2018 Bravo! Vail Program Book by Bravo! Vail

J U N E 21â&#x20AC;&#x201C;A U G U S T 2 , 2 018

Chances are, your buyer is already our client.

MODERN MASTERPIECE on GORE CREEK in VAIL

LEGACY ESTATE in CREAMERY RANCH 9 beds | 460RollingHills.com | $6,995,000 *Vail MLS residential data from 1.1.15 to 3.30.18

Buying or selling your home requires knowledge and skilled negotiations: The Stockton Group has real estate career sales approaching $1.2 Billion, and nearly $350 Million of premier Vail Valley real estate sold since 2015.*

stockton GROUP

VAIL︱BEAVER CREEK︱BACHELOR GULCH

970.470.6212

TSGVAIL.COM

MOUNTAIN STAR | 1724 PAINTBRUSH

BEAVER CREEK | MARKET SQUARE 108

MINTURN | CROSS CREEK 1014

4-bedroom | 4.5-bath | 5,659+/-sq.ft. | $4,545,000 Catherine Jones Coburn | 970.390.1706

3-bedroom | 4-bath | 2,332+/-sq.ft. | $2,850,000 Rachel Viele | 970.306.1471

We live here, we work here, we play here. Find your place at:

19 OFFICES | OVER 100 BROKERS Helping People LIVE LOCAL for Over 50 Years

NEW CONSTRUCTION | CUSTOM HOME

ARROWHEAD | 119 RIVERBEND DRIVE 5-bed | 5.5-bath | 5,038+/- sq.ft. | 5-car garage

$4,550,000 This mountain style modern home is the perfect size single-family home; offering an open kitchen, dining and living room spacious enough for everyone to enjoy. Floor to ceiling windows face south towards the 16th green of the golf course and fold all the way open to make the inside and outside one living experience. 119RiverBendDrive.vailrealestate.com

TEAM OF ANNA MENZ & DAVID ADKINS The only team offering two office locations: Arrowhead & Vail Village.

(970)471.3525 ANNA&DAVID@SLIFER.NET To view all of our listings, visit:

VAILBEAVERCREEKLUXURYHOMES.COM POWERFUL TEAM. EXCEPTIONAL SERVICE. PROVEN RESULTS.

ELEVATING - Free delivery - Best pricing

YOUR SUMMER EXPERIENCE

BEER | WINE | LIQUOR

- Event planning

Hours:

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

Location:

- Largest selection

2151 N. Frontage Road W. in West Vail Mall between Safeway and McDonaldâ&#x20AC;&#x2122;s

Visit our online store at

www.westvail.com Beverage Sponsor of

970-476-CORK (2675)

Serving Vail for 45 years!

2150 ALPINE DRIVE #W WEST VAIL 4 bedrooms, 4 bathrooms, 3,349 sqft $1,995,000 Karin Millette • 970.376.0691 karin.millette@evusa.com

1454 GREENHILL COURT #E CASCADE VILLAGE, VAIL 5 bedrooms, 5 bathrooms, 3,545 sqft $3,200,000 Steve Stavisky • 970.390.9203 steve.stavisky@evusa.com

ALPHORN CONDOMINIUM #306 VAIL VILLAGE 2 bedrooms, 2 bathrooms, 960 sqft $1,675,000 Beth Golde • 843.505.1026 beth.golde@evusa.com

TYROLEAN INN CONDO #9 VAIL VILLAGE • SOLD 4 bedrooms, 6 bathrooms, 5,378 sqft $11,200,000 Josh Lautenberg • 970.390.4127 josh.lautenberg@evusa.com

Vail Village

Just East of Solaris 970-477-5300

Beaver Creek

vail@evusa.com

•

WEBSITE

vail.evusa.com

Across from Vilar Center 970-763-5800

©2018 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.

A local's hot spot for 24 years and counting

Fresh Seasonal Menu Happy Hour Nightly 5-6pm Dinner Served Nightly 5pm-close Call for reservations 970-476-6836 View the menu online at www.terrabistrovail.com

WHY PAUL GOTTHELF

& why it matters who you work with.

Long time local, selling property throughout the entire Vail Valley. #1 Broker in Slifer Smith & Frampton Real Estate, 230 Bridge Street Office 2017 #5 Broker in Slifer Smith & Frampton Real Estate 2017

PAUL GOTTHELF

197 Rockledge Road VAIL VILLAGE

Redevelopment Rendering

Rare redevelopment opportunity to add 2,000+/- sqft to the property.

Vail Village | 230 Bridge Street 970.376.1775 | pgotthelf@slifer.net | www.GottMountainHomes.com

BERGLUND Redefining LuxuRy Living

ARCHITECTS, LLC

SophiSticated

modeRn

caSuaLLy eLegant

Providing Architectural & Interior Design Services throughout the U.S.

vail, co

970 926 4301

www.berglundarchitects.com

Bravo! Vail Without music, life would B-Flat

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

Aitken & Associates UBS Financial Services Inc. Private Wealth Management 816 A1A North Suite 300 Ponte Vedra Beach, FL 32082 Christopher Aitken is a recognized industry leader

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

•

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. CIMA® is a registered certification mark of the Investment Management Consultants Association Inc. in the United States of America and worldwide. © UBS 2018. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC.EXC_0144_Ailken

EVERY DAY MADE BETTER

970.949.6339 | mcpsvail.com Eagle Vail Business Center

HOT TUBS & POOLS • FITNESS • SAUNAS MAINTENANCE • DESIGN & BUILD • GRILLS

bhhscoloradoproperties.com

LIONSHEAD 745-B Forest Road | $10,600,000 4 Bedroom | 4.5 Bath | 3,667 sq. ft. Kevin Denton, 970-306-9330

4 ARROWHEAD 36 Ambleside Place | $2,000,000 6 Bedroom | 4 Full/2Half Bath | 4,234 sq. ft. Mark Weinreich, 970-376-3204 Tiffany Lydon Weinreich, 970-331-5115

8 Offices | 100 Brokers | Real Estate & Vacation Rentals | Since 1971 © 2018 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.®

The Destination ThePrivate PrivateChef ChefExperience Experience In In A A World World Class Class Destination Featured & 2018 2018 Featured Caterer Caterer of of the the 2017 2017 & Bravo!Vail Series Bravo!Vail Classically Classically Uncorked Uncorked Series

Intimate,formal formal Dinner Dinner Parties Parties Intimate, Weddings&& Corporate Corporate Events Events Weddings CulinaryLessons Lessons & & Demonstrations Demonstrations Culinary Brian Farquharson

www.RedCanyonCatering.com | 970-390-3279 Brian Farquharson Chef, Owner www.RedCanyonCatering.com | 970-390-3279 Private Private Chef, Owner

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

Unparalleled Management Optimal Results

30 YEARS SERVING MOUNTAIN COMMUNITIES PROPERTY MANAGEMENT • VACATION RENTAL • HOME CARE • ASSOCIATION MANAGEMENT

Call to learn more 970.748.4491 | www.eastwestdestinationhospitality.com

Vail - Beaver Creek - Snowmass - Tahoe

LIV ICONIC

1119 Ptarmigan Road, Vail • 5 Beds • 6 Baths • 6,030 SF • $11,950,000 • 1119.VailLuxuryEstate.com

LIV TIMELESS

1548 Via La Favorita, Edwards • 8 Beds • 14 Baths• 16,559 SF • 230 Acres (88 donated as open space) • VailLegacyEstate.com

157 Pilgrim Drive, Lake Creek • 6 Beds • 8 Baths • 10,222 SF • $5,800,000 • PilgrimDownsEstate.com Malia Cox Nobrega | 970.977.1041 malia@vailluxurygroup.com VailLuxuryGroup.com

Barbara Scrivens | 970.471.1223 bscrivens@livsothebysrealty.com BarbaraScrivens.com

TAK E RELAX ATI ON TO N EW HEI G H TS . Recharge and reconnect as you discover world-class shopping and dining options in a setting Like Nothing on Earth. Discover all Vail has to offer at Vail.com.

With nearly 150 shops, 10 spas, and more than 75 restaurants, thereâ&#x20AC;&#x2122;s always something exciting to experience in Vail.

LAKE CREEK VALLEY

4191 E LAKE CREEK ROAD EDWARDS | COLORADO 35+/- acres

OFFERED AT $5,425,000

Nestled in the magnificent Lake Creek Valley, this property enjoys a rich heritage in Colorado ranching, with creek frontage, a pond for fish stocking, irrigated pastures and water rights. Protected by a conservation easement, a residence may be built on one of two designated building envelopes. A true Colorado legacy property.

An Extraordinary Opportunity...

Kathleen Eck CONNECTED | RESPECTED | TRUSTED

Incomparable estate| knowledge 230 Bridgereal Street Vail, Colorado in the Vail Valley. 970.376.4516 keck@slifer.net KathleenEck.com

165 Forest Road One of the most sophisticated and contemporary houses ever built in Vail. Panoramic views of the Gore Range from the rooftop patio are unmatched. Built by Shaeffer Construction and designed by Hans Berglund this home is a dream made into reality. Custom designed 75-foot suspended glass bottom pool allows you to take in the views of the fire pit below. State-of-the-art freestanding elevator with a glass ceiling becomes an integrated art installation. Cutting edge technology makes this a genius home, complete with biometric recognition. With over 8,000 square feet, six bedrooms and eight bathrooms this exceptional home is truly one-of-a-kind.

Alitza 970.471.5505

alitza@ronbyrne.com

Tina Vardaman

Service | Trust | Commitment SSF TOP 10 PRODUCER 2017

eeply rooted within the Vail Valley community, Tina Vardaman has earned a reputation as a highly committed, hard-working professional with a great sense of integrity. Her dedication, knowledge, connections, and high standards of service have resulted in outstanding results time and time again.

32 Wayne Creek Road

BEAVER CREEK VILLAGE

Vail Village | 230 Bridge Street Office 970.390.7286 | tvardaman@slifer.net | www.TinaVardaman.com

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

beauty & the bear

Record Breaking Sales prices for properties listed with Brooke Ferris! Potato PatCh RESIdENCE Highest Potato Patch sale ever ! – with the price of $1,040 per square foot with a total price of $3,545,000!

Booth CREEk EStatE Highest Booth Creek sale ever ! – with the price of $948 per square foot with a total price of $4,487,500!

HAPPY SELLERS I have been extraordinarily pleased with how Brooke Ferris represented me in the sale of my Spec Home… We are most grateful for her efforts. Mikki & Morris Futernick ~ Vail & Miami

Brooke amazed us. We gave Brooke our listing. She had our Beaver Creek house “under contract” in 3 weeks! If you want a dedicated broker – we highly recommend Brooke Ferris.

We felt confident & relaxed the moment we entrusted Brooke with the listing of our Booth Creek house. Working with Brooke – the outcome was extremely successful – she broke all sales records for us!

Pam & Ernie Elsner ~ Beaver Creek

Gilda & Werner Kaplan ~ Vail & Denver

Shall we sell your home for top dollar? I represent International Cash Buyers – two of my favorite purchases.

SoLaRIS RESIdENCE Perfect pairing between Buyer and their new Vail Vacation Condominium ! $4,800,000

NoRthwoodS SkI IN / SkI out CoNdo Always on the alert – the instant this Northwoods came to market, Brooke notified her ready buyers, wrote contract offer, followed by a successful closing ! $2,395,000

HAPPY BUYERS Beatriz & I are very happy with the support that you gave us for our Solaris condo. Your professionalism, experience and negotiating skills accomplished just what we wanted!

Brooke has been our only Vail Valley Real Estate broker for years! She is totally “in tune” with our requirements for our vacation homes. Brooke makes Real Estate buying & selling a smooth, stress free and pleasant experience – combined with expert marketing, professional detailed service and quick, lucrative results – she fulfills the expectations of the most demanding clients. Absolutely – hire Brooke as your Vail Broker.

Javier Cordero ~ Guadalajara, Mexico

Dani Bedoni ~ Caracas, Venezuela & New York

Brooke Ferris Vail Real Estate

970-376-0531

w w w.brookevail.com Luxury Property Specialist

English, Spanish and French spoken

For quick and lucrative results call Brooke

970.376.0531 brooke@vail.net

WITH YOU FOR 45 YEARS Please join us in celebrating the spirit of trailblazing in honor of our anniversary at Alpine Bank–45 years of building Colorado communities with you. Alpine Bank proudly donated more than $3.7 million to community organizations and paid employees to volunteer nearly 14,000 hours last year alone. For inspiring tales of trailblazing by Alpine Bank, community leaders and entrepreneurs, visit alpinebank.com. #TrailblazingWithYou

T RA I LBL A ZING FOR 45 YEARS

PERSONAL • B U SI N ESS • MO RTG AG E • WEA LTH MA NAG EMENT* *Not FDIC Insured • May Lose Value • No Bank Guarantee

“Each season Bravo! Vail is proud to present outstanding guest pianists. It makes me so proud to offer this gorgeous Yamaha CFX instrument to be played in the beautiful Ford Amphitheater. When I perform on this piano, I’m in absolute heaven.”

– Anne-Marie McDermott, Yamaha Artist and Artistic Director, Bravo! Vail

Classic Pianos 1332 S. Broadway, Denver, CO 80210 classicpianosdenver.com | (303) 777-2636

Authorized Yamaha Piano Representative, Vail, CO

yamahapiano.com

the ultimate dining experience

Exquisite from start to finish. Let Splendido host your date night, special occasion, large event or intimate gathering. Complimentary valet parking.

splendidorestaurant.com

17 Chateau Lane Beaver Creek, Colorado

970.845.8808

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

Luxurious Living on Vail Golf Course... 925 Fairway Drive This exceptional home designed by Hans Berglund sits on one of Vail Golf Course’s most magnificent sites, and is just steps to Ford Amphitheater, Golden Peak ski lift and Vail Village. Built with views in mind, the floor to ceiling HOPE’s steel windows offer panoramic views of the Vail Golf Course and mountains. Custom details include dramatic open steel and wood staircase, seven limestone fireplaces, exceptional family room and over 2,000 square feet of heated patios with fireplaces.

1468 Vail Valley Drive Designed by Kyle Webb, this magnificent custom home is ideally situated in Vail’s Golf Course neighborhood. Backing up to Forest Service land, enjoy Gore Range views and two private water features from the expansive heated outdoor patio spaces with fire pit. Exuding luxury, this home has over 7,000 square feet. Vaulted ceilings with imported mined beams, oak wood floors and chef ’s kitchen are just a few of the unique details in this exquisite home.

Cristina Byrne 970.331.1313

285 Bridge Street Vail, Colorado 81657 970.476.1987 www.ronbyrne.com

WELCOME TO THE 2018 SEASON A musical adventure like no other.

ravo! Vail brings the world of magnificent music to the Vail Valley. The 2018 season has a distinctly global flair. Internationally renowned guest artists and ensembles from all over the world — both rising stars and legendary masters — offer virtuoso performances. The incredible musicians of the Academy of St Martin in the Fields, Dallas Symphony, Philadelphia Orchestra, and New York Philharmonic all make their eagerly awaited returns, sharing musical depictions of medieval Germany and Arabian nights, Scottish fantasies and Roman carnivals, Argentinian tango, and America’s heartland. Orchestral masterworks, sensational pops presentations, intimate chamber music artistry, and family-friendly fun, performed by the world’s finest musicians, all take place in spectacular settings throughout the Vail Valley. In addition to this summer’s musical adventures we are pleased to announce that in the fall we are launching a new After School String Instrument program for children in grades 2 through 5. This initiative is the perfect complement to our thriving After School Piano Program and our new Spring Family Concert series, which this past April included a weeklong residency in the schools with members of Carnegie Hall’s Ensemble Connect. Even though it’s summer, the magic of Bravo! is going strong all year round! We are thrilled to welcome you and want to express heartfelt thanks to our passionate and dedicated community of artists, audiences, board, staff, patrons, volunteers and businesses. Not a note would be heard without you!

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

P H O T O S BY Z AC H M A H O N E .CO M UNLESS OTHERWISE NOTED

G REG W A LT O N Board Chair

Learn more at BravoVail.org 31

BOARD OF TRUSTEES Greg Walton, Chair

John Dayton

Shirley McIntyre

Adrienne Rowberry

Barry Beracha, Vice Chair

Gary Edwards

Laurie Mullen

Lisa Schanzer

Cathy Stone, Vice Chair

Cookie Flaum

Blaine Nelson

Carole Segal

Bill Burns, Treasurer

Dan Godec

Gary Peterson

Rachel Smiley

Kathleen Eck, Secretary

Hank Gutman

Steve Pope

Frank Strauss

Ronnie Baker

Linda Hart

Brad Quayle

Doug Tansill

Paul Becker

Alan Kosloff

Drew Rader

Fred Tresca

Sarah Benjes

Fred Kushner

Byron Rose

Doe Browning

Diane Loosbrock

Paul Rossetti

ADVISORY COUNCIL Charlie Allen

Sallie Fawcett

Sandy LaBaugh

Susan Rogel

David Anderson

Harry Frampton

Robert LeVine

Terie Roubos

Marilyn Augur

Joan Francis

Vicki Logan

Rod Slifer

Jenn Bruno

Michael Glass

John Magee

Randy Smith

Edwina Carrington

Mark Gordon

Tony Mayer

Marcy Spector

Carol Cebron

Jeanne Gustafson

Sarah Millett

Tye Stockton

Becky Crawford

Kim Hackett

Matt Morgan

Susan Suggs

Tim Dalton

Martha Head

Bill Morton

Lisa Tannebaum

Lucy Davis

Becky Hernreich

Richard Niezen

Anne Verratti

Marijke de Vink

Mark Herron

Kalmon Post

Michael Warren

Brian Doyle

Jeremy Krieg

Martha Rehm

Carole Watters

Kabe ErkenBrack

Honey Kurtz

Michele Resnick

Kristin K. Williams

FROM THE FOUNDER It is a great pleasure to welcome you to the 2018 season of the Bravo! Vail Music Festival. Wow…Time flies like an arrow, and already the Festival turns 31. This year marks the Leonard Bernstein Centennial which Bravo! Vail honors through the presentation of the master’s most popular Broadway works (July 20) and his beautiful choral work, Chichester Psalms (July 21). Bravo! Vail has become one of America’s best and most steadfast performing arts organizations. 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

John W. Giovando FOUNDER & EXECUTIVE DIRECTOR EMERITUS

32 Learn more at BravoVail.org

music and good times. A 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!

Moving people worldwide to the mountains ALIDA ZWAAN REAL ESTATE Vail Valleyâ&#x20AC;&#x2122;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@bhhsvail.net vailrealestatecolo.com SERVING THE VAIL VALLEY FOR OVER 30 YEARS

FirstBank Proudly Supports Bravo! Vail.

Visit us online or at any convenient location.

efirstbank.com

banking for good Member FDIC

SUNDAY

MONDAY

TUESDAY

2018 SEASON AT A GLANCE COLOR KEY

Orchestra Concerts

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

Chamber Music Concerts Classically Uncorked presented by Meiomi Wine Free Concerts Free Education & Engagement Events Linda & Mitch Hart Soirée Series

BCP: Brush Creek Pavilion DP: Donovan Pavilion EIC: Edwards Interfaith Chapel

26 Chamber Music 6:00PM | DP

1 JULY

Dallas Symphony Orchestra 6:00PM | GRFA

Little Listeners 2:00PM | APL

Free Concert 1:00PM | VIC

Dallas Symphony Orchestra 6:00PM | GRFA

Little Listeners 2:00PM | VPL

The Philadelphia Orchestra 6:00PM | GRFA

Little Listeners 2:00PM | APL

Free Concert 1:00PM | VIC

Free Concert 6:00PM | EIC

Little Listeners 2:00PM | VPL

Soirée 6:00PM | Mayer Residence

Chamber Music 6:00PM | DP

2018 Annual Gala An American in Paris 5:30PM | RCBG

Free Concert 6:00PM | BCP

Free Concert 1:00PM | VIC

Pre-Concert Talk 5:00PM | GRFA

Soirée 6:00PM | Rothkopf Residence

Free Concert 1:00PM | VIC

LOCATION KEY APL: Avon Public Library

Chamber Music 6:00PM | DP

EPL: Eagle Public Library GESC: Golden Eagle Senior Center GPL: Gypsum Public Library GRFA: Gerald R. Ford Amphitheater LAG: Lundgren Amphitheater, Gypsum RCBG: Ritz-Carlton, Bachelor Gulch VAH: Vail Ale House VIC: Vail Interfaith Chapel

New York Philharmonic 6:00PM | GRFA

Chamber Music 6:00PM | DP

VMS: Vail Mountain School VPL: Vail Public Library WMSC: Walking Mountains Science Center

29 Soirée 6:00PM | Millett Residence

34 Get tickets at BravoVail.org

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

WEDNESDAY

THURSDAY 21 JUNE

FRIDAY 22

Pre-Concert Talk 5:00PM | GRFA

SATURDAY 23 Academy of St Martin in the Fields 6:00PM | GRFA

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

Dallas Symphony Orchestra 6:00PM | GRFA

SoirÃ©e 6:00PM | Loosbrock Residence

Dallas Symphony Orchestra 6:00PM | GRFA

Pre-Concert Talk 5:00PM | GRFA

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

Free Concert 1:00PM | VIC

Pre-Concert Talk 5:00PM | GRFA

The Philadelphia Orchestra 6:00PM | GRFA

Bravo! Vail After Dark 8:30PM | VAH

Master Class 11:00AM | VMS

Free Family Concert #1 11:00AM | GRFA

Master Class 11:00AM | VMS

The Philadelphia Orchestra 6:00PM | GRFA

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

Free Concert 1:00PM | VIC

The Philadelphia Orchestra 6:00PM | GRFA

Bravo! Vail After Dark 8:30PM | VAH

Little Listeners 2:00PM | GPL

Free Concert 11:00AM | GESC

New York Philharmonic 6:00PM | GRFA

Pre-Concert Talk 5:00PM | GRFA

Dallas Symphony Orchestra 6:00PM | GRFA

Free Family Concert #2 6:00PM | LAG

Free Concert 1:00PM | VIC

New York Philharmonic 6:00PM | GRFA

Little Listeners 2:00PM | EPL

Bravo! Vail After Dark 8:30PM | VAH

Science Behind Sound 6:30PM | WMSC

Little Listeners 2:00PM | GPL

Free Concert 1:00PM | VIC

New York Philharmonic 6:00PM | GRFA

Little Listeners 2:00PM | EPL Pre-Concert Talk 5:00PM | GRFA New York Philharmonic 6:00PM | GRFA

1 AUGUST

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

Pre-Concert Talk 6:30PM | DP Classically Uncorked Presented by Meiomi Wine 7:30PM | DP

ACADEMY OF ST MARTIN IN THE FIELDS

INTERNATIONAL BRILLIANCE IN RESIDENCE JUNE 21–24, 2018

In 2016, the Academy of St Martin in the Fields became the first chamber orchestra and the first internationally based ensemble to perform at Bravo! Vail.

SCHEDULE AT A GLANCE JUN

21 JUN

23 JUN

Bell: Mendelssohn, Bruch & Beethoven............... 51 Bell: Saint-Saëns & Beethoven........................................ 55 Bell: Bach, Barber & Tchaikovsky....................................59

JOSHUA BELL MUSIC DIREC TOR , ACADEMY OF ST MARTIN IN THE FIELDS

36 Learn more at BravoVail.org

HE ACADEMY OF ST MARTIN IN THE FIELDS IS one of the world’s finest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s greatest orchestral music. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the 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 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 Leader/ Director Tomo Keller and Principal Guest Conductor Murray Perahia, the Academy continues to push the

boundaries of player-directed performance to new heights, presenting symphonic repertoire and chamber music on a grand scale at prestigious venues around the globe. In 2018-19 the Academy collaborates with artists including pianist Kit Armstrong, cellist Andreas Brantelid, pianist Jeremy Denk, and violinist Julia Fischer for tours across Europe, the USA, and Mexico. The orchestra looks forward to celebrating its 60th anniversary in 2019 with exciting projects in the UK and beyond. Complementing a busy international schedule, the Academy continues to reach out to people of all ages and backgrounds through its Learning and Participation programs. The orchestra’s 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 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.

