2017 Bravo! Vail Program Book

LUXURY IS AN EXPERIENCE NOT JUST A PRICE POINT

Buying or selling your home requires knowledge and skilled negotiations: Real estate career sales over $1 Billion, and over $50 Million in year-to-date sales.

971 Spraddle Creek Road | Vail 5 beds | 7,292 SF | $9,995,000 Tye Stockton | 971SpraddleCreekEstate.com

Colossal 180º Views | 1675 Aspen Ridge Road | Vail 5 beds | 6,486 SF | $5,200,000 Tye Stockton | 1675AspenRidgeRoad.com

Tye Stockton ranks #126 nationally in the REAL Trends Inc. & The Wall Street Journal’s top 200 real estate professionals for sales volume in 2016.

See our featured properties at tsgvail.com 970.470.6212 *

Vail MLS residential data from 1/1/15 to 3/23/17.

stockton GROUP

VAIL︱BEAVER CREEK︱BACHELOR GULCH

VAIL VILLAGE | 333 BEAVER DAM ROAD

5-bed | 10-bath | 11,007+/- sq.ft. | $34,000,000 Catherine Jones Coburn | 970.390.1706 | cjones@slifer.net Donna Caynoski | 970.390.4324 | dcaynoski@slifer.net

VAIL VILLAGE | FOUR SEASONS CLUB #5102B 3-bed + den | 3-bath | 3,008+/- sq.ft. | $495,000 *Availability without den Diana Mathias | 970.471.6000 | dmathias@slifer.net

BACHELOR GULCH | 41 SKYWATCH COURT 5-bed | 7-bath | 4,409+/- sq.ft. | $4,295,000 Catherine Jones Coburn 970.390.1706 | cjones@slifer.net

BACHELOR GULCH | RITZ-CARLTON #R-508 3-bed | 3-bath | 2,226+/- sq.ft. | $4,075,000 Amy Dorsey | 970.471.2374 | adorsey@slifer.net

We live here, we work here, we play here.

Find your place at: VAILREALESTATE.COM SINGLETREE | 23 BUCKBOARD ROAD

3-bed | 3.5-bath | 4,034+/- sq.ft. | $1,749,000 Led Gardner | 970.376.0223 | lgardner@slifer.net

18 OFFICES | 100 BROKERS

Helping People LIVE LOCAL for Over 50 Years

VAIL VILLAGE | CHALET THREE AT THE LODGE AT VAIL 5-bed | 6.5-bath | 4,955+/- sq.ft. | $13,850,000 Carroll Tyler | 970.390.0934 | ctyler @slifer.net Dana Dennis Gumber | 970.390.2787 | dgumber@slifer.net

BEAVER CREEK | 65 ELK TRACK COURT

7-bed | 11-bath | 11,795+/- sq.ft. | $11,500,000 Steve Cardinale | 970.376.4090 | scardinale@slifer.net

CORDILLERA - THE RANCH | 105 BEARCAT POINT

5-bed | 6.5-bath | 7,130+/- sq.ft. | $3,195,000 Karen Poage | 970.390.5717 | kpoage@slifer.net

LIONSHEAD | LANDMARK VAIL #517

2-bed | 3-bath | 1,592+/- sq.ft. | $2,352,000 The McSpadden Team | 970.390.7632 | hmcspadden@slifer.net

CASCADE VILLAGE | 1320 WESTHAVEN CIRCLE

6-bed | 6.5-bath | 4,625+/- sq.ft. | $4,250,000 Sue Rychel | 970.477.5730 | srychel@slifer.net

WE GIVE A DIME Whatever your passion, change starts with you.

Each time you use your debit card, Alpine Bank donates 10 cents to local nonprofits. Last year, Alpine Bank donated nearly $1 million, one dime at a time. Spark change in your community by getting your card today. #WeGiveADime

3 8

L O C A T I O N S

F R O M

D E N V E R

T O

D U R A N G O

LLC

STEVENS, LITTMAN, BIDDISON, THARP & WEINBERG, LLC A full service law firm for 30 years, serving the front range, Vail Valley and beyond •Estate Planning/Wills and Trusts• •Family Law and Divorce• •Real Estate Transactions & Litigation• •Civil and Criminal Litigation•

• Andrew Littman • Rohn Robbins • BOULDER OFFICE

VAIL OFFICE

250 Araphoe Rd. #301 • Boulder, Colorado 80302 1448 Vail Valley Drive B •Vail, Colorado 81657 Telephone: 303-443-6690 •Toll Free: 800-273-1802 Telephone: 970-949-9989 •Toll Free: 800-273-1802 Fax: 303-449-9349 Fax: 970-477-0850

www.slblaw.com

IMAGINE YOURSELF HERE...

BACHELOR GULCH | 880 DAYBREAK RIDGE

ARROWHEAD | 105 EAGLE RIVER ROAD

Indulge in Rocky Mountain luxury from this ski-in/ski-out 5-bed, 8-bath estate less than a ¾ mile walk to the 5-star amenities of the Ritz Carlton Bachelor Gulch. This rare oasis of privacy is surrounded by ski area on three sides and features fabulous outdoor entertaining spaces, panoramic ski mountain view, A/C, main-level master, generous family room and private office.

A rare find with unparalleled Eagle River frontage and views, this 5-bed, 7-bath developer’s personal home has superior finishes throughout and a complimentary shuttle to the slopes. The elegant floorplan offers a vaulted great room, oversized family room, wet bar, wine cellar, movie theater and main-level master, all surrounded by the soothing sound of the Eagle River.

880DAYBREAKRIDGE.COM

105EAGLERIVERROAD.COM

Offered for $8,950,000 fully furnished | +/-7,918 sq.ft.

For more information on these homes or the Vail Valley real estate market, contact:

Offered for $5,650,000 partially furnished | +/-7,519 sq.ft.

RICK PIROG & JOHN TYLER

970.390.0608 | rpirog@slifer.net 970.904.0355 | jtyler@slifer.net

Experience the Rhythm of Cordillera

Nestled in the Vail Valley on more than 7,000 pristine acres, Cordillera offers unparalleled luxury mountain living with exquisite amenities including four golf courses, an athletic center, private ďŹ shing waters and hiking trails, an equestrian center, community gathering places and endless opportunities for yearround outdoor activities.

Visit CordilleraLiving.com

1

Redefining Real Estate in the Vail Valley

2

3

1

Mountain Star 285 Mountain Sage | $7,495,000 6 Bedroom | 6.5 Bath | 8,755 sq. ft.

Jackie Northrop, 970-390-2315 Page Slevin, 970-390-7443

2

Sweetwater 1394 County Road 151 | $4,868,500 6 Bedroom | 5 Full/2 Half Bath | 8,398 sq. ft.

Rick Messmer, 970-376-0041

3

BHHSColoradoProperties.com

8 Offices | 100 Brokers | Real Estate & Vacation Rentals | Since 1971 Š 2015 BHH Affiliates, LLC. An independently owned and operated franchisee of BHHS Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.Ž

Bachelor Gulch Bearpaw Lodge B301 | $3,149,500 4 Bedroom | 5.5 Bath | 2,938 sq. ft.

Andrew Keiser, 970-331-4695

BERGLUND Sophisticated Mountain Architecture

Vail, CO

970 926 4301

ARCHITECTS, LLC

Innovative Sustainable Design

Inspired By Our Surroundings

www.berglundarchitects.com

WHY KATHLEEN

W

ith over 17 years of Vail Valley real estate experience, Kathleen Eck offers her clients a distinctive blend of executive professionalism, insider’s knowledge of the real estate market and community culture.

25 W Lake Creek Road

Kathleen Eck

LAKE CREEK VALLEY

Kathleen Eck

Specializing in luxury properties throughout the Vail Valley, Kathleen’s invaluable connections and in-depth knowledge of buying and selling real estate in Colorado allow her to deliver a higher standard of customer service.

CONNECTED | RESPECTED | TRUSTED

Vail | Bridge Street 970-479-5766 | keck@slifer.net | www.KathleenEck.com

Incomparable real estate knowledge in the Vail Valley.

VAIL | 197 ROCKLEDGE ROAD 4-bed | 4.5-bath | 3,969+/- sq.ft. | $9,495,000

BEAVER CREEK | 161 WAYNE CREEK ROAD 4-bed | 4.5-bath | 4,616+/- sq.ft. | $3,470,000

RED CREEK TRAIL RANCH | 65.05 ACRES | EQUESTRIAN FACILITIES 4-bed | 4.5-bath | 5,756+/- sq.ft. main house | $4,100,000

VAIL | 815-814 POTATO PATCH DRIVE 6-bed | 10-bath | 12,197+/- sq.ft. | $10,500,000

LAKE CREEK | 350 OLD CREAMERY ROAD 5-bed | 7-bath | 7,398+/- sq.ft. | $4,995,000

SQUAW CREEK | 1609 COLOROW ROAD 5-bed | 5.5-bath | 5,170+/- sq.ft. | $4,400,000

PASSIONATE ABOUT COMMUNITY

|

PROVEN RESULTS

|

DEDICATION AND SERVICE

Paul Gotthelf

Tina Vardaman

970.376.1775 pgotthelf@slifer.net www.GottMountainHomes.com

970.390.7286 tvardaman@slifer.net www.TinaVardaman.com

0.4316 in

Bravo!

Vail

The sound of extraordinary

Christopher Aitken, CIMA® Managing Director–Wealth Management 904-280-6020 christopher.aitken@ubs.com

Ken Tonning Vice-President–Wealth Management 904-280-6021 ken.tonning@ubs.com

Aitken Associates UBS Financial Services Inc. Private Wealth Management 816 A1A North, Suite 300 Ponte Beach, FL 32082 904-280-0100 Accolades for Christopher Aitken Named to the Barron’s Top 1,200 Advisors, 2017 Named to the Financial Times 400 Top Financial Advisers, 2016 Named to the Forbes America’s Top Wealth Advisors, 2016

ubs.com/team/aitken

Accolades are independently determined and awarded by their respective publications. Neither UBS Financial Services Inc. nor its employees pay a fee in exchange for these ratings. Past performance is no guarantee of future results. For more information on a particular rating, please visit ubs.com/us/en/ designation-disclosures. Private Wealth Management is a division within UBS Financial Services Inc., which is a subsidiary of UBS AG. Certified Financial Planner Board of Standards Inc. owns the certification marks CFP® and Certified finanCial PlannerTM in the U.S. CIMA® is a registered certification mark of the Investment Management Consultants Association Inc. in the United States of America and worldwide. © UBS 2017. All rights reserved.

UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC.EXC_0144_Ailken

UNSURPASSED QUALITY SERVICE

The Vail Valley Jet Center is dedicated to exceeding our customers’ travel expectations during their time in the Rocky Mountains. We pride ourselves on setting the standard for aviation service excellence while continuing to be a top‑ranked FBO over the last 14 years. Don’t waste your precious time traveling to and from Denver. Plan your next getaway into the Vail Valley Jet Center, located just 30 minutes away from incredible hiking, biking, and dining experiences you will only find in beautiful Colorado!

Two Flight Schools No Noise Restrictions Car and Driver Concierge Service

9 7 0 . 5 2 4 .7 7 0 0 8 71 C o o l e y M e s a R d .

G y p s u m , C O 816 3 7 w w w.V VJC.com

Exceptional Properties In The

WORLD'S FINEST DESTINATIONS

Now Open in Beaver Creek Adding to Engel & Völkers’ presence in the most desirable destinations around the world, we now offer world-class service in both Vail Village and Beaver Creek.

SEBASTIAN PRIVATE CLUB RESIDENCES, VAIL VILLAGE $200,000-$700,000 Karin Millette, 970.376.0691

180 DAYBREAK #813, BACHELOR GULCH • $2,395,000 Kris Bruce, 970.376.6656 Mike Seguin, 970.904.1551

1460 RIDGE LANE #C, VAIL $1,475,000 Carrie Dill, 970.390.4240

Learn more about the company changing how real estate is done in the Vail Valley at vail.evusa.com

Vail Village

242 East Meadow Drive, Suite D Vail, CO 81657 • USA PHONE 970-477-5300

Beaver Creek

EMAIL

vail@evusa.com

•

WEBSITE

vail.evusa.com

63A Avondale Lane #C003 Beaver Creek/Avon, CO 81620 • USA PHONE 970-926-6097

©2017 Engel & Völkers. All rights reserved. Each brokerage independently owned and operated. All information provided is deemed reliable but is not guaranteed and should be independently verified.

Engel & Völkers and its independent License Partners are Equal Opportunity Employers and fully support the principles of the Fair Housing Act.

OPERACOLORADO.ORG | 303.468.2030

MUSIC BY GERALD COHEN | LIBRETTO BY DEBORAH BREVOORT

JANUARY 25 | 27 | 28 | 30 | 2018

GIACOMO PUCCINI

NOV. 4 | 7 | 10 | 12 | 2017

"They would meet behind the barracks to imagine what their future life could be. Those imaginings formed a story that sustained them. It was a simple story, to be sure—of ordinary breakfasts, and butter for the bread—but it nevertheless held great power and ultimately enabled them to survive. When everything is taken away, only the essential remains."

— DEBORAH BREVOORT

GIUSEPPE VERDI

MAY 5 | 8 | 11 | 13 | 2018 *A season package is one ticket for La Bohème and one ticket for Falstaff.

bear basics

ᰠ䔀砀瀀爀攀猀猀 夀漀甀爀 圀漀爀氀搀ᴠ

䄀爀挀栀椀琀攀挀琀甀爀攀 眀眀眀⸀戀攀琀栀氀攀瘀椀渀攀愀爀挀栀椀琀攀挀琀⸀挀漀洀 㤀㜀 ⸀㤀㈀㘀⸀㐀㤀㤀㌀ 戀攀琀栀䀀戀攀琀栀氀攀瘀椀渀攀愀爀挀栀椀琀攀挀琀⸀挀漀洀

☀䤀渀琀攀爀椀漀爀 䐀攀猀椀最渀

眀眀眀⸀樀瀀漀眀攀氀氀椀渀琀攀爀椀漀爀搀攀猀椀最渀⸀挀漀洀 㤀㜀 ⸀㌀㜀㘀⸀㈀㐀㈀㈀ 樀椀洀䀀樀瀀漀眀攀氀氀椀渀琀攀爀椀漀爀搀攀猀椀最渀⸀挀漀洀

Lake Creek Valley

1939 SADDLE HORN WAY 5-bed | 6.5-bath | 8,875+/- sq.ft. | 3+ Car Garage 1939saddlehorn.vailrealestate.com To view all of our listings, visit: va i l b e av e r c r e e k l u x u ry h o m e s . c o m

The A-Team of Anna Menz & David Adkins Anna Menz

David Adkins

970.471.3525 amenz@slifer.net

970.331.1590 dadkins@slifer.net

POWERFUL TEAM. EXCEPTIONAL SERVICE. PROVEN RESULTS. Long-time locals who are passionate about helping you LIVE LOCAL.

the

FINEST SPIRITS - Free delivery - Best pricing

in the vail valley

BEER | WINE | LIQUOR

- Event planning

Hours:

Monday-Saturday 9am-10pm Sunday 11am-7pm

Location:

- Largest selection

2151 N. Frontage Road W. in West Vail between Safeway and McDonald’s

Visit our online store at

www.westvail.com Beverage Sponsor of

970-476-CORK (2675)

Serving Vail for 45 years!

TIME STOOD STILL

56 Rose Crown | $21,950,000 | 6 beds | 9 baths | 9,824 SF 56RoseCrown.com

2150 Daybreak Ridge Road | $11,500,000 | 7 beds | 10 baths | 10,000 SF

Golden Peak Penthouse R2 | $9,750,000 | 4 beds | 5 baths | 3,575 SF

2150Daybreak.com

VailLuxuryPenthouse.com

DAVID M c HUGH 970.376.7171 david.mchugh@sothebysrealty.com

BARBARA SCRIVENS 970.471.1223 barbara.scrivens@sothebysrealty.com

EVERY DAY

MADE BETTER

HOT TUBS & POOLS • FITNESS • MAINTENANCE DESIGN & BUILD • OUTDOOR LIVING

MCPSVAIL.COM

VAIL 970.949.6339

Free start up kit with spa purchase* *Must present coupon for offer.

DAY TURNED TO DUSK

1548 Via La Favorita | $19,500,000 | 8 beds | 14 baths | 16,559 SF | 142 Acres (plus 88 adjacent acres donated as open space) VailLegacyEstate.com

1117 Summit Trail | $3,100,000 | 7 beds | 8 baths | 6,966 SF

318 Kicking Horse Trail | $6,400,000 | 7 Beds | 11 Baths | 15,614 SF

SummitCordilleraLuxury.com

CordilleraLuxuryRanch.com

MALIA COX NOBREGA 970.977.1041 malia.nobrega@sothebysrealty.com

BARBARA SCRIVENS 970.471.1223 barbara.scrivens@sothebysrealty.com

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

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

Exquisite Gifts Fine Flowers & Happenings Riverwalk at Edwards 970-926-5000 vailvintagemagnolia.com

142 Beaver Creek Place Avon, CO 81620 | 970-949-7166 | www.thelinenkist.com 142 Beaver Creek Place Avon, CO 81620 | 970-949-7166 | www.thelinenkist.com

Enjoy the Sunny Side of Vail....

1000 Spraddle Creek Enjoy endless sunshine and magnificent panoramic views of Vail Mountain from every room in this breathtaking home located in Vail’s most exclusive private, gated neighborhood. Boasting over 12,000 square feet, this five bedroom, nine bath home includes custom infinity pool and spa hot tub, office tower, movie theatre, spacious home gym with steam shower, detached massage hut, and oversized four car garage.

1179 Spraddle Creek Bathed with sunlight this elegant five bedroom, six bath home has sweeping ski slope views from every room. Beautiful wood and stone detailing throughout create a warm and inviting atmosphere.

Media room, meditation room, custom spa and traditional European AGA stove with copper detailing are just a few of the custom touches that make this home so unique.

285 Bridge Street Vail, Colorado 81657

970/476.1987 www.ronbyrne.com

Mountains of Convenience for an Incredible Experience

Air Canada American Airlines Delta Airlines United Airlines

Nonstop Flights to

Atlanta Chicago Dallas Denver Houston Los Angeles Miami New York Newark Phoenix Toronto Washington DC

416 Forest Road

Your Backyard on Vail Mountain.

Opportunity to own a ski-in home

The Private Private Chef Chef Experience ExperienceIn InAAWorld WorldClass ClassDestination Destination The

Featured Caterer Catererof ofthe the Featured 2017 Bravo!Vail Bravo!Vail Classically ClassicallyUncorked UncorkedSeries Series 2017

Intimate, Intimate, formal formalDinner DinnerParties Parties Weddings & Corporate Events Weddings & Corporate Events Culinary Culinary Lessons Lessons& &Demonstrations Demonstrations

RedCanyonCatering | 970-390-3279 RedCanyonCatering.com .com | 970-390-3279

Brian Farquharson Brian Farquharson Private Chef, Owner Private Chef, Owner

Satisfying Discerning Palates in the Vail Valley since 2003 Satisfying Discerning Palates in the Vail Valley since 2003

3O YEARS OF BRAVO! VAIL

WELCOME TO THE EXTRAORDINARY 30TH SEASON

3O

years ago, Bravo! Vail opened its doors with three concerts and a vision to bring great music to Vail. Today, that vision has blossomed into a summer home to the world’s finest musicians and ensembles, with dozens of performances and expanding engagement programs for all ages.

This 2017 season is truly a once-in-a-lifetime celebration, with exciting new initiatives to kick off the next 30 years. Four of the greatest orchestras of our time offer some of the most powerful and well-loved masterworks ever written. Two Music Directors lead their farewell concerts. Five commissioned works receive their world premieres. Not to mention sensational pops shows, world renowned soloists, innovative chamber artistry, and delightful family programs, all in spectacular settings throughout the Vail Valley.

PHOTOS BY ZACHMAHONE .COM UNLESS OTHERWISE NOTED

WELCOME TO BRAVO! VAIL’S 30TH SEASON! Bravo! is celebrating 30 years of making music in the glorious Rocky Mountains with the launch of exciting new initiatives alongside the growth of current, beloved programs. Your enthusiasm and generosity makes it all possible. Thank you!

The music begins with the Academy of St Martin in the Fields who return to Vail after their phenomenal debut last year. They are followed by the residencies of the Dallas Symphony, The Philadelphia Orchestra, and the New York Philharmonic. The Festival concludes with

JENNIFER TEISINGER Executive Director

the popular Classically Uncorked series, presented by Arietta Wine, at Donovan Pavilion.

The first concerts Bravo! ever presented in Vail were chamber music performances. Today, the Classically Uncorked and Chamber Music Series are among the most popular Bravo! concerts, so we are taking them to new heights this season with a record number of string quartets: seven of them throughout the Festival! The world-famous Emerson String Quartet makes their debut this summer along with the Danish String Quartet, the first international chamber ensemble to be a part of Bravo!

Bravo!’s flagship 30th season venture is the inaugural New Works Fund. This initiative serves two purposes: to nurture the creation of new music by today's most inventive composers; and to present the incredible wealth of venerated, but less heard, music written by leading composers of the 20th and 21st centuries. We are celebrating the launch of this new fund

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

this summer with five commissions: one short work for each of the four orchestras and one chamber music piece. These five world premieres make up the 30th season New Works Project, which you will see referenced throughout this program book.

Continuing with the 30th season celebration, July 16 is the 30th Annual Bravo! Vail Gala, in a new format this year with the addition of a one-time-only cabaret-style performance by the world-renowned soprano, chanteuse, and actress Patricia Racette.

Over 400 students have been through Bravo!’s After School Piano Program since its inception seven years ago, with enrollment increasing each year. To shine the light on Bravo!’s flagship education program, we not only expanded the amount of instructional time for students by 50% but also added a winter piano recital for them.

Supporters of Bravo! Vail know the importance of giving annually, and we are deeply

G REG W A LT O N Board Chair

grateful for your generosity. To ensure that the music in Vail continues forever and to further celebrate 30 years of music making, Bravo! has established the Bravo! Vail Legacy Circle to honor all those who have included Bravo! in their estate planning.

Most importantly, you are part of this celebration! Your support—by attending concerts, making donations, and volunteering—keeps the music playing year after year. Thank you for all you do to keep the music alive in the Vail Valley. Enjoy!

Learn more at BravoVail.org 31

BOARD OF TRUSTEES Greg Walton, Chair

John Dayton

Fred Kushner

Paul Rossetti

Barry Beracha, Vice Chair

Marijke de Vink

Shirley McIntyre

Adrienne Rowberry

Susan Suggs, Vice Chair

Kathleen Eck

Laurie Mullen

Lisa Schanzer

Bill Burns, Treasurer

Gary Edwards

Blaine Nelson

Carole Segal

Cathy Stone, Secretary

Cookie Flaum

Gary Peterson

Frank Strauss

Paul Becker

Dan Godec

Steve Pope

Doug Tansill

Sarah Benjes

Hank Gutman

Brad Quayle

Doe Browning

Linda Hart

Michele Resnick

Jenn Bruno

Alan Kosloff

Byron Rose

ADVISORY COUNCIL David Anderson

Michael Glass

John Magee

Rod Slifer

Marilyn Augur

Mark Gordon

Tony Mayer

Rachel Smiley

Ronnie Baker

Jeanne Gustafson

Matt Morgan

Marcy Spector

Edwina Carrington

Martha Head

Bill Morton

Tye Stockton

Tim Dalton

Becky Hernreich

Richard Niezen

Sue Sturm

Lucy Davis

Mark Herron

Kalmon Post

Lisa Tannebaum

Brian Doyle

Jeremy Krieg

Drew Rader

Fred Tresca

Kabe ErkenBrack

Honey Kurtz

Martha Rehm

Anne Verratti

Sallie Fawcett

Rob LeVine

Susan Rogel

Michael Warren

Harry Frampton

Vicki Logan

Terie Roubos

Carole Watters

Joan Francis

Diane Loosbrock

Jim Shpall

FROM THE FOUNDER It is a great pleasure to welcome you to the 30th season of the Bravo! Vail Music Festival.

Wow! This summer we celebrate thirty years of this wonderful Festival that is Bravo! Vail— one of America’s best and most steadfast organizations—built on excellence and service to a community of excellence. Each patron, each audience member, each volunteer, and each staff person has made Bravo! Vail the Festival it is today, connecting people to people through the power of music and good times.

Bravo! Vail is energetic, healthy, vibrant, and ready for the endless possibilities for the next

John W. Giovando FOUNDER

32 Learn more at BravoVail.org

thirty years. Very heartfelt and sincere thanks to you all, for without you, this annual celebration of great music in the Rocky Mountains would not be possible. Enjoy!

——— winner ———

QUALITY ONCOLOGY PRACTICE INITIATIVE CERTIFICATION by the American Society of Clinical Oncology

——— winner ———

——— award ———

——— award ———

$1.35 MILLION GRANT

COMMISSION ON CANCER ACCREDITATION

BREAST IMAGING CENTER OF EXCELLENCE

by the American College of Surgeons

by the American College of Radiology

by the American Society of Clinical Oncology Cancer Foundation® & Susan G. Komen for the Cure®

——— winner ———

——— renewed ———

GOLD LEAF AWARD

UNIVERSITY OF COLORADO

for “Best Colorado Event” 3 years in a row for Pink Vail

10-Year partnership for clinical trials

The perfect setting to conquer cancer.

Patients travel from around Colorado to receive the unique, personalized care Shaw offers in the healing setting of the Rocky Mountains. Our esteemed doctors and top-of-the-line equipment help cure cancer. But it’s the rest of the care—courtesy of a dietician, exercise physiologists, genetic counselor, nurse navigator and a complimentary 12-room cancer caring lodge in a stunning setting—that helps our patients survive and thrive.

(970) 569-7429 | SH AWCA N CE R CE N T E R .CO M | E DWA R DS, CO LO RA D O

SUNDAY

MONDAY

TUESDAY

2017 SEASON AT A GLANCE COLOR KEY Orchestra Concerts Chamber Music Concerts Classically Uncorked presented by Arietta Wine Free Concerts Free Education & Engagement Events

25

26

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

27 Chamber Music 6:00PM | DP

2

3

4

Dallas Symphony Orchestra 6:00PM | GRFA

Little Listeners 2:00PM | VPL

Dallas Symphony Orchestra 2:00PM | GRFA

9

10

11

Pre-Concert Talk 5:00PM | GRFA

Little Listeners 2:00PM | APL

Free Concert 1:00PM | VIC

The Philadelphia Orchestra 6:00PM | GRFA

Free Concert 6:00PM | EIC

Little Listeners 2:00PM | VPL

Soirée 6:00PM | Palumbo Residence

Chamber Music 6:00PM | DP

17

18

Linda & Mitch Hart Soirée Series

LOCATION KEY APL: Avon Public Library BCP: Brush Creek Pavilion CMBC: Crazy Mountain Brewing Company DP: Donovan Pavilion EIC: Edwards Interfaith Chapel EPL: Eagle Public Library GESC: Golden Eagle Senior Center GPL: Gypsum Public Library GRBC: Gallery Row, Beaver Creek

16 30th Annual Gala An Enchanted Evening 5:30PM | RCBG

Free Concert 1:00PM | VIC Little Listeners 2:00PM | VPL

GRFA: Gerald R. Ford Amphitheater

Chamber Music 6:00PM | DP

LAG: Lundgren Amphitheater, Gypsum RCBG: Ritz-Carlton, Bachelor Gulch

23

VAH: Vail Ale House

New York Philharmonic 6:00PM | GRFA

VBC: Vail Brewing Company

24

25 Free Concert 1:00PM | VIC Chamber Music 6:00PM | DP

VIC: Vail Interfaith Chapel VMS: Vail Mountain School VPL: Vail Public Library

34 Get tickets at BravoVail.org

30

31

1 AUGUST

Soirée 6:00PM | Balk Residence

Free Concert 6:00PM | BCP

Classically Uncorked Presented by Arietta Wine 7:30PM | DP

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

22 JUNE

23

24

Pre-Concert Talk 5:00PM | GRFA

Soirée 6:00PM | de Vink Residence

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

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

28

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Dallas Symphony Orchestra 6:00PM | GRFA

Free Concert 1:00PM | VIC

Pre-Concert Talk 5:00PM | GRFA

Dallas Symphony Orchestra 6:00PM | GRFA

Little Listeners 2:00PM | EPL

Dallas Symphony Orchestra 6:00PM | GRFA

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Little Listeners 2:00PM | GPL

Free Concert 1:00PM | VIC

The Philadelphia Orchestra 6:00PM | GRFA

Free Concert 1:00PM | GRBC

Dallas Symphony Orchestra 6:00PM | GRFA

The Philadelphia Orchestra Special Time, 7:30PM | GRFA

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Instrument Petting Zoo 10:00AM | GRFA

Free Concert 1:00PM | VIC

The Philadelphia Orchestra 6:00PM | GRFA

The Philadelphia Orchestra 6:00PM | GRFA

Free Family Concert #1 11:00AM | GRFA

The Philadelphia Orchestra 6:00PM | GRFA

Instrument Petting Zoo 5:00PM | LAG Free Family Concert #2 6:00PM | LAG

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Little Listeners 2:00PM | GPL

Free Concert 11:00AM | GESC

New York Philharmonic 6:00PM | GRFA

Pre-Concert Talk 5:00PM | GRFA

Soirée 6:00PM | Smith Residence

Free Concert 1:00PM | VIC

Bravo! Vail After Dark 8:30PM | VAH

New York Philharmonic 6:00PM | GRFA

Little Listeners 2:00PM | EPL

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Pre-Concert Talk 5:00PM | GRFA

Free Concert 1:00PM | VIC

Master Class 1:00PM | VMS

Bravo! Vail After Dark 8:30PM | CMBC

New York Philharmonic 6:00PM | GRFA

Master Class 3:00PM | VMS

New York Philharmonic 6:00PM | GRFA

New York Philharmonic 6:00PM | GRFA

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Classically Uncorked Presented by Arietta Wine 7:30PM | DP

Classically Uncorked Presented by Arietta Wine 7:30PM | DP

Bravo! Vail After Dark 8:30PM | VBC

ACADEMY OF ST MARTIN IN THE FIELDS

INTERNATIONAL BRILLIANCE IN RESIDENCE JUNE 22–25, 2017

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HE ACADEMY OF ST MARTIN IN THE FIELDS IS one of the world’s greatest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s greatest classical music.

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

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classical audiences throughout the world.

Today the Academy is led by Music Director and virtuoso violinist Joshua Bell, retaining the collegial spirit and flexibility of the original small, conductor-less ensemble which has become an Academy hallmark.

Under Bell’s direction, and with the support of Director/ Leader Tomo Keller and Principal Guest Conductor Murray Perahia, the Academy continues to push the boundaries of play-directed performance to new heights, presenting symphonic repertoire and chamber music on a grand scale at prestigious venues from New York to Beijing.

Alongside 80 performances in 16 different countries during the 2017-18 season, the Academy continues to reach out to people of all ages and backgrounds through its learning and participation programs. The Academy’s

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flagship project for young people provides performance workshops for primary and secondary school children; partnerships with Southbank Sinfonia, the Guildhall School of Music and Drama, the Royal Northern College of Music and masterclasses on tour further the development of the professional musicians of tomorrow.

The Academy also provides a creative outlet for some of London’s most vulnerable adults at a homeless center, and a regular program of pre-concert talks and podcasts create opportunities for Academy audiences the world over to connect and learn with the orchestra.

After its history-making debut last season, the Academy of St Martin in the Fields—the first chamber orchestra and the first internationally based ensemble to perform at Bravo! Vail—returns for a three-concert residency.

Season Opening Celebration: Bell, Bruch & Mendelssohn.......................... 51 Bell & Isserlis: For the Love of Brahms.......................... 55 Bell & Isserlis: Bach, Mozart & Tchaikovsky........59

ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE Bravo! Vail gratefully acknowledges the support of the following patrons: GRAND BENEFACTOR

ALLEGRO ( $10,000+ )

( $100,000+ )

Jeffrey Byrne and Sheldon Andrew The Sidney E. Frank Foundation Cathy and Howard Stone

The Paiko Foundation, in honor of the Vail Police

PREMIER BENEFACTOR ( $50,000+ )

Town of Vail

BENEFACTOR ( $5,000+ )

PLATINUM ( $30,000+ )

Arlene and John Dayton The Francis Family Ann and William Lieff

Marijke and Lodewijk de Vink

Learn more at BravoVail.org 37

DALLAS SYMPHONY ORCHESTRA

UNCOMPROMISING EXCELLENCE IN RESIDENCE JUNE 28–JULY 5, 2017

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INCE 1900, THE DALLAS SYMPHONY Orchestra has grown from a 40-person ensemble to a nationally recognized orchestra performing in the 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.

During Mata’s tenure, the Dallas Symphony Orchestra saw the dedication of its permanent home, the Morton H. Meyerson Symphony Center, in September 1989.

38 Learn more at BravoVail.org

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 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.

SCHEDULE AT A GLANCE JA AP VAN ZWEDEN MUSIC DIREC TOR ,

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Ohlsson Plays Tchaikovsky....................................63

DALL AS SYMPHONY ORCHESTRA

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Mendelssohn & Prokofiev..................................... 67

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The Rite of Spring

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John Williams: Music from the Movies........................ 75

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Patriotic Concert

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The Dallas Symphony Orchestra returns to Bravo! Vail for its 17th summer residency, and the final summer under Music Director Jaap van Zweden, in a rich lineup that includes favorites of the classical repertoire and exciting pops programs featuring movie scores, jazz and blues, and patriotic songs.

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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. On January 27, 2016, the New York Philharmonic announced that Jaap van Zweden will be their new Music Director starting with the 2018-19 season, and will act as Music Director Designate during 2017-18.

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 (Nos. 3 and 6) and Dvořák (Symphony No. 9) as well as the world-premiere recording of Steven Stucky’s concert drama August 4, 1964, which garnered Stucky a Grammy nomination.

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Return to the Cotton Club................................... 79

FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA Bravo! Vail gratefully acknowledges the support of the following patrons: PLATINUM ( $30,000+ )

SOLOIST ( $7,000+ )

Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Bobbi and Richard Massman

BENEFACTOR ( $5,000+ ) IMPRESARIO ( $25,000+ ) Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

Peggy and Gary Edwards Cindy Engles Sallie and Robert Fawcett Rebecca and Ron Gafford Carol and Jeff Heller Brenda and Joe McHugh Mr. and Mrs. Al Meitz Allison and Russell Molina Jane Parker Debbie and Ric Scripps Dr. and Mrs. Bill Weaver

ALLEGRO ( $10,000+ ) Arlene and John Dayton Alexia and Jerry Jurschak

Learn more at BravoVail.org 39

THE PHILADELPHIA ORCHESTRA

THE FABULOUS PHILADELPHIANS IN RESIDENCE JULY 7–15, 2017

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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 both on and off the concert stage. 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.

Yannick Nézet-Séguin is now in his fifth season as Music Director of The Philadelphia Orchestra. He joins a remarkable list that covers the Orchestra’s 116 seasons: music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, Christoph Eschenbach, and Charles Dutoit, chief conductor from 2008 to 2012. Yannick’s connection to the musicians of the Orchestra has been praised by both concertgoers and critics. The New York Times has said, “Mr. NézetSéguin … showed complete command of the score and all its entrails and contrails. He also gave further

40 Learn more at BravoVail.org

evidence of a superb rapport with this great orchestra.”

The Philadelphia Orchestra continues its decades-long tradition of presenting collaborative learning and community engagement opportunities for listeners of all ages across the Delaware Valley.

Today the Orchestra introduces orchestral music to a new generation of listeners through programs for children and adults. With Music Director Yannick Nézet-Séguin, a dedicated body of musicians, and one of the nation’s richest arts ecosystems, the Orchestra has launched its HEAR initiative to become a major force for good in every community that it serves. HEAR is a portfolio of integrated initiatives that promotes Health, champions music Education, eliminates barriers to Accessing the orchestra, and maximizes impact through Research. These projects support those experiencing trauma such as homelessness, thousands of public school students, citizens of Philadelphia who will have opportunities to experience the Orchestra personally, and those not connected with the Orchestra or symphonic music, thus bridging all ages and backgrounds.

Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a

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Tchaikovsky Violin Concerto...........................................83

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

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E.T. The Extra-Terrestrial in Concert: Film with Live Score......................................... 87 Beethoven Symphony No. 7....................... 91 Yannick Conducts Bach & Brahms........................ 101 Shaham Plays Mozart.............................................. 105 Bronfman, Prokofiev & Tchaikovsky.......................... 109

global ambassador for Philadelphia and the U.S. The ensemble has a long history of touring, and in 1973 was the first American orchestra to perform in the People’s Republic of China. In 2012 the Orchestra reconnected with its historical roots in China by launching a new partnership with the National Centre for the Performing Arts (NCPA) in Beijing, a pilot residency that united the Orchestra with young Chinese musicians and composers, and brings orchestral music to China’s major cities and provinces.

The Orchestra returned to China in 2013, 2014, and 2016, and in 2017 it was the first Western orchestra to visit Mongolia.

The Philadelphia Orchestra has given either the world or American premieres of many works that are today considered standard repertory, such as Mahler’s “Symphony of a Thousand,” Stravinsky’s The Rite of Spring, and Rachmaninoff’s Symphonic Dances.

The Philadelphia Orchestra returns to Bravo! Vail for its 11th annual residency featuring works that are cornerstones of the orchestra’s programmatic vision, offering audiences in Vail the best of everything the orchestra has accomplished this season.

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

ALLEGRO ( $10,000+ )

( $50,000+ )

Anonymous Arlene and John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

ANB Bank and The Sturm Family Town of Vail

PLATINUM ( $30,000+ ) Donna and Patrick Martin

SOLOIST ( $7,000+ ) IMPRESARIO ( $25,000+ )

Betsy Wiegers, in memory of Tony Perry

Sue and Michael Callahan Sue and Dan Godec Linda Farber Post and Dr. Kalmon D. Post Alysa and Jonathan Rotella, NexGen Hyperbaric LLC Susan and Steven Suggs

OVATION ( $15,000+ )

BENEFACTOR ( $5,000+ )

Anne and Hank Gutman Mr. John McDonald and Mr. Rob Wright Rich and Susan Rogel

Christine and John Bakalar Dokie Laura and Jim Marx Allison and Russell Molina Mr. and Mrs. Ernest Scheller, Jr. Carole and Peter Segal Dhuanne and Doug Tansill Sharon and Marc Watson

Peggy Fossett Karen and Michael Herman

VIRTUOSO ( $20,000+ )

Learn more at BravoVail.org 41

NEW YORK PHILHARMONIC

PRECISION, POWER, SOUL IN RESIDENCE JULY 21–28, 2017

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HE NEW YORK PHILHARMONIC PLAYS A leading cultural role in New York City, the United States, and the world. This season the Philharmonic will connect with up to 50 million music lovers through live concerts in New York City as well as worldwide tours and residencies; digital recording series; international broadcasts on television, radio, and online; a variety of education programs; and the New York Philharmonic Leon Levy Digital Archives. In the 2016–17 season the New York Philharmonic celebrates its 175th anniversary and Alan Gilbert’s farewell season as Music Director.

The Orchestra has commissioned and/or premiered works by leading composers from every era since its founding in 1842, including Dvořák’s New World Symphony, John Adams’s Pulitzer Prize– winning On the Transmigration of Souls, dedicated to the victims of 9/11, and Magnus Lindberg’s Piano Concerto No. 2.

A resource for its community and the world, the Philharmonic complements its free Concerts in the Parks, Presented by Didi and Oscar Schafer,

42 Learn more at BravoVail.org

with Philharmonic Free Fridays and a wide range of education programs, including Young People’s Concerts and Philharmonic Schools. The Orchestra established the New York Philharmonic Global Academy—collaborations with partners worldwide offering training of pre-professional orchestral musicians, often alongside performance residencies— following the launch of the flagship collaboration with the Shanghai Symphony Orchestra and Shanghai Conservatory of Music, including the formation of the Shanghai Orchestra Academy. Additional Global Academy partners include the Music Academy of the West and The Shepherd School of Music at Rice University. The Orchestra also has a residency partnership with the University Musical Society of the University of Michigan.

The Philharmonic has appeared in 432 cities in 63 countries on five continents, including the groundbreaking 1930 tour of Europe; the unprecedented 1959 tour to the USSR; the historic 2008 visit to Pyongyang, DPRK, the first by an American orchestra; and the Orchestra’s 2009 debut in Hanoi.

SCHEDULE AT A GLANCE JUL

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Bramwell Tovey: An American Celebration.... 119

NE W YORK PHILHARMONIC

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Kavakos Plays Brahms.............................123 Kavakos Leads: Bach & Schumann............... 127 Gilbert Conducts the New World Symphony..................................... 133

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Mahler’s Symphony 7................................ 137

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Beethoven 9

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FRIENDS OF THE NEW YORK PHILHARMONIC A media pioneer, the Philharmonic began radio broadcasts in 1922 and is currently represented by the national The New York Philharmonic This Week, and appears on Live From Lincoln Center on PBS. Since 1917 the Philharmonic has made more than 2,000 recordings, and now offers downloadable concerts, recorded live.

Founded in 1842 by local musicians led by Americanborn Ureli Corelli Hill, the New York Philharmonic is the oldest symphony orchestra in the United States, and one of the oldest in the world. Notable composers and conductors who have led the Philharmonic include Dvořák, Richard Strauss, Stravinsky, Copland, and Mitropoulos (Music Director, 1949–58). Alan Gilbert began his tenure as Music Director in 2009, succeeding titans including Maazel, Masur, Zubin Mehta, Boulez, Bernstein, Toscanini, and Mahler.

The New York Philharmonic returns to Bravo! Vail for its 15th annual summer residency, and the final summer under Music Director Alan Gilbert, showcasing works and composers tied to the Philharmonic in honor of its 175th anniversary season.

Bravo! Vail gratefully acknowledges the support of the following patrons: PLATINUM ( $30,000+ ) ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Kay Lawrence Vicki and Kent Logan Leni and Peter May Billie and Ross McKnight Amy and James Regan 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. Claudio X. Gonzalez Judy and Alan Kosloff Donna and Patrick Martin Barbie and Tony Mayer Ann and Alan Mintz Kay and Bill Morton Sarah Nash and Michael Sylvester

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

SILVER ( $15,000+ ) Jeri and Charlie Campisi Terri and Tom Grojean Martha Head Carolyn and Gene Mercy Margaret and Alex Palmer Terie and Gary Roubos Lisa Tannebaum and Don Brownstein

BRONZE ( $10,000+ ) Pamela and David Anderson Jean and Harry Burn Lucy and Ron Davis Susan and John Dobbs Penny and Bill George Melinda and Tom Hassen June and Peter Kalkus Allison and Russell Molina Carole and Peter Segal Sue and Marty Solomon Barbara and Carter Strauss

Learn more at BravoVail.org 43

CHAMBER MUSIC SERIES

UP CLOSE & MUSICAL JUNE 27–JULY 25, 2017

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RAVO! VAIL’S CHAMBER MUSIC SERIES offers something for music lovers of all persuasions.

Audiences will enjoy well-loved masterworks and new discoveries of the chamber music repertoire, performed by members of the resident orchestras alongside world-renowned guest artists and ensembles, all in the spectacular setting of the Donovan Pavilion, a stunning venue with expansive mountain valley views.

Experience chamber music as it was meant to be heard: in a beautiful, intimate environment, with acclaimed artists, and among friends.

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ANNE-MARIE MCDERMOTT, PIANO (page 62)

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The Academy Chamber Ensemble with McDermott.......................62 Emerson String Quartet................................................ 97 Music for Four Pianists/Eight Hands........ 114 New York Philharmonic String Quartet Plays Beethoven & Dvořák........ 131

FROM LEFT: © LISA MAZZUCCO; © CHRIS LEE

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS: Fork Art Catering The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation, in honor of the Vail Police The Piano Fellows Fund Town of Vail

EMERSON STRING QUARTET (page 97)

NEW YORK PHILHARMONIC STRING QUARTET (page 131) Learn more at BravoVail.org 45

CLASSICALLY UNCORKED PRESENTED BY ARIETTA WINE

ARTISTRY IN ABUNDANCE AUGUST 1–3, 2017

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HIRTY YEARS OF BRAVO! VAIL’S chamber music legacy culminates in an unforgettable series unlike any other. Featuring not one, not two, but three of today’s most visionary and enterprising string quartets, the world premiere of a brand-new commissioned work, intimate seating in a stunning setting, gourmet hors d’oeuvres and Arietta wines (“born of a passion for music”), Classically Uncorked pulls out all the stops and delivers an exceptional chamber music experience.

46 Learn more at BravoVail.org

SCHEDULE AT A GLANCE AUG

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One Quartet: A Toast to Beethoven............................ 148 Two Quartets: Glass & Schubert.................. 149 Three Quartets: Glass & Reich............................ 150

SERIES PRESENTED BY

© ARIETTA WINE

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF: Amy and Charlie Allen Arietta Wine The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair The New Works Fund The Paiko Foundation, in honor of the Vail Police Red Canyon Catering Town of Vail

Learn more at BravoVail.org 47

EDUCATION & ENGAGEMENT FOR EVENT DATES, TIMES, AND LOCATIONS SEE THE SEASON AT A GLANCE ON PAGES 34-35

FOR KIDS & FAMILIES Bravo! Vail’s vibrant education programs are a fun introduction to the world of classical music.

