opening gesture in a distinctive rhythm, a tripping phrase divided between violins and oboes, a martial strain, and a rising line intensified by repeated trills. The soloists emerge on a long-held high note to introduce a new set of melodies. The central section is less a true thematic development of what has preceded than a spirited conversation between the soloists. The recapitulation commences with the bold gesture that began the work. The passionate second movement is one of Mozart’s most moving creations. The finale is a rondo whose ingratiating theme is reminiscent of a rising trill motive of the first movement.

Symphony No. 10 in E minor, Op. 93 (1953) (ca. 50 min) DMITRI SHOSTAKOVICH (1906-1975)

INSIDE STORY

The resilience of Dmitri Shostakovich is astounding. Twice during his life he was the subject of the most scathing denunciations that Soviet officialdom could muster, and he not only endured both but found in them a spark to renew his creativity. The first attack, in 1936, condemned him for writing “muddle instead of music,” and stemmed from his admittedly modernistic opera Lady Macbeth of Mzensk. The other censure came after World War II, in 1948, and it was part of a general purge of “formalistic” music by Soviet authorities. Through Andrei Zhdanov, head of the Soviet Composers’ Union and the official mouthpiece for the government, it was made known that only simplistic music glorifying the state, the land and the people would be performed. Shostakovich saw the iron figure of Joseph Stalin behind both condemnations. After the 1936 debacle, Shostakovich responded with his Fifth Symphony and kept composing through the war years, even becoming a world figure representing the courage of the Russian people with the lightning success of his Seventh CONTINUED ON PAGE 196

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ALAN GILBERT ON SHOSTAKOVICH’S TENTH Shostakovich’s Tenth Symphony is one of my favorite works in this genre by a towering composer of the 20th century, one who lived through a particularly turbulent time. It stands apart in his oeuvre as an unusually personal statement. This music conveys a reaction to the horrors of the world. Unfortunately, it will always feel timely as there is always something happening that might have inspired it. I think of the journey through the piece as tracing a psychological progression — if not to achieving understanding, then at least to some kind of acceptance.

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JUL

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ATTACCA STRING QUARTET

Amy Schroeder, violin Keiko Tokunaga, violin Luke Fleming, viola Andrew Yee, cello

REIMAGINE YOUR DEFINITION OF CLASSICAL MUSIC

HAT’S IN A YOUNG STRING QUARTET? Sensational playing, stunning interpretations, and an appetite for the new. The Attacca Quartet has already made the only recording of all John Adams’ string quartets, racked up an incredible list of works they love by today’s composers, and were named the Quartet in Residence for the Metropolitan Museum of Art for the 2014-2015 season . You may hear Cole Porter, the tango composer Piazzolla, or the electrifying sounds of Argentine composer Ginastera. But, perhaps your favorite will be the gritty, yet graceful Industrial Night Music by 47-year old Matthew Hindson, who grew up with the Australian steelworks where his father worked.

STUNNING…A DEMONSTRATION OF A MUSICAL MATURITY FAR BEYOND ITS MEMBERS’ YEARS.” THE STRAD

THE CONCERT WAS, IN A WORD, SENSATIONAL.” THE NEW YORK TIMES

ATTACCA QUARTET

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AUG

MONDAY AUGUST 3, 7:30 PM FREE CONCERT SERIES

BEAVER CREEK INTERFAITH CHAPEL

THE SEVEN LAST WORDS OF CHRIST

OPPOSITE & THIS PAGE: LISA-MARIE MAZZUCCO

OSEPH HAYDN (1732-1809) WROTE THE SEVEN LAST Words of Our Saviour on the Cross, Op. 51 for the 1786 Good Friday service at the cathedral of the southern Spanish coastal city of Cádiz. He described the ceremony: “The walls, windows and pillars of the church were hung with black cloth, and only one large lamp suspended from the center of the ceiling broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service, the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit, and prostrated himself before the altar. The interval was filled with music. The bishop then in like manner pronounced the second word, and the third, and so on, the music following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task composing seven adagios to succeed one another without fatiguing the listeners.”

ATTACCA STRING QUARTET

Amy Schroeder, violin Keiko Tokunaga, violin Luke Fleming, viola Andrew Yee, cello

HAYDN The Seven Last Words of Our Saviour on the Cross, Op. 51 Introduction: Maestoso ed Adagio Father, forgive them for they know not what they do: Largo Truly I say to you: This day shalt thou be with me in Paradise: Grave e cantabile Mother, behold thy son; and thou, behold thy mother: Grave My God, my God, why hast Thou forsaken me?: Largo I thirst: Adagio It is finished: Lento Father, into Thy hands I commend my spirit: Largo — Earthquake: Presto e con tutta la forza

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AUG

04 CLASSICALLY UNCORKED

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DONOVAN PAVILION, VAIL

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BAROQUE DANCES THROUGH TIME Chaconne in D minor, BWV 1004 (ca. 1720) (ca. 14 min.) JOHANN SEBASTIAN BACH (1685-1750) ARR ANGED FOR PIANO BY FERRUCCIO BUSONI (1866-1924)

HOUGH IT IS KNOWN THAT SEBASTIAN BACH composed his three sonatas and three partitas for unaccompanied violin before 1720, the date on the manuscript, there is not a letter, preface, contemporary account or shred of any other documentary evidence extant to shed light on the genesis and purpose of these pieces. They were written when Bach was director of music at the court of Anhalt-Cöthen, north of Leipzig, and represent the pinnacle of achievement in the unaccompanied string repertory. The greatest single movement among these works, and one of the most sublime pieces Bach ever created, is the majestic Chaconne that closes the Partita No. 2 in D minor. The chaconne is an ancient variations form in which a short, repeated chord pattern is decorated with changing figurations and elaborations. Bach subjected his eight-measure theme to 64 continuous variations, beginning and ending in D minor but modulating in the center section to the luminous key of D major. Among the most familiar of the many alternate renderings of the Chaconne is the arrangement for solo piano by the Italian-German pianistcomposer-philosopher Ferruccio Busoni, who not only included many works by Bach on his recitals but also edited two complete editions of his keyboard music for publication. CONTINUED ON PAGE 196

ATTACCA STRING QUARTET

Amy Schroeder, violin Keiko Tokunaga, violin Luke Fleming, viola Andrew Yee, cello

ANNE-MARIE MCDERMOTT, PIANO ROOMFUL OF TEETH

Estelí Gomez, soprano Sarah Brailey, soprano Caroline Shaw, alto Virginia Warnken, alto Eric Dudley, tenor Avery Griffin, baritone Dashon Burton, bass-baritone Cameron Beauchamp, bass Brad Wells, artistic director

J.S. BACH Excerpts for String Quartet from The Art of Fugue, BWV 1080 Contrapunctus 1 Contrapunctus 3 Contrapunctus 6 Contrapunctus 9 Contrapunctus 12a Contrapunctus 13a Contrapunctus 11 Chorale: Wenn wit in höchsten Nöten sein

J.S. BACH/ARR. BUSONI Chaconne in D minor, BWV 1004

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Partita for 8 Voices (Winner of the 2013 Pulitzer Prize in Music) I. Allemande II. Sarabande III. Courante IV. Passacaglia

141

AUG

WEDNESDAY AUGUST 5, 7:30PM SPECIAL EVENT

DONOVAN PAVILION, VAIL

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ATTACCA STRING QUARTET

Amy Schroeder, violin Keiko Tokunaga, violin Luke Fleming, viola Andrew Yee, cello

ROOMFUL OF TEETH Estelí Gomez, soprano

Sarah Brailey, soprano Caroline Shaw, alto Virginia Warnken, alto Eric Dudley, tenor Avery Griffin, baritone Dashon Burton, bass-baritone Cameron Beauchamp, bass Brad Wells, artistic director

ROGERSON String Quartet No. 2 Canzonetta: Sweetness Intermezzo: Dance Chorale: Stillness

ADAMS Selections from John’s Book of Alleged Dances for String Quartet Toot Nipple Stubble Crotchet Pavane: She’s So Fine Alligator Escalator

— INTERMISSION —...

NEW MUSIC FOR STRINGS & VOICES String Quartet No. 2 (2013) (ca. 24 min.) CHRIS ROGERSON (BORN IN 1988)

HRIS ROGERSON WAS BORN IN 1988 IN AMHERST, New York, and started playing piano at two and cello at eight. He received a bachelor’s degree from the Curtis Institute in Philadelphia, where he studied composition with Jennifer Higdon, and a master’s degree from Yale University as a student of Aaron Jay Kernis and Martin Bresnick; he is currently a PhD candidate at Princeton. Rogerson’s honors include a Charles Ives Scholarship from the American Academy of Arts and Letters, Theodore Presser Career Grant, ASCAP Morton Gould Young Composer Award, two BMI Student Composer Awards, Aspen Music Festival Jacob Druckman Award, and prizes from the National Foundation for the Advancement of the Arts, National Association for Music Education, New York Art Ensemble and Third Millennium Ensemble. Rogerson’s Quartet No. 2 was commissioned by the Buffalo Chamber Music Society for the Attacca String Quartet; it was premiered in Buffalo on October 8, 2013. The expressive nature of each of the work’s three very individual movements is summarized by its title: Canzonetta: Sweetness; Intermezzo: Dance; and Chorale: Stillness.

RINDE ECKERT

CONTINUED ON PAGE 197

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MISSY MAZZOLI Vesper Sparrow

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06 CLASSICALLY UNCORKED

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GUNN & BARTÓK: BREAKING BARRIERS The Ascendant (2013) WA L LY G U N N ( B O R N 1 9 7 1 )

ATTACCA STRING QUARTET

Amy Schroeder, violin Keiko Tokunaga, violin Luke Fleming, viola Andrew Yee, cello

ANNE-MARIE MCDERMOTT, PIANO

Quintet for Piano, Two Violins, Viola and Cello (1903-1904) (ca. 42 min.)

WALLY GUNN

HIS GROUP OF SONGS IS NAMED AFTER A collection of poetry by contemporary Australian poet Maria Zajkowski, and it is from this collection that all the text is drawn. I was attracted to Maria’s poetry because I found it so striking. Her work is spare, detached, taut with restraint, but spiked with devastating releases of feeling which can make your stomach drop, as if you are suddenly in freefall. And the poems stay with you; they have a way of getting under your skin and leaving you unsettled, haunted. With Maria’s very generous permission, I have set three of her poems as songs for eight voices and percussion, especially for Roomful of Teeth. -Wally Gunn

BÉL A BARTÓK (1881-1945)

The Piano Quintet was written during the winter of 1903-1904, when Bartók’s career as both pianist and composer had begun to spread beyond Hungary with appearances in Vienna, Manchester and Berlin, and he considered it to be the closing document of his apprenticeship — he gave the designation “Op. 1” to his next work, the Rhapsody for Piano and Orchestra. He introduced the CONTINUED ON PAGE 198

ROOMFUL OF TEETH

The Ascendant The Beginning And The Fence is Gone Surviving Death Mike Tetreault, drums

— INTERMISSION —... BARTÓK Quintet for Piano, Two Violins, Viola and Cello Andante — Allegro Vivace (Scherzando) Adagio — Poco a poco più vivace — Vivace

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143

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden Music Director The Louise W. and Edmund J. Kahn Music Directorship

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

Karina Canellakis Assistant Conductor

VIOLA

OBOE

TUBA

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

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

Matthew Good, Principal Dot and Paul Mason Chair

CELLO

Joshua Habermann Chorus Director The Jean D. Wilson Chorus Director Chair

FIRST VIOLIN

SECOND VIOLIN

Alexander Kerr, Concertmaster Michael L. Rosenberg Chair Nathan Olson, Co-Concertmaster Fanchon and Howard Hallam Chair Gary Levinson, Senior Principal Associate Concertmaster Emmanuelle Boisvert, Associate Concertmaster Robert E. Jean Ann Titus Family Chair Eunice Keem Associate Concertmaster Diane Kitzman Principal Susan Ager-Breitbarth Lucas Aleman Filip Fenrych Miika Gregg Mary Reynolds Andrew Schast Maria Schleuning Motoi Takeda Associate Concertmaster Emeritus Daphne Volle Bruce Wittrig

Angela Fuller Heyde, Principal Barbara K. and Seymour R. Thum Chair Alexandra Adkins, Associate Principal Sho-mei Pelletier, Associate Principal Bing Wang Bruce Patti * Lilit Danielyan* Heidi Itashiki Andrzej Kapica Shu Lee Nora Scheller Aleksandr Snytkin* Lydia Umlauf Kaori Yoshida* * Performs in both First Violin and Second Violin sections

Christopher Adkins, Principal Fannie and Stephen S. Kahn Chair Yuri Anshelevich, Associate Principal Jolyon Pegis, Associate Principal Theodore Harvey Michael Coren Jeffrey Hood Jennifer Humphreys John Myers Kari Kettering Nan Zhang

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

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

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

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

HORNS David Cooper, Principal Howard E. Rachofsky Chair David Heyde, Associate Principal Linda VanSickle Chair Haley Hoops Yousef Assi Paul Capehart Alexander Kienle Assistant Principal +Utility

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

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

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

HARP Susan Dederich-Pejovich Principal

ORGAN Mary Preston Lay Family Chair

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

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

PERSONNEL MANAGER Scott Walzel Director of Orchestra Personnel + Engagement

STAGE Andrew Linhart Stage Manager Marc Dunkelberg Assistant Stage Manager Franklin Horvath Lighting Technician

TROMBONE John Kitzman Principal Chris Oliver Darren McHenry +Bass Trombone

145

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F R O M VA I L TO GY P S U M

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

Stéphane Denève Principal Guest Conductor

Cristian Măcelaru Conductor-in-Residence

Lio Kuokman Assistant Conductor

Charles Dutoit Conductor Laureate

FIRST VIOLIN

SECOND VIOLIN

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

Kimberly Fisher, Principal Peter A. Benoliel Chair Paul Roby, Associate Principal Sandra and David Marshall Chair Dara Morales, Assistant Principal Anne M. Buxton Chair Philip Kates Mitchell and Hilarie Morgan Family Foundation Chair Booker Rowe Davyd Booth Paul Arnold Lorraine and David Popowich Chair Yumi Ninomiya Scott Dmitri Levin Boris Balter William Polk Amy Oshiro-Morales Mei Ching Huang

VIOLA

FLUTE

TROMBONE

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*

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

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

CELLO Hai-Ye Ni, Principal Albert and Mildred Switky Chair Yumi Kendall, Acting Associate Principal Wendy and Derek Pew Foundation Chair John Koen, Acting Assistant Principal Richard Harlow Gloria dePasquale Orton P. and Noël S. Jackson Chair Kathryn Picht Read Winifred and Samuel Mayes Chair Robert Cafaro Volunteer Committees Chair Ohad Bar-David Catherine R. and Anthony A. Clifton Chair Derek Barnes Mollie and Frank Slattery Chair Alex Veltman

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

TUBA Carol Jantsch, Principal Lyn and George M. Ross Chair

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

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

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

PIANO AND CELESTA Kiyoko Takeuti

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

KEYBOARD Davyd Booth Michael Stairs, Organ**

HARP Elizabeth Hainen, Principal Patricia and John Imbesi Chair

BASS

HORN

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

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

LIBRARIANS

TRUMPET

*On leave **Regularly engaged musician

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

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

Robert M. Grossman, Principal Steven K. Glanzmann

STAGE PERSONNEL Edward Barnes, Manager James J. Sweeney, Jr. James P. Barnes

147

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NEW YORK PHILHARMONIC ALAN GILBERT

Elizabeth Dyson The Mr. and Mrs. James E. Buckman Chair Alexei Yupanqui Gonzales Patrick Jee Sumire Kudo Qiang Tu Nathan Vickery Ru-Pei Yeh The Credit Suisse Chair in honor of Paul Calello Wei Yu

Music Director

BASS

Case Scaglione Associate Conductor, The Arturo Toscanini Chair

Courtney Lewis Assistant Conductor

Leonard Bernstein Laureate Conductor, 1943–1990

Kurt Masur Music Director Emeritus

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

FLUTE VIOLIN

Sheryl Staples Acting Concertmaster The Charles E. Culpeper Chair Michelle Kim Acting Principal Associate Concertmaster The Elizabeth G. Beinecke Chair Carol Webb+ Acting Assistant Concertmaster The William Petschek Family Chair Quan Ge Lisa GiHae Kim Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair Kuan Cheng Lu Newton Mansfield+ The Edward and Priscilla Pilcher Chair Kerry McDermott Anna Rabinova Charles Rex The Shirley Bacot Shamel Chair Fiona Simon Sharon Yamada Shanshan Yao Elizabeth Zeltser The William and Elfriede Ulrich Chair Yulia Ziskel The Friends and Patrons Chair Lisa Kim Acting Principal Soohyun Kwon*** In Memory of Laura Mitchell Duoming Ba The Joan and Joel I. Picket Chair Hannah Choi Marilyn Dubow The Sue and Eugene Mercy, Jr. Chair Martin Eshelman+ Hyunju Lee Joo Young Oh

Daniel Reed Mark Schmoockler+ Na Sun The Gary W. Parr Chair Vladimir Tsypin Jin Suk Yu Jennifer Kim++ Marta Krechkovsky++ Conway Kuo++ Sarah Pratt++ David Southorn++ Bracha Malkin++ Sarah Pratt++ David Southorn++ Jungsun Yoo++

VIOLA

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

CELLO

Carter Brey Principal The Fan Fox and Leslie R. Samuels Chair Eileen Moon* The Paul and Diane Guenther Chair Eric Bartlett Maria Kitsopoulos The Secular Society Chair

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

PICCOLO

Mindy Kaufman

OBOE

Liang Wang Principal The Alice Tully Chair Sherry Sylar* Robert Botti The Lizabeth and Frank Newman Chair Grace Shryock++

ENGLISH HORN Grace Shryock++

CLARINET

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

E-FLAT CLARINET Mark Nuccio

BASS CLARINET Amy Zoloto++

BASSOON

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

CONTRABASSOON Arlen Fast

HORN

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

TRUMPET

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

TROMBONE

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

STAGE REPRESENTATIVE Joseph Faretta

AUDIO DIRECTOR Lawrence Rock

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

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

NEW YORK PHILHARMONIC

BASS TROMBONE

Oscar S. Schafer, Chairman Matthew VanBesien, President

TUBA

Miki Takebe, Vice President, Operations Ed Yim, Vice President, Artistic Planning

George Curran The Daria L. and William C. Foster Chair 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 Barry Centanni++ David DePeters++

HARP

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

KEYBOARD

In Memory of Paul Jacobs

HARPSICHORD Paolo Bordignon+

PIANO

Eric Huebner

ORGAN

Kent Tritle+

LIBRARIANS

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

ORCHESTRA PERSONNEL MANAGER

James Eng, Operations Assistant Katherine E. Johnson, Director, Public and Media Relations Valerie Petrov, Orchestra Personnel Assistant / Auditions Coordinator Brendan Timins, Director, Touring and Operations Galiya Valerio, Assistant to the Music Director Pamela Walsh, Artistic Administrator Robert W. Pierpont, Stage Crew Michael Pupello, Stage Crew Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund. 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. Steinway is the Official Piano of the New York Philharmonic The New York Philharmonic This Week, nationally syndicated on the WFMT Radio Network, is broadcast internationally 52 weeks per year; visit nyphil.org for information.

Carl R. Schiebler

149

COLORADO SYMPHONY ORCHESTRA CHORUS Duain Wolfe Founder and Chorus Director

Mary Louise Burke Associate Chorus Director

Travis Branam Assistant Chorus Director

Taylor Martin Intern Conductor

Eric Israelson

SOPRANO I Brown, Jamie Causey, Denelda Choi, LeEtta H. Colbert, Gretchen Dirksen, Sarah Dukeshier, Laura Emerich, Kate A. Gile, Jenifer D. Gill, Lori C. Harpel, Jennifer Hedrick, Elizabeth Hinkley, Lynnae C. Hupp, Angela M. Joy, Shelley E. Kirschner, Mary E. Look, Cathy Maupin, Anne Porter, Barbara A. Ross, Kelly G. Sladovnik, Roberta A. Solich, Stephanie A. Stegink, Nicole J. Tate, Judy Travis, Stacey L.

SOPRANO II

Chorus Manager

Barbara Porter Assistant Chorus Manager

Kevin Padworski Accompanist

NATIONAL REPERTORY ORCHESTRA

Blum, Jude Brauchli, Margot L. Coberly, Ruth A. Dakkouri, Claudia Eberl, Lacey Gross, Esther J. Kraft, Lisa D. Nova, Ilene L.