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+ )

The Sidney E. Frank Foundation Cathy and Howard Stone Martin Waldbaum

Eva-Marie and Ray Berry and The Paiko Foundation

PREMIER BENEFACTOR ( $50,000+ )

BENEFACTOR ( $5,000+ )

Town of Vail

John Dayton Shelby and Frederick Gans, in honor of Carole and Peter Segal Ann and William Lieff

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

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family Gina Browning and Joe Illick

Learn more at BravoVail.org 37

DALLAS SYMPHONY ORCHESTRA

UNCOMPROMISING EXCELLENCE IN RESIDENCE JUNE 27–JULY 4, 2018

This summer the Dallas Symphony Orchestra returns to Bravo! Vail for its 18th summer residency with a rich lineup that includes classical favorites and exciting pops programs featuring movie scores, jazz, blues, and patriotic works.

HE DALLAS SYMPHONY ORCHESTRA engages its audiences with distinctive classical programs, inventive pops concerts, and innovative multi-media presentations. As the largest performing arts organization in the Southwest, the DSO is committed to presenting the finest in orchestral music at the Morton H. Meyerson Symphony Center, which is regarded as one of the world’s premier concert halls. The orchestra reaches more than 230,000 adults and children annually through performances, educational programs and outreach initiatives. Through partnerships with the City of Dallas and local community groups, the Dallas Symphony offers free parks concerts, programs specially designed for targeted and diverse audiences, and performances at venues across the Dallas-Fort Worth Metroplex. As the cornerstone of the Dallas Arts District, the largest contiguous arts district in the country, the Dallas Symphony partners with its neighbors each season to present the DSO’s Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival. This three-week festival seeks to drive authentic collaboration between artists and organizations throughout the city to create unique, multi-disciplinary

38 Learn more at BravoVail.org

programming that is accessible to a broad audience. Dallas Symphony Orchestra performances are regularly hailed as “exhilarating” and “revelatory” and have been called “as electrifying as you’ll hear anywhere.” Founded in 1900, the Dallas Symphony Orchestra has grown from a 40-person ensemble to an internationally recognized orchestra. Early in its history, the DSO developed 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, Eduardo Mata was appointed Music Director of the Dallas Symphony. Under his guidance, the orchestra enjoyed many successes, including obtaining recording contracts with RCA and Dorian, embarking on a European tour, and performing in various national and international concert halls. When Mata retired in June 1993, he had the longest tenure of any Music Director in the orchestra’s history and was named Conductor Emeritus of the Dallas Symphony Orchestra. During Mata’s tenure, the DSO’s current home, the Morton H. Meyerson Symphony Center, was dedicated in September 1989. The Dallas Symphony Association named Andrew Litton as Mata’s successor in December 1992. Litton launched the Dallas Symphony’s first television venture,

SCHEDULE AT A GLANCE JUN

Măcelaru Conducts Rachmaninoff..............................63

JUN

Women Rock!

29 JUN

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Tchaikovsky’s Fifth Symphony.........................................71

JUL

Tango Caliente!

01 JUL

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Movie Music: Out of This World........................................ 79

JUL

Patriotic Concert

.......................................................................

JEFF TYZIK PRINCIPAL P OP S CONDUC TOR , DALL AS SYMPHONY ORCHESTRA

Amazing Music, and made numerous recordings with the DSO, including Mahler’s Symphony No. 5 and Gramophone magazine’s Editor’s Choice Awardwinning Rachmaninoff Piano Concertos. Litton and the orchestra performed nationally and internationally and inaugurated a summer residency at Bravo! Vail. Following Litton’s departure, in February 2007, the DSO named Jaap van Zweden as its Music Director. In addition to his position with the Dallas Symphony, van Zweden serves as Music Director of the Hong Kong Philharmonic Orchestra. 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. In March 2013, van Zweden conducted a heralded two-week European tour with the Dallas Symphony. For the DSO Live record label, Maestro van Zweden 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. On January 27, 2016, the New York Philharmonic announced Jaap van Zweden as the next Music Director starting with the 2018-19 season.

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 Marilyn Augur

OVATION ( $15,000+ ) Marcy and Stephen Sands Charles and Margery Pabst Steinmetz Carole A. Watters

Peggy and Gary Edwards Cindy Engles Rebecca and Ron Gafford Brenda and Joe McHugh Mr. and Mrs. Al Meitz Allison and Russell Molina Jane Parker Debbie and Ric Scripps Bill and Katie Weaver Charitable Trust

ALLEGRO ( $10,000+ ) John Dayton Alexia and Jerry Jurschak Sammye and Mike A. Myers Patti and Blaine Nelson

Learn more at BravoVail.org 39

THE PHILADELPHIA ORCHESTRA

THE FABULOUS PHILADELPHIANS IN RESIDENCE JULY 6–14, 2018

The Philadelphia Orchestra returns to Bravo! Vail for its 12th 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.

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 sixth season as Music Director of The Philadelphia Orchestra. He joins a remarkable list that covers the Orchestra’s 118 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. Nézet-Séguin … showed complete

40 Learn more at BravoVail.org

command of the score and all its entrails and contrails. He also gave further 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 ensemble 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

SCHEDULE AT A GLANCE JUL

06 JUL

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Denève Conducts Brahms & Dvořák..................... 87 Beethoven’s Emperor & Mahler’s Titan........................ 91 Thibaudet Plays Saint-Saëns.....................................95 Raiders of the Lost Ark: Film With Live Score........ 103 Mozart, Barber & Brahms............................................. 109 Trifonov Plays Rachmaninoff........................... 113

STÉPHANE DENÈVE PRINCIPAL GUES T CONDUC TOR , THE PHIL ADELPHIA ORCHESTRA

connected with the Orchestra or symphonic music, thus bridging all ages and backgrounds. Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a 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 brought orchestral music to China’s major cities and provinces. The ensemble today boasts five-year partnerships with the NCPA and the Shanghai Media Group. In 2018 the Orchestra traveled to Europe and Israel. 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.

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

SOLOIST ( $7,000+ )

( $50,000+ )

ANB Bank and The Sturm Family Town of Vail

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post

IMPRESARIO ( $25,000+ )

BENEFACTOR ( $5,000+ )

Karen and Michael Herman Sandra and Greg Walton

Christine and John Bakalar Dr. David Cohen Sue and Dan Godec Laura and Jim Marx Mr. John McDonald and Mr. Rob Wright Barbara and Howard Rothenberg Mr. and Mrs. Ernest Scheller, Jr. Carole and Peter Segal Susan and Steven Suggs Dhuanne and Doug Tansill Sharon and Marc Watson

VIRTUOSO ( $20,000+ ) Donna and Patrick Martin

OVATION ( $15,000+ ) Anonymous, in honor of Nancy Stevens Anne and Hank Gutman Susan and Rich Rogel

ALLEGRO ( $10,000+ ) John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

Learn more at BravoVail.org 41

NEW YORK PHILHARMONIC

PRECISION, POWER, SOUL IN RESIDENCE JULY 20–27, 2018

The New York Philharmonic returns to Bravo! Vail for its 16th annual summer residency performing six orchestral concerts, including a celebration of Philharmonic Laureate Conductor Leonard Bernstein.

HE NEW YORK PHILHARMONIC PLAYS A leading cultural role in New York City, the United States, and the world. Each season the Philharmonic connects with up to 50 million music lovers through live concerts in New York and around the globe as well as with its digital recording series, international broadcasts, and education programs. In the 2017–18 season, during which Jaap van Zweden serves as Music Director Designate, the Philharmonic celebrates its greatest strengths and essential commitments while looking to the future as an innovative, global ensemble, spotlighting its musicians and partners, dedication to new music, wide-ranging repertoire, education programs, and accessibility. The Philharmonic 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’ Pulitzer Prize– winning On the Transmigration of Souls, dedicated to the victims of 9/11, Esa-Pekka Salonen’s Piano

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Concerto, Wynton Marsalis’ The Jungle (Symphony No. 4), and Anna Thorvaldsdottir’s Metacosmos. A resource for its community and the world, the Philharmonic complements its annual free citywide Concerts in the Parks, Presented by Didi and Oscar Schafer, with Philharmonic Free Fridays, its famed Young People’s Concerts, the Shanghai Orchestra Academy and Residency Partnership, and partnerships with Santa Barbara’s Music Academy of the West, Rice University’s Shepherd School of Music, and the University Musical Society of the University of Michigan. The Orchestra has appeared in 432 cities in 63 countries. A media pioneer, the Philharmonic has made more than 2,000 recordings since 1917, and was the first major American orchestra to offer downloadable concerts, recorded live. The Philharmonic launched its partnership with Decca Gold, Universal Music Group’s newly established U.S. classical music label, in February 2018 with the release of Jaap van Zweden and the Philharmonic’s performances of

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20 JUL

21 JUL

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26 JUL

Tovey Conducts: Bernstein on Broadway..............................123 The Spirit of Bernstein: Chichester Psalms............... 127 Mendelssohn & Saint-Saëns.................................. 131 Lalo Symphonie espagnole & Ravel Boléro......................... 137 The Weilersteins: Elgar & Beethoven’s 5th............... 141 New York Closing: Ravel & Scheherazade.....................145

BR AMWELL TOVEY CONDUC TOR , NE W YORK PHILHARMONIC

FRIENDS OF THE NEW YORK PHILHARMONIC Beethoven’s Symphonies Nos. 5 and 7, on CD and for streaming and download. In 2016 it produced its first-ever Facebook Live concert broadcast, reaching more than one million online viewers through three broadcasts that season. The Orchestra’s extensive history is available free, online, through the New York Philharmonic Leon Levy Digital Archives, which makes available every printed program since 1842, plus scores and parts marked by musicians and Music Directors, including Mahler and Bernstein. Founded in 1842 by local musicians led by American-born 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 figures who have conducted the Philharmonic include Tchaikovsky, Richard Strauss, Stravinsky, Copland, and Mitropoulos. Jaap van Zweden will become Music Director in 2018–19, succeeding musical leaders including Alan Gilbert, Maazel, Masur, Zubin Mehta, Boulez, Bernstein, Toscanini, and Mahler.

Bravo! Vail gratefully acknowledges the support of the following patrons: DIAMOND ( $40,000+ ) ANB Bank and The Sturm Family Julie and Tim Dalton Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

PLATINUM ( $30,000+ ) Marijke and Lodewijk de Vink Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

GOLD ( $20,000+ ) Jayne and Paul Becker Amy and Steve Coyer Stephanie and Lawrence Flinn, Jr. Georgia and Don Gogel Judy and Alan Kosloff 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 Margaret and Alex Palmer The Precourt Family Martha Dugan Rehm and Cherryl Hobart Sandra and Alejandro Rojas Terie and Gary Roubos Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein

BRONZE ( $10,000+ ) Pamela and David Anderson Jean and Harry Burn Lucy and Ron Davis Antonio Del Valle Ruiz Susan and John Dobbs Liz and Tommy Farnsworth Penny and Bill George Martha Head June and Peter Kalkus Dr. and Mrs. Frederick Kushner Mr. John McDonald and Mr. Rob Wright Carolyn and Gene Mercy Carole and Peter Segal Sue and Marty Solomon

Learn more at BravoVail.org 43

CHAMBER MUSIC SERIES

UP CLOSE & MUSICAL JUNE 26–JULY 24, 2018

ACADEMY OF ST MARTIN IN THE FIELDS CHAMBER ENSEMBLE (page 62) 44 Learn more at BravoVail.org

JEAN-YVES THIBAUDET, PIANO (page 101)

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS: Eva-Marie and Ray Berry and The Paiko Foundation Fork Art Catering The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair Town of Vail

NEW YORK PHILHARMONIC STRING QUARTET (page 136)

FROM LEFT: © DAVID ROWE; © DECCA; © CHRIS LEE

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. The spectacular setting is 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.

SCHEDULE AT A GLANCE JUN

26 JUL

10 JUL

17 JUL

The Academy Winds & Strings..........................62 Four Pianists/ Two Pianos................................... 101 McDermott Plays Bach and Mozart.................. 120 New York Philharmonic String Quartet...........................136

Learn more at BravoVail.org 45

CLASSICALLY UNCORKED PRESENTED BY MEIOMI WINE

ARTISTRY IN ABUNDANCE JULY 31–AUGUST 2, 2018

LASSICALLY UNCORKED pulls out all the stops in an unforgettable chamber music experience unlike any other. With gourmet hors d’oeuvres, handcrafted wines, and intimate seating in an exquisite mountain setting, this year’s programs

showcase two of the most visionary and enterprising ensembles performing today. Experience a Pulitzer Prize-winning “passion play,” the world premiere of a contemporary Requiem, and the fascinating interplay between musical perspectives, past and present.

SERIES PRESENTED BY

Amy and Charlie Allen Eva-Marie and Ray Berry and The Paiko Foundation Meiomi Wine Red Canyon Catering Town of Vail

46 Learn more at BravoVail.org

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF:

SCHEDULE AT A GLANCE JUL

31 AUG

AUG

Voices + Quartet: A Sonic Dialogue................. 149 Voices + Quartet + Piano: Little Match Girl & Mozart......................................... 150 Voices + Quartet + Piano: Intoxicating Harmonies.................................... 151

Learn more at BravoVail.org 47

EDUCATION & ENGAGEMENT For event dates, times, and locations see the 2018 SEASON AT A GLANCE on pages 34-35

FOR KIDS & FAMILIES Bravo! Vail’s vibrant education programs are a fun entry-point into the world of classical music. FREE FAMILY CONCERTS Magic Circle Mime Company performs “The Listener: A Young Person’s Guide to the Orchestra” which explores the active relationship between the listening audience and the musicians. Performances are preceded by an Instrument Petting Zoo.

LITTLE LISTENERS @ THE LIBRARY

AFTER-SCHOOL STRING INSTRUMENT PROGRAM

Free, fun, and engaging performances by 2018 Festival musicians in area libraries. Events include an interactive musical activity following each performance.

Bravo! Vail’s new academic-year String Instrument Program will incorporate elements from various teaching methodologies, providing an excellent, well-rounded education in string instruments for students in grades 2-5.

AFTER-SCHOOL PIANO PROGRAM Bravo! Vail’s flagship academicyear education program teaches fundamental musical concepts and keyboard-based skills to students in grades 2-5. Piano classes are held at locations throughout the Vail Valley in partnership with the Eagle County School District.

SPRING FAMILY CONCERT Bravo! Vail’s Spring Family Concert returned to the Vail Valley this past April with “Tyrannosaurus Sue: A Cretaceous Concerto” at the Vilar Performing Arts Center and Eagle Valley High School. Thank you to everyone who helped make this year’s program a success!

FOR ADULTS PRE-CONCERT TALKS

MASTER CLASS SERIES

These talks are led by renowned musicologists and are designed to create deeper connections to the evening’s program. Talks are held one hour prior to select concerts, and are free for concert ticketholders. New this year – a Pre-Concert Talk focused on the chamber music program of the final concert in the Classically Uncorked Series.

Returning this season, Bravo! Vail audiences are invited to attend our FREE Master Class Series. Gain astounding insight and a unique perspective on the artistic process as you watch and listen to professional pianists AnneMarie McDermott and Jean-Yves Thibaudet coach the 2018 Bravo! Vail Piano Fellows.

SPECIAL COLLABORATIONS

Collaborative partnerships make the music available to audiences who cannot attend Festival performances. Bravo! Vail takes the music to campers at Roundup River Ranch, Castle Peak Senior Life, and to patients at three of Vail Health’s locations throughout the valley: Vail Campus, Shaw Cancer Center, and Jack’s Place. 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 Eva-Marie and Ray Berry and The Paiko Foundation Bravo! Vail Guild Costco Kathy and Brian Doyle Sandi and Leo Dunn Eagle County Eagle Ranch Association FirstBank Cookie and Jim Flaum The Sidney E. Frank Foundation Slifer Smith & Frampton Foundation Town of Gypsum United Way of Eagle River Valley U.S. Bank U.S. Bank Foundation Martin Waldbaum Wall Street Insurance Carole A. Watters

Promoting a life-long appreciation of the arts.

Experiences for music lovers of all ages!

COMMUNITY ENGAGEMENT Bravo! Vail is committed to making music available to the whole community with these free programs. FREE CONCERT SERIES

BRAVO! VAIL AFTER DARK

Enhance your day with an hour-long chamber music concert performed by the Festivalâ&#x20AC;&#x2122;s renowned musicians in beautiful and accessible venues throughout the Vail Valley.

Classical music comes out of the concert hall and into a relaxed setting during Bravo! Vail After Dark. Festival musicians perform familiar favorites and contemporary works in a local favorite spot, the Vail Ale House.

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. Bravo! Vail hires eight highly qualified interns each summer 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

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BELL: MENDELSSOHN, BRUCH & BEETHOVEN

ACADEMY OF ST MARTIN IN THE FIELDS JUN

THURSDAY JUNE 21, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: ANB BANK AND THE STURM FAMILY DOE BROWNING

SPECIAL GRATITUDE TO: The Academy of St Martin in the Fields Circle Eva-Marie and Ray Berry and The Paiko Foundation The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY: Gina Browning and Joe Illick U.S. Bank Martin Waldbaum

SOLOIST SPONSORS: Joshua Bell, violin, sponsored by Carol & Harry Cebron and Valerie & Robert Gwyn

JUN

THURSDAY JUNE 21, 6:00PM ORCHESTRA SERIES

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

GERALD R. FORD AMPHITHEATER

Janice Dickensheets, University of Northern Colorado (speaker)

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

MENDELSSOHN Overture to Shakespeare’s A Midsummer Night’s Dream, Op. 21 (12 minutes)

BRUCH Scottish Fantasy for Violin and Orchestra, Op. 46 (30 minutes) Prelude: Grave — Adagio cantabile Scherzo: Allegro — Andante sostenuto Finale: Allegro guerriero

— INTERMISSION — BEETHOVEN Symphony No. 6 in F major, Op. 68, “Pastoral” (39 minutes) The Awakening of Cheerful Feelings at the Arrival in the Country Scene at the Brook Merry Gathering of the Peasants — Storm — Shepherd’s Song: Joyful, Thankful Feelings after the Storm

BELL: MENDELSSOHN, BRUCH & BEETHOVEN Overture to Shakespeare’s A Midsummer Night’s Dream (1826) FELIX MENDELSSOHN (1809-1847)

endelssohn was enamored during his teenage years with reading the works of Shakespeare, who, next to the arch-Romantic Jean-Paul, was his favorite writer. Shakespeare’s plays had been appearing in excellent German translations since the turn of the 19th century, and young Mendelssohn particularly enjoyed the fantasy world of A Midsummer Night’s Dream. The play inspired the budding composer, and in the summer of 1826 he wrote an overture to the play. On November 19th, Felix played the original piano duet version of the score with his sister, Fanny, on one of the family’s frequent Sunday musicales in their Berlin mansion. A private orchestral performance followed before the end of the year. In February, the work was first played publicly, in Stettin. It immediately garnered a success that has never waned. The Overture is the greatest piece of orchestral music ever composed by one so young, including Mozart and Schubert. Woven into its music are thematic representations of the woodland sprites, the shimmering light through forest leaves, the sweet sighs of the lovers, even the “ee-ah” braying of that memorable Rustic, Bottom, when he is turned into an ass. In matters of formal construction, orchestral color and artistic polish, this Overture quite simply is a masterpiece.

Scottish Fantasy for Violin and Orchestra, Op. 46 (1879-1880) MA X BRUCH (1838-1920)

Bruch, like many Romantic composers, was interested throughout his life in folk song. In 1863, he published twelve Scottish folk airs in four-part settings, and incorporated German, British and Hebrew traditional music into his works. (His Kol Nidrei for Cello and Orchestra was based on an ancient chant of the Hebrew ritual.) When Bruch was conductor of the Liverpool 52 Learn more at BravoVail.org

Philharmonic Society from 1878 to 1880, he took the opportunity to gather first-hand knowledge of Great Britain’s indigenous music, and, like Mendelssohn (one of the gods in Bruch’s musical pantheon), he was inspired by the music, lore and land of Scotland to produce one of his finest works — the Fantasy with Free Use of Scottish Airs for Violin and Orchestra. Abraham Veinus wrote, “Bruch operates freely with a set of Scottish folk melodies, distinguished, as such melodies are, by a wholesome simplicity and beauty. Grafted on to this is the kind of elaborate virtuoso technique which usually brings the house down. Bruch’s harmonic idiom and his orchestration technique run to juicy, well-rounded and solidly set sonorities.” The opening movement is divided almost equally between a solemn introduction and an elegant setting of the tune Auld Rob Morris. Music scholar Wilhelm Altmann, a Berlin friend of Bruch, said that the Fantasy had been inspired by the books of Sir Walter Scott. The prominence of the harp, with its bardic and folk associations, prompted Altmann to continue that this opening movement represents “an old bard who contemplates a ruined castle and laments the glorious times of old.” The vigorous second movement, subtitled Dance, is based on the song Hey, the Dusty Miller. The next movement is a richly bedecked version of the touching Scottish love ballad I’m a-doun for lack o’ Johnnie. The rousing finale uses the traditional war song Scots wha hae, which, according to legend, was sounded by Robert the Bruce at the Battle of Bannockburn in 1314. PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 194

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

ALLEGRO ( $10,000+ )

( $100,000+ )

Eva-Marie and Ray Berry and The Paiko Foundation

The Sidney E. Frank Foundation Cathy and Howard Stone Martin Waldbaum

PREMIER BENEFACTOR

BENEFACTOR ( $5,000+ )

( $50,000+ )

John Dayton Shelby and Frederick Gans, in honor of Carole and Peter Segal Ann and William Lieff

Town of Vail

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

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family Gina Browning and Joe Illick

Funded in part by a generous grant from the Town of Vail. The Sonnenalp Hotel is the official home of the Academy of St Martin in the Fields while in residency at Bravo! Vail.

INSIDE STORY

A STRAD STORY WITH A HAPPY ENDING Joshua Bell calls it “love at first sight” when he first heard the “Huberman” Stradivarius during a rehearsal with its then owner, who joked that one day it might be his. That day came in 2001 when Bell was having some work done on his “Tom Taylor” Stradivarius, and learned that his dream instrument was on the premises being prepared for sale. Bell managed to purchase the violin, performed on it at the Royal Albert Hall the same day, and has never played another instrument since. Bell recounts: “This instrument was famously stolen from Bronislaw Huberman, a great early-20thcentury violinist. In 1936, Huberman was playing in Carnegie Hall and the violin was taken from his dressing room. Poor Huberman never saw the violin again. It turns out the thief had taken it for himself! He didn’t try to sell it, he just wanted to play a Stradivarius. He played it in cafes and gigs around New York for 50 years, until on his deathbed he finally admitted to stealing it.” 53

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BELL: SAINT-SAËNS & BEETHOVEN

ACADEMY OF ST MARTIN IN THE FIELDS JUN

SATURDAY JUNE 23, 6:00PM ORCHESTRA SERIES

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

SPECIAL GRATITUDE TO: The Academy of St Martin in the Fields Circle Eva-Marie and Ray Berry and The Paiko Foundation

SPONSORED BY: Kelly and Sam Bronfman, II Virginia J. Browning, in honor of Doe Browning Martha Head Debbie and Fred Tresca

SOLOIST SPONSORS: Joshua Bell, violin, sponsored by Mr. & Mrs. Arthur Kelton, Jr. and Maria Santos

JUN

SATURDAY JUNE 23, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

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

BELL: SAINT-SAËNS & BEETHOVEN Overture to Coriolanus, Op. 62 (1807) LUDWIG VAN BEETHOVEN (1770-1827)

BEETHOVEN Overture to Coriolanus, Op. 62 (8 minutes)

SAINT-SAËNS Violin Concerto No. 3 in B minor, Op. 61 (27 minutes) Allegro non troppo Andantino quasi allegretto Molto moderato e maestoso — Allegro non troppo

— INTERMISSION — BEETHOVEN Symphony No. 4 in B-flat major, Op. 60 (34 minutes) Adagio — Allegro vivace Adagio Menuetto: Allegro vivace Allegro ma non troppo

his Overture was inspired by, rather than composed for, the tragedy Coriolanus (1802) by Heinrich Joseph von Collin (1771-1811), a jurist, poet and, from 1809, court councilor who enjoyed much theatrical success in Vienna with this play. The play’s story, which may be either fact or fable, tells of Gaius Marcius, a patrician Roman general of extraordinary bravery who led the Roman armies to a great triumph over the Volscians, the people of the hill country south of Rome. For capturing their city of Corioli, he received the honorary name of Coriolanus. His return to Rome found him embroiled in the conflict between patricians and plebeians, the latter claiming insufferable oppression. The aristocratic Coriolanus so vilified the populace that the senate, yielding to plebeian pressure, voted for his permanent exile. So bitter and vengeful did he become that he went to the conquered Volscians, swore allegiance to them, and offered to lead them against Rome. He besieged the city, rejecting all ambassadors until his mother and his wife came to entreat him to abandon his wrathful revenge. They subdued his bitter arrogance and pride, and he withdrew the Volscians, who then turned against him. In Shakespeare’s version, he is slain by them; in Collin’s adaptation, he commits suicide. The Overture opens with stern unison notes in the strings punctuated by slashing chords from the full orchestra. A restless, foreboding figure of unsettled rhythmic character constitutes the main theme. The second theme is a lyrical melody, greatly contrasting with the preceding measures, but not immune from their agitated expectancy. The tempestuous development section derives its mood and material from the main theme. The recapitulation recalls the opening gestures and the second theme. A lengthy coda pits the lyrical melody against the imperious statement. The final outburst of the unison gesture spread across the full orchestra represents the dramatic denouement and the extinction of Coriolanus’ awful pride. The Overture dies away amid sighs and silence.