Classical Kids LIVE! and the National Repertory Orchestra perform Gershwin’s Magic Key, which tells the story of a chance encounter between a newspaper boy and the composer George Gershwin.

Performances are preceded by an Instrument Petting Zoo.

LITTLE LISTENERS @ THE LIBRARY

AFTER-SCHOOL PIANO PROGRAM

Free, fun, and engaging performances by Festival musicians in area libraries. Performances include an Instrument Petting Zoo.

Bravo! Vail’s flagship academicyear education program teaches fundamental musical concepts and keyboard-based skills to students in grades 1-8. Piano Program classes are held at locations throughout Vail Valley.

FOR ADULTS Promoting a life-long appreciation of the arts.

PRE-CONCERT TALKS

NEW! MASTER CLASS SERIES

These talks are led by renowned musicologists and passionate musicians and are designed to create deeper connections to the evening’s program. Talks are held one hour prior to select orchestral concerts, and are free for concert ticketholders.

This season, Bravo! Vail audiences are invited to attend our new Master Class Series, offering attendees insight and a unique perspective on the artistic process as professional pianists coach the 2017 Bravo! Vail Piano Fellows. Master Classes are free and open to the public.

SPECIAL COLLABORATIONS Collaborative partnerships make music available to audiences who cannot attend Festival performances.

Bravo! Vail takes music to campers at Roundup River Ranch and to patients at Vail Valley Medical Center.

48 Learn more at BravoVail.org

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS Amy and Charlie Allen Alpine Bank Dierdre and Ronnie Baker Beaver Creek Resort Company Bravo! Vail Guild Costco Kathy and Brian Doyle Sandi and Leo Dunn Eagle County Eagle Ranch Association FirstBank Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation Town of Gypsum The Luis D. Juarez Honorary Music Award Fund The Paiko Foundation, in honor of the Vail Police The Piano Fellows Fund Slifer Smith & Frampton Foundation U.S. Bank Foundation Wall Street Insurance Carole A. Watters

© JOHN RYAN LOCKMAN (2)

FREE FAMILY CONCERTS

COMMUNITY ENGAGEMENT Bravo! Vail is committed to making music available for the whole community. Programs are free.

FREE CONCERT SERIES

BRAVO! VAIL AFTER DARK

Take a break from your day with an hourlong chamber music concert performed by the Festival’s renowned musicians in beautiful and accessible venues throughout the Vail Valley.

Classical music comes out of the concert hall and into your neighborhood with Bravo!

Vail After Dark. Festival musicians set up in local bars and breweries to perform familiar favorites and eclectic offerings.

PROFESSIONAL DEVELOPMENT Bravo! Vail supports and nurtures the next generation of performers, administrators, and music-lovers.

CAREER DEVELOPMENT IN THE ARTS The Bravo! Vail Summer Internship Program is unsurpassed in its reputation of advancing interns into successful careers in arts administration and non-profit management. Each summer, Bravo!

Vail hires eight highly qualified interns who aspire to develop their skill set, network with successful professionals, and work on diverse projects.

PIANO FELLOWS PROGRAM Each year, Artistic Director Anne-Marie McDermott personally selects two young pianists to spend an immersive two weeks at Bravo! Vail. The Piano Fellows perform throughout the Vail Valley and connect with their professional counterparts at the Festival.

CHAMBER MUSICIANS IN RESIDENCE PROGRAM Bravo! Vail is proud to showcase outstanding chamber ensembles in the early stages of major professional careers. These young artists benefit immeasurably by performing, teaching, and learning throughout the Vail community, in concert and collaboration with Artistic Director Anne-Marie McDermott and other renowned Festival musicians.

LUIS D. JUAREZ HONORARY MUSIC AWARD Instituted in 2016, the Luis D. Juarez Honorary Music Award supports and extends opportunities for students to pursue musical studies of the highest caliber.

Learn more at BravoVail.org 49

㤀㜀 ⸀㠀㐀㔀⸀㔀㘀㔀㘀 簀 匀栀愀攀昀昀攀爀䠀礀搀攀⸀挀漀洀

匀攀琀琀椀渀最 琀栀攀 匀琀愀渀搀愀爀搀 昀漀爀 䔀砀琀爀愀漀爀搀椀渀愀爀礀 ⴀ匀椀渀挀攀 ㄀㤀㜀㤀ⴀ

SEASON OPENING CELEBRATION:

BELL, BRUCH & MENDELSSOHN

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THIS EVENING’S PERFORMANCE IS PRESENTED BY: VERA AND JOHN HATHAWAY

SPECIAL GRATITUDE TO: The Academy of St Martin in the Fields Circle The Judy and Alan Kosloff Artistic Director Chair The New Works Fund The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Gina Browning and Joe Illick Jeffrey Byrne and Sheldon Andrew Sandi and Leo Dunn Lisa and John Ourisman

SOLOIST SPONSORS: Joshua Bell, violin, sponsored by Valerie & Robert Gwyn and Debbie & Fred Tresca

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THURSDAY JUNE 22, 6:00PM ORCHESTRA SERIES

PRE-CONCERT TALK, 5:00PM GERALD R. FORD AMPHITHEATER

ACADEMY OF ST MARTIN IN THE FIELDS

Gerald R. Ford Amphitheater Lobby Janice Dickensheets (University of Northern Colorado), “Old Meets New: Ancient Epics, Classical Elegance, and New Frontiers” PLUS meet composer Edgar Meyer

Joshua Bell, director and violin

BRUCH Violin Concerto No. 1 in G minor, Op. 26 Prelude: Allegro moderato — Adagio Finale: Allegro energico

MEYER New Work (12 minutes) World Premiere NEW WORKS PROJECT

— INTERMISSION — MENDELSSOHN Symphony No. 3 in A minor, Op. 56, “Scottish” (37 minutes) Introduction and Allegro agitato Scherzo assai vivace Adagio cantabile Allegro guerriero & Finale maestoso Played without pause

SEASON OPENING CELEBRATION: BELL, BRUCH & MENDELSSOHN Violin Concerto No. 1 in G minor, Op. 26 (1865-1866) MA X BRUCH (1838-1920)

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erman composer, conductor, and teacher Max Bruch began composing at eleven, and by fourteen had produced a symphony and a string quartet, the latter garnering a prize that allowed him to study in Cologne. Bruch held various posts as a choral and orchestral conductor in Germany and England, and in 1883, he visited America to conduct concerts of his own compositions. From 1890 to 1910, he taught composition at the Berlin Academy and received numerous awards for his work. The G minor Concerto opens with a dialogue between soloist and orchestra followed by a wide-ranging subject for violin. A contrasting theme reaches into the highest register of the violin. A stormy section for orchestra recalls the opening dialogue, which leads directly into the Adagio, based on three sweet themes. The finale begins with hints of the upcoming theme before the soloist proclaims the melody itself. A broad melody, played first by the orchestra, serves as the second theme. A brief development, based on the dance-like first theme, leads to the recapitulation. The coda recalls the first theme to close the work.

New Work (2017) Co-commissioned by Academy of St Martin in the Fields and Bravo! Vail as part of the NEW WORKS PROJECT EDGAR MEYER (B. 1960)

Edgar Meyer has established a reputation not only as one of the leading instrumentalists of his generation, but also as an innovative and frequently performed composer. He began studying double bass at age five with his father, a schoolteacher and free52 Learn more at BravoVail.org

lance bassist, and completed his undergraduate degree at Indiana University in 1984 as a pupil of Stuart Sankey; he is largely selftaught as a composer. Meyer has won numerous competitions, including the 1981 Zimmerman-Mingus Competition, the first international bass competition held in the United States. In 2000, he became the first bassist to receive the Avery Fisher Prize, given annually to reward “instrumentalists for excellence and achievement.” In 2002, he was announced as one of the year’s 24 MacArthur Fellows, who receive five-year “genius grants” to foster their creativity. He joined the Chamber Music Society of Lincoln Center as an Artist Member in 1994, and now performs internationally as recitalist, soloist and chamber musician. Edgar Meyer teaches at Vanderbilt University, Curtis Institute and Aspen Music Festival and School.

INSIDE STORY

Symphony No. 3 in A minor, Op. 56, “Scottish” (1841-1842) FELIX MENDELSSOHN (1809-1847)

At age twenty, Felix Mendelssohn was a wonder. He was one of Europe’s best composers, an excellent pianist, a path-breaking conductor and a visual artist of nearly professional capability, as well as a man of immense charm and personality. It is not surprising that his first appearances in London in the spring and summer of 1829 were a smashing success. Both to relax from his hectic London schedule and to temporarily sate his obsession with travel, he decided to tour the British countryside late that summer.

He settled on a walking tour through the Scottish Highlands and arrived in Edinburgh on July 28th.

CONTINUED ON PAGE 192

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE GRAND BENEFACTOR

ALLEGRO ( $10,000+ )

( $100,000+ )

The Paiko Foundation, in honor of the Vail Police

Jeffrey Byrne and Sheldon Andrew The Sidney E. Frank Foundation Cathy and Howard Stone

PREMIER BENEFACTOR

BENEFACTOR ( $5,000+ )

( $50,000+ )

Arlene and John Dayton The Francis Family Ann and William Lieff

Town of Vail

PLATINUM ( $30,000+ ) Marijke and Lodewijk de Vink

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

The Sonnenalp Resort of Vail is the official home of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

WHAT’S IN A COMMISSION? Have you ever wondered how new music gets written? In the Baroque and early Classical musical eras, churches and royal courts would have composers on staff constantly writing new music. In the 18th and 19th centuries, wealthy patrons might commission a piece to commemorate a special occasion like a royal birthday, or as a showcase for a particularly exciting (or particularly well-connected) artist.

These days, new music can come from a group of organizations (such as several symphony orchestras) that pools resources to pay for a major work by a prominent composer, from a grassroots “community commissioning fund,” or even a Kickstarter campaign.

What hasn’t changed is the sense of importance and occasion bestowed by the creation and world premiere performance of a brand-new piece of music. Or in the case of Bravo!

Vail’s 30th season, five brand-new commissioned works, one for each orchestra’s residency plus one for the Chamber Music Series.

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JUN

23

FRIDAY JUNE 23, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

DE VINK RESIDENCE, MOUNTAIN STAR

THE LINDA AND MITCH HART SOIRÉE SERIES

MENDELSSOHN OCTET WITH THE ACADEMY AND BELL Joshua Bell, violin Harvey de Souza, violin Martin Burgess, violin Jennifer Godson, violin Robert Smissen, viola Fiona Bonds, viola Stephen Orton, cello Martin Loveday, cello

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MENDELSSOHN Octet for Strings, Op. 20 Allegro moderato con fuoco Andante Scherzo. Allegro leggierissimo Presto

CATERED BY MIRABELLE AT BEAVER CREEK, EXECUTIVE CHEF, DANIEL JOLY

Mirabelle At

MENDELSSOHN OCTET WITH THE ACADEMY AND BELL

B eav e r C ree k

ELIX MENDELSSOHN (1809-1847) and his sister (and fellow composer) Fanny were raised in a lavish, highly cultured home that became a gathering place for prominent artists, intellectuals, and social leaders from across Europe. Berlin’s cultural élite, including many prominent musicians, attended informal salon concerts at the Mendelssohn family home, and historians presume that the Octet premiered at one of these Mendelssohn family musicales.

Here, chamber orchestra meets chamber music, and great ensemble playing is distilled to its very essence: An intimate audience with Music Director Joshua Bell and seven of his colleagues from the esteemed Academy performing this exuberant youthful masterpiece, written as a birthday gift for his friend and violin teacher when the composer was just 16. Mendelssohn described the Octet as “my favorite of all my compositions” and added, “I had a most wonderful time in the writing of it!” He advised the performers to play it in what he termed “symphonic orchestral style.” Music critic Conrad Wilson declared, “Its youthful verve, brilliance and perfection make [the Octet] one of the miracles of nineteenth-century music.”

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE FROM: Marijke and Lodewijk de Vink

SPECIAL GRATITUDE TO Linda and Mitch Hart The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY JOSHUA BELL 54 Learn more at BravoVail.org

Mirabelle at Beaver Creek West Vail Liquor Mart

© LISA MARIE MAZZUCCO

THIS EVENING’S HOSTS

BELL & ISSERLIS:

FOR THE LOVE OF BRAHMS

ACADEMY OF ST MARTIN IN THE FIELDS JUN

24

SATURDAY JUNE 24, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: THE SIDNEY E. FRANK FOUNDATION BARBIE AND TONY MAYER

SPECIAL GRATITUDE TO: The Academy of St Martin in the Fields Circle The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Virginia J. Browning Nancy and Richard Lubin Carole and Peter Segal U.S. Bank

SOLOIST SPONSORS: Joshua Bell, violin, sponsored by Carol and Ronnie Goldman Steven Isserlis, cello, sponsored by Mary Lou Paulsen and Randy Barnhart

55

JUN

24

SATURDAY JUNE 24, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

ACADEMY OF ST MARTIN IN THE FIELDS Joshua Bell, director and violin Steven Isserlis, cello

BELL & ISSERLIS: FOR THE LOVE OF BRAHMS Silent Woods for Cello and Orchestra, Op. 68, No. 5 (1884, 1891) ANTONÍN DVOŘ ÁK (1841-1904)

DVOŘÁK Silent Woods for Cello and Orchestra, Op. 68, No. 5 (6 minutes)

BEETHOVEN Symphony No. 1 in C major, Op. 21 (26 minutes) Adagio molto — Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Adagio — Allegro molto e vivace

— INTERMISSION — SCHUMANN Elegy for Violin and String Orchestra (6 minutes) Arranged by Benjamin Britten from Movement II of the Violin Concerto (WoO 23)

BRAHMS Double Concerto for Violin, Cello and Orchestra in A minor, Op. 102 (32 minutes) Allegro Andante Vivace non troppo

56 Learn more at BravoVail.org

L

ate in 1891, Dvořák accepted an offer to head the National Conservatory of Music in New York City, and he arranged to leave Prague the following September. As a farewell to his native Bohemia, he undertook a concert tour of the country arranged by the music publisher Velebin Urbánek, who was to be the pianist in a trio that also included the violinist Ferdinand Lachner and cellist Hanus Wihan (for whom Dvořák was to write his B minor Concerto in 1895). As a solo piece for Wihan, Dvořák adapted a movement titled Klid (“calm”) from his piano cycle From the Bohemian Forest of 1884 that he called Silent Woods. The composer’s biographer Karel Hoffmeister called Silent Woods “one of the loveliest and most poetical of Dvořák’s inspired Adagios.”

Symphony No. 1 in C major, Op. 21 (1799-1800) LUDWIG VAN BEETHOVEN (1770-1827)

Beethoven’s music of the 1790s, after he had settled permanently in Vienna, showed an increasingly powerful expression that mirrored the maturing of his genius. The First Symphony, though, is a conservative, even a cautious work. In it, he was more interested in exploring the architectural than the emotional components of the form, and relied on the musical language established by Haydn and Mozart in composing it. In its reliance on a thoroughly logical, carefully conceived structure, the First Symphony also set the formal precedent for his later music: though Beethoven dealt with vivid emotional states, the technique of his music was never founded upon any other than the most solid intellectual base.

The First Symphony opens, unusually, with a dissonance, a harmony that seems to lead away from the main tonality, which is normally established immediately at the outset of a Classical work. The sonata form proper begins with a quickening of the tempo and the presentation of the main theme by the strings; the second theme follows a brief silence. The development deals exclusively with the main theme. The sonata-form Andante has a canonic main theme and an airy second subject. Though the third movement is labeled “Menuetto,” it is really one of those whirlwind packets of rhythmic energy that, beginning with the

Second Symphony, Beethoven labeled “scherzo.” The finale begins with a short introduction comprising halting scale fragments that preview the vivacious main theme. The Symphony ends with ribbons of scales rising through the orchestra and emphatic cadential gestures.

INSIDE STORY

Elegy for Violin and String Orchestra (1853; arranged in 1958) ROBERT SCHUMANN (1810-1856) ARR ANGED BY BENJAMIN BRIT TEN (1913-1976) FROM MOVEMENT II OF THE VIOLIN CONCERTO (WOO 23)

Schumann composed his Violin Concerto in two weeks in late September 1853, but his reason had been seriously undermined by that time (he tried to drown himself in the Rhine the following February), and the work was dismissed by performers and quickly forgotten. The score remained unpublished until German musicologist Georg Schünemann discovered it in 1937 and issued it over the objections of Eugenie, the Schumanns’ last surviving child. Georg Kulenkampff gave the premiere with the Berlin Philharmonic in November that year. In 1957, the British horn virtuoso Dennis Brain was killed in a car crash; he was 36. As a memorial to him, Benjamin Britten—Brain had played the premiere of Britten’s Serenade for Tenor, Horn and Strings in 1943—arranged the tender second movement of Schumann’s Violin Concerto for violin and string orchestra and titled it Elegy.

CONTINUED ON PAGE 192

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE GRAND BENEFACTOR

ALLEGRO ( $10,000+ )

( $100,000+ )

The Paiko Foundation, in honor of the Vail Police

Jeffrey Byrne and Sheldon Andrew The Sidney E. Frank Foundation Cathy and Howard Stone

PREMIER BENEFACTOR

BENEFACTOR ( $5,000+ )

( $50,000+ )

Arlene and John Dayton The Francis Family Ann and William Lieff

Town of Vail

© GABRIEL ISSERLIS

PLATINUM ( $30,000+ ) Marijke and Lodewijk de Vink

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

The Sonnenalp Resort of Vail is the official home of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

NOTES AMONG FRIENDS In 1853, a violin prodigy and a shy young composer roomed together at a summer music festival. They formed a strong connection that led to a lifelong friendship, filled with correspondence and collaboration.

After 30 years, they had a falling out and the composer wrote a Double Concerto as a peace offering, which was accepted by the violinist.

In 1987, a young British cellist and a teenaged American violinist played chamber music together at a summer music festival. They formed a strong connection that has led to a decades-long friendship filled with correspondence and collaboration.

They recently teamed up to record and perform the Double Concerto written by the shy composer 130 years earlier. The cellist (Steven Isserlis) observes, “Since the concerto was written to celebrate Brahms’ friendship of over 30 years with violinist Joseph Joachim, it is rather fitting that this ... should mark almost 30 years of close friendship between Joshua Bell and myself.”

57

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BELL & ISSERLIS:

BACH, MOZART & TCHAIKOVSKY

ACADEMY OF ST MARTIN IN THE FIELDS JUN

25

SUNDAY JUNE 25, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: AMY AND STEVE COYER KAY LAWRENCE

SPECIAL GRATITUDE TO: The Academy of St Martin in the Fields Circle The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Doe Browning Susan and Van Campbell C.P. “Chuck” and Margery Pabst Steinmetz

SOLOIST SPONSORS: Joshua Bell, violin, sponsored by Elaine & Art Kelton and Mrs. Jean Graham-Smith & Mr. Philip Smith

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25

SUNDAY JUNE 25, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

ACADEMY OF ST MARTIN IN THE FIELDS Joshua Bell, director and violin Steven Isserlis, cello

J.S. BACH Violin Concerto No. 1 in A minor, BWV 1041 (15 minutes) Allegro Adagio Allegro assai

C.P.E. BACH Cello Concerto in A major, H. 439 (20 minutes) Allegretto Largo con sordini, mesto Allegro assai

— INTERMISSION — MOZART Eine kleine Nachtmusik, K. 525 (15 minutes) Allegro Romanza: Andante Menuetto: Allegretto Rondo: Allegro

TCHAIKOVSKY Serenade for Strings in C major, Op. 48 (27 minutes) Pezzo in forma di Sonatina: Andante non troppo — Allegro moderato — Andante non troppo Waltz: Moderato Elégie: Larghetto elegiaco Finale (Théma russe): Andante — Allegro con spirito — Molto meno mosso — Allegro con spirito

60 Learn more at BravoVail.org

BELL & ISSERLIS: BACH, MOZART & TCHAIKOVSKY Violin Concerto No. 1 in A minor, BWV 1041 (ca. 1720 or ca. 1730) JOHANN SEBASTIAN BACH (1685-1750)

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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. In 1985, however, Harvard professor and Bach authority Christoph Wolff published evidence that the Concerto in A minor (BWV 1041) and Concerto in D minor for Two Violins (BWV 1043) were probably composed during the years (17291736) that Bach was directing the Leipzig Collegium Musicum, the city’s leading concert-giving organization.

The violin is carefully integrated into the texture and melodic working-out of the material in the heroically tragic opening movement of the A minor Concerto, whose formal plan is anchored around the returns of the opening music in the orchestra. In the Adagio, the basses present a repeating theme as the foundation for the soloist’s touching melody. The vivacious finale was inspired by the gigue.

Cello Concerto in A major, H. 439 (1753) CARL PHILIPP EMANUEL BACH (1714-1788)

Carl Philipp Emanuel Bach, Johann Sebastian’s fifth child and his third (second surviving) son, gained fame with his contemporaries as a composer in the most advanced style of the time, a keyboard player of unsurpassed ability and the author of an important treatise on contemporary performance style, as well as a man of wit, broad education and winning personality. The Cello Concerto in A major is his 1753 arrangement of a concerto written two years before for harpsichord (H. 438). The opening Allegretto is based on a bold, leaping main theme that is shared, in turn, by orchestra and soloist. The Largo con sordino, mesto (“Slow, muted, sad”), written in Bach’s most expressive manner, is music of profound pathos, something that would not have been out of place in a sorrowful cantata by his father. The finale, an almost startling contrast to the slow movement, counters the bustling excitement of its principal subject with occasional legato phrases of more subdued character.

INSIDE STORY

Eine kleine Nachtmusik, K. 525 (1787) 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. 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 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 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.

Though sunny and cheerful throughout, when seen in the light of its immediate musical companions of 1787—Don Giovanni, A major Violin Sonata (K. 526), C major and G minor String Quintets—Eine kleine Nachtmusik takes on an added depth of expression as much for what it eschews as for what it contains.

CONTINUED ON PAGE 193

A MUSICAL FAMILY TREE Johann Sebastian Bach was a busy man. In addition to being a prolific composer, he fathered 20 children over his lifetime. Music was central to the Bach household; the house was full of instruments and J.S. was known to compose music for family occasions. It’s no surprise that many of his progeny turned out to be musical as well: Bach’s firstborn, Catharina, was an excellent singer and often helped her father with his work. (Composition was not a career option for women at the time.)

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE GRAND BENEFACTOR

ALLEGRO ( $10,000+ )

( $100,000+ )

The Paiko Foundation, in honor of the Vail Police

Jeffrey Byrne and Sheldon Andrew The Sidney E. Frank Foundation Cathy and Howard Stone

PREMIER BENEFACTOR

BENEFACTOR ( $5,000+ )

( $50,000+ )

Arlene and John Dayton The Francis Family Ann and William Lieff

Town of Vail

PLATINUM ( $30,000+ ) Marijke and Lodewijk de Vink

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

The Sonnenalp Resort of Vail is the official home of the Academy of St Martin in the Fields while in residence at Bravo! Vail.

Wilhelm Friedemann became an organist, and one of his students was none other than Johann Gottlieb Goldberg, whose name is immortalized in the famous Goldberg Variations.

Johann Gottfried secretly abandoned his music career to study law.

Regina, the youngest, was acquainted with Beethoven; he even asked for proceeds from the premiere of his Eroica Symphony to be donated to her in honor of her famous father.

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TUESDAY JUNE 27, 6:00PM

JUN

27

CHAMBER MUSIC SERIES

DONOVAN PAVILION

ACADEMY OF ST MARTIN IN THE FIELDS CHAMBER ENSEMBLE

Tomo Keller, violin Martin Burgess, violin Robert Smissen, viola Fiona Bonds, viola Martin Loveday, cello Will Schofield, cello

Anne-Marie McDermott, piano

STRAUSS Introduction (Sextet) to Capriccio, Op. 85 (10 minutes)

DVOŘÁK Sextet for Two Violins, Two Violas and Two Cellos in A major, Op. 48 (33 minutes) Allegro moderato Dumka: Poco allegretto — Adagio, quasi tempo di marcia — Poco allegretto Furiant: Presto Finale (Tema con Variazioni): Allegretto grazioso, quasi andantino

THE ACADEMY CHAMBER ENSEMBLE WITH MCDERMOTT

C

apriccio, the final operatic work by RICHARD STRAUSS (1864-1949), is essentially a discussion about which is more significant in opera, the words or the music.

The Sextet begins before the stage is revealed. As it continues, the curtain rises to show the opera’s characters listening to the music played by an off-stage ensemble. The String Sextet by ANTONÍN DVOŘÁK (1841-1904) was composed in May 1878, and first given on July 29, 1879 at a private soirée in the Berlin home of the master violinist and staunch ally of Brahms, Joseph Joachim. The event marked the first time that one of Dvořák’s chamber works had received its premiere outside his native Bohemia, an important marker along the road of the composer’s burgeoning international renown. Joachim introduced the Sextet to the public on November 9, 1879 in Vienna. The Piano Quintet of ROBERT SCHUMANN (18101856) was sketched in just five days during September 1842 and completed two weeks later during the five-month frenzy of creativity that also yielded up the Piano Quartet, the three String Quartets, and the Phantasiestücke for Piano, Violin and Cello.

— INTERMISSION — SCHUMANN Quintet for Piano, Two Violins, Viola and Cello in E-flat major, Op. 44 (30 minutes) Allegro brillante In modo d’una marcia, un poco largamente Scherzo molto vivace Allegro ma non troppo BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Concessions provided by:

62 Learn more at BravoVail.org

The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation, in honor of the Vail Police Town of Vail

OHLSSON PLAYS TCHAIKOVSKY

DALLAS SYMPHONY ORCHESTRA JUN

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WEDNESDAY JUNE 28, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: THE FRANCIS FAMILY LYN GOLDSTEIN

SPECIAL GRATITUDE TO: The Friends of the Dallas Symphony Orchestra The Francis Family The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Pamela and David Anderson Marcy and Stephen Sands

SOLOIST SPONSORS: Garrick Ohlsson, piano, sponsored by Sue & Dan Godec and Maria Santos

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WEDNESDAY JUNE 28, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jaap van Zweden, conductor Garrick Ohlsson, piano

TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, Op. 23 (36 minutes) Allegro non troppo e molto maestoso — Allegro con spirito Andantino semplice — Prestissimo Allegro con fuoco

— INTERMISSION — TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 (44 minutes) Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato (Allegro) Finale: Allegro con fuoco

OHLSSON PLAYS TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, Op. 23 (1874-1875) P E T E R I LY I C H T C H A I KO V S K Y ( 1 8 4 0 -1 8 9 3)

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t the end of 1874, Tchaikovsky began a piano concerto with the hope of having a success great enough to allow him to leave his irksome teaching post at the Moscow Conservatory. By late December, he had largely sketched out the work, and he sought the advice of Nikolai Rubinstein, Director of the Moscow Conservatory and an excellent pianist.

Tchaikovsky reported the interview in a letter: “On Christmas Eve 1874, Nikolai asked me to play the Concerto. We agreed to it. After I played through the work, there burst forth from Rubinstein’s mouth a mighty torrent of words. It appeared that my Concerto was utterly worthless, absolutely unplayable; the piece as a whole was bad, trivial, vulgar.” Tchaikovsky was furious and made only one change in the score: he obliterated the name of the original dedicatee—Nikolai Rubinstein—and substituted that of the virtuoso pianist Hans von Bülow, who was performing Tchaikovsky’s piano pieces across Europe. Bülow gladly accepted the dedication and asked to program the premiere on his upcoming American tour.

The Concerto created such a sensation when it was first heard, in Boston on October 25, 1875, that Bülow played it on 139 of his 172 concerts that season.

The Concerto opens with a sweeping introductory melody.

Following a decrescendo and a pause, the piano presents the snapping main theme. (Tchaikovsky said that this curious melody was inspired by a tune he heard sung by a blind beggar at a street fair.) The clarinet announces the lyrical second theme. The outer sections of the second movement’s three-part structure (A–B–A) are based on a languid melody introduced by the flute; the central episode uses a swift, balletic melody. A crisp rhythmic motive presented at the beginning of the finale dominates much of the movement. To balance the vigor of this music, a romantic melody is given by the violins. The two themes contend until the Concerto comes to its rousing close.

Symphony No. 4 in F minor, Op. 36 (1877-1878) P E T E R I LY I C H T C H A I KO V S K Y

The Fourth Symphony was a product of the most crucial and turbulent time of Tchaikovsky’s life—1877, when he crossed paths with two women who forced him to evaluate himself as he never 64 Learn more at BravoVail.org

had before. The first was the sensitive, music-loving widow of a wealthy Russian railroad baron, Nadezhda von Meck, who became not only his personal confidante but also the financial backer who allowed him to quit his teaching job at the Moscow Conservatory to devote himself entirely to composition. Though they never met, her place in Tchaikovsky’s life was enormous and beneficial.

The second woman to enter Tchaikovsky’s life in 1877 was Antonina Miliukov, an unnoticed student in one of his large lecture classes at the Conservatory who had worked herself into a passion over her professor. Tchaikovsky paid her no special attention, and he had quite forgotten her when he received an ardent love letter professing her flaming and unquenchable desire to meet him.

Tchaikovsky (age 37), who should have burned the thing, answered the letter of the 28-year-old Antonina in a polite, cool fashion, but did not include an outright rejection of her advances. He had been considering marriage for almost a year in the hope that it would give him both the stable home life that he had not enjoyed in the twenty years since his mother died, as well as to help dispel the all-too-true rumors of his homosexuality. He believed he might achieve both these goals with Antonina. What a welter of emotions must have gripped his heart when, a few weeks later, he proposed marriage to her! Inevitably, the marriage crumbled within CONTINUED ON PAGE 193

INSIDE STORY

PARALLEL TRACKS Both the works on tonight’s program were written in Russia in the mid-1870s. Here’s what was happening in America during this turbulent—but productive— time in Tchaikovsky’s life: Levi Strauss and Jacob Davis patented their blue jeans with copper rivets. (1874)

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ( $30,000+ )

SOLOIST ( $7,000+ )

Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Bobbi and Richard Massman

BENEFACTOR ( $5,000+ ) IMPRESARIO ( $25,000+ ) Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

Peggy and Gary Edwards Cindy Engles Sallie and Robert Fawcett Rebecca and Ron Gafford Carol and Jeff Heller Brenda and Joe McHugh Mr. and Mrs. Al Meitz Allison and Russell Molina Jane Parker Debbie and Ric Scripps Dr. and Mrs. Bill Weaver

ALLEGRO ( $10,000+ ) Arlene and John Dayton Alexia and Jerry Jurschak

Funded in part by a generous grant from The Lyn and Phillip Goldstein Piano Concerto Artist Project.

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

The first United States zoo opened in Fairmount Park, Philadelphia. (1874) The first Kentucky Derby was run at Churchill Downs in Louisville, Kentucky. (1874) Congress passed the Civil Rights Act. (1875) The Philadelphia Centennial Exhibition, a world’s fair celebrating the 100th birthday of the United States, showcased the newly patented telephone, Westinghouse’s air brake, and the first public showing of the top portion of the Statue of Liberty. (1876) The first commercial telephone exchange opened. (1878) Thomas Edison patented the phonograph. (1878) 65

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THURSDAY JUNE 29, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

David Cooper, horn Anne-Marie McDermott, piano

FREE

SCHUMANN Adagio and Allegro, Op. 70 Langsam, mit innigem Ausdruck Rasch und feurig

FRANZ STRAUSS Nocturno, Op. 7

BARBOTEU Saisons Automne: Allegro Hiver “au coin du feu”: Andante cantabile Printemps (pièce pastorale): Modéré Été: Andante cantabile Danse: Allegro moderato

MOZART Sonata in B-flat major, K. 378 (K. 317d) [originally for Violin and Piano] Allegro moderato Andantino sostenuto e cantabile Rondo: Allegro

BOZZA Sur le Cimes The running time of this concert is approximately one hour.

MUSIC FOR PIANO AND HORN

T

he Adagio and Allegro dates from 1849, when ROBERT SCHUMANN (1810-1856) was in good health and spirits, and producing music with greater ease and speed than at almost any other time in his life—some thirty works date from what he referred to as “my most fruitful year.” FRANZ STRAUSS (1822-1905) was the finest horn player of his time, a composer and conductor of considerable skill, and father of one of music’s greatest masters, Richard Strauss. The Nocturno (1864) is one of the loveliest of Franz’s character pieces for horn and piano. GEORGES BARBOTEU (1924-2006) was born in Algiers and became one of France’s leading horn virtuosos and teachers. Saisons (“Seasons”) (1983) is his contribution to the repertory of descriptive pieces inspired by the world’s annual cycle. The charming quality of the B-flat Sonata (1779)

by WOLFGANG AMADEUS MOZART (1756-1791) belies the time of its composition, soon after he returned to Salzburg from his difficult and disappointing trip to Paris, when he was unable to secure a position there for himself and also suffered the death of his mother, who had accompanied him on the journey. The most important of the contributions of EUGÈNE BOZZA (1905-1991) to 20th-century French music were his works for wind instruments.

Sur le Cimes (“On the Peaks”) (1960) evokes the views and moods of the country’s majestic Alps.

DAVID COOPER 66 Learn more at BravoVail.org

Antlers at Vail FirstBank Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation, in honor of the Vail Police Carole A. Watters

© MARK KITAOKA

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

MENDELSSOHN & PROKOFIEV

DALLAS SYMPHONY ORCHESTRA JUN

30

FRIDAY JUNE 30, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: LINDA AND MITCH HART CAROLE A. WATTERS

SPECIAL GRATITUDE TO: The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The New Works Fund The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Alexia and Jerry Jurschak

SOLOIST SPONSORS: Simone Lamsma, violin, sponsored by Cindy and Guy Griffin

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JUN

30

FRIDAY JUNE 30, 6:00PM ORCHESTRA SERIES

PRE-CONCERT TALK, 5:00PM GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA

Gerald R. Ford Amphitheater Lobby Abigail Shupe (Colorado State University), “Musical Stories and Musical Forms in Prokofiev and Mendelssohn” PLUS meet composer Roberto Sierra

Jaap van Zweden, conductor Simone Lamsma, violin

SIERRA Dos piezas para orquesta (10 minutes) World Premiere NEW WORKS PROJECT

MENDELSSOHN Violin Concerto in E minor, Op. 64 (26 minutes) Allegro molto appassionato— Andante — Allegretto non troppo — Allegro molto vivace

— INTERMISSION — PROKOFIEV Symphony No. 5, Op. 100 (46 minutes) Andante Allegro marcato Adagio Allegro giocoso

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MENDELSSOHN & PROKOFIEV Dos piezas para orquesta (“Two Pieces for Orchestra”) Commissioned by Bravo! Vail as part of the NEW WORKS PROJECT ROBERTO SIERRA (B. 1953)

P

uerto Rican-born Roberto Sierra graduated from the University of Puerto Rico in 1976, attended the Royal College of Music and University of London (19761978), and then pursued further study at the Institute for Sonology in Utrecht, Holland. From 1979 to 1982, he was a pupil of György Ligeti at the Hochschule für Musik in Hamburg. Sierra returned to Puerto Rico in 1982, serving first as Director of the Cultural Activities Program at the University of Puerto Rico and later as Chancellor of the Puerto Rico Conservatory of Music.

In 1992, he joined the composition faculty at Cornell University.

Sierra’s distinctions include two Grammy nominations and awards from the International Composers Competition of the Budapest Spring Festival, Aliènor Harpsichord Composition Competition and American Academy of Arts and Letters. In 2008, Sierra’s Viola Concerto was a finalist for a Pulitzer Prize; in 2010, he was elected to the American Academy of Arts and Sciences.

Of Dos piezas para orquesta, Sierra wrote, “This diptych contains two contrasting pieces that are generated by the same musical material and creative impulse. The contrast is established by the lyrical and introspective nature of the first piece and the jubilant and energetic character of the second. From the highly expressive fabric of the first piece—a musical lament—outbursts of sound emerge that anticipate the bright character of the second piece, whose beginning is announced by a brass fanfare infused with Latin rhythms. Rhythms evocative of Caribbean music interact with highly intense and emotional musical material. If in the first piece the character of this movement was anticipated, here memories and evocations of some of the ideas of the first piece emerge. The orchestra is treated like a virtuoso, a ‘player’ capable of a wide gamut of expression and technical display.

“I believe that, as a composer, I am expressing life through music. My music is just the conduit to convey my fears, my sense of hope, as well as an optimistic outlook and belief in a positive force that guide us through life.”

INSIDE STORY

Violin Concerto in E minor, Op. 64 (1844) FELIX MENDELSSOHN (1809-1847)

Mendelssohn wrote his E minor Violin Concerto for his friend Ferdinand David, who was appointed concertmaster of the Leipzig Gewandhaus Orchestra when Mendelssohn 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 is largely based on the opening theme. A 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; the center CONTINUED ON PAGE 193

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ( $30,000+ )

SOLOIST ( $7,000+ )

Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Bobbi and Richard Massman

BENEFACTOR ( $5,000+ ) IMPRESARIO ( $25,000+ ) Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

Peggy and Gary Edwards Cindy Engles Sallie and Robert Fawcett Rebecca and Ron Gafford Carol and Jeff Heller Brenda and Joe McHugh Mr. and Mrs. Al Meitz Allison and Russell Molina Jane Parker Debbie and Ric Scripps Dr. and Mrs. Bill Weaver

ALLEGRO ( $10,000+ ) Arlene and John Dayton Alexia and Jerry Jurschak

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

YOUTHFUL SPARKS The most famous child prodigy in classical music is probably Mozart, but Felix Mendelssohn was equally precocious, and arguably more, well, prodigious. BBC Music Magazine even named Mendelssohn “the greatest music prodigy of all time.”

At age 12, his teacher took him to meet the great poet Goethe, who declared, “What your pupil already accomplishes bears the same relation to the Mozart of that time, that the cultivated talk of a grownup person does to the prattle of a child.” He wrote his first full opera the same year, published his first work at 13, and had completed two major masterpieces (the Octet and Midsummer Night’s Dream Overture) by age 17. In addition to playing the piano, organ, violin, and viola; conducting, and of course, composing music, he was also fluent in German, French, and English; could read Latin and Greek; wrote both the poetry and music for his songs; and was a gifted painter of landscapes.

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FOR THOSE WHO WANT TO FINISH THE DAY WITH A VIEW. After an awe inspiring day outdoors, there’s nothing like winding down with world-class shopping and dining in a breathtaking setting. Let Vail be your ultimate summer destination.

Check out all Vail has to offer at Vail.com.

THE RITE OF SPRING

DALLAS SYMPHONY ORCHESTRA JUL

01

SATURDAY JULY 1, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: SHIRLEY AND WILLIAM S. MCINTYRE, IV

SPECIAL GRATITUDE TO: The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Marilyn Augur Debbie and Jim Donahugh Holly and Ben Gill Patti and Blaine Nelson Martha Dugan Rehm and Cherryl Hobart

71

JUL

01

SATURDAY JULY 1, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE RITE OF SPRING

DALLAS SYMPHONY ORCHESTRA

Prelude to Act I of Lohengrin (1845-1848)

Jaap van Zweden, conductor Erin Hannigan, oboe Ted Soluri, bassoon Nathan Olson, violin Theodore Harvey, cello

W

WAGNER Prelude to Act I of Lohengrin (9 minutes)

HAYDN Sinfonia Concertante for Oboe, Bassoon, Violin, Cello and Orchestra in B-flat major, Op. 84 (22 minutes) Allegro Andante Allegro con spirito

— INTERMISSION — STRAVINSKY The Rite of Spring (33 minutes) Part One: The Adoration of the Earth Introduction — Dance of the Young Girls — Mock Abduction — Round Dance — Games of the Rival Clans — Procession of the Sage — Adoration of the Earth — Dance of the Earth Part Two: The Sacrifice Introduction — Mystical Circles of the Young Girls — Glorification of the Chosen One — The Summoning of the Ancients — Ritual of the Ancients — Sacrificial Dance

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RICHARD WAGNER (1813-1883)

agner based his libretto for Lohengrin on two 13th-century German sources—a poem by the knight Wolfram von Eschenbach (who appears as a character in Tannhäuser) and The Knight of the Swan by the Minnesinger (the German counterparts of the French troubadours) Conrad von Würzburg. In the opera, Lohengrin, son of Parsifal and a Knight of the Holy Grail, appears in 10th-century Antwerp to defend Elsa against a false accusation of murder. She is absolved of the charge, and Lohengrin consents to wed her on the condition that she does not inquire about his name or his past.

After a magnificent marriage ceremony (source of the familiar Wedding March—“Here Comes the Bride”), she asks the forbidden questions. Lohengrin reveals his name and his sacred mission to find the sacred chalice, lost after it was used at the Last Supper, but leaves Elsa, who expires of her grief. Wagner wrote of the Prelude to Act I, “Out of the clear blue sky there seems to condense a wonderful vision of an angel host bearing in its midst the sacred Grail.”

Sinfonia Concertante for Oboe, Bassoon, Violin, Cello and Orchestra in B-flat major, Op. 84 (1792) JOSEPH HAYDN (1732-1809)

Haydn’s first visit to England, from January 1791 until the summer of the following year, was one of the happiest times of his life. His health was good, his works were acclaimed, he was entertained royally (literally), and he was the talk of the town. One of the highlights of his second London season was the Sinfonia Concertante for Violin, Cello, Oboe, Bassoon and Orchestra that he unveiled at his concert of March 9, 1792.

The first movement, in a large sonata form, trots along at a merry pace. The full orchestra makes the traditional attempt to present all the thematic material before the soloists begin, but the jolly little band is ready to get on with things and takes over as quickly as decorum allows. Following their entry, the show belongs to the soloists. The second movement is a lovely chamber piece for the four soloists to which the orchestra adds little more than visual presence. Haydn is often credited with a keen sense of humor in his music. One of the most important ways in which he achieved this wit was through quick juxtapositions of contrasting material. In the finale, these contrasts and the humor are so

INSIDE STORY

broad that they almost seem to mimic a farcical operatic scene.

The orchestra opens the scene with a jolly peasant dance. The lamenting contralto (solo violin in recitative) lumbers forward to ask who has stolen her husband, or whatever, and temporarily halts the merriment. The dancers ignore her for six measures of brisk whirling about, until she erupts with a more impassioned plea. To no avail. So she does the only sensible thing—takes up the intoxicating dance tune and leads the company through a merry festival. Near the end of the finale, she recalls the quest for her lost husband, and again recites her ponderous questions. Her presence of mind still not having deserted her, however, she now knows that dancing is more fun than ululation, and the joyful entertainment continues to the end.

The Rite of Spring (1910-1913) IGOR STR AVINSK Y (1882-1971)

“What I was trying to convey in The Rite,” said Stravinsky, “was the surge of spring, the magnificent upsurge of nature reborn.”

Inspired by childhood memories of the coming of spring to Russia (“which seemed to begin in an hour and was like the whole earth CONTINUED ON PAGE 194

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ( $30,000+ )

SOLOIST ( $7,000+ )

Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Bobbi and Richard Massman

BENEFACTOR ( $5,000+ ) IMPRESARIO ( $25,000+ ) Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

Peggy and Gary Edwards Cindy Engles Sallie and Robert Fawcett Rebecca and Ron Gafford Carol and Jeff Heller Brenda and Joe McHugh Mr. and Mrs. Al Meitz Allison and Russell Molina Jane Parker Debbie and Ric Scripps Dr. and Mrs. Bill Weaver

ALLEGRO ( $10,000+ )

MUSICAL INVECTIVE At its premiere in 1913, The Rite of Spring’s combination of modernism and primitive eroticism had audience members shouting in outrage and exchanging blows. Le Figaro called it “a laborious and puerile barbarity.” Puccini described it as “the work of a madman.” Fellow composer Henry Cowell was even inspired to set a particularly imaginative review to music:

Who wrote this fiendish “Rite of Spring”?

What right had he to write the thing?

Against our helpless ears to fling Its crash, clash, cling, clang, bing, bang, bing?

But Stravinsky wasn’t the first, or the only, composer to inspire such vitriol: “Bruckner composes like a drunkard!”

Arlene and John Dayton Alexia and Jerry Jurschak

“Debussy’s music is the dreariest kind of rubbish.”

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

“I have played over the music of that scoundrel Brahms.

What a giftless bastard!”