Samantha Moraes Kurt Munstedt Taishi Namura Maria Park Anna Piotrowski Silvia Suarez Adina Tsai Sophie Verhaeghe Marisa Votapek Sylvia Wehrs Cristian Zimmerman

VIOLA

Carl Topilow Music Director

Stefano Sarzani Assistant Conductor

VIOLIN

Victor Beyens, co-concertmaster Timothy Steeves, co-concertmaster Laura Longman, assistant concertmaster Yuiko Grace Nakano, assistant concertmaster Oliver Kot, co-principal second

Melanie Kuperstein, co-principal second Fahad Awan Zubaida Azezi Amy Cave Jia-Rong Gan Vladimir Gebe Joshua Huang Leah Latorraca Janice Lee Ji-Yeon Lee Margeaux Maloney Taylor Mitz

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Molly Goldman, principal Jesse Yukimura, assistant principal David Beytas Rebecca Boelzner Rebecca Gu Carrol Lee Samuel Pedersen Edwardo Rios Matt Ross

CELLO

Patrick Hopkins, principal Blake-Anthony Johnson, assistant principal Matthew Armbruster Yiqiu Chen Duane Fields Eunsol Lee Cecilia Orazi Matthew Shin Will Teegarden

Nyholm, Christine M. O’Nan, Jeannette R. Rae, Donneve S. Rider, Shirley J. Snyer, Lynne M. Walker, Marcia L. Weinstein, Sherry L. Woodrow, Sandy Young, Cara

ALTO I Adams, Priscilla P. Boothe, Kay A. Branam, Emily M. Brown, Kimberly Carlisle, Allison Conrad, Jayne M. Costain, Jane A. Daniel, Sheri L. Gayley, Sharon R. Holst, Melissa J. Hoopes, Kaia M. Horle, Carol E. Kolstad, Annie Kraft, Deanna McWaters, Susan Meromy, Leah Passoth, Ginny Tannenbaum, Clair Thayer, Mary B. Virtue, Pat

Dominguez, Joyce Eslick, Carol A. Golden, Daniela Jackson, Brandy H. Janasko, Ellen D. Kibler, Janice London, Carole A. Mendicello, Beverly D. Millar, Kelly T. Moore, Jane B. Nittoli, Leslie M. Scooros, Pamela R. Townsend, Lisa Trierweiler, Ginny

Dougan, Dustin Dukeshier, Brian Gewecke, Joel C. Gordon, Jr., Frank Nicholas, Timothy W. Reiley, William G. Van Milligan, John P. Waller, Ryan Zimmerman, Kenneth

TENOR II

Cox, Martha E. Deck, Barbara

BASS

TRUMPET

Timothy Chen Kassandra Ferrero Casey Karr Chris Kim Joy Rowland Cindy Wei Xin

FLUTE

Kate Bateman Brice Smith Jamie Yoo Jennifer Zhou

OBOE

Katherine Hart Ryan Jones Megan Kyle Aleh Remezau

CLARINET

Victor Alsen Celeste Markey Rebecca Tobin Hila Zamir

BASSOON

Daniel Fendrick Carly Gomez Hunter Gordon Shuo Li

HORN

Corin Droullard Brooke Nance Shelby Nugent Aaron Price Kevin Winter

BASS I Adams, John G. Branam, Travis D. Carlton, Grant H. Cowen, George Drickey, Robert E. Hesse, Douglas D. Jirak, Jim Jirak, Thomas J. Parce, Frank Y. Quarles, Kenneth Rutkowski, Trevor B. Williams, Benjamin M.

TENOR I

Babcock, Gary E. Bradley, Mac Davies, Dusty R. Dixon, Stephen C. Gale, John H. Kolm, Kenneth E. Mason, Brandt J. Milligan, Tom A.

ALTO II

Struthers, David R.

Matt Baker Garrett Klein Daniel Price Peter Stammer

TROMBONE

Oliver Barrett Jonathan Houghtling

BASS TROMBONE Tamás Markovics

TUBA

Matthew Gray

TIMPANI

Steven Logan

PERCUSSION

Brittany Chipps Tim Padgett Marcelina Suchocka Jonathan Wisner

HARP

Caitlin Mehrtens

PIANO

Lawrence Quinnett

STAFF

Douglas Adams, CEO/ COO Julie Chandler, Director of Marketing & Development Cecile L. Forsberg,

BASS II Boe, Jeffrey E. Fletcher, Jonathan S. Friedlander, Bob Israelson, Eric W. Jackson, Terry L. Kent, Roy A. Kraft, Mike A. Millar, Jr., Robert F. Moncrieff, Kenneth Morrison, Greg A. Nuccio, Eugene J. Phillips, John R. Skillings, Russell R. Swanson, Wil W. Virtue, Tom G.

Artistic & Operations Director Kathleen Clabby, Patron Relations Manager Tara Sieber, Office Manager Paul Gunther, Principal Librarian Johanna Groh, Assistant Librarian Katie Upton, Library Intern Bradford Courage, Production Manager Joshua D. Stewart, Stage Manager Brian Wood, Recording Engineer Nathaniel Davis, Production Operations & Recording Intern Beth Steele, Orchestra Manager Molly Jo Scott, Personnel Intern Samantha Davis, Artistic & Education Intern Marit Evans, Development Intern Benjamin Paul, Marketing & PR Intern

LISA-MARIE MAZZUCCO

Attacca String Quartet, a group of premier young performers, formed at The Juilliard School in 2003 and made their professional debut in 2007. From 2011-2013, Attacca served as the Juilliard Graduate Resident String Quartet, and for the 2014-2015 season was named the Quartet in Residence for the Metropolitan Museum of Art. Amy Schroeder (violin), Keiko Tokunaga (violin), Luke Fleming (viola), Andrew Yee (cello) recently recorded the complete works for string quartet by John Adams. In April 2015, Attacca will release its second album with Azica Records, their own arrangement of Haydn’s Seven Last Words of Christ.

LISA-MARIE MAZZUCCO

Alessio Bax (piano) graduated with honors at fourteen from the conservatory of his hometown in Bari, Italy, where he studied with Angela Montemurro. After a debut at the Santa Fe Chamber Music Festival, Bax launched his 2014-15 season with the Chamber Music Society of Lincoln Center, playing two Mozart piano concertos. October brings the release of his next Signum Classics solo album, pairing Beethoven’s Hammerklavier and Moonlight Sonatas with the pianist’s own transcriptions of pieces from The Ruins of Athens. Bax won first prize at the Leeds and Hamamatsu piano competitions, and a 2009 Avery Fisher Career Grant. He enjoys a busy schedule on the international concert circuit.

CHRISTIAN STEINER

Benjamin Beilman (violin), now twenty-five, recently performed the Jennifer Higdon Concerto with the Philadelphia Orchestra, the Barber Concerto with the New York Youth Symphony at Carnegie Hall, his debut with the Orchestra of St. Luke’s at Alice Tully Hall playing the Sibelius Concerto, and in recital at the Berlin Philharmonie. He was the recipient of a Borletti-Buitoni Trust Fellowship in 2014, a London Music Masters Award, and the Avery Fisher Career Grant in 2012. In 2010 Beilman won First Prize in the Montréal International Musical Competition, and the Young Concert Artists International Auditions in New York. He recorded Prokofiev’s complete sonatas for violin in 2011.

KENNETH DOLIN

Ben Bliss (tenor), from Prairie Village, Kansas, is in his second year of the Lindemann Young Artist Development Program at The Metropolitan Opera. Bliss made his Metropolitan Opera debut in November 2014 as Vogelgesang in Die Meistersinger von Nuremburg, conducted by James Levine. Bliss looks forward to playing Belmont in Mozart’s Abduction from the Seraglio (Levine), Tony in highlights of West Side Story with the New York Philharmonic, and Tamino in Los Angeles Opera’s The Magic Flute. Mr. Bliss holds a Bachelor of Fine Arts in Film Production and a Minor in Music from Chapman University.

KRISTIN HOEBERMANN

Evan Boyer (bass), a graduate of the Curtis Institute of Music, was a member of the Tanglewood Music Center in 2008, and received a Bachelor of Music degree from Northwestern University. He was a 2009 national semifinalist in the Metropolitan Opera National Council Auditions, after being awarded the Grand Prize at the Middle-Atlantic Regional Finals. A recent graduate of the Ryan Opera Center at Lyric Opera of Chicago, Boyer began his 2014-15 season with a role and company debut at Seattle Opera as Masetto in Don Giovanni, and also sang Mozart’s Requiem with the Houston Symphony Orchestra, followed by Handel’s Messiah with the Jacksonville Symphony.

CHRIS LEE

Carter Brey (cello), New York Philharmonic principal cellist since 1996, regularly performs as soloist with the orchestra. A 1981 prizewinner in the Rostropovich International Cello Competition, Brey received the Gregor Piatigorsky Memorial Prize, the Avery Fisher Career Grant, and the Young Concert Artists’ Michaels Award. Chamber music appearances includes performances with the Tokyo and Emerson string quartets, the Chamber Music Society of Lincoln Center, and has served on faculty of the Curtis Institute since 2008. He has performed with nearly every major American orchestra with conductors such as Abbado and Dohnányi. 151

CHRISTIAN STEINER

Julia Bullock (soprano) is originally from St. Louis, Missouri, and is currently pursuing an Artist Diploma at The Juilliard School. Winner of the 2014 Naumburg International Vocal Competition, her busy 2014-2015 season included a performance of Delage’s Quatres poèmes hindous with the Sphinx Symphony Orchestra, a recital at Napa’s Festival del Sole, and her debut with the New York Philharmonic in music from West Side Story. Ms. Bullock has performed the title role in Massenet’s Cinderella with the Juilliard Opera, as well as Janáček’s The Cunning Little Vixen, garnering much positive press.

BONNIE GU

Choong-Jin “CJ” Chang (viola), a native of Seoul, Korea, CJ joined The Philadelphia Orchestra as associate principal viola in November 1994, and became principal viola in April 2006. In 1980, he made his performance debut at the age of twelve with the Seoul Philharmonic as the winner of the grand prize in Korea’s Yook Young National Competition. A year later, he moved to the United States to attend the Juilliard School. He subsequently studied in Philadelphia at the Esther Boyer College of Music at Temple University, and finally at the Curtis Institute of Music. Mr. Chang is a respected teacher on both violin and viola.

COLORADO SYMPHONY ORCHESTRA

LISA KOHLER

Angela Cheng (piano) performs regularly throughout North America as a recitalist and orchestral soloist. She won the Gold Medal in the Arthur Rubinstein International Piano Masters Competition, and was the first Canadian to win the prestigious Montreal International Piano Competition. Other awards include the Canada Council’s coveted Career Development Grant and the Medal of Excellence for outstanding interpretations of Mozart from the Mozarteum in Salzburg. As a member of the Zukerman Trio, she will tour this season to Italy, Spain, Japan, China, Korea, and Australia, in addition to performances at home in the United States and Canada.

Colorado Symphony Chorus (CSC) (Duain Wolfe, founder-director) was founded in 1984 by Grammy-award winner Duain Wolfe, also director of the Chicago Symphony Orchestra Chorus, where he was appointed by Daniel Barenboim in 1994. Two hundred members strong, including twelve charter members, the CSC performs more than twenty-five concerts a season. CSC performances include the 1991 opening gala for the Temple Hoyne Buell Theatre, appearances with José Carreras and Andrea Bocelli, and the 1993 Papal Vigil when Pope John Paul II visited Denver. Wolfe took the CSC on a 25th anniversary tour to Austria, Czechoslovakia, and Hungary performing Verdi’s Requiem.

TRACY MARTIN

David Cooper (horn) is a third generation professional French horn player, preceded by his uncle and grandmother. While studying at the Curtis Institute of Music, David was awarded a Tanglewood Fellowship, and since 2011 has spent three consecutive summers at Marlboro Music Festival in Vermont. Cooper was appointed principal horn in the Dallas Symphony in 2013. He has been guest principal horn of the London Symphony Orchestra, Hong Kong Philharmonic, and Saint Paul Chamber Orchestra. David is an active chamber musician, and is currently Music Director of the Avant Chamber Ballet in Dallas, TX.

MARCO BORGGREVE

Christopher Costanza (cello) enjoys a varied career as a soloist, chamber musician, and

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teacher. In 2003 he joined the St. Lawrence String Quartet, which tours extensively, performing over 100 concerts annually throughout the world. In 2006, he received a Grammy nomination for his recording of major chamber works for winds and strings by Mozart. As a student, he studied Olivier Messiaen’s Quartet for the End of Time under the guidance of the composer. Mr. Costanza works regularly with some of the world’s most notable composers and is a strong proponent of contemporary music.

UWE DITZ

Stéphane Denève (conductor), born in France, is the principal guest conductor of The Philadelphia Orchestra. His Philadelphia debut was in 2007, and he assumed his current position with the 2014-15 season. He is also chief conductor of the Stuttgart Radio Symphony, and in September becomes chief conductor of the Brussels Philharmonic and director of its Centre for Future Orchestral Repertoire. From 2005-12, he was music director of the Royal Scottish National Orchestra. A graduate of the Paris Conservatory, Mr. Denève worked closely in his early career with Georg Solti, Georges Prêtre, and Seiji Ozawa.

ELLEN APPEL-MIKE MORELAND

OPUS 3 ARTISTS

Michelle DeYoung (mezzo-soprano) made her role debut this season as Herodias in Salome at Opera San Antonio, and her house debut at Opera Philadelphia as Eboli in Don Carlos. She appeared with the Dallas Symphony Orchestra, Milwaukee Symphony Orchestra, BBC Symphony Orchestra, and the Hong Kong and Seoul Philharmonics. Her recording of Kindertotenlieder and Mahler Symphony No. 3, with Michael Tilson Thomas and the San Francisco Symphony, was awarded the 2003 Grammy Award for Best Classical Album. She was also awarded the 2001 Grammy Awards for Best Classical Album and Best Opera Recording for Les Troyens, with Sir Colin Davis and the London Symphony Orchestra.

Fei-Fei Dong (piano) was born in Shenzhen, China, and began piano lessons at the age of five. She moved to New York to study at The Juilliard School, where she earned her Bachelor and Master of Music degrees. She is showcased in the new documentary about the 2013 Cliburn Competition, Virtuosity, which premieres this June on PBS. She is a member of the Aletheia Piano Trio, which debuted at the Kennedy Center in February 2014 as part of its Conservatory Project. Fei-Fei also engages students and audiences through school and outreach concerts and master classes.

LISA-MARIE MAZZUCCO

TOM BRAY

Donald Sinta Quartet (saxophone quartet), formed in November of 2010, has quickly achieved critical acclaim for its concerts, played from memory, as well as for the breath of its repertoire, from standard classical to the latest new works. Sinta is the first saxophone quartet ever to win the Elmaleh 1st Prize in the Concert Artists Guild International Competition. The Quartet is named for legendary University of Michigan Saxophone Professor Donald Sinta, the group’s mentor. Comprised of Dan Graser, soprano saxophone; Zach Stern, alto saxophone; Joe Girard, tenor saxophone; Danny Hawthorne-Foss, baritone saxophone, Sinta is dedicated to education, and regularly presents teaching clinics and workshops.

Dover String Quartet, in 2013, became the first ever Quartet-in-Residence at the Curtis Institute of Music. In 2014-15, the Quartet performed more than 100 concerts throughout the United States, Canada, South America, and Europe. Highlights include the Kennedy Center in Washington, D.C, Schneider Concerts in New York City, and Wigmore Hall in London. The Dover Quartet is comprised of Joel Link, Brian Lee, Milena Pajaro-van de Stadt, and Camden Shaw. The group is dedicated to sharing their music with underserved communities, and is an active member of Music for Food, an initiative to help musicians fight hunger in their home communities.

BENJAMIN EALOVEGA

James Ehnes (violin), born in 1976 in Brandon, Manitoba, Canada, studied at the Meadowmount School of Music and The Juilliard School. He has an extensive discography of over 35 recordings, featuring music ranging from J.S. Bach to John Adams. In the 2014-2015 season, Ehnes performed with the Royal Philharmonic, the Danish National, and the orchestras of Melbourne, Sydney, Tokyo, and Vienna, in addition to the Chamber Music Society of Lincoln Center, and recitals in Prague, London, Toronto, Fort Worth, and Montreal. Ehnes plays with the Ehnes Quartet and leads the winter and summer festivals of the Seattle Chamber Music Society, as artistic director. 153

MISHA BYALIK

Amanda Forsyth (cello), member of the Zukerman Trio, moved to Canada from South Africa as a child, and later attended the Juilliard School. Appointed principal cello of the National Arts Centre Orchestra in 1998, Forsyth is in demand as a concerto soloist around the world. This past January she toured the U.S. with the Royal Philharmonic and tours regularly with the Zukerman Trio. In 2002 Forsyth was the subject of the Bravo! Canada television documentary Amanda Rising: The Amanda Forsyth Story. She was also featured prominently on Wynton Marsalis’s 2007 soundtrack for The War, Ken Burns’s widely-acclaimed World War II documentary filmed for PBS.

Ying Fu (violin) was born in Shanghai, China. Fu joined The Philadelphia Orchestra as associate concertmaster at the start of the 2013-14 season. He earned a Bachelor of Music degree from the Shanghai Conservatory of Music in China, and earned his Master of Music degree from the Shepherd School of Music at Rice University in Houston. Fu joined the first violin section of the Cleveland Orchestra in August 2011, and has participated in many renowned summer music festivals, including the Marlboro Music Festival, the Schleswig-Holstein Music Festival, the Cascade Head Music Festival, and the Taos Chamber Music Festival.

CHRIS LEE

Alan Gilbert (conductor), the New York Philharmonic’s Music Director, as well as Juilliard’s Director of Conducting and Orchestral Studies, Royal Stockholm Philharmonic Orchestra’s Conductor Laureate, and NDR Symphony Orchestra’s Principal Guest Conductor, has led ensembles including the Berlin Philharmonic, Leipzig Gewandhaus, and The Metropolitan Opera. His 2014–15 season Philharmonic highlights include premieres; the Verdi Requiem; a staging of Honegger’s Joan of Arc at the Stake with Marion Cotillard; and a European tour. He was elected to the American Academy of Arts & Sciences in 2014.

PAUL GLICKMAN

Augustin Hadelich (violin), son of German parents, was born and raised in Italy. Now a U.S. citizen, he holds an artist diploma from The Juilliard School. Augustin Hadelich’s first major orchestral recording, featuring the violin concertos of Sibelius and Adès with the Royal Liverpool Philharmonic Orchestra, was released to great acclaim in March 2014. The disc has been nominated for a Gramophone Award, and was listed by NPR on their Top 10 Classical CDs of 2014. His 2014-15 season included debuts with the Minnesota Orchestra, Danish National Symphony, and the London Philharmonic, in addition to the premiere of David Lang’s mystery sonatas, at Carnegie Hall.

FLETCHER ARTIST MGMT.

Joelle Harvey (soprano), a native of Bolivar, New York, is the recipient of a 2011 First Prize Award from the Gerda Lissner Foundation, a 2009 Sara Tucker Study Grant from the Richard Tucker Foundation, and a 2010 Encouragement Award (in honor of Norma Newton) from the George London Foundation. This season, Harvey’s operatic engagements included the Royal Opera, the Killkenny Festival, the San Francisco Symphony, and the Utah Opera. Harvey also performed with the Cleveland Orchestra, Handel & Haydn Society, LA Philharmonic, San Francisco Symphony, and Tafelmusik, among others.

GREENBERG ARTISTS

Julie Jo Hughes (singer/actress) earned her degree in Theatre Arts and Performing Arts

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Entrepreneurship from the University of Iowa. She began to work as a singer/dancer for a regional theme park and several regional revue and decade shows, and was the lead female production singer for a major cruise line. Hughes has appeared in numerous theatrical productions, as well as two regional television commercials and an independent film, University Heights. She currently sings with the Arthur Stuart Band of Hank Lane Music & Productions, New York City.

TRACY MARTIN

Alex Kerr (violin), raised in Alexandria, Virginia, began his studies at age seven with members of the National Symphony Orchestra. He went on to study at the Juilliard School and the Curtis Institute of Music, where he received his Bachelor of Music degree in 1992. In 1996, Kerr was named concertmaster of the Royal Concertgebouw Orchestra in Amsterdam. He went on to work and teach at the Indiana University Jacobs School of Music in June 2006, and is now concertmaster of the Dallas Symphony. An avid chamber musician, Kerr has recorded the Dvořák Piano Quintet with Sarah Chang and Leif Ove Andsnes, among other projects.

RYAN DONNELL

David Kim (violin), born in Carbondale, Illinois in 1963, started playing at the age of three and later received his bachelor’s and master’s degrees from The Juilliard School. In 1999, he was named concertmaster of The Philadelphia Orchestra, and appears as a soloist with the orchestra every season. Kim’s 2014-15 season included a visiting professorship at the University of Texas at Austin, a return as concertmaster of the All-Star Orchestra in New York City (broadcast nationally on PBS), an annual residency at the San Francisco Conservatory of Music, recitals and appearances with orchestras across the United States, and a June tour of Korea.

GREENBERG ARTISTS

Ted Louis Levy (dancer) began his professional training in Chicago, and made his Broadway debut in the show Black & Blue. His choreographic collaboration on Jelly’s Last Jam resulted in a Tony nomination, a Drama Desk nomination, and the 1993 Outer Critics Circle Award. Mr. Levy received an Emmy Award for his television debut in the PBS Special Precious Memories, and made his film debut in Spike Lee’s Malcolm X. He received the Helen Hayes Award as The Mikado in The Ford Theater’s production of The Hot Mikado, and most recently performed in Sammy, a production based on the musical life of Sammy Davis, Jr.

GREENBERG ARTISTS

Michael Lynche (vocalist) began as a football player, having earned an athletic scholarship to University of Central Florida. During a break from playing he picked up a guitar and began his passion for music. After a turn on American Idol and performing throughout the United States as part of the American Idol LIVE! tour, Lynche has created his debut album. Well known singles include Who’s Gonna Love You More and Today. Now, Lynche enjoys a busy recording and performance schedule.

SORIN POPA

Cristian Măcelaru (conductor), winner of the 2014 Solti Conducting Award, is conductor-in-residence at The Philadelphia Orchestra. Highlights of his 2014-15 season included his official Carnegie Hall conducting debut with the Danish National Symphony. Mr. Măcelaru received the 2012 Sir Georg Solti Emerging Conductor Award, an honor given only once before in the Foundation’s history. His main studies were with Larry Rachleff at Rice University, where he received his master’s degree in conducting and a master’s in violin performance. He completed undergraduate studies in violin performance at the University of Miami.

Anne-Marie McDermott (piano), Bravo! Vail’s Artistic Director since 2011, is an active concerto and recital artist, chamber musician, and recording artist. A member of the Chamber Music Society of Lincoln Center, she is a regular at top chamber music festivals. A recent project on Bridge Records (Haydn sonatas and concertos with Scott Yoo and the Odense Symphony Orchestra in Denmark), was featured on both covers of International Record Review, where it was critically acclaimed. She has recorded all the Prokofiev Piano Sonatas, Bach English Suites and Partitas (Gramophone Magazine’s Editor’s Choice), Gershwin’s Works for Piano and Orchestra, and an all-Mozart CD with the Calder Quartet. 155

CHRIS LEE

Kerry McDermott (violin) has appeared as a soloist with the Montreal, North Carolina and Taipei City Symphonies, the Moscow Radio and Budapest Chamber Orchestras, and the New York Philharmonic. She has recorded for Melodiya and New World Records, and is a member of the McDermott Trio (with sisters Anne-Marie and Maureen). She is an alumna of Yale College and the Manhattan School of Music, where she was a student of Raphael Bronstein. McDermott is a long-standing member of the first violin section of the New York Philharmonic.