Violin Concerto No. 3 in B minor, Op. 61 (1880) C A M I L L E S A I N T-S A Ë N S (1 8 3 5 -192 1 )

Saint-Saëns’ art is one of beauty, of precision, of formal perfection that he never intended to plumb great emotional 56 Learn more at BravoVail.org

depths. It is the musical equivalent of a Fabergé jeweled egg or a Tiffany stained glass window — a flawless realization by a master craftsman, civilized, polished, full of reason and truly beautiful. The Third Violin Concerto, one of the happiest inspirations to flow from Saint-Saëns’ pen, is a fine example of his elegant style, and the most popular of his three works in the form. The Concerto opens with a presentation of the main theme by the soloist above a tremulous rumble in the strings and timpani. This theme gathers intensity amid the refined figurations of the violin, and leads to a lyrical contrasting melody. A compact development of the main theme occupies the center of the movement. Saint-Saëns, always careful with the balance of his forms, begins the recapitulation with the lyrical second theme since the main theme exclusively had been used in the justheard development. This also allows the main theme to be held in reserve to provide the movement with a vigorous conclusion. The second movement is a sweet barcarolle of simple but suave melodic character. The finale begins with a Gypsy-inspired flourish from the soloist as introduction. The pace then quickens for the fleet main theme. Two contrasting melodies, one heroic, the other prayerful, are presented for variety. A short connecting passage ushers in the recapitulation of all the themes: Gypsy introduction, fleet main theme, heroic contrasting theme. The prayerful theme is treated boldly on its second appearance as a majestic hymn for brass chorale. The tempo freshens for the final dash to the end. PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 194

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

ALLEGRO ( $10,000+ )

( $100,000+ )

Eva-Marie and Ray Berry and The Paiko Foundation

The Sidney E. Frank Foundation Cathy and Howard Stone Martin Waldbaum

PREMIER BENEFACTOR

BENEFACTOR ( $5,000+ )

( $50,000+ )

John Dayton Shelby and Frederick Gans, in honor of Carole and Peter Segal Ann and William Lieff

Town of Vail

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

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family Gina Browning and Joe Illick

Funded in part by a generous grant from the Town of Vail. The Sonnenalp Hotel is the official home of the Academy of St Martin in the Fields while in residency at Bravo! Vail.

INSIDE STORY

FASCINATING FACTS ABOUT BEETHOVEN Beethoven’s father set his sights on creating a prodigy — much as Mozart had been just years before — and forced young Ludwig to practice day and night. After moving to Vienna in his early 20s, Beethoven took lessons from Joseph Haydn. As was typical for Beethoven and his teachers, they didn’t get along very well. Beethoven’s hearing loss started in his mid 20s (most likely originating from a childhood disease like typhus or smallpox). Even after he was completely deaf, Beethoven retained perfect pitch and would improvise incredibly intricate phrases in his head. Beethoven hated giving piano lessons unless they were for exceptionally talented students or attractive young women. Countess Julia Guicciardi, one of his pupils and dedicatee of the Moonlight Sonata, described him as, “very ugly, but noble, refined in feeling, and cultured.” 57

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BELL: BACH, BARBER & TCHAIKOVSKY

ACADEMY OF ST MARTIN IN THE FIELDS JUN

SUNDAY JUNE 24, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: DHUANNE AND DOUG TANSILL BARB AND DICK WENNINGER

SPECIAL GRATITUDE TO: The Academy of St Martin in the Fields Circle Eva-Marie and Ray Berry and The Paiko Foundation

SPONSORED BY: Susan and Van Campbell Patricia and Peter Kitchak Carole and Peter Segal

SOLOIST SPONSORS: Joshua Bell, violin, sponsored by Mrs. Jean Graham-Smith & Mr. Philip Smith and Joyce & Paul Krasnow

JUN

SUNDAY JUNE 24, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

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

BACH Brandenburg Concerto No. 3 in G major, BWV 1048 (12 minutes) [Allegro] — Adagio — Allegro

BACH Violin Concerto No. 2 in E major, BWV 1042 (21 minutes) Allegro Adagio Allegro assai

— INTERMISSION — BARBER Adagio for Strings (8 minutes)

TCHAIKOVSKY Souvenir de Florence, Op. 70 (35 minutes) Allegro con spirito Adagio cantabile e con moto — Moderato — Tempo I Allegro moderato Allegro vivace

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BELL: BACH, BARBER & TCHAIKOVSKY Brandenburg Concerto No. 3 in G major, BWV 1048 (ca. 1720) Violin Concerto No. 2 in E major, BWV 1042 (ca. 1720) JOHANN SEBASTIAN BACH (1685-1750)

rom 1717 to 1723, Bach was “Court Kapellmeister and Director of the Princely Chamber Musicians” at the court of Anhalt-Cöthen, north of Leipzig, where he was responsible for the secular rather than the sacred music. Those years saw the production of much of his instrumental music, including the Brandenburg Concertos, orchestral suites, violin concertos, suites and sonatas for solo instruments and keyboard, sonatas and suites for unaccompanied violin and cello, and much solo keyboard music. Bach met Christian Ludwig, Margrave of Brandenburg, in 1719, on a visit to Berlin to finalize arrangements for the purchase of a new harpsichord for Anhalt-Cöthen. While in Berlin, he played for Christian Ludwig, who was so taken with his music that he asked him to send some of his compositions for his library. Bach lost an infant son a few months later, however, and in 1720 his wife died and he rejected an offer to become organist at the Jacobkirche in Hamburg, so it was over two years before he fulfilled Brandenburg’s request. The Third Brandenburg Concerto, lacking, as it does, a slow movement, is a virtual dynamo of rhythmic energy. The opening measures not only introduce the first movement, but also serve as a storehouse of motives from which the ensuing music is spun. After a brief respite of a lone Adagio measure, the whirling motion resumes with a breathless gigue. For his concertos, Bach avidly studied the recent works of the Italian masters, most notably Vivaldi’s L’Estro Armonico (“The Harmonic Whim” or “The Musical Fancy”). His idiomatic writing for strings grew not just from that study, however, but also from his own experience as a violinist. His son Carl wrote, “He played the violin cleanly and penetratingly. He understood to perfection the possibilities of the stringed instruments.” The E major Concerto follows the traditional Italian model of three movements, arranged fast–slow–fast.

INSIDE STORY

Adagio for Strings (1936) SAMUEL BARBER (1910-1981)

In 1936, Artur Rodzinski gave the American premiere of Samuel Barber’s Symphony in One Movement in Cleveland and played it the following year at the Salzburg Festival, making it the first American work heard at that prestigious event. The chief conductor of the Salzburg Festival then was Arturo Toscanini, who was to begin his tenure with the NBC Symphony later that year. Toscanini asked Rodzinski if he could suggest an American composer whose work he might program during the coming season, and Rodzinski advised that his Italian colleague investigate the music of the 27-year-old Samuel Barber. By October, Barber had completed and submitted to Toscanini the Essay No. 1 for Orchestra and an arrangement for string orchestra of the slow movement from the String Quartet he had written in Rome in 1936 — the Adagio for Strings. Toscanini broadcast them on November 5, 1938 with the NBC Symphony, and the Adagio, with its plaintive melody, rich modalism, austere texture and introspective mood, became an instant success and remains among Samuel Barber’s greatest legacies. PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 194

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

ALLEGRO ( $10,000+ )

( $100,000+ )

Eva-Marie and Ray Berry and The Paiko Foundation

The Sidney E. Frank Foundation Cathy and Howard Stone Martin Waldbaum

PREMIER BENEFACTOR

BENEFACTOR ( $5,000+ )

( $50,000+ )

John Dayton Shelby and Frederick Gans, in honor of Carole and Peter Segal Ann and William Lieff

Town of Vail

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

VIRTUOSO ( $20,000+ ) ANB Bank and The Sturm Family Gina Browning and Joe Illick

Funded in part by a generous grant from the Town of Vail. The Sonnenalp Hotel is the official home of the Academy of St Martin in the Fields while in residency at Bravo! Vail.

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.) 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 the composer’s Eroica Symphony to be donated to her in honor of her famous father. 61

TUESDAY JUNE 26, 6:00PM

JUN

CHAMBER MUSIC SERIES

DONOVAN PAVILION

ACADEMY OF ST MARTIN IN THE FIELDS CHAMBER ENSEMBLE

James Burke, clarinet Stephen Stirling, horn Paul Boyes, bassoon Emi Ohi Resnick, violin Martin Burgess, violin Robert Smissen, viola Stephen Orton, cello Lynda Houghton, double bass

NIELSEN Serenata in vano for Clarinet, Bassoon, Horn, Cello and Double Bass (9 minutes) Allegro non troppo ma brioso — Un poco adagio — Tempo di marcia

MOZART Quintet for Clarinet, Two Violins, Viola and Cello in A major, K. 581 Allegro Larghetto Menuetto Allegretto con Variazioni

THE ACADEMY WINDS & STRINGS

ARL NIELSEN (1865-1931), Denmark’s greatest composer, wrote the Serenata in vano in 1914 at the request of double bassist Anton Hegner for a concert at which he and some of his Royal Danish Orchestra colleagues were to perform Beethoven’s Septet for clarinet, bassoon, horn, violin, viola, cello and double bass. For Hegner, Nielsen created a delightful work — a “Serenade in Vain” — scored for Beethoven’s trio of winds supplemented by one each of the string instruments. WOLFGANG AMADEUS MOZART (1756-1791) harbored a special fondness for the graceful agility, liquid tone and ensemble amiability of the clarinet from the time he first heard the instrument as a young boy during his tours, and he later wrote for it whenever it was available. His flawless Clarinet Quintet (1789) was 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 Septet (1799-1800) was the most popular work during the lifetime of LUDWIG VAN BEETHOVEN (1770-1827). For the three decades after its composition, the piece was played in homes and concerts and meeting halls more frequently than any other of his music.

— INTERMISSION — BEETHOVEN Septet for Clarinet, Bassoon, Horn, Violin, Viola, Cello and Double Bass in E-flat major, Op. 20 Adagio — Allegro con brio Adagio cantabile Tempo di Menuetto Tema con Variazioni Scherzo: Allegro molto e vivace Andante con moto alla Marcia — Presto BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Concessions provided by: Eva-Marie and Ray Berry and The Paiko Foundation The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair Town of Vail

62 Learn more at BravoVail.org

MĂCELARU CONDUCTS RACHMANINOFF

DALLAS SYMPHONY ORCHESTRA JUN

WEDNESDAY JUNE 27, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: GEORGIA AND DON GOGEL CAROLE A. WATTERS

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation 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

SPONSORED BY: Holly and Ben Gill Alexia and Jerry Jurschak Rose and Howard Marcus

SOLOIST SPONSORS: Behzod Abduraimov, piano, sponsored by Carol & Ronnie Goldman and Cindy & Guy Griffin

JUN

WEDNESDAY JUNE 27, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Cristian Măcelaru, conductor Behzod Abduraimov, piano

MĂCELARU CONDUCTS RACHMANINOFF “Oriental March” from Cinq Études-Tableaux, Op. 39, No. 9 (1916-1917) SERGEI R ACHMANINOFF (1873-1943)

RACHMANINOFF

ORCHESTR ATED BY OT TORINO RESPIGHI (1879-1936)

“Oriental March “ from Cinq Études-Tableaux, Op. 39, No. 9 (4 minutes)

RACHMANINOFF Piano Concerto No. 2 in C minor, Op. 18 (34 minutes) Moderato Adagio sostenuto Allegro scherzando

— INTERMISSION — RACHMANINOFF Symphonic Dances, Op. 45 (34 minutes) Non allegro Andante con moto (Tempo di valse) Lento assai — Allegro vivace — Lento assai — Allegro vivace

he gifted and ambitious Russian conductor Sergei Koussevitzky scored a coup when he commissioned Maurice Ravel to make an orchestral transcription of Mussorgsky’s Pictures at an Exhibition for his Parisian concerts of 1923. When he was appointed Music Director of the Boston Symphony Orchestra two years later, Koussevitzky programmed Pictures during his first season and it again created a sensation. Late in 1929, he proposed to Sergei Rachmaninoff that a similar success might follow an orchestral version of some of his Études-Tableaux. Though he was not personally close to Koussevitzky (the egos of those two leading Russian musicians of their generation could not peacefully co-exist), Rachmaninoff had been associated with him professionally since 1916, when he made an orchestration of his Vocalise for Koussevitzky’s Moscow concerts and performed Liszt and Tchaikovsky concertos with him. He agreed to the plan. Koussevitzky suggested that the orchestration could be done by the noted Italian composer, Ottorino Respighi, who was then at work on his Metamorphoseon for Koussevitzky’s upcoming Boston season. Rachmaninoff welcomed Respighi’s participation and chose five Études from Op. 33 (1911) and Op. 39 (1916-1917) to form a concert suite. The fifth Étude is an Oriental March.

Piano Concerto No. 2 in C minor, Op. 18 (1900-1901) SERGEI RACHMANINOFF

The greatest disappointment of Rachmaninoff’s career was the total failure of his Symphony No. 1 at its premiere in 1897. It was a traumatic event that thrust him into such a depression that he suffered a nervous collapse. An aunt of Rachmaninoff, Varvara Satina, had recently been successfully treated for an emotional disturbance by Dr. Nikolai Dahl, a Moscow physician who was familiar with the latest psychiatric discoveries in France and Vienna. It was arranged that Rachmaninoff should visit him and he began his daily sessions in January 1900. “Dahl had inquired what kind of composition was desired of me, and he was informed ‘a concerto for piano.’ In consequence, I heard repeated, day after day, the 64 Learn more at BravoVail.org

same hypnotic formula: ‘You will start to compose a concerto — You will work with the greatest of ease.’ ... Although it may seem impossible to believe, this treatment really helped me. I started to compose again at the beginning of the summer.” In gratitude, he dedicated the new Concerto to Dr. Dahl. The C minor Concerto begins with eight bell-tone chords from the piano that introduce the surging main theme announced by the strings. The arching second theme is initiated by the soloist. The development, concerned largely with the first theme, is propelled by a martial rhythm that continues with undiminished energy into the recapitulation. The Adagio is a long-limbed nocturne. The finale resumes the marching motion of the first movement. Standing in bold relief to this vigorous music is the lyrical second theme. These two themes, martial and romantic, alternate for the remainder of the movement.

Symphonic Dances, Op. 45 (1940) SERGEI RACHMANINOFF

World War I, of course, was a trial for Rachmaninoff and his countrymen, but his most severe personal adversity came when the 1917 Revolution smashed the aristocratic society of

INSIDE STORY

THE POWER OF SUGGESTION Sergei Rachmaninoff was on his way to stardom at the premiere of his first symphony, but it turned out to be a trauma rather than a triumph. “It is true that the performance was beneath contempt,” wrote Rachmaninoff, with inadequate rehearsal and a tipsy conductor. Harsh reviews were especially unnerving: “If there was a conservatory in hell, Rachmaninoff would get the first prize for his symphony,” sneered one.

PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 195

“Something within me snapped,” Rachmaninoff wrote. “A paralyzing apathy possessed me.” Soon he was drinking so much that his hands shook, and he experienced a devastating case of writer’s block. BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ( $30,000+ )

ALLEGRO ( $10,000+ )

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

John Dayton Alexia and Jerry Jurschak Sammye and Mike A. Myers Patti and Blaine Nelson

IMPRESARIO ( $25,000+ ) Lyda Hill

SOLOIST ( $7,000+ )

VIRTUOSO ( $20,000+ )

Carol and Ronnie Goldman Bobbi and Richard Massman

ANB Bank and The Sturm Family Marilyn Augur

BENEFACTOR ( $5,000+ )

OVATION ( $15,000+ ) Marcy and Stephen Sands Charles and Margery Pabst Steinmetz Carole A. Watters

Desperate for help, Rachmaninoff visited a hypnotist named Nikolai Dahl. “I heard the same hypnotic formula repeated day after day while I lay half asleep in an armchair in [Dahl]’s study,” Rachmaninoff wrote. “You will begin to write your concerto,” Dahl told Rachmaninoff. “You will work with the greatest of ease. The concerto will be of excellent quality.” The sessions with Dr. Dahl had the desired effect. “Out of gratitude I dedicated my Second [Piano] Concerto to him.”

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.

THURSDAY JUNE 28, 6:00PM

JUN

THE LINDA AND MITCH HART SOIRÉE SERIES

LOOSBROCK RESIDENCE, ARROWHEAD

THE LINDA AND MITCH HART SOIRÉE SERIES Alexander Kerr, Concertmaster, Dallas Symphony Orchestra Nathan Olson, Co-Concertmaster, Dallas Symphony Orchestra Anne-Marie McDermott, piano

MEMBERS OF DALLAS SYMPHONY WITH ANNE-MARIE McDERMOTT

MOZART

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

MOSZKOWSKI Suite for Two Violins and Piano in G minor, Op. 71 Allegro energico Allegro moderato Lento assai Molto vivace

SARASATE Navarra for Two Violins and Piano, Op. 33

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

Mirabelle At

he Dallas Symphony’s dynamic duo concertmasters join forces with Bravo! Vail’s Artistic Director for a dramatic evening of virtuosity and verve. WOLFGANG AMADEUS MOZART (1756-1791) wrote his B-flat major Violin Sonata (1784) for violin virtuoso Regina Strinasacchi of Mantua. According to legend, although Mozart had the piano part securely in his head, he did not have time to write it down, and gave the premiere performance with a sheet of blank music paper in front of him. Evidently, Emperor Joseph II spied the empty page through his opera glasses and sent for the composer with his manuscript, at which time Mozart had to confess the truth, much to the monarch’s amusement. MORITZ MOSZKOWSKI (1854-1925), known as the “Sunshine Composer” for his cheery style, had a strong following in his day, but today’s audiences are likely to encounter him on ClassicFM’s list of “most underrated classical composers.” His Suite Op. 71 (1903) is an unpretentious tour de force, filled with high drama, yearning melodies, and buoyant playfulness. PABLO DE SARASATE (18441908) provides a virtual playground for violinists with his Navarra (1889), a Spanish-flavored romp with a sultry duo cadenza opening, finger-twisting pyrotechnics, and ethereal harmonics, all building to a virtuosic whirlwind of a finale.

B eav e r C ree k

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE FROM: THIS EVENING’S HOSTS Diane and Lou Loosbrock

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

SPONSORED BY

ALEXANDER KERR 66 Learn more at BravoVail.org

Fancy Pansy Mirabelle at Beaver Creek West Vail Liquor Mart

WOMEN ROCK!

DALLAS SYMPHONY ORCHESTRA JUN

FRIDAY JUNE 29, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: LINDA AND MITCH HART

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Sharron and Herbert Bank; Penny Bank Sandi and Leo Dunn Terie and Gary Roubos

JUN

FRIDAY JUNE 29, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Cassidy Catanzaro, vocalist Katrina Rose, vocalist Shayna Steele, vocalist

WOMEN ROCK a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik Casting by Laura Stanczyk, CSA

PIECE OF MY HEART by Jerry Ragovoy and Bert Russell As recorded by Janis Joplin

DANCING IN THE STREET by Marvin Gaye, Ivy George Hunter and William Stevenson As recorded by Martha Reeves

SO FAR AWAY by Carole King As recorded by Carole King

FLASHDANCE. . . WHAT A FEELING, by Irene Cara and Giorgio Moroder As recorded by Irene Cara

LOVIN’ YOU by Minnie Riperton and Richard Rudolph As recorded by Minnie Riperton

FREEWAY OF LOVE by Jeffrey Cohen and Narada Michael Walden As recorded by Aretha Franklin

UP ON THE ROOF by Carole King and Gerald Goffin As recorded by Carole King

LOVE IS A BATTLEFIELD by Holly Knight and Michael Chapman As recorded by Pat Benatar

YOU MAKE ME FEEL LIKE A NATURAL WOMAN by Carole King, Gerald Goffin and Gerald Wexler As recorded by Carole King

68 Learn more at BravoVail.org

WOMEN ROCK!

rom the Jazz Age to the present day, women have brought their own unique perspective to popular music through songwriting and iconic vocal performances both on stage and behind the scenes. In the ‘60s, Martha Reeves was “Dancing In the Street” as Janis Joplin offered a “Piece of My Heart” and Aretha Franklin demanded “Respect.” Of Carole King’s landmark 1971 album “Tapestry,” Ultimate Classic Rock declared, “It’s not just one of the greatest female singer-songwriter albums of all time, it’s one of the greatest albums of all time – an era milestone that celebrates its timelessness.” During the 1980s and ‘90s artists like Joan Jett, Pat Benatar, and Tina Turner were at the top of the charts. Honoring these legendary women is a not only a joy for conductor/arranger Jeff Tyzik, but also for the three artists who are channeling their music. According to vocalist Cassidy Catanzaro, “Women have written some of the greatest songs of our generation. Being part of a celebration of their talent is so exciting for all of us.”

— INTERMISSION — PICK UP THE PIECES by the Average White Band

I LOVE ROCK N’ ROLL by Jane Hooker Richards and Allan Sachs As recorded by Joan Jett

THESE DREAMS by Martin Page and Bernard Taupin As recorded by Heart

BEST (SIMPLY THE BEST) by Holly Knight and Michael Chapman As recorded by Tina Turner

I FEEL THE EARTH MOVE by Carole King As recorded by Carole King

YOU’VE GOT A FRIEND by Carole King As recorded by Carole King

HIT ME WITH YOUR BEST SHOT by Edward Schwartz As recorded by Pat Benatar

WHAT’S LOVE GOT TO DO WITH IT

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

ALLEGRO ( $10,000+ )

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

John Dayton Alexia and Jerry Jurschak Sammye and Mike A. Myers Patti and Blaine Nelson

IMPRESARIO ( $25,000+ ) Lyda Hill

SOLOIST ( $7,000+ )

VIRTUOSO ( $20,000+ )

Carol and Ronnie Goldman Bobbi and Richard Massman

ANB Bank and The Sturm Family Marilyn Augur

BENEFACTOR ( $5,000+ )

OVATION ( $15,000+ ) Marcy and Stephen Sands Charles and Margery Pabst Steinmetz Carole A. Watters

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.

by Terence Ernest Britten and Graham Hamilton Lyle As recorded by Tina Turner

PROUD MARY by John Cameron Fogerty As recorded by Tina Turner The running time of this concert is approximately two hours including intermission.

A portion of the proceeds from productions of Women Rock will be donated to the Willie Mae Rock Camp for Girls (WMRC), a nonprofit music and mentoring organization that empowers girls and women through music education, volunteerism, and activities that foster safer spaces, self-respect, leadership skills, creativity and collaboration. 69

An Education

that cannot be found anywhere else in the world.