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JOHN WILLIAMS:

MUSIC FROM THE MOVIES

DALLAS SYMPHONY ORCHESTRA JUL

02

SUNDAY JULY 2, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: LYDA HILL SANDRA AND GREG WALTON

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

SPONSORED BY: Sandy and John Black Lucy and Ron Davis Nancy Gage and Allan Finney Rose and Howard Marcus Sue and Marty Solomon

SOLOIST SPONSORS: Jeff Tyzik, conductor, sponsored by Karen and Jim Johnson

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JUL

02

SUNDAY JULY 2, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor

JOHN WILLIAMS Superman March from Superman Overture from The Cowboys Theme from Jaws Suite Theme from Angela’s Ashes “Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone “Flight To Neverland” from Hook Theme from Schindler’s List “Devil’s Dance” from The Witches of Eastwick

— INTERMISSION — “Duel Of The Fates” from Phantom Menace Theme from Jurassic Park “Escapades” from Catch Me If You Can Timothy Roberts, saxophone Douglas Howard, vibraphone Theme from Born On The 4th Of July Star Wars Suite Imperial March Princess Leia’s Theme Main Title

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JOHN WILLIAMS: MUSIC FROM THE MOVIES

J

ohn Williams is one of America’s most widely known composers. Born in New York in 1932, he moved with his family when he was sixteen to Los Angeles, where his father was active as a studio musician. After serving in the Air Force, Williams returned to New York in 1954, working there as a jazz pianist in clubs and on recordings while attending The Juilliard School. He subsequently moved back to Los Angeles to enroll at UCLA and study privately with Mario CastelnuovoTedesco. By the early 1960s, he was composing music for feature films and television, as well as working as a pianist, arranger and conductor for Columbia Records. His music began to receive wide recognition during the 1960s, when he won Emmys for his scores for the television movies Heidi and Jane Eyre.

Williams has since composed music and served as music director for more than 300 movies and television shows, including all of the Star Wars and Indiana Jones films, Jaws, E.T. (The ExtraTerrestrial), Close Encounters of the Third Kind, Superman, Home Alone, The Witches of Eastwick, Schindler’s List and Saving Private Ryan. His recent projects include the Harry Potter movies, Memoirs of a Geisha, Munich, War of the Worlds, Minority Report, Catch Me If You Can, The Adventures of Tin-Tin and Lincoln. He has received fifty 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. The original soundtrack album from Star Wars has sold nearly five million copies, more than any non-pop album in recording history.

In addition to his film music, Williams has written many concert pieces, including two symphonies as well as concertos for violin, cello, flute, clarinet, bassoon, tuba, horn and trumpet.

For the 350th anniversary of the City of Boston, he composed the Jubilee 350 Fanfare; for the Boston Pops, he wrote the Esplanade Overture and Pops on the March. In 1986, he wrote the Statue of Liberty March for the celebrations marking the centenary of that national monument. He was among the 21 composers who contributed fanfares to the Houston Symphony Orchestra’s celebration of the Texas Sesquicentennial in 1986. His additional concert works include the Essay for Strings, the official themes of the 1996 Summer Olympics (Summon the Heroes) and 2002 Winter Olympics (Call of the Champions), and numerous chamber pieces. Williams composed Air and Simple Gifts for Clarinet, Cello and Piano for the inauguration ceremony of Barack Obama as President of the United States on January 20, 2009.

From 1980 to 1993, Williams was Principal Conductor of the Boston Pops. In addition to leading that orchestra in Boston, on tours across the country and abroad, and in many recordings, he has also appeared as guest conductor with major orchestras in London, Cleveland, Chicago, Pittsburgh, Philadelphia, Houston, Toronto, Los Angeles and elsewhere. Williams holds twenty honorary degrees, including those from The Juilliard School, Boston College, Northeastern University, Tufts University, Boston University, New England Conservatory, University of Massachusetts, Eastman School and Oberlin College. On June 23, 2000, he was the first person inducted into the Hollywood Bowl Hall of Fame. On New Year’s Day 2004, he served as the Grand Marshal of the Rose Parade in Pasadena, and the following December he was awarded a Kennedy Center Honor, America’s highest award for artistic achievement. In June 2006, Williams received the prestigious Golden Baton Award for Lifetime Achievement from the League of American Orchestras; in 2010, he was awarded the National Medal of Arts at the White House.

“I use John Williams to enhance my vision and my thoughts emotionally,” said producer-director Steven Spielberg, who has worked with him on nearly thirty movies over four decades.

“Without John, bikes don’t really fly, nor do brooms in Quidditch CONTINUED ON PAGE 194

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ( $30,000+ )

SOLOIST ( $7,000+ )

Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Bobbi and Richard Massman

BENEFACTOR ( $5,000+ ) IMPRESARIO ( $25,000+ ) Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

Peggy and Gary Edwards Cindy Engles Sallie and Robert Fawcett Rebecca and Ron Gafford Carol and Jeff Heller Brenda and Joe McHugh Mr. and Mrs. Al Meitz Allison and Russell Molina Jane Parker Debbie and Ric Scripps Dr. and Mrs. Bill Weaver

ALLEGRO ( $10,000+ ) Arlene and John Dayton Alexia and Jerry Jurschak

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

INSIDE STORY

FROM SYMPHONIES TO SOUNDTRACKS Quite a few composers have made names for themselves as writers of music for film. John Williams, of course, is a household name; others include Danny Elfman (associated with Tim Burton movies), James Horner (who wrote the music for Titanic) and Bernard Hermann (forever linked with Alfred Hitchcock’s Psycho).

However, there are a number of “classical” composers who you might be surprised to learn wrote soundtracks as well as symphonies: Benjamin Britten scored Night Mail, a classic 1936 documentary about a mail train, which also featured text by the poet W. H. Auden.

Sergei Prokofiev’s soundtrack for the historical epic Alexander Nevsky contains some of his most dramatic and inventive music.

Camille Saint-Saëns was the first famous composer to write an original film score, for The Assassination of the Duke of Guise in 1908.

Dmitri Shostakovich accompanied silent films on piano as a youth, and composed a large quantity of film music over the course of his career.

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JUL

04

TUESDAY JULY 4, 2:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Byron Stripling, trumpet and vocalist Robert Breithaupt, drums

ARR. DAMROSCH The Star-Spangled Banner

SOUSA Washington Post March

ARR. TYZIK Fantasy on American Themes

WILLIAMS The Patriot

SOUSA Semper Fidelis

BERLIN/ARR. TYZIK Alexander’s Ragtime Band

ARR. TYZIK Louis Armstrong Medley

— INTERMISSION — WILLIAMS Midway March

RODGERS

PATRIOTIC CONCERT

A

fter the Continental Congress endorsed the Declaration of Independence on July 2, 1776, John Adams wrote to his beloved Abigail, “I am apt to believe that it will be celebrated by succeeding generations as the country’s great anniversary festival.” From then to now, July 4th has been celebrated as the birth of American independence, with patriotic concerts and family gatherings being among the traditional festivities.

We celebrate this most American of holidays with the most American of music. Apprenticed by his father to the United States Marine Band when he was just fourteen years old, JOHN PHILIP SOUSA (1854-1932) wrote hundreds of famous marches including Semper Fidelis (the Official March of the Marine Corps), Washington Post March (composed for the awards ceremony of an essay contest by The Washington Post newspaper), and, the National March of the United States, Star and Stripes Forever.

Film composer JOHN WILLIAMS (B. 1932) has created deeply moving musical depictions of the American spirit, including The Patriot, set in the Revolutionary War, the World War II-era Midway, and the reflective Lincoln. Add a little jazz and ragtime, more popular patriotic tunes, and the “simple gifts” of a Shaker melody

by AARON COPLAND (1900-1990): these are the sounds of American celebration.

Excerpt from Victory At Sea

WILLIAMS “With Malice Towards None” from Lincoln

ALFORD Colonel Bogey

COPLAND Variations On A Shaker Melody

ARR. TYZIK Armed Forces Song Medley

ARR. TYZIK America The Beautiful

SOUSA Stars & Stripes Forever

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: THE VAIL VALLEY FOUNDATION SPECIAL GRATITUDE TO The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

Bravo! Vail congratulates the Gerald R. Ford Amphitheater on its 30th Anniversary this year.

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

RETURN TO THE COTTON CLUB

DALLAS SYMPHONY ORCHESTRA JUL

05

WEDNESDAY JULY 5, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: ANB BANK AND THE STURM FAMILY GEORGIA AND DON GOGEL

SPECIAL GRATITUDE TO: The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Carolyn and Steve Pope Stolzer Family Foundation

SOLOIST SPONSORS: Jeff Tyzik, conductor, sponsored by Bobbi and Richard Massman Byron Stripling, trumpet and vocalist, sponsored by The Frigon Family

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JUL

05

WEDNESDAY JULY 5, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Byron Stripling, trumpet and vocalist Miche Braden, vocalist Ted Louis Levy, tap dancer and vocalist Robert Breithaupt, drums

ELLINGTON It Don’t Mean a Thing (If It Ain’t Got That Swing)

ARMSTRONG Swing That Music

WILSON Gimme a Pigfoot (And a Bottle of Beer)

MCHUGH I Can’t Give You Anything but Love, Baby

TYZIK Cotton Club Medley: Mood Indigo & Harlem Congo

MARSALES & LYMAN Smile, Darn Ya, Smile!

FISHER & BENSON Your Feet’s Too Big

HANDY St. Louis Blues

— INTERMISSION — HAWKINS Swing Out

CALLOWAY Minnie the Moocher

ARLEN Kickin’ The Gong Around

GERSHWIN I Got Rhythm

ARLEN Stormy Weather

AKST Am I Blue?

WALLER Ain’t Misbehavin’

CANNON Bill Bailey, Won’t You Please Come Home?

All arrangements by Jeff Tyzik

RETURN TO THE COTTON CLUB

T

he Cotton Club was one of the unintended consequences of Prohibition. The venue at 142nd Street and Lenox Avenue in Harlem that became the iconic—and infamous—“hot spot” of the Jazz Age was originally opened in 1920 by Jack Johnson, the first AfricanAmerican to become world heavyweight boxing champion, as a supper club called the Club Deluxe. When the 18th Amendment to the U.S. Constitution, which prohibited all “intoxicating liquors,” had become effective at the beginning of that year, organized crime immediately moved in to supply the demand that no mere legislation could squelch, so in 1923, after being released from Sing-Sing, the notorious New York underworld figure Owney Madden (who wholly deserved his nickname, “The Murderer”) made Johnson an offer he couldn’t refuse and took over the Club Deluxe. Madden’s primary objective was to sell his illegal booze to the tony downtown crowd, so he expanded and glamorized the club, offered top-notch dance and musical entertainment, and, in line with the prevailing Jim Crow sensibilities of the time, segregated customers and employees—white in the seats, black on stage—and changed the name to “Cotton Club,” suggesting “King Cotton” and the old southern plantations.

Business flourished for the next decade. The Cotton Club became the nightspot in New York, visited by such notables as Franklin D. Roosevelt, Bing Crosby, Charlie Chaplin, George Gershwin, Sophie Tucker, Al Jolson, Mae West, Richard Rodgers, Irving Berlin, Fanny Brice, Judy Garland, Moss Hart and even Mayor Jimmy Walker. (The club was closed down only once for liquor violations, briefly in 1925, continuing a long New York tradition of lenient police enforcement regarding such matters. When Theodore Roosevelt was the city’s police commissioner in the mid-1890s, he did much to rid the department of corruption but made little headway in enforcing the local Sunday closing laws.)

Prohibition was repealed in 1933 but the Cotton Club continued to be successful—its Cotton Club Revue of 1934 ran for eight months and attracted over 600,000 paying customers—until the Harlem Riots of 1935 forced it to close. The club re-opened successfully in the midtown Theater District in 1936, but it was shut down for good four years later because of changing tastes and sensibilities, high rents, accusations of tax evasion, and the looming specter of war in Europe.

In its heyday, the Cotton Club featured some of the finest entertainment in the country, elaborately staged and costumed revues that were meant to evoke the grandeur of a Southern

plantation or the exoticism of a jungle setting. Much of the atmosphere was created by the dancing of skimpily clad girls who were “tall, tan and terrific,” which meant they had to be at least five feet, six inches, light-skinned and under 21. The performances nurtured the careers of some of the most gifted musicians and dancers of the 20th century—Lena Horne (who was featured in the Cotton Club Revue of 1934 when she was just sixteen), Louis Armstrong, Bessie Smith, Fats Waller, Ella Fitzgerald, Billie Holiday, Dorothy Dandridge (the first African-American to be nominated for an Academy Award for Best Leading Actress for the 1954 film Carmen Jones; Hattie McDaniel had won an Oscar for Best Supporting Actress for the 1939 Gone with the Wind), Sammy Davis, Jr., The Mills Brothers, Ethel Waters, Bill “Bojangles” Robinson (who earned $3,500 a week after the Cotton Club reopened in midtown, the most ever paid to a black entertainer in a Broadway production to that time) and Stepin Fetchit (who later became the first black millionaire from his film work).

Well-known white songwriters like Dorothy Fields & Jimmy McHugh and Harold Arlen provided numbers for the Cotton Club revues, but much of the music was provided by the club’s succession of brilliant bandleaders: Fletcher Henderson when the club opened in 1923; Duke Ellington from 1927 to 1930, with CONTINUED ON PAGE 194

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ( $30,000+ )

SOLOIST ( $7,000+ )

Linda and Mitch Hart Shirley and William S. McIntyre, IV Billie and Ross McKnight

Carol and Ronnie Goldman Bobbi and Richard Massman

BENEFACTOR ( $5,000+ ) IMPRESARIO ( $25,000+ ) Lyda Hill

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family

OVATION ( $15,000+ ) Marilyn Augur Patti and Blaine Nelson Marcy and Stephen Sands C.P. “Chuck” and Margery Pabst Steinmetz Carole A. Watters

Peggy and Gary Edwards Cindy Engles Sallie and Robert Fawcett Rebecca and Ron Gafford Carol and Jeff Heller Brenda and Joe McHugh Mr. and Mrs. Al Meitz Allison and Russell Molina Jane Parker Debbie and Ric Scripps Dr. and Mrs. Bill Weaver

ALLEGRO ( $10,000+ ) Arlene and John Dayton Alexia and Jerry Jurschak

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

INSIDE STORY

INSIDE THE COTTON CLUB If you were a New Yorker looking for a special night out during Prohibition, the Cotton Club was top on your list of places to go. You’d dress to the nines, hail a taxi to distant Harlem, and enter the vast “stylish plantation environment,” complete with palm fronds, jungle sounds, and a strict segregation policy. If you came on a Sunday, which was “Celebrity Night,” you might bump into Jimmy Durante, George Gershwin, Mae West, or Mayor Jimmy Walker before tucking into a late supper of deerfoot sausage and scrambled eggs, or something from the Chinese side of the menu (in keeping with the Jazz Age craze for exoticism) like Meat Foo Yong. Your “Carioca West Indies Daiquiri Served In Champagne Glass, Electrically Mixed” would be served by a red-tuxedoed waiter as the floor show started around midnight, featuring wild dance routines, elaborate stagecraft, and strategically placed spangles on the “tall, tan and terrific” showgirls.

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THURSDAY JULY 6, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

ZORÁ STRING QUARTET (Bravo! Vail 2017 Chamber Musicians in Residence) Dechopol Kowintaweewat, violin Seula Lee, violin Pablo Muñez Salido, viola Zizai Ning, cello

BEETHOVEN String Quartet in F minor, Op. 95, “Serioso” Allegro con brio Allegretto ma non troppo — Allegro assai vivace ma serioso Larghetto espressivo — Allegretto agitato

MENDELSSOHN String 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 The running time of this concert is approximately one hour.

FREE

STRING QUARTETS OF BEETHOVEN & MENDELSSOHN

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UDWIG VAN BEETHOVEN (1770-1827) composed his F minor Quartet, “Serioso,” on a rusticated stay during the summer of 1810 at the distant Viennese suburb of Baden.

It is the shortest and the most highly compressed example of the genre that he wrote. The work grapples with the philosophic/artistic problem he had broached in the Fifth Symphony: the “apotheosis,” or struggle to victory. “In this Quartet,” wrote Joseph Kerman, “Beethoven evokes that almost tangible sense of the artist assaulting a demon of his own fancying; we admire the process of assault, conquest, assertion or becoming that the illusion permits.”

In spring 1827, FELIX MENDELSSOHN (1809-1847) indulged in a short holiday at Sakrow, 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 of his friend Johann Gustav Droyson 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 String Quartet, Op. 13, he composed that year.

ZORÁ STRING QUARTET 82 Learn more at BravoVail.org

Destination Resorts FirstBank Cookie and Jim Flaum The Sidney E. Frank Foundation The Paiko Foundation, in honor of the Vail Police Carole A. Watters

© MATT DINE

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

TCHAIKOVSKY VIOLIN CONCERTO

THE PHILADELPHIA ORCHESTRA JUL

07

FRIDAY JULY 7, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: BARBARA AND BARRY BERACHA MR. CLAUDIO X. GONZALEZ

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

SPECIAL GRATITUDE TO: The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Jeri and Charlie Campisi

SOLOIST SPONSORS: Stéphane Denève, conductor, sponsored

by Sue & Michael Callahan and Susan & Steven Suggs James Ehnes, violin, sponsored by Jane and Michael Griffinger

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JUL

07

FRIDAY JULY 7, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor James Ehnes, violin

TCHAIKOVSKY/ARR. STOKOWSKI Andante Cantabile from the String Quartet No. 1 in D major, Op. 11 (8 minutes)

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

— INTERMISSION — SIBELIUS Symphony No. 2 in D major, Op. 43 (43 minutes) Allegretto Tempo Andante, ma rubato Vivacissimo — Lento e suave — Tempo primo — Lento e suave — Finale: Allegro moderato

TCHAIKOVSKY VIOLIN CONCERTO Andante Cantabile from the String Quartet No. 1 in D major, Op. 11 (1871) P E T E R I LY I C H T C H A I KO V S K Y ( 1 8 4 0 -1 8 9 3) ARR ANGED BY LEOPOLD STOKOWSKI (1882-1977)

N

ew Year 1871 found Tchaikovsky, a member of the Moscow Conservatory faculty for five years and a composer of budding genius, nearly broke. His salary at the school was hardly more than meager and his only large compositions to that time—Romeo and Juliet and the First Symphony—had met with only tiny success, providing little promise of future royalties. His superior at the Conservatory, Nikolai Rubinstein, suggested that his young colleague stage a concert entirely of his own compositions both to raise some funds and to bring his music before the public. Tchaikovsky dreamed of presenting an orchestral performance, but he had neither the repertory nor the finances to support such a venture, so he settled on a chamber concert for which he would compose a new string quartet. The D major Quartet, the first chamber work of his maturity, was written quickly and premiered at his concert in Moscow on March 28, 1871.

Though the hall was not full, the income was sufficient to relieve Tchaikovsky’s most immediate financial distress, and the Quartet’s second movement—Andante Cantabile (“Moderate in tempo, singing”)—became one of his most popular creations.

The Andante Cantabile is built from two themes. The first is a folk song that Tchaikovsky collected during a visit to Ukraine in summer 1866. Titled Vanya, the words of the old tune could hardly be less appropriate to its lovely setting: “Vanya sat on the sofa and smoked a pipe of tobacco.” The second theme, given by the violins above a pizzicato accompaniment, is entirely of Tchaikovsky’s own invention.

Violin Concerto in D major, Op. 35 (1878) P E T E R I LY I C H T C H A I KO V S K Y

In the summer of 1877, Tchaikovsky undertook the disastrous marriage that lasted less than three weeks and resulted in his emotional collapse and attempted suicide. He decided that travel outside of Russia would be a balm to his spirit, and he duly installed himself at Clarens on Lake Geneva in Switzerland soon after the first of the year. In Clarens, he had already begun work on 84 Learn more at BravoVail.org

a piano sonata when he heard the colorful Symphonie Espagnole by the French composer Edouard Lalo. He was so excited by the possibilities of a work for solo violin and orchestra that he set aside the sonata and immediately began a concerto of his own.

Tchaikovsky’s Violin Concerto opens quietly with a tentative introductory tune. After a few unaccompanied measures, the violin presents the lovely main theme. The second theme begins a long buildup leading into the development, launched with a sweeping presentation of the main theme. A flashing cadenza serves as a link to the recapitulation. The Andante suggests the music of a Gypsy fiddler. The finale is imbued with the propulsive spirit of a dashing Russian dance.

INSIDE STORY

Symphony No. 2 in D major, Op. 43 (1901-1902) JEAN SIBELIUS (1865-1957)

Sibelius spent the early months of 1901 in Italy, away from the rigors of the Scandinavian winter. So inspired was he by the culture, history and beauty of the sunny south (as had been Goethe and Brahms) that he envisioned a work based on Dante’s CONTINUED ON PAGE 195

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( $50,000+ )

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PLATINUM ( $30,000+ ) Donna and Patrick Martin

SOLOIST ( $7,000+ )

Betsy Wiegers, in memory of Tony Perry

Sue and Michael Callahan Sue and Dan Godec Linda Farber Post and Dr. Kalmon D. Post Alysa and Jonathan Rotella, NexGen Hyperbaric LLC Susan and Steven Suggs

OVATION ( $15,000+ )

BENEFACTOR ( $5,000+ )

Anne and Hank Gutman Mr. John McDonald and Mr. Rob Wright Rich and Susan Rogel

Christine and John Bakalar Dokie Laura and Jim Marx Allison and Russell Molina Mr. and Mrs. Ernest Scheller, Jr. Carole and Peter Segal Dhuanne and Doug Tansill Sharon and Marc Watson

IMPRESARIO ( $25,000+ ) Peggy Fossett Karen and Michael Herman

VIRTUOSO ( $20,000+ )

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

The Antlers at Vail, Hotel Talisa, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residency at Bravo! Vail.

MUSICAL BIRTHDAY TRIBUTES The arrangement on tonight’s program of Tchaikovsky’s Andante Cantabile was written by Leopold Stokowski as a “birthday greeting” for the distinguished conductor and composer Walter Damrosch. Quite a few famous composers have written birthday tributes over the centuries.

Wagner wrote his Siegfried Idyll as a surprise birthday/Christmas present for his wife Cosima. Richard Strauss’s First Horn Concerto was conceived as a 60th birthday gift for his father, Franz Joseph Strauss, who played principal horn in the Munich Court orchestra. Unfortunately, when Franz saw how difficult some of the writing was, he refused to play it! And for the icing on the cake, for their 70th anniversary season in 1969 (which also happened to be the 70th birthday year of conductor Eugene Ormandy), The Philadelphia Orchestra commissioned 20 famous composers each to write a variation on the tune “Happy Birthday.”

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SATURDAY JULY 8, 1:00PM FREE CONCERT SERIES

GALLERY ROW, BEAVER CREEK

ZORÁ STRING QUARTET (Bravo! Vail 2017 Chamber Musicians in Residence) Dechopol Kowintaweewat, violin Seula Lee, violin Pablo Muñez Salido, viola Zizai Ning, cello

MOZART Divertimento in D major, K. 136 (13 minutes) Allegro Andante Presto

BOCCHERINI String Quartet in E-flat major, Op. 58, No. 2 (21 minutes) Allegretto lento Menuetto: Allegro Larghetto Finale: Allegro vivo assai

HAYDN String Quartet in G major, Op. 77, No. 1 (25 minutes) Allegro moderato Adagio Menuetto: Presto Finale: Presto

FREE

STRING QUARTETS OF MOZART, BOCCHERINI & HAYDN

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OLFGANG AMADEUS MOZART (1756-1791) wrote the Divertimento in D major, K. 136 in January 1772 in anticipation of his tour to Italy later that year.

Knowing that he would be busy with the opera that had been commissioned for Milan, Lucio Silla, he put these charming works together in advance so that he would have ready some compositions that could provide a pleasant evening’s diversion, or could be expanded easily to modest symphonic proportions through the addition of wind parts on the spot. LUIGI BOCCHERINI (1743-1805) composed the six string quartets comprising his Op. 58 in 1799 for Pleyel, one of the Parisian publishing firms that provided much of his meager income during his later years. The finale uses a theme with a remarkable likeness to Twinkle, Twinkle, Little Star, and it is a pleasing thought that Boccherini may have worked this movement’s involved contrapuntal display around one of childhood’s musical icons. The two quartets of Op. 77 that JOSEPH HAYDN (1732-1809) wrote in 1799 were the last in the incomparable series of instrumental creations stretching over half a century with which he had brought the quintessential forms of musical Classicism to their perfected states.

ZORÁ STRING QUARTET 86 Learn more at BravoVail.org

Beaver Creek Resort Company The Christie Lodge The Paiko Foundation, in honor of the Vail Police Carole A. Watters Westin Riverfront Resort and Spa

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

E.T. THE EXTRATERRESTRIAL IN CONCERT: FILM WITH LIVE SCORE

THE PHILADELPHIA ORCHESTRA JUL

08

SATURDAY JULY 8, 7:30PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: ANGELA AND PETER DAL PEZZO BARB AND DICK WENNINGER

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

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

THIS EVENING’S PERFORMANCE IS SPONSORED BY: Letitia and Christopher Aitken Mr. John McDonald and Mr. Rob Wright Mr. and Mrs. Ernest Scheller, Jr.

SOLOIST SPONSORS: Stéphane Denève, conductor, sponsored

by Liz & Tommy Farnsworth and Kathy & Roy Plum

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JUL

08

SATURDAY JULY 8, 7:30PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor

E.T. THE EXTRA-TERRESTRIAL A STEVEN SPIELBERG FILM Dee Wallace Peter Coyote HENRY THOMAS as ELLIOTT Music by JOHN WILLIAMS Written by MELISSA MATHISON Produced by STEVEN SPIELBERG & KATHLEEN KENNEDY Directed by STEVEN SPIELBERG A UNIVERSAL PICTURE

E.T. The Extra-­Terrestrial is a trademark and copyright of Universal Studios.

Licensed by Universal Studios Licensing LLC. All Rights Reserved.

E.T. —­Available on Blu-­ray and DVD from Universal Pictures Home Entertainment.

E.T. THE EXTRATERRESTRIAL IN CONCERT: FILM WITH LIVE SCORE

E

xtra-terrestrials have been standard film fare since 1902, when French director Georges Méliès shot a bulletshaped capsule containing a group of astronomers from an enormous cannon that landed in the eye of the Man in the Moon, where the earthmen encountered the undergrounddwelling Selenites, named for the Greek goddess of the moon. Le Voyage dans la lune, silent, black-and-white, fourteen minutes long and brilliantly inventive, was enormously popular and established the science fiction genre that has lit countless movie screens around the world ever since.

Some of those films resonated deeply with the young Steven Spielberg, who started his directing career in 1974 (when he was 28) with The Sugarland Express and created an international sensation with Jaws in 1975 and Close Encounters of the Third Kind the following year. While he continued to become one of the most successful filmmakers of his generation—1941 (1979), Raiders of the Lost Ark (1981)—he harbored an idea about a movie rooted in his own childhood. A 1978 project titled Growing Up went nowhere, but another one soon after that, developed with screenwriter Melissa Mathison and called Night Skies, contained a subplot about a friendly alien abandoned on Earth. Spielberg did not make that movie, but he did ask Mathison to work the subplot into a full script. During eight weeks of intense collaboration, they created E.T. the Extra-Terrestrial. Spielberg called it “the best first draft I’ve ever read.” Academy Award voters would eventually agree and bestow an Oscar for Best Original Screenplay upon Mathison.

The screen character of E.T. was created by Italian special effects artist Carlo Rambaldi, who had designed the aliens for Close Encounters, by drawing on an early surrealist painting of his own showing figures with short legs, long necks and large eyes and photos of elderly people taken during The Great Depression; his facial design was collated from photos of Albert Einstein, Ernest Hemingway and Carl Sandburg. The various animatronics and costumes (worn by three little people) cost $1.5 million, more than 10% of the film’s total budget; a heavily made-up mime did the close-ups for E.T.’s hand movements. So convincing was the effect that the seven-year-old Drew Barrymore’s sobbing reaction when her film character thought E.T. had died was completely natural.

Rambaldi won an Oscar for Best Visual Effects.

The audience at the Cannes Film Festival cheered for fifteen minutes when E.T. the Extra-Terrestrial was premiered there in

May 1982, and the film was a smash hit on its North American release the following month, garnering glowing reviews and earning back its entire $10.5 million budget in its first weekend.

Within a year, it had surpassed Star Wars as the top-grossing film of all time, a record it held until Spielberg’s Jurassic Park a decade later. According to the fascinating movie-business web site thenumbers.com, E.T. has grossed $435 million in domestic box office receipts and $793 million in all in first-run and wide re-releases in 1985 and 2002; it returns for a 35th anniversary limited theatrical engagement in September 2017.

E.T. the Extra-Terrestrial was nominated for nine Academy Awards and won four, including one for John Williams’ score.

In American Film Institute polls, it was voted the 24th Greatest Film of All Time, the 6th Most Inspiring, the 14th Greatest Movie Score, and one of “Fifty Films You Should See by Age Fourteen.”

It was selected for preservation by the National Film Registry of the Library of Congress in 1994 and, in 2012, for the movie’s 30th anniversary, Madame Tussauds unveiled wax likenesses of E.T. at many of its international locations.

When E.T. the Extra-Terrestrial was re-released in 2002, New York Post critic Lou Lumenock wrote, “We now have the distance CONTINUED ON PAGE 195

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Anonymous Arlene and John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

ANB Bank and The Sturm Family Town of Vail

PLATINUM ( $30,000+ ) Donna and Patrick Martin

SOLOIST ( $7,000+ )

Betsy Wiegers, in memory of Tony Perry

Sue and Michael Callahan Sue and Dan Godec Linda Farber Post and Dr. Kalmon D. Post Alysa and Jonathan Rotella, NexGen Hyperbaric LLC Susan and Steven Suggs

OVATION ( $15,000+ )

BENEFACTOR ( $5,000+ )

Anne and Hank Gutman Mr. John McDonald and Mr. Rob Wright Rich and Susan Rogel

Christine and John Bakalar Dokie Laura and Jim Marx Allison and Russell Molina Mr. and Mrs. Ernest Scheller, Jr. Carole and Peter Segal Dhuanne and Doug Tansill Sharon and Marc Watson

IMPRESARIO ( $25,000+ ) Peggy Fossett Karen and Michael Herman

VIRTUOSO ( $20,000+ )

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

The Antlers at Vail, Hotel Talisa, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residency at Bravo! Vail.

INSIDE STORY

FUN FACTS BEHIND THE SOUNDS OF E.T. The last fifteen minutes of the film are scored as one continuous sequence. Composer John Williams developed each phrase and cue to line up exactly with the picture, but after several less than perfect takes during soundtrack recording, Steven Spielberg took the film off the screen and told Williams to conduct the orchestra the way he would at a concert. Spielberg then actually reedited the film to match the music.

E.T.’s distinctive voice was provided

by Pat Welsh, an elderly woman who smoked two packets of cigarettes a day. Sixteen other people and various animals were used to round out the sounds that came out of E.T.’s mouth. These included Steven Spielberg himself; Debra Winger, who provided the temporary voice during filming; the sound effects editor’s (snoring) wife; as well as raccoons, sea otters, and horses.

The squishing noise of E.T.’s waddling walk is actually a wet T-shirt crammed with jello.

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BEETHOVEN SYMPHONY NO. 7

THE PHILADELPHIA ORCHESTRA JUL

09

SUNDAY JULY 9, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: DIERDRE AND RONNIE BAKER DONNA AND PATRICK MARTIN

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

SPECIAL GRATITUDE TO: The Friends of the Fabulous Philadelphians The Francis Family The Lyn and Phillip Goldstein Maestro Society The New Works Fund The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Anne and Hank Gutman Teri Perry, in memory of Tony Perry Molly and Jay Precourt

SOLOIST SPONSORS: Stéphane Denève, conductor, sponsored

by Ferrell & Chi McClean and Alysa & Jonathan Rotella Haochen Zhang, piano, sponsored

by Carol & Harry Cebron and The Gorsuch Family

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SUNDAY JULY 9, 6:00PM ORCHESTRA SERIES

PRE-CONCERT TALK, 5:00PM GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Haochen Zhang, piano

CONNESSON Le Tombeau des Regrets (10 minutes) World Premiere NEW WORKS PROJECT

Gerald R. Ford Amphitheater Lobby Mitch Ohriner (University of Denver), ”Beethoven, the Scherzo, and the Seventh Symphony” PLUS meet composer Guillaume Connesson

BEETHOVEN SYMPHONY NO. 7 Le Tombeau des Regrets (2017)

RACHMANINOFF

Commissioned by Bravo! Vail as part of the NEW WORKS PROJECT

Piano Concerto No. 4 in G minor, Op. 40 (30 minutes) Allegro vivace Largo — Allegro vivace

GUILLAUME CONNESSON (B. 1970)

— INTERMISSION — BEETHOVEN Symphony No. 7 in A major, Op. 92 (35 minutes) Poco sostenuto — Vivace Allegretto Presto Allegro con brio

G

uillaume Connesson is among the leading figures in the current generation of composers that conductor Stéphane Denève says is “returning melody, rhythm and harmony” to French music. Connesson, born in 1970 in Boulogne-Billancourt, the Parisian district framed by a bend in the Seine to the south and the Bois de Boulogne to the north, took piano lessons as a youth and enrolled in the local state-supported Conservatoire National de Région to study keyboard and choral music. He continued his studies at the Conservatoire National Supérieur de Musique in Paris. Connesson currently teaches at the Conservatoire National in the north Paris suburb of Aubervilliers.

He has earned such distinctions as the Prix Cardin de l’Institut de France, Prix Nadia et Lili Boulanger, Prix de la Société des Auteurs, Compositeurs et Éditeurs de Musique, Grand Prix Lycéen des Compositeurs and Grand Prix for Symphonic Music from SACEM, the French performing rights society.

Connesson wrote that in Le Tombeau des Regrets, commissioned by Bravo! Vail, “I have tried, by very linear writing that is almost like a chorale, to explore intimate sentiments: those of past times, of buried regrets, and of impossible returns.

The work is a large, slow movement of tragic calm based on two themes. The first, more somber, develops as a contrapuntal, resonant arch. The second is a theme of sad consolation with more harmonic color. Le Tombeau des Regrets traces a long crescendo that closes with a sweet coda in which the detachment of the soul seems to be consummated.”

Piano Concerto No. 4 in G minor, Op. 40 (1926) SERGEI R ACHMANINOFF (1873-1943)

Rachmaninoff fled to America in November 1918 after he had been driven out of his native Russia by revolution. His financial 92 Learn more at BravoVail.org

situation when he arrived was difficult, since his family’s wealth had been confiscated by the Bolsheviks, and the income from the performances of his works was meager because Russia was not then a signatory of the international copyright laws that would have ensured his royalties. To support his family and pick up the frayed threads of his career, Rachmaninoff began the coast-to-coast performance tours that were to continue virtually uninterrupted for the next 25 years. So intense was his concertizing during his first American decade that he was unable to compose a single piece. It was not until 1926, when he began the Piano Concerto No. 4, that he again found time for creative work.

The Concerto opens with an energetic orchestral flourish as introduction to the main theme, presented by the piano. A transition, filled with rippling figurations for the soloist, leads to the poetic second subject, given by the unaccompanied piano, and another lyrical strain initiated by the violins. The development section is rhapsodic in nature. The order of the themes is reversed in the recapitulation. The entire Largo is built on the movement’s opening theme. The outer sections are unsettled in emotion, CONTINUED ON PAGE 196

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( $50,000+ )

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ANB Bank and The Sturm Family Town of Vail

PLATINUM ( $30,000+ ) Donna and Patrick Martin

SOLOIST ( $7,000+ )

Betsy Wiegers, in memory of Tony Perry

Sue and Michael Callahan Sue and Dan Godec Linda Farber Post and Dr. Kalmon D. Post Alysa and Jonathan Rotella, NexGen Hyperbaric LLC Susan and Steven Suggs

OVATION ( $15,000+ )

BENEFACTOR ( $5,000+ )

Anne and Hank Gutman Mr. John McDonald and Mr. Rob Wright Rich and Susan Rogel

Christine and John Bakalar Dokie Laura and Jim Marx Allison and Russell Molina Mr. and Mrs. Ernest Scheller, Jr. Carole and Peter Segal Dhuanne and Doug Tansill Sharon and Marc Watson

IMPRESARIO ( $25,000+ ) Peggy Fossett Karen and Michael Herman

VIRTUOSO ( $20,000+ )

Funded in part by generous grants from The Lyn and Phillip Goldstein Piano Concert Artist Project and the Town of Vail.

The Antlers at Vail, Hotel Talisa, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residency at Bravo! Vail.

INSIDE STORY

THE FAMOUS PHILADELPHIA SOUND For over a century, The Philadelphia Orchestra has been known for its lush, velvety warmth. This distinctive “Philadelphia Sound” first emerged under the leadership of Leopold Stokowski (music director from 1912 to 1941), who conducted fluidly with his beautifully expressive hands instead of using a baton. The “Sound” continued to develop under Eugene Ormandy (music director from 1936 to 1980) and his strict coaching of the string players to use strong bow pressure, wide vibrato, and “uniform” bowing, where all the players in a section bow in the same direction.

The Orchestra’s former home at the Academy of Music may have also played a role, as conductors compensated for dry acoustics in the cavernous concert hall.

Today, Yannick Nézet-Séguin describes the “Philadelphia Sound” as “a generosity of sound, spirit, and emotion, handed down through generations of musicians, who breathe and phrase together in a way that produces the most exceptional colors, the most uniquely identifiable sound.”

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MONDAY JULY 10, 6:00PM FREE CONCERT SERIES

EDWARDS INTERFAITH CHAPEL

ZORÁ STRING QUARTET (Bravo! Vail 2017 Chamber Musicians in Residence) Dechopol Kowintaweewat, violin Seula Lee, violin Pablo Muñez Salido, viola Zizai Ning, cello

HAYDN String Quartet in G major, Op. 77, No. 1 (H. III:81) (25 minutes) Allegro moderato Adagio Menuetto: Presto Finale: Presto

BEETHOVEN String Quartet in F minor, Op. 95, “Serioso” (19 minutes) Allegro con brio Allegretto ma non troppo — Allegro assai vivace ma serioso Larghetto espressivo — Allegretto agitato The running time of this concert is approximately one hour.

FREE

HAYDN & BEETHOVEN STRING QUARTETS

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he two quartets of Op. 77 that JOSEPH HAYDN (17321809) wrote in 1799 were the last in the incomparable series of instrumental creations stretching over half a century with which he had brought the quintessential forms of musical Classicism to their perfected states. Rosemary Hughes wrote of Haydn’s late quartets, “He gathers up all the efforts and conquests, all the explorations, all the personal idiosyncrasies too, of nearly half a century of unbroken creative life…. And behind this we can sense the weight of a lifetime’s experience, human and musical.” LUDWIG VAN BEETHOVEN (1770-1827) composed his F minor Quartet, “Serioso,” on a rusticated stay during the summer of 1810 at the distant Viennese suburb of Baden. It is the shortest and the most highly compressed example of the genre that he wrote. The work grapples with the philosophic/artistic problem he had broached in the Fifth Symphony: the “apotheosis,” or struggle to victory. “In this Quartet,” wrote Joseph Kerman, “Beethoven evokes that almost tangible sense of the artist assaulting a demon of his own fancying; we admire the process of assault, conquest, assertion or becoming that the illusion permits.”

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

ZORÁ STRING QUARTET 94 Learn more at BravoVail.org

© MATT DINE

Eagle County Evergreen Lodge The Sidney E. Frank Foundation The Paiko Foundation, in honor of the Vail Police Carole A. Watters

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MONDAY JULY 10, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

PALUMBO RESIDENCE, RED SKY RANCH

THE LINDA AND MITCH HART SOIRÉE SERIES

MEMBERS OF EMERSON STRING QUARTET WITH MCDERMOTT

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embers of the Emerson String Quartet “divide and conquer,” with founding violinist Philip Setzer and “Britain’s finest cellist” (The Guardian) Paul Watkins joining Bravo! Vail Artistic Director Anne-Marie McDermott for a spirited evening of music, food, wine and friends.

Written during the height of the Jazz Age, the Sonata No. 2 for Violin and Piano by MAURICE RAVEL (1875-1937) is a study in contrasts. It runs the gamut from its jaunty opening lines with their hard-to-pin-down tonal center; through an unusual Blues movement full of syncopations, strums and slides; culminating in a thrillingly vibrant and virtuosic finale.

Patrons of FRANZ JOSEPH HAYDN (1732-1809), the wealthy Eszterházy family, regularly hired gypsy musicians to perform light entertainment, and Haydn was not above borrowing their folk tunes. His most famous piano trio features a rollicking ‘Hungarian’style Rondo that interlaces several melodies, including verbunkos (recruiting dances played by Romany bands to attract the attention of young peasants), that the composer would have heard both as light entertainment in elegant Viennese palaces, and in more rustic settings around the Hungarian countryside.

MEMBERS OF THE EMERSON STRING QUARTET Philip Setzer, violin Paul Watkins, cello Anne-Marie McDermott, piano

RAVEL Sonata No. 2 for Violin and Piano

HAYDN “Gypsy Rondo” from Trio for Violin, Cello and Piano No. 39 in G major

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

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE FROM: THIS EVENING’S HOSTS Marlys and Ralph Palumbo

SPECIAL GRATITUDE TO The Francis Family Linda and Mitch Hart The Paiko Foundation, in honor of the Vail Police

SPONSORED BY Sweet Pea Designs The Left Bank West Vail Liquor Mart

ANNE-MARIE MCDERMOTT 95

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TUESDAY JULY 11, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

ZORÁ STRING QUARTET (Bravo! Vail 2017 Chamber Musicians in Residence) Dechopol Kowintaweewat, violin Seula Lee, violin Pablo Muñez Salido, viola Zizai Ning, cello Choong-Jin Chang, viola

MOZART String Quartet in G major, K. 387, “Haydn No. 1” (29 minutes) Allegro vivace assai Minuetto: Allegro Andante cantabile Molto Allegro

MOZART Quintet for Two Violins, Two Violas and Cello in C major, K. 515 (31 minutes) Allegro Menuetto: Allegretto Andante Allegro The running time of this concert is approximately one hour.

FREE

MOZART: MUSIC FOR STRINGS

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oon after moving to Vienna in 1791, WOLFGANG AMADEUS MOZART (1756-1791) met Joseph Haydn.

True friendship and mutual admiration developed between the two master musicians, despite the 24year difference in their ages. They took a special delight in learning from and praising each other’s music. Mozart’s greatest testament to his respect for Haydn is the set of six superb string quartets composed between 1782 and 1785, and dedicated to his colleague upon their publication in September 1785. These works are not just charming souvenirs of personal sentiments. They also represent a significant advance in Mozart’s compositional style, for in them he assimilated the techniques of thematic development and thorough integration of instrumental voices that Haydn had perfected in his Quartets, Op. 20 (1771) and Op. 33 (1781). Mozart apparently wrote the String Quintet in C major, K. 515 in 1788 to repay a debt to the textile merchant Michael Puchberg, a fellow Mason. It was completed during the time that Mozart met Ludwig van Beethoven, when the sixteen-yearold Bonn musician came to Vienna for a fortnight of lessons.

CHOONG-JIN CHANG 96 Learn more at BravoVail.org

Cookie and Jim Flaum Four Seasons Resort, Vail The Sidney E. Frank Foundation The Paiko Foundation, in honor of the Vail Police Sonnenalp Carole A. Watters

© JESSICA GRIFFIN

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

TUESDAY JULY 11, 6:00PM

JUL

11

CHAMBER MUSIC SERIES

DONOVAN PAVILION

EMERSON STRING QUARTET

EMERSON STRING QUARTET

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he Chacony in G minor (ca. 1678) by HENRY PURCELL (1659-1695), England’s greatest composer until the advent of Edward Elgar two centuries later, is a set of continuous variations around a short, repeating melody.

Purcell’s Fantasias (ca. 1680) are based on an early Baroque genre comprising several continuous, freely composed sections, usually in imitation. In July 1960, DMITRI SHOSTAKOVICH (1906-1975) was in Dresden composing the background music for a film about the Second World War called Five Days, Five Nights. He was so moved by the subject of the story and by the still-unhealed scars of the city, which the Allies had reduced to rubble in 1945 in a single night of fearsome bombing, that he poured his feelings into the Eighth Quartet, dedicated to “the memory of the victims of fascism and the war.” The C-sharp minor Quartet (1825-1826) by LUDWIG VAN BEETHOVEN (1770-1827) may well be his boldest piece of musical architecture—seven movements played without pause, six distinct main key areas, 31 tempo changes, and a veritable encyclopedia of Classical formal principles. Though it passes beyond the Fifth Symphony, Fidelio and Egmont in its harmonic sophistication and structural audacity, this Quartet shares with those works the sense of struggle to victory.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: The Sidney E. Frank Foundation The Lion The Paiko Foundation, in honor of the Vail Police Town of Vail

Eugene Drucker, violin Philip Setzer, violin Lawrence Dutton, viola Paul Watkins, cello

PURCELL Chacony (Chaconne) in G minor, Z. 730 (7 minutes)

PURCELL Two Fantasias No. 8 in D minor, Z. 739 (3 minutes) No. 11 in G major, Z. 742 (5 minutes)

SHOSTAKOVICH String Quartet No. 8 in C minor, Op. 110 (20 minutes) Largo Allegro molto Allegretto Largo Largo Played without pause

— INTERMISSION — BEETHOVEN String Quartet No. 14 in C-sharp minor, Op. 131 (36 minutes) Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato — Adagio Andante ma non troppo e molto cantabile — Più mosso — Andante moderato e lusinghiero — Adagio — Allegretto — Adagio ma non troppo e semplice — Allegretto Presto Adagio quasi un poco andante Allegro Played without pause Concessions provided by:

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WEDNESDAY JULY 12, 11:00AM F R E E FA M I LY CO N C E R T

GERALD R. FORD AMPHITHEATER

GATES OPEN 10:00AM Instrument Petting Zoo and other activities for the whole family

NATIONAL REPERTORY ORCHESTRA Kensho Watanabe, conductor Will Martin, piano Elic Bramlett, as “George Gershwin” Lance Newton, as “Kid”

GERSHWIN’S MAGIC KEY Produced by Classical Kids Music Education A Collaborative Presentation of the National Repertory Orchestra and Bravo! Vail MUSIC BY GEORGE GERSHWIN LYRICS BY IRA GERSWIN Created and Directed by Paul Pement

FREE FAMILY CONCERTS

GERSHWIN’S MAGIC KEY

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ershwin’s Magic Key tells the story of a chance meeting on the streets of New York City between a poor newspaper boy and the great American composer, George Gershwin. The orchestra magically weaves Gershwin’s greatest hits into the drama as the master composer shares historical anecdotes about his life and musical passions. A bonding friendship develops as they explore the vast melting pot of American music together, and discover the key to unlocking the boy’s own musical potential.