TIMOTHY GREENFIELD-SANDERS

DAVID FINLAYSON

Anthony McGill (clarinet) was appointed principal of the Metropolitan Opera Orchestra in 2004, and in September 2014 became principal of the New York Philharmonic, with which he recorded the Nielsen Clarinet Concerto in January 2015. McGill performed at President Obama’s 2009 inauguration along with Yo-Yo Ma, Itzhak Perlman, and Gabriela Montero, and is an active concerto and chamber music artist. He is on the faculty of The Juilliard School, Peabody Conservatory, Manhattan School of Music, and Bard College Conservatory. McGill attended The Curtis Institute of Music and is a recipient of an Avery Fisher Career Grant, as well as the first Sphinx Medal of Excellence.

Midori (violin) was born in Osaka, Japan in 1971 and began studying with her mother, Setsu Goto, at a very early age. Zubin Mehta first heard Midori play in 1982, and subsequently invited her to make her legendary debut at the New York Philharmonic’s traditional New Year’s Eve concert. She holds a bachelor’s degree in Psychology and Gender Studies and a master’s in Psychology from New York University. In 1992, she created the non-profit educational program, Midori & Friends, which has served over 225,000 New York City children with little access to arts.

CHRIS LEE

Eileen Moon (cello) joined the cello section of the New York Philharmonic in 1998 and was named associate principal cello in 2007. A native of California, she began her studies at the San Francisco Conservatory, and subsequently received a bachelor’s of music degree from The Juilliard School, and a performance diploma from the Hochshule für Musik in Vienna, Austria. She has performed chamber music at numerous venues in and around New York City, and appears frequently with the New York Philharmonic Ensembles at Merkin Concert Hall. She is the founder and artistic director of the Warwick Music Series in Warwick, New York.

CHRIS LEE

Philip Myers (horn) joined the New York Philharmonic as principal horn in January 1980 and made his solo debut with the orchestra that same season. He began his orchestral career in 1971 as principal horn of the Atlantic Symphony in Halifax, Nova Scotia. As principal of the Minnesota Orchestra for a season and a half, he made his solo debut with that ensemble in 1979, performing Richard Strauss’s Horn Concerto No. 1 with Sir Neville Marriner conducting. A native of Elkhart, Indiana, Philip Myers holds two degrees from Carnegie-Mellon University in Pittsburgh. He plays Engelbert Schmid French horns.

ZSOFIA RAFFAY

Nicholas Namoradze (piano) is twenty-one-years-old, was born in Tbilisi, Georgia, and grew

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up in Budapest, Hungary, where he began his piano studies at the age of seven. He is now a scholarship graduate student at The Juilliard School under the tutelage of Emanuel Ax and Matti Raekallio. A laureate of several international piano competitions, Nomoradze made a critically acclaimed U.S. debut performing Messiaen’s Oiseaux Exotiques with the Tanglewood Music Center Orchestra. He was subsequently invited to spend the 2013 season at Tanglewood as a New Fromm Player, specializing in contemporary music.

National Repertory Orchestra, Carl Topilow (music director) is an eight-week, summer training program in Breckenridge, CO, for pre-professional orchestra musicians. Founded in 1960 as the Blue Jeans Symphony in Estes Park, CO the NRO has evolved through many iterations. During the last thirty-six years, Topilow has chosen repertoire, soloists, and guest conductors with the mission of giving the fellows the widest variety of musical exposure possible, while also educating them in matters relevant to the landscape of today’s orchestra world. Topilow lives in suburban Cleveland with his wife Shirley, President of the Cleveland Pops Orchestra, and daughter Emily.

DAN WILLIAMS

Christopher O’Riley (piano) is known to millions as the host of NPR’s From the Top. Now in his fifteenth year on air, O’Riley introduces the next generation of classical-music stars to almost a million listeners each week. O’Riley has performed recitals throughout North America, Europe, and Australia. He has received the prestigious Avery Fisher Career Grant and an equally coveted fourstar review from Rolling Stone magazine. O’Riley strives to introduce new audiences to classical music by performing piano arrangements of music by Radiohead, Elliott Smith, Pink Floyd, and Nirvana alongside traditional classical repertoire. Christopher O’Riley divides his time between Los Angeles and rural Ohio.

PAUL BODY

Garrick Ohlsson (piano), a native of White Plains, New York, began his piano studies at the age of eight, at the Westchester Conservatory of Music, and at thirteen entered The Juilliard School. Ohlsson has established himself worldwide as one of the world’s leading exponents of the music of Frédéric Chopin since his triumph as winner of the 1970 Chopin International Piano Competition. In demand as a concerto soloist worldwide, Ohlsson is also an avid chamber musician. Mr. Ohlsson has collaborated with the Cleveland, Emerson, Takács, and Tokyo string quartets, among other ensembles.

TARA MCMULLEN

Jon Kimura Parker (piano) has performed as guest soloist with the Philadelphia Orchestra and Wolfgang Sawallisch in Carnegie Hall, toured Europe with the Royal Philharmonic Orchestra and Andre Previn, and shared the stage with Jessye Norman at Berlin’s Philharmonie. An active media personality, Parker hosted the television series, Whole Notes, on Bravo!, and CBC Radio’s Up and Coming. His substantial discography includes a recently released recording, Fantasy, on his own label. A Canadian ambassador of music, Parker has performed for Queen Elizabeth II, the U.S. Supreme Court, and the Prime Ministers of Canada and Japan. He is an Officer of The Order of Canada.

CHRIS LEE

Rémi Pelletier (viola), a native of Québec, joined the New York Philharmonic in July 2013, having served in the Montreal Symphony Orchestra beginning in 2007. Previously, he was a regular substitute with The Philadelphia Orchestra and performed with the Haddonfield Symphony and Orchestre Métropolitain du Grand Montréal. An active chamber musician, Mr. Pelletier was a regular guest at the Société de musique de chambre de Québec and the Montreal Symphony Orchestra’s chamber music series. His honors include the CBC/McGill Music Award (2003) as well as first prize at the Concours du Québec and Canada’s National Music Festival Competition.

CHRISTIAN STEINER

Cynthia Phelps (viola) has been principal violist with the New York Philharmonic since 1992. With the orchestra she has performed numerous concertos, including a double viola concerto by Gubaidulina with Rebecca Young. She has toured internationally with the Zukerman and Friends Ensemble; appeared with the Kalichstein-Laredo-Robinson Trio and the Guarneri, American, Brentano, and Prague string quartets. She has given recitals in the music capitals of Europe and the U.S., and received her first prize in the Lionel Tertis International Viola and Washington International String competitions. Her most recent album, for flute, viola, and harp was nominated for a Grammy Award. She has performed on NPR, Radio France, and RAI in Italy. 157

NICHOLAS WHITMAN

Roomful of Teeth (vocal project), founded in 2009 by Brad Wells, is dedicated to mining the expressive potential of the human voice. The group has studied Tuvan throat singing, yodeling, Inuit throat singing, Korean P’ansori, Georgian singing, and Sardinian cantu a tenore styles. Its 2012 debut album, Roomful of Teeth, was nominated in three categories for the 56th Annual Grammy Awards and received a Grammy for Best Chamber Music/Small Ensemble Performance. In April 2013 ensemble member Caroline Shaw received the Pulitzer Prize in Music for Partita, the four movements of which appear on the album, and can be heard this summer on August 4.

ANGELA MORRISS

Robert Spano (conductor) has been the Music Director of the Atlanta Symphony Orchestra for fourteen years. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai, and Savannah Music Festivals. Guest engagements include the New York and Los Angeles philharmonics, San Francisco, Boston, Cleveland, Chicago, and Philadelphia symphony orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony, and Amsterdam’s Royal Concertgebouw Orchestra. He has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring cycles.

CHRIS LEE

Sheryl Staples (violin) joined the New York Philharmonic as Principal Associate Concertmaster in September 1998, and currently serves as Acting Concertmaster. She made her solo debut with the Philharmonic in 1999, performing Tchaikovsky’s Violin Concerto. A native of Los Angeles, Staples began her violin studies at age five. Prior to New York, she held positions with several Los Angeles-based ensembles, before becoming associate concertmaster of the Cleveland Orchestra at age twenty-six. Currently, she is on faculty at The Juilliard School. She is an avid chamber musician and has appeared with major festivals throughout the country.

ROZARII LYNCH

John Tessier (tenor), winner of Canada’s Juno Award, has worked with many of the most notable musicians of our day, including Placido Domingo, Valery Gergiev, Lorin Maazel, and Deborah Voight. Appearances of the recent past and near future include the Royal Opera House Covent Garden, the Sydney Opera House, Vienna’s Staatsoper, Teatro Colon, Carnegie Hall, Oper Frankfurt, the New York Philharmonic, National Symphony Orchestra, San Francisco Symphony, Philadelphia Orchestra, and the Boston Symphony Orchestra. On the faculty of the University of Alberta, Tessier is in high demand for coaching, master classes, and private consultations.

DAVID COOPER

Bramwell Tovey (conductor) has been the Vancouver Symphony Orchestra’s music director since 2000. He was founding host and conductor of the New York Philharmonic’s Summertime Classics series, and in 2008 received both a Grammy and Juno award for a recording of concertos with violinist James Ehnes. His full-length opera, The Inventor, premiered in 2011. Tovey is a Fellow of the Royal Academy of Music in London, the Royal Conservatory of Music in Toronto, and holds honorary degrees from the universities of British Columbia, Manitoba, Kwantlen, and Winnipeg. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music.

GREENBERG ARTISTS

Jeff Tyzik (conductor), now entering his 20th season as Principal Pops Conductor of the

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Rochester Philharmonic Orchestra, also serves as Principal Pops Conductor of the Dallas Symphony Orchestra, Seattle Symphony, Detroit Symphony, Oregon Symphony, The Florida Orchestra, and the Vancouver Symphony. A Grammy winner, composer and arranger, and trumpet player, Tyzik studied jazz and classical at the Eastman School of Music. He produced a Grammy Award-winning album, The Tonight Show Band with Doc Severinsen, Vol. 1, and his Gershwin recording with pianist Jon Nakamatsu reached No. 3 on Billboard.

BERT HULSELMANS

Jaap van Zweden (conductor), born in Amsterdam, has in little more than a decade become one of today’s most sought-after conductors. He has been Music Director of the Dallas Symphony Orchestra since 2008 and Music Director of the Hong Kong Philharmonic Orchestra since 2012. Van Zweden has appeared as guest conductor with the world’s most prestigious orchestras including the New York Philharmonic, Chicago Symphony, Berlin Philharmonie, Vienna Philharmonic, Royal Concertgebouw Orchestra, and the London Symphony Orchestra. In 2016 he will lead the Dallas Symphony on tour in Europe in April and will make his debut with the Vienna State Opera in May.

CHRIS LEE

Liang Wang (oboe) joined the New York Philharmonic in September 2006 as principal oboe. Previously, he was principal oboe of the Cincinnati Symphony Orchestra (2005–06), Santa Fe Opera (2004–05), and San Francisco Ballet Orchestra; associate principal oboe of the San Francisco Symphony; and guest principal oboe of the Chicago and San Francisco Symphony Orchestras. He has performed as soloist with the New York Philharmonic twenty-three times, including his debut performing Richard Strauss’s Oboe Concerto, led by Xian Zhang in Hong Kong. Born in Qing Dao, China, Wang began oboe studies at the age of seven, and later enrolled at the Beijing Central Conservatory.

JAMIE JUNG

Alisa Weilerstein (cello), winner of a 2011 MacArthur Fellowship, was the first cellist in thirty years to be signed by Decca Records. Her first album of concertos by Elgar and Elliott Carter, with Daniel Barenboim and the Staatskapelle Berlin, was named “Recording of the Year 2013” by BBC Music magazine. In world-wide demand as a soloist, Weilerstein is also a devoted chamber musician, recitalist and a lover of new compositions, having premiered many important works by composers such as Mathias Pintscher, Osvaldo Golijov, and Lera Auerbach. Weilerstein made her debut at thirteen with the Cleveland Orchestra. She holds a degree in History from Columbia University.

JESSE WEINER

Joshua Weilerstein (conductor) is Artistic Director Designate of the Orchestre de Chambre de Lausanne. Last season, he completed a three-year appointment as the Assistant Conductor of the New York Philharmonic, where he was heavily involved in the Young People’s Concerts. His career was launched when he won the Malko Competition for Young Conductors in 2009. This season, he made debuts with the Mahler Chamber Orchestra, Deutsches Sinfonie-Orchester Berlin, Dallas Symphony, Detroit Symphony, Los Angeles Chamber Orchestra, National Arts Center Orchestra (Ottawa), NHK Symphony (Tokyo), and the Orchestre Philharmonique de Radio France, he also took the Orchestre Philharmonique de Luxembourg on a seven-city tour of Germany.

KT KIM

Joyce Yang (piano), born in Seoul, South Korea, came to international attention in 2005 after winning the silver medal at the 12th Van Cliburn International Piano Competition. In 1997, Yang moved to the United States to begin studies at the pre-college division of the Juilliard School in New York, where she still lives. She has performed with the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Baltimore Symphony, Houston Symphony, and BBC Philharmonic, working with such distinguished conductors as Edo de Waart, Lorin Maazel, James Conlon, Leonard Slatkin, David Robertson, Bramwell Tovey, and Jaap van Zweden.

CHERYL MAZAK

Pinchas Zukerman (violin) was born in Tel Aviv in 1948, and came to America in 1962 to study at The Juilliard School with Ivan Galamian. After over four decades of playing, he has become equally respected as violinist, violist, conductor, pedagogue, and chamber musician. Zukerman’s 2014-15 season includes over 100 performances in North America, Europe, Africa, Asia, and Australia. He is completing his 16th and final season as Musical Director of the National Arts Centre Orchestra of Ottawa, and is in his sixth season as Principal Guest Conductor of the Royal Philharmonic Orchestra in London. Zukerman’s discography contains over 100 titles, and has earned him two Grammy awards. 159

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

GIFTS TO THE ENDOWMENT Your support today plays a crucial role in sustaining the high level of artistry and innovative programming at Bravo! Vail as well as expanding its education and community engagement programs. You can also be an integral part of our future by including a charitable gift within your overall estate and financial plans. Contribute to the future of Bravo! Vail by planning for a special kind of gift. While cash contributions are always appreciated, there are other creative and flexible options that can benefit you and the music.

UNDERWRITE AN ORCHESTRA The world comes to Vail each summer through the extraordinary music provided by our three resident orchestras: The Dallas Symphony Orchestra, The Philadelphia Orchestra and the New York Philharmonic. Become a Friend of Dallas, Philadelphia or New York by designating your gift to specifically underwrite a resident orchestra.

TRIBUTE GIFTS Tribute gifts are the perfect way to honor a loved one’s legacy or give a meaningful gift to a music lover. Honor someone special with a gift that will touch their heart while sustaining Bravo! Vail into the future.

INDIVIDUAL GIVING Your support is vital to Bravo! Vail’s success. By making a gift to Bravo! Vail you ensure that music continues to flourish in the Vail Valley. Join the many music enthusiasts who support the performing arts by becoming part of Bravo! Vail’s annual fund. Your contribution is a tangible affirmation of your support of the performing arts. PLANNED GIVING Be an integral part of Bravo! Vail’s future by including a charitable gift within your overall estate and financial plans. With a little planning, you can leave a legacy that will ensure that music is an accessible gift to future generations.

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

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

THE GOLDEN CIRCLE

he Golden Circle acknowledges annual cumulative gifts from generous donors. This support provides the vital funding required to operate the Festival. Each donor is gratefully and sincerely acknowledged for their generosity. GRAND BENEFACTOR ($100,000 and above) Anonymous, in honor of the Vail Mountain Rescue Group The Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail**** The Sturm Family Foundation Vail Valley Foundation***** Betsy and George Wiegers*** PREMIER BENEFACTOR ($50,000 and above) Anonymous Peggy Fossett* The Francis Family**** Billie and Ross McKnight IMPRESARIO ($25,000 and above) Amy and Charlie Allen Angela and Peter Dal Pezzo Julie and Tim Dalton** Marijke and Lodewijk de Vink** Sam B. Ersan Stephanie and Lawrence Flinn, Jr.*** Pat and Pete Frechette** Lyn Goldstein**** Jeanne and Jim Gustafson** Vera and John Hathaway* Karen and Michael Herman** Hill Foundation** Cynnie and Peter Kellogg*** Judy and Alan Kosloff*** Honey Kurtz** Kay Lawrence** Vicki and Kent Logan** Leni and Peter May**** Barbie and Tony Mayer**** Shirley and William S. McIntyre, IV** Carolyn and Gene Mercy**** Amy and James Regan**** Helen and Vincent Sheehy**** Mary Lynn and Warren Staley* Cathy and Howard Stone****

Dhuanne and Doug Tansill*** Sandra and Greg Walton Carol and Pat Welsh*** Barb and Dick Wenninger* VIRTUOSO ($20,000 and above) Ascent Sothebyâ&#x20AC;&#x2122;s International Realty Jayne and Paul Becker**** Amy and Steve Coyer** Arlene and John Dayton** Kathy and David Ferguson Georgia and Don Gogel* Mr. and Mrs. Claudio Gonzalez*** Ann and Alan Mintz*** The Molina Family* Kay and Bill Morton**** June and Paul Rossetti Didi and Oscar Schafer** Marcy and Gerry Spector** Lisa Tannebaum and Don Brownstein OVATION ($15,000 and above) Letitia and Christopher Aitken* Marilyn Augur*** Dierdre and Ronnie Baker** Armando T. Belly Sandy and John Black** Marlene and John Boll** Doe Browning* Virginia J. Browning Carolyn and Gary Cage**** Susan and Van Campbell** Jeri and Charlie Campisi*** The Clinton Family Fund, in honor of Jim Palermo Debbie and Jim Donahugh* Sallie and Robert Fawcett**** Holly and Ben Gill** Martha Head and John Feagin, M.D.**** Karen and Walter Loewenstern**** Mr. John McDonald and Mr. Rob Wright*** Sarah Nash and Michael Sylvester** National Endowment for the Arts** Margaret and Alex Palmer* Teri and Tony Perry*** Molly and Jay Precourt** Martha Dugan Rehm and Cherryl Hobart***

Vicki Rippeto** Sally and Byron Rose* Terie and Gary Roubos*** Marcy and Stephen Sands* Mary Sue and Mike Shannon Slifer Smith & Frampton Real Estate** Chuck and Margie Pabst Steinmetz*** US Bancorp Foundation US Bank** Carole A. Watters** ALLEGRO ($10,000 and above) Anonymous* Alpine Bank** Pamela and David Anderson* Christine and John Bakalar** Penny Bank and Family, Herbert Bank and Family*** Barbara and Barry Beracha* Judy and Howard Berkowitz**** Bravo! Vail Guild***** Jean and Harry Burn Hilda Oâ&#x20AC;&#x2122;Farrill de Compean and J. Compean Susan and John Dobbs*** Gail Flesher and David Salvin* Susan and Harry Frampton**** Nancy Gage and Allan Finney Ms. Vicky V. Garza-Mohajer George Family Foundation, Penny and Bill George*** Sally and Tom Gleason** Terri and Tom Grojean**** June and Peter Kalkus** Jan and Lee Leaman* Irmgard and Charles Lipcon Nancy and Richard Lubin** Mike A. Myers Foundation* Patti and Blaine Nelson P&S Equities, Inc.** Doug Rippeto Susan and Rich Rogel**** Roberta and Ernest Scheller, Jr.** Carole and Peter Segal** Soros Fund Charitable Foundation Matching Gifts Program The Stolzer Family Foundation*** Susan and Steven Suggs* Bea Taplin** 161

ORCHESTRAL UNDERWRITING

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

FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA

PLATINUM ($25,000 and above) Hill Foundation** Billie and Ross McKnight GOLD ($15,000 and above) Marilyn Augur*** Sallie and Robert Fawcett**** Vicki Rippeto** Marcy and Stephen Sands* Carole A. Watters** SILVER ($10,000 and above) Arlene and John Dayton** Mike A. Myers Foundation* Patti and Blaine Nelson Doug Rippeto

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BRONZE ($5,000 and above) Diane and Hal Brierley* Peggy and Gary Edwards* Cindy Engles* Amy and Vernon Faulconer* Carol and Ronnie Goldman* Carol and Jeff Heller* Alexia and Jerry Jurschak Bobbi and Richard Massman** Brenda and Joe McHugh*** Mr. and Mrs. Al Meitz Jane and Howard Parker**** Debbie and Ric Scripps* PATRON ($3,000 and above) Edwina P. Carrington** The Stanford C. and Mary Clare Finney Foundation Randi and Ed Halsell* Jere Thompson** Dr. and Mrs. Bill Weaver* The Woodell Family Foundation

CONTRIBUTOR ($1,200 and above) Clara Willoughby Cargile**** Karen and Steve Livingston*** Patty and Denny Pearce* FRIEND ($600 and above) Carol and John MacLean**** Dr. and Mrs. Thomas H. Smith Violet and Harry Wickes* Carolyn and Tom Wittenbraker DONOR ($300 and above) Shelley and Guion Gregg Mr. and Mrs. Clint Josey, Jr.** Jan Bob Pickens*** PRELUDE ($50 and above) Gerry and Don Houk Gena and Robert Wilhelm

FROM LEFT: ZACHMAHONE.COM (2), JESSICA GRIFFIN

PREMIER BENEFACTOR ($30,000 and above) Shirley and William S. McIntyre, IV** The Sturm Family Foundation

FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ($50,000 and above) Peggy Fossett* The Sturm Family Foundation Town of Vail**** GOLD ($25,000 and above) Karen and Michael Herman** Sandra and Greg Walton SILVER ($10,000 and above) Anonymous* Christine and John Bakalar** Hilda Oâ&#x20AC;&#x2122;Farrill de Compean and J. Compean Arlene and John Dayton** Teri and Tony Perry*** Susan and Rich Rogel**** Carole and Peter Segal** Cathy and Howard Stone**** Susan and Steven Suggs*