WWW.VMS.EDU INFO@VMS.EDU 970–477–7184

TCHAIKOVSKY’S FIFTH SYMPHONY

DALLAS SYMPHONY ORCHESTRA JUN

SATURDAY JUNE 30, 6:00PM ORCHESTRA SERIES

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

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the Dallas Symphony Orchestra The Francis Family The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Pamela and David Anderson Kathie Mundy and Fred Hessler Marcy and Stephen Sands Stolzer Family Foundation

SOLOIST SPONSORS: Hélène Grimaud, piano, sponsored by Marlys & Ralph Palumbo and Kathy & Roy Plum

JUN

SATURDAY JUNE 30, 6:00PM ORCHESTRA SERIES

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

GERALD R. FORD AMPHITHEATER LOBBY

Jack Sheinbaum, University of Denver (speaker)

DALLAS SYMPHONY ORCHESTRA Cristian Măcelaru, conductor Hélène Grimaud, piano

RIMSKY-KORSAKOV Overture to May Night (9 minutes)

RAVEL Piano Concerto in G major (22 minutes) Allegramente Adagio assai Presto

— INTERMISSION — TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64 (45 minutes) Andante — Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso — Allegro vivace

TCHAIKOVSKY’S FIFTH SYMPHONY Overture to May Night (1879) NIKOL AI RIMSK Y-KORSAKOV (1844-1908)

imsky-Korsakov’s opera May Night is set in a small Ukrainian village. Levko, son of the village Mayor, is in love with Hanna. So is his father. Levko determines to teach his father a lesson and to win Hanna, so he organizes his friends to give a derisive public serenade beneath the Mayor’s window. The Mayor rushes out and drags the disguised leader — Levko — into the house. The lights suddenly go out, Levko’s friends rescue him and substitute the Mayor’s visiting sister-in-law, whom he rudely tosses into a closet when the lights come back on. The Town Clerk arrives, and the Mayor opens the closet door to display the miscreant. Out charges his furious sister-In-law. The next act opens with a magical scene set on the shore of a lake on a May night. The Rusalki, the spirits of young girls who were abandoned by their lovers and consequently drowned themselves from grief, sing to Levko and present him with a letter for his father. The Mayor arrives, recognizes Levko as the culprit of the preceding evening, and orders him to be bound and taken away. However, Levko produces the Rusalki’s letter, which proves to be an edict written in the hand of the district commissar ordering the marriage of Levko and Hanna. The Mayor relents and the young lovers are united. The Overture to May Night captures the spirit of verdant springtime, the eagerness of new love, and the exotic fantasy of the Rusalki.

Piano Concerto in G major (1929-1931) MAURICE R AVEL (1875-1937)

Ravel’s tour of the United States in 1928 was such a success that he began to plan for a second one as soon as he returned to France. With a view toward having a vehicle for himself as a pianist on the return visit, he started work on a concerto in 1929. Perhaps he was encouraged by the good fortune Stravinsky had enjoyed concertizing with his Concerto for Piano and Winds and Piano Capriccio earlier in the decade. However, many other projects 72 Learn more at BravoVail.org

pressed upon him, not the least of which was a commission from the pianist Paul Wittgenstein, who had lost his right arm in the First World War, to compose a piano concerto for left hand alone, and the Concerto in G was not completed until 1931. The first movement of the Concerto in G opens with a bright melody in the piccolo that may derive from a folk dance of the Basque region of southern France where Ravel was born. There are several themes in this exposition: the lively opening group is balanced by another set more nostalgic and bluesy in character. The development is an elaboration of the lively opening themes. The Adagio begins with a long-breathed melody for piano. The central section does not differ from the opening as much in melody as it does in texture — a gradual thickening occurs as the music proceeds. The texture then becomes again translucent, and the opening melody is heard on its return in the English horn. The finale is a showpiece for soloist and orchestra that evokes the energetic world of jazz.

INSIDE STORY

PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 195

PLAYING WITH WOLVES In addition to her musical passions, Hélène Grimaud is also a global advocate for wolves. According to Grimaud, wolves are not only essential “biodiversity engineers,” preserving balances among animal and plant species, but also “endlessly fascinating creatures who have much to teach humans.” BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ( $30,000+ )

ALLEGRO ( $10,000+ )

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

John Dayton Alexia and Jerry Jurschak Sammye and Mike A. Myers Patti and Blaine Nelson

IMPRESARIO ( $25,000+ ) Lyda Hill

SOLOIST ( $7,000+ )

VIRTUOSO ( $20,000+ )

Carol and Ronnie Goldman Bobbi and Richard Massman

ANB Bank and The Sturm Family Marilyn Augur

BENEFACTOR ( $5,000+ )

OVATION ( $15,000+ ) Marcy and Stephen Sands Charles and Margery Pabst Steinmetz Carole A. Watters

“Music, or any artistic endeavor, requires a great sharpness of the senses. The deeper reality of what my two lives are is supplied by one source, which is the aspect of originality and wholeness. The wolves taught me to understand the religion of Native Americans, who see divine aspects in all of nature. It is on stage that I feel the most religious. My best concerts I do not feel responsible for. I feel, in a way, that I have put myself in a position of being receptive, and then something like a visit happens, which is quite a mystic feeling. “The music and the wolves complete each other. Together they make my life more whole. I regard it as a great privilege to be able to devote myself to both things.” 73

M U S I C F EED S T H E S O U L, B U T YO U S T I LL H AV E TO E AT...

J O I N U S I N T H E H E A R T O F VA I L V I L L A G E F O R PRE OR POST SHOW DINING.

LUNCH - DINNER

S W E E T B A S I LV A I L . C O M 970.476.0125

MT N S TA N DA R D.C O M 970.476.0123

TANGO CALIENTE!

DALLAS SYMPHONY ORCHESTRA JUL

SUNDAY JULY 1, 6:00PM ORCHESTRA SERIES

TOWN OF VAIL NIGHT THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: ANB BANK AND THE STURM FAMILY MARILYN AUGUR

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Nancy Gage and Allan Finney Patti and Blaine Nelson Charles and Margery Pabst Steinmetz

JUL

SUNDAY JULY 1, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Camille Zamora, soprano Héctor Del Curto, bandoneón Patricio Touceda & Sonya Tsekanovsky; Tomas Galvan & Gimena Herrera, Argentinean dancers

TANGO CALIENTE! SASSONE & BOCCAZZI Baldosa Floja (Orch. Tyzik)

GADE Celos Nathan Olson, violin

MORES Tanguera (Orch. Tyzik)

CHUECA AND VALVERDE Tango de la menegilda (Orch. Tyzik)

PIAZZOLLA Milonga del Ángel (Arr. DeLaney)

VILLOLDO El Choclo (Orch. Tyzik)

TYZIK Mallorca David Buck, flute

MELO Desde el Alma (Orch. Tyzik)

— INTERMISSION — PIAZZOLLA Escualo (Orch. Tyzik)

TYZIK Tango 1932

GARDEL Por una Cabeza (Arr. Williams) Solo by Héctor Del Curto

PIAZZOLLA Vuelvo al Sur (Orch. Tyzik) Primavera porteña (Orch. Ziegler)

CHAPÍ Carceleras

RODRÍGUEZ La Cumparsita (Orch. Tyzik)

TANGO CALIENTE!

he Argentinean tango, like American ragtime and jazz, is music with an intriguing past. Its deepest roots extend to Africa and the fiery dances of Spain, but it seems to have evolved most directly from a slower Cuban dance, the habanera (whose name honors that nation’s capital), and a faster native Argentinean song form, the milonga, both in duple meter and both sensuously syncopated in rhythm. These influences met at the end of the 19th century in the docklands and seamier neighborhoods of Buenos Aires, where they found fertile ground for gestation as the influx of workers streaming in from Europe to seek their fortunes in the pampas and cities of South America came into contact with the exotic Latin cultures. The tango — its name may have been derived from a word of African origin meaning simply “dance,” or from the old Castilian taño (“to play an instrument”), or from a type of drum used by black slaves, or from none of these — came to embody the longing and hard lives of the lower classes of Buenos Aires, where it was chiefly fostered in bawdy houses and back-alley bars by usually untutored musicians. The texts, where they existed, dealt with such forlorn urban topics as faithless women, social injustice and broken dreams. In the years around World War I, the tango migrated out of the seedier neighborhoods of Argentina, leaped across the Atlantic to be discovered by the French, and then went on to invade the rest of Europe and North America. International repute elevated its social status, and, spurred by the glamorous images of Rudolph Valentino and Vernon and Irene Castle, the tango became the dance craze of the 1930s. Tango bands, comprising four to six players (usually piano, accordion, guitar and strings) with or without a vocalist, flourished during the years between the world wars, and influenced not just the world’s popular music but also that of serious composers: one of Isaac Albéniz’s most famous works is his Tango in D; William Walton inserted a tango into his “Entertainment with Poems” for speaker and instruments, Façade; and Igor Stravinsky had the Devil in The Soldier’s Tale dance a tango and also composed a Tango for Piano. Though the tango was among the most popular dance and entertainment forms of the early 20th century, it was the brilliant Argentinean composer and bandoneónist Astor Piazzolla whose daring innovations brought it into the concert hall. Born near Buenos Aires in 1921 and raised in New York City, Piazzolla returned home and joined the popular tango orchestra of Anibal Troilo as arranger and bandoneón player when he was sixteen. He studied classical composition with Alberto Ginastera in Buenos Aires, and in 1954 wrote a symphony for the Buenos Aires Philharmonic that earned him a scholarship to study in Paris with

Nadia Boulanger, the renowned teacher of Copland, Thomson, Carter and many other of the best American composers. When Piazzolla returned to Buenos Aires in 1956, he founded his own performing group and began to create a modern style for the tango that combined elements of traditional tango, Argentinean folk music and contemporary classical, jazz and popular techniques into a “Nuevo Tango” that was as suitable for the concert hall as for the dance floor. “Traditional tango listeners hated me,” he recalled. “I introduced fugues, counterpoint and other irreverences: people thought I was crazy. All the tango critics and radio stations of Buenos Aires called me a clown, they said my music was ‘paranoiac.’ And they made me popular. The young people who had lost interest in the traditional tango started listening to me. It was a war of one against all, but in ten years, the war was won.” Piazzolla came to be regarded as the musician who had revitalized one of the quintessential genres of Latin music, and he was honored with a Grammy nomination and awards from Down Beat and other international music magazines and from the city of Buenos Aires. Astor Piazzolla continued to tour widely, record frequently, and compose incessantly until he suffered a stroke in Paris in August 1990. He died in Buenos Aires on July 5, 1992.

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

ALLEGRO ( $10,000+ )

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

John Dayton Alexia and Jerry Jurschak Sammye and Mike A. Myers Patti and Blaine Nelson

IMPRESARIO ( $25,000+ ) Lyda Hill

SOLOIST ( $7,000+ )

VIRTUOSO ( $20,000+ )

Carol and Ronnie Goldman Bobbi and Richard Massman

ANB Bank and The Sturm Family Marilyn Augur

BENEFACTOR ( $5,000+ )

OVATION ( $15,000+ ) Marcy and Stephen Sands Charles and Margery Pabst Steinmetz Carole A. Watters

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

TANGO-MANIA The Lincoln (NB) Daily Star reported on October 5, 1913: “Tango-itis, in cyclonic velocity, is sweeping across the country, and almost the entire world for that matter.” Whether it was tango teas held at fashionable hotels, tango exhibitions at the theater, or novelties such as tango dancing on roller skates, tango was everywhere. Tango legend has it that one enterprising dressmaker found himself with a glut of orange fabric, and taking advantage of the mania, re-named the color “tango,” making it an instant hit. There were tango shoes and boot polish, tango hairstyles, tango hats, even makeup specifically for tango. However, the craze brought much more to the world than just a great merchandising opportunity: it also brought liberation. To dance the tango properly, women needed much more freedom to move than was possible with whalebone corsets and previously fashionable “hobble” skirts. Tango also opened the way for women to exhibit power and sensuality in public. Did you know? A Finnish version of the traditional Argentine tango is considered the national dance of Finland. 77

When communities celebrate, so do we.

We believe in celebrating today and rejoicing in the possibilities of tomorrow. That’s why U.S. Bank supports the events, holidays and festivals that bring our community together. Celebrating life’s special moments reminds us that the future is bright. usbank.com/communitypossible U.S. Bank is proud to support Bravo! Vail . US Bank 15 Benchmark Rd Avon, CO 81620 970.949.5995

MOVIE MUSIC: OUT OF THIS WORLD

DALLAS SYMPHONY ORCHESTRA JUL

MONDAY JULY 2, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: DONNA AND PATRICK MARTIN

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

SPONSORED BY: Lucy and Ron Davis Susan and John Dobbs Susan and Harry Frampton Brooke and Hap Stein

SOLOIST SPONSORS: Jeff Tyzik, conductor, sponsored by Bobbi and Richard Massman

JUL

MONDAY JULY 2, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor

GOLDSMITH

MOVIE MUSIC: OUT OF THIS WORLD End Credits from Star Trek: First Contact (1996) JERRY GOLDSMITH (1929- 2004)

End Credits from Star Trek: First Contact

Main Theme from Star Trek (1966)

COURAGE

ALEX ANDER COUR AGE (1919-2008)

Main Theme from Star Trek

BLISS Suite from Things To Come March Building of The New World Attack on the Moon Gun Epilogue

WILLIAMS “Darth Vader March” from Star Wars III: Revenge of the Sith

WILLIAMS “Across the Stars” (Love Theme) from Star Wars II: Attack of the Clones

GIACCHINO Theme from Star Trek: Into Darkness

— INTERMISSION — RICHARD STRAUSS Fanfare from Also sprach Zarathustra (from 2001: A Space Odyssey)

JOHANN STRAUSS, JR. Excerpt from On the Beautiful Blue Danube, Op. 314 (from 2001: A Space Odyssey)

WILLIAMS Excerpts from Close Encounters of the Third Kind

Suite from Things to Come (1936) ARTHUR BLISS (1891-1975)

Music from Star Trek: Into Darkness (2013) MICHAEL GIACCHINO (B. 1967)

he music for Star Trek: First Contact (1996) is by Jerry Goldsmith, an Oscar winner and the composer of scores and themes for nearly 300 films and TV shows. The original theme for the TV series (1966) was written by Hollywood composer, arranger and conductor Alexander Courage. Oscar, Grammy, Emmy, and Golden Globe winner Michael Giacchino (pronounced “juh-KEEN-oh”) has written for video games, television, Disney theme park attractions and more than forty highprofile feature films, including Star Trek: Into Darkness (2013). British composer and conductor Arthur Bliss studied at Cambridge University and London’s Royal College of Music. He gained a reputation as an advanced, cosmopolitan composer in the 1920s, but became more conventional in style by the time he wrote the music for a number of films in the 1930s, including the path-breaking Things to Come. The film, based on H.G. Wells’ 1933 short story The Shape of Things to Come, was meant to envision the “social and political forces and possibilities” of future history from 1940 to 2054. Unusually, Bliss composed much of the music even before production began so that scenes could be fitted to it.

HOLST Excerpt from “Mars, The Bringer of War” from The Planets

GOLDSMITH Main Title from Alien

WILLIAMS Excerpts from E.T.: Adventures on Earth

WILLIAMS “Throne Room” and End Title from Star Wars IV: A New Hope

80 Learn more at BravoVail.org

Music from Star Wars JOHN WILLIAMS (BORN IN 1932)

Darth Vader is the focus of the evil forces in much of the Star Wars series, and composer John Williams (who was nominated in 2018 for his 51st Academy Award for the score for the recent The Last Jedi) embodied him musically in the Darth Vader March. Though the Jedi seek to purge themselves of emotion, the teenage Anakin finds love in Episode II: Attack of the Clones when he meets Padmé Amidala, queen of Naboo and senator to

the Republic. Williams expressed their love in the theme Across the Stars. Episode IV: A New Hope (the original Star Wars) closes with the music accompanying Luke, Han, Ben and the victorious rebels being received by the Princess in Throne Room and End Title.

INSIDE STORY

Fanfare from Also sprach Zarathustra (“Thus spake Zarathustra”), Op. 30 (1896) RICHARD STR AUSS (1864-1949)

Excerpt from On the Beautiful Blue Danube, Op. 314 (1867) JOHANN STR AUSS, JR . (1825-1899)

Also Sprach Zarathustra and The Blue Danube Waltz are both woven inextricably into 2001: A Space Odyssey (1968), Stanley Kubrick’s visionary meditation on man’s place in the universe, though that was not the director’s original intention. Kubrick had commissioned a conventional score from the noted Hollywood composer Alex North (Cleopatra, Spartacus, The Rainmaker, The Agony and the Ecstasy), and he used some classical pieces as a temporary soundtrack to begin editing the film while he waited for North to finish his work. Kubrick decided that the concert music fit PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 196

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

ALLEGRO ( $10,000+ )

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

John Dayton Alexia and Jerry Jurschak Sammye and Mike A. Myers Patti and Blaine Nelson

IMPRESARIO ( $25,000+ ) Lyda Hill

SOLOIST ( $7,000+ )

VIRTUOSO ( $20,000+ )

Carol and Ronnie Goldman Bobbi and Richard Massman

ANB Bank and The Sturm Family Marilyn Augur

BENEFACTOR ( $5,000+ )

OVATION ( $15,000+ ) Marcy and Stephen Sands Charles and Margery Pabst Steinmetz Carole A. Watters

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.

A CLOSE ENCOUNTER WITH JEFF TYZIK Composer/conductor/arranger/ trumpeter Jeff Tyzik is acclaimed for many things musical, but the one he is most passionate about is, well, hard to categorize. “I love every kind of music,” said Tyzik. “Baroque, contemporary, the blues... I’m as at home in Copland’s Old American Songs as Oye Como Va or One O’Clock Jump. It’s about whatever’s vibrant, exciting, and has good energy. To be effective at what I do, I have to be totally wide open. Even though I was classically trained, I’m always trying to synthesize those musical elements for symphony orchestra,” an approach that is especially clear in a program like tonight’s, with music that ranges from Strauss to Star Wars. “I love exposing the audience to music by taking them on a journey. And at the end of the journey, they realize that what’s possible with an orchestra is unlimited. My whole idea is to elevate everything an orchestra plays. Sure, it can be fun, it can be engaging, it can be entertaining, but at the same time there’s got to be depth. Something that really touches the soul.” 81

Vail Interfaith Chapel Bringing

Spiritual Harmony to the Vail Valley

Bâ&#x20AC;&#x2122;nai Vail Congregation

Episcopal Church of the Transfiguration

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 Scott Beebe 970-476-6610 www.mountholy.com

Fr. Jose Maria Quera 970-926-2821 www.saintpatrickminturn.com

Pastor Matt Wyatt info@mcc-vail.com www.mcc-vail.com

Vail Interfaith Chapel | 19 Vail Road | Vail, Colorado 81657 www.vailchapel.com | 970-476-3347

JUL

TUESDAY JULY 3, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE

PIAZZOLLA, FAURÉ, AND DEBUSSY

n Histoire du Tango (1981), Argentinean composer and bandoneónist ASTOR PIAZZOLLA (1921-1992), the greatest master of the modern tango, tried to encapsulate the evolution of both the styles and the performance venues of the dance. In 1904, GABRIEL FAURÉ (1845-1924), a professor at the Paris Conservatoire, and later director of the school, composed the Impromptu for Harp for that year’s highly regarded competition. ANDRÉ CAPLET (1878-1925) wrote the Divertissements for the 1924 harp competition at the Conservatoire, which was won by the fourteen-year-old Micheline Kahn. Four years later, Ravel composed his Introduction and Allegro for her. Thereafter she devoted much of her long life to teaching at the École Normale de Musique de Paris. The inspiration for the Sonata for Flute, Viola and Harp (1915) by CLAUDE DEBUSSY (1862-1918) was the elegance, emotional reserve, and clarity of the music of the French Baroque, qualities threatened by the world war raging in Europe at just that time.

MEMBERS OF THE DALLAS SYMPHONY ORCHESTRA Kara Kirkendoll Welch, flute Emily Levin, harp Ann Marie Brink, viola

PIAZZOLLA Selections from Histoire du Tango Bordel 1900 Café 1930 Nightclub 1960

FAURÉ Impromptu for Harp in D-flat major, Op. 86

CAPLET Divertissements for Harp À la française À l’espagnole

DEBUSSY Sonata for Flute, Viola and Harp, L. 137 Pastorale Interlude Finale The running time for this concert is approximately one hour.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Antlers at Vail Eva-Marie and Ray Berry and The Paiko Foundation Cookie and Jim Flaum The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair The Lodge at Vail Carole A. Watters

Not your mother’s marching band. —The Philadelphia Inquirer

ASPHALT

ORCHESTRA ”PART PARADE SPECTACLE, PART HALFTIME SHOW AND PART CUTTING-EDGE CONTEMPORARY MUSIC CONCERT…COOLLY BRILLIANT AND INFECTIOUS. AND WHAT A SCENE!” —THE NEW YORK TIMES

a ragtag marching band” (New York Times), made up of New York City’s most exciting rock, jazz, and classical players, will bring their thrilling arrangements to Bravo! Vail events, the streets and public spaces throughout the Vail Valley. You never know where they’ll pop up, or what you’ll hear, but you can count on their unbelievable energy and brilliant virtuosity.

JULY 4

JULY 5

JULY 7

JULY 8

10:00AM– 2:00PM —

1:00PM —

9:00AM– 2:00PM —

12:30PM —

8:30PM —

10:00AM– 3:30PM —

Vail America Days

Free concert at Vail Interfaith Chapel

Minturn Market

Vail Bravo! Family Vail After Fair in Dark at the Lionshead Vail Ale House

Vail Farmers’ Market & Art Show

BRAVOVAIL.ORG | 877.812.5700

Experience these scheduled ASPHALT ORCHESTRA performances, and keep an eye and ear out for more surprise appearances throughout the Valley.

JUL

WEDNESDAY JULY 4, 2:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

PATRIOTIC CONCERT

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 till now, July 4 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. This year, showcasing the seemingly endless talents of conductor/composer/arranger JEFF TYZIK (b. 1951) are his arrangements of American themes, a homage to the original Yankee Doodle Dandy George M. Cohan, and Tyzik’s original tribute to the beautiful Colorado landscape, Alpine Garden. The pursuit of life, liberty, and happiness continues with evocations of the American spirit by JOHN WILLIAMS (b. 1932) including music from his Revolutionary War-era themed The Patriot, and an energetic dance from Rodeo by AARON COPLAND (19001990). LEROY ANDERSON (1908-1975) showcases the lighter side of military life with Bugler’s Holiday, leading into a salute to the services and the National March of the United States, The Stars and Stripes Forever by JOHN PHILIP SOUSA (1854-1932).

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor

PATRIOTIC CONCERT WILLIAMS Liberty Fanfare

SOUSA

Liberty Bell March

ARR. TYZIK Fantasy on American Themes

TRADITIONAL/MCTEE Shenandoah Nathan Olson, violin David Buck, flute

WILLIAMS The Patriot

COPLAND “Hoedown” from Rodeo

BAGLEY National Emblem

— INTERMISSION — ANDERSON Buglers Holiday

ARR. TYZIK George M. Cohan Medley

ALFORD Colonel Bogey

ARR. TYZIK St. Louis Blues March

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

Gardens of Stone

ARR. TYZIK

THE VAIL VALLEY FOUNDATION

Armed Forces Song Medley

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

SOUSA The Stars and Stripes Forever

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.

JUL

THURSDAY JULY 5, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

ASPHALT ORCHESTRA

Jas Walton, saxophone Ken Thomson, saxophone Peter Hess, saxophone Stephanie Richards, trumpet Jen Baker, trombone Kenneth Bentley, sousaphone Kenneth Salters, percussion Kyle Struve, percussion

LIGETI Passacaglia ungherese

PIXIES / DEAL Gigantic

CRAWFORD-SEEGER/KOCI Movements from String Quartet

FREE

ASPHALT ORCHESTRA

reated by the founders of the “relentlessly inventive” new music presenter Bang on a Can (New York Magazine), Asphalt Orchestra unleashes innovative music from concert halls, rock clubs and jazz basements and takes it to the streets and community spaces like the Vail Interfaith Chapel. At today’s performance, you’ll hear music by avant-garde icon György Ligeti, pioneering vocal artist Meredith Monk, Merrill Garbus of the art-punk duo tUnE-YaRdS, Bang on a Can co-founder Michael Gordon, the Pixies’ Kim Deal, and Ivo Papasov, master of the Balkan Gypsy “wedding band” genre. Asphalt Orchestra delivers unbelievable energy and brilliant virtuosity, guaranteeing an unforgettable musical experience unlike any other.

MONK St. Petersburg Waltz

TUNE-YARDS / GARBUS Bizness

GORDON Tree-oh

PAPASOV Ivo’s Ruchenitsa The running time of this concert is approximately one hour.