Audiences will be captivated by more than twenty of Gershwin’s most popular works, from classical compositions like Cuban Overture, Concerto in F and Rhapsody in Blue to popular hits from the American Songbook including I Got Rhythm, Stairway to Paradise, and Fascinating Rhythm.

Written by Will Martin, Elizabeth Wheeler, Paul Pement Production Advisor: Kevin Cole Music Copyist/Engraver: John Blane Lighting Design: Paul Pement Projections: Scott Fairchild Music Supervisor: Will Martin Associate Director: Steve Hiltebrand Costumes: Alex Meadows Props/Wigs: Kevin Barthel THE WORLDWIDE COPYRIGHTS IN THE MUSIC OF GEORGE AND IRA GERSHWIN FOR THIS PRODUCTION ARE LICENSED BY THE GERSHWIN® FAMILY. Porgy and Bess permissions granted by the Dubose and Dorothy Heyward Memorial Fund.

Projection footage and imagery courtesy of Harold Lloyd Entertainment and the Library of Congress.

Actors and Stage Manager are members of Actors’ Equity Association.

Total running time of this program is approximately 50 minutes.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS MORNING’S CONCERT IN VAIL FROM: Dierdre and Ronnie Baker The Francis Family The Lyn and Phillip Goldstein Piano Concerto Artist Project The Paiko Foundation, in honor of the Vail Police Slifer Smith & Frampton Foundation Carole A. Watters

NEW! Second Performance in Gypsum

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WEDNESDAY JULY 12, 6:00PM F R E E FA M I LY CO N C E R T

LUNDGREN THEATER, GYPSUM

GATES OPEN 5:00PM Instrument Petting Zoo and other activities for the whole family

INSIDE STORY FUN FACTS ABOUT GEORGE GERSHWIN George was named after his grandfather, who was a mechanic in the Imperial Russian Army.

The first Gershwin to be a professional musician was actually not George (the composer) or Ira (the lyricist) but their little sister Frances, who at age 11 earned $40 a week for singing and dancing in a children’s musical called ‘’Daintyland.”

Gershwin’s first job­—at age 15­— was as a “song plugger” on Tin Pan Alley. Customers could walk into a store, choose a piece of sheet music and the “song plugger” would perform it for them on the spot.

The famous French composer Maurice Ravel declined to take him on as a student, saying, “Why become a second-rate Ravel when you’re already a first-rate Gershwin?”

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT IN GYPSUM FROM: Dierdre and Ronnie Baker Costco The Francis Family The Lyn and Phillip Goldstein Piano Concerto Artist Project Town of Gypsum The Paiko Foundation, in honor of the Vail Police Slifer Smith & Frampton Foundation Carole A. Watters

produced by

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THURSDAY JULY 13, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

ZORÁ STRING QUARTET (Bravo! Vail 2017 Chamber Musicians in Residence) Dechopol Kowintaweewat, violin Seula Lee, violin Pablo Muñez Salido, viola Zizai Ning, cello

WEBERN Langsamer Satz (10 minutes)

SHOSTAKOVICH Quartet No. 9 in E-flat major, Op. 117 (26 minutes) Moderato con moto Adagio Allegretto Adagio Allegro Played without pause The running time of this concert is approximately one hour.

FREE

STRING QUARTETS OF WEBERN & SHOSTAKOVICH

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NTON WEBERN (1883-1945) was inspired to compose his Langsamer Satz (“Slow Movement”) in 1905 by an excursion in the Austrian countryside with his fiancée. “To walk forever like this among flowers, with my dearest one beside me, to feel oneself so entirely at one with the universe—O what splendor,” he confided to his diary. Hans and Rosaleen Moldenhauer, in their biography of Webern, called this touching souvenir of Webern’s youth “pure and exalted love music.” With the death of Joseph Stalin on March 5, 1953 (ironically, Prokofiev died on the same day), DMITRI SHOSTAKOVICH (1906-1975) and all of the Soviet Union felt an oppressive burden lift. Shostakovich composed steadily thereafter until his death two decades later, creating works of profound emotion and personal revelation, most notably the magnificent and disturbing final symphonies (No. 13, “Babi Yar,” based on Yevtushenko’s searing poem about the German army’s massacre of 70,000 Jews near Kiev in September 1941; No. 14, settings of eleven texts dealing with death; and No. 15, one of the most stark and moving orchestral documents of the 20th century), First Violin Concerto and the last ten string quartets.

The Quartet No. 9 dates from 1964.

ZORÁ STRING QUARTET 100 Learn more at BravoVail.org

Cookie and Jim Flaum The Sidney E. Frank Foundation The Paiko Foundation, in honor of the Vail Police The Sebastian Vail Vail Racquet Club Carole A. Watters

© MATT DINE

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

YANNICK CONDUCTS BACH & BRAHMS

THE PHILADELPHIA ORCHESTRA JUL

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THURSDAY JULY 13, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: BETSY WIEGERS, IN MEMORY OF TONY PERRY

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

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

SPONSORED BY: Susan and Rich Rogel

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THURSDAY JULY 13, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor

BRAHMS/ARR. GLANERT Selections from Eleven Chorale Preludes, Op. 122 (9 minutes) Mein Jesu, der du mich Herzlich tut mich verlangen O Welt, ich muss dich lassen

J.S. BACH/ARR. STOKOWSKI Passacaglia and Fugue in C minor, BWV 582 (13 minutes)

J.S. BACH/ARR. STOKOWSKI Toccata and Fugue in D minor, BWV 565 (10 minutes)

— INTERMISSION — BRAHMS Symphony No. 2 in D major, Op. 73 (43 minutes) Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi Andantino) — Presto ma non assai — Tempo I — Presto ma non assai — Tempo I Allegro con spirito

YANNICK CONDUCTS BACH & BRAHMS Selections from Eleven Chorale Preludes, Op. 122 JOHANNES BR AHMS (1833-1897) ARRANGED BY DETLEV GLANERT (B. 1960)

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arly in his life, as a counterpoint student in 1858, Brahms wrote three fugues and a Chorale Prelude and Fugue on the old German hymn O Traurigkeit, O Herzeleid (“O Sorrow, O Heartache”) for organ, but then composed no more music for the organ until the last months of his life. The death of Clara Schumann on May 20, 1896, the dearest person in his life, took a heavy toll on Brahms, already seriously ill with liver cancer, and his friends fretted over his declining health. Perhaps as a memorial to Clara, he created a series of Chorale Preludes for organ on several well-known German hymns, and it proved to be the last music he wrote. The eleven Chorale Preludes, based on melodies borrowed from the Lutheran tradition, are among the few examples of that genre by a major 19th-century composer.

Jesu mein, der du mich zum Lustspiel ewiglich (“My Jesus, who delights me forever”) is based on an anonymous late-17th century melody that Brahms borrowed from a hymnal he had used early in his life. The melody for Herzlich tut mich verlangen (“My heart is ever yearning”) was written in 1601 by Hans Leo Hassler, and the words by Christian Knoll twelve years later. The theme is also familiar with the text O Haupt voll Blut und Wunden (“O head crowned with blood and wounds”) as the so-called “Passion Chorale” from Bach’s St. Matthew Passion. The Prelude based on Heinrich Isaac’s 1495 O Welt, ich muss dich lassen (“O world, I now must leave thee”) was, appropriately, Brahms’ last addition to his artistic legacy.

Passacaglia and Fugue in C minor, BWV 582 (ca. 1710) Toccata and Fugue in D minor, BWV 565 (ca. 1708) JOHANN SEBASTIAN BACH (1685-1750) ARR ANGED BY LEOPOLD STOKOWSKI (1882-1977)

Bach was appointed to his first important position in 1708 as organist and chamber musician to Duke Wilhelm Ernst of Weimar, an enlightened ruler who not only professed his Lutheran religion but also lived it, promoting the education and well-being of his subjects, and engaging in frequent philanthropy. Sometime before leaving his Weimar post in 1717, Bach wrote his only Passacaglia and Fugue, the former genre based on a short, recurring melodic 102 Learn more at BravoVail.org

pattern derived from a popular dance form that originated in the city barrios of Spain in the late 16th century.

The magnificent Toccata and Fugue in D minor, written soon after Bach’s appointment at Weimar, juxtaposes two of Baroque music’s least-related forms. The genre of the toccata was essentially a written-down improvisation whose history traces back to Italy almost two centuries before Bach. The fugue, on the other hand, is music’s most tightly integrated structure, growing from a single theme that threads through each of the voices and dominates the seamless piece from beginning to end.

INSIDE STORY

Symphony No. 2 in D major, Op. 73 (1877) JOHANNES BRAHMS

In the summer of 1877, Brahms repaired to the village of Pörtschach in the Carinthian hills of southern Austria. He wrote to a Viennese friend, “Pörtschach is an exquisite spot, and I have found a lovely and apparently pleasant abode in the Castle! The place is replete with Austrian coziness and kindheartedness.” The CONTINUED ON PAGE 196

MUSIC FOR ALL OF US

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

ALLEGRO ( $10,000+ )

( $50,000+ )

Anonymous Arlene and John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

ANB Bank and The Sturm Family Town of Vail

PLATINUM ( $30,000+ ) Donna and Patrick Martin

SOLOIST ( $7,000+ )

Betsy Wiegers, in memory of Tony Perry

Sue and Michael Callahan Sue and Dan Godec Linda Farber Post and Dr. Kalmon D. Post Alysa and Jonathan Rotella, NexGen Hyperbaric LLC Susan and Steven Suggs

OVATION ( $15,000+ )

BENEFACTOR ( $5,000+ )

Anne and Hank Gutman Mr. John McDonald and Mr. Rob Wright Rich and Susan Rogel

Christine and John Bakalar Dokie Laura and Jim Marx Allison and Russell Molina Mr. and Mrs. Ernest Scheller, Jr. Carole and Peter Segal Dhuanne and Doug Tansill Sharon and Marc Watson

IMPRESARIO ( $25,000+ ) Peggy Fossett Karen and Michael Herman

VIRTUOSO ( $20,000+ )

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

The Antlers at Vail, Hotel Talisa, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residency at Bravo! Vail.

Over the course of his thirty-year tenure as music director, during the tumultuous years between 1912 to 1941, Leopold Stokowski not only brought The Philadelphia Orchestra to national prominence, he was also unique in his role in popularizing classical music with the American public – including the Bach arrangements on tonight’s program.

With a flair for self-promotion, he exploited his own flamboyant personality, and innovative concert formats and new technologies to bring “music of the masters” to as many people as possible. One of his lasting achievements was his collaboration with Walt Disney in the creation of the landmark animated film Fantasia. In 1943, Stokowski published his only book, Music for All of Us, which contains what might have been his lifelong philosophy: ‘music can ... help us build a new conception of life in which the madness and cruelty of wars will be replaced by a simple understanding of the brotherhood of man.’

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Thank You Bravo! Vail for 30 Wonderful Years

183 Gore Creek Drive Vail, CO 81657 970.476.3696 for reservations www.LBvail.com

SHAHAM PLAYS MOZART

THE PHILADELPHIA ORCHESTRA JUL

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FRIDAY JULY 14, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: KAREN AND MICHAEL HERMAN JUDY AND ALAN KOSLOFF

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

SPECIAL GRATITUDE TO: The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Susan and John Dobbs Susan and Harry Frampton Melinda and Tom Hassen

SOLOIST SPONSORS: Gil Shaham, violin, sponsored by Linda Farber Post & Dr. Kalmon D. Post and Brooke & Hap Stein

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FRIDAY JULY 14, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Gil Shaham, violin

TCHAIKOVSKY Francesca da Rimini, Fantasy after Dante, Op. 32 (24 minutes)

MOZART Violin Concerto No. 3 in G major, K. 216 (24 minutes) Allegro Adagio Rondo: Allegro

— INTERMISSION — STRAVINSKY Petrushka (1947 Version) (34 minutes) The Shrove-Tide Fair Petrushka’s Cell The Moor’s Cell The Shrove-Tide Fair Towards Evening

SHAHAM PLAYS MOZART Francesca da Rimini, Fantasy after Dante, Op. 32 (1876) P E T E R I LY I C H T C H A I KO V S K Y ( 1 8 4 0 -1 8 9 3)

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n Dante’s tale in Divine Comedy upon which Tchaikovsky based his tone poem of 1876, Francesca was the daughter of Guido da Polenta, the 13th-century Duke of Ravenna, who arranged her marriage to Giovanni Malatesta, son of the Duke of Rimini. Malatesta was a man of nobility and distinction, but he was crippled and older than his bride. It is perhaps understandable then that Francesca fell in love with Malatesta’s younger and handsome brother Paolo, known as “Il Bello”; her love was requited. Discovering the lovers in embrace, Malatesta drew his dagger and rushed at Paolo. Francesca threw herself between the brothers and was killed. “He withdrew the dagger,” reported Boccaccio of the tragedy that occurred about 1288, “and again struck at Paolo and slew him.” Dante assigned Francesca and Paolo to the Second Circle of his Inferno, the region given to the eternal punishment of adulterers. There they joined Cleopatra, Helen of Troy, Paris, Tristan, Isolde and others who, in life, were driven by storms of passion, and in Hell are forever tossed and tormented by an infernal tempest.

Tchaikovsky noted that the work’s first section represents “the gateway to the Inferno (‘Abandon all hope, ye who enter here’).

Tortures and agonies of the condemned.” Next, Tchaikovsky continued, “Francesca tells the story of her tragic love for Paolo.”

Francesca describes how she and Paolo were innocently reading the tale of Lancelot and Guinevere when their eyes met, “and then,

He who will never be separate from me, Kissed me on the mouth, trembling all over.

The book and writer both were love’s purveyors.

We read no more in it that day.

The Fantasy’s closing section recalls, said Tchaikovsky, “the turmoil of Hades.”

Violin Concerto No. 3 in G major, K. 216 (1775) WOLFGANG AMADEUS MOZART (1756-1791)

Mozart’s five violin concertos were all products of a single year, 1775. At nineteen, he was already a veteran of five years experience as concertmaster in the Salzburg archiepiscopal music establishment, for which his duties included not only playing, but also composing, acting as co-conductor with the 106 Learn more at BravoVail.org

keyboard performer (modern conducting did not originate for at least two more decades), and soloing in concertos. It was for this last function that he wrote these concertos. It was with these compositions that Mozart indisputably entered the age of his creative maturity. They are his earliest pieces now regularly heard in the concert hall.

The opening Allegro of the G major Concerto is one of Mozart’s perfectly balanced sonata-concerto forms. The orchestral introduction presents at least four thematic kernels: the bold opening gesture; a mock fanfare; a subsidiary melody with long notes in the woodwinds; and a motive with quick, flashing notes in the violins. The soloist enters with the bold opening gesture, and continues with elaborations upon the themes from the introduction. The development is largely based on the subsidiary theme decorated with some rapid figurations from the soloist. A recitative-like passage links this central section to the recapitulation, which, with the exception of the cadenza, follows the progress of the exposition. The slow movement proceeds in sonata form with an exquisite grace and refined elegance that no composer has ever surpassed. The finale is an effervescent rondo.

CONTINUED ON PAGE 197

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

ALLEGRO ( $10,000+ )

( $50,000+ )

Anonymous Arlene and John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

ANB Bank and The Sturm Family Town of Vail

PLATINUM ( $30,000+ ) Donna and Patrick Martin

SOLOIST ( $7,000+ )

Betsy Wiegers, in memory of Tony Perry

Sue and Michael Callahan Sue and Dan Godec Linda Farber Post and Dr. Kalmon D. Post Alysa and Jonathan Rotella, NexGen Hyperbaric LLC Susan and Steven Suggs

OVATION ( $15,000+ )

BENEFACTOR ( $5,000+ )

Anne and Hank Gutman Mr. John McDonald and Mr. Rob Wright Rich and Susan Rogel

Christine and John Bakalar Dokie Laura and Jim Marx Allison and Russell Molina Mr. and Mrs. Ernest Scheller, Jr. Carole and Peter Segal Dhuanne and Doug Tansill Sharon and Marc Watson

IMPRESARIO ( $25,000+ ) Peggy Fossett Karen and Michael Herman

VIRTUOSO ( $20,000+ )

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

The Antlers at Vail, Hotel Talisa, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residency at Bravo! Vail.

INSIDE STORY

PETRUSHKA BY ANY OTHER NAME...

Of the music to his ballet burlesque Petrushka, Stravinsky said: “I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts.” That puppet, Petrushka, is a stock character known across Europe under different names: Punch in England, Polichinelle in France, Pulcinella in Italy, Kasperle in Germany, and Petrushka in Russia. Whatever his name, he is a trickster and a rebel, enforcing moral justice with a stick and arguing with the devil. With roots in Italian commedia dell’arte, traditional puppet folk theater was one of the most popular kinds of entertainment in Russia, often performed at fairs and carnivals. The most popular scenes involved Petrushka along with comic foils that included his fiancée, a gypsy horse trader, a doctor, an army corporal, a policeman, the devil, and even a big furry dog.

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BRONFMAN, PROKOFIEV & TCHAIKOVSKY

THE PHILADELPHIA ORCHESTRA JUL

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SATURDAY JULY 15, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: PEGGY FOSSETT

SPECIAL CHALLENGE GRANT FUNDING BY: ANB Bank and The Sturm Family Peggy Fossett Donna and Patrick Martin

SPECIAL GRATITUDE TO: The Francis Family The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Kelly and Sam Bronfman, II Ann and David Hicks Sally and Byron Rose

SOLOIST SPONSORS: Yefim Bronfman, piano, sponsored by Marge & Phil Odeen and The Lion

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SATURDAY JULY 15, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

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

BEETHOVEN Overture and Finale from The Creatures of Prometheus, Op. 43 (11 minutes)

PROKOFIEV Piano Concerto No. 2 in G minor, Op. 16 (31 minutes) Andantino — Allegretto Scherzo: Vivace Intermezzo: Allegro moderato Finale: Allegro tempestoso

— INTERMISSION — BATES Alternative Energy for Orchestra and Electronica (27 minutes) Ford’s Farm, 1896 — Chicago, 2012 Xinjiang Province, 2112 Reykjavik, 2222

TCHAIKOVSKY 1812 Overture, Op. 49 (16 minutes)

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BRONFMAN, PROKOFIEV & TCHAIKOVSKY Overture and Finale from The Creatures of Prometheus, Op. 43 (1801) LUDWIG VAN BEETHOVEN (1770-1827)

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he following description of the plot of Beethoven’s ballet appeared in the program for the premiere: “The foundation of this allegorical ballet is the fable of Prometheus. The philosophers of Greece allude to Prometheus as a lofty soul who drove the people of his time from ignorance, refined them by means of science and the arts, and gave them manners, customs and morals. As a result of that conception, two statues that have been brought to life are introduced in this ballet; and these, through the might of harmony, are made sensitive to all the passions of human life. Prometheus leads them to Parnassus, in order that Apollo, the god of the fine arts, may enlighten them.” Beethoven composed an overture, introduction and sixteen separate numbers for the two acts of his Prometheus.

Piano Concerto No. 2 in G minor, Op. 16 (1913) SERGEI PROKOFIEV (1891-1953)

Prokofiev’s steely piano style was the perfect match for his athletic compositions and his strutting personality. The polite audience of gentry at the summertime premiere of the Second Piano Concerto in 1913 in the fashionable resort of Pavlosk, near St. Petersburg, was “puzzled” by the “mercilessly dissonant combinations,” according to one reviewer. The listeners, disdaining the decorum that they were convinced the young composer had already shattered, greeted the work with a sonorous round of hisses and catcalls. Prokofiev responded with his own characteristic rejoinder: he sat down and thundered through one of his noisiest solo works as an encore. It was not long, however, before his playing and his music gained a wide audience. The fascination and innate musicality of his style swept away all initial reservations.

The soloist presents the principal theme of the Second Concerto’s opening movement; a saucy melody in quicker tempo provides contrast. The development and recapitulation of the principal theme are combined into an enormous solo cadenza before the orchestra is recalled to provide a coda. Prokofiev cited the brilliant Scherzo as an example of his “motoric” style. The slower third movement is in his best nose-thumbing, wrong-note idiom. The finale is a dazzling showcase for the soloist.

Alternative Energy for Orchestra and Electronica (2011) MASON BATES (B. 1977)

INSIDE STORY

Philadelphia-born Mason Bates brings not only his own fresh talent to the concert hall but also the musical sensibilities of a new generation—he is equally at home composing “for Lincoln Center,” according to his web site (www.masonbates.com), as being the “electronica artist Masonic® who moved to the San Francisco Bay Area from New York City, where he was a lounge DJ at such venues as The Frying Pan—the floating rave ship docked off the pier near West 22nd Street.” Bates’ many honors include a Charles Ives Scholarship from the American Academy of Arts and Letters, Guggenheim Fellowship, ASCAP and BMI awards, Rome Prize and Berlin Prize. In 2017-2018, he is the first-ever Composerin-Residence at the Kennedy Center for the Performing Arts in Washington, D.C. Bates wrote that Alternative Energy is “an ‘energy symphony’ spanning four movements and hundreds of years. Beginning in a rustic midwestern junkyard in the late-19th century, the piece travels through ever greater and more powerful forces of CONTINUED ON PAGE 197

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

ALLEGRO ( $10,000+ )

( $50,000+ )

Anonymous Arlene and John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

ANB Bank and The Sturm Family Town of Vail

PLATINUM ( $30,000+ ) Donna and Patrick Martin

SOLOIST ( $7,000+ )

Betsy Wiegers, in memory of Tony Perry

Sue and Michael Callahan Sue and Dan Godec Linda Farber Post and Dr. Kalmon D. Post Alysa and Jonathan Rotella, NexGen Hyperbaric LLC Susan and Steven Suggs

OVATION ( $15,000+ )

BENEFACTOR ( $5,000+ )

Anne and Hank Gutman Mr. John McDonald and Mr. Rob Wright Rich and Susan Rogel

Christine and John Bakalar Dokie Laura and Jim Marx Allison and Russell Molina Mr. and Mrs. Ernest Scheller, Jr. Carole and Peter Segal Dhuanne and Doug Tansill Sharon and Marc Watson

IMPRESARIO ( $25,000+ ) Peggy Fossett Karen and Michael Herman

VIRTUOSO ( $20,000+ )

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

The Antlers at Vail, Hotel Talisa, and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residency at Bravo! Vail.

EXTENDED INSTRUMENT FAMILIES At tonight’s concert, you might find yourself wondering, “what instrument is making that sound?” Composer Mason Bates (who moonlights as an electronica artist and DJ) recorded a particle accelerator, an Icelandic rain forest, and the cranking of a car motor, and seamlessly integrated the sounds into Alternative Energy, treating digital artifacts like members of the symphonic family. While incorporating recorded sounds into a live orchestra is a relatively new innovation, hearing unusual sounds emanating from the stage is nothing new. The 1812 Overture calls for actual cannon fire, and Richard Wagner wrote for 18 anvils in specific sizes and pitches for the ‘forging song’ from Siegfried.

Gershwin used tuned taxi horns in American in Paris, and Mahler’s Sixth Symphony has a part for hammer, but the winner of the Unusual Instrument Sweepstakes goes to Malcolm Arnold and the vacuum cleaners, floor polishers, and rifles in his Grand, Grand Festival Overture.

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SUNDAY JULY 16, 5:30PM BRAVO! VAIL GALA

THE RITZ-CARLTON, BACHELOR GULCH

THE 30TH ANNUAL GALA CO-CHAIRS Dierdre and Ronnie Baker Lisa and Ken Schanzer

Supporting Bravo! Vail’s Education and Engagement Programs For tickets and to preview auction items, visit www.bravovail.org

30TH ANNUAL

BRAVO! VAIL GALA AN ENCHANTED EVENING CELEBRATING 30 YEARS OF BRAVO! VAIL FEATURING OPERA STAR PATRICIA RACETTE & PIANIST CRAIG TERRY

In honor and gratitude to all of Bravo! Vail’s distinguished past Gala Co-Chairs THIS EVENING’S SCHEDULE OF EVENTS 5:30PM Cocktail Reception and Spotlight Auction 7:00PM Diva on Detour - Exclusive cabaret performance by Patricia Racette 7:45PM Dinner, Live Auction, and Dancing with Hazel Miller Band

EVENT PARTNERS 10th Mountain Whiskey & Spirit Company Alpine Bank Chocolove COCO Concierge Crazy Mountain Brewing Company Go Photo Booth The Ritz-Carlton, Bachelor Gulch Vintage Magnolia West Vail Liquor Mart

INDIVIDUAL GALA UNDERWRITERS Dierdre and Ronnie Baker Doe Browning Judy and Alan Kosloff Adrienne and Chris Rowberry Lisa and Ken Schanzer

112 Learn more at BravoVail.org

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he Los Angeles Times called her “the most fearless woman in opera,” and she is unquestionably one of the greatest singing actresses of our time. In partnership with acclaimed pianist and longtime collaborator Craig Terry, superstar soprano Patricia Racette takes a detour from the great opera houses of the world and returns to her musical roots of night clubs and basement jazz sessions. Racette confided to the Huffington Post that “she’d long dreamed of a life singing jazz and torch standards,” and that dream comes to life with Diva on Detour, an intimate evening of songs by George Gershwin, Cole Porter, Stephen Sondheim, and more. This is cabaret artistry at its essential best: intensely dramatic renditions of classic torch songs, delivered with easy banter and smoky smolder, shattering vulnerability and exuberant flair.

© LISA CUSCUNA

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM:

JUL

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TUESDAY JULY 18, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE

MOZART CLARINET QUINTET

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LEXANDER GLAZUNOV (1865-1936) was the most important Russian composer between the death of Tchaikovsky and the rise of the modern school of Prokofiev and Shostakovich. He helped complete Prince Igor by his friend Alexander Borodin, and composed the Réverie Orientale in 1888 under the influence of that opera’s exotic central Asian setting. WOLFGANG AMADEUS MOZART (1756-1791) harbored a special fondness for the clarinet from the time he first heard it as a boy during his tours. His greatest compositions for the instrument, most notably the Clarinet Quintet (1789) and the flawless Clarinet Concerto, completed just two months before his death, were inspired by the technical accomplishment and expressive playing of Anton Stadler, principal clarinetist of the Imperial Court Orchestra in Vienna and a fellow Mason. The brothers JOHANN STRAUSS, JR. (1825-1899) and JOSEF STRAUSS (1827-1870) wrote the Pizzicato Polka for their 1869 summer concert season in Pavlovsk, Russia. Johann composed the Accelerations Waltz for a Valentine’s Day celebration in 1860, and Im Krapfenwaldl (the so-called “Cuckoo Polka”) in 1869 to honor a popular restaurant in the hills above Vienna whose sound effects reflect the inn’s rustic setting.

ENSEMBLE CONNECT (Bravo! Vail 2017 Chamber Musicians in Residence) Adelya Nartadjieva, violin Michelle Ross, violin Maren Rothfritz, viola Madeline Fayette, cello Yoonah Kim, clarinet

GLAZUNOV Réverie Orientale for Clarinet and String Quartet

MOZART Quintet for Clarinet and String Quartet in A major, K. 581 Allegro Larghetto Menuetto Allegretto con Variazioni

JOSEF STRAUSS & JOHANN STRAUSS, JR./ARR. TEKALLI Pizzicato Polka, Op. 234

JOHANN STRAUSS, JR./ARR. TEKALLI Accelerations Waltz, Op. 234 Im Krapfenwaldl (Cuckoo Polka), Op. 336 The running time for this concert is approximately one hour.

Ensemble Connect is a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education

© DEANNA KENNETT

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Cookie and Jim Flaum The Sidney E. Frank Foundation The Paiko Foundation, in honor of the Vail Police Hotel Talisa Vail Marriott Resort and Spa Carole A. Watters Westwind

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TUESDAY JULY 18, 6:00PM

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CHAMBER MUSIC SERIES

DONOVAN PAVILION

Jenny Chen, piano (2017 Bravo! Vail Piano Fellow) Anne-Marie McDermott, piano Anton Nel, piano Chelsea Wang, piano (2017 Bravo! Vail Piano Fellow)

MOZART Sonata for Two Pianos in D major, K. 448 (K. 375a) (23 minutes) Allegro con spirito Andante Allegro molto

GERSHWIN An American in Paris, Composer’s Original Version for Two Pianos (19 minutes)

— INTERMISSION — ROSSINI/ARR. WERDE Overture to William Tell (12 minutes)

GOUNOD Waltz from Faust (4 minutes)

CHABRIER/ARR. CHEVILLARD España Rhapsody (7 minutes)

GLINKA/ARR. SPINDLER Overture to Russlan and Ludmilla (5 minutes)

MUSIC FOR FOUR PIANISTS/EIGHT HANDS

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n the days before recordings and broadcasts and widely available professional performances, much musical life centered around home or communal pianos. Until the late 18th century, the aristocratic harpsichord had been the dominant keyboard instrument, but when that medium became outmoded socially (by the egalitarian ideals of the French Revolution) and musically (by an increasingly expressive style), and new manufacturing techniques allowed the reasonably priced mass manufacturing of steel-frame pianos, that instrument became the center of music-making in countless European and American homes. To fill the needs of the burgeoning amateur market for something to play, original works were composed, such as the Two-Piano Sonata Mozart wrote to perform with a student, or fantasies and variations on popular and operatic themes (of which Mack Wilberg’s Carmen Fantasy is a modern progeny), or the rags with which Scott Joplin created a musical icon for an American age, but there was also a flood of transcriptions of orchestral pieces, works that could otherwise only be heard in their original setting in big cities on infrequent occasions. This extraordinary gathering of four pianists, eight hands, forty fingers, and hundreds of piano keys renews a tradition of music-making that has enriched the lives and spirits of listeners and performers for more than two centuries. Bravo! indeed.

WILBERG Fantasy on Themes from Bizet’s Carmen (10 minutes)

JOPLIN/ARR.OLSON Rag Rhapsody (6 minutes) BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM:

Concessions provided by:

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The Francis Family The Sidney E. Frank Foundation The Piano Fellows Fund Town of Vail

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WEDNESDAY JULY 19, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

SMITH RESIDENCE, ARROWHEAD

THE LINDA AND MITCH HART SOIRÉE SERIES

AN EVENING WITH BRAMWELL TOVEY

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ramwell Tovey’s international career began as a lastminute substitute at the opening night of the London Symphony Orchestra’s 1986 Leonard Bernstein Festival at London’s Barbican Centre—in the presence of Bernstein himself. Since then, he has racked up several lifetimes worth of accomplishments and accolades: as the Grammy and Juno awardwinning Music Director of the Vancouver Symphony Orchestra and a globe-trotting guest conductor, award-winning composer, piano soloist and accompanist (including two jazz album recordings), and writer. He is descended from a long line of Salvation Army evangelists, and dated pop star Annie Lennox in college. Join the man Musical America named “one of the most versatile and charismatic musicians in the world,” and “the Noel Coward of conductors,” (Los Angeles Times) for a truly special evening of music and conviviality.

Bramwell Tovey, piano Program to be announced from the stage.

CATERED BY FOODS OF VAIL, EXECUTIVE CHEF, TRACEY VAN CURAN

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE FROM: THIS EVENING’S HOSTS Sherry and Jim Smith

SPECIAL GRATITUDE TO © TYLER BOYE

The Francis Family Linda and Mitch Hart

SPONSORED BY Foods of Vail Sweet Pea Designs West Vail Liquor Mart

BRAMWELL TOVEY 115

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THURSDAY JULY 20, 11:00AM FREE CONCERT SERIES

GOLDEN EAGLE SENIOR CENTER

ENSEMBLE CONNECT (Bravo! Vail 2017 Chamber Musicians in Residence) Adelya Nartadjieva, violin Michelle Ross, violin Maren Rothfritz, viola Madeline Fayette, cello

HAYDN String Quartet in D major, Op. 64, No. 5, “The Lark” Allegro moderato Adagio cantabile Menuetto: Allegretto Finale: Vivace

FRANÇAIX Trio for Violin, Viola and Cello Allegretto vivo Scherzo: Vivo Andante Rondo: Vivo

HANDEL/ARR. HALVORSEN Passacaglia from Suite No. 7 in G minor for Violin and Viola

VERDI

FREE

MUSIC FOR STRINGS WITH ENSEMBLE CONNECT

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he Op. 64 Quartets (1790) are among the most lustrous jewels in the chamber music of JOSEPH HAYDN (17321809), “perhaps his greatest single achievement of the period—six flawless masterpieces,” wrote Haydn authority H.C. Robbins Landon. The Trio for Violin, Viola and Cello (1933) by French composer and pianist JEAN FRANÇAIX (1912-1997) is a testament to his adherence to Debussy’s artistic philosophy of “faire plaisir”—“giving pleasure.” The Passacaglia in G minor is from a harpsichord suite that GEORGE FRIDERIC HANDEL (1685-1759) wrote for an aristocratic student around 1717. The arrangement for violin and viola is by the Norwegian violinist, conductor, and composer JOHAN HALVORSEN (18641935). GIUSEPPE VERDI (1813-1901) composed his only String Quartet in March 1873, when he had sworn not to write again for the stage after completing Aida, his 26th opera. He kept that vow until the poet Arrigo Boito and his publisher Giulio Ricordi convinced him to undertake Otello a decade later. ANTONÍN DVOŘÁK (1841-1904) wrote his String Quartet in F major, “American,” in the summer of 1893, during the three years he was directing the National Conservatory in New York.

Andantino from String Quartet in E minor

DVOŘÁK Finale (Vivace ma non troppo) from String Quartet in F major, Op. 96, “American” The running time for this concert is approximately one hour.

Ensemble Connect is a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS MORNING’S CONCERT FROM: Eagle County The Paiko Foundation, in honor of the Vail Police United Way of Eagle River Valley Carole A. Watters

116 Learn more at BravoVail.org

JUL

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THURSDAY JULY 20, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE

BEETHOVEN, POULENC & BRAHMS

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UDWIG VAN BEETHOVEN (1770-1827) composed his Eight Variations on a Theme of Count Waldstein before he left his native Bonn for Vienna in 1792. This composition was a farewell gift for the amateur composer and dedicated patron of the arts, Count Ferdinand von Waldstein, who was the ambitious young composer’s most important early patron. Of the thirteen chamber works for various instrumental combinations

by FRANCIS POULENC (1899-1963), only three are exclusively for strings. “I have always adored wind instruments,” he explained.

The Clarinet Sonata, Poulenc’s last work except for the Sonata for Oboe and Piano, was composed in the summer of 1962 for Benny Goodman and dedicated to the memory of Arthur Honegger. Goodman and Leonard Bernstein gave the premiere in New York on April 10, 1963. JOHANNES BRAHMS (1833-1897) composed his Clarinet Trio, Clarinet Quintet, and two Sonatas for Clarinet between 1891 and 1894 for Richard Mühlfeld, Principal Clarinetist of the Meiningen Court Orchestra. These are works of Brahms’ fullest maturity: economical without being austere, tightly unified in motivic development, virtually seamless in texture yet structurally pellucid, harmonically rich, and, as always with his greatest music, filled with powerful and clear emotions trenchantly expressed.

Yoonah Kim, clarinet (Bravo! Vail 2017 Chamber Musician in Residence) Jenny Chen, piano (2017 Bravo! Vail Piano Fellow) Chelsea Wang, piano (2017 Bravo! Vail Piano Fellow)

BEETHOVEN Eight Variations on a Theme of Count Waldstein for Piano, Four Hands, WoO 67

POULENC Sonata for Clarinet and Piano Allegro Tristamente: Allegretto — Très calme — Tempo allegretto Romanza: Très calme Allegro con fuoco: Très animé

BRAHMS Sonata for Clarinet and Piano in E-flat major, Op. 120, No. 2 Allegro amabile Allegro appassionato Andante con moto The running time for this concert is approximately one hour.

Ensemble Connect is a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education

© YI-SUK JANG

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation Lodge at Vail The Paiko Foundation, in honor of the Vail Police The Piano Fellows Fund Vail’s Mountain Haus Carole A. Watters

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Saluting women for their vision, dedication and leadership.

We’re committed to the programs and organizations that inspire personal achievement, teamwork and empowerment. With a good plan and a supportive team, you have what it takes to achieve these possibilities. usbank.com/ourcommunity

U.S. Bank is proud to support the Bravo! Vail program for over 25 years

We look forward to serving you at one of our four convenient area locations.

Equal Housing Lender. Member FDIC. Š2016 U.S. Bank 4/16

BRAMWELL TOVEY:

AN AMERICAN CELEBRATION

NEW YORK PHILHARMONIC JUL

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FRIDAY JULY 21, 6:00PM ORCHESTRA SERIES

SPECIAL THANKS AND APPRECIATION TO LENI AND PETER MAY PRESENTED BY: STEPHANIE AND LAWRENCE FLINN, JR. SARAH NASH AND MICHAEL SYLVESTER MARCY AND GERRY SPECTOR

SPECIAL GRATITUDE TO: The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Margaret and Alex Palmer Terie and Gary Roubos

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FRIDAY JULY 21, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Bramwell Tovey, conductor J’Nai Bridges, mezzo-soprano

IVES/ORCH. SCHUMAN Variations on a National Hymn, “America” (8 minutes)

GERSHWIN/ARR. BENNETT Porgy and Bess, A Symphonic Picture (17 minutes)

GERSHWIN (15 minutes) “I Got Rhythm” (Arr. Robert Russell Bennett) “Embraceable You” (Arr. Robert Russell Bennett) “Love is Here to Stay” (Arr. Edward Powell) “The Man I Love” (Arr. Bruce Coughlin)

— INTERMISSION — BERNSTEIN Symphonic Dances from West Side Story (22 minutes) Prologue — Somewhere — Scherzo — Mambo — Cha-Cha — Meeting Scene — “Cool” Fugue — Rumble — Finale

BRAMWELL TOVEY: AN AMERICAN CELEBRATION Variations on a National Hymn, “America” (1891) CHARLES IVES (1874-1954) ORCHESTR ATED (1963) BY WILLIAM SCHUMAN (1910-1992)

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n 1889, Ives’ beloved hometown of Danbury, Connecticut was incorporated as a city. Civic celebrations were held in June, with a concert produced by Ives’ father, George, at Taylor’s Opera House as the culmination of the festivities. Ives’ memory of that gala performance, especially of its inspiring closing selection, was stirred two years later, in 1891, when he played the Variations on “God Save the King” (i.e., the same tune as America, which had served as the festivity’s grand finale) by the German composer J.C.H. Rinck on the organ of Danbury’s Baptist Church.

Soon thereafter Ives wrote his own set of organ variations on the melody. He was seventeen. Though conventional in structure, Ives’ Variations on “America” are hardly orthodox in content, ranging from hymn to march to polonaise. The most startling part of the score is the short polytonal interlude in which blazing dissonances are created though the simultaneous use of several keys. Even father George, avowed experimentalist that he was (he would, for example, accompany his son on the home piano in one key and have the boy sing the melody in another), warned Charlie that he should leave out this section at a performance in Brewster, New York because the rehearsals in Danbury had shown that it “made the boys laugh out loud and get noisy.” The interlude remained.

Porgy and Bess, A Symphonic Picture (1934-1935) GEORGE GERSHWIN (1898-1937) ARRANGED (1941) BY ROBERT RUSSELL BENNETT

GERSHWIN

(1894-1981)

An American in Paris (16 minutes)

JOIN US FOR BRAVO! VAIL AFTER DARK, 8:30PM ENSEMBLE CONNECT VAIL ALE HOUSE, VAIL (details on page 122)

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Porgy and Bess is set in the 1930s in Catfish Row, an AfricanAmerican tenement in Charleston. The curtain rises on Clara singing a lullaby (Summertime) to her child. Crown quarrels with Robbins during a crap game, kills him and escapes. Robbins is mourned by his wife, Serena (My Man’s Gone Now). Crown’s girl, Bess, finds refuge with the cripple, Porgy, who loves her devotedly.

They sing of their happiness (I Got Plenty o’ Nothin’ and Bess, You Is My Woman Now). During a picnic on Kittiwah Island, Sportin’ Life, the local dope peddler, describes his cynical attitude toward religion (It Ain’t Necessarily So). Crown, who has been hiding on the island, confronts Bess and persuades her to stay with him.

Having fallen sick, she returns to Porgy, who nurses her back to health. They reassure each other of their love (I Loves You, Porgy).

During a storm, Crown returns to Catfish Row. Porgy strangles his rival. The police suspect Porgy and arrest him. Sportin’ Life tempts Bess to accompany him to New York with a package of his “happy dust.” Released from jail a few days later, Porgy learns that Bess has gone. Undaunted, he sets off in his goat cart to follow her (Oh, Lawd, I’m On My Way).

INSIDE STORY

Symphonic Dances from West Side Story (1957) LEONARD BERNSTEIN (1918-1990)

West Side Story was among 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 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 who advocated an entirely escapist CONTINUED ON PAGE 197

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ( $30,000+ ) ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Kay Lawrence Vicki and Kent Logan Leni and Peter May Billie and Ross McKnight Amy and James Regan 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. Claudio X. Gonzalez Judy and Alan Kosloff Donna and Patrick Martin Barbie and Tony Mayer Ann and Alan Mintz Kay and Bill Morton

Sarah Nash and Michael Sylvester June and Paul Rossetti Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

SILVER ( $15,000+ ) Jeri and Charlie Campisi Terri and Tom Grojean Martha Head Carolyn and Gene Mercy Margaret and Alex Palmer Terie and Gary Roubos Lisa Tannebaum and Don Brownstein

BRONZE ( $10,000+ ) Pamela and David Anderson Jean and Harry Burn Lucy and Ron Davis Susan and John Dobbs Penny and Bill George Melinda and Tom Hassen June and Peter Kalkus Allison and Russell Molina Carole and Peter Segal Sue and Marty Solomon Barbara and Carter Strauss

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

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

WHAT IS AMERICAN MUSIC? Who better to tackle the unanswerable question, “what is American music?” than the quintessential musical American, Leonard Bernstein? You don’t need an advanced degree in musicology to pick up on its brash optimism, unmistakable vitality, and homespun simplicity, but in one of his most famous Young People’s Concerts, Bernstein explores how these distinctive traits translate into actual musical sounds. From the varied folk music of our ancestral lands to Native- and African-American melodies, through jazz and dance rhythms and popular-song sentimentality, he explains, “we’ve taken it all in… and learned it from one another, borrowed it, stolen it, cooked it all up in a melting pot.”

As a result, “it’s in the music itself: it sounds American, smells American— makes you feel American when you hear it. ... There are as many sides to American music as there are to the American people—our great, varied, many-sided democracy.”

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FRIDAY JULY 21, 8:30PM BRAVO! VAIL AFTER DARK

VAIL ALE HOUSE

ENSEMBLE CONNECT (Bravo! Vail 2017 Chamber Musicians in Residence) Adelya Nartadjieva, violin Michelle Ross, violin Maren Rothfritz, viola Madeline Fayette, cello Yoonah Kim, clarinet

DJAWADI Theme from Game of Thrones

GERSHWIN/ARR. ENSEMBLE CONNECT “Summertime” from Porgy and Bess

FRANÇAIX Trio for Violin, Viola and Cello Allegretto vivo Scherzo: Vivo Andante Rondo: Vivo

FREE

AFTER DARK WITH ENSEMBLE CONNECT

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nsemble Connect is a fellowship program for the finest young professional classical musicians in the country.

Chosen for not only for their musicianship, but also for their leadership qualities and commitment to music education, these exciting and inspiring artists combine musical excellence with teaching, community engagement, advocacy, and entrepreneurship. They also know how to put together an eclectic, genre-bending evening of chamber music. From Game of Thrones to George Gershwin, a klezmer-inflected work by a young German composer/clarinetist and a hit song by the lead singer of Colorado’s own OneRepublic, Piazzola, a passacaglia, and—hey, why not?—a Dvořák string quartet, this totally unique program will rock the Vail Ale House.

WIDMANN Fantasie for Solo Clarinet

TEDDER Counting Stars

PIAZZOLLA/ARR. ENSEMBLE CONNECT Tango Selections

HANDEL/ARR.HALVORSEN Passacaglia from Suite No. 7 in G minor for Violin and Viola

DVOŘÁK Finale from String Quartet in F major, Op. 96, “American” Vivace ma non troppo The running time of this concert is approximately one hour.