BRONZE ($5,000 and above) Shannon and Todger Anderson* Dokie* Cookie and Jim Flaum** Sue and Dan Godec** Kenneth Lubin, in memory of Norman M. Morris Laura and James Marx* Linda and Kalmon Post** Michele and Jeffrey Resnick* Barbara and Dr. Howard Rothenberg* Roberta and Ernest Scheller, Jr.** Dhuanne and Doug Tansill*** Sharon and Marc Watson**

CONTRIBUTOR ($1,200 and above) Elia Buck John W. Giovando**** Cathy and Graham Hollis* Wendi and Brian Kushner*

PATRON ($3,000 and above) Dierdre and Ronnie Baker** Sue and Michael Callahan Mrs. Norman P. Robinson

PRELUDE ($50 and above) Maria and Robert Davison John Hardy Francine and Jorge Topelson

FRIEND ($600 and above) Maryalice Cheney and Scott Goldman* Gwen and Rick Scalpello Jeanne and Craig White**** DONOR ($300 and above) Judith Braun Bernice and John Davie*

FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000) Julie and Tim Dalton** Marijke and Lodewijk de Vink** Lyn Goldstein**** Jeanne and Jim Gustafson** Vera and John Hathaway* Cynnie and Peter Kellogg*** Honey Kurtz** Kay Lawrence** Vicki and Kent Logan** Leni and Peter May**** Billie and Ross McKnight Amy and James Regan**** Helen and Vincent Sheehy**** The Sturm Family Foundation Town of Vail**** Carol and Pat Welsh***

GOLD ($20,000) Jayne and Paul Becker**** Amy and Steve Coyer** Stephanie and Lawrence Flinn, Jr.*** Georgia and Don Gogel* Mr. and Mrs. Claudio Gonzalez*** Judy and Alan Kosloff*** Donna and Patrick Martin Barbie and Tony Mayer**** Ann and Alan Mintz*** Kay and Bill Morton**** June and Paul Rossetti Didi and Oscar Schafer** Marcy and Gerry Spector** Cathy and Howard Stone**** Lisa Tannebaum and Don Brownstein Dhuanne and Doug Tansill***

SILVER ($15,000) Judy and Howard Berkowitz**** Marlene and John Boll** Jeri and Charlie Campisi*** Martha Head and John Feagin, M.D.**** Karen and Walter Loewenstern**** Mr. John McDonald and Mr. Rob Wright*** Carolyn and Gene Mercy**** Sarah Nash and Michael Sylvester** Margaret and Alex Palmer* Terie and Gary Roubos*** Slifer Smith & Frampton Real Estate**

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FESTIVAL SUPPORT

he gifts listed below represent charitable giving to Bravo! Vail by individuals and foundations from May 16, 2014 through May 11, 2015. These gifts provide the funds to support Bravo! Vail in achieving artistic excellence and financial stability. The Board of Trustees expresses its sincere thanks to each supporter and is truly grateful to Bravo! Vail’s long-time donors and first-time supporters alike. PERMANENT RESTRICTED FUNDS Anonymous, in honor of the Vail Mountain Rescue Group Best Friends of the Bravo! Vail Endowment 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 Betsy Wiegers Choral Fund in honor of John W. Giovando GRAND BENEFACTOR ($100,000 and above) Anonymous, in honor of the Vail Mountain Rescue Group The Tippet Rise Fund of the Sidney E. Frank Foundation Town of Vail**** Sturm Family Foundation Vail Valley Foundation***** Betsy and George Wiegers*** PREMIER BENEFACTOR ($50,000 and above) Anonymous Peggy Fossett* The Francis Family**** Billie and Ross McKnight IMPRESARIO ($25,000 and above) Amy and Charlie Allen Angela and Peter Dal Pezzo Julie and Tim Dalton** Marijke and Lodewijk de Vink** Sam B. Ersan Stephanie and Lawrence Flinn, Jr.***

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Pat and Pete Frechette** Lyn Goldstein**** Jeanne and Jim Gustafson** Vera and John Hathaway* Karen and Michael Herman** Hill Foundation** Cynnie and Peter Kellogg*** Judy and Alan Kosloff*** Honey Kurtz** Kay Lawrence** Vicki and Kent Logan** Leni and Peter May**** Barbie and Tony Mayer**** Shirley and William S. McIntyre, IV** Carolyn and Gene Mercy**** Amy and James Regan**** Helen and Vincent Sheehy**** Mary Lynn and Warren Staley* Cathy and Howard Stone**** Dhuanne and Doug Tansill*** Sandra and Greg Walton Carol and Pat Welsh*** Barb and Dick Wenninger* VIRTUOSO ($20,000 and above) Ascent Sotheby’s International Realty Jayne and Paul Becker**** Amy and Steve Coyer** Arlene and John Dayton** Kathy and David Ferguson Georgia and Don Gogel* Mr. and Mrs. Claudio Gonzalez*** Ann and Alan Mintz*** The Molina Family* Kay and Bill Morton**** June and Paul Rossetti Didi and Oscar Schafer** Marcy and Gerry Spector** Lisa Tannebaum and Don Brownstein OVATION ($15,000 and above) Letitia and Christopher Aitken* Marilyn Augur*** Dierdre and Ronnie Baker** Armando T. Belly Sandy and John Black** Marlene and John Boll** Doe Browning* Virginia J. Browning

Carolyn and Gary Cage**** Susan and Van Campbell** Jeri and Charlie Campisi*** The Clinton Family Fund, in honor of Jim Palermo Debbie and Jim Donahugh* Sallie and Robert Fawcett**** Holly and Ben Gill** Martha Head and John Feagin, M.D.**** Karen and Walter Loewenstern**** Mr. John McDonald and Mr. Rob Wright*** Sarah Nash and Michael Sylvester** National Endowment for the Arts** Margaret and Alex Palmer* Teri and Tony Perry*** Molly and Jay Precourt** Martha Dugan Rehm and Cherryl Hobart*** Vicki Rippeto** Sally and Byron Rose* Terie and Gary Roubos*** Marcy and Stephen Sands* Mary Sue and Mike Shannon Slifer Smith & Frampton Real Estate** Chuck and Margie Pabst Steinmetz*** US Bancorp Foundation US Bank** Carole A. Watters** ALLEGRO ($10,000 and above) Anonymous* Alpine Bank** Pamela and David Anderson Christine and John Bakalar** Penny Bank and Family, Herbert Bank and Family*** Barbara and Barry Beracha* Judy and Howard Berkowitz**** Bravo! Vail Guild***** Jean and Harry Burn Hilda O’Farrill de Compean and J. Compean Susan and John Dobbs*** Gail Flesher and David Salvin* Susan and Harry Frampton**** Nancy Gage and Allan Finney Ms. Vicky V. Garza-Mohajer

George Family Foundation, Penny and Bill George*** Sally and Tom Gleason** Terri and Tom Grojean**** June and Peter Kalkus** Jan and Lee Leaman* Irmgard and Charles Lipcon Nancy and Richard Lubin** Mike A. Myers Foundation* Patti and Blaine Nelson P&S Equities, Inc.** Doug Rippeto Susan and Rich Rogel**** Roberta and Ernest Scheller, Jr.** Carole and Peter Segal** Soros Fund Charitable Foundation Matching Gifts Program The Stolzer Family Foundation*** Susan and Steven Suggs* Bea Taplin** SOLOIST ($7,000 and above) Marcy and Michael Balk Kelly and Sam Bronfman, II* Lucy and Ron Davis Liz and Tommy Farnsworth*** Cookie and Jim Flaum** Norma Lee and Morton Funger**** Carol and Ronnie Goldman* Valerie and Robert Gwyn**** Sally and Wil Hergenrader*** Joyce and Paul Krasnow*** Rose and Howard Marcus**** Bobbi and Richard Massman** Ferrell and Chi McClean* Marge and Phil Odeen Mary Lou Paulsen and Randy Barnhart Kathy and Roy Plum**** Carolyn and Steve Pope** Linda and Kalmon Post** Maria Santos* Mrs. Jean Graham-Smith and Mr. Philip Smith**** Brooke and Hap Stein*** Beverly and Bill Thomas Barbara and Jack Woodhull**** BENEFACTOR ($5,000 and above) Shannon and Todger Anderson*

Diane and Hal Brierley* Barbara and Christopher Brody* Virginia Browning and Joseph Illick Norma and Charles Carter*** Kay H. Chester** Caryn Clayman** William L. Clinkenbeard**** Kirsten and Tim Collins Nancy and Andy Cruce*** Dokie* Peggy and Gary Edwards* Gail and Jim Ellis Cindy Engles* Amy and Vernon Faulconer* Laura and Bill Frick*** The Frigon Family Helen and Bob Fritch**** Linda and John Galvin**** Sue and Dan Godec** Sheika and Pepi Gramshammer**** Jane and Michael Griffinger**** Anne and Harry Gutman Carol and Jeff Heller* Caleb B. Hurtt**** Susu and George Johnson** Karen and Jim Johnson* Alexia and Jerry Jurschak Daney and Lee Klingenstein**** Mark and Betsy Kogan Kenneth Lubin in Memory of Norman M. Morris Regina and John Magee Gail and Jay Mahoney*** Laura and James Marx* Jean and Tom McDonnell** Brenda and Joe McHugh*** Mr. and Mrs. Al Meitz Lisa and John Ourisman Jane and Howard Parker**** Diane Pitt and Mitchell Karlin Michele and Jeffrey Resnick* Amy L. Roth, Ph.D. and Jack Van Valkenburgh Barbara and Dr. Howard Rothenberg* Debbie and Ric Scripps* Dorsey Seed** Pat and Larry Stewart** Debbie and Fred Tresca Sharon and Marc Watson** Michael Watters

PATRON ($3,000 and above) Margo M. Boyle Eleanor and Gus Bramante**** Sue and Michael Callahan Edwina P. Carrington** Rebecca and Leon Colafrancesco Kathy Cole* Sara and Fred Ewald* The Stanford C. and Mary Clare Finney Foundation Mikki and Morris Futernick**** Cindy and Guy Griffin Francie and Michael Gundzik** Randi and Ed Halsell* Valerie and Noel Harris, Wall Street Insurance Lorraine and Harley Higbie**** Nancy E. Horgan and John A. Horgan, MD Sherry and Rob Johnson***** Elaine and Art Kelton**** Gloria and Joel Koenig* Jeremy L. Krieg of New York Life Insurance* Ann and William Lieff** Carolyn and Rollie McGinnis Ellen Mitchell* Sally and Dick Oâ&#x20AC;&#x2122;Loughlin* Marlys and Ralph Palumbo Nancy and Douglas Patton* Mimi and Keith Pockross*** Ronnie and William A. Potter**** Jackie and James Power*** Carolyn and Bob Reintjes** Mrs. Norman P. Robinson Susanne and Bernard Scharf** Deana and Gerald Sempler**** Susan and Jeffrey Stern* Dr. and Mrs. Barry S. Strauch** Jere Thompson** Tim Tyler** Sally and Dennis Von Waaden*** Sheila Wald Susan and Tom Washing*** Dr. and Mrs. Bill Weaver* Anne and Chris Wiedenmayer The Woodell Family Foundation Vanessa and John Workman

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FESTIVAL SUPPORT CONTRIBUTOR ($1,200 and above) Jan Andersen Sandy and Stephen Bell Nancy and Peter Berkley* Mr. and Mrs. B. A. Bridgewater, Jr.* Sunny and Philip Brodsky* Linda and Joe Broughton* Elia Buck Alison and Kurt Burghardt**** Bette and Trent Campbell** Clara Willoughby Cargile April and Art Carroll Toko and Bill Chapin* Elizabeth G. Clark** Jan and Philip Coulson** Joanne and Jack Crosby Martinna and Charlie Dill Mary and Rodgers Dockstader** Irene and Jared Drescher*** Holly and Buck Elliott*** Julie and Bill Esrey**** Carole and Peter Feistmann** Barbara and Paul Flowers** Donald R. Fraser Tom and Margie Gart Family Fund Donna M. Giordano**** Lindy and Dr. Gerald Gold** Joan and Joseph Goltzman* Carol and Charles Goolsbee*** Anne and Donald Graubart**** Gretchen and Morris Hatley Debra Herz Cathy and Graham Hollis* Mrs. Polly Horger and Dr. Ed Horger Aubyn and Robert Howe* Kerma and John Karoly* Lynn and Dr. Andrew Kaufman* Bonnie and Larry Kivel** Rosalind and Dr. Marvin Kochman**** Kokomo* Wendi and Brian Kushner* Margie and Larry Kyte*** Sue B. and Robert J. Latham Karen and Steve Livingston*** Mary and John Lohre Judy and Bob Love** Deb and Dan Luginbuhl* Jose Madariaga Lomelin Denise McCleary and Paul von Behren 166 Learn more at BravoVail.org

Eileen Honnen McDonald and Ed McDonald J.F. Merz, Jr. * Joyce A. Mollerup and Robert H. Buckman*** Jeanne and Dale Mosier Karen Nold and Robert Croteau Roseanne and Gary Oatey Renee Okubo* Priscilla O’Neil**** Charlie and Mary Beth O’Reilly Family Foundation Mr. and Mrs. Robert Paul, III Patty and Denny Pearce* Pam and Ben Peternell* Janet Pyle and Paul Repetto Helen Qualls Arlene and Bob Rakich Gail and Stephen Rineberg Nancy and Robert Rosen Susan and Alberto Sanchez Lisa and Ken Schanzer Carole Schragen**** Peggy and Tony Sciotto*** Maureen and Les Shapiro** Lynn P. and Raymond J. Siegel Phoebe Anne Smedley** Susan A. Stearns and Franklin D. O’Loughlin Mimi and Woody Stockwell** Nancy and Jon Tellor Nancy S. Traylor**** Linda and Stewart Turley*** Lois and John Van Deusen** Martin Waldbaum** Mindy and Gregory White** Leslie and Mike Winn Ann and Phil Winslow Ellen and Bruce Winston* Linda and Robert Wohleber Diane and Michael Ziering* FRIEND ($600 and above) Anonymous** (3) Mercedes and Alfonso Alvarez Constance and Robert Anderson Ellen Arnovitz Karin and Ron Artinian Lisa and Joe Bankoff Sheryl and Eliot Barnett Nancy Bedlington and Robert Elkins

Sarah Benjes Terre and Jack Bergman Barry Berlin Clare and Bill Brown* Sara and Steve Cady Patsy and Pedro Cerisola**** Maryalice Cheney and Scott Goldman* Francis Cloudman Donna and Ted Connolly* Maureen and David Cross Doris Dewton and Richard Gretz* Suzy and Jim Donohue** Jana Edwards and Rick Poppe Margaret and Tom Edwards* Jenny and Wendell Erwin**** Professor Meyer Feldberg Marilyn Fleischer Susan and Bob Gadomski*** Alexandria and Rand Garbacz* Catherine A. Gellert Mr. and Mrs. Neal Groff**** Patricia and Charles Hadley** Suzanne Hatcher Betsy and Larry Hendrickson Jo and David Hill Peter Hillback Helen Hodges Beth and Tommy Holder Carol and Jack Holt Marilyn and Matthew Horween Elizabeth S. Keay*** Jayne and Jack Kendall Denisse and Jonathan Klip Helena and Peter Leslie*** Polly and John Loewy Lynne and Peter Mackechnie** Carol and John MacLean**** Teresa and Antonio Madero Ginny Mancini*** Marjorie J Marks** Elaine and Carl Martin** Anne and Dr. Frank Massari** Debbie and Ron McCord George L. Mizner, M.D.**** Mary and Joe Moeller Hazel and Matthew Murray Mr. and Mrs. W. Peterson Nelson**** Joyce and Robert Pegg* Ann and Ron Riley* Gwen and Rick Scalpello

Harriett and Bernard Shavitz Debbie and Jim Shpall Dr. and Mrs. Thomas H. Smith Dr. and Mrs. C. John Snyder*** Anne and Josef Staufer*** Tomares Family Foundation Ellen and Ray Vanderhorst Marjorie Vickers* Dr. and Mrs. Albert Weihl* Drs. Anne and Dennis Wentz**** Joan T. Whittenberg**** Violet and Harry Wickes* James Michael Wise Carolyn and Tom Wittenbraker Mr. and Mrs. James Wockenfuss Dr. and Mrs. Larry Wolff Marcy and Dick Woodrow* DONOR ($300 and above) Anonymous Shelly and Arthur Adler Janet and Bill Adler Sandi and Larry Agneberg** Nancy Alexander and David Staat* Shelia and James Amend Pamela and Brooks Bock* Rachel and David Bondelevitch Sandra Bourgeois Shirley and Jeff Bowen** Mr. and Mrs. John Box Judith Braun Loretta and David Brewer Patricia and Rex Brown Janie and Bill Burns Sue Cannon Danny Carpenter Karen and Nate Cheney Sam B. Cook Carolyn and Fred Coulson* Marilyn S. Cranin Lucinda and Andy Daly Silvia and Alan Danson Bernice and John Davie* The Davies-Svensson Family Sallie Dean and Larry Roush**** Dr. Fred W. Distelhorst* Barbara and Lane Earnest Emilie Egan*** Pamela and Ernest Elsner Marisol and Frank Ferraiuoli Barbara and Larry Field****

Doris and Steven Field Anna Filatov Regina and Kyle Fink** Denise and Michael Finley** Michele Fletcher Sally and Crosby Foster*** Baryn Futa Jane Gamble Vicky and John Garnsey* Wright B. George Linda Glasgow Billie Kay and David Gohn Roberta and Howard Goss Shelley and Guion Gregg Jan and Robert Hall Coleen M. and David B. Hanson** Pamela and Richard Hinds* Margot and Stephen Holland**** Margie and Dave Hunter Jane and Cal Johnson* Mr. and Mrs. Clint Josey Jr.** Henny and Donald Kaufmann Joanne M. Kemp Margaret and Ed Krol Dr. and Mrs. Bob Landgren**** Evelyn and Fred Lang*** Laine and Merv Lapin Harrel Lawrence and Jerry McMahan* Sheila and Aaron Leibovic Terry and John Leopold* Jessica and Igor Levental Pat Lieberman Nancy and John Lindahl* Gretchen and Charles Lobitz*** Peter L. Macdonald*** Evelyn and Evan Makovsky Vicki and Roger Marce* Janet and Gary McDavid Jeanne and Archie McGill Linda McKinney BJ and Harold Meadows Liz and Luc Meyer* Susan W. and William O. Morris* Beverly and Jon Myers Jacque and Bill Oakes** Dr. and Mrs. Hugh Overy Jan and Bob Pickens*** Mr. and Mrs. Tim Roble* Sondra and Robert Salovitch Jo Dean and Juris Sarins

Linda and Shaun Scanlon* Arlene and Jack Schierholz** Laura Schiff Ivylyn and Dick Scott Judy and Martin Shore Sam and Marty Sloven** Susan and Bruce Smathers* Annette and Paul Smith Linda and Richard Sommers**** Karen and Keith Spero Karlene Spivak Shelley and Dale Stortz Carroll Tyler Patty and Ed Wahtera* Judy and Phil Walters Bobbie and Stanley Weinstein Enid and Stephen Wenner PRELUDE ($50 and above) Anonymous** (4) Leslie and Phil Aaholm** Donna Abbruzzese Laila and Alejandro Aboumrad Carol and Howard Abrams Patricia and Jim Bain Sheri Ball Gina and Luis Barrios Margo and Roger Behler**** Sharon Bell** Lucy and Henry Billingsley Tom Biondini Larry Blivas Michele and Richard Bolduc Sharon Calahan Althea and Clifford Callaway Lynn and Jim Chapin Lynn and Bill Cohagan Rhoda Cohen Kathi Cramer Karin and Dave Crowther Karla Dalley and Dyke Spear Jane and Edward Davenport*** Maria and Robert Davison Susan and Mark Dean Al Demarest, III Nancy and Craig Denton* Fran and Don Diones Abby Dixon Jordan Dorchuck Catherine E. Douglas Louise Douglass 167

FESTIVAL SUPPORT William Dunkin, III Debra and James Dunn Catherine and Ulf Edborg**** Educational Diagnostics Assessment Inc. Lillian Edwards Delight and John Eilering*** Susan and John Elliott Erika and Gerhard Endler Anne Esson**** Joel Ettinger Claire and Marshall Evans*** Mona and Marshall Faith James E. Fell, Jr. Brooke Ferris Vail Real Estate Barbara and Howard Finkelstein Linda and Raymond Finn, Jr. Terry and John Forester* Mr. and Mrs. Peter Frieder*** Betty Ann and Bob Gaynor Debra Geddes Wilma and Arthur Gelfand** Irwin Goldberg Carol and Henry Goldstein Manuel Gomez-Daza Sandra Gooch and Harry Lederman Mr. and Mrs. David Warren Grawemeyer Dianne and Ed Green Judith Green Suzanne Greene Susan and Ron Gruber** Carla Guarascio and Caz Casber Mr. and Mrs. Stephen Gubin John Hardy Joy and James Harrison Judy and Jim Heinze** Dwight Henninger Cathey A. Herren**** Jennifer and Don Holzworth Gerry and Don Houk Jill Huddleston Stephen Hurst Judy and Phil Hutchison Jaime Paul Jaet Elizabeth and Warren Janowitz Rivers and Paul Jardis Susan and David Joffe Patti Johnson Deborah and Todd Johnson Starlette Johnson Sally and Paul Johnston 168 Learn more at BravoVail.org