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

ASPHALT ORCHESTRA 86 Learn more at BravoVail.org

Eva-Marie and Ray Berry and The Paiko Foundation Destination Resorts Cookie and Jim Flaum The Sidney E. Frank Foundation Landmark Condominiums Manor Vail Lodge Carole A. Watters

DENÈVE CONDUCTS BRAHMS & DVOŘÁK

THE PHILADELPHIA ORCHESTRA JUL

FRIDAY JULY 6, 6:00PM ORCHESTRA SERIES

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

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY: Debbie and Jim Donahugh June and Peter Kalkus Susan and Rich Rogel

SOLOIST SPONSORS: Stéphane Denève, conductor, sponsored by The Frigon Family Nikolaj Znaider, violin, sponsored by Sue and Michael Callahan

JUL

FRIDAY JULY 6, 6:00PM ORCHESTRA SERIES

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

GERALD R. FORD AMPHITHEATER LOBBY

Steven Bruns, University of Colorado, Boulder (speaker)

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Nikolaj Znaider, violin

BRAHMS Violin Concerto in D major, Op. 77 (44 minutes) Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace

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

88 Learn more at BravoVail.org

DENÈVE CONDUCTS BRAHMS & DVOŘÁK Violin Concerto in D major, Op. 77 (1878) JOHANNES BR AHMS (1833-1897)

“T

he healthy and ruddy colors of his skin indicated a love of nature and a habit of being in the open air in all kinds of weather; his thick straight hair of brownish color came nearly down to his shoulders. His clothes and boots were not of exactly the latest pattern, nor did they fit particularly well, but his linen was spotless.... [There was a] kindliness in his eyes ... with now and then a roguish twinkle in them which corresponded to a quality in his nature which would perhaps be best described as good-natured sarcasm.” So wrote Sir George Henschel (the singer and conductor who became the first Music Director of the Boston Symphony Orchestra) of his friend Johannes Brahms. At the time of the composition of his Violin Concerto, Brahms, at 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 after the delicious experience of his first trip to Italy in April. That summer, 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 in Classical concerto form, with an orchestral introduction presenting much of the movement’s main thematic material before the entry of the soloist. The violin’s initial entry is anxious in mood and serves to heighten the serene majesty of the main theme when it is sung by the soloist upon its reappearance. A limpid, waltz-like melody serves as the second theme. The vigorous dotted-rhythm figure returns to close the exposition, with the development continuing the agitated mood of this closing theme. The recapitulation begins on a heroic wave of sound. The soloist’s cadenza serves as the bridge to the coda, which closes this masterful movement with a series of dignified cadential figures. The rapturous Adagio is

based on a theme that the German composer Max Bruch said was derived from a Bohemian folk song. After the violin’s entry, the soloist is seldom confined to the exact notes of the theme, but rather weaves a rich embroidery around their melodic shape. The central section of the movement is cast in darker hues. The finale is an invigorating dance of Gypsy character in rondo form, with a scintillating tune in double stops as the recurring theme.

INSIDE STORY

Symphony No. 8 in G major, Op. 88 (1889) ANTONÍN DVOŘ ÁK (1841-1904)

You would probably have liked Dvořák. He was born a simple (in the best sense) man of the soil who retained a love of country, nature and peasant ways all his life. In his later years he wrote, “In spite of the fact that I have moved about in the great world of music, I shall remain what I have always been — a simple Czech musician.” Few passions ruffled his life — music, of course; the rustic pleasures of country life; the company of old friends; caring for his pigeons; and a child-like fascination with railroads. Milton Cross sketched him thus: “To the end of his days he remained shy, uncomfortable in the presence of those he regarded as his PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 196

GETTING TO KNOW NIKOLAJ ZNAIDER

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Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ( $20,000+ ) Donna and Patrick Martin

OVATION ( $15,000+ ) Anonymous, in honor of Nancy Stevens Anne and Hank Gutman Rich and Susan Rogel

ALLEGRO ( $10,000+ ) John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

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.

Znaider has recurring nightmares about arriving for a rehearsal where the orchestra is playing a piece he has never heard. When he was younger, he wanted to be a spy. His violin, the 1741 Guarnerius “del Gesu,” used to belong to Fritz Kreisler, who premiered the Elgar Violin Concerto on it. “It’s incredible to have something that was built so long ago, that sounds so incredible in modern settings, and that has such a history. You can only dream of what this violin has seen already.” On the future of classical music: “Involve kids in the process of making music, even if it’s just playing one note in a big orchestra. Once you’ve been touched by that magic, you will never be the same.” 89

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BEETHOVEN’S EMPEROR & MAHLER’S TITAN

THE PHILADELPHIA ORCHESTRA JUL

SATURDAY JULY 7, 6:00PM ORCHESTRA SERIES

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SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the Fabulous Philadelphians The Francis Family The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Anne and Hank Gutman Carolyn and Gene Mercy Sally and Byron Rose Mary Sue and Mike Shannon

SOLOIST SPONSORS: Nicholas Angelich, piano, sponsored by Marge and Phil Odeen Stéphane Denève, conductor, sponsored by Ferrell and Chi McClean

JUL

SATURDAY JULY 7, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Nicholas Angelich, piano

BEETHOVEN Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor” (40 minutes) Allegro Adagio un poco mosso — Rondo: Allegro

— INTERMISSION — MAHLER Symphony No. 1 in D major (58 minutes) Langsam, schleppend — Sehr gemächlich Kräftig bewegt Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

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BEETHOVEN’S EMPEROR & MAHLER’S TITAN Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor” (1809) LUDWIG VAN BEETHOVEN (1770-1827)

he year 1809 was a difficult one for Vienna and for Beethoven. In May, Napoleon invaded the city with enough firepower to send the residents scurrying and Beethoven into the basement of his brother’s house. The bombardment was close enough that he covered his sensitive ears with pillows to protect them from the concussion of the blasts. On July 29th, he wrote to the publisher Breitkopf und Härtel, “We have passed through a great deal of misery. What a disturbing, wild life around me; nothing but drums, cannons, men, misery of all sorts.” Austria’s finances were in shambles, and the annual stipend Beethoven had been promised by several noblemen who supported his work was considerably reduced in value, placing him in a precarious pecuniary predicament. As a sturdy tree can root in flinty soil, however, a great musical work grew from those unpromising circumstances — by the end of 1809 Beethoven had completed his “Emperor” Concerto. The sobriquet “Emperor” attached itself to the E-flat Concerto very early, though it was not of Beethoven’s doing. The name may have been tacked on by an early publisher or pianist because of the grand character of the work, or it may have originated with the purported exclamation during the premiere by a French officer at one particularly noble passage, “C’est l’Empereur!” The most likely explanation, however, is that the Viennese premiere took place at a celebration of the Emperor’s birthday. The Concerto opens with broad chords for orchestra answered by piano before the main theme is announced by the violins. The following orchestral tutti embraces a variety of secondary themes leading to a repeat of all the material by the piano accompanied by the orchestra. A development ensues with “the fury of a hailstorm,” wrote Sir Donald Tovey. A recapitulation of the themes and a cadenza close the movement. Sir George Grove dubbed the Adagio a sequence of “quasi-variations,” with the piano providing a coruscating filigree above the orchestral accompaniment. The slow movement leads directly into the finale, a vast rondo with sonata elements.

Symphony No. 1 in D major (1883-1888) GUSTAV MAHLER (1860-1911)

Though he did not marry until 1902, Mahler had a healthy interest in the opposite sex, and at least three love affairs touch upon the First Symphony. In 1880, he conceived a short-lived but ferocious passion for Josephine Poisl, daughter of the postmaster in his boyhood home of Iglau, and she inspired from him three songs and a cantata after Grimm, Das klagende Lied (“Song of Lamentation”), which contributed thematic fragments to the Symphony. The second affair, early in 1884, ignited the composition of the work. Johanne Richter possessed a numbing musical mediocrity alleviated by a pretty face, and it was because of an infatuation with this singer at the Kassel Opera, where Mahler was then conducting, that not only the First Symphony but also the Songs of the Wayfarer sprang to life. The third liaison, in 1887, came as the Symphony was nearing completion. Mahler revived and reworked an opera by Carl Maria von Weber called Die drei Pintos (“The Three Pintos,” two being impostors of the title character) with the help of the grandson of that composer, also named Carl. During the almost daily contact with the Weber family necessitated by the preparation of the work, Mahler fell in love with PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 197

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IMPRESARIO ( $25,000+ )

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Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ( $20,000+ ) Donna and Patrick Martin

OVATION ( $15,000+ ) Anonymous, in honor of Nancy Stevens Anne and Hank Gutman Rich and Susan Rogel

ALLEGRO ( $10,000+ ) John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

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.

INSIDE STORY

DENÈVE ON MAHLER’S FIRST SYMPHONY “For me, everything about Mahler is about life and death. This symphony starts with the first movement, when nature awakes. You hear the cuckoo, you hear different birds, you hear animals. The third movement is very bittersweet with its Frère Jacques melody, which is used as a funeral procession. The person who is dead is actually a hunter, and all the animals are following the procession. The last movement, the fifth movement, the biggest one, starts with Hell, which is a terrible chord, aggressive, very violent. Throughout the movement, you go from Hell to Heaven. There is more and more feeling of triumph, and the symphony finishes in an incredible climax in D major, just so brilliant, so full of energy, and so alive. When you perform Mahler’s music, you really have a feeling that you are Mahler yourself, a little bit, you have these intense feelings that he had about life and love and death. It’s a real joy to interpret Mahler.” Did you know? Denève’s daughter is named Alma, after Mahler’s beloved wife. 93

JUL

SATURDAY JULY 7, 8:30PM BRAVO! VAIL AFTER DARK

VAIL ALE HOUSE

ASPHALT ORCHESTRA

Jas Walton, saxophone Ken Thomson, saxophone Peter Hess, saxophone Stephanie Richards, trumpet Jen Baker, trombone Kenneth Bentley, sousaphone Kenneth Salters, percussion Kyle Struve, percussion

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ASPHALT ORCHESTRA

reated by the founders of the “relentlessly inventive” new music presenter Bang on a Can (New York Magazine), Asphalt Orchestra unleashes innovative music from concert halls, rock clubs and jazz basements and takes it to the streets and beyond, and tonight, into the Vail Ale House. The band brings together some of New York City’s most exciting rock, jazz and classical players and delivers powerful performances of eclectic repertoire (jazz legend Charles Mingus? rock progressive Frank Zappa? avant-garde icon György Ligeti? indie darling David Byrne?). Asphalt Orchestra delivers unbelievable energy and brilliant virtuosity, guaranteeing an unforgettable night of music unlike any other.

“Part parade spectacle, part halftime show and part cutting-edge contemporary music concert … coolly brilliant and infectious. And what a scene!” — THE NEW YORK TIMES

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ASPHALT ORCHESTRA 94 Learn more at BravoVail.org

THIBAUDET PLAYS SAINT-SAËNS

THE PHILADELPHIA ORCHESTRA JUL

SUNDAY JULY 8, 6:00PM ORCHESTRA SERIES

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

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SPONSORED BY: Nancy and Richard Lubin Mr. John McDonald and Mr. Rob Wright

JUL

SUNDAY JULY 8, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Jean-Yves Thibaudet, piano

BERLIOZ Roman Carnival Overture, Op. 9 (9 minutes)

SAINT-SAËNS Piano Concerto No. 5 in F major, Op. 103, “Egyptian” (28 minutes) Allegro animato Andante Molto allegro

— INTERMISSION — CONNESSON E chiaro nella valle il fiume appare (“And Clearly in the Valley the River Appears”) (11 minutes)

RESPIGHI The Pines of Rome (20 minutes) The Pines of the Villa Borghese Pines near a Catacomb The Pines of the Janiculum The Pines of the Appian Way Played without pause

THIBAUDET PLAYS SAINT-SAËNS Roman Carnival Overture, Op. 9 (1843) HECTOR BERLIOZ (1803-1869)

he failure of Berlioz’s opera Benvenuto Cellini at its premiere in September 1838 was nearly complete. Except for the original overture to the opera, everything else, Berlioz reported, “was hissed with admirable energy and unanimity.” Five years later, he mined the opera for thematic material for a new overture that he could use either as an independent concert work or as the introduction to the second act of Benvenuto. With the flavor of the opera’s setting and his own Italian travels as guides, he named it Roman Carnival. The Overture had a resounding success at its concert premiere in Paris on February 3, 1844, and was encored. It immediately joined the Symphonie Fantastique as the most popular of Berlioz’s music, and it was one of the works he programmed most frequently on the concerts he conducted. The two large sections of the Roman Carnival Overture are based on melodies from the opera. The first, presented by the solo English horn, borrows Benvenuto’s aria O Teresa, vous que j’aime (“O Teresa, whom I adore”). The other theme is a bubbling saltarello reminiscent of the folk dances Berlioz heard in Rome.

Piano Concerto No. 5 in F major, Op. 103, “Egyptian” (1896) C A M I L L E S A I N T-S A Ë N S (1 8 3 5 -192 1 )

At the age of two, Camille Saint-Saëns climbed up onto the piano bench and spent a large part of the rest of his life there. To perform, of course, meant to tour, and travel became one of SaintSaëns’ chief pastimes. He went to the corners of the earth, from Singapore to San Francisco, but he tried to spend his winters in the baking sun and relative anonymity of Algiers, away from the drab Parisian weather. His fondness for North Africa carried him on at least two occasions to Egypt, each visit inspiring a work for piano and orchestra: Africa, of 1891, was based on native songs; and the Fifth Piano Concerto (“Egyptian”) was composed at Luxor in 1896. The composer was the soloist in the premiere of the Concerto on June 2, 1896 in Paris at a concert celebrating the fiftieth anniversary of his debut as a pianist. The Concerto’s opening movement follows traditional sonata-concerto structure, with a chordal main theme and a complementary, dance-like subordinate melody. “The second 96 Learn more at BravoVail.org

movement,” Saint-Saëns wrote, “takes us on a journey to the East and even, in one section, to the Far East. One passage is based on a Nubian love song I heard sung by the boatmen on the Nile.” The finale is a breathtaking tour-de-force of keyboard technique.

INSIDE STORY

E chiaro nella valle il fiume appare (“And Clearly in the Valley the River Appears”) (2015) GUILLAUME CONNESSON (BORN IN 1970)

Guillaume 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 was 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. He 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 PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 197

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IMPRESARIO ( $25,000+ )

BENEFACTOR ( $5,000+ )

Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ( $20,000+ ) Donna and Patrick Martin

OVATION ( $15,000+ ) Anonymous, in honor of Nancy Stevens Anne and Hank Gutman Rich and Susan Rogel

ALLEGRO ( $10,000+ ) John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

THIBAUDET ON SAINT-SAËNS PIANO CONCERTO NO. 5 “I like [this piece] because it’s not played very often. It’s kind of a rarity. Lots of people don’t even know it exists! It’s a special occasion for the audience to hear something they don’t hear every day, and this is a wonderful piece of music. You have to realize that Saint-Saëns was a great genius, a big, virtuoso pianist, and he wrote this piece for himself, basically to show off all the things he could do at the piano, which are amazing. So it’s extremely difficult and demanding technically, very exciting, but also very exotic. There’s a lot of interesting moments of colors, of harmonies, of interesting interactions between the orchestra and the piano. It’s a little bit extravagant, in a way. “Listen especially to the second movement, right after the beginning, when the piano suddenly plays and it sounds like a different instrument. It’s an incredible effect that sounds really amazing, and it’s purely the way it’s written.” 97

JUL

MONDAY JULY 9, 6:00PM FREE CONCERT SERIES

EDWARDS INTERFAITH CHAPEL

Do-Hyun Kim, piano (2018 Bravo! Vail Piano Fellow) Albert Cano Smit, piano (2018 Bravo! Vail Piano Fellow)

BEETHOVEN Sonata No. 18 in E-flat major, Op. 31, No. 3 Allegro Scherzo: Allegretto vivace Menuetto: Moderato e grazioso Presto con fuoco

SCHUBERT Sonata in B-flat major, D. 960 Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo The running time of this concert is approximately one hour.

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BEETHOVEN & SCHUBERT FOR SOLO PIANO

he Sonata No. 18 in E-flat major, Op. 31, No. 3 (1802) stands at the threshold of the dynamic and dramatic musical speech of the so-called “second period” of LUDWIG VAN BEETHOVEN (1770-1827). On October 6, 1802, following months of wrestling with his diminishing hearing (as well as a constant digestive distress), Beethoven penned the most famous letter ever written by a musician, the so-called “Heiligenstadt Testament”: “O Providence — grant me at last but one day of pure joy — it is so long since it echoed in my heart.” But more than pouring his energy into self-pity, he channeled it into music. The Symphonies Nos. 2-5, a dozen piano sonatas (including Op. 31), the Fourth Piano Concerto, the Triple Concerto, Fidelio, many songs, chamber works, and keyboard compositions were all created between 1802 and 1806. In August 1828, FRANZ SCHUBERT (1797-1828) felt unwell, complaining of dizziness and loss of appetite, and his physician advised that he move for a time to a new house outside the city recently acquired by the composer’s brother Ferdinand. Though Ferdinand’s dwelling was damp and uncomfortable and hardly conducive to his recovery, Franz felt better during his stay. He also continued to compose, completing on September 26th the Piano Sonata in B-flat major plus two other masterful sonatas, and performing them at the house of Dr. Ignaz Menz the following day. Except for the C major String Quintet, those sonatas were the last instrumental works Schubert completed before his death on November 19, 1828, at the age of 31.

ALBERT CANO SMIT 98 Learn more at BravoVail.org

Eva-Marie and Ray Berry and The Paiko Foundation Eagle County Evergreen Lodge The Sidney E. Frank Foundation Montaneros in Vail Carole A. Watters

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JUL

MONDAY JULY 9, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

MAYER RESIDENCE, CORDILLERA VALLEY

THE LINDA AND MITCH HART SOIRÉE SERIES

AN EVENING WITH PIANIST ANGELICH

resh off his Bravo! Vail debut performing Beethoven’s Emperor Concerto with the Fabulous Philadelphians, Nicholas Angelich brings an equally passionate performance to an intimate salon experience. In an interview with the Opus Classical record label, the American pianist described his process for putting a program together: “The first thing in there is my very own desire to play specific works I love with all my heart. That is my starting point. At the same time you have to combine works together to shape a program that is either based on logic or contrast. Like different works of art in a gallery, but sensing that they can ‘work’ together, that the mixture makes sense. Another aspect of it is that I make my choices with the potential appreciation by the audience in mind. … I think that it is important as a performing artist to be adventurous. You must experiment and challenge, one way or the other and this is what I try to do. I try to be innovative, but on my own terms.”

Nicholas Angelich, piano

BACH Chorale Prelude, Nun komm, der Heiden Heiland, BWV 659 (5 minutes) arr. Busoni

BRAHMS Seven Fantasies, Op. 116 (21 minutes) No. 1: Capriccio in D minor No. 2: Intermezzo in A minor No. 3: Capriccio in G minor No. 4: Intermezzo in E major No. 5: Intermezzo in E minor No. 6: Intermezzo in E major No. 7: Capriccio in D minor

BEETHOVEN Sonata No. 14 in C-sharp minor (Sonata quasi una Fantasia), Op. 27, No. 2, “Moonlight” (14 minutes) Adagio sostenuto — Allegretto — Presto agitato

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

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Barbie and Tony Mayer

SPECIAL GRATITUDE TO The Francis Family Linda and Mitch Hart

SPONSORED BY Fancy Pansy The Left Bank West Vail Liquor Mart

NICHOLAS ANGELICH 99

JUL

TUESDAY JULY 10, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

Do-Hyun Kim, piano (2018 Bravo! Vail Piano Fellow) Albert Cano Smit, piano (2018 Bravo! Vail Piano Fellow)

BACH Selections from The Art of Fugue, BWV 1080 Contrapunctus I Contrapunctus IV Contrapunctus II Contrapunctus V Contrapunctus IX

LIGETI Two Études No. 15: White on White (Book III) No. 13: L’escalier du diable (Book II)

CHOPIN Twelve Études, Op. 25 No. 1 in A-flat major: Allegro sostenuto No. 2 in F minor: Presto No. 3 in F major: Allegro No. 4 in A minor: Agitato No. 5 in E minor: Vivace No. 6 in G-sharp minor: Allegro (“Study in Thirds”) No. 7 in C-sharp minor: Lento No. 8 in D-flat major: Vivace No. 9 in G-flat major: Allegro assai (“Butterfly”) No. 10 in B minor: Allegro con fuoco No. 11 in A minor: Lento — Allegro con brio (“The Winter Wind”) No. 12 in C minor: Allegro molto con fuoco The running time of this concert is approximately one hour.

FREE

BACH, LIGETI AND CHOPIN FOR SOLO PIANO

he Art of Fugue (1742-1749), the final product of the incomparable genius of JOHANN SEBASTIAN BACH (1685-1750), is a sort-of autobiography of his contribution to the discipline of music. The major creations of his last years — A Musical Offering, Schübler Chorales, Chorale Variations on “Vom Himmel Hoch,” The Art of Fugue, even the B minor Mass — were conceived as demonstrations of the highest technical skill attainable in the field of musical composition. The modern Hungarian master GYÖRGY LIGETI (1923-2006) said that his three books of Études (1985, 1988-1994, 1995-2001) resulted from “my own inability as a pianist…. What I wanted to achieve was the transformation of inadequacy into professionalism,” though his expression of such mastery of the keyboard came in the form of compositions rather than performances. Of the Twelve Études, Op. 25 (1837) by FRÉDÉRIC CHOPIN (1810-1849), English pianist and writer on music Robert Collet concluded, “They are in some ways the most universal of his works; to an unusual degree, they transcend barriers of time and nationality…. It is difficult to think of any music of the decade around 1830 that has dated less.”

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Eva-Marie and Ray Berry and The Paiko Foundation FirstBank Cookie and Jim Flaum The Sidney E. Frank Foundation The Sebastian - Vail Vail Mountain Lodge and Spa Carole A. Watters

100 Learn more at BravoVail.org

JUL

TUESDAY JULY 10, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION

FOUR PIANISTS/ TWO PIANOS

AMILLE SAINT-SAËNS (1835-1921) greatly admired Ludwig van Beethoven, and in 1874 composed a set of variations for two pianos on the quirky trio theme from Beethoven’s Piano Sonata in E-flat major, Op. 31, No. 3. CLAUDE DEBUSSY (1863-1918) wrote of the first two Nocturnes (1897-1899), “Nuages represents the unchanging aspect of the sky and the solemn march of clouds. Fêtes [‘Festivals’] is in a vibrating, dancing rhythm, with sudden flashes of light.” Souvenirs (1951-1952) by SAMUEL BARBER (1910-1981) is a suite of lighthearted numbers in turn-of-the-20th-century dance styles that were inspired by the duo-piano teams he heard at the Blue Angel Club in Manhattan. The Dolly Suite (1893-1896) of GABRIEL FAURÉ (1845-1924) was named for his paramour (and later the wife of Debussy) Hélène Bardac, who was so tiny as a baby she was nicknamed “Dolly.” MAURICE RAVEL (1875-1937) saw La Valse (1919-1920) as “a kind of apotheosis of the Viennese waltz” in which the ancient Habsburg Empire had been destroyed by the “fantastic and fatefully inescapable whirlpool” of World War I.

Do-Hyun Kim, piano (2018 Bravo! Vail Piano Fellow) Anne-Marie McDermott, piano Albert Cano Smit, piano (2018 Bravo! Vail Piano Fellow) Jean-Yves Thibaudet, piano

SAINT-SAËNS Variations on a Theme of Beethoven for Two Pianos, Op. 35 (18 minutes)

DEBUSSY/ARR. RAVEL Nocturnes Nos. 1 and 2 for Two Pianos, Four Hands (13 minutes) Nuages Fêtes

— INTERMISSION — BARBER Souvenirs for Piano, Four Hands, Op. 28 (18 minutes) Waltz Schottische Pas de Deux Two-Step Hesitation-Tango Galop

FAURÉ “Berceuse” from Dolly Suite for Piano, Four Hands, Op. 56 (3 minutes)

RAVEL La Valse for Two Pianos (12 minutes)

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101

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THE PHILADELPHIA ORCHESTRA JUL

WEDNESDAY JULY 11, 7:30PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: ANGELA AND PETER DAL PEZZO KAY AND BILL MORTON SANDRA AND GREG WALTON

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

SPONSORED BY: Letitia and Christopher Aitken Gina Browning and Joe Illick Mr. and Mrs. Ernest Scheller, Jr.