Ensemble Connect is a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Amy and Charlie Allen Carole A. Watters

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KAVAKOS PLAYS BRAHMS

NEW YORK PHILHARMONIC JUL

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SATURDAY JULY 22, 6:00PM ORCHESTRA SERIES

PRESENTED BY: JAYNE AND PAUL BECKER MARIJKE AND LODEWIJK DE VINK

SPECIAL GRATITUDE TO: The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Bea Taplin

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SATURDAY JULY 22, 6:00PM ORCHESTRA SERIES

PRE-CONCERT TALK, 5:00PM GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Alan Gilbert, conductor Leonidas Kavakos, violin (New York Philharmonic Mary and James G. Wallach Artist-in-Residence)

ROSSINI Overture Finale from William Tell (3 minutes) Kay Chester, special guest conductor

BRAHMS Violin Concerto in D major, Op. 77 (38 minutes) Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace — Poco più presto

— INTERMISSION — BERLIOZ Symphonie Fantastique, Op. 14a (52 minutes) Reveries, Passions: Allegro agitato e appassionato assai — Religiously A Ball. Valse: Allegro non troppo Scene in the Fields: Adagio March to the Scaffold: Allegretto non troppo Dream of a Witches’ Sabbath: Larghetto — Allegro

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Gerald R. Ford Amphitheater Lobby Jack Sheinbaum (University of Denver), “Obsessions and Frights in Berlioz’s Fantastique”

KAVAKOS PLAYS BRAHMS Violin Concerto in D major, Op. 77 (1878) JOHANNES BR AHMS (1833-1897)

B

y the time he composed his Violin Concerto, Brahms, then 45, was coming into the full efflorescence of his talent and fame. The twenty-year gestation of the First Symphony had finally ended in 1876, and the Second Symphony came easily only a year later. He was occupied with many songs and important chamber works during the mid-1870s, and the two greatest of his concertos, the B-flat for piano and the D major for violin, were both conceived in 1878. Both works were ignited by the delicious experience of his first trip to Italy in April of that year; however the Piano Concerto was soon laid aside when the Violin Concerto became his main focus during the following summer.

After the Italian trip, he returned to the idyllic Austrian village of Pörtschach (site of the composition of the Second Symphony the previous year), where he composed the Violin Concerto for his old friend and musical ally, Joseph Joachim.

The first movement is constructed on the lines of the Classical concerto form, with an extended orchestral introduction presenting much of the movement’s main thematic material before the entry of the soloist. The last theme, a dramatic strain in stern dotted rhythms, ushers in the soloist, who plays an extended passage as transition to the second exposition of the themes. A melody not heard in the orchestral introduction, limpid and almost a waltz, is given out by the soloist to serve as the second theme.

The vigorous dotted-rhythm figure returns to close the exposition, with the development section continuing the agitated aura of this closing theme. The recapitulation begins on a heroic wave of sound spread through the entire orchestra. After the return of the themes, the bridge to the coda is made by the soloist’s cadenza.

The rapturous second movement is based on a theme that the composer Max Bruch said was derived from a Bohemian folk song. The melody, intoned by the oboe, is initially presented in the colorful sonorities of wind choir without strings. The central section is cast in darker hues.

The finale, an invigorating dance of Gypsy character, is cast in rondo form with a scintillating tune in double stops as the recurring theme.

Symphonie Fantastique, Op. 14a (1830) HECTOR BERLIOZ (1803-1869)

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. He 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. He 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

INSIDE STORY

UNDER THE INFLUENCE

CONTINUED ON PAGE 198

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ( $30,000+ ) ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Kay Lawrence Vicki and Kent Logan Leni and Peter May Billie and Ross McKnight Amy and James Regan 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. Claudio X. Gonzalez Judy and Alan Kosloff Donna and Patrick Martin Barbie and Tony Mayer Ann and Alan Mintz Kay and Bill Morton

Sarah Nash and Michael Sylvester June and Paul Rossetti Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

SILVER ( $15,000+ ) Jeri and Charlie Campisi Terri and Tom Grojean Martha Head Carolyn and Gene Mercy Margaret and Alex Palmer Terie and Gary Roubos Lisa Tannebaum and Don Brownstein

BRONZE ( $10,000+ ) Pamela and David Anderson Jean and Harry Burn Lucy and Ron Davis Susan and John Dobbs Penny and Bill George Melinda and Tom Hassen June and Peter Kalkus Allison and Russell Molina Carole and Peter Segal Sue and Marty Solomon Barbara and Carter Strauss

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

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

Symphonie Fantastique has been described as “the first psychedelic symphony in history,” with its nightmarish depictions of a spurned lover poisoning himself with opium and the fevered dream images that ensue. There is little doubt that Berlioz had first-hand experience with the narcotic: Berlioz’s father was a distinguished physician, and laudanum (a tincture of opium in alcohol) was one of the most widely used medicines of the 19th century, commonly prescribed for both pain relief and anxiety. Berlioz had no shortage of either, and he was also obsessed with a popular book of the day, Thomas de Quincey’s Confessions of an English Opium Eater.

Other composers who used natural and chemical substances to unleash their creativity or battle demons? Hildegard von Bingen, who experimented with various herbal remedies; Frédéric Chopin, whose opium-laced sugar cubes helped with symptoms of tuberculosis; and Edward Elgar, who was reportedly a fan of “coca wine,” a cocainelaced precursor to Coca-Cola.

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KAVAKOS LEADS:

BACH & SCHUMANN

NEW YORK PHILHARMONIC JUL

23

SUNDAY JULY 23, 6:00PM ORCHESTRA SERIES

PRESENTED BY: BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT DIDI AND OSCAR SCHAFER

SPECIAL GRATITUDE TO: The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation, in honor of the Vail Police

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SUNDAY JULY 23, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Leonidas Kavakos, conductor and violin (New York Philharmonic Mary and James G. Wallach Artist-in-Residence)

WEBER Overture to Oberon (9 minutes)

J.S. BACH (Reconstructed by W. Fischer) Violin Concerto in D minor, BWV 1052 (23 minutes) Allegro Adagio Allegro

— INTERMISSION — SCHUMANN Symphony No. 2 in C major, Op. 61 (43 minutes) Sostenuto assai — Allegro ma non troppo Scherzo: Allegro vivace Adagio espressivo Allegro molto vivace

KAVAKOS LEADS: BACH & SCHUMANN Overture to Oberon (1825-1826) CARL MARIA VON WEBER (1786-1826)

O

beron, Weber’s last opera (he died in London at age 39 six weeks after conducting the premiere), has some glorious music bound into an improbable English-language libretto written to allow for the greatest possible theatrical spectacle. It offers hardly a shred of character explication or dramatic veracity—“the merest twaddle for regulating the operations of scene-shifters,” according to Sir Donald Tovey. “Its plot,” wrote Sigmund Spaeth, “tells of the quarrel between Oberon and Titania, the fairy king and queen, who will not speak to each other until a pair of faithful lovers has been found. Oberon’s sprightly little errand boy, Puck, finds the necessary couple in Huon of Bordeaux, a knight of the court of Charlemagne, and Rezia, daughter of the calif of Baghdad, Haroun al Raschid. On their way home from Baghdad, the lovers are shipwrecked and captured by pirates, who sell Rezia to the Emir of Tunis and Huon to his wife, Roxanna. Each resists the temptation to infidelity, and when they are condemned to death by fire, Huon blows upon the magic horn of Oberon, which magically transports them to the court of Charlemagne, where all ends happily, with a reconciliation between Titania and her husband.” Weber’s splendid Overture, cast in traditional sonata form, is based on themes from the opera.

Violin Concerto in D minor, BWV 1052 (ca. 1720) JOHANN SEBASTIAN BACH (1685-1750) RECONSTRUCTED BY W. FISCHER

Bach wrote his violin concertos for his duties at the court of Anhalt-Cöthen, where he was “Court Kapellmeister and Director of the Princely Chamber Musicians” from 1717 to 1729. The structure of the opening movement of the D minor Violin Concerto follows the ritornello form customary for Baroque concertos: a returning orchestral refrain separated by episodes for the soloist.

The somber Adagio is an elaborately decorated song spun by the soloist. The finale returns the bracing vitality of the first movement.

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Symphony No. 2 in C major, Op. 61 (1845-1846) ROBERT SCHUMANN (1810-1856)

INSIDE STORY

The years 1845 and 1846 were difficult ones for Schumann. In 1844, he had gone on a concert tour of Russia with his wife, Clara, one of the greatest pianists of the era, and he was frustrated and humiliated at being recognized only as the husband of the featured performer and not in his own right as a distinguished composer and critic. The couple’s return to Leipzig found Robert nervous, depressed and suffering from occasional lapses of memory. He had a complete breakdown soon after, and his doctor advised the Schumanns to return to the quieter atmosphere of Dresden, where Robert had known happy times earlier in his life. They moved in October 1844, and Schumann recovered enough to completely sketch the Second Symphony in December of the following year.

He began the orchestration in February, but many times found it impossible to work and could not finish the score until October.

CONTINUED ON PAGE 198

HOW TO BE HUMAN (hint: learn music)

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ( $30,000+ ) ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Kay Lawrence Vicki and Kent Logan Leni and Peter May Billie and Ross McKnight Amy and James Regan 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. Claudio X. Gonzalez Judy and Alan Kosloff Donna and Patrick Martin Barbie and Tony Mayer Ann and Alan Mintz Kay and Bill Morton

Sarah Nash and Michael Sylvester June and Paul Rossetti Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

SILVER ( $15,000+ ) Jeri and Charlie Campisi Terri and Tom Grojean Martha Head Carolyn and Gene Mercy Margaret and Alex Palmer Terie and Gary Roubos Lisa Tannebaum and Don Brownstein

BRONZE ( $10,000+ ) Pamela and David Anderson Jean and Harry Burn Lucy and Ron Davis Susan and John Dobbs Penny and Bill George Melinda and Tom Hassen June and Peter Kalkus Allison and Russell Molina Carole and Peter Segal Sue and Marty Solomon Barbara and Carter Strauss

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

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

When Leonidas Kavakos was nine years old, he was sent to a legendary teacher in his native Athens.

According to Kavakos, this teacher “followed Plato’s idea of education: learning music was a lesson in how to be human.” This view has deep roots in ancient Greece, where music was an integral part of daily life, literally viewed as a gift from the gods. Early education began with physical activities like gymnastics, which were done to music in order to learn synchronization and coordination. This was followed by training in mousike (a combination of modern-day music, dance, lyrics, and poetry) which helped students memorize and recite lessons in history, geography, and philosophy. The great mathematician Pythagoras believed that music was an expression of the cosmic order, and applied the principles of “harmony” to everything from art and architecture to running governments, raising a family, and self-improvement. Music was even thought to have medicinal powers!

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TUESDAY JULY 25, 1:00 PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

MOZART Piano Sonata in F major, K. 533/494 Allegro Andante Rondo: Allegretto

SHOSTAKOVICH Piano Sonata No. 2 in B minor, Op. 64 Allegretto Largo Moderato (con moto) The running time of this concert is approximately one hour.

FREE

MOZART & SHOSTAKOVICH FOR SOLO PIANO

T

he curious Köchel number of the Piano Sonata in F major, K. 533/494 by WOLFGANG AMADEUS MOZART (1756-1791) resulted from the conflation of the Rondo (K. 494) he wrote in 1786 for his student Franzisca von Jacquin and the Allegro and Andante (K. 533) he composed two years later in apparent repayment of a debt to his publisher, Franz Hoffmeister. Though its genesis is somewhat convoluted, its musical expression is lucid and cogent, a fine example of Mozart’s incomparable mature creativity. The Piano Sonata No. 2 of DMITRI SHOSTAKOVICH (1906-1975) was inspired by both the death of Leonid Nikolaev, his piano teacher at the Leningrad Conservatory, from typhoid fever and starvation in October 1942, and Hitler’s barbaric 18-month siege of Leningrad during that time, when an estimated one million people—a third of the city’s population—died from hunger, cold, shelling, and air raids. Shostakovich, a native of Leningrad and a member of the city’s conservatory faculty, was refused admission to the armed forces because of his frail health, but he was allowed to serve in a local fire brigade until he was sent with other artists to Kuibyshev, a thousand miles south in Ukraine.

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

CHELSEA WANG 130 Learn more at BravoVail.org

Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation The Lifthouse Condominiums The Paiko Foundation, in honor of the Vail Police The Piano Fellows Fund Vail Mountain Lodge and Spa Carole A. Watters

© PETE CHECCHIA PHOTOGRAPHY

Chelsea Wang, piano (2017 Bravo! Vail Piano Fellow)

TUESDAY JULY 25, 6:00PM

JUL

25

CHAMBER MUSIC SERIES

DONOVAN PAVILION

NEW YORK PHILHARMONIC STRING QUARTET PLAYS BEETHOVEN & DVOŘÁK

F

ELIX MENDELSSOHN (1809-1847) composed his Quartet in F minor in 1847 as a memorial to his beloved sister Fanny, a composer and pianist of excellent talent. It was his last important work, since six months later Mendelssohn himself died after a series of strokes. He was four months shy of his 39th birthday. The year of the completion of the six Op. 18 Quartets—1800—was an important time in the development of LUDWIG VAN BEETHOVEN (1770-1827). He had achieved success after moving to Vienna eight years earlier, but at that same time the first signs of his fateful deafness appeared. The Op. 18 Quartets stand on the brink of that great crisis in his life. After his first year as director of the National Conservatory in New York, ANTONÍN DVOŘÁK (1841-1904) journeyed to Spillville, Iowa, a settlement founded forty years before by a “Bavarian-German” named Spielmann. It was not the Germans, however, who followed Spielmann to the open spaces of Iowa, but the Czechs and Bohemians, Dvořák’s countrymen. Just three days after arriving in Spillville in June 1893, Dvořák began his “American” Quartet and finished the sketches in an astonishing 72 hours.

NEW YORK PHILHARMONIC STRING QUARTET

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

MENDELSSOHN String Quartet in F minor, Op. 80 (26 minutes) Allegro vivace assai Allegro assai Adagio Finale: Allegro molto

BEETHOVEN String Quartet in C minor, Op. 18, No. 4 (25 minutes) Allegro ma non tanto Scherzo: Andante scherzoso quasi Allegretto Menuetto: Allegretto Allegro

— INTERMISSION — DVOŘÁK String Quartet in F major, Op. 96, “American” (30 minutes) Allegro ma non troppo Lento Molto vivace Finale: Vivace ma non troppo Concessions provided by:

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

© CHRIS LEE

Sidney E. Frank Foundation Town of Vail

NEW YORK PHILHARMONIC STRING QUARTET 131

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GILBERT CONDUCTS THE NEW WORLD SYMPHONY

NEW YORK PHILHARMONIC JUL

26

WEDNESDAY JULY 26, 6:00PM ORCHESTRA SERIES

PRESENTED BY: THE FRECHETTE FAMILY, IN MEMORY OF PAT AND PETE FRECHETTE JEANNE AND JIM GUSTAFSON BILLIE AND ROSS MCKNIGHT JUNE AND PAUL ROSSETTI

SPECIAL GRATITUDE TO: The Francis Family The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The New Works Fund The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Penny Bank and Family; Herbert Bank and Family Terri and Tom Grojean Martha Head June and Peter Kalkus

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WEDNESDAY JULY 26, 6:00PM ORCHESTRA SERIES

PRE-CONCERT TALK, 5:00PM GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Alan Gilbert, conductor Anne-Marie McDermott, piano

J. ADOLPHE White Stone (10 minutes) World Premiere NEW WORKS PROJECT

Gerald R. Ford Amphitheater Lobby Ryan Bañagale (Colorado College), “A Whole New World of Music” PLUS meet composer Julia Adolphe

GILBERT CONDUCTS THE NEW WORLD SYMPHONY White Stone (2017)

GERSHWIN

Commissioned by Bravo! Vail as part of the NEW WORKS PROJECT

Concerto in F for Piano and Orchestra (31 minutes) Allegro Adagio — Andante con moto Allegro agitato

JULIA ADOLPHE (B. 1988)

— INTERMISSION — DVOŘÁK Symphony No. 9 in E minor, Op. 95, “From the New World” (42 minutes) Adagio — Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

A

mong the greatest distinctions for a composer is the performance of a major work by one of the world’s leading orchestras. Julia Adolphe registered that honor at age 25, when her Dark Sand, Sifting Light was one of three pieces by young composers chosen for the New York Philharmonic’s 2014 NY PHIL BIENNIAL. In addition to glowing reviews of the work, Adolphe also took from that experience a 2016 Lincoln Center Emerging Artists Award and a commission for a concerto for the Philharmonic’s Principal Viola, Cynthia Phelps, which premiered in November 2016. The New York performances were a homecoming for Adolphe, who was born there in 1988. She received her baccalaureate from Cornell and her master’s degree at USC, where she is currently pursuing a doctorate. Adolphe’s works are performed across the U.S. and abroad by renowned ensembles such as the Los Angeles Chamber Orchestra, North Carolina Symphony, and James Conlon and the Cincinnati May Festival Chorus, among others. In addition to her Lincoln Center Award, Julia Adolphe has received the Charles Ives Scholarship from the American Academy of Arts and Letters, 2016 Opera America Discovery Grant, and grants from New Music USA, American Composers Forum and League of American Orchestras.

Concerto in F for Piano and Orchestra (1925) GEORGE GERSHWIN (1898-1937)

Walter Damrosch, conductor of the New York Symphony (one of the forebears of today’s New York Philharmonic) and one of this country’s most prominent musical figures for the half-century before World War II, was among the Aeolian Hall audience when George Gershwin’s Rhapsody in Blue exploded above the musical world on February 12, 1924. He recognized Gershwin’s genius (and, no doubt, the opportunity for wide publicity), and approached him 134 Learn more at BravoVail.org

a short time later with a proposal for another large-scale work. A concerto for piano was agreed upon, and Gershwin was awarded a commission from the New York Symphony to compose the piece, and also to be the soloist at its premiere and a half dozen subsequent concerts. The story that Gershwin then rushed out and bought a reference book explaining what a concerto is is probably apocryphal. He did, however, study the scores of some of the concertos of earlier masters to discover how they had handled the problems of structure and instrumental balance. He made the first extensive sketches for the work while in London during May 1925. By July, back home, he was able to play for his friends large fragments of the evolving work, tentatively entitled “New York Concerto.” The first movement was completed by the end of that month, the second and third by September, and the orchestration carried out in October and November, by which time the title had become simply Concerto in F. Gershwin provided a short analysis of the Concerto for the New York Tribune: “The first movement employs a Charleston CONTINUED ON PAGE 199

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ( $30,000+ ) ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Kay Lawrence Vicki and Kent Logan Leni and Peter May Billie and Ross McKnight Amy and James Regan 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. Claudio X. Gonzalez Judy and Alan Kosloff Donna and Patrick Martin Barbie and Tony Mayer Ann and Alan Mintz Kay and Bill Morton

Sarah Nash and Michael Sylvester June and Paul Rossetti Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

SILVER ( $15,000+ ) Jeri and Charlie Campisi Terri and Tom Grojean Martha Head Carolyn and Gene Mercy Margaret and Alex Palmer Terie and Gary Roubos Lisa Tannebaum and Don Brownstein

BRONZE ( $10,000+ ) Pamela and David Anderson Jean and Harry Burn Lucy and Ron Davis Susan and John Dobbs Penny and Bill George Melinda and Tom Hassen June and Peter Kalkus Allison and Russell Molina Carole and Peter Segal Sue and Marty Solomon Barbara and Carter Strauss

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

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

INSIDE STORY

AMERICAN MUSIC? CZECH! In the late 19th century, orchestras and opera halls were springing up across America, but the question was, “where are the American composers?” In 1892, philanthropist Jeanette Thurber decided it was time to develop a style of music that combined distinctly American sounds with a European classical tradition. Knowing that Dvořák had done something similar with Slavic folk music, Thurber convinced him to come to the National Conservatory in New York City and carry out her vision. Dvořák was fascinated by the Native American performers at Buffalo Bill’s Wild West show in New York, and one of his conservatory students introduced him to traditional African-American spirituals. While it never quotes these melodies directly, Dvořák’s New World Symphony, based on scenes from Longfellow’s epic poem The Song of Hiawatha, is possibly the first large scale work of “truly national music” in America.

Did you know? Neil Armstrong brought a recording of the New World Symphony along on the first moon landing in 1969.

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THURSDAY JULY 27, 1:00 PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

Jenny Chen, piano (2017 Bravo! Vail Piano Fellow)

LISZT Two Selections from Twelve Transcendental Études No. 5. Feux Follets: Allegretto No. 10. Allegro agitato molto

LISZT Mazurka Brillante, S. 221

MEYERBEER/ARR. LISZT Reminiscences de Robert le Diable

LISZT O Wenn Es Immer So Bleiben, after Anton Rubinstein’s Gelb rollt mir zu Füssen der brausende Kur, Op. 34, No. 9

TCHAIKOVSKY/ARR. LISZT Polonaise from Eugene Onégin

LISZT Rondeau Fantastique sur un Thême Espagnol (El Contrabandista) The running time of this concert is approximately one hour.

FREE

ALL LISZT FOR SOLO PIANO

F

RANZ LISZT (1811-1886), the first musical artist in history with enough nerve to keep an entire public program to himself, dubbed his solo concerts “musical soliloquies” at first, and later gave them the now-familiar designation, “recitals.” (“How can one recite at the piano?” fumed one British critic. “Preposterous!”) Liszt’s recitals included classics by such masters as Bach and Beethoven, but the foundation of his reputation as both composer and performer was established by his many shorter compositions. This recital gives a glimpse of what Liszt’s audiences might have experienced. The program opens with two selections from his dazzling Transcendental Études and continues with a Mazurka Brillante, written shortly after the death of his friend Frédéric Chopin. These are followed by several of Liszt’s more than 180 keyboard transcriptions, arrangements and fantasias based on vocal, operatic and orchestral music. One is a free treatment of a song by Anton Rubinstein, a giant of Russian music during Liszt’s lifetime; the others bring the glamorous world of opera to the piano with his showpiece adaptations of themes by Tchaikovsky, Meyerbeer and Manuel del Pópulo Vicente Rodríguez García.

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

JENNY CHEN 136 Learn more at BravoVail.org

Cookie and Jim Flaum The Francis Family The Sidney E. Frank Foundation Lionsquare Lodge The Paiko Foundation, in honor of the Vail Police The Piano Fellows Fund Sitzmark Lodge Carole A. Watters

MAHLER’S SYMPHONY 7

NEW YORK PHILHARMONIC JUL

27

THURSDAY JULY 27, 6:00PM ORCHESTRA SERIES

PRESENTED BY: AMY AND JAMES REGAN MARY LYNN AND WARREN STALEY

SPECIAL GRATITUDE TO: The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society

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THURSDAY JULY 27, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

MAHLER’S SYMPHONY 7

NEW YORK PHILHARMONIC

Symphony No. 7, “Song of the Night” (1904-1905)

Alan Gilbert, conductor

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MAHLER Symphony No. 7, “Song of the Night” (77 minutes) Langsam — Allegro risoluto Nachtmusik I: Allegro moderato Scherzo: Schattenhaft (Fliessend, aber nicht schnell) Nachtmusik II: Andante amoroso Rondo–Finale: Allegro This concert will be performed without intermission.

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GUSTAV MAHLER (1860-1911)

he Seventh Symphony was a product of the happiest years Gustav Mahler knew. His career as director of the Vienna Opera was at its apex (in 1904 and 1905, he introduced his highly regarded version of Fidelio, conducted an important production of Don Giovanni with decor

by Alfred Roller, and prepared for revivals of Così fan tutte and The Abduction from the Seraglio). His life with Alma was satisfying, his family had grown to include two healthy daughters, and his music was gaining recognition. Just as the Sixth Symphony was being completed in September 1904, he quickly wrote the two Andantes that were to become the “night music” movements of the Symphony No. 7. His hectic performance and administrative schedule in Vienna during the winter months precluded further work on the new piece. When he returned to his lakeside summer home the following May, however, “Not a note would come,” he recalled. “I plagued myself for two weeks until I sank into gloom.... then I tore off to the Dolomites. There I was led the same dance, and at last gave up and returned home.... I got into the boat to be rowed across. At the first stroke, the theme (or rather the rhythm and character) of the introduction to the first movement came into my head—and in four weeks, the first, third and fifth movements were done.” The Symphony was completed in short score before Mahler returned to Vienna in the autumn and finished early in 1906.

It was to be the last work of that halcyon period in Mahler’s life.

Between the completion of the Seventh Symphony in 1906 and its premiere in Prague under the composer’s direction on September 19, 1908, Mahler’s life was turned upside-down. In 1907, three separate shocks befell him that crushed his happiness and hastened his early death at the age of fifty: in March, against the continuing background of budgetary distress, hide-bound conservatism, and muted but pervasive anti-Semitism, Mahler began to feel that his tenure at the Court Opera had been a failure, and resigned; three months later, Dr. Friedrich Kovacs of Vienna diagnosed a serious heart condition, and advised Mahler that he would have to cease all strenuous activity and limit his professional responsibilities if the disease were not to prove rapidly fatal; and in July, the composer’s beloved four-year-old daughter, Maria, died of scarlet fever and diphtheria. The man who conducted the premiere of the Seventh Symphony was much changed from the man who composed it. Alma recorded that he worked incessantly on revising the score’s orchestration during the long series of rehearsals, and that his stamina and self-confidence seemed

particularly taxed by preparations for the performance. Though the Prague orchestra won Mahler’s approval, and the event generated considerable excitement, Alma reported that the piece had only a “succès d’estime... The Seventh was scarcely understood by the public.” The work was heard again during Mahler’s lifetime in Hamburg, Munich, Amsterdam and Vienna, but it failed to achieve wide acceptance, and came early in its history to be regarded as something of a step-child among the symphonies; it was not heard in the United States until Frederick Stock conducted it in Chicago in 1921.

The first movement, amply endowed with such forwardlooking harmonic devices as superimposed fourths and incipient polytonality, is a vast sonata design prefaced by a stern introduction (led by the tenor tuba) containing motivic germs from which several later themes grow. An embryonic version of the main theme is given by unison trombones, only to be interrupted by another somber proclamation from the tenor tuba. The horns then take over the trombones’ theme to launch the main body of CONTINUED ON PAGE 200

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ( $30,000+ ) ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Kay Lawrence Vicki and Kent Logan Leni and Peter May Billie and Ross McKnight Amy and James Regan 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. Claudio X. Gonzalez Judy and Alan Kosloff Donna and Patrick Martin Barbie and Tony Mayer Ann and Alan Mintz Kay and Bill Morton

Sarah Nash and Michael Sylvester June and Paul Rossetti Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

SILVER ( $15,000+ ) Jeri and Charlie Campisi Terri and Tom Grojean Martha Head Carolyn and Gene Mercy Margaret and Alex Palmer Terie and Gary Roubos Lisa Tannebaum and Don Brownstein

BRONZE ( $10,000+ ) Pamela and David Anderson Jean and Harry Burn Lucy and Ron Davis Susan and John Dobbs Penny and Bill George Melinda and Tom Hassen June and Peter Kalkus Allison and Russell Molina Carole and Peter Segal Sue and Marty Solomon Barbara and Carter Strauss

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

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

INSIDE STORY

MAHLER TAKES MANHATTAN For the last three years of his life, Mahler was a New Yorker, and, at the time, arguably the most famous musician in town. Already a worldfamous composer and conductor, he was hired by the Metropolitan Opera in 1907 in spite of his reputation as a difficult neurotic more interested in composing lengthy symphonies than in opera. However, he turned out to be a charismatic conductor with a painstaking work ethic, and his performances were enthusiastically received. The following season, a change in management brought a clash of personalities and Mahler happily accepted the New York Philharmonic’s invitation to become its Music Director in 1909. His tenure coincided with a major reorganization of the orchestra from a musician-run cooperative to a corporate structure with more financial stability. Mahler more than doubled the number of concerts, toured outside the city for the first time, and laid the foundation for the leading American orchestra we know today.

Did you know? Mahler led the Philharmonic in a concert of new Italian music in February 1911 (with a fever of 104°), just three months before his death.

139

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BEETHOVEN 9

NEW YORK PHILHARMONIC JUL

28

FRIDAY JULY 28, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS UNDERWRITTEN BY: THE BETSY WIEGERS CHORAL FUND, IN HONOR OF JOHN W. GIOVANDO

TOWN OF VAIL NIGHT PRESENTED BY: JULIE AND TIM DALTON ANN AND ALAN MINTZ CATHY AND HOWARD STONE DHUANNE AND DOUG TANSILL

SPECIAL GRATITUDE TO: The Francis Family The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation, in honor of the Vail Police

SPONSORED BY: Penny and Bill George Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein

SOLOIST SPONSORS: Vocalists sponsored by Joyce and Paul Krasnow

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JUL

28

FRIDAY JULY 28, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

BEETHOVEN 9

NEW YORK PHILHARMONIC

Piano Concerto No. 2 in B-flat major, Op. 19 (ca. 1778–1801)

Alan Gilbert, conductor Inon Barnatan, piano (New York Philharmonic Artist-in-Association) Susanna Phillips, soprano Jennifer Johnson Cano, mezzo-soprano Joseph Kaiser, tenor Morris Robinson, bass Colorado Symphony Chorus, Duain Wolfe, director

LUDWIG VAN BEETHOVEN (1770-1827)

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

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

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I

n November 1792, the 22-year-old Ludwig van Beethoven, full of talent and promise, arrived in Vienna from his native Bonn.

The occasion of his first Viennese public appearance was a concert on March 29, 1795 at the Burgtheater whose proceeds were to benefit the Widows’ Fund of the Artists’ Society. Beethoven chose for the occasion the Piano Concerto No. 2 in B-flat major he had been working on for several months and completed just in time for the performance. It proved to be a fine success, and did much to further his dual reputation as performer and composer.

A traditional device—one greatly favored by Mozart—is used to open the Concerto: a forceful fanfare motive immediately balanced by a suave lyrical phrase. These two melodic fragments are spun out at length to produce the orchestral introduction. The piano joins in for a brief transition to the re-presentation of the principal thematic motives. The sweet second theme is sung by the orchestra alone, but the soloist quickly resumes playing to supply commentary on this new melody. The development is based largely on transformations of the principal theme. The recapitulation proceeds apace and includes an extended cadenza. The touching Adagio is less an exercise in rigorous, abstract form than a lengthy song of rich texture and operatic sentiment. The finale is a rondo based on a bounding theme announced by the soloist.

Symphony No. 9 in D minor, Op. 125, “Choral” (1822-1824) LUDWIG VAN BEETHOVEN

Friedrich Schiller published his poem An die Freude (“Ode to Joy”) in 1785 as a tribute to his friend Christian Gottfried Körner. By 1790, when he was twenty, Beethoven knew the poem, and as early as 1793 he considered making a musical setting of it. Schiller’s poem appeared in his notes in 1798, but the earliest musical ideas for its setting are found among the sketches for the Seventh and Eighth Symphonies, composed simultaneously in 1811-1812. Though those sketches are unrelated to the finished Ode to Joy theme—that went through more than 200 revisions (!) before Beethoven was satisfied with it—they do show the composer’s continuing interest in the text and the gestating idea of setting it for chorus and orchestra.

The first evidence of the musical material that was to figure in

the finished Ninth Symphony appeared in 1815, when a sketch for the Scherzo emerged among Beethoven’s notes. He took up his draft again in 1817, and by the following year much of the Scherzo was sketched. It was also in 1818 that he considered including a choral movement, but as the slow movement rather than as the finale. With much still unsettled, Beethoven was forced to lay aside this vague symphonic scheme in 1818 because of ill health, the distressing court battle to secure custody of his nephew, and composition of the monumental Missa Solemnis. He was not able to resume work on the piece until the end of 1822. The 1822 sketches show considerable progress on the Symphony’s first movement, little on the Scherzo, and some tentative ideas for a choral finale based on Schiller’s poem. Most of the remainder of the opening movement was sketched during the early months of 1823. The Scherzo was finished in short score by August, eight years after Beethoven first conceived its thematic material, and the third movement was sketched by October. With the first three CONTINUED ON PAGE 200

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GOLD ( $20,000+ ) Jayne and Paul Becker Amy and Steve Coyer Stephanie and Lawrence Flinn, Jr. Georgia and Don Gogel Mr. Claudio X. Gonzalez Judy and Alan Kosloff Donna and Patrick Martin Barbie and Tony Mayer Ann and Alan Mintz Kay and Bill Morton

Sarah Nash and Michael Sylvester June and Paul Rossetti Didi and Oscar Schafer Marcy and Gerry Spector Cathy and Howard Stone Dhuanne and Doug Tansill

SILVER ( $15,000+ ) Jeri and Charlie Campisi Terri and Tom Grojean Martha Head Carolyn and Gene Mercy Margaret and Alex Palmer Terie and Gary Roubos Lisa Tannebaum and Don Brownstein

BRONZE ( $10,000+ ) Pamela and David Anderson Jean and Harry Burn Lucy and Ron Davis Susan and John Dobbs Penny and Bill George Melinda and Tom Hassen June and Peter Kalkus Allison and Russell Molina Carole and Peter Segal Sue and Marty Solomon Barbara and Carter Strauss

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

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

INSIDE STORY

SIX FACTS ABOUT BEETHOVEN’S NINTH 1. By the time his Ninth Symphony premiered, Beethoven was completely deaf. He had fallen a few measures behind the orchestra, so he continued to conduct even after the piece was over. One of the singers turned him around so he could accept the rousing applause.

(The theater’s kappelmeister had instructed the singers and musicians to ignore Beethoven’s conducting.)

2. It was one of the first symphonic works to incorporate vocals.

3. Friedrich von Schiller, author of the poem Ode to Joy, regarded it as a failure in spite of its lasting popularity.

4. The Ode to Joy was adopted as the European National Anthem in 1972, and is the official anthem of the European Union.

5. The 80-minute standard capacity on a compact disc was designed to hold a complete performance of Beethoven’s Ninth Symphony, which runs approximately 70 minutes.

6. In 2001, Beethoven’s manuscript became the first musical score to be added to the United Nations Memory of the World Programme Heritage list.

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JUL

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SATURDAY JULY 29, 8:30PM BRAVO! VAIL AFTER DARK

CRAZY MOUNTAIN BREWING COMPANY

DANISH STRING QUARTET

Rune Tonsgaard Sørensen, violin Frederik Øland, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello

Selections from the Danish String Quartet’s recording, Wood Works, to be announced from the stage.

The running time of this concert is approximately one hour.

FREE

AFTER DARK WITH THE DANISH QUARTET

T

he members of the Danish String Quartet first met when they were kids at a summer camp for enthusiastic amateur musicians. As the youngest campers, they became close friends, meeting up during the year to play chamber music and just have fun. Now in their early 30s, the Danish Quartet—actually three Danes and a Norwegian— have developed a gorgeous sound, extraordinary balance, and refreshing clarity, and still maintain their youthful enthusiasm for music and a distinctive joy in performance. In the liner notes of their 2016 recording Wood Works, the Danish String Quartet wrote, “Folk music is the music of all the small places. It is the local music, but as such it is also the music of everywhere and everyone…. In Wood Works, we borrowed and arranged a selection of Scandinavian tunes that are all very close to our hearts. We perform them as a string quartet, which is a pure construct: four simple instruments made of wood. But in all its simplicity, the string quartet is capable of expressing a myriad of colors, nuances and emotions—just like folk music. Our idea is to marry these two simple but powerful things: folk music and string quartet. Does it work? We hope so. And remember: we simply borrowed these tunes. They have already been returned.”

Amy and Charlie Allen The Paiko Foundation, in honor of the Vail Police Carole A. Watters

DANISH STRING QUARTET 144 Learn more at BravoVail.org

© CAROLINE BITTENCOURT

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

JUL

30

SUNDAY JULY 30, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

BALK RESIDENCE, BEAVER CREEK

THE LINDA AND MITCH HART SOIRÉE SERIES

THE DANISH QUARTET PERFORMS HAYDN & BEETHOVEN

T

he six works of Op. 20, composed in 1772 by JOSEPH HAYDN (1732-1809), are known as the “Sun” Quartets because the cover of their first published edition was emblazoned with a drawing of the rising sun. The sobriquet was just as appropriate for musical reasons, since these were really the earliest quartets in which Haydn’s full genius in the form dawned. The Op. 20 Quartets are remarkable for the manner in which all four of the instruments participate fully in the musical conversation, a distinct stylistic advance over the Rococo divertimento, in which the violins largely played their pretty tunes above the discrete background of the lower strings. Haydn’s new musical democracy is confirmed by the contrapuntal nature of all the movements, especially the finales, four of which use fugal procedures. The year of the completion of the six Op. 18 Quartets—1800—was an important time in the development of LUDWIG VAN BEETHOVEN (1770-1827). He had achieved success after moving to Vienna eight years earlier, but at that same time the first signs of his fateful deafness appeared. The Op. 18 Quartets stand on the brink of that great crisis in his life.

DANISH STRING QUARTET

Rune Tonsgaard Sørensen, violin Frederik Øland, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello

HAYDN String Quartet in C major, Op. 20, No. 2 (22 minutes) Moderato Adagio — Menuetto: Allegretto Fuga a 4 Soggetti: Allegro

BEETHOVEN String Quartet No. 2 in G major, Op. 18, No. 2 (23 minutes) Allegro Adagio cantabile — Allegro — Tempo I Scherzo: Allegro Allegro molto quasi Presto

CATERED BY VAIL CATERING CONCEPTS, EXECUTIVE CHEF, ERIC BERG

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE FROM: THIS EVENING’S HOSTS © CAROLINE BITTENCOURT

Marcy and Michael Balk

SPECIAL GRATITUDE TO Beaver Creek Resort Company Linda and Mitch Hart The Paiko Foundation, in honor of the Vail Police

SPONSORED BY Sweet Pea Designs Vail Catering Concepts West Vail Liquor Mart

DANISH STRING QUARTET 145

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

JUL

31

MONDAY JULY 31, 6:00PM FREE CONCERT SERIES

BRUSH CREEK PAVILION

DANISH STRING QUARTET FREE

BARTÓK & WOOD WORKS

T

© CAROLINE BITTENCOURT

hough BÉLA BARTÓK (1881-1945) wrote his String Quartet No. 1 in 1907-1908, when he was 26 and just beginning to establish his professional life as a composer, performer, and teacher, it is among his first works to exhibit the stylistic gestures that were to place him among the great composers of the modern era. In the liner notes of their 2016 recording Wood Works, the Danish String Quartet wrote, “Folk music is the music of all the small places. It is the local music, but as such it is also the music of everywhere and everyone…. In Wood Works, we borrowed and arranged a selection of Scandinavian tunes that are all very close to our hearts. We perform them as a string quartet, which is a pure construct: four simple instruments made of wood. But in all its simplicity, the string quartet is capable of expressing a myriad of colors, nuances and emotions — just like folk music. Our idea is to marry these two simple but powerful things: folk music and string quartet. Does it work? We hope so. And remember: we simply borrowed these tunes. They have already been returned.”

Rune Tonsgaard Sørensen, violin Frederik Øland, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello

BARTÓK String Quartet No. 1, Op. 7 (32 minutes) Lento — Allegretto Introduzione (Allegro) — Allegro vivace Selections from the Danish String Quartet’s recording, Wood Works, to be announced from the stage.

The running time of this concert is approximately one hour.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Costco Town of Eagle Eagle County Eagle Ranch Association The Paiko Foundation, in honor of the Vail Police Carole A. Watters

DANISH STRING QUARTET 147

AUG

01

TUESDAY AUGUST 1, 7:30PM C L A S S I C A L LY U N CO R K E D PRESENTED BY ARIE T TA WINE

DONOVAN PAVILION

CALDER QUARTET

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

Anne-Marie McDermott, piano

HILLBORG Kongsgaard Variations for String Quartet (16 minutes)

BEETHOVEN Piano Sonata No. 32 in C minor, Op. 111 (28 minutes) Maestoso — Allegro con brio ed appassionato Arietta: Adagio molto semplice e cantabile

— INTERMISSION — BEETHOVEN String Quartet No. 9 in C major, Op. 59, No. 3, “Razumovsky” (33 minutes) Andante con moto — Allegro vivace Andante con moto quasi Allegretto Menuetto: Grazioso — Allegro molto This evening’s wine provided by

ONE QUARTET: A TOAST TO BEETHOVEN

A

ward-winning Swedish composer ANDERS HILLBORG (b. 1954) wrote the Kongsgaard Variations in 2006 for John and Maggy Kongsgaard, winemakers and cofounders of the Arietta winery in Napa Valley. Hillborg wrote, “The label on a bottle of Arietta wine displays a couple of bars from the Arietta theme from Beethoven’s Op. 111 Piano Sonata in his own handwriting, so that theme naturally had a key role in the piece. But whereas Beethoven’s movement is a set of rigorously carried out variations, the Kongsgaard Variations are more like meditations.” The C minor Piano Sonata (1821-1822) by LUDWIG VAN BEETHOVEN (1770-1827) is not only the product of the obsession of his last years with motivic development, fugue, variation and the very essence of musical form, but also embodies the potent emotional-philosophical progression of darkness-tolight, struggle-to-transcendence, minor-to-major that makes the Fifth and Ninth Symphonies such powerful utterances. Beethoven’s Op. 59, No. 3 String Quartet was commissioned by the Russian Count Andreas Kyrillovitch Razumovsky, who married Elizabeth, Countess of Thun and sister of Prince Lichnowsky, and, like his wife and brother-in-law, became one of the composer’s most devoted patrons.

This evening’s hors d’oeuvres provided by

Amy and Charlie Allen Arietta Wine The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artist Director Chair The Paiko Foundation, in honor of the Vail Police Red Canyon Catering Town of Vail

148 Learn more at BravoVail.org

CALDER STRING QUARTET

© AUTUMN DE WILDE

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

AUG

02

WEDNESDAY AUGUST 2, 7:30PM C L A S S I C A L LY U N CO R K E D PRESENTED BY ARIE T TA WINE

DONOVAN PAVILION

TWO QUARTETS: GLASS & SCHUBERT

P

HILIP GLASS (b. 1937) extracted the Quartet No. 3 from his score for Mishima: A Life in Four Chapters, the 1985 movie about Yukio Mishima, one of Japan’s most prominent 20th-century authors, poets, playwrights, actors and film directors. American composer, educator, author, pianist and conductor VINCENT PERSICHETTI (19151987) wrote his Quartet No. 2 in 1944 and arranged for its premiere by the Roth String Quartet on August 16, 1945. Just as they were beginning to rehearse the piece ten days before the performance, Persichetti recalled, “Someone came in breathlessly with the news of an atom bomb dropped on Japan.

The quartet lit fresh cigarettes and went on with the rehearsal.”

Something of the country’s anxious/somber/hopeful mood during those last days of World War II filtered into the Second Quartet. The Quartettsatz marks the beginning of the creative maturity of FRANZ SCHUBERT (1797-1828). The Moments Musicaux by the Hungarian composer GYÖRGY KURTÁG (b. 1926) are rich in musical and personal reference. Schubert’s “Death and the Maiden” Quartet takes its sobriquet from the theme of its second movement, a song he composed in 1817. The text contrasts the terror of a young girl (“Pass by, horrible skeleton!”) with the mock-soothing words of death (“You shall sleep softly in my arms!”).

AEOLUS QUARTET

Nicholas Tavani, violin Rachel Shapiro, violin Gregory Luce, viola Alan Richardson, cello

CALDER QUARTET See previous page for personnel

GLASS String Quartet No. 3, “Mishima” (16 minutes) 1957: Award Montage November 25: Ichigaya 1934: Grandmother and Kimitake 1962: Body Building Blood Oath Mishima/Closing

PERSICHETTI String Quartet No. 2, Op. 24 (17 minutes) Slow Moderately fast Slow — Fast

SCHUBERT Quartettsatz in C minor, D. 703 (9 minutes)

— INTERMISSION — KURTÁG Six Moments Musicaux, Op. 44 (15 minutes) Invocatio (un fragment) Footfalls — … mintha valaki jönne Capriccio In memoriam György Sebők Zimmermann Les Adieux (in Janačék’s Manier)

SCHUBERT String Quartet No. 14 in D minor, “Death

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and the Maiden,” D. 810 (40 minutes) Allegro Andante con moto Scherzo: Allegro molto Presto

This evening’s wine provided by

This evening’s hors d’oeuvres provided by

149

AUG

03

THURSDAY AUGUST 3, 7:30PM C L A S S I C A L LY U N CO R K E D PRESENTED BY ARIE T TA WINE

DONOVAN PAVILION

AEOLUS QUARTET See previous page for personnel

CALDER QUARTET See page 148 for personnel

LYRIS QUARTET

Alyssa Park, violin Shalini Vijayan, violin Luke Maurer, viola Timothy Loo, cello

Anne-Marie McDermott, piano Rachel Calin, double bass

BRAHMS Three Intermezzos for Piano, Op. 117 (15 minutes) No. 1 in E-flat major No. 2 in B-flat minor No. 3 in C-sharp minor

LUDWIG Pangaea for Piano and Strings (18 minutes) World Premiere NEW WORKS PROJECT

Panthalassa Pangaea

— INTERMISSION — GLASS String Quartet No. 5 (21 minutes)

THREE QUARTETS: GLASS & REICH

J

OHANNES BRAHMS (1833-1897) described the Op. 117 Intermezzos (1892) as “three lullabies to my sorrows,” and associated their somber mood with a poem by Johann Gottfried Herder: Sleep softly my child, sleep softly and well! It fills me with regret to see you cry. DAVID LUDWIG (b.