Fran and Vince Jones** Agneta Kane Phoenix Cai and Martin Katz Ida Kavafian William Kehr Arthe Kelly Grant S. Kesler Edith and Matthew King Donald Kirkpatrick Nancy and Carl Kreitler Mr. and Mrs. Phillip J. Kulinski Monique and Peter Lathrop** Barbara Leffler Mr. and Mrs. Brian Lenehan* Samuel Levy Margaret and Philip Lier Kerry and Nicholas Loetscher Marjorie Maagoe Kathleen Madrid Marjorie and Edward Marlowe Robert Grey Marshall Judith McBride and Bruce Baumgartner Marcia and Tom McCalden** Sharon E. McKay-Jewett* Judi and Randy McKean Elecive and Dr. George Mellott Leland V. Miller** Mary Jane and Frank Miller * Wendy and Don Milliman Harriet and Daniel Mironov Belinda and Eric Monson Dr. and Mrs. H. G. Moore, III Harriet and Edward Moskowitz Barbara Mullenger Leslie and Dr. Robert Nathan* Elinor J. Newman** Sara Newsam* Margaret Nicholls Joan and Ronald Nordgren Nancy and Mauri Nottingham Tiffany and David Oestreicher, II Edward Onderko Deborah H. Oâ&#x20AC;&#x2122;Neill Dr. Jules and Nancy Paderewski Donna and John Pariseau Kim and Alan Parnass Judy and Tom Pecsok Monica and Mark Perin Mauree Jane and Mark W. Perry Martha and Kent Petrie**

Carol and Michael Phillips* Evelyn Pinney and Rob LeVine Sydney and Mark Pittman Susan Pollack Myra and John Porter Mindy and Jay Rabinowitz Thomas Ratts Michael Reischman Wesley Ronning Gussie Ross Lynn and Rick Russell Linda and Don Sage Sallie and Donald Salanty Mr. and Mrs. Donald Salcito Dr. and Mrs. Jack Sanders* Vernon Schoep Dr. and Mrs. Jonathan Schwartz** Pamela and Jerry Secor* Mary Seibert Ricki and Gabriel Shapiro Deborah Sheehy Anne Sheldon**** Suzanne and Morris Shepard Litamae and David Sher Ricki and Steve Sherlin Robert Shoss Pat and Ralph Silversmith**** Stephanie and Bernard Simon* Nancy Singer Daphne and Jim Slevin** Larry Sluss Marriott and John Smart Shaunie and Ted Smathers Diane and Loren Smith Mr. and Mrs. Norman S. Smith, Jr.*** Kathy and Robin Smith Barbara and Jim Spiker** Karlene Spivak Drs. Arlene and Bob Stein* Eileen and Kenneth Stein* Jenene C. and James J. Stookesberry David Strauss Myrna and Ronald Strong Steve and Fran Susman** Kathie Talbot Beverly Jean and Richard Tally E. Diane Tope Francine and Jorge Topelson Carol and Albert Tucker* Barbara and Bill Van Luven

Linda and William Vigor Anne and James Von Der Heydt Mrs. W. E. Walker Jr. Trudy and Bob Walsh* Deborah Webster and Stephen Blanchard*** Jan Weiland and Alan Gregory John Westcott Michael Whealy Sheila Whitman** Gena and Robert Wilhelm Jennifer Woolley* Rosalie Wooten*** Gerald Yallaly Trent Yang Fran and Allan Zalesky** Tracy and Mark Zuber

Martha and Kevin Milbery

Joan Whittenberg

Kay Martin Ann and Collier Kirkham

Bruce and Laurie Taftâ&#x20AC;&#x2122;s Wedding Martha and Kevin Milbery

Karin and Joe Langereis Arlene Soodak

Betsy and George Wiegers Joan Whittenberg

Didi and Oscar Schafer Bravo! Vail Board of Trustees John W. Giovando Jeanne Reid White

IN MEMORY OF Carol Brown Joan Francis

Ronny and Gail Shoss Morgan and David Warren

Vera and John Hathaway Jessica and Igor Levental

Cathy and Howard Stone Jackie and Howard Banchik Arlene and John Dayton Joan Francis Kathy and Allan Hubbard Evelyn Pinney and Rob LeVine Jim Palermo Harriet and Robert Scheir Susan and Steve Suggs Joan Whittenberg

Georgina Hartlandâ&#x20AC;&#x2122;s 50th Birthday

Dhuanne and Doug Tansill

IN HONOR OF Linda and Mitch Hart Karin and Bob Weber

Marge Burdick Susan Lynch Maryan Hurtt Patricia L. Baker Jane and Sterling Weems Gail Lenvin Shiva Judy and Alan Kosloff The Arens and Lukes Edward Lukes Norman M. Morris Kenneth Lubin

Join a community of individuals with a passion for ART. Launching this summer, Vail ART Pass will give members access to specialized tours of private art collections, museums, artist studios, signature receptions and much more.

Art in Public Places

For more information visit artinvail.com or contact Molly Eppard at 970.479.2344 or meppard@vailgov.com

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EDUCATION & COMMUNITY ENGAGEMENT

Anonymous Letitia and Christopher Aitken Karen Aldretti-Lee Amy and Charlie Allen Alpine Bank Shannon and Todger Anderson Annie and Tom Apple Ann Newman and Andy Arnold Dierdre and Ronnie Baker Sue and Jim Bartlett Beaver Creek Resort Company Dani Dani Bedoni, Dani Bedoni and Gonzalo Rodriguez Debra and Mike Benge Lynda and Carl Birkelbach Jackie and Don Brennan Doe Browning Janie and Bill Burns Edwina P. Carrington Kathy Cole Kathy and Brian Doyle Sandi and Leo Dunn Eagle County Eagle Ranch Homeowners Association Jane and Reed Eberly Kathy and David Ferguson FirstBank of Vail Cookie and Jim Flaum Lisa and Bruce Goldman Anne and Harry Gutman Linda and Terry Halverson 170 Learn more at BravoVail.org

Valerie and Noel Harris, Wall Street Insurance Marie Harrison Suzanne Helen Norm and Jackie Waite Alexis and Thomas Jasper Sue and Rich Jones Joyce and Paul Krasnow Laine and Merv Lapin Dick Liebhaber Argie Ligeros and Pat Tierney The Lodge and Spa at Cordillera Anne-Marie McDermott and Michael Lubin Donna and Patrick Martin Laura and James Marx Barbie and Tony Mayer Vicki and Tryg Myhren National Endowment for the Arts Sally and Dick Oâ&#x20AC;&#x2122;Loughlin Jullie and Gary Peterson Patti and Drew Rader Amy and James Regan Michele and Jeffrey Resnick Susan and Rich Rogel

Amber Scherrer Roberta and Bob Schmidt Wayne and Sharol Siemens Ann Smead and Michael Byram Rachel and David Smiley Marcy and Gerry Spector Cathy and Howard Stone Susan and Steve Suggs Dhuanne and Doug Tansill The Tippet Rise Fund of the Sidney E. Frank Foundation Joe Tonahill, Jr. Town of Eagle Town of Gypsum Town of Vail US Bancorp Foundation Anonymous, in honor of the Vail Mountain Rescue Group Sandra and Greg Walton Carole A. Watters William H. and Mattie Wattis Harris Foundation Betsy and George Wiegers Susan and Ron Zapletal

ZACHMAHONE.COM

ravo! Vail is proud to continue its tradition of providing the very best Education and Community Engagement programs for youth and adults. Inspiring a musicloving community in which the finest performers, composers, instruments and instruction are accessible to everyone is Bravo! Vailâ&#x20AC;&#x2122;s dream. The community support of this important focus is a central part of the fabric of life in the Vail Valley. The Festival extends special gratitude to its donors who support Education and Community Engagement.

GIFTS TO THE ENDOWMENT

strong endowment is an essential component of every successful nonprofit institution. The Bravo! Vail Endowment Fund ensures its long-term budget relief and financial security, as well as the continuance of the highest quality music for generations to come. Endeavoring to maintain the highest level of excellence that audiences have come to expect, Bravo! Vail commits itself with renewed vigor to the mission of enhancing the cultural life of the region through music and education for all. In moving forward, increased endowment contributions will be critical to achieving the financial flexibility required to make vital investments in Bravo! Vail, including: · Providing internationally renowned artists at the highest level of musical excellence · Enriching lives through music education curriculum and programs that continue to engage audiences today and into the future · Maintaining affordable ticket prices for residents and guests alike · Providing operating resources to maintain new and existing programs The perpetual earnings generated by endowment funds play a critical role in shaping the future of Bravo! Vail by supporting the programs that define and enhance the festival experience. Bravo! Vail is thankful for the community’s support it has received this far and looks forward to working with families and friends to continue to build this valuable resource. Endowment donors have the satisfaction of knowing that, through their gift, they are leaving a legacy that provides the art of music for future generations. These endowed

funds are professionally managed with oversight by the Bravo! Vail Investment Committee and are held in support of its mission. BENEFACTORS $1,000,000 and above Vicki and Kent Logan LEADERSHIP GIFT $100,000 and above Maryan and K Hurtt/ Lockheed Martin Corporation Directors Charitable Award Fund Leni and Peter May Betsy and George Wiegers MILLENNIUM GROUP $50,000 and above Judy and Alan Kosloff Jean and Dick Swank $40,000 and above Ralph and Roz Halbert Leni and Peter May Gilbert Reese Family Foundation BEST FRIENDS OF THE MILLENNIUM $20,000 and above Jayne and Paul Becker Jan Broman The Cordillera Group Linda and Mitch Hart Fran and Don Herdrich Sue and Gene Mercy Susan and Rich Rogel BEST FRIENDS OF THE ENDOWMENT $10,000 and above Mary Ellen and Jack Curley The Francis Family Merv Lapin Amy and Jay Regan Gilbert Reese Family Foundation $5,000 and above Mr. and Mrs. Elton G. Beebe, Sr. Margo and Roger Behler Carolyn and Gary Cage Jeri and Charlie Campisi Kay and E.B. Chester In Memory of Louise and Don Hettermann

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

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SPECIAL GIFTS THE LYN AND PHILLIP GOLDSTEIN MAESTRO SOCIETY Lyn and Phillip Goldstein have provided a substantial gift to support the artistic expenses associated with Bravo! Vail’s resident conductors. This gift will be recognized in perpetuity. THE LYN AND PHILLIP GOLDSTEIN PIANO CONCERTO ARTIST PROJECT The quality of individual performers sets Bravo! Vail apart from all others. This generous gift from Lyn and Phillip Goldstein supports artistic expenses associated with the Festival’s piano concerto artists. This gift will be recognized in perpetuity. THE 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 TIPPET RISE FUND OF THE SIDNEY E. FRANK FOUNDATION Bravo! Vail is grateful to the The Tippet Rise Fund of the Sidney E. Frank Foundation for its generous underwriting of education and community engagement programs including: free community concerts; Bravo! Vail After Dark; NPR’s From the Top with host Christopher O’Riley; the Bravo! Vail Piano Fellows; recording, videography and archiving and much more. This generous gift helps the Festival fulfill its mission and bring music to the community. THE BARBIE AND TONY MAYER GUEST CONDUCTOR FUND Bravo! Vail thanks Barbie and Tony Mayer for their generous gift to underwrite the additional expenses associated with the many world-class guest conductors who join the Festival’s resident orchestras on stage in Vail. THE BETSY WIEGERS CHORAL FUND IN HONOR OF JOHN W. GIOVANDO Bravo! Vail wishes to acknowledge The Betsy Wiegers Choral Fund In Honor Of John W. Giovando. Created by Betsy Wiegers the Fund will underwrite the performance of a choral work each year for ten years. The 2015 season features 172 Learn more at BravoVail.org

the Dallas Symphony Orchestra led by Jaap van Zweden, conductor, in a performance of the Mozart Requiem on July 3.

and Community Engagement Programs. Their support of Bravo! Vail since its inception has served to enhance and ensure the Festival’s continued success.

ANONYMOUS GIFT IN HONOR OF THE VAIL MOUNTAIN RESCUE GROUP Bravo! Vail gratefully acknowledges an anonymous grant awarded by a family for the purpose of music education and community engagement and of future planning to promote the growth of the Festival. This gift has been made in honor of the Vail Mountain Rescue Group. The Vail Mountain Rescue Group provides back country search and rescue, as well as public education on back country safety, in Eagle County. The rescue team is 100% volunteers who are available 24 hours a day all year. 80 to 100 rescues are performed each year. For more information visit vailmountainrescue.org or email friends@vailmountainrescue.org.

14TH ANNUAL PATRON SKI DAY Many thanks to Cookie and Jim Flaum, Jeremy L. Krieg of New York Life, West Vail Liquor Mart and Elway’s Restaurant for underwriting the 14th Annual Patron Ski Day in March.

THE PHILADELPHIA ORCHESTRA CHALLENGE GRANT The presentation of The Philadelphia Orchestra marked a milestone in the history of Bravo! Vail. In order to ensure its continuation as a resident orchestra, a Challenge Grant has been issued since 2013. Bravo! Vail acknowledges the 2015 Challenge Grant donors, Peggy Fossett and The Sturm Family Foundation, whose gifts encourage other donors. Thank you! BRAVO! VAIL PIANO FELLOWS Bravo! Vail launches its first professional development program for exceptionally talented pianists at the beginning stages of their careers. Fei Fei Dong and Nicolas Namoradze have been selected by Artistic Director, pianist Anne-Marie McDermott, for a two-week immersion into the life of the festival. Inspired by Ms. McDermott’s experiences as a young pianist, the program centers on the ideals of musical citizenry, community connection and nurturing talent. TOWN OF VAIL Bravo! Vail wishes to acknowledge the vision of the Town of Vail and its Council Members for their most generous underwriting of the residencies of the New York Philharmonic, The Philadelphia Orchestra, and Bravo! Vail’s Education

ASCENT SOTHEBY’S INTERNATIONAL REALTY Ascent Sotheby’s has been a valued corporate partner of the Festival for many years. Special thanks to Brielle and Tye Stockton, who along with Ascent Sotheby’s, underwrite Bravo! Vail’s Opening Night Patron Reception for the New York Philharmonic, as well as many additional expenses. REHEARSAL SPACE Cathy and Howard Stone, Vail Mountain School, Manor Vail, and the Vail Interfaith Chapel all provide invaluable rehearsal space. Thank you for this unique gift. ALPINE BANK RADIO AND MEDIA PROGRAM The Festival receives radio and television promotion through a unique program designed and funded by Alpine Bank. Their gracious support of music education programs is also greatly appreciated. LOCAL TRANSPORTATION The Festival acknowledges Colorado Mountain Express for their generous support in assisting Festival artists with local transportation to and from airports in both Denver and Eagle. MEDIA ACKNOWLEDGEMENTS The Festival is pleased to acknowledge support from CMNM, Colorado Printing Company, Colorado Public Radio, Tiga Advertising, Town of Vail, Vail Daily, Vail Valley Partnership, Vail Local Marketing District Advisory Committee, Vail Resorts, and Vail Town Council. FESTIVAL PHYSICIANS The Festival extends sincere appreciation to Festival Physicians Dr. Lisa L. MuncyPietrzak, MD, ABHM of Vibrant Health of Vail and Dr. David Cohen, MD, for their invaluable service to Festival musicians.

CORPORATE & GOVERNMENT SUPPORT

ravo! Vail is indebted to the Town of Vail, the Vail Town Council and the festival’s many additional corporate, government and community partners for their financial support. The Bravo! Vail Board of Trustees thanks these partners whose financial investments make the festival possible. GRAND BENEFACTOR ($100,000 and above) Town of Vail**** Vail Valley Foundation***** VIRTUOSO ($20,000 and above) Ascent Sotheby’s International Realty OVATION ($15,000 and above) National Endowment for the Arts** Slifer Smith & Frampton Real Estate** US Bancorp Foundation US Bank**

ALLEGRO ($10,000 and above) Alpine Bank** Soros Fund Charitable Foundation Matching Gifts Program SOLOIST ($7,000 and above) Alpine Party Rentals Beaver Creek Resort Company Pine Ridge Vineyards BENEFACTOR ($5,000 and above) Jeremy L. Krieg of New York Life Insurance* Tim Collins and John Magee Town of Gypsum** William H. and Mattie Wattis Harris Foundation PATRON ($3,000 and above) Eagle County** FirstBank of Vail** Valerie and Noel Harris and Wall Street Insurance*

CONTRIBUTOR ($1,200 and above) Eagle Ranch Homeowners Association* Exxon Mobil** IBM Matching Grants Program* Lodge and Spa at Cordillera FRIEND ($600 and above) The Prudential Foundation Matching Gifts Program Vail Fine Art Gallery, Inc. DONOR ($300 and above) Faegre Baker Daniels Foundation PRELUDE ($50 and above) Community First Foundation GE Foundation Schneider Electric North America Foundation

173

IN-KIND GIFTS

ravo! Vail is grateful to all of its partners who provide gifts in kindness. These donations play a vital role in the success of the Festival, and ensure its ability to continue its legacy of artistic excellence. PREMIER BENEFACTOR ($50,000 and above) The Antlers at Vail FirstBank of Vail RockResorts Town of Vail Vail Cascade Resort and Spa Vail Marriott Mountain Resort and Spa Vail Resorts Vail Resorts EpicPromise Vail Resorts Development Company Vail Valley Foundation IMPRESARIO ($25,000 and above) Bravo! Vail Board of Trustees and Advisory Council Bravo! Vail Development Committee Bravo! Vail Gala Committee Bravo! Vail Guild Colorado Public Radio West Vail Liquor Mart VIRTUOSO ($20,000 and above) Carolyn and Gene Mercy Dr. Lisa Muncy-Pietrzak Sebastian Vail OVATION ($15,000 and above) Alpine Bank Arts Consulting Group Four Seasons Resort Vail ALLEGRO ($10,000 and above) Crazy Mountain Brewing Company Cookie and Jim Flaum Foods of Vail Karen and Michael Herman Left Bank Restaurant Manor Vail Lodge Shirley and William McIntyre, IV Mirabelle at Beaver Creek Republic National Distributing Company Sally and Byron Rose Splendido at the Chateau Tasteful Creations Tiga Advertising Vail Catering Concepts Vail Daily Vintage Magnolia Westin Riverfront Resort and Spa Leslie and Mike Winn Yamaha SOLOIST ($7,000 and above) Marcy and Michael Balk The Christie Lodge Lucy and Ron Davis Marijke and Lodewijk de Vink Destination Resorts The Lifthouse Condominiums

174 Learn more at BravoVail.org

Pine Ridge Vineyards The Sebastian Vail Bev and Bill Thomas Vail Mountain Lodge and Spa Vail Racquet Club BENEFACTOR ($5,000 and above) Axel’s Barbara and Barry Beracha Doe Browning Edwina Carrington Dr. David Cohen Colorado Mountain Express Elway’s The Francis Family Jack Hunn Vicki and Kent Logan Diane and Lou Loosbrock Anne-Marie McDermott and Mike Lubin Colin Meiring Rod and Olivia Miller Jullie and Gary Peterson Kent Pettit Photography Michele and Jeffrey Resnick Carole and Peter Segal Sitzmark Lodge Susan and Steven Suggs Sarah Nash and Michael Sylvester Westwind Condos PATRON ($3,000 and above) 10th Mountain Whiskey & Spirit Company Comcast/NBC Universal Dallas Symphony Orchestra Evergreen Lodge The New York Philharmonic The Philadelphia Orchestra Cathy and Howard Stone Sweet Basil Terra Bistro Sandra and Greg Walton CONTRIBUTOR ($1,200 and above) Dierdre and Ronnie Baker Harry Cebron The Golden Bear Judy and Alan Kosloff Fred Kushner Michelin Photography Patti and Drew Rader VIN48 FRIEND ($600 and above) By Nature Gallery Chocolove Country Club of the Rockies Lodge and Spa at Cordillera Magustos Pizza and Burger Pub Park Hyatt Beaver Creek Vail Ale House Vail Jazz Foundation Vilar Performing Arts Center Zipline Adventures

DONOR ($300 and above) Asian Village Big O Tires Margie Bissinger Centennial Bank The Cos Bar at Riverwalk Fresh Tracks Pet Shoppe Jazz Aspen Snowmass Minturn Anglers YMCA of the Rockies PRELUDE ($50 and above) 4 Eagle Ranch Agave Alpenrose Restaurant Any Occasion Cards and Gifts Avon Bakery & Deli Bearcat Stables Bliss Studio The Bookworm Boulder Philharmonic Orchestra Central City Opera CFV Colorado Cinebistro City Market Cliff Drysdale Colorado Ballet Colorado Music Festival Colorado Poolscapes Comedy Works CostCo Country Club of the Rockies Denver Art Museum Denver Film Society Denver Museum of Nature and Science Denver Zoo Disneyland Resorts Elitch Gardens Eyepieces of Vail Grouse Mountain Grill J. Cotter Gallery Karats Kitchen Collage Lead Foot Linda’s Live for Balance Minturn Country Club Minturn Saloon Montauk Seafood Grill Nantahala Outdoor Center Nicky’s Quickie Noodles & Company Pazzo’s Pizzeria Pier 39 Riverwalk Wine & Spirits Route 6 Cafe Simply Massage Stand Up Paddle Colorado SteamMaster Sticky Fingers Cafe Tennessee Pass Cookhouse Up the Creek Bar and Grill West One Salon Westside Cafe

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BRAVO! VAIL STAFF INTERIM EXECUTIVE DIRECTOR AND FOUNDER John W. Giovando ARTISTIC DIRECTOR Anne-Marie McDermott ARTISTIC Director of Artistic Planning Jacqueline Taylor DEVELOPMENT Vice President of Development Jeanne Reid White Director of Development Caitlin Murray Records Management & Donor Fulfillment Coordinator Beth Pantzer Development & Events Associate Darcy Giles MARKETING AND PUBLIC RELATIONS Vice President of Marketing & Executive Vice President Lisa Mallory Donor Fulfillment & Sales Manger Nancy Stevens Marketing Manager Carly West Box Office & Marketing Associate Jonny Stevens Box Office & Marketing Associate Megan Roepke Box Office Associate Kim Nottingham ADMINISTRATION Vice President of Administration & Finance Julie Johannes Director of Finance & Administration Irene Emma

176 Learn more at BravoVail.org

Office Manager Heidi Young

Resident Orchestra Physician Lisa Muncy, MD, ABHM

Certified Public Accountant Stephanie Novosad Novosad, Lyle, Associates, P.C.