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WEDNESDAY JULY 11, 7:30PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA David Newman, conductor

PARAMOUNT PICTURES PRESENTS A LUCASFILM LTD PRODUCTION A STEVEN SPIELBERG FILM Starring HARRISON FORD KAREN ALLEN PAUL FREEMAN RONALD LACEY JOHN RHYS-DAVIES DENHOLM ELLIOTT Music by JOHN WILLIAMS Executive Producers GEORGE LUCAS and HOWARD KAZANJIAN Screenplay by LAWRENCE KASDAN Story by GEORGE LUCAS and PHILIP KAUFMAN Produced by FRANK MARSHALL Directed by STEVEN SPIELBERG

“RAIDERS OF THE LOST ARK” Licensed by LUCASFILM LTD and PARAMOUNT PICTURES. This program licensed by LUCASFILM LTD and PARAMOUNT PICTURES. Motion Picture, Artwork, Photos ©1981 Lucasfilm Ltd. All Rights Reserved. MUSIC COMPOSED BY JOHN WILLIAMS BANTHA MUSIC (BMI) MUSICAL SCORE LICENSED BY BANTHA MUSIC C/O WALT DISNEY MUSIC COMPANY. © ALL RIGHTS RESERVED. USED BY PERMISSION. The running time of this program is just over two hours and includes one brief intermission.

RAIDERS OF THE LOST ARK: FILM WITH LIVE SCORE

efore the multiplex, the 3-D, the gee-wiz computer graphics, the immersive sound system, the $10 popcorn, there were the serials, twelve or fifteen twenty-minute episodes of a continuing story produced with more bravado than sophistication that left Flash Gordon, Dick Tracy, Captain Marvel, Zorro or whatever buff hero was featured in the series in impossible-to-escape peril at the end of each segment. The heyday of the movie serials was from the mid-1930s to the 1950s, when 25¢ got you into a Saturday matinee showing two serial episodes, two B features (cowboys were always big), and a bunch of cartoons; another 25¢ was enough to keep your teeth stuck together with Ju-Ju-Bees for the entire afternoon. George Lucas (born in 1944 in Modesto, California) and Steven Spielberg (1946, Cincinnati Ohio) were enthralled with the Saturday serials as kids. Following the success of his Best Picture-nominated American Graffiti (1973), set in Modesto in 1962, Lucas wanted to make the Flash Gordon Saturday serial into a feature film but could not obtain the rights to the character … so he wrote and directed Star Wars (1977) instead. For the score, Spielberg recommended that Lucas hire John Williams, who had won an Oscar for his soundtrack for Spielberg’s Jaws in 1975. Star Wars was a phenomenon, winning six Academy Awards (including another one for Williams) and became the highest-grossing film of all time until it was overtaken by Spielberg’s E.T. the Extra-Terrestrial in 1983. Soon after Star Wars was released, Lucas escaped the furor over the film by heading to Hawaii, where Spielberg was also taking a break from filming Close Encounters of the Third Kind. While they were collaborating on building a sand castle on the beach in front of the Mauna Kea Hotel, Spielberg confessed a secret desire to direct a James Bond film. Lucas told him he had developed a character “better than James Bond” in 1973, when he had been stopped from making his Flash Gordon film, a story then titled “The Adventures of Indiana Smith,” about a tweedy collegearcheologist-turned-bullwhip-toting action hero. The principal plot device was the recovery of the lost Ark of the Covenant, the Biblical gold-covered wooden chest containing the original tablets inscribed with the Ten Commandments. The film was set in 1936 and the Nazis, then consolidating their power in Germany and believing the Ark would make their armies invincible, would be his adversaries. Spielberg loved the idea, calling it “a James Bond film without the hardware,” but he told Lucas that the surname “Smith” was not right for the character. Lucas replied, “OK. What about ‘Jones’?”

By January 1978, Spielberg had agreed to direct Raiders of the Lost Ark, Lucas continued to develop the story with screenwriter Lawrence Kasdan (who was then also working on the Star Wars’ sequel The Empire Strikes Back), and Frank Marshall was hired to produce. With its roots in the beloved 1930s serials, the plot of the film took Indy (the perfectly cast Harrison Ford, who had been impressive as Han Solo in Star Wars) on a thrill-ride that included narrow escapes (from snake pits, hurtling boulders, poison darts, collapsing walls, yawning chasms, exploding airplanes, ghoulish spirits, and roaring fires), nasty villains (Nazis, of course, but also a traitorous Frenchman and a spying spider monkey) and a feisty but regularly kidnapped damsel (played by Karen Allen). Filming began in La Rochelle, France in June 1980 (the scenes with the Nazi submarine) and continued at London’s Elstree Studios (including the infamous snake-pit sequence, in which many of the “snakes” were harmless legless lizards from the Balkans called Scheltopusiks — only the cobras were poisonous; Indy was separated from the one threatening him by a glass panel), the Hawaiian island of Kauai (the tropical scenes), and Tunisia (the desert portions), where the whole crew (except Spielberg, who survived that month of filming eating canned SpaghettiOs) was hit with dysentery from the heat and tainted food. (The filming of the PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 198

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

SOLOIST ( $7,000+ )

( $50,000+ )

ANB Bank and The Sturm Family Town of Vail

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post

IMPRESARIO ( $25,000+ )

BENEFACTOR ( $5,000+ )

Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ( $20,000+ ) Donna and Patrick Martin

OVATION ( $15,000+ ) Anonymous, in honor of Nancy Stevens Anne and Hank Gutman Rich and Susan Rogel

ALLEGRO ( $10,000+ ) John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

INSIDE STORY

FUN FACTS ABOUT RAIDERS OF THE LOST ARK In the 1970s, George Lucas owned an Alaskan Malamute named Indiana, who was not only the inspiration for the name Indiana Jones, but also for the character “Chewbacca” in Star Wars. Artwork commissioned to set the tone and illustrate concepts for the film defined Indy’s onscreen look and persona — including the iconic hat, beat up leather jacket, and bullwhip. Spielberg blocked out several scenes prior to getting on set using room-size scale miniatures, similar to how the old serials that inspired Raiders were shot. The cute monkey that looks like it’s giving a Nazi salute? It’s actually reaching for a bunch of grapes dangling just above the frame. The famously hideous facemelt scene was made possible thanks to alginate (used to make dental impressions), thin layers of gelatin, colored yarn, and actual meat and liver. 105

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THURSDAY 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 Radu Paponiu, conductor Magic Circle Mime Company

BRITTEN Selections from A Young Person’s Guide to the Orchestra

BERNSTEIN Overture to Candide

SHOSTAKOVICH Polka from The Age of Gold

JOHN WILLIAMS Selections from Film Music

TCHAIKOVSKY Dance of the Swans from Swan Lake

BIZET Entrance of the Toreadors from Carmen

MOZART Finale from Symphony No. 39

BRITTEN Selections from A Young Person’s Guide to the Orchestra

ROSSINI William Tell Overture Gypsum performance only Total running time of this program is approximately 60 minutes.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS MORNING’S CONCERT IN VAIL FROM: Dierdre and Ronnie Baker Eva-Marie and Ray Berry and The Paiko Foundation The Lyn and Phillip Goldstein Maestro Society Slifer Smith & Frampton Foundation Carole A. Watters

Second Performance in Gypsum

JUL

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

LUNDGREN AMPHITHEATER, GYPSUM

FREE FAMILY CONCERTS

THE LISTENER

n this playful storyline, the conductor has big plans to showcase his orchestra with a program of music from many lands and artistic disciplines, but finds his efforts complicated by two onlookers who take audience participation to a whole new level. A bugle-playing mime who wants to sing opera? A tap-dancing ballerina? One musi-comic dilemma leads to another as these characters and the audience learn about the orchestra, its music, and the art of listening. “The Listener” explores the concept of listening to an orchestra concert through humor, drama, and dance, drawing on colorful works from classical and popular music in a program that is fun and entertaining for our youngest listeners. Selections including John Williams’ movie music, Benjamin Britten’s Young Person’s Guide to the Orchestra, and “Dance of the Little Swans” from Tchaikovsky’s Swan Lake leave the audience appreciating their own abilities as well as the orchestra’s artistry.

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

INSIDE STORY MEET THE MAGIC CIRCLE MIMES! After Douglas MacIntyre finished college in Theater Arts, he worked as an actor, playwright and director. The Music Director of the Spokane Symphony offered him the opportunity to create and perform a touring educational concert for orchestra, which was so successful that other orchestras asked him to bring the program to their communities. Maggie Peterson’s mother was a piano teacher, so her interest in music started at an early age and continued through college, where she also studied mime and movement theater.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT IN GYPSUM FROM: Dierdre and Ronnie Baker Eva-Marie and Ray Berry and The Paiko Foundation Costco The Lyn and Phillip Goldstein Maestro Society Slifer Smith & Frampton Foundation Town of Gypsum Carole A. Watters

With their backgrounds in both theater and music, Douglas and Maggie formed a creative partnership that they called the Magic Circle Mime Company. Over the past 40 years they have performed together all over the world, with virtually every major orchestra in North America and at many festivals and orchestras in the Pacific Rim and Asia.

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THURSDAY JULY 12, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

Do-Hyun Kim, piano (2018 Bravo! Vail Piano Fellow) Albert Cano Smit, piano (2018 Bravo! Vail Piano Fellow)

SCHUMANN Humoreske, Op. 20 Einfach — Sehr rasch und leicht — Hastig — Einfach und zart — Innig — Sehr lebhaft — Mit einigem Pomp — Zum Beschluss

CHOPIN Twelve Études, Op. 10 No. 1 in C major: Allegro No. 2 in A minor: Allegro No. 3 in E major: Lento ma non troppo No. 4 in C-sharp minor: Presto No. 5 in G-flat major: Vivace (“Black Key”) No. 6 in E-flat minor: Andante No. 7 in C major: Vivace No. 8 in F major: Allegro No. 9 in F minor: Allegro molto agitato No. 10 in A-flat major: Vivace assai No. 11 in E-flat major: Allegretto No. 12 in C minor: Allegro con fuoco (“Revolutionary”)

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SCHUMANN & CHOPIN FOR SOLO PIANO

OBERT SCHUMANN (1810-1856) composed his Humoreske on an extended visit to Vienna in 1839. He wrote of it to Clara Wieck, his fiancée in Leipzig, “All week I have scarcely left my piano, composing and laughing and crying, all at once. My Humoreske is the result, and you will find all of these things in there.” Schumann told a Belgian acquaintance, Simonin de Sire, that the title was intended to convey “a happy combination of Gemütlichkeit [i.e., genial, cozy feelings] and wit.” Though its name implies something diminutive, the Humoreske is comparable in scale and form to the large piano cycles, those peerless collections of aphoristic character pieces. The étude originally grew from the need for study pieces focusing on one aspect of keyboard technique, but the Twelve Études, Op. 10 (1833) of FRÉDÉRIC CHOPIN (1810-1849) lifted the genre from that of a simple pedagogical vehicle to a richly expressive concert form with a single, sustained mood. The Études are the first works in which Chopin’s fully formed genius is evident.

The running time of this concert is approximately one hour.

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

DO-HYUN KIM 108 Learn more at BravoVail.org

Eva-Marie and Ray Berry and The Paiko Foundation Cookie and Jim Flaum The Sidney E. Frank Foundation Sonnenalp Hotel Carole A. Watters

MOZART, BARBER & BRAHMS

THE PHILADELPHIA ORCHESTRA JUL

FRIDAY JULY 13, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: ANB BANK AND THE STURM FAMILY MARY LYNN AND WARREN STALEY

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the Fabulous Philadelphians The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Jane and Michael Griffinger Ann and David Hicks Sammye and Mike A. Myers Teri Perry, in memory of Tony Perry

SOLOIST SPONSORS: Augustin Hadelich, violin, sponsored by Gina Browning & Joe Illick and Mary Lou Paulsen & Randy Barnhart Donald Runnicles, conductor, sponsored by The Gorsuch Family

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FRIDAY JULY 13, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Donald Runnicles, conductor Augustin Hadelich, violin

MOZART Symphony No. 38 in D major, K. 504, “Prague” (29 minutes) Adagio — Allegro Andante Finale: Presto

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

BRAHMS Variations on a Theme of Joseph Haydn, Op. 56a (18 minutes) Chorale St. Antoni: Andante Variation I: Poco più animato Variation II: Più vivace Variation III: Con moto Variation IV: Andante con moto Variation V: Vivace Variation VI: Vivace Variation VII: Grazioso Variation VIII: Presto non troppo Finale: Andante

MOZART, BARBER & BRAHMS Symphony No. 38 in D major, K. 504, “Prague” (1786) WOLFGANG AMADEUS MOZART (1756-1791)

“N

o work has ever created such a sensation as the Italian opera The Marriage of Figaro,” reported the Prague Oberpostamtszeitung on December 12, 1786. “Word of this triumph must have reached Mozart himself, for rumor has it that he will come here to see the performance.” The rumor proved to be correct — Mozart and his wife, Constanze, left Vienna on January 8, 1787, and arrived in the Bohemian capital three days later. As well as witnessing performances of Figaro in Prague, Mozart also hoped to present a concert of his instrumental music during his stay, so he organized a program on January 19th at the local opera house. He introduced a new D major Symphony he had brought with him from Vienna, played some concerto works, and offered a half hour of improvisation at the keyboard, but the audience demanded more, so he extemporized a dozen brilliant variations on Non più andrai from Figaro. When Mozart left Prague in mid-February, he took with him not only the unstinting praises of the city and a substantial cache of earnings, but also a contract for a new opera for Prague’s fall season — Don Giovanni. The D major Symphony Mozart premiered at his Prague concert opens with an introduction whose turbulent moods presage the darker pages of Don Giovanni. Mozart was positively profligate with themes in the Allegro that comprises the main body of the movement. Musicologist Alfred Einstein counted “almost a dozen” motives welded into an expansive sonata form. The Andante is one of those pieces of Mozart’s maturity that exquisitely balance an ineffable serenity with a world of poignant emotions. The quicksilver finale was a particular delight at its premiere to Figaro-mad Prague, since Mozart borrowed its theme from the opera’s Act II duet of Susanna and Cherubino, Aprite presto.

Violin Concerto, Op. 14 (1939) SAMUEL BARBER (1910-1981)

The Violin Concerto, with the warm lyricism of its first two movements and the aggressive rhythms and strong dissonances of its finale, is a microcosm of the stylistic evolution that Samuel Barber’s music underwent at the outbreak of World War II. The idiom of the works of his earlier years — Overture to “The School for Scandal” (1932), Essay for Orchestra (1937), Adagio for Strings (1938), those pieces that established his international reputation as a 20th-century romanticist — was soon to be augmented by 110 Learn more at BravoVail.org

the more modern but expressively richer musical language of the Second Symphony (1944), Capricorn Concerto (1944) and the ballet for Martha Graham, The Serpent Heart (1946), from which the orchestral suite Medea was derived. The Concerto’s opening movement, almost Brahmsian in its nostalgic songfulness, is built on two lyrical themes. The first one, presented immediately by the soloist, is an extended, arching melody; the other, initiated by the clarinet, is animated by a short–long rhythmic figure familiar from jazz. The two themes alternate throughout the remainder of the movement, which follows a broadly drawn, traditional concerto form. The expressive cantabile of the first movement carries into the lovely Adagio. The oboe intones a plangent melody as the main theme, from which the soloist spins a rhapsodic elaboration to serve as the movement’s central section. Moto perpetuo — “perpetual motion” — Barber marked the finale, and the music more than lives up to its title. After an opening timpani flourish, the soloist introduces a fiery motive that returns, rondo-like, throughout the movement. PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 198

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

SOLOIST ( $7,000+ )

( $50,000+ )

ANB Bank and The Sturm Family Town of Vail

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post

IMPRESARIO ( $25,000+ )

BENEFACTOR ( $5,000+ )

Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ( $20,000+ ) Donna and Patrick Martin

OVATION ( $15,000+ ) Anonymous, in honor of Nancy Stevens Anne and Hank Gutman Rich and Susan Rogel

ALLEGRO ( $10,000+ ) John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

INSIDE STORY

ANOTHER BIG YEAR FOR AUGUSTIN When Augustin Hadelich last appeared at Bravo! Vail in 2016, this space showcased “Augustin’s Big Year,” which mentioned being the first-ever winner of the Warner Music Prize and garnering his first Grammy Award. His career has continued to grow — earlier this year he was named Musical America’s 2018 Instrumentalist of the Year — but perhaps a showcase of Augustin’s lighter side is in order (excerpted from an interview with The Violin Channel): “I love puzzles, brainy games, and strategy games (as he pulls out a Rubik’s Cube from his pocket).” “Living in New York, I find I miss the sounds I grew up with, the sounds of nature, birds and crickets and cicadas. I really hate background music, when it’s just loud enough to irritate you but you can’t really hear it.” “When I was really little, I wanted to be a policeman, but I think I’d actually be a terrible policeman. I’d just let everybody go!” “If the violin thing doesn’t work out, I think I’ll be a travel agent.” 111

THE MOMENT “THE GREAT OUTDOORS” IS JUST OUTSIDE YOUR DOOR Towering ponderosa pines. Majestic stands of aspens. And sparkling, trout-filled Gore Creek right in our own backyard. Hotel Talisa, Vail’s newest luxury hotel, captures your undivided attention with serene, mountainside beauty and four seasons of activity. In fact, Hotel Talisa is Vail’s only luxury resort with an on-site ski lift. And just five minutes away are the shops and restaurants of Vail. Rounding out all of your alpine adventures is easy with elevated spa and dining experiences – all just inside our doors. Join us at Hotel Talisa for moments worth collecting. EXPLORE THE DESTINATION AND EXCLUSIVE OFFERS AT HOTELTALISA.COM. 800.420.2424

TRIFONOV PLAYS RACHMANINOFF

THE PHILADELPHIA ORCHESTRA JUL

SATURDAY JULY 14, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: THE FRANCIS FAMILY THE SIDNEY E. FRANK FOUNDATION BARBIE AND TONY MAYER

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the Fabulous Philadelphians The Francis Family The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Carolyn and Steve Pope Janet Pyle and Paul Repetto Sue and Marty Solomon

SOLOIST SPONSORS: Donald Runnicles, conductor, sponsored by Karen and Jim Johnson Daniil Trifonov, piano, sponsored by Gina Browning & Joe Illick and Linda Farber Post & Dr. Kalmon D. Post

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SATURDAY JULY 14, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

THE PHILADELPHIA ORCHESTRA Donald Runnicles, conductor Daniil Trifonov, piano

SMETANA Overture to The Bartered Bride (7 minutes)

RACHMANINOFF Piano Concerto No. 1 in F-sharp minor, Op. 1 (26 minutes) Vivace Andante Allegro vivace

— INTERMISSION — HUMPERDINCK/ARR. OMAR ABAD Selections from Orchestral Suite from Handel and Gretel (25 minutes) Prelude The Witch’s Ride In the Forest Crackle Waltz and Pantomime

WAGNER Overture to Tannhäuser (14 minutes)

JOIN US FOR BRAVO! VAIL AFTER DARK, 8:30PM HANZHI WANG, ACCORDION VAIL ALE HOUSE, WEST VAIL (details on page 116)

114 Learn more at BravoVail.org

TRIFONOV PLAYS RACHMANINOFF Overture to The Bartered Bride (1863-1866) BEDŘICH SMETANA (1824-1884)

he story of The Bartered Bride derives from the personalities, customs and lore of the Czech countryside. The lovers Hans and Marie are prevented from marrying by her father, who has secured a more lucrative nuptial arrangement from the village matchmaker, Kezal. Kezal has engaged Marie to the half-wit Wenzel, son of the second marriage of Micha, a wealthy landowner. Hans makes sure that the marriage contract specifies Marie must wed the son of Micha, and pockets the money that Kezal promised him for breaking his betrothal to Marie. Hans then reveals that he is also the son of Micha — by Micha’s first marriage — and claims Marie as his wife. Wenzel, his mind unhinged, appears in a bear costume, and has to be dragged away while the couple and the villagers celebrate the upcoming wedding. The Overture’s boisterous opening melody represents the matchmaker Kezal, the vibrant dance strain accompanies the signing of the marriage contract, and a lyrical theme from the oboes is associated with Hans.

Piano Concerto No. 1 in F-sharp minor, Op. 1 (1890-1891) SERGEI R ACHMANINOFF (1873-1943)

While still a student at the Moscow Conservatory in 1890, Rachmaninoff began the Piano Concerto No. 1, completing the first movement quickly but not finishing the rest until the following year. He gave the premiere on a student concert at the Moscow Conservatory on March 17, 1892, but the Concerto enjoyed little success and he undertook its revision in October 1917 — just as the Russian Revolution erupted in the streets around his Moscow flat. “I sat at the writing table all day without troubling about the rattle of machine guns and rifle shots,” he noted in his diary. In December, he fled to Finland, supported himself for a year in Scandinavia by giving concerts, and settled in the United States in 1918. The opening movement, in traditional concerto form, is characterized by both Rachmaninoff’s characteristic melancholy and his virtuosic pianism. The brief Andante is rhapsodic in spirit and lyrical in style, with the soloist strewing sweeping arabesques upon the subdued orchestral accompaniment. The finale is aggressive and virtuosic, with a quiet center section to provide contrast.

Selections from Orchestral Suite from Hansel and Gretel (1890-1893)

INSIDE STORY

ENGELBERT HUMPERDINCK (1854-1921)

In the familiar story of Humperdinck’s opera, Hansel and his sister Gretel leave their family cottage to pick strawberries in the nearby woods. They become lost and must spend the night in the forest. When they awaken in the morning, the mists have lifted to reveal the toothsome gingerbread house of the Witch, who bakes little children in her oven. The children outsmart the Witch, however, and are reunited with their parents. Humperdinck said that the opera’s Overture is “a sort of symphonic prologue, which might be called a description of childhood.” The Witch’s Ride provides the prelude to Act II, just as Hansel and Gretel set off on their adventure into the forest. In the Forest is the scene of the children in Act II wandering in the woods while Gretel entertains herself with a song about “a little man … with a little coat of pure red.” The Crackle Waltz is the gleeful tune with which the witch announces, “Yes, little Gretel, soon you’ll be a little roast.” PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 198

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

SOLOIST ( $7,000+ )

( $50,000+ )

ANB Bank and The Sturm Family Town of Vail

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post

IMPRESARIO ( $25,000+ )

BENEFACTOR ( $5,000+ )

Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ( $20,000+ ) Donna and Patrick Martin

OVATION ( $15,000+ ) Anonymous, in honor of Nancy Stevens Anne and Hank Gutman Rich and Susan Rogel

ALLEGRO ( $10,000+ ) John Dayton Teri Perry, in memory of Tony Perry Cathy and Howard Stone

TRIFONOV ON RACHMANINOFF “Despite the fact that this First Piano Concerto is quite rarely performed, it is one of the gems of Rachmaninoff. It has a freshness and harmonic radiance that are just amazing. One of the most touching moments for me is the beginning of the second movement. There is just a constant sense of wonder with this concerto.” Trifonov was featured on a 2015 recording with The Philadelphia Orchestra celebrating the music of Sergei Rachmaninoff, who had a longtime affiliation with the Philadelphia Orchestra that lasted for over three decades. Sometimes this exceptionally close, collaborative relationship resulted in the composer making changes to his compositions long after they had been written and published. In a 1968 interview, Philadelphia’s legendary maestro Leopold Stokowski lamented, “What saddens me is that anyone now who receives a printed score of Rachmaninoff’s music receives it as it was first conceived and not with all the important changes he later made.” 115

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SATURDAY JULY 14, 8:30PM BRAVO! VAIL AFTER DARK

VAIL ALE HOUSE

Hanzhi Wang, accordion (Bravo! Vail 2018 Chamber Musician in Residence)

SELECTIONS WILL BE ANNOUNCED FROM THE STAGE

FREE

HANZHI WANG

he accordion has a long and storied place of prominence in musical traditions around the world, from Parisian cafe music to European polkas, and Norteño bands from Mexico. With her engaging presence, both online and on stage, and contagious passion for the instrument, Hanzhi Wang is taking the accordion to a whole new level of 21st century prominence. She was the first accordionist to join the roster of Young Concert Artists in its 57-year history of discovering extraordinary musicians, and this August Naxos will release her “In the Path of H.C. Andersen,” the label’s first-ever solo accordion CD. Her artistry has been recognized by many contemporary composers, with works dedicated to her by Martin Lohse, James Black and Sofia Gubaidulina. She’s been known to whip out her accordion for an impromptu mid-flight performance (check out her YouTube channel), so who knows what surprises and special guests may be on tap.

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

HANZHI WANG 116 Learn more at BravoVail.org

JUL

THE 2018 ANNUAL GALA Exclusive Gala Performance AN EVENING WITH NATHAN & JULIE GUNN Grammy Award-winning opera star Nathan Gunn, with his wife Julie at the piano, offers up an unforgettable cabaret evening of iconic standards and popular songs.