1972) was commissioned by Bravo! Vail to compose Pangaea for Piano and Strings (2017) for Artistic Director Anne-Marie McDermott in honor of the festival’s 30th Anniversary Season.

Ludwig wrote, “‘Pangaea’ was the single huge continent on earth surrounded by one vast ocean over two hundred million years ago — eons before dinosaurs, much less humans…. Writing the piece brought me to thinking about the end of this world. Global climate change and warming started a chain of events that would lead to the disappearance of nearly all life on earth in a relative eye-blink of geological time — and it is happening right now.”

PHILIP GLASS (b. 1937) wrote his String Quartet No. 5 (1991) for the pioneering Kronos Quartet, for whom he has composed three other of his seven such works. STEVE REICH (b. 1936) wrote of his Triple Quartet (1999), “The initial inspiration for the piece came from the energetic finale of Bartók’s Fourth Quartet. I was also struck by the virtuosity and moved by the incredible Mesto of the Second Quartet by [Russian composer] Alfred Schnittke, as well as the conflicting rhythmic values of Michael Gordon’s Yo Shakespeare.”

I. II. III. IV. V.

REICH Triple Quartet for Three String Quartets (15 minutes) Quarter note = 144 Quarter note = 72 Quarter note = 144

This evening’s wine provided by

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

This evening’s hors d’oeuvres provided by

150 Learn more at BravoVail.org

Amy and Charlie Allen Arietta Wine The Francis Family The Sidney E. Frank Foundation The New Works Fund The Paiko Foundation, in honor of the Vail Police Red Canyon Catering Town of Vail

AUG

04

W

inners of the prestigious 2014 Avery Fisher Career Grant, the Calder Quartet fearlessly straddles musical genres, including the time-honored string quartet repertoire of Mozart, Beethoven, and Bartók, pivotal modern composers such as Terry Riley, Christopher Rouse and Thomas Adès, and indie rock bands like The Airborne Toxic Event, Vampire Weekend and party rocker Andrew WK. They’ve performed everywhere from the Tonight Show (with both Jay Leno and Conan O’Brien, though not at the same time) to the Kennedy Center, with stops along the way from the Cloisters to Coachella. They’re widely known for the discovery, commissioning, recording and mentoring of some of today’s best emerging composers (over thirty commissioned or premiered works to date). Inspired by innovative American artist Alexander Calder, the Quartet brings a kinetic immediacy to all their performances, delivering artfully crafted musical experiences that draw rave reviews. The New Yorker’s Alex Ross called them “formidable.” The Boston Globe cited their “passionate engagement... pinpoint control and near-flawless execution.”

And according to the New York Times, “the time-honored string quartet format still provides fertile ground for innovation and surprise in the hands of imaginative, skillful creators.”

BRAVO! VAIL AFTER DARK

VAIL BREWING COMPANY

FREE

AFTER DARK WITH THE CALDER QUARTET

FRIDAY AUGUST 4, 8:30PM

CALDER QUARTET

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

Program to be announced from the stage

© AUTUMN DE WILDE

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Amy and Charlie Allen Carole A. Watters

CALDER STRING QUARTET 151

Vail Interfaith Chapel

Bringing

Spiritual Harmony to the Vail Valley since 1969

��nai �ail Con�re�a�on

��isco�al Church of the �rans��ura�on

St. Patrick Catholic Church

Covenant Presbyterian

Mount of the Holy Cross Lutheran

Mountain Community Church

Rabbi Joel Newman 970‐477‐2992 www.bnaivail.org

Pastor Tim Wilbanks 970‐477‐0383 www.covenantvail.org

Fr. Brooks Keith 970‐476‐0618 www.episcopalvail.com

Pastor �co� Beebe 970‐476‐6610 www.mountholy.com

Fr. Jose Maria Quera 970‐926‐2821 www.saintpatrickminturn.com

Pastor Ma� Wya� info@mcc‐vail.com www.mcc‐vail.com

Vail Interfaith Chapel  19 Vail Road  Vail, Colorado 81657 www.vailchapel.com  970‐476‐3347

ACADEMY OF ST MARTIN IN THE FIELDS Joshua Bell Music Director

VIOLIN I

VIOLIN II

Joshua Bell Harvey de Souza Kate Stillman Amanda Smith Fiona Brett Jeremy Morris Helen Paterson Rebecca Scott

Martin Burgess Jennifer Godson Mark Butler Alicja Smetana Richard Milone Raja Halder

VIOLA Robert Smissen Fiona Bonds Martin Humbey Rebecca Jones

CELLO

CLARINET

TRUMPET

Stephen Orton Martin Loveday Will Schofield Judith Herbert

Fiona Cross Tom Lessels

Mark David William O’Sullivan

BASSOON

TIMPANI Adrian Bending

DOUBLE BASS

Robin O’Neill Gavin McNaughton

David Stark Cathy Elliott

HORN

FLUTE Michael Cox Sarah Newbold

OBOE John Roberts Rachel Ingleton

Timothy Brown Timothy Caister Stephen Stirling Jo Hensel Richard King

HARPSICHORD John Constable The Academy of St Martin in the Fields’ Bravo! Vail Residency is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields.

153

An Education

that cannot be found anywhere else in the world.

WWW.VMS.EDU INFO@VMS.EDU 970–477–7184

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

Principal Guest Conductor (Vacant) Dolores G. & Lawrence S. Barzune, M.D. Chair

Jeff Tyzik Principal Pops Conductor Dot & Paul Mason Principal Pops Conductor’s Podium

Ruth Reinhardt Assistant Conductor

Joshua Habermann Chorus Director Jean D. Wilson Chorus Director Chair

VIOLA

CLARINET

PERCUSSION

Ellen Rose Principal

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

Gregory Raden Principal

Mr. & Mrs. C. Thomas May, Jr. Chair Paul Garner Associate Principal + E-flat clarinet Stephen Ahearn Christopher Runk + Bass Clarinet

Douglas Howard Principal

Margie & William H. Seay Chair Ronald Snider Assistant Principal Daniel Florio

CELLO Christopher Adkins Principal

Fannie & Stephen S. Kahn Chair Theodore Harvey Associate Principal Jolyon Pegis Associate Principal Jeffrey Hood Michael Coren Jennifer Humphreys Kari Kettering John Myers Nan Zhang

BASS VIOLIN I

VIOLIN II

Alexander Kerr Concertmaster

Michael L. Rosenberg Chair Nathan Olson Co-Concertmaster

Fanchon & Howard Hallam Chair Gary Levinson Sr. Principal Associate Concertmaster Emmanuelle Boisvert Associate Concertmaster

Robert E. & Jean Ann Titus Family Chair Eunice Keem Associate Concertmaster Diane Kitzman Principal Filip Fenrych Maria Schleuning Susan Ager-Breitbarth Lucas Aleman Miika Gregg Mary Reynolds Andrew Schast Motoi Takeda Associate Concertmaster Emeritus Daphne Volle Bruce Wittrig

Angela Fuller Heyde Principal

Barbara K. & Seymour R. Thum Chair Alexandra Adkins Associate Principal Sho-mei Pelletier Associate Principal Bing Wang Bruce Patti* Mariana Cottier-Bucco Lilit Danielyan* Heidi Itashiki Andrzej Kapica Shu Lee Nora Scheller Aleksandr Snytkin* Lydia Umlauf Kaori Yoshida* *Performs in both Violin I and Violin II sections

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

FLUTE Vacant Principal

Joy & Ronald Mankoff Chair Deborah Baron Associate Principal + Piccolo Kara Kirkendoll Welch

OBOE Erin Hannigan Principal

Nancy P. & John G. Penson Chair Willa Henigman Associate Principal Brent Ross David Matthews + English Horn

BASSOON Ted Soluri Principal

Irene H. Wadel & Robert I. Atha, Jr. Chair Scott Walzel Associate Principal Peter Grenier + Contrabassoon

HORN David Cooper Principal

Howard E. Rachofsky Chair David Heyde Associate Principal

Linda VanSickle Chair Haley Hoops Yousef Assi Kevin Haseltine Alexander Kienle Assistant Principal/Utility

TRUMPET Ryan Anthony Principal

Diane & Hal Brierley Chair L. Russell Campbell Associate Principal Kevin Finamore Thomas Booth Assistant Principal

TROMBONE Barry Hearn Principal Chris Oliver Associate Principal Darren McHenry + Bass Trombone

TUBA

HARP Emily Levin Principal

Elsa von Seggern Principal Harp Chair

ORGAN Vacant Resident Organist

Lay Family Chair

STAFF KEYBOARD

DSO League, Junior Group & Innovators Chair Steven Harlos Pops Gabriel Sanchez Classical

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

ARTISTIC ADVISOR Paul Phillips Artistic Advisor to the Music Director

PERSONNEL MANAGEMENT Scott Walzel Dir. of Orchestra Personnel + Engagement

STAGE Shannon Gonzalez Stage Manager Marc Dunkelberg Assistant Stage Manager Franklin Horvath Lighting Technician

Matthew Good Principal

Dot & Paul Mason Chair

TIMPANI Brian Jones Principal

Dr. Eugene & Charlotte Bonelli Chair Douglas Howard Assistant Principal 155

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A nonprofit, independent hospital since 1965.

( 9 7 0 ) 47 6 - 2 4 5 1

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V V M C .C O M

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

THE PHILADELPHIA ORCHESTRA

Che-Hung Chen Rachel Ku Marvin Moon Meng Wang

CELLOS

Yannick Nézet-Séguin Music Director Walter and Leonore Annenberg Chair

Stéphane Denève Principal Guest Conductor

Cristian Măcelaru Conductor-in-Residence

Kensho Watanabe Assistant Conductor

Charles Dutoit Conductor Laureate

FIRST VIOLINS

SECOND VIOLINS

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 Barbara Govatos Robert E. Mortensen Chair Jonathan Beiler Hirono Oka Richard Amoroso

Robert and Lynne Pollack Chair Yayoi Numazawa Jason DePue*

Larry A. Grika Chair Jennifer Haas Miyo Curnow* Elina Kalendarova Daniel Han William Polk 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 Dmitri Levin Boris Balter Amy Oshiro-Morales Mei Ching Huang

VIOLAS 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

Hai-Ye Ni, Principal Priscilla Lee, Associate Principal Yumi Kendall, Assistant Principal

Wendy and Derek Pew Foundation Chair Richard Harlow Gloria dePasquale

Orton P. and Noël S. Jackson Chair Kathryn Picht Read Robert Cafaro

Volunteer Committees Chair Ohad Bar-David John Koen Derek Barnes

Mollie and Frank Slattery Chair Alex Veltman

BASSES Harold Robinson, Principal

Carole and Emilio Gravagno Chair Michael Shahan, Associate Principal Joseph Conyers, Assistant Principal John Hood David Fay Duane Rosengard Robert Kesselman Some members of the string sections voluntarily rotate seating on a periodic basis.

FLUTES Jeffrey Khaner, Principal

Paul and Barbara Henkels Chair David Cramer, Associate Principal

Rachelle and Ronald Kaiserman Chair Loren N. Lind

OBOES

TROMBONES

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

Nitzan Haroz, Principal

Neubauer Family Foundation Chair Matthew Vaughn, Co-Principal Eric Carlson Blair Bollinger, Bass Trombone

Drs. Bong and Mi Wha Lee Chair

CLARINETS

TUBA

Ricardo Morales, Principal

Leslie Miller and Richard Worley Chair Samuel Caviezel, Associate Principal

Sarah and Frank Coulson Chair Socrates Villegas Paul R. Demers, Bass Clarinet

Peter M. Joseph and Susan Rittenhouse Joseph Chair

Carol Jantsch, Principal

Lyn and George M. Ross Chair

BASSOONS Daniel Matsukawa, Principal

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

TIMPANI Don S. Liuzzi, Principal

Dwight V. Dowley Chair Angela Zator Nelson, Associate Principal

PERCUSSION Christopher Deviney, Principal Anthony Orlando, Associate Principal

Ann R. and Harold A. Sorgenti Chair Angela Zator Nelson

PIANO AND CELESTA Kiyoko Takeuti

HORNS

KEYBOARDS

Jennifer Montone, Principal

Gray Charitable Trust Chair Jeffrey Lang, Associate Principal Daniel Williams Jeffry Kirschen Denise Tryon* Shelley Showers Angela Cordell Bilger, Acting Fourth Horn

Davyd Booth

TRUMPETS

STAGE PERSONNEL

David Bilger, Principal

Marguerite and Gerry Lenfest Chair Jeffrey Curnow, Associate Principal

Gary and Ruthanne Schlarbaum Chair Anthony Prisk Robert W. Earley

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

HARP Elizabeth Hainen, Principal

Patricia and John Imbesi Chair

LIBRARIANS Robert M. Grossman, Principal Steven K. Glanzmann

*On leave

157

FOOD & WINE

LOCAL CHEF LOCAL CHEF OWNED & OPERATED

OWNED & OPERATED

SINCE SINCE1998 1998 WHAT WHATTO TOWEAR WEAR

CASUAL CASUALOR ORDRESSY? DRESSY?

IT'S IT'SUP UPTO TOYOU YOU

OPEN OPENEVERYDAY EVERYDAY

11:30AM 11:30AM9:30PM 9:30PM

LUNCH LUNCH| HAPPY | HAPPYHOUR HOUR| |DINNER DINNER

GROUPS GROUPS

SMALL&&LARGE LARGE SMALL

LOVETHE THEEXPERIENCE EXPERIENCE LOVE

AWARDWINNING WINNING AWARD VAILDINING DININGSCENE SCENE VAIL OPENTABLE TABLEDINERS’ DINERS’CHOICE CHOICE OPEN TRIPADVISOR ADVISORCERTIFICATE CERTIFICATEOF OFEXCELLENCE EXCELLENCE TRIP

SUNDAYBRUNCH BRUNCH SUNDAY BOTTOMLESSMIMOSAS MIMOSAS &&BOTTOMLESS 10AM3PM 3PM 10AM

970.476.4403 970.476.4403 122E.E.MEADOW MEADOWDRIVE, DRIVE,VAIL VAILCO CO 122 LATOURVAIL.COM LATOURVAIL.COM

NEW YORK PHILHARMONIC ALAN GILBERT Music Director

BASSES

Joshua Gersen Assistant Conductor

Leonard Bernstein Laureate Conductor, 1943–1990

Kurt Masur Music Director Emeritus, 1991–2016

Esa-Pekka Salonen, The Marie-Josée Kravis Composer-in-Residence

Leonidas Kavakos, The Mary and James G. Wallach Artist-in-Residence

VIOLINS

Frank Huang Concertmaster The Charles E. Culpeper Chair Sheryl Staples Principal Associate Concertmaster The Elizabeth G. Beinecke Chair Michelle Kim Assistant Concertmaster The William Petschek Family Chair Quan Ge Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair Lisa GiHae Kim Kuan Cheng Lu Kerry McDermott 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 Qianqian Li++ Principal Lisa Kim* In Memory of Laura Mitchell Soohyun Kwon The Joan and Joel I. Picket Chair Duoming Ba Hannah Choi Marilyn Dubow The Sue and Eugene Mercy, Jr. Chair Hyunju Lee Joo Young Oh Daniel Reed+ Marié Rossano

Elizabeth Dyson The Mr. and Mrs. James E. Buckman Chair Alexei Yupanqui Gonzales Maria Kitsopoulos The Secular Society Chair Sumire Kudo Qiang Tu Nathan Vickery Ru-Pei Yeh The Credit Suisse Chair in honor of Paul Calello Wolfram Koessel++

Mark Schmoockler+ Na Sun+ The Gary W. Parr Chair Vladimir Tsypin Jin Suk Yu Jessica Fellows++ Brian Fox++ Ji Min Lee++ Suzanne Ornstein++ Sarah Pratt++ David Southorn++ Alisa Wyrick++ Jungsun Yoo++

VIOLAS

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

CELLOS

Carter Brey Principal The Fan Fox and Leslie R. Samuels Chair Eileen Moon* The Paul and Diane Guenther Chair Eric Bartlett Patrick Jee

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

FLUTES

Robert Langevin Principal The Lila Acheson Wallace Chair Yoobin Son Mindy Kaufman The Edward and Priscilla Pilcher Chair Blair Francis++ Xue Su++

PICCOLO

Mindy Kaufman

OBOES

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

ENGLISH HORN Grace Shryock++

CLARINETS

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

E-FLAT CLARINET

Pascual Martínez Forteza

BASS CLARINET Amy Zoloto

SAXOPHONES Daniel Goble++ Lino Gomez++ Steven Kenyon++

BASSOONS

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

HORNS

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

TRUMPETS

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

TROMBONES

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

BASS TROMBONE

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

TUBAS

Alan Baer Principal Morris Kainuma++

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 Chris Riggs++ Sean Ritenauer++ James Saporito++

HARP

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

GUITAR

Patrick Mercuri++

MANDOLIN / BANJO Scott Kuney++

KEYBOARD

In Memory of Paul Jacobs

HARPSICHORD Paolo Bordignon

PIANO

Eric Huebner

The Anna-Maria and Stephen Kellen Piano Chair

LIBRARIANS

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

ORCHESTRA PERSONNEL

Carl R. Schiebler (1937–2016) Orchestra Personnel Manager Valerie Petrov Assistant Orchestra Personnel Manager

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 Stanley Drucker Zubin Mehta

NEW YORK PHILHARMONIC Oscar S. Schafer, Chairman Bill Thomas, Executive Director

Miki Takebe, Vice President, Operations Jennifer Luzzo, Communications Assistant Aileen MacDonald, Orchestra Personnel Assistant Patrick O’Reilly, Operations Assistant Brendan Timins, Director, Touring and Operations Galiya Valerio, Assistant to the Music Director Pamela Walsh, Artistic Administrator Robert W. Pierpont, Stage Crew Robert Sepulveda, Stage Crew Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.

Programs of the New York Philharmonic 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.

159

Academy of St Martin in the Fields Chamber Ensemble was created in 1967 to perform

©NATHAN RUSSELL

larger chamber works with players who customarily worked together. Drawn from the principal players of the orchestra and normally play-directed by Academy Director/Leader Tomo Keller, the Chamber Ensemble performs in all shapes and sizes, from string quintets to octets, and in various other configurations featuring winds. Its touring commitments are extensive and include regular tours of Europe and North America. Its recording contracts with Philips Classics, Hyperion, and Chandos have led to the release of over thirty CDs.

Aeolus Quartet (string quartet), violinists Nicholas Tavani and Rachel Shapiro, violist Gregory Luce, and cellist Alan Richardson, formed in 2008 at the Cleveland Institute of Music. A prizewinning ensemble, it has held graduate residencies at The Juilliard School and Stanford University, and has been recognized with an Educator Award from the Fischoff Chamber Music Association for innovation in educational outreach. It is currently developing an app-based program for music education in schools. Aeolus returns this summer for concerts in the Classically Uncorked series, following its successes last summer in Bravo! Vail events in Eagle, Edwards, Vail, and Wolcott.

©MARCO BORGGREVE

Inon Barnatan (piano) was born in Tel Aviv in 1979, and moved to the United States in 2006.

His 2016-17 season concluded a three-year residency as the inaugural Artist-in-Association with the New York Philharmonic, a position designed to cultivate a deeper relationship between artist, orchestra, and audience. With the Academy of St Martin in the Fields, he recently recorded the complete Beethoven piano concertos, the first such cycle undertaken by the Academy. Last heard in Vail in 2012, Barnatan played Bach with the Dallas Symphony, conducted by the Music Director Designate of the New York Philharmonic, Jaap van Zweden.

©LISA-MARIE MAZZUCCO

Joshua Bell (violin), born in Bloomington, IN, came to national attention at 14 when he debuted with Riccardo Muti and The Philadelphia Orchestra. Now almost 50, he is known and celebrated worldwide. His credits include over forty award-winning recordings; an Oscar-winning film score; dozens of television shows, including The Tonight Show and Sesame Street, and a now famous incognito appearance in a D.C. Metro Station, which was the subject of a Pulitzer Prizewinning feature in the Washington Post. This summer he returns in one of his favorite roles — as the only other person to hold the post of Music Director of The Academy of St Martin in the Fields, after its founder Sir Neville Marriner.

Miche Braden (vocalist) was dubbed “Billy Joel’s Piano Woman” by Fox 5 News for her performance of “New York State of Mind” in Movin’ Out on Broadway. She grew up with jazz, motown, funk, and more in the musical hotbed of Detroit, where she was the lead singer in the women’s jazz band, Straight Ahead. Having worked with jazz greats Milt Hinton, Lionel Hampton, Regina Carter, and James Carter, she today enjoys a varied career as an actor/arranger/director/ singer/songwriter. Her work can be heard on Diva Out of Bounds. This is her debut at Bravo! Vail.

©GREENBERG ARTISTS

Robert Breithaupt (drums) is a veteran of over forty years in music as a performer, educator,

160 Learn more at BravoVail.org

arts administrator, author, musical contractor, and entrepreneur. Professor of Music at Capital University, he is on the board of the Jazz Education Network, and Past-President of the Percussive Arts Society. In addition to orchestras and ensembles throughout the United States and abroad, he has collaborated with dozens of top jazz artists, including Byron Stripling and Broadway star Sandy Duncan. Breithaupt is also the drummer for the Columbus Jazz Orchestra.

©COLUMBIA ARTISTS MANAGEMENT

J’Nai Bridges (mezzo-soprano), a native of Lakewood, WA, focused full-time on voice instead of pursuing track and basketball professionally. Since completing Chicago Lyric Opera’s young artist residency in 2015, she has been in international demand for opera and oratorio in major metropolitan venues, including Carnegie Hall, the Los Angeles Opera, and the NDR Symphony in Hamburg, where she recently sang the Gershwin she performs in this Bravo! Vail and New York Philharmonic debut. Additionally, Ms. Bridges was recently nominated for the 2017 International Opera Awards in the Young Singer Category.

©DARIO ACOSTA

Yefim Bronfman (piano) is one of the preeminent artists of our time. Born in Tashkent, now Uzbekistan, he emigrated at age 14 in 1973 to train with pianist Arie Vardi, who required him to play only from memory. A year later he traveled to the United States on a scholarship from the America-Israel Cultural Foundation, drawing the attention of Isaac Stern, with whom he returned to Russia in 1991 for a series of recitals. Since coming to Bravo! Vail in 2012, the Grammy-Award winner has led his own Perspective Series at Carnegie Hall, and premiered concertos by Esa Pekka Salonen and Jorg Widmann.

©AUTUMN DE WILDE

Calder Quartet (string quartet) made its Bravo! Vail debut in 2011, and has subsequently performed here multiple times playing its signature, category-defying repertoire, which envelops core classical, modern, pop, indie, rock, and experimental composition. Together the violinists Benjamin Jacobson and Andrew Bulbrook, violist Jonathan Moerschel, and cellist Eric Byers have commissioned over 25 works. They have recorded for TV and film, and appeared not only in major concert venues around the world, but also on late night TV with hosts David Letterman, Jay Leno, Conan O’Brien, and Craig Ferguson.

©KURT MUROKI

Rachel Calin (double bass), a graduate of The Juilliard School, can be heard playing chamber music on the Canary Classics, Sony Masterworks, and Naxos recording labels. She has performed frequently with the St. Paul Chamber Orchestra, the New York Philharmonic, at the Aspen Music Festival, and the Mostly Mozart Festival. Currently on the faculty of the Perlman Music Program and the Cincinnati Conservatory of Music, Calin performs on a double bass crafted by Carlo Giuseppe Testore in 1690.

©JESSICA GRIFFIN

Choong-Jin Chang (viola), a native of Seoul, Korea, joined The Philadelphia Orchestra as Associate Principal Viola in November 1994, and in 2006 was appointed Principal. As winner of Korea’s Yook Young National Competition in 1980, he made his debut with the Seoul Philharmonic at age twelve. A year later he moved to the United States to attend The Juilliard School, followed by studies in Philadelphia at the Esther Boyer College of Music at Temple University, and finally at the Curtis Institute of Music. Mr. Chang teaches both viola and violin.

Jenny Chen (piano), at 22, is the youngest Doctor of Musical Arts candidate and teaching assistant at the Eastman School of Music. Born in Taipei, Taiwan, she was accepted to the Curtis Institute of Music at age ten. She studied there with Eleanor Sokoloff and Gary Graffman, before going on to complete a master’s degree at the Yale School of Music. Since her debut (Philadelphia Orchestra, 2008), she has maintained a busy concert schedule, which this summer includes her appointment by Artistic Director Anne-Marie McDermott as one of two 2017 Bravo!

Vail Piano Fellows.

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©CAROL FRIEDMAN

Colorado Symphony Chorus (Duain Wolfe, founder-director) was formed in 1984, and has won two Grammy Awards under Wolfe, who also serves as director of the Chicago Symphony Orchestra Chorus. The ensemble of 180 volunteers has grown into a nationally respected chorus that joins the Colorado Symphony for numerous performances, as well as radio and television broadcasts. In 2009, in celebration of the 25th anniversary of the chorus, Mr. Wolfe led the Verdi Requiem on a concert tour of Europe, to which it returned in 2016.

©MARK KAITAOKA

David Cooper (horn) is a third-generation professional French horn player, preceded by his uncle and grandmother. He won the Principal Horn position with the Dallas Symphony in 2013, having performed as guest principal with many orchestras, including the London Symphony Orchestra, Hong Kong Philharmonic, and Saint Paul Chamber Orchestra. An active chamber musician, David summered at the Marlboro Music Festival in Vermont, and performed here with 2015 Bravo! Vail piano fellow, Fei-Fei Dong. His Vail recital this June with Artistic Director Anne-Marie McDermott celebrates his new appointment as Principal Horn of the Berlin Philharmonic.

©CAROLINE BITTENCOURT

Danish String Quartet (Rune Tonsgaard Sørensen and Frederik Øland, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello) began its formation in the Danish countryside at a camp where amateur musicians could also enjoy football. It formed as a serious ensemble at The Royal Academy of Music, and since 2008, when Norwegian cellist Fredrik joined, it has received prizes and prestigious appointments every year. Included are Denmark’s biggest cultural honor, the Carl Nielsen Prize in 2011, and membership in the Chamber Music Society of Lincoln Center Two program in 2013-14. This summer marks the Quartet’s Bravo! Vail debut.

©GENEVIEVE CARON

Stéphane Denève (conductor) has recently extended his contract as Principal Guest Conductor of The Philadelphia Orchestra through the 2019-20 season. He is also chief conductor of the Brussels Philharmonic and director of its Centre for Future Orchestral Repertoire. He has served in the past as chief conductor of the Stuttgart Radio Symphony Orchestra and music director of the Royal Scottish National Orchestra. Known to Vail audiences since 2011, Denève has championed the music of John Williams, and this summer repeats his collaboration with pianist Haochen Zhang in the Vail premiere of Rachmaninoff’s Fourth Piano Concerto.

©LISA-MARIE MAZZUCCO

©BENJAMIN EALOVEGA

James Ehnes (violin), was born in 1976 in Brandon, Manitoba, Canada. This season he

162 Learn more at BravoVail.org

undertook a cross-Canada tour in celebration of his 40th birthday, performing the complete Bach Sonatas and Partitas. He has performed in over 35 countries on five continents, is the founder of the Ehnes String Quartet, and directs the Seattle Chamber Music Festival. Recordings in his growing discography have received a Grammy, a Gramophone Award, and eleven JUNO Awards.

Ehnes last appeared at Bravo! Vail in 2015 performing the Vail premiere of John Williams’ Violin Concerto with Stéphane Denève and the Philadelphia Orchestra.

Emerson String Quartet is celebrating its 40th anniversary having amassed an unprecedented list of achievements: more than thirty acclaimed recordings, nine Grammys (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, Musical America’s “Ensemble of the Year,” and collaborations with many of the greatest artists of our time. Violinists Philip Setzer and Eugene Drucker, violist Lawrence Dutton and cellist Paul Watkin, who joined the group in 2013, mark the group’s Bravo! Vail debut this summer. Universal Music Group has reissued their entire Deutsche Grammophon discography in a 52-CD boxed set.

©DEANNA KENNETT

Ensemble Connect is a program for the finest young musicians in the country. Run by Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education, the program seeks individuals who are not only committed to musical excellence, but also to education. Artistic Director Anne-Marie McDermott invited five current Fellows — Adelya Nartadjieva, violin; Maren Rothfritz, viola; Madeline Fayette, cello; and Yoonah Kim, clarinet; and one graduate, Michelle Ross, violin – to come to Vail as Chamber Musicians in Residence to play a wide variety of music, and engage with Bravo! Vail audiences of all ages.

©DAVID FINLAYSON

Alan Gilbert (conductor), Music Director of the New York Philharmonic, introduced the positions of Composer-in-Residence, Artist-in-Residence, and Artist-in-Association; CONTACT!, the new-music series; the NY PHIL BIENNIAL; and the New York Philharmonic Global Academy.

He concludes his tenure with four world premieres, Manhattan live to film, a European tour, and Alan Gilbert Season Finale: A Concert for Unity. These performances at Bravo! Vail are among his final appearances as Philharmonic Music Director. He is conductor laureate of the Royal Stockholm Philharmonic Orchestra and Juilliard’s Director of Conducting and Orchestral Studies.

He also served as principal guest conductor of Hamburg’s NDR Symphony Orchestra.

©MARK KITAOKA

Erin Hannigan (oboe) joined the Dallas Symphony Orchestra as Principal Oboe in 2001. She was a member of the Rochester Philharmonic from 1994 to 2001, and has appeared as guest principal oboist with the Chicago Symphony Orchestra, Saint Paul Chamber Orchestra, the Atlanta Symphony, and the Los Angeles Philharmonic. In June 2008 her first solo CD, From Hafiz to Firewing (and Beyond), was released on the Crystal Records label. Hannigan is adjunct Associate Professor of Oboe at Southern Methodist University and teaches at the Festival Institute at Round Top, TX, in the summer.

©MARK KITAOKA

Theodore Harvey (cello) joined the Dallas Symphony in September 2008 and was appointed Associate Principal Cello in 2015. He has performed throughout North America, South America, and Europe, and as a soloist with the New World Youth Symphony Orchestra, the New World Symphony, the Camerata Orchestra, and the Indianapolis Symphony Orchestra. Born in Flint, Michigan, Harvey grew up in Indianapolis, IN, and studied at Indiana University and The Juilliard School. Prior to Dallas, he was a Fellow of the New World Symphony and assistant principal cellist of the Charlotte Symphony.

©KEVIN DAVIS

Steven Isserlis (cello) enjoys a distinguished international career as a soloist, chamber musician, educator, author, curator, and broadcaster. His myriad passions include contemporary music; authentic performance practices and instruments; newly discovered works; musical stories for children; and projects such as a special recital with Sir Andras Schiff at the Beethovenhaus in Bonn, where he played Beethoven’s own cello. He has toured extensively with the Academy of St Martin in the Fields and Joshua Bell, with whom he recently recorded the Brahms and Schumann works heard on these, his Bravo! Vail debut, concerts.

©FAY FOX

Jennifer Johnson Cano (mezzo-soprano), a native of St. Louis, MO, appeared last summer with the New York Philharmonic in Falla’s Three Cornered Hat. In addition to this summer’s performance of Beethoven Nine, she is singing songs with her husband, pianist Christopher Cano, in a special donor event. She is the winner of both a Richard Tucker Career Grant and the George London Award, and made her Metropolitan Opera debut in 2009 after winning the Met’s National Council Auditions and the Young Concert Artist International Auditions.

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©DARIO ACOSTA

Joseph Kaiser (tenor) is a Canadian operatic tenor, making his Bravo! Vail debut in Beethoven’s Ninth Symphony, which he performed with the New York Philharmonic in May. He enjoys success in opera, oratorio, and concert appearances throughout North America and Europe, and has worked with leading stage directors including Robert Carsen, Christof Loy, David McVicar, Peter Sellars, and Stephen Wadsworth. He regularly appears with the Berlin Philharmonic and the Boston, Montreal, Berlin Radio, and Vienna Radio symphony orchestras. Concert highlights include Schumann’s Das Paradies und die Peri with Simon Rattle and The Philadelphia Orchestra.

©MARCO BORGGREVE

Leonidas Kavakos (violin) was named the New York Philharmonic’s Mary and James G. Wallach Artist-in-Residence in 2016/17. His residency featured three concertos, including a world premiere; his Philharmonic conducting debut; a recital with pianist Yuja Wang; and a Young People’s Concert. By the time he was twenty-one in 1988, he had already won three major competitions: the Sibelius (1985); the Paganini (1988); and the Naumburg (1988), which led to his making the first recording in history of the original Sibelius Violin Concerto. The record won the 1991 Gramophone Concerto of the Year Award.

©OTTO VAN DEN TOORN

Simone Lamsma (violin) has performed in the U.S. with the Chicago Symphony, Cleveland Orchestra, and more than once with the Dallas Symphony Orchestra, under Jaap van Zweden, who conducts this Vail debut. In great demand across Europe, she recently recorded Shostakovich’s Violin Concerto No. 1 and Gubaidulina’s In tempus praesens with the Netherlands Radio Philharmonic under James Gaffigan and Reinbert de Leeuw on Challenge Records. Simone plays the “Mlynarski” Stradivarius (1718), on generous loan to her by an anonymous benefactor.

Ted Louis Levy (tap dancer/vocalist) made his Broadway debut in the hit, Black & Blue, and is regarded as one of America’s premier tap dance artists. He collaborated with George C. Wolfe and Gregory Hines on the choreography of Jelly’s Last Jam, for which he received a Tony Nomination, Drama Desk Nomination, and the 1993 Outer Critics Circle Award. Levy received an Emmy Award for his television debut in the PBS Special Precious Memories, and appeared in Spike Lee’s Malcolm X. His last appearance at Bravo! Vail was in Jeff Tyzik’s first Cotton Club show in 2011.

Lyris Quartet (string quartet), a champion of new music, is the founding ensemble of the Hear Now Music Festival, which focuses on composers living in Los Angeles, where the ensemble is based. As part of Hear Now, the members — violinists Alyssa Park and Shalini Vijayan; violist Luke Maurer, and cellist Timothy Loov — have collaborated with and premiered works by Stephen Hartke, Don Davis, Arturo Cardélus, Veronika Krausas, and others. Its most recent recording, Intimate Letters, pairs the Janáček work with companion pieces by four living composers.

Anne-Marie McDermott (piano), Bravo! Vail’s Artistic Director since 2011, enjoys a career playing and planning an incredible variety of music. Whether it’s the Gershwin Concerto in F (July 26); the premiere of a commissioned work (David Ludwig, August 3); an eclectic program for four pianists (July 21); a recording of Mozart with cadenzas by Chris Rogerson (due Fall 2017), or all five Beethoven piano concertos (Santa Fe Pro Musica in 2017 and 2018), “Annie” brings passion and commitment to everything. She is an artist member of the Chamber Music Society of Lincoln Center, and is continually adding to her critically acclaimed discography.

164 Learn more at BravoVail.org

Anton Nel (piano) won first prize in the 1987 Naumburg International Piano Competition. His multifaceted career has taken him to North and South America, Europe, Asia, and South Africa, where he was born and has toured extensively. He heads the Division of Keyboard Studies at the University of Texas at Austin and, in addition to concertizing and recording, teaches master classes at places such as the Manhattan School of Music in New York, and the Glenn Gould School in Toronto.

©CHRIS LEE

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

©CHAN SVANDERWOERD

Yannick Nézet-Séguin (conductor) is confirmed to lead The Philadelphia Orchestra through the 2025-26 season, an extraordinary commitment. Additionally, he becomes music director of the Metropolitan Opera in 2021. He is an inspired leader of The Philadelphia Orchestra, and his intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. He is also music director of the Rotterdam Philharmonic and artistic director/principal conductor of the Orchestre Métropolitain. Each year he appears with the world’s most revered ensembles and at many of the leading opera houses.

©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 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, and has collaborated with the Cleveland, Emerson, Takács, and Tokyo string quartets, among other ensembles.

©MARK KITAOKA

Nathan Olson (violin), a native of Berkeley, CA, holds the position of Co-Concertmaster with the Dallas Symphony Orchestra. He has appeared as guest concertmaster with the symphony orchestras of Pittsburgh and Toronto, and as principal second violin with the St. Paul Chamber Orchestra. An enthusiastic chamber musician, Nathan is a member of the Baumer String Quartet, and won the Silver Medal at the Fischoff Competition. While completing his music degrees at the Cleveland Institute of Music, Nathan earned minors in both mathematics and music theory.

©KEN HOWARD

Susanna Phillips (soprano), born in Alabama, received the 2010 Beverly Sills Artist Award from the Metropolitan Opera, where she has sung for nine consecutive seasons. She starred as Clémence in Kaija Saariaho’s L’amour de Loin conducted by Susanna Mälkki and broadcast on the Met’s Live in HD, and revived her acclaimed Musetta in Puccini’s La Bohème. She recently made her Zurich Opera debut as Donna Anna in Don Giovanni, and also appeared as Cleopatra in Handel’s Giulio Cesare with Boston Baroque and Martin Pearlman. This Beethoven Ninth marks her debut with the New York Philharmonic.

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© LISA CUSCUNA

Patricia Racette (mezzo-soprano), a native of New Hampshire, earned her Bachelor of Music from North Texas State University before joining The Merola Opera Program and receiving the Adler Fellowship at San Francisco Opera. Her honors include the Richard Tucker Award, the Marian Anderson Award, the Merola Distinguished Alumni Award, and the Opera News Award in 2010. She makes her Bravo! Vail debut this summer performing her celebrated cabaret show, Diva on Detour, fresh on the heels of a triple run in the title role of Salome for the Metropolitan Opera, Los Angeles Opera, and Pittsburgh Opera.

©RON CADIZ

Morris Robinson (bass) graduated from The Citadel, and received his musical training from the Boston University Opera Institute. An Atlanta native, he made debuts this season at Teatro alla Scala in Porgy and Bess, and at the New York Philharmonic in Das Rheingold, both conducted by Alan Gilbert. His first album, Going Home, was released on the Decca label. On DVD he can be seen as Joe in San Francisco Opera’s Show Boat, as well as the Metropolitan Opera’s Salome and the Aix-en-Provence Festival’s Zaide by Mozart. He makes his Bravo! Vail debut his summer.

©LUKE RATRAY

Gil Shaham (violin) is one of the foremost violinists of our time. The Grammy Award-winner, also named Musical America’s “Instrumentalist of the Year,” is sought after throughout the world by leading orchestras and conductors, concert venues and festivals. He was born in ChampaignUrbana, IL, in 1971, and seven years later moved to Israel, where he began violin studies at the Rubin Academy of Music. He made his debut with the Israel Philharmonic in 1981, and one year later became a scholarship student at Juilliard. He was last heard at Bravo! Vail in 2013.

©MARK KITAOKA

Ted Soluri (bassoon) became Principal Bassoon of the Dallas Symphony Orchestra in 2015, occupying the Irene H. Wadel & Robert I. Atha, Jr. Chair. He previously held the same position with the Milwaukee Symphony Orchestra for eleven years, and with the Santa Fe Opera for nine.

Soluri has performed with the Cleveland Orchestra, the Grant Park Music Festival Orchestra, the Columbus Symphony Orchestra and the Alabama Symphony Orchestra. He received his Bachelor of Music from Florida State University and his Master of Music from the Cleveland Institute of Music.

©GREENBERG ARTISTS

Byron Stripling (trumpet/vocalist) is the Artistic Director of the Columbus Jazz Orchestra and leader of his own quartet. He was lead trumpeter and soloist with the Count Basie Orchestra, and also played and recorded with such bands as Dizzy Gillespie, Dave Brubeck, and Lionel Hampton, in addition to the Lincoln Center Jazz Orchestra and the Carnegie Hall Jazz Band. He starred in the lead role of the Broadway musical, Satchmo, and was a featured soloist on the PBS television special, Evening at the Pops, with the Boston Pops and Keith Lockhart.

©DEVON CASS

Craig Terry (piano) enjoys an international career as a highly sought after musical collaborator.

166 Learn more at BravoVail.org

A native of Tullahoma, Tennessee, he is Assistant Conductor at Lyric Opera of Chicago, having previously served as Assistant Conductor at the Metropolitan Opera, where he was a member of the Lindemann Young Artist Development Program. The list of vocalists with whom he has performed includes Sir Thomas Allen, Stephanie Blythe, Christine Brewer, Nicole Cabell, Sasha Cooke, Eric Cutler, Joseph Kaiser, Kate Lindsey, Danielle De Niese, Susanna Phillips, Patricia Racette, Catherine Wyn-Rogers, Hugh Russell, Garrett Sorenson, and Amber Wagner.

©GREENBERG ARTIST MANAGEMENT

©TYLER BOYE

Bramwell Tovey (conductor) is the Grammy and Juno award-winning Music Director of the Vancouver Symphony Orchestra (VSO), and Artistic Adviser of the VSO School of Music. He was also founding host and conductor of the New York Philharmonic’s Summertime Classics series.

Mr. 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.

Jeff Tyzik, (conductor/composer/arranger), now in his 23rd year as Principal Pops Conductor of the Rochester Philharmonic Orchestra, also serves in that role for the symphonies of Dallas, Detroit, Oregon, and The Florida Orchestra. At Bravo! Vail he has conducted jazz, classical, motown, Broadway, film, dance, latin, and swing, in addition to the annual sold-out Fourth of July celebration. Tyzik has produced and composed theme music for major television networks and released six of his own albums. He produced the Grammy Award-winning, The Tonight Show Band, with Doc Severinsen, Vol. 1.

©MARCO BORGGREVE

Jaap Van Zweden (conductor) has risen rapidly to become one of today’s most sought-after conductors. Van Zweden has been Music Director of the Dallas Symphony Orchestra since 2008 and Music Director of the Hong Kong Philharmonic Orchestra since 2012. In January 2016, the New York Philharmonic appointed him as their Music Director starting with the 2018-19 season.

Van Zweden has appeared as guest conductor with the world’s most prestigious orchestras including the Chicago Symphony, Cleveland Orchestra, Berlin Philharmonic, Vienna Philharmonic and the Royal Concertgebouw Orchestra.

©PETE CHECCHIA

Chelsea Wang (piano), a native of West Des Moines, IA , started learning piano at the age of four and violin at age seven. She is currently pursuing her Bachelor of Music degree at the Curtis Institute of Music in Philadelphia, PA, studying with Ignat Solzhenitsyn. At Curtis she holds a fulltuition scholarship as a recipient of the William A. Horn M.D. Fellowship. She makes her Bravo!

Vail debut this summer as one of two Piano Fellows, chosen by Artistic Director Anne-Marie McDermott. Ms. Wang has captured first prizes at many competitions, and was a recipient of the 2012 Schubert Club Scholarship.

©BENJAMIN EALOVEGA

Haochen Zhang (piano) won the gold medal win at the Thirteenth Van Cliburn International Piano Competition in 2009, and has since been heard by audiences throughout the United States, Europe, and Asia. He played Rachmaninoff’s rarely performed Fourth Piano Concerto with Stéphane Denève and the Philadelphia Orchestra as part of a Rachmaninoff Festival this past season, and makes his Bravo! Vail debut with this performance.

©CHLOE NING

Zorá Quartet (string quartet) combines the talents of Dechopol Kowintaweewat and Seula Lee, violins; Pablo Muñoz Salido, viola; and Zizai Ning, cello. Currently the Graduate Quartet in Residence at the Curtis Institute of Music, the ensemble won First Prize in the 2015 Young Concert Artists International Auditions. As a result of winning the Fischoff Competition, also in 2015, the Quartet toured the Midwest and appeared at the 2016 Emilia Romagna Festival in Italy. This summer it makes its debut as Bravo! Vail’s 2017 Chamber Musicians in Residence.

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This summer Vail Jazz will present

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VAIL JAZZ CLUB SERIES VAIL JAZZ @ VAIL SQUARE VAIL JAZZ @ THE MARKET VAIL JAZZ GALA VAIL JAZZ PARTY VAIL JAZZ @ RIVERWALK new!

VAIL JAZZ @ THE REMEDY

168 Learn more at BravoVail.org

Music sounds better when you know more.

Listen, study, enjoy—with CPR Classical.

“Music Forward” Saturdays at 7 p.m. on CPR Classical Explore music of the past century through musician interviews and discussion of Colorado’s contemporary performances.

…at the Vail festival, it isn’t the high altitude that’s most dizzying.

It’s the high level of dance.”

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WAYS TO GIVE GIFTS TO THE ENDOWMENT Create a legacy that lasts in perpetuity when you contribute to Bravo!

Vail’s Endowment.

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

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

ORCHESTRA UNDERWRITING The world’s top orchestras come to Vail each summer.

Designate your gift to support your favorite.

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

THE NEW WORKS FUND The New Works Fund serves two purposes: to underwrite future premieres of new music and to present music that may be unfamiliar to Vail audiences.

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

174 Learn more at BravoVail.org

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

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

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

DONATE YOUR VEHICLE Donating your vehicle is a great way to make your gift go further!

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

ADVERTISE The Bravo! Vail Program Book is an excellent way to get your message out to the community of music lovers.