GUILD Frank Strauss, Guild President Mary Jo Allen Janet Beals Joan Berger Pat Blood Carol Bosserman Barbara Bower Anne Brown Peggy Buchannan Edwina Carrington David & Judy Carson Barbara Coffey Nancy Collins Dolly & Rod Corlin Becky & Carl Crawford Jim & Pam Crine Doris Dewton & Dick Gretz Carol & Greg Dobbs Holly Eastman Ann & Sandy Faison Eleanor Finlay June Frazier Laura & Warren Garbe Greer & Jack Gardner Wendy Gustafson Pam Hamilton Irene Hayes Summer Holm Becky Hopkins Elizabeth Janowitz Sharri Johnson Jane Jones Jean Kearns Liz Keay Betty Kerman Charlene Koegel Milly Kohlman Don & Marion Laughlin Donna London Ann Loper Nicole Lucido Hank Mader Melanna Marcellot Louise McGaughey Carole Ann McNeill

TECHNOLOGY Director of Technology David Judd OPERATIONS/EDUCATION Director of Operations Elli Varas Education & Community Engagement Coordinator Dina Patsiavos Concert Production Manager Brett Logan Piano Technician Michael Jackson Sound Engineering Mountainside Productions, Inc. THD Productions Audio Recording Todd Howe, THD Productions SEASONAL STAFF Artist Liaison Andrew Collins, Indiana University Festival Internship Program: Development Interns Laura Curthoys, University of Buffalo Melissa Meyers, University of Cincinnati, College – Conservatory of Music Marketing Interns Alyssa Berube, University of Wisconsin – Stevens Point Ashley Bradstreet, Ferris State University Operations and Education Interns Hinano Ishii, School of Music at University of Wisconsin-Madison Keelin Davis, Cleveland Institute of Music Graduate

SPECIAL NOTES Bruce & Ferol Menzel Kevin & Martha Milbery Frank & Mary Jane Miller Sandy Morrison Paolo & Susan Narduzzi Rita Neubauer Suzette Newman Nancy Nottingham Bill Nussbaum Cliff & Joy Okman Don & Linda Orseck Tom Russo Debra Sarthou Anna Marie & Scott Schaefer Carol Schimmer Andy Searls Charlie Sherwood Bill & Connie Smith Scott Smith Diane & Mark Smooke Paige Sodergren Frank & Joanne Strauss Cynthia & Harold Turtletaub Michael & Judy Turtletaub Claudette Vail Pamela Vonmende Mary Watts Clare & John Whitfield Dianne & Leo Williams Dean & Linda Wolz Allison Wright Linda Zerange BRAVO! VAIL PIANO PROGRAM TEACHERS Arzu Basyildiz Bora Basyildiz Erica Broniac Chloe Brook Zachary Brown Jordan Denning Cameron Jarnot Luis Juarez Michelle Kissane Jacob Lidard Lisa Tobias Carla Whirley ASSISTANT TEACHERS Theresa Jimenez-Anders

Mack Callicrate Camilla Petterson Natasha Reichardt Caitlin Yarger VOLUNTEERS Lynn Chapin Julie Ozog SPECIAL NOTES ADA access is available at all concert venues. Please call the Bravo! Vail offices at 970.827.4316 for further information. The use of cell phones and electronic devices is prohibited during concerts. Sound recording or photographing of concerts is strictly prohibited. Concerts start punctually at the time indicated. Latecomers may be admitted at the discretion of our ushers, either between movements or between pieces. Please respect the volunteer ushers. We ask that adults accompany small children at all times. Artists are subject to change without prior notice and a change of artist is not cause for a refund. Program annotations by © Richard Rodda. Please save your program book for the duration of the Festival and recycle unwanted materials. Bravo! Vail and the Bravo! Vail logo are trademarks of Bravo! Colorado @ Beaver Creek-Vail, Inc in the United States. Information is subject to change without notice. © 2015 Bravo! Vail. All rights reserved. Bravo! Vail Program Book © 2015. MAIL/ADMINISTRATION 2271 N Frontage Rd W, Suite C Vail, CO 81657 970.827.5700 | 877.827.5700 toll free Fax 970.827.5707

TICKETS Online: bravovail.org Phone: 877.812.5700 Email: ticketing@bravovail.org Box Office: 2271 N Frontage Rd W, Suite C, Vail, CO All sales are final. There are no refunds or exchanges. Inclement weather is not a cause for refund unless a performance is cancelled. If you are unable to attend a concert, please call the Bravo! Vail offices at 877.812.5700 prior to the concert to donate your tickets. A tax receipt will be issued to you for your ticket donation. Thank you! GERALD R. FORD AMPHITHEATER INFORMATION: Gates to the venue seating open one hour prior to concert start time. Gates to the lobby open 90 minutes prior to concert start time. Lawn seating available on a first come-first served basis. The Gerald R. Ford Amphitheater is fully ADA compliant. The following are policies of the Gerald R. Ford Amphitheater Management and are not permitted in the facility: audio and video recording devices, lawn chairs, cameras, cigarette and cigar smoking, skateboards, bicycles, scooters, in-line skates, pets, and alcoholic beverages. Concessions with food, beverage, and alcohol sales are available at the facility. Picnics and commercially sealed non-alcoholic beverages are permitted. Personnel directly associated with the Management of the Amphitheater will inspect all private refreshment coolers and personal items at the entrance gates.

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Pinchas Plays Beethoven, Continued From Page 45

majestic and unadorned, is passed down through the winds while being punctuated by long, rising scales in the strings; the second is a graceful melody for oboe. The transition to the main part of the first movement is accomplished by the superbly controlled reiteration of a single pitch. This device both connects the introduction with the exposition and also establishes the dactylic rhythm that dominates the movement. The Allegretto scored such a success at its premiere that it was immediately encored, a phenomenon virtually unprecedented for a slow movement. In form, the movement is a series of variations on the heartbeat rhythm of its opening measures. In spirit, however, it is more closely allied to the austere chaconne of the Baroque era than to the light, figural variations of Classicism. The third movement, a study in contrasts of sonority and dynamics, is built on the formal model of the scherzo, but expanded to include a repetition of the horn-dominated Trio (Scherzo – Trio – Scherzo – Trio – Scherzo). In the sonata-form finale, Beethoven not only produced music of virtually unmatched rhythmic energy (“a triumph of Bacchic fury,” in the words of Sir Donald Tovey), but did it in such a manner as to exceed the climaxes of the earlier movements and make it the goal toward which they had all been aimed. So intoxicating is this music that some of Beethoven’s contemporaries were sure he had composed it in a drunken frenzy. “I am Bacchus incarnate,” boasted Beethoven, “appointed to give humanity wine to drown its sorrow.... He who divines the secret of my music is delivered from the misery that haunts the world.” Mozarts Requiem, Continued From Page 51

premiere of Tito, and when he returned to Vienna Schickaneder pressed him to put the final touches on The Magic Flute, which was first staged on September 30th. Mozart’s health had deteriorated alarmingly by October — he complained of swelling limbs, feverishness, pains in his joints and severe headaches. On November 17th, with the Requiem far from finished, he took to his bed. He managed to complete only the Requiem and Kyrie sections of the work, but sketched the voice parts and the bass and gave indications for scoring for the Dies irae through the Hostias. On December 4th, he scrawled a few measures of the 180 Learn more at BravoVail.org

Lacrymosa, and then collapsed. A priest was called to administer extreme unction; at midnight Mozart bid his family farewell and turned toward the wall; at five minutes to one on the morning of December 5, 1791, he died. He never knew for whom he had written the Requiem. Mozart’s wife, Constanze, was worried that she might lose the commission fee and asked her husband’s student Franz Xaver Süssmayr to finish the work following the detailed instructions Mozart had given him. Süssmayr filled in the orchestration, completed the last three movements by recycling music from earlier movements, and recopied the score so that the manuscript would show one rather than two hands. It was collected by the stranger, who paid the remaining commission fee. The person who commissioned Mozart’s Requiem was Count Franz von Walsegg, a nobleman of musical aspirations who had the odious habit of anonymously ordering music from established composers and then passing it off as his own. This Requiem was to commemorate Walsegg’s wife, who had died on February 14, 1791. The “grey stranger” was Walsegg’s valet, Anton Leitgeb, the son of the mayor of Vienna. Even after Mozart’s death, Walsegg went ahead with a performance of the Requiem, which was given in the suburb of Wiener-Neustadt on December 14, 1793; the title page bore the legend, Requiem composto del Conte Walsegg. A few years later, when Constanze was trying to have her late husband’s works published, she implored Walsegg to disclose the Requiem’s true author. He did, and the score was first issued in 1802 by Breitkopf und Härtel.

Ave, Verum Corpus, K. 618 (1791) WOLFGANG AMADEUS MOZART

As the time for the delivery of the Mozarts’ sixth child in their nine years of marriage drew near in the summer of 1791, Constanze was becoming increasingly uncomfortable in the accumulating city heat of Vienna. Late in May, Wolfgang took the coach to the near-by village of Baden, where he arranged a stay for Constanze through Anton Stoll, a local schoolteacher and the choir director of the parish church, who had often performed Mozart’s sacred music for his congregations. With plans made and the pledge from Stoll that he would look after the young woman, Constanze left Vienna for Baden on June 4th. When Wolfgang visited Baden two weeks later, Stoll asked him to write a new Eucharist hymn for his choir for the Feast of Corpus Christi, and, in gratitude for his

kindnesses, he responded with the luminous motet for chorus, strings and organ Ave, verum corpus (K. 618). Wolfgang returned to Baden again on July 9th to take Constanze back to Vienna, where their last child, Franz Xaver, was born on July 26th. Hollywood Classics, Continued From Page 57

Hogwarts, the fantastic academy Harry attends. Hedwig’s Theme is haunting music associated with Harry’s pet Snowy Owl. Director Steven Spielberg’s E.T. (The ExtraTerrestrial) (1982) is the enchanting story of ten-yearold Elliot (Henry Thomas), who befriends a lovable alien stranded on earth when his space ship hurriedly leaves without him. Of the sequence titled Adventure on Earth, Williams wrote, “The music was designed to accompany the bicycle chase near the end of the film. As the young cyclists reach escape velocity, E.T.’s theme is heard as they fly ‘over the moon.’” “What if Peter Pan grew up?” asked the ads for Hook (1991), and the movie, freely adapted from J.M. Barrie’s classic children’s novel, imagines Peter Banning (Robin Williams) as a very grown-up and ruthless business executive who has little time for his children. Though Hook generated little critical or box office enthusiasm, Williams received an Oscar nomination for the film. Director Ron Howard’s Far and Away (1992) tells of an impoverished Irish farmer named Joseph Donnelly (Tom Cruise) in the early 1890s who is evicted from his land because of unpaid rent, but emigrates to Boston with Shannon, his landlord’s rebellious daughter (Nicole Kidman), to start a new life. Williams’ score folded traditional Irish idioms into his characteristic sweeping symphonic style. In Michael Crichton’s novel and Steven Spielberg’s film (1993), Jurassic Park is an island theme park developed by millionaire Ian Hammond (Richard Attenborough) to display dinosaurs brought to life through DNA research. At a preview of the park for visiting scientists, the dinos get out of control and special-effects havoc reigns. Star Wars is a phenomenon, the most successful film series of all time and a cultural icon of almost mythic proportions. The score for the episode now titled A New Hope (the original Star Wars) closes with the music accompanying Luke, Han, Ben and the victorious rebels being received by the Princess Leia in The Throne Room and End Title.

Symphonie Fantastique, Continued From Page 61

the just-emerging field of psychology to denote an unhealthy obsession) which is transformed to suit its imaginary musical surroundings. Berlioz wrote of the Symphonie fantastique, “PART I: Reveries and Passions. The young musician first recalls that uneasiness of soul he experienced before seeing her whom he loves; then the volcanic love with which she suddenly inspired him, his moments of anguish, his returns to loving tenderness, and his religious consolations. PART II: A Ball. He sees his beloved in the midst of the tumult of a brilliant fête. PART III: Scene in the Country. One summer evening in the country he hears two shepherds playing a ranzdes-vaches in alternate dialogue; this pastoral duet restores calm to his heart; but if she were to betray him! ... One of the shepherds resumes his artless melody, the other no longer answers him. The sun sets ... the sound of distant thunder ... solitude ... silence ... PART IV: March to the Scaffold. He dreams that he has killed his beloved, that he is condemned to death, and led to execution. The procession advances to a march that is now somber and wild, now brilliant and solemn. At the end, the idée fixe reappears for an instant, like a last love-thought before the fatal stroke. PART V: Dream of a Witches’ Sabbath. He sees himself at the Witches’ Sabbath, amid ghosts, magicians and monsters of all sorts, who have come together for his obsequies. He hears strange noises, groans, shrieks. The beloved melody reappears, but it has become a grotesque dance-tune — it is she who comes to the Witches’ Sabbath.... Funeral knells, burlesque parody on the Dies Irae [the ancient ‘Day of Wrath’ chant from the Roman Catholic Requiem Mass for the Dead]. Witches’ Dance. The Witches’ Dance and the Dies Irae together.” Music For Two Pianos, Continued From Page 63

The Hague on scholarship, graduating summa cum laude in 1993. Sukarlan quickly established his career by winning several international piano competitions and performing and broadcasting across Europe. He has since recorded fourteen CDs of works by many prominent contemporary composers and performed from his native Indonesia to New Zealand; he was the first Indonesian musician included in The International Who’s Who in Music. The Humiliation of Drupadi is based on a story in the Mahabharata, a Hindu epic, about Princess Drupadi, who is regarded as a symbol of righteousness through she is married to all of the Pandavas, five brothers. One of them, Yudhisthira, 181

Music For Two Pianos, Continued From Page 181

foolishly wagers Drupadi and his four brothers in a dice game with the wily Duryodhana, their cousin and chief rival for the throne. He loses, and Drupadi, thinly clad, is dragged by the hair before the assembly. Nearly mad from the disgrace, she prays to Krishna, who is deeply moved by her plight and “covered her nakedness with many excellent cloths.” The “Humiliation of Drupadi” helped to ignite the Battle of Kurukshetra, in which the Pandavas prevailed over Duryodhana. (ca. 5 min.) In 1848, Bedrich Smetana (1824-1884) opened a piano school in Prague. For the instruction and recitals of the school’s students, he made multi-piano arrangements of several orchestral works (including his own Triumph Symphony for four pianos, sixteen hands) as well as a Rondo in C major (appropriately titled Mladì — “Youth”) and the Sonata in E minor for Two Pianos, Eight Hands. The Sonata consists of a single movement in a traditional sonata form lucid enough to have served as a teaching piece for composers as well as performers. (ca. 12 min.) The Danse macabre (1874) by Camille Saint-Saëns (1835-1921) was inspired by a verse of the same title by the French symbolist poet Jean Lahor (1840–1909), issued under the pseudonym of Henri Cazalis. The setting is a graveyard at midnight: Zig, zig, zig, Death, in tempo, Kicks at the tombs with his heel, Death at midnight plays a dance tune, Zig, zig, zig, on his violin. The Danse Macabre opens with the distant tolling of the midnight bell, the signal for the appearance of a demonic fiddler, whose mistuned instrument emphasizes the weird, suggestive harmonies of his part. The work’s two main themes are presented in quick succession: a mercurial, staccato melody and a close-interval, harmonically unsettled tune. These two motives are elaborated and juxtaposed with much ingenuity and entwined with a parody of the Dies Irae (“Day of Wrath”), the ancient chant from the Requiem Mass. The dance becomes more frenzied as its proceeds until the unhallow ritual is halted abruptly by the breaking of dawn and the crowing of the cock. The diabolical violin, defeated, for the moment at least by the coming of day, whispers its final sentiments and steals away. (ca. 7 min.) Though Franz Liszt (1811-1886) was born in Hungary, he was raised in the French language, moved with his family to Vienna at the age of ten, and visited his homeland only infrequently thereafter, yet he 182 Learn more at BravoVail.org

maintained an interest in Hungarian music throughout his life and wrote numerous works incorporating national melodies. The nineteen Hungarian Rhapsodies were built around the performance method of the Hungarian national dance, the Czardas, which alternates between a slow movement — “Lassu” — and a fast one — “Friss.” To describe their resultant free structure and quick contrasts, Liszt borrowed the term “Rhapsody” from literature, saying that it was meant to indicate the “fantastic, epic quality” of this music. He may have been the first to use this title in a musical context, just as he had introduced the word “recital” to describe his solo concerts of the 1840s. (ca. 12 min.) John Philip Sousa (1854-1932) and his wife, Jane, were vacationing in Europe in 1896 when word reached them in Italy that the Sousa Band’s manager, David Blakely, had died suddenly in his Carnegie Hall office on November 7th. The Sousas left immediately for America, and the composer recalled in his memoirs, Marching Along, that what followed was “one of the most vivid incidents of my career. As the vessel steamed out of the harbor, I began to sense the rhythmic beat of a band playing in my brain. It kept on ceaselessly, playing, playing, playing. When we reached shore, I set down the measures that my brain-band had been playing for me, and not a note of it has ever been changed.” The work that Sousa brought home to America was The Stars and Stripes Forever, his own favorite among his 136 marches and arguably the most famous such piece ever written. Sousa never gave a concert without performing it, and in 1987, the United States Congress proclaimed it the country’s official march. (ca. 4 min.) Let’s Dance, Continued From Page 67

antidote to the Depression. The big-band era of the 1930s and 1940s is distilled in such infectious swing numbers as Benny Goodman’s Let’s Dance, Tommy Dorsey’s Opus One and Les Brown’s Leap Frog. Blue Suede Shoes (1955), Elvis Presley’s signature song, helped to spark the rock-’n’-roll revolution. I’ve Got a Woman (1957) was emblematic of the fusion of blues, jazz, gospel and rhythm & blues that immortalized Rock & Roll Hall of Fame inductee and Kennedy Center Honors winner Ray Charles. Neil Hefti’s cool jazz number Cute (1958) was written for Count Basie’s incomparable big band. The continuing craze for Latin dances began with the Argentinean tango, which sprang from the docklands and seamier neighborhoods of Buenos Aires at the end of the 19th century and took Europe

and North America by storm during the 1930s. Among the countless Latin songs that have followed are the mambo Sway (1953) by Mexican bandleader Pablo Beltrán Ruiz; Kiss of Fire, a hit by Nat King Cole, Connie Francis, Guy Lombardo and Louis Armstrong in the 1950s that was based on a 1903 song titled El Chocó (“The Corn Cob”) by the Argentinean musician Ángel Gregorio Villoldo; and the classic tango La Cumparsita (“The Little Parade,” 1916) by Gerardo Matos Rodríguez, a seventeen-year-old architecture student and son of a nightclub owner in Montevideo, Uruguay. Dance is, indeed, “the art of which we ourselves are the stuff from which it is made.” Ohlsson Plays Rachmaninoff, Continued From Page 73

not be so bad after all!” It was for the American tour that Rachmaninoff composed his Third Piano Concerto. The Concerto consists of three large movements. The first is a modified sonata form which begins with a haunting theme, recalled in the later movements, that sets perfectly the Concerto’s mood of somber intensity. The espressivo second theme is presented by the pianist, whose part has, by this point, abundantly demonstrated the staggering technical challenge that this piece offers to the soloist, a characteristic Rachmaninoff had disguised by the simplicity of the opening. The development section is concerned mostly with transformations of fragments from the first theme. A massive cadenza, separated into two parts by the recall of the main theme by the woodwinds, leads to the recapitulation. The earlier material is greatly abbreviated in this closing section, with just a single presentation of the opening melody and a brief, staccato version of the subsidiary theme. The second movement, subtitled Intermezzo, which Dr. Otto Kinkleday described in his notes for the New York premiere as “tender and melancholy, yet not tearful,” is a set of free variations with an inserted episode. “One of the most dashing and exciting pieces of music ever composed for piano and orchestra” is how Patrick Piggot described the finale. The movement is structured in three large sections. The first part has an abundance of themes which Rachmaninoff skillfully derived from those of the opening movement. The relationship is further strengthened in the finale’s second section, where both themes from the opening movement are recalled in slow tempo. The pace again quickens, and the music from the first part of the finale returns with some modifications. A brief solo cadenza leads to the coda, a dazzling final stanza with fistfuls of

chords propelling the headlong rush to the dramatic closing gestures. Pixar in Concert, Continued From Page 77

Thomas Newman and David Newman, one of Hollywood’s busiest composers. Randy Newman began his career writing pop songs and since 1981 has composed the music for nearly three dozen films. He has received fifteen Oscar nominations and won twice, for Best Song (If I Didn’t Have You) for Monsters, Inc. (2001) and Best Song (We Belong Together) for Toy Story 3 (2010). In addition to music for seven DisneyPixar feature films — all three Toy Story releases, A Bug’s Life, Monsters, Inc., Cars and Monsters University (he received Oscar nominations for every one) — Newman’s filmography includes Seabiscuit, Ragtime, The Natural, Pleasantville, Parenthood, Avalon, The Paper, Meet the Parents and James and the Giant Peach. Thomas Newman, son of Alfred Newman and cousin of Randy Newman, is an alumnus of Yale and USC. He has scored more than seventy feature films, including such varied releases as The Shawshank Redemption, The Best Exotic Marigold Hotel, Skyfall, Fried Green Tomatoes, Scent of a Woman, Desperately Seeking Susan, The Horse Whisperer, American Beauty, Erin Brockovich, Road to Perdition, Saving Mr. Banks and The Good German, receiving twelve Oscar and three Golden Globe nominations and winning six Grammys and an Emmy. For Pixar, Thomas Newman scored Finding Nemo (2003) and WALL•E (2008), both nominated for Academy Awards; he is currently at work on Pixar’s The Good Dinosaur, scheduled for release in November 2015. Dvořák: From the New World, Continued From Page 81

compelling image that I could not resist the idea of having the soloist do exactly that. Concerti throughout history have always allowed the soloist to delight the audience with feats of great virtuosity, and when a composer is confronted with a real gift in the soloist’s ability to do so, it would be foolhardy not to allow that dream to become a reality.”