SUNDAY JULY 15, 5:30PM BRAVO! VAIL GALA

THE RITZ-CARLTON, BACHELOR GULCH

GALA CO-CHAIRS Dierdre and Ronnie Baker Lisa and Ken Schanzer

In Celebration of Bravo! Vail’s Education and Community Engagement Programs THIS EVENING’S SCHEDULE OF EVENTS 5:00PM Exclusive VIP Pre-Party (Available to Gold and VIP Level Ticket Buyers Only) 5:30PM Cocktail Reception and Spotlight Auction 7:00PM Cabaret Performance by Nathan and Julie Gunn 7:45PM Dinner, Live Auction, and Entertainment by Hazel Miller Band For tickets and to preview live auction items, visit www.bravovail.org/gala

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM:

©M SHARKEY

EVENT PARTNERS

merican baritone Nathan Gunn, “an object lesson in beautiful technique” (Boston Globe) and pianist Julie Gunn, his partner in life and often on stage, offer an unforgettable evening of glamorous cabaret showcasing the sweep and sparkle of the American songbook. This is cabaret artistry at its eclectic best.

Alpine Bank Crazy Mountain Brewing Company Go Photo Booth The Ritz-Carlton, Bachelor Gulch Wall Street Insurance in partnership with Cincinnati Insurance West Vail Liquor Mart

INDIVIDUAL GALA UNDERWRITERS Dierdre and Ronnie Baker Barbara and Barry Beracha Doe Browning Kathleen and Jack Eck Judy and Alan Kosloff Lisa and Ken Schanzer Sandra and Greg Walton

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MONDAY JULY 16, 6:00PM FREE CONCERT SERIES

BRUSH CREEK PAVILION

ENSEMBLE CONNECT (Bravo! Vail 2018 Chamber Musicians in Residence) Dana Kelley, viola Madeline Fayette, cello Lizzie Burns, bass Jacqueline Cordova-Arrington, flute with guest artists Jason Issokson, violin Katie Hyun, violin Hanzhi Wang, accordion (Bravo! Vail 2018 Chamber Musician in Residence)

PIAZZOLLA Selections from Five Tango Sensations for String Quartet and Accordion Asleep Loving Anxiety Despertar [Awakening] Fear

DVOŘÁK Quintet for Two Violins, Viola, Cello and Bass in G major, Op. 77 Allegro con fuoco Scherzo: Allegro vivace Poco andante Finale: Allegro assai

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ENSEMBLE CONNECT WITH HANZHI WANG

uring an extended stay in New York City in November 1987, ASTOR PIAZZOLLA (1921-1992) heard the Kronos Quartet. When he met the group after the concert, violinist David Harrington asked if he could call him in a few days to discuss writing a piece for them. When he did, Piazzolla told him he had already completed Four, For Tango. Two years later, following a grave illness, Piazzolla composed Five Tango Sensations for the Kronos and included a bandoneón part for himself (the title implies feelings or emotions rather than anything showy or virtuosic). The Five Tango Sensations, whose movements Piazzolla gave evocative titles that he said suggest “a musical farewell to life,” display what David Harrington called a “centered sternness.” In 1874, ANTONÍN DVOŘÁK (1841-1904), whose income from his organist job was so meager that Prague officials certified his poverty, received a much-needed government grant from the court in Vienna on the recommendation of Johannes Brahms. The distinction represented Dvořák’s first recognition outside his Bohemian homeland, and the G major String Quintet (1875), much influenced by the country’s folk music, was one of the first works to show his growing self-assurance and maturity.

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. The running time for this concert is approximately one hour.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Eva-Marie and Ray Berry and The Paiko Foundation The Christie Lodge Costco Eagle County Eagle Ranch Association The Sidney E. Frank Foundation Town of Eagle Vail’s Mountain Haus Carole A. Watters

118 Learn more at BravoVail.org

JUL

TUESDAY JULY 17, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE

BACH, GRIEG, AND MENDELSSOHN ON ACCORDION

OHANN SEBASTIAN BACH (1685-1750) composed his Partitas, originally for harpsichord, during the years after he arrived in Leipzig in 1723 to direct the music at the city’s churches. These are secular rather than sacred pieces, however, made largely from a series of stylized dances put together as a suite. In 1884, Bergen, Norway celebrated the 200th anniversary of the birth of writer Ludwig Holberg, and commissioned EDVARD GRIEG (1843-1907), another native son, to compose the Suite from Holberg’s Time for the festivities. Danish composer and visual artist MARTIN LOHSE (b. 1971) writes music such as Menuetto (2014) and Passing III (2012) that “tries to encircle small, simple musical moments and atmospheres that can timelessly progress and unfold.” FELIX MENDELSSOHN (1809-1847) seems to have been the first to call a piano piece a “Song Without Words,” indicating both this music’s small scale and its essential lyricism. The Spinning Song from the Op. 67 collection is one of his inimitable gossamer scherzos.

Hanzhi Wang, accordion (2018 Bravo! Vail Chamber Musician in Residence)

BACH Partita No. 2 in C Minor, BWV 826 Sinfonia Allemande Courante Sarabande Rondeaux Capriccio

GRIEG Holberg Suite, Op. 40 I Prelude. Allegro vivace III Gavotte. Allegretto – Poco piu mosso – Allegretto V Rigaudon. Allegro con brio

TRAD./HANZHI WANG Short Introduction to the classical accordion

LOHSE Menuetto Passing III

MENDELSSOHN Song Without Words, Op. 67, No. 4 “Spinning Song” The running time for this concert is approximately one hour.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Eva-Marie and Ray Berry and The Paiko Foundation FirstBank Cookie and Jim Flaum The Sidney E. Frank Foundation Hotel Talisa Vail Marriott Mountain Resort and Spa Carole A. Watters

HANZHI WANG 119

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TUESDAY JULY 17, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION

Anne-Marie McDermott, piano

BACH Piano Concerto No. 5 in F minor, BWV 1056 (11 minutes) Allegro Largo — Presto

BACH Piano Concerto No. 1 in D minor, BWV 1052 (23 minutes) Allegro Adagio Allegro

MCDERMOTT PLAYS BACH AND MOZART

OHANN SEBASTIAN BACH (1685-1750) composed his Piano Concertos (originally for harpsichord) for both the home entertainments with his large brood of musical offspring and for the Collegium Musicum, Leipzig’s most important concert-giving organization. His Piano Concertos Nos. 1 and 5 appear to be arrangements done around 1730 of earlier works. WOLFGANG AMADEUS MOZART (1756-1791) wrote his darkly expressive Piano Concerto in D minor in 1785 for one of his own concerts in Vienna. The chamber arrangement was done by the gifted pianist, composer and Beethoven student CARL CZERNY (1791-1857), who wrote well over 800 original compositions and some 300 arrangements, variations and fantasias based on existing operatic themes and traditional tunes to satisfy the lucrative European piano market. The Romantic sensibilities of the early 19th century valued works of strong emotion (Czerny also arranged Mozart’s Requiem), so an arrangement of the D minor Concerto was not just a tribute to the composer Czerny most admired, but also a shrewd marketing strategy.

— INTERMISSION — MOZART/ARR. CZERNY Piano Concerto in D minor, K. 466 (31 minutes) Allegro Romanza Rondo: Allegro assai Q & A Session with the artists immediately follows this performance. 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: Concessions provided by: The Francis Family The Sidney E. Frank Foundation Town of Vail

120 Learn more at BravoVail.org

JUL

THURSDAY JULY 19, 11:00AM FREE CONCERT SERIES

GOLDEN EAGLE SENIOR CENTER

FREE

ENSEMBLE CONNECT

nsemble Connect is a two-year fellowship program for the finest young professional classical musicians in the United States that prepares them for careers that combine musical excellence with teaching, community engagement, advocacy, entrepreneurship, and leadership. It offers top-quality performance opportunities, intensive professional development, and the opportunity to partner with a New York City public school throughout the fellowship. Fellows are supported by a rigorous professional development curriculum aimed at ensuring they have the skills needed to be successful in all areas of the program and to give them the tools to shape purposeful, personally rewarding career paths that redefine the role of the 21st-century musician.

SELECTIONS WILL BE ANNOUNCED FROM THE STAGE 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. The running time of this concert is approximately one hour.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS MORNINGâ&#x20AC;&#x2122;S CONCERT FROM: Eva-Marie and Ray Berry and The Paiko Foundation Eagle County United Way of Eagle River Valley Carole A. Watters

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THURSDAY JULY 19, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

Hanzhi Wang, accordion (2018 Bravo! Vail Chamber Musician in Residence)

MOZART Andante in F major, K. 616

GUBAIDULINA De Profundis (12 minutes)

A SHORT INTRODUCTION TO THE CLASSICAL ACCORDION BY MS. WANG GRIEG Selected Lyric Pieces Little Bird, Op. 43, No. 4 Elf Dance, Op. 12, No. 4 Butterfly, Op. 43, No. 1

TWO TRADITIONAL CHINESE SONGS (ARR. WANG) PIAZZOLLA Michelangelo 70 Chiquilín de Bachín

MOSZKOWSKI Etincelles, Op. 36, No. 6 The running time for this concert is approximately one hour.

FREE

GRIEG & PIAZZOLLA ON ACCORDION

OLFGANG AMADEUS MOZART (1756-1791) wrote the Andante in F major in 1791 for a Viennese waxworks exhibit commemorating the heroic Austrian Field Marshal Ernst Gideon Freiherr von Loudon. SOFIA GUBAIDULINA (b. 1931) is among the handful of composers from the former Soviet Union whose music has gained widespread notoriety in the West. Her De Profundis (1978), a touchstone in the development of the accordion as a modern concert instrument, was inspired by Psalm 130: Out of the depths I call to Thee, O Lord. Among the most characteristic creations by EDVARD GRIEG (18431907) rooted in the songs, dances and spirit of his native Norway are his 66 Lyric Pieces for piano, composed throughout his career and published in ten books between 1867 and 1901. The greatest master of the modern tango was ASTOR PIAZZOLLA (1921-1992), who blended the fire and passion of the traditional tango with the vast expressive resources of modern harmony, texture and sonority in some 750 widely varied works that explore the genre’s remarkable expressive range, from violent to sensual, from witty to melancholy, from intimate to theatrical. Etincelles (“Sparks,” 1886) by Polish pianist and composer MORITZ MOSZKOWSKI (18541925) more than lives up to its title in the programmatic as well as the virtuosic sense.

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

HANZHI WANG 122 Learn more at BravoVail.org

Eva-Marie and Ray Berry and The Paiko Foundation Cookie and Jim Flaum The Sidney E. Frank Foundation The Lift House Lodge Sitzmark Lodge Carole A. Watters

TOVEY CONDUCTS: BERNSTEIN ON BROADWAY

NEW YORK PHILHARMONIC JUL

FRIDAY JULY 20, 6:00PM ORCHESTRA SERIES

SPECIAL THANKS AND APPRECIATION TO LENI AND PETER MAY THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS PRESENTED BY: MARIJKE AND LODEWIJK DE VINK

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY: Liz and Tommy Farnsworth Dr. and Mrs. Frederick Kushner Lisa Tannebaum and Don Brownstein

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FRIDAY JULY 20, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC Bramwell Tovey, conductor Annaleigh Ashford, vocalist Laura Osnes, vocalist Santino Fontana, vocalist

BERNSTEIN ON BROADWAY Overture to Candide (5 minutes) Selections from On the Town (7 minutes) “Taxi Number: Come Up to My Place” “Lucky To Be Me” Three Dance Episodes from On the Town (11 minutes) Selections from Wonderful Town (9 minutes) “Ohio” “A Little Bit in Love” “Wrong Note Rag”

— INTERMISSION — Galop and Waltz from Three Dance Variations from Fancy Free (4 minutes) Selections from West Side Story (10 minutes) Mambo “Maria” “Tonight” (Balcony Scene) Danzon from Three Dance Variations from Fancy Free (3 minutes) “I Can Cook Too” from On the Town (4 minutes) The running time of this concert is approximately two hours.

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TOVEY CONDUCTS: BERNSTEIN ON BROADWAY LEONARD BERNSTEIN (1918-1990)

Overture to Candide (1956)

illian Hellman conceived a theater piece based on Voltaire’s Candide as early as 1950, but it was not until 1956 that the project materialized. She originally intended the work to be a play with incidental music, which she asked Leonard Bernstein to compose, but his enthusiasm for the subject was so great that the venture swelled into a full-blown comic operetta; Tyrone Guthrie was enlisted as director and Richard Wilbur wrote most of the song lyrics. Candide was first seen in a pre-Broadway tryout at Boston’s Colonial Theatre on October 29, 1956 (just days after Bernstein’s appointment as co-music director of the New York Philharmonic), and opened at the Martin Beck Theatre in New York on December 1. The Overture captures perfectly the wit, brilliance, and slapstick tumult of the operetta.

Selections and Three Dance Episodes from On the Town (1944) On the Town, Bernstein’s first musical, concerns three sailors during World War II determined to see everything in New York City during their 24-hour shore leave. On the subway, one of the sailors falls in love with the poster picture of Miss Turnstiles, and the boys set out to find her. Their efforts take them all over the city until they discover Miss Turnstiles on Coney Island, where they learn that she is not the glamorous girl they expected, but a belly dancer. Chip tries to speed up his tour by catching a cab driven by the aggressively love-starved Brunhilde Esterhazy — Hildy, for short — but she is less concerned with his travel plans than with having him Come Up to My Place. She catalogs her domestic virtues in the hot swing number, I Can Cook Too. Gabey makes a date with his dream girl and sings Lucky To Be Me as he waits for her in Times Square. The “Three Dance Episodes” include The Great Lover, which captures the sailors’ high spirits, Lonely Town (Pas de Deux), based on the expressive song of that title, and Times Square — 1944, a joyous fantasia on New York, New York, the show’s hit tune.

Selections from Wonderful Town (1953)

INSIDE STORY

Wonderful Town is the story of two sisters from Columbus, Ohio who move to New York City to further their careers as a writer (Ruth) and an actress (Eileen), and find there a series of humorous misadventures and broken love affairs. Wonderful Town opened at the Winter Garden to excellent reviews on February 25, 1953 (George Abbott directed) and ran for 559 performances; the show won a Tony as Best Musical. Ruth and Eileen, fresh off the train from Columbus, are tricked into renting an abysmal basement apartment that is continuously rattled by the subway passing below. Unable to sleep on their first night in the big city, they sing that they wish they had never left Ohio. In A Little Bit in Love, Eileen sings wistfully of her first love in her new hometown. PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 199

BERNSTEIN AT 100

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ( $40,000+ ) ANB Bank and The Sturm Family Julie and Tim Dalton Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

PLATINUM ( $30,000+ ) Marijke and Lodewijk de Vink Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

Cathy and Howard Stone Dhuanne and Doug Tansill

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

Bravo! Vail is proud to join in the world-wide celebration of the 100th birthday of Leonard Bernstein, the composer, conductor, educator, musician, cultural ambassador, and humanitarian. “Bernstein at 100” is a two-year global celebration with more than 2,000 events on six continents. Why such a big deal? According to Mark Swed of the Los Angeles Times, “[Bernstein] was the first great American conductor. He became the first classical music television star. He proved an inspired educator and first-rate pianist. He was the first internationally esteemed conductor everyone, whether you knew him or not, called by the familiar, Lenny. For better and worse, Lenny was bigger than life — a shaman, even. [As a composer], he planted one foot gleefully in the popular culture of Broadway; the other incautious and questing one sought footing in the slippery realm of classical.” Do you have a “Lenny” story? Visit leonardbernstein.org/ at100 and share it through the Memory Project, a unique digital memorial to the Maestro. 125

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

THE SPIRIT OF BERNSTEIN: CHICHESTER PSALMS

NEW YORK PHILHARMONIC JUL

SATURDAY JULY 21, 6:00PM ORCHESTRA SERIES

THIS EVENINGâ&#x20AC;&#x2122;S PERFORMANCE IS UNDERWRITTEN BY: THE BETSY WIEGERS CHORAL FUND, IN HONOR OF JOHN W. GIOVANDO

PRESENTED BY: JEANNE AND JIM GUSTAFSON ANN AND ALAN MINTZ SARAH NASH AND MICHAEL SYLVESTER

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Francis Family The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Sandy and John Black Penny and Bill George

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SATURDAY JULY 21, 6:00PM ORCHESTRA SERIES

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

GERALD R. FORD AMPHITHEATER LOBBY

Ryan Bañagale, Colorado College (speaker)

NEW YORK PHILHARMONIC Bramwell Tovey, conductor and piano Owen Wolfinger, boy alto Colorado Symphony Chorus Duain Wolfe, director

THE SPIRIT OF BERNSTEIN: CHICHESTER PSALMS

GERSHWIN

Overture from Oh, Kay! (1926)

Oh, Kay! Overture (7 minutes)

GEORGE GERSHWIN (1898-1937)

GERSHWIN/ORCH. FERDE GROFÉ Rhapsody in Blue for Piano and Orchestra (18 minutes)

— INTERMISSION — COPLAND Selections from Old American Songs for Chorus and Orchestra (9 minutes) Ching-a-Ring-Chaw (Minstrel Song)* Simple Gifts (Shaker Song)* At the River (Hymn Tune)† I Bought Me a Cat (Children’s Song)* *arranged for chorus by Irving Fine †arranged for chorus by Raymond Wilding-White

BERNSTEIN Chichester Psalms for Mixed Choir, Boy Soloist and Orchestra (18 minutes) Psalm 108, vs. 2 (Maestoso ma energico) — Psalm 100 (Allegro molto) Psalm 23 (Andante con moto, ma tranquillo) — Psalm 2, vs. 1-4 (Allegro feroce) — Meno come prima Prelude (Sostenuto molto) — Psalm 131 (Peacefully flowing) — Psalm 133, vs. 1 (Lento possibile)

JOIN US FOR BRAVO! VAIL AFTER DARK, 8:30PM ENSEMBLE CONNECT VAIL ALE HOUSE, WEST VAIL (details on page 130)

he first song by George and Ira Gershwin heard on Broadway was The Real American Folk Song Is a Rag, a number inserted into Nora Bayes’ vaudeville revue Ladies First in 1918. The brothers’ first collaboration on a complete musical was the 1924 Lady, Be Good!, starring Fred and Adele Astaire. (Gershwin had created a sensation with his Rhapsody in Blue earlier that year.) They followed that success with Tip-Toes the next year and Oh, Kay! in 1926, the story (book by Guy Bolton and P.G. Wodehouse) of an English Duke and his sister Kay (named for composer Kay Swift, Gershwin’s paramour for the last ten years of his life) who were bootleggers in America during Prohibition. Gertrude Lawrence starred as Kay and introduced the show’s hit number, Someone To Watch Over Me; she was the first British performer to headline an American musical on Broadway. In addition to that American songbook standard, the score also featured Clap Yo’ Hands, Fidgety Feet, Maybe, and Do, Do, Do.

Rhapsody in Blue for Piano and Orchestra (1924) GEORGE GERSHWIN (1898-1937) ORCHESTR ATED BY FERDE GROFÉ (1892-1972)

For George White’s Scandals of 1922, the 24-year-old George Gershwin provided something a little bit different — an opera, a brief, somber one-acter called Blue Monday (later retitled 135th Street) incorporating some jazz elements that White cut after only one performance on the grounds that it was too gloomy. Blue Monday, however, impressed the show’s conductor, Paul Whiteman, who was then gaining a national reputation as the selfstyled “King of Jazz” for his adventurous explorations of the new popular music styles with his Palais Royal Orchestra. A year later, Whiteman told Gershwin about his plans for a special program the following February in which he hoped to show some of the ways traditional concert music could be enriched by jazz, and convinced Gershwin to undertake a work for piano solo (to be

played by the composer) and Whiteman’s 22-piece orchestra — and then told him that it had to be finished in less than a month. The premiere of the Rhapsody in Blue — New York, Aeolian Hall, February 12, 1924 — was one of the great nights in American music. Many of the era’s most illustrious musicians attended, critics from far and near assembled to pass judgment, and the glitterati of society and culture graced the event. Gershwin fought down his apprehension over his joint debuts as serious composer and concert pianist, and he and his Rhapsody in Blue had a brilliant success.

INSIDE STORY

PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 199

WHAT IS AMERICAN MUSIC? BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ( $40,000+ ) ANB Bank and The Sturm Family Julie and Tim Dalton Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

PLATINUM ( $30,000+ ) Marijke and Lodewijk de Vink Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

Cathy and Howard Stone Dhuanne and Doug Tansill

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

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.” 129

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

VAIL ALE HOUSE

FREE

ENSEMBLE CONNECT

nsemble Connect is a fellowship program for the finest young professional classical musicians in the country. Chosen 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 great chamber music. For last year’s Bravo! Vail After Dark they mashed up klezmer, tango, Handel, Dvořák, and music from Game of Thrones. This year? There’s only one way to find out.

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

130 Learn more at BravoVail.org

MENDELSSOHN & SAINT-SAËNS

NEW YORK PHILHARMONIC JUL

SUNDAY JULY 22, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: JAYNE AND PAUL BECKER HONEY M. KURTZ CATHY AND HOWARD STONE

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Francis Family The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Terri and Tom Grojean Martha Dugan Rehm and Cherryl Hobart

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SUNDAY JULY 22, 6:00PM ORCHESTRA SERIES

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

GERALD R. FORD AMPHITHEATER LOBBY

Ryan Bañagale, Colorado College (speaker)

NEW YORK PHILHARMONIC David Robertson, conductor George Li, piano Kent Tritle, organ

TCHAIKOVSKY Polonaise from Eugene Onegin (5 minutes) Hank Gutman, special guest conductor

COPLAND An Outdoor Overture (10 minutes)

MENDELSSOHN Piano Concerto No. 1 in G minor, Op. 25 (20 minutes) Molto allegro con fuoco Andante Presto — Molto allegro e vivace Played without pause

— INTERMISSION — SAINT-SAËNS Symphony No. 3 in C minor, Op. 78, “Organ” (38 minutes) Adagio — Allegro moderato — Poco adagio Allegro moderato — Presto — Allegro moderato — Maestoso — Allegro

MENDELSSOHN & SAINT-SAËNS An Outdoor Overture (1938) A ARON COPL AND (1900-1990)

opland wrote, “An Outdoor Overture owes its existence to the persuasive powers of Alexander Richter, head of the Music Department of the High School of Music and Art in New York City. He had witnessed a performance of my high school opera, The Second Hurricane, and made up his mind that I was the man to write a work for his school orchestra. I liked the idea of the High School of Music and Art — that gifted students could prepare for their careers in the arts at such a school without sacrificing a general education. Richter won me over when he explained that my work would be the opening gun in a campaign the school planned to undertake with the slogan: ‘American Music for American Youth.’ I found this so irresistible that I interrupted my orchestration for Billy the Kid in the fall of 1938 to write the piece. Mr. Richter suggested a single movement optimistic in tone that would appeal to the adolescent youth of this country…. When I played the piano sketch for him, Richter remarked that it seemed to have an open air quality. Together we hit on the title An Outdoor Overture.”