THE GOLDEN CIRCLE

T

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

GRAND BENEFACTOR ($100,000 and above) ANB Bank and The Sturm Family* The Francis Family***** Linda and Mitch Hart Billie and Ross McKnight The Paiko Foundation, in honor of the Vail Police Town of Vail****** PREMIER BENEFACTOR ($50,000 and above) Marijke and Lodewijk de Vink*** Sidney E. Frank Foundation* Donna and Patrick Martin* Betsy Wiegers Choral Fund, in Honor of John W. Giovando***** PLATINUM ($30,000 and above) Amy and Charlie Allen Arietta Wine Diredre and Ronnie Baker** Angela and Peter Dal Pezzo* Julie and Tim Dalton** Lyn Goldstein**** Jeanne and Jim Gustafson** Vera and John Hathaway* Cynnie and Peter Kellogg Judy and Alan Kosloff**** Honey M. Kurtz*** Kay Lawrence*** Vicki and Kent Logan*** Leni and Peter May**** Amy and James Regan**** Cathy and Howard Stone**** Carol and Pat Welsh*** IMPRESARIO ($25,000 and above) Arlene and John Dayton*** Stephanie and Lawrence Flinn, Jr.**** Peggy Fossett* Pat and Pete Frechette*** Karen and Michael Herman** Lyda Hill*** Carolyn and Gene Mercy**** Mary Lynn and Warren Staley**

Dhuanne and Doug Tansill*** Sandra and Greg Walton* Barb and Dick Wenninger* VIRTUOSO ($20,000 and above) Jayne and Paul Becker***** Barbara and Barry Beracha* Bravo! Vail Guild****** Amy and Steve Coyer** Kathy and David Ferguson Georgia and Don Gogel* Mr. Claudio X. Gonzalez*** LIV Sotheby’s International Realty* Barbie and Tony Mayer**** Shirley and William S. McIntyre, IV*** Ann and Alan Mintz*** Allison and Russell Molina* Kay and Bill Morton**** Sarah Nash and Michael Sylvester*** June and Paul Rossetti* Didi and Oscar Schafer*** Marcy and Gerry Spector** Betsy Wiegers, in memory of Tony Perry OVATION ($15,000 and above) Anonymous Letitia and Christopher Aitken* Alpine Bank*** Marilyn Augur*** Sandy and John Black Doe Browning** Gina Browning and Joe Illick Virginia J. Browning, in honor of Doe Browning Susan and Van Cambpell*** Jeri and Charlie Campisi**** Debbie and Jim Donahugh* Sandi and Leo Dunn** Penny and Bill George**** Holly and Ben Gill*** Terri and Tom Grojean**** Anne and Hank Gutman* Martha Head**** Irmgard and Charles Lipcon Mr. John McDonald and Mr. Rob Wright**** National Endowment for the Arts** Patti and Blaine Nelson Lisa and John Ourisman Margaret and Alex Palmer* Molly and Jay Precourt**

Each * denotes five years of consecutive donations.

Martha Dugan Rehm and Cherryl Hobart*** Susan and Rich Rogel**** Sally and Byron Rose** Terie and Gary Roubos*** Marcy and Stephen Sands* Carole and Peter Segal** Mary Sue and Mike Shannon* Sue and Marty Solomon** C.P. “Chuck” and Margery Pabst Steinmetz**** Lisa Tannebaum and Don Brownstein* Town of Gypsum*** U.S. Bank*** U.S. Bank Foundation* Volvo Carole A. Watters** ALLEGRO ($10,000 and above) Anonymous (2) ** Pamela and David Anderson** Penny Bank and Family, Herbert Bank and Family*** Kelly and Sam Bronfman, II* Jean and Harry Burn* Jeffrey Byrne and Sheldon Andrew Colorado Creative Industries** Lucy and Ron Davis Susan and John Dobbs*** Julie and Bill Esrey**** Susan and Harry Frampton**** Nancy Gage and Allan Finney Melinda and Tom Hassen Ann and David Hicks Alexia and Jerry Jurschak June and Peter Kalkus**** Jan and Lee Leaman* Nancy and Richard Lubin*** Rose and Howard Marcus**** Marlys and Ralph Palumbo Teri Perry, in memory of Tony Perry**** Carolyn and Steve Pope*** Wendy and Paul Raether Mr. and Mrs. Ernest Scheller, Jr.*** Slifer Smith & Frampton Foundation*** Soros Fund Charitable Foundation Matching Gifts Program Stolzer Family Foundation**** Barbara and Carter Strauss Bea Taplin** 175

ORCHESTRAL UNDERWRITING Orchestral underwriting is designated to a specific orchestra and applied directly towards residency expenses.

Bravo! Vail expresses deep gratitude to the friends of each of its orchestras.

THE ACADEMY OF ST MARTIN IN THE FIELDS CIRCLE GRAND BENEFACTOR ($100,000 and above) The Paiko Foundation, in honor of the Vail Police

ALLEGRO ($10,000 and above) Jeffrey Byrne and Sheldon Andrew The Sidney E. Frank Foundation* Cathy and Howard Stone****

PREMIER BENEFACTOR ($50,000 and above) Town of Vail******

BENEFACTOR ($5,000 and above) Arlene and John Dayton*** The Francis Family***** Ann and William Lieff**

PLATINUM ($30,000 and above) Marijke and Lodewijk de Vink***

PATRON ($3,000 and above) Mr. and Mrs. Lawrence H. Kyte***

CONTRIBUTOR ($1,200 and above) Amy and Steve Coyer** C.P. “Chuck” and Margery Pabst Steinmetz**** Debbie and Fred Tresca* Leewood and Tom Woodell FRIEND ($600 and above) Penny and Bill George**** DONOR ($300 and above) Alberta and Reese Johnson Helena and Peter Leslie*** Beth and Rod Slifer Marcos M. Suarez

THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ($30,000 and above) Linda and Mitch Hart Shirley and William S. McIntyre, IV*** Billie and Ross McKnight IMPRESARIO ($25,000 and above) Lyda Hill*** VIRTUOSO ($20,000 and above) ANB Bank and The Sturm Family* OVATION ($15,000 and above) Marilyn Augur*** Patti and Blaine Nelson Marcy and Stephen Sands* C.P. “Chuck” and Margery Pabst Steinmetz**** Carole A. Watters** ALLEGRO ($10,000 and above) Arlene and John Dayton*** Alexia and Jerry Jurschak SOLOIST ($7,000 and above) Carol and Ronnie Goldman** 176 Learn more at BravoVail.org

Bobbi and Richard Massman**

Leewood and Tom Woodell

BENEFACTOR ($5,000 and above) Peggy and Gary Edwards** Cindy Engles* Sallie and Robert Fawcett**** Rebecca and Ron Gafford* Carol and Jeff Heller* Brenda and Joe McHugh*** Mr. and Mrs. Al Meitz* Allison and Russell Molina* Jane Parker Debbie and Ric Scripps* Dr. and Mrs. Bill Weaver*

CONTRIBUTOR ($1,200 and above) Clara Willoughby Cargile**** Amy Faulconer** Karen and Steve Livingston*** Carolyn and Tom Wittenbraker*

PATRON ($3,000 and above) Edwina P. Carrington** Mary Clare Finney Fanchon and Howard Hallam, in honor of Shirley and William McIntyre, IV Randi and Ed Halsell* Yon Jorden Jere Thompson*** Gena and Bob Wilhelm

DONOR ($300 and above) Shelley and Guion Gregg Gerry and Don Houk Jan and Bob Pickens

FRIEND ($600 and above) Penny and Bill George**** Carol and John MacLean**** Patty and Denny Pearce** Margot and Ross Perot Violet and Harry Wickes

MEMBER ($150 and above) Robert Hogue PRELUDE ($50 and above) Kathy and Jerrell Farr

THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ($50,000 and above) ANB Bank and The Sturm Family* Town of Vail****** PLATINUM ($30,000 and above) Donna and Patrick Martin* IMPRESARIO ($25,000 and above) Peggy Fossett* Karen and Michael Herman** VIRTUOSO ($20,000 and above) Betsy Wiegers, in memory of Tony Perry OVATION ($15,000 and above) Anne and Hank Gutman* Mr. John McDonald and Mr. Rob Wright**** Susan and Rich Rogel**** ALLEGRO ($10,000 and above) Anonymous** Arlene and John Dayton*** Teri Perry, in memory of Tony Perry**** Cathy and Howard Stone****

SOLOIST ($7,000 and above) Sue and Michael Callahan Sue and Dan Godec** Linda Farber Post and Dr. Kalmon D. Post** Alysa and Jonathan Rotella, NexGen Hyperbaric LLC Susan and Steven Suggs*

CONTRIBUTOR ($1,200 and above) Elia Buck Drs. Maryalice Cheney and Scott Goldman* Neal Colton, in honor of Barbara and Howard Rothenberg Cathy and Graham Hollis* Mr. and Mrs. Richard Scalpello*

BENEFACTOR ($5,000 and above) Christine and John Bakalar** Dokie* Laura and Jim Marx** Allison and Russell Molina* Mr. and Mrs. Ernest Scheller, Jr.*** Carole and Peter Segal** Dhuanne and Doug Tansill*** Sharon and Marc Watson***

FRIEND ($600 and above) Penny and Bill George**** Judy and John Stovall

PATRON ($3,000 and above) Shannon and Todger Anderson Dierdre and Ronnie Baker** Wendi and Brian Kushner** Michele and Jeffrey Resnick* Barbara and Howard Rothenberg**

DONOR ($300 and above) Anonymous Mary Jo Curan Bernice and John Davie* MEMBER ($150 and above) Eileen and Jack Hardy PRELUDE ($50 and above) Mary Alice Malone Jenene and Jim Stookesberry

THE FRIENDS OF THE NEW YORK PHILHARMONIC PLATINUM ($30,000 and above) ANB Bank and The Sturm Family* Julie and Tim Dalton** Marijke and Lodewijk de Vink*** Lyn Goldstein**** Jeanne and Jim Gustafson** Vera and John Hathaway* Cynnie and Peter Kellogg Honey M. Kurtz*** Kay Lawrence*** Vicki and Kent Logan*** Leni and Peter May**** Billie and Ross McKnight Amy and James Regan**** Town of Vail***** Carol and Pat Welsh*** GOLD ($20,000 and above) Jayne and Paul Becker*****

Amy and Steve Coyer** Stephanie and Lawrence Flinn, Jr.**** Georgia and Don Gogel* Mr. Claudio X. Gonzalez*** Judy and Alan Kosloff**** Donna and Patrick Martin* Barbie and Tony Mayer**** Ann and Alan Mintz*** Kay and Bill Morton**** Sarah Nash and Michael Sylvester*** June and Paul Rossetti* Didi and Oscar Schafer*** Marcy and Gerry Spector** Cathy and Howard Stone**** Dhuanne and Doug Tansill*** SILVER ($15,000 and above) Jeri and Charlie Campisi**** Terri and Tom Grojean****

Each * denotes five years of consecutive donations.

Martha Head**** Carolyn and Gene Mercy**** Margaret and Alex Palmer* Terie and Gary Roubos*** Lisa Tannebaum and Don Brownstein* BRONZE ($10,000 and above) Pamela and David Anderson** Jean and Harry Burn* Lucy and Ron Davis Susan and John Dobbs*** Penny and Bill George**** Melinda and Tom Hassen June and Peter Kalkus**** Allison and Russell Molina* Carole and Peter Segal** Sue and Marty Solomon** Barbara and Carter Strauss 177

FESTIVAL SUPPORT

T

he gifts listed below represent charitable donations to Bravo! from May 1, 2016 – May 1, 2017.

The Board of Trustees expresses its sincere thanks to each supporter for making it possible for Bravo! Vail to achieve its mission.

PERMANENT RESTRICTED FUNDS Best Friends of the Bravo! Vail Endowment The Francis Family The Lyn and Phillip Goldstein Maestro Society The Lyn and Phillip Goldstein Piano Concerto Artist Project The Paiko Foundation, in honor of the Vail Police The Betsy Wiegers Choral Fund, in Honor John W. Giovando GRAND BENEFACTOR ($100,000 and above) ANB Bank and The Sturm Family* The Francis Family***** Linda and Mitch Hart Billie and Ross McKnight The Paiko Foundation, in honor of the Vail Police Town of Vail****** PREMIER BENEFACTOR ($50,000 and above) Marijke and Lodewijk de Vink*** Sidney E. Frank Foundation* Donna and Patrick Martin* Betsy Wiegers Choral Fund, in Honor of John W. Giovando***** PLATINUM ($30,000 and above) Amy and Charlie Allen Arietta Wine Diredre and Ronnie Baker** Angela and Peter Dal Pezzo* Julie and Tim Dalton** Lyn Goldstein**** Jeanne and Jim Gustafson** Vera and John Hathaway* Cynnie and Peter Kellogg Judy and Alan Kosloff**** Honey M. Kurtz***

178 Learn more at BravoVail.org

Kay Lawrence*** Vicki and Kent Logan*** Leni and Peter May**** Amy and James Regan**** Cathy and Howard Stone**** Carol and Pat Welsh*** IMPRESARIO ($25,000 and above) Arlene and John Dayton*** Stephanie and Lawrence Flinn, Jr.**** Peggy Fossett* Pat and Pete Frechette*** Karen and Michael Herman** Lyda Hill*** Carolyn and Gene Mercy**** Mary Lynn and Warren Staley** Dhuanne and Doug Tansill*** Sandra and Greg Walton* Barb and Dick Wenninger* VIRTUOSO ($20,000 and above) Jayne and Paul Becker***** Barbara and Barry Beracha* Amy and Steve Coyer** Kathy and David Ferguson Georgia and Don Gogel* Mr. Claudio X. Gonzalez*** LIV Sotheby’s International Realty* Barbie and Tony Mayer**** Shirley and William S. McIntyre, IV*** Ann and Alan Mintz*** Allison and Russell Molina* Kay and Bill Morton**** Sarah Nash and Michael Sylvester*** June and Paul Rossetti* Didi and Oscar Schafer*** Marcy and Gerry Spector** Betsy Wiegers, in memory of Tony Perry OVATION ($15,000 and above) Anonymous Letitia and Christopher Aitken* Alpine Bank*** Marilyn Augur*** Sandy and John Black Doe Browning** Gina Browning and Joe Illick Virginia J. Browning, in honor of Doe Browning

Susan and Van Cambpell*** Jeri and Charlie Campisi**** Debbie and Jim Donahugh* Sandi and Leo Dunn** Penny and Bill George**** Holly and Ben Gill*** Terri and Tom Grojean**** Anne and Hank Gutman* Martha Head**** Irmgard and Charles Lipcon Mr. John McDonald and Mr. Rob Wright**** National Endowment for the Arts** Patti and Blaine Nelson Lisa and John Ourisman Margaret and Alex Palmer* Molly and Jay Precourt** Martha Dugan Rehm and Cherryl Hobart*** Susan and Rich Rogel**** Sally and Byron Rose** Terie and Gary Roubos*** Marcy and Stephen Sands* Carole and Peter Segal** Mary Sue and Mike Shannon* Sue and Marty Solomon** C.P. “Chuck” and Margery Pabst Steinmetz**** Lisa Tannebaum and Don Brownstein* Town of Gypsum*** U.S. Bank*** U.S. Bank Foundation* Volvo Carole A. Watters** ALLEGRO ($10,000 and above) Anonymous (2) ** Pamela and David Anderson** Penny Bank and Family, Herbert Bank and Family*** Kelly and Sam Bronfman, II* Jean and Harry Burn* Jeffrey Byrne and Sheldon Andrew Colorado Creative Industries** Lucy and Ron Davis Susan and John Dobbs*** Julie and Bill Esrey**** Susan and Harry Frampton**** Nancy Gage and Allan Finney

Melinda and Tom Hassen Ann and David Hicks Alexia and Jerry Jurschak June and Peter Kalkus**** Jan and Lee Leaman* Nancy and Richard Lubin*** Rose and Howard Marcus**** Marlys and Ralph Palumbo Teri Perry, in memory of Tony Perry**** Carolyn and Steve Pope*** Wendy and Paul Raether Mr. and Mrs. Ernest Scheller, Jr.*** Slifer Smith & Frampton Foundation*** Soros Fund Charitable Foundation Matching Gifts Program Stolzer Family Foundation**** Barbara and Carter Strauss Bea Taplin** SOLOIST ($7,000 and above) Marcy and Michael Balk* Bank of America Matching Gifts Sue and Michael Callahan Beaver Creek Resort Company* Norma and Charlie Carter**** Carol and Harry Cebron Liz and Tommy Farnsworth*** The Frigon Family* Sue and Dan Godec** Carol and Ronnie Goldman** Mrs. Jean Graham-Smith and Mr. Philip Smith**** The Gorsuch Family, Gorsuch Ltd.* Cindy and Guy Griffin Jane and Michael Griffinger**** Valerie and Robert Gwyn**** Karen and Jim Johnson* Elaine and Art Kelton***** Joyce and Paul Krasnow*** The Lion Bobbi and Richard Massman** Ferrell and Chi McClean* Marge and Phil Odeen* Mary Lou Paulsen and Randy Barnhart* Kathy and Roy Plum**** Linda Farber Post and Dr. Kalmon D. Post**

Alysa and Jonathan Rotella, NexGen Hyperbaric LLC Maria Santos* Sherry and Jim Smith Brooke and Hap Stein**** Susan and Steven Suggs* Debbie and Fred Tresca* BENEFACTOR ($5,000 and above) Anonymous Alpine Party Rentals Christine and John Bakalar** Barbara and Christopher Brody* Carolyn and Gary Cage**** Kay Chester*** Caryn Clayman** Nancy and Andy Cruce*** Dokie* Peggy and Gary Edwards** Gail and Jim Ellis Cindy Engles* Sallie and Robert Fawcett**** Laura and Bill Frick**** Helen and Bob Fritch***** Rebecca and Ron Gafford* Linda and John Galvin***** General Mills Foundation Sheika and Pepi Gramshammer**** Carol and Jeff Heller* Debbie and Patrick Horvath Kay and Michael Johnson JP Morgan* Daney and Lee Klingenstein**** Dr. and Mrs. Frederick Kushner* Ann and William Lieff** Diane and Lou Loosbrock Gail and Jay Mahoney**** Laura and Jim Marx** Meg and Peter Mason Anne-Marie McDermott and Michael Lubin Jean and Tom McDonnell** Brenda and Joe McHugh*** Mr. and Mrs. Al Meitz* Jullie and Gary Peterson Jane Parker Diane Pitt and Mitchell Karlin Janet Pyle and Paul Repetto Amy L. Roth, Ph.D. and Jack Van Valkenburgh*

Each * denotes five years of consecutive donations.

Debbie and Ric Scripps* Dorsey Seed Pat and Larry Stewart** Jennifer Teisinger and Chris Gripkey Nancy Traylor***** Martin Waldbaum*** Sharon and Marc Watson*** Michael Watters* Dr. and Mrs. Bill Weaver* Jane and Thomas Wilner Leewood and Tom Woodell PATRON ($3,000 and above) Shannon and Todger Anderson* Margo and Terence Boyle* Eleanor and Gus Bramante***** Edwina P. Carrington** COCO Concierge Dr. David Cohen Kathy Cole* Kathleen and Jack Eck*** Mary Clare Finney Mikki and Morris Futernick***** Francie and Michael Gundzik*** Fanchon and Howard Hallam, in honor of Shirley and William McIntyre, IV Randi and Ed Halsell* Lorraine and Harley Higbie**** Michelle and Jamie Horton Sherry and Rob Johnson***** Yon Jorden Lynn and Dr. Andrew Kaufman** Barbara and Tim Kelley Rosalind Kochman**** Wendi and Brian Kushner** Mr. and Mrs. Lawrence H. Kyte*** Janet and T. Scott Martin Carolyn and Rollie McGinnis* J. Frederick Merz, Jr.* Ellen Mitchell* Rosanne and Gary Oatey* Sally and Dick O’Loughlin** Priscilla O’Neil**** Mary Beth and Charlie O’Reilly* Nancy and Douglas Patton** Mimi and Keith Pockross**** Ronnie and William A. Potter**** Jackie and James Power**** Ann and Tom Rader 179

FESTIVAL SUPPORT Patti and Drew Rader** Rader Engineering** Michele and Jeffrey Resnick* Jane and Dan Roberts Barbara and Howard Rothenberg** Lisa and Ken Schanzer Suzanne and Bernard Scharf** Peggy and Tony Sciotto*** Debbie and Jim Shpall Beth and Rod Slifer Dr. and Mrs. Barry S. Strauch** Jere Thompson*** Tim Tyler*** Paula and Will Verity* Sally and Dennis von Waaden*** Wall Street Insurance, Inc.* Anne and Chris Wiedenmayer* Gena and Bob Wilhelm CONTRIBUTOR ($1,200 and above) Nancy Alexander and David Staat* Jan Andersen Robert Balas Sandy and Stephen Bell Sarah Benjes and Aaron Ciszek Sally Blackmun and Michael Elsberry Claudia and Marc Braunstein Barbara and Dolph Bridgewater** Sunny and Phil Brodsky** Jan Broman Linda and Joe Broughton* Elia Buck Alison and Kurt Burghardt**** Janie and Bill Burns Bette and Trent Campbell** Leslie Capin Clara Willoughby Cargile**** April and Art Carroll* Elizabeth G. Chambers and Ronald Mooney Toko and Bill Chapin** Drs. Maryalice Cheney and Scott Goldman* Neal Colton, in honor of Barbara and Howard Rothenberg Jean and Paul Corcoran Costco Jan and Philip Coulson*** Joanne Crosby Mr. and Mrs. David Cross* 180 Learn more at BravoVail.org

Martinna and Charlie Dill* Mary and Rodgers Dockstader** Irene and Jared Drescher*** Eagle County** Eagle Ranch Association** Holly and Buck Elliott**** Amy Faulconer** Carole and Peter Feistmann** Professor Meyer Feldberg Diane and Larry Feldman FirstBank*** Barbara and Paul Flowers*** Donald R. Fraser Margie and Tom Gart* Donna M. Giordano**** Dr. Gerald and Mrs. Lindy Gold** Joan and Joseph Goltzman* Anne and Donald Graubart***** Vivien and Andrew Greenberg Alison and Michael Greene** Ines and Enrique Grisoni Mr. and Mrs. Neal Groff**** Susan and Murray Haber Cathy and Graham Hollis* Nancy and Dr. John Horgan* Mrs. Polly Horger and Dr. Ed Horger* IBM Matching Grants Program* Kerma and John Karoly* Henny Kaufmann* Ellyn and Howard Kaye Elizabeth Keay*** Patricia and Peter Kitchak Bonnie and Larry Kivel*** Gloria and Joel Koenig** Jeremy L. Krieg of New York Life Insurance* Sue B. and Robert J. Latham* Helena and Peter Leslie*** JoAnn and Ed Levy Karen and Steve Livingston*** Janie and Bobby Lipnick Debbie and Ron McCord* Sarah and Peter Millett Joyce A. Mollerup and Robert H. Buckman**** Jeanne and Dale Mosier Hazel and Matthew Murray* Karen Nold and Robert Croteau* Joan Norris Joyce B. Pegg**

Pam and Ben Peternell* Carolyn and Bob Reintjes*** Nancy and Robert Rosen Susan and Alberto Sanchez* Jo Dean and Juris Sarins* Mr. and Mrs. Richard Scalpello* Carole Schragen**** Emely and Dennis Scioli Sidhu Family Phoebe Anne Smedley*** Kathy and David Stassen Anne and Joe Staufer*** Susan Stearns and Frank O’Loughlin* Susan and Jeffrey Stern* Lynn Streeter, Marie and Bud Wonsiewicz Linda and Stewart Turley*** Lois and John Van Deusen** Susan and Tom Washing*** Western Union Foundation Mindy and Greg White** Leslie and Mike Winn Winslow BMW of Colorado Springs Ellen and Bruce Winston** Carolyn and Tom Wittenbraker* Linda Wolcott Diane and Michael Ziering* FRIEND ($600 and above) Anonymous (3) *** Shelly and Arthur Adler* Mercedes and Alfonso Alvarez Constance and Robert Anderson Ellen Arnovitz* Sheryl and Eliot Barnett* Nancy Bedlington and Robert Elkins Nancy and Peter Berkley* Sandy and John Blue Shirley and Jeff Bowen** Loretta and David Brewer Ellie Caulkins Patsy and Pedro Cerisola***** Erin and Don Chappel Elizabeth G. Clark*** Francis Cloudman Donna and Ted Connolly* Lucinda and Andy Daly The Davies-Svensson Family* Alitza and Dwight Devon Doris Dewton and Richard Gretz*

Dr. Fred W. Distelhorst* Suzy and Jim Donohue*** Barbara and Lane Earnest* Jana Edwards and Rick Poppe Jenny and Wendell Erwin***** Faegre Baker Daniels Foundation Marisol and Frank Ferraiuoli Anna Filatov Marilyn Fleischer Michele Fletcher Craig J. Foley Diane and Tom Gates Arthur Geoffrion Dorris and Matthew Gobec Charles Greisch, III Patricia and Charles Hadley*** Simon Hamui Sally and Wil Hergenrader**** Becky Hernreich Jo and David Hill* Suzi Hill and Eric Noreen Helen Hodges Judith and Robert Hoehn Carol and Jack Holt* Marilyn and Matthew Horween Jayne and Jack Kendall Gail Klapper Maddy and Bob Kleinman Denisse and Jonathan Klip Margaret and Ed Krol Terry Ann and John Leopold** Roberta and David Levin Steven Lindseth Mary and John Lohre Suzanne and Jim MacDougald Lynne and Peter Mackechnie** Carol and John MacLean**** Teresa and Antonio Madero Evi and Evan Makovsky Ginny Mancini*** Elaine and Carl Martin*** Liz and Luc Meyer* Mr. and Mrs. W. Peterson Nelson***** Patty and Denny Pearce** David Perdue Margot and Ross Perot Arlene and Bob Rakich* Mary Reisher and Barry Berlin Kathi Renman and Jim Picard

Amy and James Rider Ann and Ron Riley Gussie Ross Adrienne and Chris Rowberry Joyce and Gary Ryan Harriett and Bernard Shavitz* Suzie and Morrie Shepard Judy and Martin Shore* Marty and Sam Sloven** Carolyn Smith and George Mizner**** Dr. and Mrs. C. John Snyder*** Judy and John Stovall Kaye Summers and Danny Carpenter Ellen and Ray van der Horst United Way of Eagle River Valley Bonnie Vogt Patty and Ed Wahtera** Elyce and David Walthall Susan and Albert Weihl* Violet and Harry Wickes* Dr. and Mrs. Larry Wolff William Woolford Rod Wright Mariette and Wayne Wright DONOR ($300 and above) Anonymous (4) Janet and Bill Adler Sandi and Larry Agneberg*** Joanne and Richard Akeroyd Larry Allen Lisa and Joe Bankoff* Barbara and Jack Benson Susan and Lee Berk Laura and Leonard Berlik Pamela and Brooks Bock* Michele and Rick Bolduc* Patricia and Rex Brown Michael Bruggeman and Patrick Carter Sue Cannon* Robin and Dan Catlin Martha Chamberlin Karen and Nate Cheney Community First Foundation* Mary Ellen and Stan Cope Chus Cortina Mary Jo Curan Silvia and Alan Danson

Each * denotes five years of consecutive donations.

Bernice and John Davie* J. Lynn Davis Sallie Dean and Larry Roush**** Alonso De Garay Linda and Al Demarest Fran and Don Diones Janis and Dr. Thomas Dunn Lois and John Easterling Margaret and Tom Edwards** Jane Eisner and Samuel Levy Pam and Ernie Elsner Gina Erickson and Clark Brook Joan and Joel Ettinger Deb and Don Felio Barbara and Larry Field**** Doris and Steven Field Regina and Kyle Fink** Denise and Michael Finley*** Sally and Crosby Foster**** Grace and Steve Gamble Betty Ann and Bob Gaynor Kitty George Wright B. George Billie Kay and David Gohn Karen and Clifford Goldman Roberta and Howard Goss Dianne and Ed Green Shelley and Guion Gregg Dr. Mary E. Guy Lowell Hahn Colleen M. and David B. Hanson*** Peter Hillback Gerry and Don Houk Jill and Loyal Huddleston Sonny and Steve Hurst Alberta and Reese Johnson Sue and Rich Jones Ida Kavafian and Steve Tenenbom Joanne Kemp Edith W. King and Matthew King* Betsy and Bud Knapp Eveyln and Fred Lang*** Laine and Merv Lapin Monique and Peter Lathrop*** Dr. and Mrs. Robert Landgren**** Harrel Lawrence and Jerry McMahan** Karen Lechner and Mark Murphy Sheila and Aaron Leibovic Mr. and Mrs. Brian Lenehan* 181

FESTIVAL SUPPORT Carol and Gerald Lesnik Jessica and Igor Levental Pat Lieberman Nancy and John Lindahl** Drs. Gretchen and Charles Lobitz**** Suzi and James Locke Linda and Stewart Lubitz Barbara and Edward Lukes Peter Lyons Peter L. Macdonald**** Regenia Maes Judith McBride and Bruce Baumgartner Linda McKinney BJ and Bud Meadows* Susan Milhoan John Moebius Liz and Ern Mooney Susan W. and William O. Morris** Steven Nayowith Jacque and Bill Oakes*** Tiffany and David Oestreicher, II* Midori and Masako Oishi Dr. and Mrs. Hugh Overy Gerry and Ed Palmer Sherrill Pantle Mr. and Mrs. Adolfo Pardo Kim and Alan Parnass Gina and Rick Patterson Alice and Norman Patton John Pearce Jan and Bob Pickens Margaret and Melvin Pitts Cynthia and Lorne Polger Susan Pollack Jill and Robert Rutledge Catherine and Donald Salcito Linda and Shaun Scanlon* Christine and Douglas Scheetz Arlene and Jack Schierholz*** Laura and Dr. Michael Schiff Sharon and Samuel Schwartz Ivylyn and Dick Scott Pamela and Jerry Secor* Lynn P. and Raymond J. Siegel* Susan and Bruce Smathers** Shaunie and Ted Smathers Shirley and William Smith Karlene Spivak* Steve Straub 182 Learn more at BravoVail.org

Marcos M. Suarez E. Diane Tope Francine and Jorge Topelson Peter T. Triolo Mr. and Mrs. Robert L. Triplett, Jr. Rosie and Bob Tutag Caroll Tyler Katie and Mike Warren Enid and Stephen Wenner* Mrs. Joan Whittenberg***** Rosalie Wooten*** Monica and Alejandro Zapata Kathy and Jonathan Zeschin Nancy and Harold Zirkin MEMBER ($150 and above) Anonymous (2) * Leslie and Phil Aaholm*** Laila and Alejandro Aboumrad* Irmela and Marcus Acheson Nadine and Dennis Ainbinder Lynn and Jerry Anderson Sandra Autrey Kristin and Matthew Banner Elise and Brian Barish Judy and Don Baxter Karla and David Berman Carolyn and Ron Bernell Mr. and Mrs. Henry Billingsley Judy and Tom Biondini Kathy Bird Patty and David Bomboy Rachel and David Bondelevitch* Sandee Bourgeois Pamela Brandmeyer Joan and Marion Brawley Linda Brumagin Nancy L. Bryan Shan and Caleb Burchenal Sara and Steve Cady Phoenix Cai and Martin Katz Sharon Calahan Althea and Cliff Callaway Anna Marie Campbell and Andrew McElhany Connie and Miles Carson Mary Carvajal Lynn and Jim Chapin Robert B. Clasen Lynn Cohagan

John Connell Alix Shelly Corboy Linda and Ted Cox Kathi and Steve Cramer Marilyn S. Cranin* Michele and Will Darken Jane and Edward Davenport*** Maria and Robert Davison Mrs. Gabriela G. de Kalb Susan and Mark Dean Phyllis Decker Nancy and Craig Denton** Evelyn Donoviel Michael Dossey William W. Dunkin Debra and James Dunn Valerie and Don Eicher Burton Epstein Anne Esson**** Claire and R. Marshall Evans**** Julie and Barnet Feinblum Walter Figel, Jr. Terry and John Forester* Elmer Franco Walter Frank Prof. Tom Franks Dr. and Mrs. Allan Freeman Semyon Friedman Jane and Gerald Gamble Laura and Warren Garbe GE Foundation Linda Gibbard Kathryn and Claude Gillespie John W. Giovando****** Carol and Henry Goldstein Tracy and Mark Gordon Mary Ann Gralka Mr. and Mrs. Stephen Gubin Jeri and Brian Hanly Eileen and Jack Hardy Tonay and John Hayward Jane and Tom Healy Cathey A. Herren**** Debra Herz* Joel High Pamela and Richard Hinds Gary Hoffman Robert Hogue Judy and Bob Holmes Jennifer and Don Holzworth

Holly and Steve Hultgren Dee and Don Hunter Margie and Dave Hunter Judy and Phil Hutchison Faye Irelan Rivers and Paul Jardis Deborah and Todd Johnson Gale Kahn Agneta Kane* Herb Kaufman William Kehr Bob Keller David Kellogg, Esq. Georgeanna and Bill Klingensmith Sally and James Kneser William Koch William Kohut Steve Kowal Nancy and Carl Kreitler Dolores Kropel Pamela and Patrick Kroos Joseph Latella Carol Laycob Polly and John Loewy Deb and Dan Luginbuhl** Keith Lytton Beverley Milder Magencey Paulette Marcus Harriet and Edward Moskowtiz Jan Mayer Veryl and Michael McBride Jan and Gary McDavid John McNett Sam Meals Elecive and Dr. George Mellott Michael A. Mertens Stephen Miller Harriet and Daniel Mironov Michael Monahan Dr. and Mrs. H. G. Moore, III Barbara Mullenger Susan Murry Leslie and Dr. Robert Nathan* Donna Newmyer Diane Newsom Jean and Ed Onderko Kimberly Opekar and Cynthia Reynolds Our Community Foundation Stephen Penrose

Martha and Kent Petrie** Monica and Mark Perin* Susan Popkin Myra Little Porter and John B. Porter* Victoria and Tom Ratts Janice Reed Margaret and Albert Reynolds Mr. and Mrs. Tim Roble* Alejandro Rojas Mr. and Mrs. Warren Rothstein Eileen Rowe and Kenneth Stein* Shawn Rudy Lynn and Rick Russell* Wayne Ruting Sallie and Don Salanty Bernard Samuels Dr. and Mrs. Jack Sanders* Susan and Frederick Schantz Jane and Chuck Schultz Betty and Harvey Schwartzberg Connie and Kenneth Scutari Mary and Charles Seibert Ricki and Gabe Shapiro Carol and Dr. Stanley Shapiro Howard Siegel Pat and Ralph Silversmith**** Barb and Mitch Solich Colleen and John Sorte Louise Sparks Barbara and Jim Spiker*** Drs. Arlene and Bob Stein** Dorothy and Stanley Stein Elizabeth and David Stern Ellen Struthers Harvey Sweetbaum Bernice Tarlie Marilu and George Theodore Solly Toussier Town of Eagle Marianne Tracey Linda and Mark Truitt Ruth Truitt Sharon and Thomas Trumble Barbara Veto Judy and Phil Walters Alison and John Warren Anne Wattenberg Deborah Webster and Stephen Blanchard**** Drs. Anne and Dennis Wentz

Each * denotes five years of consecutive donations.

Andrea and John Westcott Goldie and Kenneth Wetcher Clare Anne and Jonathan Whitfield Steven Yarberry Ursule Yates Fran Yeddis Tracy and Mark Zuber PRELUDE ($50 and above) Anonymous Judy and Art Axelrod Sheri Ball Rachel Barrett Margo and Roger Behler***** Kathryn Benysh Elinor and Howard Bernstein John Blair Julie and Larry Blivas Pat and Brian Blood Kim Callaghan Charlyn Canada** Ingrid Chamberlain Mary and Bill Cotton Karin and Dave Crowther Lynne and Fred Deming Katherine and Michael Denham Abby Dixon* Lillian and Jay Edwards Delight and John Eilering*** Lucy and Dan Ellerhorst Erika and Dr. Gerhard Endler Kathy and Jerrell Farr James E. Fell, Jr. Brooke Ferris Clark Fitzmorris Nona and William Flynn Victoria Frank Laura and Peter Frieder*** Sharon and Barry Friedman Manuel Gomez-Daza* Sandra Gooch and Harry S. Lederman Carol and Marc Gordon Mr. and Mrs. David Warren Grawemeyer* Jennifer and Brad Greenblum Suzanne Greene Martin Grubbs Susan and Ronald Gruber*** Catherine Harris 183

FESTIVAL SUPPORT Nancy Hartenstine Diana Heinle Judy and Jim Heinze*** Cliff Hendrick Dwight Henninger* Brenda and Alan Himelfarb Kimberly Hetrick and Peter Rosenberg Betsy and Arlen Holter Nance and Mark Horowitz Ms. Linda Hryckowian and Dr. Raymond J. Finn, Jr. Elizabeth and Warren Janowitz Susan and David Joffe Starlette Johnson Fran and Vince Jones JP Morgan Chase Foundation Karen and Michael Kaplan John Katopodis Bascom King Ann and Collier Kirkham Kroger Community Rewards Mr. and Mrs. Phillip J. Kulinski* Steven Kumagai Diane Larsen and David Floyd* Barbara and Ted Lewandowski Michele Lier Mary Alice Malone Robert Gray Marshall Marcia and Tom McCalden** J. B. McFall Sharon McKay-Jewett* Judi and Randy McKean Leila Messier Jean Melville Mary Jane and Frank Miller* Jeanne Meyers Melissa Meyers Gail Molloy Judith Moore Jean Naumann Elinor Newman** Sara Newsam** Joan and Ronald Nordgren Nancy and Mauri Nottingham* Judy and Tom Pecsok Carol and Michael Phillips* Sydney and Mark Pittman* Susan Pollack Mindy and Jay Rabinowitz 184 Learn more at BravoVail.org

Melanie Reed and Jerome Freier Donna and John Pariseau Barbara and Don Phillipson Linda and Don Sage Gaye Schmergel Schneider Electric North America Foundation Dr. and Mrs. Jonathan Schwartz** Mrs. Marvin Sheldon***** Litamae and David Sher Ricki and Steve Sherlin Lisa and Nathan Siegert Eileen Silvers and Richard Bronstein Ika Sitorus Constanza and Jose Slim Marriott and John Smart* Diane and Loren Smith Sarah and Norman Smith*** Sheryl and Joseph Speelman Carol and Roger Sperry Ann and Robert Stanton Judy and Rob Stiber Jenene and Jim Stookesberry Fran and Steve Susman*** Kathleen Talbot Leila Thorne Linda and William Vigor Irit Waldbaum Trudy and Bob Walsh* Jan Weiland and Alan Gregory Susan and Gerald Whiteman Sheila Whitman** Dennis and Vali Wilcox Jennifer Woolley** Heidi and Bret Young Fran and Allan Zalesky**

Julie and Steve Johannes Elizabeth G. Clark

IN HONOR OF Doe Browning Virginia J. Browning

NEW WORKS FUND In celebration of its 30th season in 2017, Bravo! Vail is proud to launch the New Works Fund in support of the annual commissioning of new pieces of music. Bravo! thanks its generous supporters of this initiative.

Melinda and Tim Carlson Sue and Dr. Brian Gordon Edwina Carrington Cynthia Bast Elizabeth Clark Julie and Steve Johannes Valerie and Noel Harris Diana Harris Marilyn Horween Matthew Horween

Shirley and William McIntyre, IV Fanchon and Howard Hallam Judi and Randy McKean Sharon and Barry Friedman Melissa Meyers Laura and Cary Meyers Barbara and Howard Rothenberg Neal Colton Carole and Peter Segal Shelby and Federick Gans Betsy and George Wiegers Joan D. Houlton IN MEMORY OF Dorothy Bondelvitch Rachel and David Bondelvitch Keith and Carol Brown Joan Francis Jack Crosby Elaine and Art Kelton Pat and Pete Frechette The Frechette Family Eleanor M. Howard Martha and Kent Petrie T. Larry Okubo Renee Okubo Tony Perry Elaine and Art Kelton Teri Perry Betsy Wiegers Paul Caldwell Roger Wilson

Amy and Charlie Allen Tracy and Mark Gordon Anne-Marie McDermott and Michael Lubin The Paiko Foundation, in honor of the Vail Police Sandra and Greg Walton

EDUCATION AND ENGAGEMENT PROGRAMS

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

Letitia and Christopher Aitken Amy and Charlie Allen Alpine Bank Sheila and James Amend Hamila and Bahman Atefi Dierdre and Ronnie Baker Beaver Creek Resort Company Jayne and Paul Becker Rosalind and Mervyn Benjet Barbara and Barry Beracha Lin Bercher Bravo! Vail Guild Stacy and Mike Brown Doe Browning Carol and Harry Cebron Toko and Bill Chapin Sara and Michael Charles Kay Chester Eileen Clune Costco Rebecca and Carl Crawford Alice and Harvey Davis Arlene and John Dayton Barb and Rob DeLuca Debbie and Jim Donahugh Kathy and Brian Doyle Molly Doyle and Richard Niezen Sandi and Leo Dunn Eagle County Eagle Ranch Association Kathleen and Jack Eck Gail and Jim Ellis Kathy and David Ferguson FirstBank Cookie and Jim Flaum The Francis Family Shelby and Federick Gans, in honor of Carole and Peter Segal Gail and Arnold Gelfand Holly and Ben Gill Sue and Dan Godec Anne and Hank Gutman Linda and Mitch Hart Karen and Michael Herman Kathy and Allan Hubbard Jackie and Norm Waite David Hyde Theresa and Steven Janicek Alexis and Thomas Jasper Sue and Rich Jones Vicki and David Judd Henny Kaufmann Linda and Mark Kogod/Jewelry Creations Judy and Alan Kosloff Dr. and Mrs. Frederick Kushner

Sheila and Aaron Leibovic Candace and Brian Loftus Diane and Lou Loosbrock Rallet and John Lovett Donna and Patrick Martin Barbie and Tony Mayer Anne-Marie McDermott and Michael Lubin Gayle and Pat McDonald Shirley and William S. McIntyre, IV Laurie and Tom Mullen Caitlin and Dan Murray National Endowment for the Arts Karen Nold and Robert Croteau Renee Okubo, in memory of T. Larry Okubo Paula Lutomiski and Prentice O’Leary The Paiko Foundation, in honor of the Vail Police Beth Pantzer SueAnn and John Peck Martha and Kent Petrie, in memory of Eleanor M. Howard Nancy and Kent Pettit Linda Farber Post and Dr. Kalmon D. Post Patti and Drew Rader Mary Pat and Keith Rapp Amy and James Regan Michele and Jeffrey Resnick June and Paul Rossetti Alysa and Jonathan Rotella Adrienne and Chris Rowberry Wendy Rudolph and Graeme Bush Lisa and Ken Schanzer Carole and Peter Segal Katharine and Robert Shafer Beth and Rod Slifer Slifer Smith & Frampton Foundation Rachel and David Smiley Alexandra Solal and Ron Mastriana Lauren and Bert Solomon Marcy and Gerry Spector Cathy and Howard Stone Lisa Tannebaum and Don Brownstein Dhuanne and Doug Tansill Jennifer Teisinger and Chris Gripkey Robin and Tim Thompson Joe Tonahill, Jr. Town of Eagle Town of Gypsum Carol and Albert Tucker United Way of Eagle River Valley U.S. Bank Foundation Anne and Jim von der Heydt Martin Waldbaum Wall Street Insurance, Inc. Sandra and Greg Walton Carole A. Watters Gunnel and Hal Weiser Jane and Thomas Wilner Ellen and Bruce Winston Andrea and George Yetman

LUIS D. JUAREZ HONORARY MUSIC AWARD

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stablished in 2016, the Luis D. Juarez Honorary Music Award supports and extends opportunities for students to pursue musical studies. Bravo! thanks the donors whose support provides financial assistance to students for the costs of instruments, lessons, software, and other essential materials.

Marilyn Augur Dierdre and Ronnie Baker Jayne and Paul Becker Sarah Benjes and Aaron Ciszek Doe Browning Edwina Carrington Arlene and John Dayton Peggy and Gary Edwards Margaret and Tom Edwards Irene Emma Sallie and Robert Fawcett Cookie and Jim Flaum Tracy and Mark Gordon Anne and Hank Gutman Julie and Steven Johannes Judy and Alan Kosloff Shirley and William McIntyre, IV Kay and Bill Morton Laurie and Tom Mullen Caitlin and Dan Murray Jullie and Gary Peterson Patti and Drew Rader Martha Rehm and Cherryl Hobart Vicki Rippeto Sally and Byron Rose June and Paul Rossetti Adrienne and Chris Rowberry Carole and Peter Segal Slifer Smith & Frampton Foundation Rachel and David Smiley Cathy and Howard Stone Joanne and Frank Strauss Debbie and Fred Tresca

PIANO FELLOWS FUND

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he Piano Fellows Fund supports the professional development of exceptionally talented pianists, nurturing of young pianists at the beginning stages of their careers as soloists and chamber musicians, and an immersive apprenticeship with Artistic Director and pianist Anne-Marie McDermott. The Festival expresses its thanks to supporters of this Fund.