Symphony No. 9 in E minor, Op. 95, “From the New World” (1892-1893) (ca.42) ANTONÍN DVOŘ ÁK (1841-1904)

When Antonín Dvořák, aged 51, arrived in New York on September 27, 1892 to direct the new National Conservatory of Music, both he and the institution’s 183

Dvořák: From the New World, Continued From Page 183

founder, Mrs. Jeanette Thurber, expected that he would help to foster an American school of composition. He was clear and specific in his assessment: “I am convinced that the future music of this country must be founded on what are called Negro melodies. They can be the foundation of a serious and original school of composition to be developed in the United States…. There is nothing in the whole range of composition that cannot find a thematic source here.” The “New World” Symphony was not only Dvořák’s way of pointing toward a truly American musical idiom but also a reflection of his own feelings about the country. “I should never have written the Symphony as I have,” he said, “if I hadn’t seen America.” The “New World” Symphony is unified by the use of a motto theme that occurs in all four movements. This bold, striding phrase, with its arching contour, is played by the horns as the main theme of the opening movement, having been foreshadowed in the slow introduction. Two other themes are used in the first movement: a sad melody for flute and oboe that exhibits folk characteristics, and a brighter tune with a striking resemblance to the spiritual Swing Low, Sweet Chariot for the solo flute. The second movement was inspired by the forest funeral of Minnehaha in Longfellow’s epic poem The Song of Hiawatha, and the third by the dance of the Indians at the feast. The finale employs a sturdy motive introduced by the horns and trumpets after a few introductory measures in the strings. Mozart’s Eine Kleine Nachtmusik, Continued From Page 83

Eine kleine Nachtmusik (“A Little Night Music”) (Serenade No. 13 in G major), K. 525 (1787) (ca. 17 min.) WOLFGANG AMADEUS MOZART (1756-1791)

Eine kleine Nachtmusik is at once one of the most familiar yet one of the most mysterious of Mozart’s works. He dated the completed manuscript on August 10, 1787, the day on which he entered it into his catalog of compositions as “Eine kleine Nachtmusik, bestehend in einem [consisting of an] Allegro, Menuett und Trio — Romance, Menuett und Trio, Finale. 2 Violini, Viola e Bassi.” (The first Menuett is lost.) There is no other contemporary record of the work’s provenance, composition or performance. It was the first piece of the serenade type he had written since the magnificent C minor Wind Octet (K. 388) of 184 Learn more at BravoVail.org

1782, and it seems unlikely that, at a time when he was increasingly mired in debt, he would have returned to the genre without some promise of payment. Indeed, he had to set aside his furious preparations for the October premiere of Don Giovanni in Prague to compose the piece. The simple, transparent style of Eine kleine Nachtmusik, reminiscent of the music of Mozart’s Salzburg years and so different from the rich expression of all his later music except for the dances he wrote for the Habsburg court balls, suggests that it was designed for amateur performance, perhaps at the request of some aristocratic Viennese player of limited musical ability. Eine kleine Nachtmusik is an enigma, a wonderful, isolated chronological and stylistic aberration of Mozart’s mature years that raises to perfection the simple musical gestures of his boyhood. Though sunny and cheerful throughout, when seen in the light of its immediate musical companions of 1787 — Don Giovanni, the A major Violin Sonata (K. 526) and the C major and G minor String Quintets (K. 515 and 516) — Eine kleine Nachtmusik takes on an added depth of expression as much for what it eschews as for what it contains.

From Holberg’s Time, Suite in Olden Style for Strings, Op. 40 (1884-1885) (ca. 21 min.) EDVARD GRIEG (1843-1907)

In 1884, Grieg was approached by the commission organizing the celebration of the 200th anniversary of the birth of Ludwig Holberg, the writer generally acknowledged as the founder of the DanishNorwegian school of literature, to make a musical contribution to the proceedings. Holberg (1684-1754), a native of Grieg’s hometown of Bergen, Norway, attended the universities of Copenhagen and Oxford before settling permanently in Denmark in 1717. He gained fame with his satiric comedy Peder Paars of 1719, a work with sufficient social barbs to rouse the ire of the authorities. His recognition continued to grow, however, and in 1722 he was named as playwright to the newly formed Danish National Theater, for which he wrote, within the next five years, a series of 26 comic masterpieces inspired by Molière and the commedia dell’arte. His comedies were the first original plays written in the Danish language. After 1727, he wrote several volumes of history and biography, but his early plays always remained his most popular works. “[His plays] frequently poked fun at people who thought it smart to speak Latin, German or French in preference to their native Danish or Norwegian,” wrote Georg Strandvold. “They also

ridiculed the mustiness and artificiality of Holberg’s age and, in general, satirized the lives and manners of his contemporaries. Holberg’s comedies are considered ageless because their characters remain as true to life in modern times as they were more than 200 years ago.” The center of the 1884 Holberg celebration was in Bergen, where the playwright was born. A new statue of him was to be unveiled on the waterfront and a series of concerts was planned to commemorate the event, to which Niels Gade contributed a Holbergian Suite and Grieg a cantata for men’s voices and the piano suite From Holberg’s Time, which he arranged the following year for strings. Grieg cast the movements of his charming suite in the musical forms of the 18th century but filled them with the spirit of his own time and style. A vivacious Praelude, a miniature sonata-form movement, is followed by a series of dances: a touching Sarabande; a perky Gavotte, which is linked to a Musette built above a mock-bagpipe drone; a solemn Air, modeled on the Air on the G String from Bach’s Third Orchestral Suite; and a lively closing Rigaudon. John Williams, Continued From Page 87

the first movement, form to make up the final lyrical passage ‘sung’ by the solo violin. An excited coda, based on the triple-time figures, concludes the work.”

Excerpts from Close Encounters of the Third Kind (1977) (ca. 12 min) Williams provided one of Hollywood’s most brilliant and musically sophisticated scores for Close Encounters of the Third Kind, director Steven Spielberg’s visionary account of the arrival of aliens on earth. In the film, Roy Neary (played by Richard Dreyfuss) has strange visions and keeps hearing five musical notes in his mind after being inexplicably bathed in light on a lonely road at night. He is drawn to a remote site where scientists (one played by the noted French film director François Truffaut) secretly await the landing of the aliens, who prove to be gentle, childlike beings of beneficent intent. In addition to weaving Neary’s five-note motive throughout his score, Williams used serialism and other modernistic techniques for the early, tense scenes of the film, and lyrical, inspirational, expansive music to accompany the story’s optimistic resolution (as well as an ingenious quotation from the Oscar-winning song When You Wish Upon a Star by Ned Washington and Leigh Harline from Walt Disney’s 1940 Pinocchio). The score received an Oscar nomination, but it lost

out that year to another of Williams’ most noteworthy achievements, the music for Star Wars.

Selections from Star Wars (1977-2015) Star Wars is a phenomenon, the most successful film series of all time and a cultural icon of almost mythic proportions. George Lucas’ original movie, now titled Episode IV: A New Hope, created an unprecedented sensation when it was released in 1977, and the sequel that appeared three years later — Episode V: The Empire Strikes Back — was praised for the detail and inventiveness of its visual design and the sophistication of its character portrayals. By the time Empire appeared, Lucas had conceived a screen epic of six films, with the original Star Wars as its centerpiece, that would tell the full tale of Luke Skywalker, Han Solo, Princess Leia, Darth Vader, ObiWan Kenobi, Yoda and the galaxy of beings, machines and planets they encounter in the struggle to save the universe from the evil Empire. Following the release of Return of the Jedi (Episode VI, 1983), The Phantom Menace (Episode I, 1999) and Attack of the Clones (Episode II, 2002), the series concluded in 2005 with Episode III, titled Revenge of the Sith. John Williams’ scores for the Star Wars series earned him three Academy Award nominations; he won the third of his five Oscars for A New Hope. Shakespear at the Symphony, Continued From Page 95

The tempo slows, the mood darkens, and the coda emerges with a sense of impending doom. The themes of the conflict and of Friar Lawrence’s entreaties sound again, but a funereal drum beats out the cadence of the lovers’ fatal pact. Romeo’s theme appears for a final time in a poignant transformation before the closing woodwind chords evoke visions of the flight to celestial regions.

Selections from the Incidental Music to A Midsummer Night’s Dream (1826, 1842) FELIX MENDELSSOHN (1809-1847)

As a teenager in Berlin, Mendelssohn was enamored of reading the works of Shakespeare, who, next to the arch-Romantic Jean-Paul, was his favorite author. Shakespeare’s plays had been appearing in excellent German translations by Ludwig Tieck and August Schlegel since the turn of the 19th century, and young Mendelssohn particularly enjoyed the wondrous fantasy world of A Midsummer Night’s Dream. The play inspired the budding composer and plans began to stir in his imagination. Early in July, he wrote in a letter, “I 185

Shakespear at the Symphony, Continued From Page 185

have grown accustomed to composing in our garden. Today or tomorrow I am going to dream there [the music to accompany] A Midsummer’s Night’s Dream. This is, however, an enormous audacity....” Within a few days, however, he had embarked on his “audacity,” and was writing an overture to the play. By August 6th, the work was done. On November 19th, he played the original piano duet version of the score with his sister Fanny on one of the Sunday musicales his prosperous family arranged to show off his accomplishments, and a private orchestral performance followed before the end of the year. In February, the work was first played publicly in Stettin. It immediately garnered a success that has never waned. By 1842, Mendelssohn was the most famous musician in Europe and in demand everywhere. He was director of the superb Gewandhaus Orchestra in Leipzig, a regular visitor to England, and Kapellmeister to King Friedrich Wilhelm IV of Prussia in Berlin. For Mendelssohn’s Berlin duties, Friedrich required incidental music for several new productions at the Royal Theater, including Sophocles’ Oedipus and Antigone, Racine’s Athalie and Shakespeare’s The Tempest and A Midsummer Night’s Dream. This last would, of course, include the celebrated overture Mendelssohn had written when he was seventeen, exactly half his age in 1842. He composed the twelve additional numbers of the incidental music the following spring, creating a perfect match for the inspiration and style of the Overture. The premiere of the new production in November was a triumph. Philadelphia Sound, Continued From Page 99

“the demoniacal fury and sinister elements that form the emotional background of the music.”

Modest Mussorgsky, Pictures at an Exhibition (1874) (ca. 27 min) LEOPOLD STOKOWSKI (1882-1977)

Among Mussorgsky’s friends was the artist and architect Victor Hartmann. Hartmann’s premature death at 39 stunned the composer and the entire Russian artistic community, and the noted critic Vladimir Stassov organized a memorial exhibit of his work in February 1874. In his Pictures at an Exhibition for piano, Mussorgsky recorded his musical impressions of several works in the show. 186 Learn more at BravoVail.org

Promenade. This recurring section depicts Mussorgsky roving through the exhibition, at times sadly, thinking of his friend. The Gnome. Hartmann’s drawing is for a fantastic wooden nutcracker representing a gnome who gives off savage shrieks. Promenade — The Old Castle. A troubadour sings a doleful lament before a ruined fortress. Promenade — Tuileries. Hartmann’s picture shows a corner of the famous Parisian garden filled with nursemaids and their youthful charges. Bydlo. Hartmann’s painting depicts a rugged wagon drawn by oxen. The peasant driver sings a plaintive melody heard first from afar and then close-by before the cart passes away into the distance. Promenade — Ballet of the Chicks in Their Shells. Hartmann’s costume design for the 1871 fantasy ballet Trilby shows dancers enclosed in enormous egg shells. Samuel Goldenberg and Schmuyle was inspired by a pair of pictures depicting two residents of the Warsaw ghetto, one rich and pompous, the other poor and complaining. Mussorgsky based both themes on incantations he had heard on visits to Jewish synagogues. The Marketplace at Limoges. A lively sketch of a bustling market. Catacombs, Roman Tombs. Cum Mortuis in Lingua Mortua. Hartmann’s drawing shows him being led by a guide with a lantern through cavernous underground tombs. The movement’s second section, titled “With the Dead in a Dead Language,” is a mysterious transformation of the Promenade theme. The Hut on Fowl’s Legs. Hartmann’s sketch is a design for an elaborate clock suggested by Baba Yaga, a fearsome witch of Russian folklore who flies through the air. The Great Gate of Kiev was inspired by Hartmann’s plan for a gateway for the city of Kiev in the massive old Russian style. The majestic music suggests both the bulk of the edifice (never built) and a brilliant procession passing through its arches. In 1939, Leopold Stokowski, having conducted the arrangements of Pictures by Ravel and Lucien Cailliet, made his own transcription of the work because, he said, he wanted to bring out its Slavic character more than had other orchestrations. His arrangement offers an alternate view of Mussorgsky’s masterpiece, one that may, indeed, bring the listener closer to the heart of the work than does Ravel’s refined Gallicism. Hadelich, Costanza, & Yang, Continued From Page 105

The second of the Op. 1 Trios, in G major, opens with the earliest slow introduction among Beethoven’s works. There follows a large sonata form whose main theme, beginning with three repeated notes and a

quick rhythmic flourish, opens on a harmony other than the home key, a sophisticated technique also used by Haydn in some of his late symphonies. The complementary theme is a jaunty, little tune initiated by the violin. The second movement is an early example of the temporal scale, depth of expression, and wealth of invention that were, throughout his life, the hallmarks of all Beethoven’s important works. Though the score’s first edition labeled the following movement as a “Menuetto,” it is actually that ancient dance form’s more spirited 19th-century progeny, the scherzo, here fitted with a central trio in a dramatically contrasting minor key. The finale, witty and sparkling, is disposed in full sonata form.

Sonata for Violin and Piano (1914-1921) LEOŠ JANÁČEK (1854-1928)

Leoš Janáček was among those many Czechs at the turn of the 20th century who longed for freedom for their native land from the Habsburgs. Janáček believed that this end could best be achieved by an alliance of all the Slavic peoples led by Russia since, as he wrote in a letter to his friend Richard Vesely, “In the whole world there are to be found neither fires nor tortures strong enough to destroy the vitality of the Russian nation.” It was therefore with mingled feelings that Janáček observed his sixtieth birthday, on July 3, 1914 — apprehensive on one hand over the war that threatened to erupt in Europe, hopeful on the other as rumors of advancing Russian armies flashed through the Czech lands. It was during those crucial, unsettling summer months of 1914 — “when we were expecting the Russian armies to enter Moravia,” he recalled — that Janáček composed his Sonata for Violin and Piano. The Sonata’s first movement, a compact and quirky sonata form, is built from two thematic elements: a broad, arching violin melody and a sharp, stabbing rhythmic motive of two, or sometimes three or four, quick notes. The violin alone introduces the stabbing motive at the outset, which is then taken over by the piano and extended to become an anxious accompaniment to the violin’s broad theme. While the piano whispers the broad melody, the stabbing motive is reinforced by the pizzicato violin to serve as a transition to the lyrical transformation of the main theme that provides a sort of formal second subject. The development juxtaposes the piano’s obsessive repetitions of the stabbing motive (while the violin trills) and the violin’s fragmented recollections of the broad melody (while the piano trills). The Ballada tells a peaceable story, quiet, nocturnal and almost

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ORCHESTRA & CHAMBER NOTES

The dumka was a traditional Slavic (especially Ukrainian) folk ballad of meditative character that often described heroic deeds. It acquired various musical characteristics in different cultures (the composer once reportedly asked the noted folklorist Ludvík Kuba at a chance coffee-house encounter, “Just what is a dumka, anyway?”), so Dvořák felt justified in making his own formal interpretation of it for the six dumky (the plural of dumka) that comprise the Op. 90 Piano Trio, written between November 1890 and January 1891. The form Dvořák created — alternating sections of slow thoughtful music and fast dancing music — not only honors the traditional folk genre but also reflects the emotional constitution of the composer. In his biography of Dvořák, Paul Stefan wrote, “If there is any ‘program’ to the ‘Dumky’ Trio, it is this: melancholy and delirious joy of life combined in the same being.”

to a phrase from Wagner’s Parsifal. One theory was published in 1975 by the Dutch musicologist Theodore van Houten, who speculated that the phrase “never, never, never” from the grand old tune Rule, Britannia fits the requirements, and even satisfies some of the baffling clues that Elgar had spread to his friends. (“So the principal theme never appears.”) We shall never know for sure. Elgar took the solution to his grave. Variation I (C.A.E.) is a tender depiction of the composer’s wife, Alice. Variation II (H.D. S.-P.) represents the warming-up finger exercises of H.D. Steuart-Powell, a piano-playing friend. Variation III (R.B.T.) utilizes the high and low woodwinds to portray the distinctive voice of Richard Baxter Townsend, an amateur actor with an unusually wide vocal range. Variation IV (W.M.B.) suggests the considerable energy of William Meath Baker. Variation V (R.P.A.) reflects the frequently changing moods of Richard Penrose Arnold, son of the poet Matthew Arnold. Variation VI (Ysobel) gives prominence to the viola, the instrument played by Elgar’s pupil Isobel Fitton. Variation VII (Troyte) describes the high spirits of Arthur Troyte Griffith. Variation VIII (W.N.) denotes the grace of Miss Winifred Norbury. Variation IX (Nimrod) is a moving testimonial to A.J. Jaeger, Elgar’s publisher and close friend. Variation X (Dorabella): Intermezzo describes Dora Penny, a friend of hesitant conversation and fluttering manner. Variation XI (G.R.S.) portrays the organist George R. Sinclair and his bulldog, Dan, out for a walk by the River Wye. Variation XII (B.G.N.) honors the cellist Basil G. Nevinson. Variation XIII (* * *): Romanza was written while Lady Mary Lygon was on a sea journey. The solo clarinet quotes a phrase from Mendelssohn’s Calm Sea and Prosperous Voyage Overture and the hollow sound of the timpani played with wooden sticks suggests the distant rumble of ship’s engines. Variation XIV (E.D.U.): Finale, Elgar’s selfportrait, recalls the music of earlier variations.

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the similarity of the opening phrase to the speech rhythm of his name — Ed-ward EL-gar), thus making the variations upon it portraits of his friends as seen through his eyes. The final enigma, the one that neither Elgar offered to explain nor for which others have been able to find a definitive solution, arose from a statement of his: “Through the whole set another and larger theme ‘goes’ but is not played.... So the principal theme never appears.” Conjectures about this unplayed theme that fits each of the variations have ranged from Auld Lang Syne (which guess Elgar vehemently denied)

forced to take his own life because of a homosexual liaison with the underage son of a noble family. Though the manner of Tchaikovsky’s death is incidental to the place of his Sixth Symphony in music history, the fact of it is not. Tchaikovsky conducted his B minor Symphony for the first time only a week before his death. It was given a cool reception by musicians and public, and his frustration was multiplied when discussion of the work was avoided by the guests at a dinner party following the concert. Three days later, however, his mood seemed

Hadelich, Costanza, & Yang, Continued From Page 187

completely unruffled. The third movement fills its three-part form (A–B–A) with a folkish dance melody in the outer sections and a melancholy strain at its center. The elegiac finale describes an unusual formal arch. At first, the piano tries to give out the movement’s main theme, a hymnal melody, only to be interrupted by stuttering interjections from the violin. The piano continues, however, and the violin is gradually won over to the hymn tune, which it states in its full form as the climax of the movement. Doubt is here not to be held long at bay, however, and the Sonata ends with the broken statements and stuttering interruptions of the movement’s opening.

Trio for Piano, Violin, and Cello in E minor, Op. 90, “Dumky” (1890-1891) (ca. 33 min.) ANTONÍN DVOŘ ÁK (1841-1904)

192 Learn more at BravoVail.org

brighter and he told a friend that he was not yet ready to be snatched off by death, “that snubbed-nose horror. I feel that I shall live a long time.” He was wrong. The evidence of the manner of his death is not conclusive, but what is certain is the overwhelming grief and sense of loss felt by music lovers in Russia and abroad as the news of his passing spread. Memorial concerts were planned. One of the first was in St. Petersburg on November 18th, only twelve days after he died. Eduard Napravnik conducted the Sixth Symphony on that occasion, and it was a resounding success. The “Pathétique” was wafted by the winds of sorrow across the musical world, and became — and remains — one of the most popular symphonies ever written, the quintessential expression of tragedy in music. The Symphony opens with a slow introduction dominated by the sepulchral intonation of the bassoon, whose melody, in a faster tempo, becomes the impetuous first theme of the exposition. The tension subsides into silence before the yearning second theme appears, “like a recollection of happiness in time of pain,” according to Edward Downes. The tempestuous development section is launched by a mighty blast from the full orchestra. The recapitulation is more condensed, vibrantly scored and intense in emotion than the exposition. Tchaikovsky referred to the second movement as a scherzo, though its 5/4 meter gives it more the feeling of a waltz with a limp. The third movement is a boisterous march. A profound emptiness pervades the Symphony’s closing movement, which maintains its slow tempo and mood of despair throughout. Tovey & McDermott, Continued From Page 121

Emperor Waltzes, Op. 437 (1888) (ca. 9 min) JOHANN STR AUSS, JR . (1825-1899)

The Emperor Waltzes, written in 1888 as part of the grand celebrations marking the fortieth anniversary of Emperor Franz Josef’s coronation, is the last of the great works in the form composed by Johann, Jr., “the most beautiful flower that the incredible tree of Strauss music had produced in 75 years,” according to the French writer Guillaume Ritter. Conceived for the concert hall rather than for the ballroom, it opens with an introductory march, akin in spirit to the serenades of Mozart, which gives presentiments of the upcoming waltz. The body of the work comprises four separate waltzes in complimentary keys and moods. A wistful coda recalls the themes of the first and third waltzes.