Sandi and Leo Dunn The Francis Family Sandra and Greg Walton 185

ENDOWMENT AND LEGACY SOCIETY GIFTS TO THE ENDOWMENT

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he Bravo! Vail Endowment Fund ensures the Festival’s long-term financial security and the continuance of the highest quality of music for generations to come. These endowed funds are professionally managed with oversight by the Bravo! Vail Investment Committee and are held in support of the Festival’s mission.

The Festival expresses its deep gratitude to all who have made gifts to the endowment.

LEADERSHIP GIFT $100,000 and above Maryan and K Hurtt Leni and Peter May Betsy and George Wiegers MILLENNIUM GROUP $50,000 and above Jean and Dick Swank $40,000 and above Ralph and Roz Halbert Gilbert Reese Family Foundation BEST FRIENDS OF THE MILLENNIUM $20,000 and above Jayne and Paul Becker Jan Broman The Cordillera Group/Gerry Engle Linda and Mitch Hart Fran and Don Herdrich The Mercy Family Susan and Rich Rogel BEST FRIENDS OF THE ENDOWMENT $10,000 and above Mr. and Mrs. Elton G. Beebe, Sr. Mary Ellen and Jack Curley The Francis Family Merv Lapin Amy and Jay Regan $5,000 and above Margo and Roger Behler/FirstBank Carolyn and Gary Cage

186 Learn more at BravoVail.org

Jeri and Charlie Campisi Kay and E.B. Chester in Memory of Louise and Don Hettermann Millie and Vic Dankis Susan and Harry Frampton Linda and John Galvin Sheika and Pepi Gramshammer Nita and Bill Griffin Becky Hernreich Bob Hernriech Mary and Jim Hesburgh Bruce Jordan Gretchen and Jay Jordan Kensington Partners Alexandra and Robert Linn Gerard P. Lynch Priscilla O’Neil Patricia O’Neill and John Moore Joan and Richard Ringoen Family Foundation, Inc. Terie and Gary Roubos/Roubos Foundation Seevak Family Foundation Helen and Vincent Sheehy The Smiley Family Claudia Smith Mark Smith Cathy and Howard Stone Stewart Turley Foundation TRUSTEES’ MILLENNIUM FUND $2,000 and above Sallie and Robert Fawcett Mr. and Mrs. Lawrence Flinn, Jr. June and Peter Kalkus/Kalkus Foundation Karen and Walter Loewenstern John McDonald and Rob Wright Jean and Thomas McDownell The Merz Family Zoe and Ron Rozga Dr. and Mrs. William T. Seed Carole J. Schragen Deb and Rob Shay Mrs. Jean Graham-Smith and Mr. Philip Smith Karin and Bob Weber Anne and Dennis Wentz Barbara and Jack Woodhull Carol and Bob Zinn

THE BRAVO! VAIL LEGACY SOCIETY

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embers of Bravo! Vail’s Legacy Society have made a bequest to the Festival and Bravo! thanks them sincerely. Including Bravo!

Vail in your estate plans ensures that your support of the Festival will continue to have an impact on tomorrow’s audiences. If you have included Bravo! in your estate plans, please let us know so we may recognize you in this elite group. $1,000,000 and above Vicki and Kent Logan $100,000 and above Maryan and K Hurtt/Lockheed Martin Corporation Directors Charitable Award Fund $50,000 and above Judy and Alan Kosloff $20,000 and above Steven and Julie Johannes $10,000 and above John W. Giovando Jeanne and Craig White Legacy Society Members Martha Dugan Rehm and Cherryl Hobart Dhuanne and Doug Tansill Jennifer Teisinger and Chris Gripkey Betsy and George Wiegers

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 SIDNEY E. FRANK FOUNDATION Bravo! Vail is grateful to The Sidney E. Frank Foundation for its generous underwriting of important programs including the Academy of St Martin in the Fields, audio recording, videography and archiving.

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

THE PAIKO FOUNDATION, IN HONOR OF THE VAIL POLICE Bravo! Vail gratefully acknowledges the generosity of The Paiko Foundation for the purposes of music education, community engagement, future planning to promote the growth of the Festival and more. In 2017, this gift has been made in honor of the Vail Police.

THE PHILADELPHIA ORCHESTRA CHALLENGE GRANT In support of the Bravo! Vail residency of The Philadelphia Orchestra, a Challenge Grant has been issued every year since 2013. Bravo! Vail gratefully acknowledges the 2017 Challenge Grant donors, whose gifts inspire the generosity of others: Peggy Fossett, ANB Bank and The Sturm Family, and Donna and Patrick Martin.

THE BETSY WIEGERS CHORAL FUND, IN HONOR OF JOHN W. GIOVANDO Bravo! Vail gratefully acknowledges this fund, created by Betsy Wiegers, which will underwrite the performance of a choral work each year for ten years. The 2017 Season features the New York Philharmonic, led by Alan Gilbert, performing Beethoven’s Symphony No. 9 on July 28.

THE LINDA AND MITCH HART SOIRÉE SERIES Linda and Mitch Hart provide unique and invaluable support to the soirée series, helping to underwrite the highest level of musical excellence.

TOWN OF VAIL Bravo! Vail acknowledges the vision of the Town of Vail and its Council Members for their most generous underwriting of the residencies of the Academy of St Martin in the Fields, The Philadelphia Orchestra and the New York Philharmonic.

Their support of Bravo! Vail since its inception has ensured the Festival’s continued success.

THE NEW WORKS FUND The New Works Fund serves two purposes: to underwrite future premieres of new music and to present music that may be unfamiliar to Vail audiences. There is a wealth of great music from the late 20th century through our current time that deserves an audience just as much as the great masterworks we cherish. Special thanks to Amy and Charlie Allen, Tracy and Mark Gordon,

Anne-Marie McDermott and Michael Lubin, The Paiko Foundation in honor of the Vail Police, and Sandra and Greg Walton for their support of the fund.

THE PIANO FELLOWS FUND Now in its third year, The Piano Fellows Program brings two young pianists to Bravo! Vail for an immersive apprenticeship with Anne-Marie McDermott. These talented young musicians gain valuable experience at a pivotal moment in their careers.

Special thanks to Sandi and Leo Dunn, The Francis Family and Sandra and Greg Walton for their support.

LIV SOTHEBY’S INTERNATIONAL REALTY LIV Sotheby’s is a valued partner.

Special thanks for hosting the Opening Night Patron Reception for the New York Philharmonic.

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

ALPINE BANK RADIO AND MEDIA PROGRAM Bravo! Vail 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 Public Radio, Tiga Advertising, Town of Vail, Vail Daily, Vail Valley Partnership, Vail Local Marketing District Advisory Committee, Vail Resorts, and Vail Town Council.

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CORPORATE & GOVERNMENT SUPPORT

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

GRAND BENEFACTOR ($100,000 and above) ANB Bank and The Sturm Family* Town of Vail****** VIRTUOSO ($20,000 and above) LIV Sotheby’s International Realty* Vail Valley Foundation****** OVATION ($15,000 and above) Alpine Bank*** National Endowment of the Arts** Town of Gypsum*** U.S. Bank*** U.S. Bank Foundation* Volvo ALLEGRO ($10,000 and above) Colorado Creative Industries**

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Slifer Smith & Frampton Foundation*** Soros Fund Charitable Foundation Matching Gifts Program SOLOIST ($7,000 and above) Bank of America Matching Gifts Beaver Creek Resort Company* Gorsuch Ltd.* The Lion NexGen Hyperbaric LLC BENEFACTOR ($5,000 and above) Alpine Party Rentals Arietta Wine General Mills Foundation JP Morgan* PATRON ($3,000 and above) COCO Concierge Rader Engineering** Wall Street Insurance, Inc.* CONTRIBUTOR ($1,200 and above) Costco Eagle County**

Eagle Ranch Association** FirstBank*** IBM Matching Grants Program* Jeremy L. Krieg of New York Life Insurance* Western Union Foundation FRIEND ($600 and above) Faegre Baker Daniels Foundation United Way of Eagle River Valley DONOR ($300 and above) Community First Foundation* MEMBER ($150 and above) GE Foundation Our Community Foundation Town of Eagle PRELUDE ($50 and above) AmazonSmile JPMorgan Chase Foundation Kroger Community Rewards Schneider Electric North America Foundation Each * denotes five years of consecutive donations.

IN-KIND GIFTS

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ravo! Vail is grateful to all of its partners who provide in-kind donations to the Festival.

PREMIER BENEFACTOR ($50,000 and above) Antlers at Vail FirstBank Hotel Talisa Lodge at Vail RockResorts Town of Vail Vail Marriott Mountain Resort and Spa Vail Mountain Lodge and Spa Vail Resorts Vail Resorts EpicPromise Vail Valley Foundation PLATINUM ($30,000 and above) Arietta Wine West Vail Liquor Mart OVATION ($15,000 and above) Ali & Aaron Creative Alpine Bank ALLEGRO ($10,000 and above) Marcy and Michael Balk Christy Sports Marijke and Lodewijk de Vink Faegre Baker Daniels LLP Foods of Vail Four Seasons Resort Vail The Left Bank Shirley and William S. McIntyre, IV Mirabelle at Beaver Creek Marlys and Ralph Palumbo Red Canyon Catering Republic National Distributing Company Alysa and Jonathan Rotella Splendido at the Chateau Sherry and Jim Smith Vail Catering Concepts Westin Riverfront Resort and Spa Yamaha SOLOIST ($7,000 and above) The Christie Lodge Destination Resorts Karen and Michael Herman

Lift House Lodge Lion Square Lodge The Sebastian Vail Sitzmark Lodge Sonnenalp Vail’s Mountain Haus BENEFACTOR ($5,000 and above) Dr. David Cohen Colorado Mountain Express Crazy Mountain Brewing Company Elway’s Susie and Chip Fisher Joyce and Judson Green Grouse Mountain Grill Anne-Marie McDermott and Michael Lubin Sarah Nash and Michael Sylvester Jullie and Gary Peterson Carole and Peter Segal Sweet Basil Vail Interfaith Chapel Vail Racquet Club Vintage Magnolia Westwind PATRON ($3,000 and above) 10th Mountain Whiskey & Spirit Company Dierdre and Ronnie Baker Evergreen Lodge

Sheika and Pepi Gramshammer Larkspur La Tour Lisa and Ken Schanzer Terra Bistro CONTRIBUTOR ($1,200 and above) Cedar’s Flower Shop COCO Concierge Go Photo Booth The Golden Bear Green Elephant Juicery Matsuhisa Susan and Steven Suggs Sweet Pea Designs Yeti’s Grind FRIEND ($600 and above) Chocolove Terra Bistro Wagner & Associates Westside Café DONOR ($300 and above) Julie Johannes Root and Flower Wine Bar Rose Petals Vail Ale House Vail Brewing Company PRELUDE ($50 and above) City Market 189

BRAVO! VAIL STAFF EXECUTIVE DIRECTOR Jennifer Teisinger ARTISTIC DIRECTOR Anne-Marie McDermott ARTISTIC Director of Artistic Planning Jacqueline Taylor DEVELOPMENT Vice President of Development Caitlin Murray Database Manager Beth Pantzer Individual Giving Manager Lynn Martin

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Sarah Clark Virginia Polytechnic Institute and State University

TECHNOLOGY Director of Technology David Judd

Operations Intern Jessica Bachman University of Northern Colorado

OPERATIONS Director of Operations Elli Varas

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Education Manager Keelin Davis

Sound Recording Interns William Chen Indiana University: Jacobs School of Music

Education Assistant Justi Lundeberg Concert Production Manager Brett Logan

MARKETING AND PUBLIC RELATIONS Vice President of Marketing and Executive Vice President Lisa Mallory

PRODUCTION CREW Devin Klepper Rane Logan Zac Logan Kalen Martinez Robert Pastore Jr. Brandon Reid Steve Schrader

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Piano Technician Michael Jackson

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SEASONAL STAFF Artist Liaison Tehvon Fowler-Chapman Indiana University

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Marketing & Sales Associate Anna Janes BOX OFFICE ASSOCIATES Courtney Block Maddie Stevens ADMINISTRATION Vice President of Finance and Human Resources Monica White Finance and Administrative Director Irene Emma Executive Assistant Katie Brockway Front Office Manager Heidi Young 190 Learn more at BravoVail.org

Festival Internship Program: Development Interns Kiotta Marshall Indiana University Jennifer DeVries University of Illinois at UrbanaChampaign Marketing Interns William Albach Wagner College Virginia Hancock University of Virginia

Matt Carlson Berklee College of Music Resident Orchestra Physicians Dr. Steve Yarberry and Dr. David Cohen Managing Editor, Program Books Alice Kornhauser GUILD Molly Ansfield Ann Antonius Janet Beals Pat Blood Carol Bosserman Barbara Bower Peggy Buchannan Kathy Cardwell Edwina Carrington David and Judy Carson Brabara Coffey Nancy Collins Rod and Dolly Corlin Carl and Becky Crawford James and Pamela Crine William David Doris Dewton Greg and Carol Dobbs Holly Eastman Ann & Sandy Faison Laconne & Mike Feigeles Ronald Fine Warren and Laura Garbe Jack and Greer Gardner Richard Gretz Pam Hamilton

SPECIAL NOTES Paul & Terry Hammond Irene Hayes Maggie Hilllman Summer Holm Becky Hopkins Shari Johnson Jane Jones Jean Kearns Elizabeth Keay Betty Kerman Charlene Koegel Milly Kohlman Don and Marion Laughlin Ann Loper Nicole Lucido Diane & Jim Luellen Hank Mader Louise McGaughey Carole Ann McNeill Bruce and Ferol Menzel Kevin and Martha Milbery Frank and Mary Jane Miller Sandy Morrison Al & Cristi Musser Paolo and Susan Narduzzi Rita Neubauer Suzette Newman Nancy Nottingham Bill Nussbaum Donald and Linda Orseck Annette (Mickie) Parsons George Person Jim & Barbara Risser Tom Russo Scott & Ana-Maria Schaefer Carol Schimmer Andy Searls Mary Servais Charlie Sherwood Bill and Connie Smith Mark and Diane Smooke Paige Sodergren Eileen Sordi Frank and Joanne Strauss Joan Tilden Michael and Judy Turtletaub Monika Vainaite Pam Vonmende Leo and Dianne B Williams Dean and Linda Wolz Allison Wright

BRAVO! VAIL PIANO PROGRAM TEACHING STAFF Bora Basyildiz Mack Callicrate Emma Cerovich Cameron Jarnot Justi Lundeberg Desy Mendoza Melissa Meyers Jenny Roussel 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.

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. Š 2017 Bravo! Vail. All rights reserved.

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GERALD R. FORD AMPHITHEATER INFORMATION: Gates to the lobby open 90 minutes prior to concert start time.

Gates to the venue seating open one hour 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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Bell, Bruch & Mendelssohn, Continued From Page 53

In a letter recounting the experiences of his first day in the Scottish capital, Mendelssohn wrote, “Everything here looks so stern and robust, half enveloped in a haze of smoke or fog. Many Highlanders came in costume from church victoriously leading their sweethearts in their Sunday attire and casting magnificent and important looks over the world; with long, red beards, tartan plaids, bonnets and feathers and naked knees and their bagpipes in their hands, they passed along by the half-ruined gray castle on the meadow where Mary Stuart lived in splendor.”

Two days later, he reported on his visit to Mary’s castle, Holyrood: “In the evening twilight I went to the palace where Mary lived and loved.... Everything is broken and moldering and the bright sky shines in. I believe I have found today in that old chapel the beginning of my Scottish symphony.” Then follow ten measures of music that were to become the introductory melody of the Third Symphony. Despite its initial inspiration, the “Scottish” Symphony did not come easily. Some preliminary sketches for it were done in 1830, while he was touring Italy, but he admitted that he found it impossible to evoke the “misty mood” of Scotland while in sun-splashed Rome. He put the work aside, and did not finish it until 1842 in Berlin.

The four movements of the “Scottish” Symphony are directed to be played without pause. The long, brooding introduction opens with a grave harmonization of the melody that Mendelssohn conceived at Holyrood.

The sonata form proper begins with a flowing theme, graceful yet filled with vigor. Other melodic inspirations follow. A stormy, thoroughly worked-out development utilizes most of the exposition’s thematic material.

After the recapitulation, a coda with the force of a second development section is concluded by a return of the brooding theme of the introduction. The second movement is the only one that consistently shows sunlight and high spirits. It is built around two melodies: one, skipping and animated, is introduced by the clarinet; the other, brisk and martial, is presented in the strings.

The wonderful third movement is cast in sonata form: its first theme is a lyrical melody of noble gait that is perfectly balanced by the elegiac second theme, characterized by its heroic, dotted rhythms. The finale is a vivacious and well-developed dance in an atmospheric minor key. The “Scottish” Symphony concludes with a majestic coda in a broad, swinging meter.

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For the Love of Brahms, Continued From Page 57

Double Concerto for Violin, Cello and Orchestra in A minor, Op. 102 (1887) JOHANNES BR AHMS (1833-1897)

Johannes Brahms first met the violinist Joseph Joachim in 1853. They became close friends and musical allies—the Violin Concerto was written for Joachim in 1878 and he played Brahms’ music at every possible occasion and did much to help establish the composer’s reputation. In 1880, however, when Joachim was suing his wife for divorce over an alleged infidelity, Brahms took it upon himself to meddle in the family’s domestic affairs. He believed that Frau Joachim was innocent of the charges, and sided with her. Joachim was, understandably, enraged, and he broke off his personal relationship with Brahms, though he continued to play his music; the two did not speak for years.

On July 19, 1887, when he was 54, Brahms, a curmudgeonly bachelor who found it difficult to make friends, sent Joachim a terse postcard from Thun, Switzerland: “I have been unable to resist the ideas that have been occurring to me and written a concerto for violin and cello. Would you consider trying the work over somewhere with [Robert] Hausmann [the cellist in Joachim’s Quartet] and me at the piano?” Joachim agreed to Brahms’ proposals. After approving of the work in their private trial, Brahms arranged to have the formal premiere given by the Gürzenich Orchestra in Cologne with Joachim and Hausmann in October 1887. Brahms’ dear friend Clara Schumann noted with pleasure in her diary that “this Concerto was in a way a work of reconciliation—Joachim and Brahms have spoken to each other again after years of silence.”

The first movement largely follows Classical concerto-sonata form, with a bold paragraph introducing the soloists. The main theme, given by the orchestra, is a somber strain that mixes duple and triple rhythms; the second theme is a tender, sighing phrase. A development section (begun by the soloists in unison) and a full recapitulation and coda round out the movement. The principal theme of the Andante is a warmly lyrical melody for violin and cello in unison; parallel harmonies in the woodwinds usher in the central section. The finale is a playful rondo influenced

by Gypsy music.

Bach, Mozart & Tchaikovsky, Continued From Page 61

Serenade for Strings in C major, Op. 48 (1879-1880) P E T E R I LY I C H T C H A I KO V S K Y ( 1 8 4 0 -1 8 9 3)

In 1879, Tchaikovsky’s publisher, Peter Jurgenson, requested that his client devise some festive strains of celebratory nature to commemorate the Silver Jubilee of the coronation of Czar Alexander II. The project was too important for Tchaikovsky to refuse, so he set to work composing a programmatic overture based on some popular themes that would depict one of Mother Russia’s proudest moments—the defeat of Napoleon at Moscow. “The overture will be very noisy,” Tchaikovsky warned his patroness, Nadezhda von Meck, in a letter dated October 22, 1880. “I wrote it without much warmth or enthusiasm; therefore it has no great artistic value.” He called the piece, simply, 1812 Overture. As though some compensatory psychic apparatus had switched on while he was writing 1812, Tchaikovsky simultaneously created a delightful work on an intimate scale for string orchestra, a score of geniality and grace and nearly Mozartian sensitivity— the Serenade for Strings. “The Serenade,” Tchaikovsky confided in a letter to his patroness, Mme. von Meck, “I wrote from an inward impulse; I felt it deeply and venture to hope that this work is not without artistic qualities.”

The opening Pezzo [‘piece’] in forma di Sonatina is a sonata form without a development section. The following movement is one of Tchaikovsky’s bestknown waltzes. The Elégie touches on the work’s deepest emotions. The finale, Théma russe, is based on a Volga River work song and a folk song from the Kolomna district, near Moscow.

Ohlsson Plays Tchaikovsky, Continued From Page 65

days of the wedding amid Tchaikovsky’s searing self-deprecation.

It was during May and June that Tchaikovsky sketched the Fourth Symphony, finishing the first three movements before Antonina began her siege.

The finale was completed by the time he proposed.

Because of this chronology, the program of the Symphony was not a direct result of his marital disaster.

All that—the July wedding, the mere eighteen days of bitter conjugal farce, the two separations—postdated the actual composition of the Symphony by a few months. What Tchaikovsky found in his relationship with this woman (who by 1877 already showed signs of approaching the door of the mental ward in which,

still legally married to him, she died in 1917) was a confirmation of his belief in the inexorable workings of Fate in human destiny.

Tchaikovsky wrote of the Fourth Symphony: “The introduction [blaring brasses heard in a motto theme that recurs throughout the Symphony] represents Fate, which hinders one in the pursuit of happiness. There is nothing to do but to submit and vainly complain [the melancholy shadow-waltz of the main theme].

Would it not be better to turn away from reality and lull one’s self in dreams? [The second theme is begun by the clarinet.] But no—these are just dreams: roughly we are awakened by Fate. [A brass fanfare begins the development.] The second movement shows how sad it is that so much has already been and gone!

In the third movement are capricious arabesques, vague figures that slip into the imagination when one is slightly intoxicated. Military music is heard in the distance. If you find no pleasure in yourself go to the people, so the finale [based on the traditional song A Birch Stood in the Meadow] pictures a folk holiday.”

A World Premiere, Continued From Page 69

section is distinguished by its rustling accompaniment and bittersweet melody. A dozen measures of chordal writing for strings link to the finale, an effervescent sonata form.

Symphony No. 5, Op. 100 (1944) SERGEI PROKOFIEV (1891-1953)

“In the Fifth Symphony I wanted to sing the praises of the free and happy man — his strength, his generosity and the purity of his soul.” The “man” Prokofiev invoked in that description of the motivation behind this great Symphony could well have been the composer himself. The work was written in the summer of 1944, one of the happiest times he knew. His home life following marriage to his second wife four years earlier was contented and fulfilling; he was the most famous and oftenperformed of all Soviet composers; and Russia was winning the war. In fact, the success of the premiere of this work was buoyed by the announcement immediately before the concert that the Russian army had just scored a resounding victory on the River Vistula. The composer’s mind was reflected in the fluency and emotional depth of his music.

The Symphony’s opening movement is a large sonata form that begins without introduction. The wide-ranging main theme is presented by flute and bassoon; flute and oboe sing the lyrical second 193

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A World Premiere, Continued From Page 193

subject. The development gives prominence in its first portion to the opening theme and a skittish motive heard at the end of the exposition; it later focuses on the second theme. The recapitulation is heralded by the brass choir. The scherzo is one of those pieces that Prokofiev would have classified as “motoric”: an incessant two-note rhythmic motive drives the music through its entire first section. The central section is framed by a bold, strutting phrase. The brooding third movement is in a large three-part design. The outer sections are supported by the rhythmic tread of the low instruments used to underpin a plaintive melody initiated by the clarinets. A sweeping theme begun by the tuba serves as the basis for the middle section.

The finale opens with a short introduction comprising two gestures based on the first movement’s main theme: a short woodwind phrase and a chorale for cellos. The main body of the movement is a sonatarondo structure propelled by an insistent rhythmic motive. The movement accumulates a large amount of thematic material as it progresses, though it is the solo clarinet playing the main theme that begins each of its important structural sections. An energetic coda ignites several of the movement’s themes into a grand close.

enter. Then the full round of ceremonies gets under way: a mock abduction, games of the rival tribes, the procession of the Sage, and the thunderous dance of the Earth. The curtain falls, and there is a soft interlude representing the pagan night. Soon the tribal meeting place is seen again. It is dark and the adolescents circle mysteriously in preparation for the choice of the virgin to be sacrificed. Their dance is interrupted, and one of the girls is marked for the tribal offering. The others begin a wild orgy glorifying the Chosen One. Finally the supreme moment of the ceremony arrives: the ordeal of the Chosen One. It is the maiden’s duty to dance until she perishes from exhaustion. Throughout the dance, the music gathers power until it ends with a crash as the Maiden dies.”

Music from the Movies, Continued From Page 77

matches, nor do men in red capes. There is no Force, dinosaurs do not walk the Earth, we do not wonder, we do not weep, we do not believe. John has given movies a musical language that can be spoken and understood in every country on this planet. His is the most common language through which people of all ages communicate and remember to each other why they love movies. Without question, John Williams has been the single most significant contributor to my success as a filmmaker. This nation’s greatest composer and our national treasure is also one of the greatest friends I have ever had in my entire life.”

The Rite of Spring, Continued From Page 73

cracking,” he remembered), he worked to devise a libretto that would “present a number of scenes of earthly joy and celestial triumph as understood by the ancient Slavs.” Stravinsky labored feverishly on the score through the winter of 1911-1912, and the premiere was scheduled in Paris for May 1913. That performance created a sensation (and a near-riot), and the Rite’s position in the repertory was soon secured.

The following précis of the stage action is excerpted from The Victor Book of Ballet by Robert Lawrence: “The plot deals with archaic Russian tribes and their worship of the gods of the harvest and fertility. These primitive peoples assemble for their yearly ceremonies, play their traditional games, and finally select a virgin to be sacrificed to the gods of Spring so that the crops and tribes may flourish.

There is a prelude in which the composer evokes the primitive past. Insistent, barbaric rhythms are heard, shifting accent with almost every bar. The first rites of Spring are being celebrated, and a group of adolescents appears. Other members of the tribe 194 Learn more at BravoVail.org

Return to the Cotton Club, Continued From Page 81

frequent appearances thereafter; the inimitable Cab Calloway (whose “zoot suits” and “Hi-De-Ho” remain symbols of the Jazz Age); and Jimmie Lunceford.

Ellington’s rise to international fame began at the Cotton Club—he was heard on nationwide radio broadcasts, recorded more than a hundred numbers, and composed not only dances and songs (including Mood Indigo and Creole Love Call, his first hit record) for the shows, but also overtures, transitions, accompaniments and “jungle” effects that allowed him to experiment and master a wide range of styles.

Such was Ellington’s influence that the club somewhat relaxed its policy of excluding African-American guests at his request.

The Cotton Club, with its frenzied collision of powerful racial, social, criminal, musical and commercial streams, is an integral part of the American story. Its songs live on in performances and recordings, Broadway shows (the Tony-nominated Bubbling Brown Sugar of 1976 and the 2013 Ellington-

inspired revue After Midnight), Francis Ford Coppola’s Oscar-nominated feature film Cotton Club (1984), and dozens of other movies and television shows, from James Cagney’s 1932 gangster film Taxi! to the wildly entertaining live action–animation hybrid Who Framed Roger Rabbit? of 1988. For those who would like to have an (almost) first-hand experience of the original Cotton Club, a remarkable live 1931 broadcast to Germany (with German commentary) has been preserved and issued on the German label Bear Family Records. The CDs are pricey, but include a large, illustrated book about the club. A generous except from each of the 53 tracks may be sampled at the firm’s web site: bear-family.com, search “Cotton Club.”

Tchaikovsky Violin Concerto, Continued From Page 85

Divine Comedy. However, a second symphony to follow the first of 1899 was gestating, and the Dante work was eventually abandoned. Sibelius was well launched on the new Second Symphony by the time he left for home. He made two important stops before returning to Finland. The first was at Prague, where he met Dvořák; the second was to hear performances of his works at the June Music Festival in Heidelberg that enhanced his budding European reputation. Still flush with the success of his 1901 tour when he arrived home, he decided he was secure enough financially (thanks in large part to an annual stipend initiated in 1897 by the Finnish government) to leave his teaching job and devote himself full time to composition.

Sibelius came into his creative maturity with the Second Symphony. So successful was the work’s premiere on March 8, 1902 that it had to be repeated at three successive concerts in a short time to satisfy the clamor for further performances.

The Second Symphony opens with an introduction in which the strings present a chordal motive that courses through much of the first movement. A bright, folk-like strain for the woodwinds and a hymnal response from the horns constitute the opening theme. The second theme starts with a long-held note that intensifies to a quick rhythmic flourish. This theme and a complementary one of angular leaps and unsettled tonality close the exposition and figure prominently in the ensuing development. A stentorian brass chorale closes this section and leads to the recapitulation. The second movement, though closely related to sonatina form (sonata without development), is best heard as a series of dramatic paragraphs whose strengths lie not only in their individual qualities, but also in their powerful juxtapositions. The

third movement is a three-part form whose lyrical, unhurried central trio provides a strong contrast to the mercurial surrounding scherzo. The slow music of the trio returns as a bridge to the sonata-form closing movement, which has a grand sweep and uplifting spirituality that make it one of the last unadulterated flowerings of the great Romantic tradition.

E.T. the Extra-Terrestrial, Continued From Page 89

to see just how close to a flawless and utterly timeless a film Steven Spielberg and his collaborators crafted — one that transcended genres (sci-fi and kids’ movies) to become one of the greatest and most durable of American movies.” To which Kenneth Turan of the Los Angeles Times added, “Seeing E.T. again reminds us of how much we’ve remained the same, how gratified we still are by a film that connects so beautifully to our sense of wonder and joy.”

PRODUCTION CREDITS E.T. The Extra-Terrestrial in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Rebekah Wood Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Chris Szuberla Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for E.T. The Extra-Terrestrial has been adapted for live concert performance.

With special thanks to: Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy, Mark Graham and the musicians and staff of the Philadelphia Orchestra and Bravo! Vail. www.filmconcertslive.com

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Beethoven Symphony No.7, Continued From Page 93

mixing major and minor tonalities; the central episode is a stormy transformation of the theme. The finale is a dazzling display of athletic virtuosity for the soloist.

Symphony No. 7 in A major, Op. 92 (1811-1812) 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.”

A slow introduction, almost a movement in itself, opens the Symphony. This initial section employs two themes: the first, 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 long-shortshort 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 196 Learn more at BravoVail.org

rhythmic energy (“a triumph of Bacchic fury,” in the words of Sir Donald Tovey), but also 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.

Bach & Brahms, Continued From Page 103

lovely country surroundings inspired Brahms’ creativity to such a degree that he wrote to the critic Eduard Hanslick, “So many melodies fly about, one must be careful not to tread on them.” Brahms plucked from the gentle Pörtschach breezes a surfeit of beautiful music for his Second Symphony, which was written quickly during that summer.

The Symphony opens with a three-note motive, presented softly by the low strings, which is the germ seed from which much of the movement grows. The horns sing the principal subject, which includes the three-note motive; the sweet second theme is given by cellos and violas. The development begins with the horn’s main theme, but is mostly concerned with the three-note motive. The placid mood of the opening returns with the recapitulation.

The Adagio plumbs the deepest emotions in the Symphony. The movement covers a wide range of sentiments, shifting, as it does, between light and shade— major and minor. Its form is sonata-allegro, whose second theme is a gently syncopated strain intoned by the woodwinds above the cellos’ pizzicato notes.

The Allegretto is a delightful musical sleight-ofhand. The oboe presents a naive, folk-like tune in moderate triple meter as the movement’s principal theme. The strings take over the melody in the first Trio, but play it in an energetic duple-meter transformation.

The return of the sedate original theme is interrupted by another quick-tempo variation, this one a further development of motives from Trio I. A final traversal of the main theme closes this delectable movement.

The finale bubbles with rhythmic energy and high spirits. The main theme starts with a unison gesture in the strings, but soon becomes harmonically active and spreads through the orchestra; the second theme is a broad, hymnal melody. The development begins with a statement of the main theme in the tonic before branching into discussion of the movement’s motives.

The recapitulation recalls the earlier themes, and leads through the triumphant coda to the brazen glow of the final trombone chord.

Shaham Plays Mozart, Continued From Page 107

Petrushka (1947) IGOR STR AVINSK Y (1882-1971)

Of writing Petrushka for Serge Diaghilev’s Ballet Russe to capitalize on the brilliant success of The Firebird in 1910, Stravinsky said, “In composing the music, I had a distinct picture of a puppet, suddenly endowed with life.... Having finished this piece, I struggled for hours to find a title which would express in a word the character of my music and, consequently, the personality of this creature. One day I leaped for joy, I had indeed found my title—Petrushka, the immortal and unhappy hero of every fair in all countries.” Though his progress on the score was interrupted by a serious bout of “nicotine poisoning,” Stravinsky finished the work in time for the scheduled premiere on June 13, 1911. The production was another triumph.

Tableau I. St. Petersburg, the Shrove-Tide Fair.

Crowds of people stroll about, entertained by a hurdygurdy man and dancers. The Showman opens the curtains of his little theater to reveal three puppets— Petrushka, the Ballerina, and the Moor. He charms them into life with his flute, and they begin to dance among the public.

Tableau II. Petrushka’s Cell. Petrushka suffers greatly from his awareness of his grotesque appearance. He tries to console himself by falling in love with the Ballerina. She visits him in his cell, but she is frightened by his uncouth antics and flees.

Tableau III. The Moor’s Cell. The Moor and the Ballerina meet in his cell. Their love scene is interrupted by the arrival of Petrushka, who is furiously jealous. The Moor tosses him out.

Tableau IV. The Fair. The festive scene of Tableau I resumes with the appearance of a group of wetnurses, a performing bear, Gypsies, a band of coachmen and several masqueraders. At the theater, Petrushka rushes out from behind the curtain, pursued by the Moor, who strikes his rival down with his sword.

Petrushka dies. The Showman assures the bystanders that Petrushka is only a puppet, but he is startled to see Petrushka’s jeering ghost appear on the roof of the little theater.

disparate worlds appears early in Ford’s Farm, 1896. This melody is heard on the fiddle—conjuring a figure like Henry Ford—and is accompanied by junkyard percussion and a ‘phantom orchestra’ that trails the fiddler like ghosts. The accelerando cranking of a car motor becomes a special motif in the piece, a kind of rhythmic embodiment of ever-more-powerful energy. Indeed, this cranking motif explodes in the electronics in the second movement, Chicago, 2012, where we encounter my recordings from the Fermilab particle collider.

“Zoom a hundred years into the dark future of the Xinjiang Province, 2112, where a great deal of the Chinese energy industry is based. On an eerie wasteland, a lone flute sings a tragically distorted version of the fiddle tune, dreaming of a forgotten natural world. But a powerful industrial energy bubbles to the surface and drives the music to a catastrophic meltdown. As the smoke clears, we find ourselves even further into the future: Reykjavik, 2222—an Icelandic rainforest on a hotter planet. The occasional songs of future birds whip around us, a naturalistic version of the cranking motif. Distant tribal voices call for the building of a fire—our first energy source.”

1812 Overture, Op. 49 (1880) P E T E R I LY I C H T C H A I KO V S K Y ( 1 8 4 0 -1 8 9 3)

The Russian penchant for myth-making extends, of course, to her warfare. It is therefore not surprising that Napoleon’s strategic withdrawal from Moscow in 1812 came to be regarded in Russia as a great military victory achieved through cunning and resourcefulness, conveniently ignoring the French General Ney’s report that “general famine and general winter, rather than Russian bullets, conquered the Grand Army.”

Nearly seventy years later, the Cathedral of Christ the Redeemer was erected in Moscow to commemorate the events of 1812. For the Cathedral’s consecration, Nikolai Rubinstein, head of the Moscow Conservatory and director of the Russian Musical Society, planned a celebratory festival of music, and in 1880 he asked Tchaikovsky to write a work for the occasion. That 1812 Overture represents the conflict, militarily and musically, of Russia and France, and the eventual Russian “victory” over the invaders.

Bronfman, Prokofiev &..., Continued From Page 111

An American Celebration, Continued From Page 121

energy—a present-day particle collider, a futuristic Chinese nuclear plant—until it reaches a future Icelandic rainforest, where humanity’s last survivors seek a return to a simpler way of life.

“The idée fixe [a recurring motto] that links these

function for the musical, since it depicted things that were not appropriately shown on the Broadway stage.

However, most recognized that it expanded the scope of the musical through references both to classical literature (Romeo and Juliet) as well as the pressing 197

ORCHESTRA NOTES Program Notes ©2017 Dr. Richard E. Rodda

An American Celebration, Continued From Page 197

problems of modern society. Much of the show’s electric atmosphere was generated by its brilliant dance sequences, for which Jerome Robbins won the 1957-1958 Tony Award for choreography.

An American in Paris (1928) GEORGE GERSHWIN

In 1928, George Gershwin was not only the toast of Broadway, but also of all America, Britain and many spots in Europe. He had produced a string of successful shows (Rosalie and Funny Face were both running on Broadway that spring), composed two of the most popular concert pieces in recent memory (Rhapsody in Blue and the Piano Concerto in F), and was leading a life that would have made the most glamorous socialite jealous. The pace-setting Rhapsody in Blue of 1924 had shown a way to bridge the worlds of jazz and serious music, a direction Gershwin followed further in the exuberant yet haunting Piano Concerto in F the following year. He was eager to move further into the concert world, and during a side trip in March 1926 to Paris from London, where he was preparing the English premiere of Lady Be Good, he hit upon an idea, a “walking theme” he called it, that seemed to capture the impression of an American visitor to the city “as he strolls about, listens to the various street noises, and absorbs the French atmosphere.” Late in 1927, a commission for a new orchestral composition from Walter Damrosch, music director of the New York Symphony and conductor of the sensational premiere of the Concerto in F, caused Gershwin to gather up his Parisian sketches, and by January 1928, he was at work on the score: An American in Paris. When he returned to New York in late June, he discovered that the New York Symphony had announced the premiere for the upcoming season, so he worked on the piece throughout the autumn and finished the orchestration only a month before the premiere, on December 13, 1928. An American in Paris, though met with a mixed critical reception, proved to be a great success with the public, and it quickly became clear that Gershwin had scored yet another hit.

Kavakos Plays Brahms, Continued From Page 125

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 198 Learn more at BravoVail.org

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 Berlioz borrowed from 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 Fields. 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.”

Bach & Schumann, Continued From Page 129

Clara noted that her husband went night after night without sleep, arising in tears in the morning. His doctor described further symptoms: “So soon as he busied himself with intellectual matters, he was seized with fits of trembling, fatigue, coldness of the feet, and a state of mental distress culminating in a strange terror of death, which manifested itself in the fear inspired in him by heights, by rooms on an upper story, by all metal objects, even keys, and by medicines, and the fear of being poisoned.” Schumann complained of ringing in his ears, and it was at times even painful

for him to hear music. He was almost frantic for fear of losing his mind. His physical symptoms, he was convinced, were a direct result of his mental afflictions.

He was wrong.

In those pre-antibiotic times, a common treatment for syphilis was a small dose of liquid mercury. The mercury relieved the external signs of the disease— but at the cost of poisoning the patient (victim?).

Schumann, many years before his devoted marriage to Clara, had both the infection and the treatment. The problems he lamented—ringing ears, cold extremities, depression, sleeplessness, nerve damage—were the result of the mercury poisoning. Sensitive as he was, Schumann first imagined and then was truly afflicted with his other symptoms until he became ill in both mind and body. Seen against this background of pathetic suffering, Schumann’s Second Symphony emerges as a miracle of the human spirit over the most trying circumstances.

The Symphony’s sonata-form first movement is prefaced by a slow introduction that presents a majestic, fanfare-like theme in the brass and a sinuous, legato melody in the strings. (The brass theme recurs as a motto during the course of the work.) The tempo quickens to begin the exposition, with the main theme heard in jagged, dotted rhythms.

The second theme continues the mood of the main theme to complete the short exposition. The lengthy development section is mostly based on the second theme. After the recapitulation returns the exposition’s themes, the fanfare-motto is heard briefly to conclude the movement. The scherzo has two trios: the first dominated by triplet rhythms in the woodwinds, the second by a legato chorale for strings. The horns and trumpets intone the motto theme at the end of the movement. The third movement is constructed around a nostalgic melody first presented by the violins; a brief, pedantic contrapuntal exercise acts as a middle section. The brilliant finale is in sonata form, with a second theme derived from the opening notes of the melody of the preceding Adagio. The majestic coda begins with a soft restatement of the motto theme by trumpets and trombone, and gradually blossoms into a heroic hymn of victory.

The New World Symphony, Continued From Page 135

rhythm. It is quick and pulsating, representing the young, enthusiastic spirit of American life. It begins with a rhythmic motif given out by the kettledrums and with a Charleston motif introduced by bassoon, horns, clarinets and violas. The principal theme is announced

by the bassoon. Later, a second theme is introduced by the piano. The second movement has a poetic, nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated. The final movement is an orgy of rhythms, starting violently and keeping the same pace throughout.”

Though Gershwin based his Concerto loosely on classical formal models, its structure is episodic in nature. His words above do not mention several other melodies that appear in the first and second movements, nor the return of some of those themes in the finale as a means of unifying the work’s overall structure.

Symphony No. 9 in E minor, Op. 95, “From the New World” (1892-1893) 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 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.

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ORCHESTRA NOTES Program Notes ©2017 Dr. Richard E. Rodda

Mahler’s Symphony 7, Continued From Page 139

the movement. A sentimental melody, very Viennese in manner, is given by the violins to provide contrast. The center of the movement is occupied by development of motives from the introduction and main theme.

Solos in the bass and tenor trombones and the tenor tuba lead to the recapitulation.

The Symphony’s three central movements (Night Music I—Scherzo—Night Music II) are grouped together within the massive bulwark of the opening movement and the Rondo-Finale. The Nachtmusik I, in an unsettled C major-minor tonality, is one of Mahler’s most fantastic inspirations. Burnett James found here “a sense of tattered ghostly armies marching by night, of bugle calls and responses as well as those of birds and beasts; not so much barbarous armies that clash by night, as of remnants of those which have clashed.” Bright dawn does not immediately follow this musical night, however, since the ensuing Scherzo is among the most haunted, spectral and disquieting movements in the symphonic literature. “A spook-like, nocturnal piece,” Mahler’s friend and protégé Bruno Walter called it; Ronald Kinloch Anderson allowed that if the surrounding movements are “night” music, this Scherzo might well be “nightmare” music. “A glimpse of darkness, of the skull beneath the skin with its mocking grimace, of the essential horror,” wrote James. This devil’s waltz of a movement is followed by the delicate Nachtmusik II, whose simplicity, quietude and gentle guitar and mandolin sounds serve to quell the apprehension of the Scherzo and to prepare for the sunburst of the Symphony’s close.

The Rondo-Finale has, with justification, been criticized for a lack of coherence and an uninhibited boisterousness sometimes bordering on the banal.

In the context of the Seventh Symphony, however, the finale is an appropriate emotional and stylistic closure to the expressive and formal progression circumscribed by the earlier movements, achieving a mood that Paul Stefan said is “on top of a mountain.”

the next — would work perfectly, especially if the recitative included fragments of themes from earlier movements to unify the structure. Beethoven still had much work to do but he at last envisioned his goal, and the composition was completed by the end of the year. When the final scoring was finished in February 1824, it had been nearly 35 years since Beethoven first considered setting Schiller’s poem.

The Symphony begins with the interval of a barren open fifth, suggesting some awe-inspiring cosmic void. Thematic fragments sparkle and whirl into place to form the riveting main theme. A group of lyrical subordinate ideas follows. The open fifth intervals return to begin the highly concentrated development section. A complete recapitulation and an ominous coda arising from the depths of the orchestra bring this eloquent movement to a close. The form of the second movement is a combination of scherzo, fugue and sonata that exudes a lusty physical exuberance and a leaping energy. The Adagio, one of the most sublime pieces that Beethoven, or anyone else, ever wrote, is a variation on two themes, almost like two separate kinds of music that alternate.

The majestic finale is divided into two large parts: the first instrumental, the second with chorus and soloists. A shrieking dissonance introduces the instrumental recitative for cellos and basses that joins together brief thematic reminiscences from the three preceding movements. The wondrous Ode to Joy theme appears unadorned in the low strings, and is the subject of a set of increasingly powerful variations. The shrieking dissonance is again hurled forth, but this time the ensuing recitative is given voice and words by the baritone soloist. “Oh, friends,” he sings, “no more of these sad tones! Rather let us raise our voices together, and joyful be our song.” The song is the Ode to Joy, presented with transcendent jubilation by the chorus. Many sections based on the theme of the Ode follow, some martial, some fugal, all radiant with the glory of Beethoven’s vision.

Beethoven 9, Continued From Page 143

Richard Rodda (program annotator) has provided

movements nearing completion, Beethoven had one major obstacle to overcome before he could complete the Symphony: how to join together the instrumental and vocal movements. He decided that a recitative — the technique that had been used for generations to bridge from one operatic number to

program notes for numerous American orchestras, as well as the Kennedy Center, the Chamber Music Society of Lincoln Center, and Grant Park Music Festival (Chicago).

He is a regular contributor to Stagebill Magazine, and has written liner notes for Telarc, Angel, Newport Classics, Delos and Dorian Records.

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BEAVER CREEK

26 Avondale Lane, Suite 119 970.845.0400

EDWARDS

34253 Highway 6, Suite 2A 970.748.5150

VAIL

292 E. Meadow Drive, Suite 101 970.476.7944

VAIL

228 Bridge Street,Suite 100 970.476.7944