Suite from Der Rosenkavalier, Op. 59 (1909-1910) (ca. 22 min) RICHARD STR AUSS (1864-1949)

The libretto for Der Rosenkavalier, by the gifted Austrian man of letters Hugo von Hofmannsthal, is one of the masterworks of its type for the lyric stage. It gently probes the budding, young love of Octavian and Sophie, poignantly examines the fading youth of the Marschallin, and humorously exposes the blustering Baron Ochs. It is a superb evocation of sentiment, wit and vigor wedded to one of the most glorious musical scores ever composed. Harold Schonberg wrote of the emotional milieu of the opera, “In Der Rosenkavalier, there are no Jungian archetypes, only the human condition. Instead of long narratives, there are Viennese waltzes. Instead of a monumental Liebestod, there is a sad, elegant lament from a beautiful, aristocratic woman who begins to see old age. Instead of death, we get a bittersweet and hauntingly beautiful trio that in effect tells us that life will go on as it has always gone on. People do not die for love in Hofmannsthal’s world. They face the inevitable, surrender with what grace they can summon up, and then look around for life’s next episode. As Strauss himself later said, the Marschallin had lovers before Octavian, and she will have lovers after him.” Der Rosenkavalier is an opera wise and worldly, sophisticated and touching, sentimental and funny that contains some of the most memorable music to emerge from the opera house in the 20th century. The Suite that Strauss extracted from Der Rosenkavalier includes the Prelude to Act I, the luminous Presentation of the Rose from Act II, the blustering Baron Ochs’ Arrival and Waltz from Act II, the glorious trio and duet in the opera’s closing scene, and a rousing selection of waltzes from the score. Chamber with the NYP, Continued From Page 125

movement is in a compact sonata form initiated by a solo fanfare from the horn, and the finale is a joyful rondo filled with wide melodic leaps and dashing figurations.

Contrasts For Violin, Clarinet, And Piano (1938) (ca. 18 min.) BÉL A BARTÓK (1881-1945)

When the Nazi threat began to loom over Hungary in the late 1930s, Bartók took what measures he could to protest the accumulating menace threatening his homeland, though, with the soulless rise of fascism, his actions affected him more than they did the au193

Chamber with the NYP, Continued From Page 193

thorities — he gave up his membership in the Austrian performing arts society because of its Nazi sympathies, he quit his teaching post at the Budapest academy of music, he forbid broadcasts of his music and refused to perform in Germany and Italy, and he left the German publishing firm of universal edition for the English house of Boosey & Hawkes. With his income dependent largely on royalties from performances, making a living became increasingly difficult for him. One who showed special concern for Bartók’s perilous situation was his friend and long-time recital partner, the noted Hungarian violinist joseph Szigeti, who had spent much of his time in America following his Carnegie hall debut in 1925. Since Bartók flatly refused to accept any assistance even faintly tinged with charity, Szigeti concocted an ingenious plan with the clarinetist Benny Goodman, then one of the most popular figures in American music, that would bring his friend income from a commission, performances and a recording. Though Goodman was known primarily as a jazz artist, he also had ambitions for a concert career, and he reached an agreement with Szigeti to commission a work from Bartók that they could perform and record together. Their request reached Bartók in August 1938 in Switzerland, where he was taking a holiday before returning to Budapest after negotiating his new contract with Boosey & Hawkes in London. The work was to consist of a pair of movements — short enough to fit on two sides of a 78-rpm record — in Bartók’s most approachable folk idiom. Bartók accepted the offer, added a piano to the ensemble, and completed the piece in September. By the end of 1939, Hitler had overrun Poland to start World War II and Bartók’s situation became desperate. He traveled to New York in April 1940 to make arrangements for his emigration to this country and brought with him a surprise for Szigeti and Goodman — a slow, middle movement for their piece. Bartók renamed the composition contrasts to denote its varied sonorities. The quick opening movement is a modern concert realization of the Verbunkos, a Hungarian dance of alternating fast and slow sections. Formal contrast is provided by a central passage in the short-long rhythms characteristic of much Hungarian vernacular music. Pihenö (“relaxation”) is quiet and mysterious. Sebes (“fast dance”) is introduced by a mistuned 194 Learn more at BravoVail.org

(scordatura) violin whose diabolical associations are familiar from Saint-Saëns’ Danse macabre and Mahler’s Fourth Symphony. The main body of the movement is occupied by a fiery folk-dance melody cunningly inflected with jazzy elements in tribute to Goodman. The contrasting central episode uses a theme in an irregular meter derived from Bulgarian folk music. The brilliant closing section, which includes a cadenza for the violin, returns the fiery music from the beginning of the movement.

Sextet for Piano, Violin, Viola, Cello, Clarinet, And Horn In C Major, Op. 37 (1935) (ca. 31 min.) ERNST VON DOHNÁNYI (1877-1960)

The Sextet for Piano, Violin, Viola, Cello, Clarinet and Horn is a work of intense lyricism in Dohnányi’s heightened romantic style that draws its structural strength from the music of Brahms and its sense of continual motivic development from Liszt. The opening movement is based on two themes: the first is a broadly arched melody presented by the horn; the other is a more tender strain initiated by the viola. The second movement (Intermezzo) begins and ends with soft, chorale passages, but uses as its extended central section music of a more dramatic character, marked in the score “in the manner of a march.” The following movement is a series of free variations on the folkinflected melody first given by the clarinet. A transition based on the first movement’s arching main theme acts as a bridge to the spirited finale. Midori, Continued From Page 129

to have taken inordinate care to demonstrate the mature quality of his thought (he was, after all, nearly twice Alma’s age) and to justify his lofty position in Viennese artistic life as director of the Court Opera, a circumstance that brought about a radical change in his creative language. The musical style that Mahler initiated with the Fifth Symphony is at once more abstract yet more powerfully expressive than that of his earlier music. In his study of the composer, Egon Gartenberg noted that the essential quality differentiating the later music from the earlier was a “volcanic change to modern polyphony,” a technique of concentrated contrapuntal development that Mahler had derived from an intense study of the music of Bach. “You can’t imagine how hard I am finding it, and how endless it seems because of the obstacles and problems I am faced with,” Mahler confided to his friend Natalie Bauer-Lechner while struggling with the Symphony’s third movement. Free

of his duties at the Opera between seasons, he labored throughout the summer of 1902 on the piece at his little composing hut in the woods, several minutes walk from the main house at Maiernigg. So delicate was the process of creation that he complained that the birds bothered him because they sang in the wrong keys (!). The composition was largely completed by early autumn when the Mahlers returned to Vienna, but Gustav continued to tinker with the score for, literally, the rest of his life. Mahler grouped the five movements of the Fifth Symphony into three parts. Thus, the opening Trauermarsch takes on the character of an enormous introduction to the second movement. The two are further joined in their sharing of some thematic material. The giant Scherzo stands at the center point of the Symphony, the only movement not linked with another. Balancing the opening movements are the Adagietto and the Rondo-Finale of Part III, which have the quality of preface and summation. The structures of the individual movements of the Symphony No. 5 are large and complex, bearing allegiance to the classical models but expanded and re-shaped, with continuous development and intertwining of themes. The Trauermarsch is sectional in design, alternating between music based on the opening trumpet summons and an intensely sad threnody presented by the strings. The following movement (“Stormily moving. With great vehemence”) resembles sonata form, with a soaring chorale climaxing the development section only to be cut short by the return of the stormy music of the recapitulation. The Scherzo juxtaposes a whirling waltz/Ländler with trios more gentle in nature. The serene Adagietto serves as a calm interlude between the gigantic movements surrounding it. The closing movement (Rondo-Finale) begins as a rondo, but interweaves the principal themes with those of the episodes as it unfolds in a blazing display of contrapuntal craft. The triumphant chorale that was snuffed out in the second movement is here returned to bring the Symphony to an exalted close.

two years before — the shows played across the street from one another for almost two years. Hammerstein adapted the book for Carousel from Ferenc Molnár’s play Liliom, transferring its setting from Budapest in 1919 to the New England shore in 1873 as the vehicle for some of his most powerful and poignant lyrics, which Rodgers matched with one of his greatest scores. The story, part realism and part fantasy, tells of Billy Bigelow, a ne’er-do-well carnival barker, who falls in love with the sweet Julie Jordan. They marry, but Billy, desperate for money to support his unborn child, is killed in an attempted robbery. After fifteen years in Purgatory, Billy is allowed one day back on earth to redeem his soul by convincing his daughter and wife of his undying love for them. Instead of the usual potpourri overture to open Carnival, Rodgers created a superb sequence of waltzes as the accompaniment for a pantomime introducing the show’s setting and characters and establishing its carnival mood.

Concert Suite No. 1 from West Side Story for Soprano, Tenor, and Orchestra (1957) (ca. 20 min) LEONARD BERNSTEIN (1918-1990)

West Side Story, with a score by Leonard Bernstein and lyrics by Stephen Sondheim in his Broadway debut, was one of the first musicals to explore a serious subject with wide social implications. More than just the story of the tragic lives of ordinary people in a small, grubby section of New York, it was concerned with urban violence, juvenile delinquency, clan hatred and young love. The show was criticized as harshly realistic by some, but most recognized that it expanded the scope of the musical through references both to classical literature (Romeo and Juliet) and to the pressing problems of modern society. The music comprising the Concert Suite No. 1 encapsulates the relationship of Tony and Maria: Maria; One Hand, One Heart; Somewhere; and Balcony Scene.

Lullaby for Strings (1919) (ca. 8 min) GEORGE GERSHWIN (1898-1937)

An American Celebration, Continued From Page 133

Anderson’s first big hit.

Carousel Waltz (1945) (ca. 8 min) RICHARD RODGERS (1902-1979)

The opening of Carousel at the Majestic Theatre on April 19, 1945 confirmed the phenomenal success that Richard Rodgers and Oscar Hammerstein had won on Broadway with Oklahoma!, their first collaboration,

George Gershwin joined the Tin Pan Alley firm of Remick in 1914 (at the tender age of sixteen) as a “song plugger,” a pianist who played through the latest sheet music issues for any interested customer. He quickly became familiar with the most popular styles of the day, and was soon composing his own music — the piano rag Rialto Ripples dates from 1917, and his first hit, Swanee, was written in mid-1918 and introduced in a revue at the opening of the Capitol Theatre on 195

An American Celebration, Continued From Page 195

Broadway on October 24, 1919. Even from those earliest years, however, Gershwin hoped to become more than just another dispenser of pop tunes, and in August 1919 he began two years of formal study of harmony, counterpoint and form with the Hungarianborn composer Edward Kilenyi, Sr. In addition to his regular exercises for Kilenyi, in 1919 he wrote a little string quartet piece in a gentle, slow blues style that the young composer called Lullaby. Mozart & Shostakovich, Continued From Page 137

Symphony (“Leningrad”) in 1942. The 1948 censure was, however, almost more than Shostakovich could bear. He determined that he would go along with the Party prerogative for pap and withhold all of his substantial works until the time when they would be given a fair hearing — when Stalin was dead. About the only music Shostakovich made public between 1948 and 1953 was that for films, most of which had to do with episodes in Soviet history (The Fall of Berlin, The Memorable Year 1919), and some jingoistic vocal works (The Sun Shines Over Our Motherland). With the death of Stalin on March 5, 1953 (ironically, Prokofiev died on the same day), Shostakovich and all Russia felt an oppressive burden lift. The thaw came gradually, but there did return to Soviet life a more amenable attitude that allowed significant compositions again to be produced and performed. Shostakovich set to work almost immediately on a large, bold symphony, a composition that was to prove the greatest he had written to that time in the form — the Symphony No. 10. The Symphony’s first movement grows through a grand arch form whose central portions carry its greatest emotional intensity. The music is built from three themes, each of which undergoes a certain amount of development upon its initial presentation. The first is a darkly brooding melody that rises from the depths of the low strings immediately at the beginning. The second theme appears in the clarinet; the third emerges in the breathy low register of the solo flute as a sort of diabolical waltz. These three elements — low string, clarinet and flute melodies — provide the material for the rest of the movement. The menacing second movement, a musical portrait of Stalin, is, in the words of Ray Blokker, “a whirling fireball of a movement, filled with malevolent fury.” 196 Learn more at BravoVail.org

The opening gesture of the third movement, three rising notes, is related in shape to the themes of the first two movements and provides a strong link in the overall unity of the Tenth Symphony. As a tag to this first theme, Shostakovich included his musical “signature” — DSCH, the notes D–E-flat–C–B. (The note D represents his initial. In German transliteration, the composer’s name begins “Sch”: S [ess] in German notation equals E-flat, C is C, and H equals B-natural.) The movement’s center section is dominated by an unchanging horn call that resembles the awesome riddle of existence posed by the solo trumpet in Ives’ The Unanswered Question. The opening section returns in a heightened presentation. The movement closes with Shostakovich’s musical signature, played haltingly by flute and piccolo, hanging in the air. The finale is both festive and thoughtful while recalling thematic material from earlier movements to serve as a summary of the entire work. Concerning the ending of the Symphony, the British writer on music Hugh Ottaway wrote, “The impact is affirmative but provisional: anti-pessimistic rather than optimistic.” Baroque Dances Through Time, Continued From Page 141

Excerpts for String Quartet from The Art of Fugue, BWV 1080 (1742-1749) (ca. 23 min) JOHANN SEBASTIAN BACH

The Art of Fugue was the final product of Bach’s incomparable genius. It was the custom at that time in Germany for men of great learning to gather up their thoughts on a lifetime of work as they approached their last years, compiling a sort-of autobiography of their contribution to their discipline. Bach, in his sixties and with his eyesight failing, was not immune to this need for summing-up, and the major creations of his last years — A Musical Offering, Schübler Chorales, Chorale Variations on “Vom Himmel Hoch,” The Art of Fugue and even the B minor Mass — were conceived as demonstrations of the highest technical skill attainable in the field of musical composition. He apparently began planning The Art of Fugue in the early 1740s, and sketched some of its movements (to which he gave the Latin title Contrapunctus to emphasize their learned character) before 1745. By 1749, the project pressed itself upon him urgently because of the troubling deterioration of his health. His health declined steadily during the following months, and he had to take his last Communion at home, on July 22, 1750. He died on the evening of July 28th, after a stroke and was buried at St. John’s cemetery three days later. “The loss of this uncommonly able man is uncommonly

mourned by all true connoisseurs of music,” reported the Spenersche Zeitung a week later.

New Music for Strings & Voices, Continued From Page 142

Partita for 8 Voices (2009-2011) (ca. 24 min)

Selections from John’s Book of Alleged Dances for String Quartet (1994) (ca. 14 min.)

CAROLINE SHAW (B. 1982)

JOHN ADAMS (BORN IN 1947)

The score’s inscription reads: “Partita is a simple piece. Born of a love of surface and structure, of the human voice, of dancing and tired ligaments, of music, and of our basic desire to draw a line from one point to another.” Each movement takes a cue from the traditional baroque suite in initial meter and tone, but the familiar historic framework is soon stretched and broken, through “speech, whispers, sighs, murmurs, wordless melodies, and novel vocal effects” (Pulitzer jury citation). Roomful of Teeth’s utterly unique approach to singing and vocal timbre originally helped to inspire and shape the work during its creation, and the ensemble continues to refine and reconsider the colors and small details with every performance. Allemande opens with the organized chaos of square dance calls overlapping with technical wall drawing directions of the artist Sol LeWitt, suddenly congealing into a bright, angular tune that never keeps its feet on the ground for very long. There are allusions to the movement’s intended simulation of motion and space in the short phrases of text throughout, which are sometimes sung and sometimes embedded as spoken texture. Sarabande’s quiet restraint in the beginning is punctured in the middle by an ecstatic, belted melody that resolves quietly at the end, followed soon after by the Inuitinspired hocketed breaths of Courante. A wordless quotation of the American folk hymn “Shining Shore” appears at first as a musical non sequitur but later recombines with the rhythmic breaths as this longest movement is propelled to its final gasp. Passacaglia is a set of variations on a repeated chord progression, first experimenting simply with vowel timbre, then expanding into a fuller texture with the return of the Sol LeWitt text. At Passacaglia’s premiere in 2009, there was spontaneous applause and cheering at the explosive return of the D-major chord near the end — so feel free to holler or clap any time if you feel like it. Of the premiere of Partita, New York magazine wrote that I had “discovered a lode of the rarest commodity in contemporary music: joy.” And it is with joy that this piece is meant to be received in years to come. – Caroline Shaw

John Adams is one of today’s most acclaimed composers. Audiences have responded enthusiastically to his music, and he enjoys a success not seen by an American composer since the zenith of Aaron Copland’s career: a recent survey by the League of American Orchestras found John Adams to be the most frequently performed living American composer; he received the University of Louisville’s distinguished Grawemeyer Award in 1995; in 1997, he was the focus of the New York Philharmonic’s Composer Week, elected to the American Academy of Arts and Letters, and named “Composer of the Year” by Musical America Magazine; in 2003, he received the Pulitzer Prize for On the Transmigration of Souls, written for the New York Philharmonic in commemoration of the first anniversary of the World Trade Center attacks; from 2003 to 2007, Adams held the Debs Composer’s Chair at Carnegie Hall; he has been granted honorary doctorates by Juilliard, Cambridge, Harvard, Yale and Northwestern, honorary membership in Phi Beta Kappa, and the California Governor’s Award for Lifetime Achievement in the Arts. Adams wrote, “John’s Book of Alleged Dances (1994), written for the Kronos Quartet, is a collection of ten dances (which may played in any order or any grouping)…. The dances were ‘alleged’ because the steps for them had yet to be invented. The general tone is dry, droll, sardonic. The music was composed with the personalities of the original Kronos players very much in mind. The little pavane, She’s So Fine, for example, is expressly made for Joan Jeanrenaud’s sweetly lyrical high cello register.”

I Have Stopped The Clocks RINDE ECKERT (BORN 1951)

This is a fragment from a larger piece I wrote about a crisis in the life of a man running a psychology experiment. I thought it worked poetically on its own. While working with Roomful of Teeth (in the first year of their existence) I recalled it and had the idea of a kind of a loose canon. We had already explored extended vocal techniques in a few other pieces I wrote for them that summer, so I made this as a kind of ballast, an elegant, I hoped, poetic/choral gestalt. –Rinde Eckert

197

structure into other forms in nature and the complete continuity and maintenance – in spite of the unraveling – of our consciousness and feeling. – Brad Wells

New Music for Strings & Voices, Continued From Page 197

Montmartre (2009) JUDD GREENSTEIN (BORN 1979)

Montmartre is an exploration of sound and color, opening with a counterpoint between throat-singing men and yodeling women, then moving on through a variety of more familiar vocal production techniques, belted and bell-like. I named the work after the famous Paris neighborhood because it’s where the concepts of sound and timbre were finally elevated to their rightful place alongside harmony, counterpoint, and voice leading in the Western classical tradition. – Judd Greenstein

“Said Apollo…” (2014) ERIC DUDLEY (BORN 1979)

One night, I was amused and inspired while cooking with a friend who told me a slightly different version of the Prometheus story – that instead of stealing the fire, the hero was gifted by Apollo with a spark trapped inside a fennel frond. That generated the single line of text that provides the syllabic material for the piece: Said Apollo…take a spark and make a fire. – Eric Dudley

No (2010) CALEB BURHANS (BORN 1980)

In this piece I was looking to create a rhapsodic solo which would float atop a flickering texture of the deconstructed word “no”. I was also attempting, if for five minutes, to give the word no a positive spin. – Caleb Burhans

Vesper Sparrow (2012) MISSY MAZZOLI (BORN 1980)

Vesper Sparrow is an eclectic amalgamation of imaginary birdsong and my own interpretation of Sardinian overtone singing. In this piece I tried to capture the exuberance and energy of these individual singers as well as a bit of the magic that is created when this group comes together. – Missy Mazzoli

Render (2013) BRAD WELLS (BORN 1961)

Written in a cottage in northern Vermont, Render is a song inspired by David Eagleman’s short story, Search. The story describes a vision of the afterlife as both the periodic unraveling of our material, molecular 198 Learn more at BravoVail.org

Amid the Minotaurs (2010) WILLIAM BRITTELLE (BORN 1976)

Amid the Minotaurs is based on an absurdist poem I wrote roughly around the subject of Paul William “Bear” Bryant (September 11, 1913 – January 26, 1983) and his legacy. Bryant was an American college football player and coach, best known as the longtime head coach of the University of Alabama football team. Bryant was also a war hero of sorts; following the bombing of Pearl Harbor, Bryant joined the United States Navy. “Minotaurs”, in the case, refers to both the young football players and soldiers who followed Bryant into brutal battle, both on the field and at sea. – William Brittelle

Quizassa (2011) MERRILL GARBUS (BORN 1979)

I needed to drum up some courage to compose for these amazing singers, so I decided to draw inspiration from some powerful folk music, in particular Bulgarian and other Eastern European choral traditions. I have been thrilled to work with singers who cry, “more, more!” instead of, “we can’t do that!” and they have taught me so much (including the Inuit throat singing games that begot the middle section of the song). – Merrill Garbus Gunn & Bartók, Continued From Page 143

Quintet with the Prill Quartet in Vienna on November 21, 1904, but the scheduled Budapest premiere two weeks later had to be postponed because the local string players could not master their parts in time. The work was not heard in Budapest until 1910, on an allBartók concert that also included the first performance of the String Quartet No. 1. Bartók was upset, however, when conservative critics rated this early Quintet above his more recent works, and furious when he faced a similar reaction following a performance in 1920. It was thought for some time that he had destroyed the score in anger after the 1920 concert, but he actually kept it in his files and carried it with him to America when he emigrated in 1940. In 1963, it was discovered by Denis Dille when he was researching his thematic catalog of Bartók’s early compositions and published in 1970. The Piano Quintet summarizes the training and sympathies of Bartók’s youth: its ambitious scale, motivic development and full textures may be traced to

the chamber music of Brahms, its cyclical procedures and thematic transformation to Liszt’s tone poems and Piano Sonata, its opulent harmonies to Strauss (and even in a few passages to Debussy), and its folkish melodies to the Gypsy fiddlers of Budapest’s cafés and the small towns of his childhood. The introduction presents three musical threads from which much of the music of the following movements is woven: a rising string phrase in chromatic harmonies; a heroic motive supported by the piano’s first entry; and a soulful melody in the viola. The main body of the opening movement follows a continuously unfolding sonata form whose main elements are a principal theme of descending shape and a subsidiary subject in close harmony begun by the lower strings. The scherzo derives its theme from the soulful melody of the introduction; the central trio is occupied by a gentle waltz and a fiery dance that is also a transformation of the introduction’s soulful melody. The outer sections of the Adagio’s three-part form (A–B–A) are based on a variant of the introduction’s chromatic phrase, while yet another reworking of the soulful melody is heard in the center. The finale turns the introduction’s heroic motive into a vibrant czardás.

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