Piano Concerto No. 1 in G minor, Op. 25 (1830) FELIX MENDELSSOHN (1809-1847)

Immediately following his epochal revival performance of Bach’s St. Matthew Passion in Berlin on March 11, 1829, Felix Mendelssohn, age twenty, set out on a grand musical tour of Europe. The first leg of the journey took him to England and Scotland, a junket that inspired the Hebrides Overture and the “Scottish” Symphony. He returned home to Berlin late in the year, refused a professorship at the university there, and in May headed for Weimar (where he visited his old friend Johann Wolfgang von Goethe) and Munich. By the end of the summer the peripatetic bon vivant was again on his way, through Linz and Vienna and Pressburg (where he witnessed the coronation of the King of Hungary), arriving in Venice on October 10th: “Italy at last ... and 132 Learn more at BravoVail.org

I am basking in it.” A month later he passed through Florence on his way to Rome, where he met Berlioz, admired the paintings and artworks, and regularly listened to the music at St. Peter’s. From Rome in November, he told Fanny that he was sketching a piano concerto “for Paris,” which he of course was planning to conquer the following year. He stayed in Rome through the following June, working on the Hebrides Overture, the “Italian” and “Scottish” Symphonies and the new piano concerto, and then headed north through Milan, Chamonix and Lucerne, arriving again in Munich by early October. The concert he had planned for soon after his arrival had to be postponed for a week because of that Bavarian ritual, Oktoberfest, but on October 17th he unveiled the G minor Piano Concerto to an enthusiastic audience. With the exception of the Midsummer Night’s Dream Overture, the Concerto may well have been Mendelssohn’s greatest success during his lifetime. PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 200

PLATINUM ( $30,000+ ) Marijke and Lodewijk de Vink Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

Cathy and Howard Stone Dhuanne and Doug Tansill

INSIDE STORY

THE IRRESISTIBLE RISE OF GEORGE LI George Li’s career has been on an electrifying trajectory for most of his young life. He took up the piano at four, entered his first competition at 6, and gave his first public concert at age 10. He still considered the piano a hobby until an “a-ha” moment performing Beethoven: “All of a sudden, in the middle of the performance I felt different,” he recalls. “I was kind of transported in some other reality.” As a teenager, he continued to rack up awards and accolades, winning Young Concert Artists, the Gilmore Award (at 16, the youngest-ever winner), and a Silver Medal at the 2015 International Tchaikovsky Piano Competition. “Seeing people come up and say how powerful the music was and how much it affected them – that really stayed with me,” he said of the competition experience. “It’s always been a dream to share how I feel about music with as many people as possible.” With an Avery Fisher award, Carnegie Hall recital debut, and first commercial recording under his belt, Li (who will be celebrating his 24th birthday just over a month from tonight’s performance) is clearly seeing this particular dream come true. 133

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MONDAY JULY 23, 6:00 PM THE LINDA AND MITCH HART SOIRÉE SERIES

ROTHKOPF RESIDENCE, CORDILLERA

Anne-Marie McDermott, piano

OMER STRING QUARTET (Bravo! Vail 2018 Chamber Musicians in Residence) Mason Yu, violin Erica Tursi, violin Jinsun Hong, viola Alex Cox, cello

ELGAR Quintet for Two Violins, Viola, Cello and Piano in A minor, Op. 84 (37 minutes) Moderato — Allegro Adagio Andante — Allegro

CATERED BY VAIL CATERING CONCEPTS, EXECUTIVE CHEF, ERIC BERG

THE LINDA AND MITCH HART SOIRÉE SERIES

ELGAR’S QUINTET FOR PIANO AND STRINGS

hortly after the first world war, SIR EDWARD ELGAR (18571934) moved from London to the English countryside seeking refuge from a variety of concerns and ailments. On long walks in the woods, he found particular inspiration in a copse of bare trees, that, according to local legend, were the remains of sacrilegious Spanish monks who were struck by lightning and cast into these sadly static forms. Elgar wrote that the first movement of his Piano Quintet (1919) is “ghostly stuff,” but that the full work “runs gigantically and in a large mood.” Gramophone calls it “big chamber music, with at times an almost orchestral sonority to it.” Each of the three movements is a colorful dreamscape, tied together by recurring wisps of tunes and motives, and the ultimate triumph of light over darkness yields to a thunderous close .

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE FROM: THIS EVENING’S HOSTS Ann and Dick Rothkopf

SPECIAL GRATITUDE TO The Francis Family Linda and Mitch Hart

SPONSORED BY OMER STRING QUARTET 134 Learn more at BravoVail.org

Fancy Pansy Vail Catering Concepts West Vail Liquor Mart

JUL

TUESDAY JULY 24, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE

BEETHOVEN “RASUMOVSKY” QUARTET

he three “Razumovsky” Quartets, Op. 59 (1806) by LUDWIG VAN BEETHOVEN (1770-1827) were composed for Count Andreas Kyrillovitch Razumovsky, one of the most prominent figures in Viennese society, politics and art at the turn of the 19th century. Born in 1752 to a singer at the Russian court, Razumovsky ingratiated himself with a number of women of lofty station, and entered the diplomatic corps at the age of 25. He was assigned to several European capitals, in which he made his reputation, according to one contemporary account, “less through his skill at diplomacy than through his lavish expenditure and his love affairs with ladies of the highest standing, not excluding the Queen of Naples.” In 1788 in Vienna, he married Elizabeth, Countess of Thun and sister of Prince Lichnowsky, one of Beethoven’s most devoted patrons. Four years later, Razumovsky was assigned as Russian ambassador to Vienna, embracing a sybaritic life style perfectly suited to his personality. In the spring of 1806, he took over from Prince Lichnowsky the patronage of an ensemble headed by Ignaz Schuppanzigh, and commissioned Beethoven to write three new pieces for the group — the “Razumovsky” Quartets — that would be played in the grand palace which the Count was building on the Danube Canal near the Prater.

OMER STRING QUARTET (2018 Bravo! Vail Chamber Musicians in Residence) Mason Yu, violin Erica Tursi, violin Jinsun Hong, viola Alex Cox, cello

BEETHOVEN Quartet in E minor, Op. 59, No. 2, “Razumovsky” Allegro Molto Adagio Allegretto Finale: Presto The running time for this concert is approximately one hour.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Eva-Marie and Ray Berry and The Paiko Foundation Cookie and Jim Flaum The Sidney E. Frank Foundation Lion Square Lodge Vail Racquet Club Carole A. Watters

135

TUESDAY JULY 24, 6:00PM

JUL

CHAMBER MUSIC SERIES

DONOVAN PAVILION

NEW YORK PHILHARMONIC STRING QUARTET

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

HAYDN Quartet in D minor, Op. 76, No. 2, “Quinten” (20 minutes) Allegro Andante o più tosto allegretto Menuetto: Allegro ma non troppo Vivace assai

SHOSTAKOVICH Quartet No. 9 in E-flat major, Op. 117 (25 minutes) Moderato con moto Adagio Allegretto Adagio Allegro Played without pause

— INTERMISSION — BORODIN

NEW YORK PHILHARMONIC STRING QUARTET

OSEPH HAYDN (1732-1809) was universally acknowledged as the greatest living composer upon his return to Vienna in 1795 from his second London residency. Among the first commissions he fulfilled after returning home was one for the six Op. 76 String Quartets (1796-1797) from Count Joseph Erdödy, scion of the Viennese family who had encouraged his work since at least 1776, and whose members became important patrons of Beethoven. DMITRI SHOSTAKOVICH (1906-1975) devoted much of the work of his last twenty years to pieces that are both profound and personal: the last three symphonies, First Violin Concerto, songs on verses of Alexander Blok and Michelangelo Buonarroti, and, perhaps most significant of all, the last ten of his fifteen string quartets. Like Beethoven, Shostakovich used his quartets as the bearer of his most intimate and deepseated feelings, a musical window into his soul. His Quartet No. 9 dates from 1964. ALEXANDER BORODIN (1833-1887) was one of Russia’s leading researchers and teachers in chemistry and medicine. Among the few works he was able to compose without interruption from his many other duties, was the Quartet No. 2 in D major (1881). It is so lyrical that two of its themes were made into the hit songs, Stranger in Paradise and This Is My Beloved from the 1953 Broadway musical based on Borodin’s music, Kismet.

Quartet No. 2 in D major (23 minutes) Allegro moderato Scherzo: Allegro Nocturne: Andante Finale: Andante — Vivace

Concessions provided by:

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

136 Learn more at BravoVail.org

LALO SYMPHONIE ESPAGNOLE & RAVEL BOLÉRO

NEW YORK PHILHARMONIC JUL

WEDNESDAY JULY 25, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: STEPHANIE AND LAWRENCE FLINN, JR. BILLIE AND ROSS MCKNIGHT JUNE AND PAUL ROSSETTI

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: The Precourt Family Barbara and Carter Strauss

137

JUL

WEDNESDAY JULY 25, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER

NEW YORK PHILHARMONIC David Robertson, conductor Frank Huang, violin

LALO SYMPHONIE ESPAGNOLE & RAVEL BOLÉRO Le Corsaire Overture, Op. 21 (1844)

BERLIOZ

HECTOR BERLIOZ (1803-1869)

Le Corsaire Overture, Op. 21 (9 minutes)

LALO Symphonie espagnole for Violin and Orchestra, Op. 21 (29 minutes) Allegro non troppo Scherzando: Allegro molto Intermezzo: Allegretto non troppo Andante Rondo: Allegro

— INTERMISSION — DEBUSSY La Mer, Trois Esquisses Symphoniques (23 minutes) De l’aube à midi sur la mer Jeux de vagues Dialogue du vent et de la mer

RAVEL Boléro (15 minutes)

138 Learn more at BravoVail.org

he Random House Dictionary defines “corsair” both as “a pirate” and as “a ship used for piracy.” Berlioz encountered one of the former on a wild, stormy sea voyage in 1831 from Marseilles to Livorno on his way to install himself in Rome as winner of the Prix de Rome. The grizzled, old buccaneer claimed to be a Venetian seaman who had piloted the ship of Lord Byron during the poet’s adventures in the Adriatic and the Greek archipelago, and his fantastic tales helped the young composer keep his mind off the danger aboard the tossing vessel. They landed safely, but the experience of that storm and the image of Lord Byron painted by the corsair stayed with him, and in 1844 Berlioz composed his concert overture Le Corsaire around his impressions of the event.

Symphonie espagnole for Violin and Orchestra, Op. 21 (1875) ÉDOUARD L ALO (1823-1892)

Édouard Lalo was born in Lille in 1823. His early musical training was at the Lille Conservatory. Later he transferred to the Paris Conservatoire to study composition and violin. He started composing in the 1840s, but, discouraged by the lack of performances and publications of his music, he abandoned his creative work for almost a decade to play viola (and later second violin) in the Armingaud-Jacquard Quartet. His muse was rekindled in 1865 upon his marriage to Bernier de Maligny, a gifted contralto who performed many of his songs in recital and who also inspired his first opera, Fiesque. The Divertissement for orchestra (1872), based on ballet music from Fiesque, was his first important success as a composer. Encouraged by the formation of the Société Nationale de Musique in 1871 and the support of such conductors as Pasdeloup, Lamoureux and Colonne, Lalo produced a succession of instrumental works that brought him to the forefront of French music, including the Violin Concerto (1874) and Symphonie espagnole (1875), both premiered by the celebrated Spanish virtuoso Pablo de Sarasate. The Sonata-form first movement has a main theme with

bold upward leaps and a legato second theme. The dance-like Scherzando calls for both lyricism and flexibility from the soloist. The next movement is characterized by the extensive use of the Spanish rhythms. In the fourth movement, a somber introduction leads to the melancholy main theme for the soloist. The finale is a bubbling rondo in the style of a saltarello.

INSIDE STORY

La Mer, Trois Esquisses Symphoniques (“The Sea, Three Symphonic Sketches”) (1903-1905) CL AUDE DEBUSSY (1862-1918)

“You may not know that I was destined for a sailor’s life and that it was only quite by chance that fate led me in another direction. But I have always held a passionate love for the sea.” With these lines written on September 12, 1903 to the composerPROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 201

PLATINUM ( $30,000+ ) Marijke and Lodewijk de Vink Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

Cathy and Howard Stone Dhuanne and Doug Tansill

FUN FACTS ABOUT RAVEL’S BOLÉRO Ravel said the pulsing rhythm was inspired by one of the factories he had visited with his father, who was an engineer. A master of orchestration, he also described it as “an experiment in a very special and limited direction” and “orchestral tissue without music.” The music is the same melody repeated 18 times, on different instruments, with a simple harmony pattern underneath. That’s it! Ravel began experiencing perplexing health problems around the time that Boléro was written, and some psychiatric researchers have suggested that the piece’s repetitive elements could indicate Alzheimer’s disease, or some other mental deterioration. The New York Philharmonic presented the U.S. premiere under famed conductor Arturo Toscanini, with the composer in attendance. The audience shouted and cheered, but Ravel thought the tempo was too fast, and refused to stand when he was acknowledged from the stage. This caused quite a scandal, which only contributed to the fame of this iconic work. 139

JUL

THURSDAY JULY 26, 1:00 PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

OMER STRING QUARTET (2018 Bravo! Vail Chamber Musicians in Residence) Mason Yu, violin Erica Tursi, violin Jinsun Hong, viola Alex Cox, cello

HAYDN Quartet in F major, Op. 50, No. 5, “The Dream” H. III:48 Allegro moderato Poco Adagio Menuetto: Allegretto Finale: Vivace

BARTÓK Quartet No. 1, Op. 7 Lento — Allegretto Introduzione (Allegro) — Allegro vivace

FREE

HAYDN & BARTÓK STRING QUARTETS

n 1785 JOSEPH HAYDN (1732-1809) undertook a new series of string quartets to capitalize on the excellent success that had greeted his Op. 33 Quartets, which were published the year before. He worked for the next two years to round out the required six numbers of the new set, which was issued as his Op. 50 by the Viennese firm of Artaria in 1787. The Quartet in F major, Op. 50, No. 5 is a sterling example of the ease and sophistication of Haydn’s remarkable mature compositional skills. BÉLA BARTÓK’s (1881-1945) String Quartet No. 1 from 1908 was the composer’s first published chamber work and earliest generally recognized masterpiece. By that time he had begun to establish himself not only as a composer, but also as a folk music researcher. The First Quartet is among his earliest works to be influenced by the diverse songs and dances he discovered on his many research trips through Eastern Europe.

The running time of this concert is approximately one hour.

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

OMER STRING QUARTET 140 Learn more at BravoVail.org

Eva-Marie and Ray Berry and The Paiko Foundation Cookie and Jim Flaum Four Seasons Resort Vail The Sidney E. Frank Foundation Carole A. Watters

THE WEILERSTEINS: ELGAR & BEETHOVEN’S 5TH

NEW YORK PHILHARMONIC JUL

THURSDAY JULY 26, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: JULIE AND TIM DALTON JUDY AND ALAN KOSLOFF AMY AND JAMES REGAN

SPECIAL GRATITUDE TO: Eva-Marie and Ray Berry and The Paiko Foundation The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY

LOUIS LORTIE 148 Learn more at BravoVail.org

Fancy Pansy Foods of Vail West Vail Liquor Mart

Sarah and Peter Millett

JUL

TUESDAY JULY 31, 7:30PM C L A S S I C A L LY U N CO R K E D PRESENTED BY MEIOMI WINE

DONOVAN PAVILION

VOICES + QUARTET: A SONIC DIALOGUE

GOR STRAVINSKY (1882-1971) developed each movement of the Three Pieces for String Quartet (1914) into a unique “character” using novel textures, folk melodies and distinctively colorful sonorities. MISSY MAZZOLI (b. 1980) describes her joyous Vesper Sparrow (2012) as an “eclectic amalgamation of imaginary birdsong and my own interpretation of Sardinian overtone singing.” In his High Done No Why To (2010), WILLIAM BRITTELLE (b. 1976) draws on exuberant vocal expressions like yodeling, and uniquely colorful polyphonic wordplay. The program catches its breath with the String Quartet in F minor (1772) by FRANZ JOSEPH HAYDN (1732-1809), one of the six “Sun” quartets (named for the cover illustration on the first printed edition) that musicologist Donald Tovey referenced as “a sunrise over the domain of sonata style and quartets in particular.” The sequence of Montmartre (2009), written during the first-ever assemblage of Roomful of Teeth, Suonare/To Sound (2010), and Letter to My Father (2015) reflects the mission of this groundbreaking ensemble to “reimagine the expressive potential of the human voice.” FELIX MENDELSSOHN (1809-1847) gets the final say with his F minor String Quartet (1847) subtitled “Requiem for Fanny,” the last work he ever wrote, composed as an homage to his beloved sister.

DOVER QUARTET

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

ROOMFUL OF TEETH Brad Wells, Artistic Director

Esteli Gomez, soprano Martha Cluver, soprano Eliza Bagg, alto Virginia Warnken Kelsey, alto Eric Dudley, tenor Avery Griffin, baritone Thann Scoggin, bass-baritone Cameron Beauchamp, bass

STRAVINSKY Three Pieces for String Quartet (7 minutes) Dance: Quarter note = 126 Eccentric: Quarter note = 76 Canticle: Half note = 40

MAZZOLI Vesper Sparrow (5 minutes)

BRITTELLE High Done No Why To (5 minutes)

HAYDN String Quartet in F minor, Op. 20, No. 5 (24 minutes) Allegro moderato Menuetto Adagio Finale: Fuga a due Soggetti

— INTERMISSION — GREENSTEIN Montmartre (5 minutes)

DUDLEY BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Amy and Charlie Allen Eva-Marie and Ray Berry and The Paiko Foundation The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair Meiomi Wine Red Canyon Catering Town of Vail

Suonare/To Sound (3 minutes)

MENDELSSOHN String Quartet in F minor, Op. 80 (24 minutes) Allegro vivace assai Allegro assai Adagio Finale: Allegro molto This evening’s wine provided by

This evening’s hors d’oeuvres provided by 149

AUG

WEDNESDAY AUGUST 1, 7:30PM C L A S S I C A L LY U N CO R K E D PRESENTED BY MEIOMI WINE

DONOVAN PAVILION

Anne-Marie McDermott, piano

DOVER QUARTET

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

ROOMFUL OF TEETH Brad Wells, Artistic Director

Esteli Gomez, soprano Martha Cluver, soprano Eliza Bagg, alto Virginia Warnken Kelsey, alto Eric Dudley, tenor Thann Scoggin, baritone Dashon Burton, bass-baritone Cameron Beauchamp, bass

DAVID LANG The Little Match Girl Passion for Vocal Octet (35 minutes)

— INTERMISSION — MOZART Fantasia in D minor for Piano, K. 397 (6 minutes)

VOICES + QUARTET + PIANO: LITTLE MATCH GIRL & MOZART

inner of a Grammy Award and the Pulitzer Prize for Music, the Little Match Girl Passion (2007) reflects what DAVID LANG (b. 1957) calls the “naive equilibrium between suffering and hope” inherent in Hans Christian Anderson’s dream-filled and ultimately tragic tale. Utilizing the format of Bach’s St. Matthew Passion, the composer notes, “The word ‘passion’ comes from the Latin word for suffering. There is no Bach in my piece and there is no Jesus— rather the suffering of the Little Match Girl has been substituted for Jesus’s, elevating (I hope) her sorrow to a higher plane.” This poignant tone permeates two works by WOLFGANG AMADEUS MOZART (1756-1791) in D minor, often considered the most melancholy of all keys in classical music. An ingenious piano Fantasia (1782), unfinished at the composer’s death, leads to his String Quartet No. 15 (1783), one of the famous “Haydn” quartets. This powerfully intense work commands particular attention with its plaintive urgency. (During composition, Mozart’s wife Costanza was in labor with their first child, and the rising string figures and sudden uproar in the second movement are said to correspond with her cries from the other room.)

MOZART String Quartet in D minor, K. 421, “Haydn No. 2” (24 minutes) Allegro Andante Menuetto: Allegretto Allegro ma non troppo

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

This evening’s wine provided by

This evening’s hors d’oeuvres provided by

150 Learn more at BravoVail.org

Amy and Charlie Allen Eva-Marie and Ray Berry and The Paiko Foundation The Francis Family The Sidney E. Frank Foundation Meiomi Wine Red Canyon Catering Town of Vail

AUG

02 PRE-CONCERT TALK, 6:30PM

THURSDAY AUGUST 2, 7:30PM C L A S S I C A L LY U N CO R K E D PRESENTED BY MEIOMI WINE

DONOVAN PAVILION

Leah Weinberg, University of Denver (speaker) Anne-Marie McDermott, piano

VOICES + QUARTET + PIANO: INTOXICATING HARMONIES

espite its funereal-sounding title, MAURICE RAVEL (1875-1937) asserted that his graceful Pavane for a Dead Princess (1899) was “an evocation of a pavane that a little princess might, in former times, have danced at the Spanish court.” Commissioned by Bravo! Vail as part of the New Works Project, GABRIELLA SMITH (b. 1991) derived her text from the Latin names of all the species that have gone extinct over the past century, creating a poignant musical commentary: “I was inspired [by] several of the great Requiems, ... to think about our impact on the environment and place in history on a larger, geological/environmental scale.” ERNŐ DOHNÁNYI (1877-1960) was a tremendously versatile musician, renowned as a conductor and teacher as well as composer, and he was also one of the great pianists of his era. His very first published work was the beautifully inventive Piano Quintet No. 1 (1895), written during his student years and championed by Brahms, who remarked that “I couldn’t have written it better myself.”

DOVER QUARTET

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

ROOMFUL OF TEETH Brad Wells, Artistic Director

Esteli Gomez, soprano Martha Cluver, soprano Eliza Bagg, alto Virginia Warnken Kelsey, alto Eric Dudley, tenor Thann Scoggin, baritone Dashon Burton, bass-baritone Cameron Beauchamp, bass

RAVEL Pavane for a Dead Princess for Piano (7 minutes)

GABRIELLA SMITH Requiem for Vocal Octet and String Quartet (25 minutes) World Premiere NEW WORKS PROJECT

— INTERMISSION — DOHNÁNYI Quintet No. 1 for Piano, Two Violins, Viola and Cello in C minor, Op. 1 Allegro Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Amy and Charlie Allen Eva-Marie and Ray Berry and The Paiko Foundation The Francis Family The Sidney E. Frank Foundation Meiomi Wine The New Works Fund Red Canyon Catering Town of Vail

This evening’s wine provided by

This evening’s hors d’oeuvres provided by

151

THE VAIL JAZZ FESTIVAL July 1 - September 3, 2018

#1KW

970-476-1600 | www.kwvail.com

Each office independently owned and operated.

ACADEMY OF ST MARTIN IN THE FIELDS Joshua Bell Music Director

CELLO

BASSOON

TIMPANI

Stephen Orton William Schofield Juliet Welchman Reinoud Ford

Paul Boyes Laurence O’Donnell

Adrian Bending

Lynda Houghton Ben Russell

Stephen Stirling Joanna Hensel Timothy Brown Michael Murray

FLUTE

TRUMPET

Joshua Batty Sarah Newbold

Mark David William O’Sullivan

PICCOLO

TROMBONE

Rebecca Larsen

OBOE

Michael Buchanan Andrew Cole David Stewart

John Roberts Rachel Ingleton

TUBA

DOUBLE BASS

VIOLIN I

VIOLIN II

Joshua Bell Emi Ohi Resnick Miranda Playfair Katie Stillman Amanda Smith Fiona Brett Jeremy Morris Mark Butler

Martin Burgess Jennifer Godson Matthew Ward Rebecca ScottSmisson Richard Milone Martin Gwilym-Jones

VIOLA Robert Smissen Fiona Bonds Martin Humbey Nicholas Barr

HORN

Martin Knowles

CLARINET

PERCUSSION Julian Poole Elsa Bradley

HARP Sally Pryce

PIANO/ 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.

James Burke Tom Lessels

155

——— winner ———

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

——— top five ———

EAGLE, SUMMIT & PITKIN COUNTIES AMONG LOWEST MORTALITY FROM BREAST & LUNG CANCERS by the Institute for Health Metrics & Evaluation

——— award ———

COMMISSION ON CANCER ACCREDITATION

BREAST IMAGING CENTER OF EXCELLENCE

by the American College of Surgeons

by the American College of Radiology

THE PERFECT

SETTING

TO CONQUER CANCER LOCATED IN EDWARDS

(970) 569-7429 | VAILHEALTH.ORG

——— 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

Patients travel from around Colorado and beyond to receive the unique, personalized care Shaw offers in the healing setting of the Rocky Mountains. Our knowledgeable doctors and top-of-the-line equipment help cure cancer. But it’s the rest of the care—courtesy of a dietitian, exercise physiologists and Jack’s Place, a complimentary 12-room cancer caring house—that helps our patients survive and thrive.

DALLAS SYMPHONY ORCHESTRA To Be Announced Music Director Louise W. & Edmund J. Kahn Music Directorship

Jaap van Zweden Conductor Laureate Dolores G. & Lawrence S. Barzune, M.D. Chair

Jeff Tyzik Principal Pops Conductor Dot & Paul Mason Principal Pops Conductorâ&#x20AC;&#x2122;s Podium

Ruth Reinhardt Assistant Conductor

Joshua Habermann Chorus Director Jean D. Wilson Chorus Director Chair

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 Lucas Aleman Miika Gregg (Leave of Absence) Mary Reynolds Andrew Schast Nora Scheller

CLARINET

PERCUSSION

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

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

Principal Guest Conductor (Vacant)

VIOLIN I

VIOLA

Motoi Takeda Associate Concertmaster Emeritus Daphne Volle Bruce Wittrig

VIOLIN II Angela Fuller Heyde Principal Barbara K. & Seymour R. Thum Chair Alexandra Adkins Associate Principal Sho-mei Pelletier Associate Principal Bing Wang Bruce Patti* Mariana Cottier-Bucco Lilit Danielyan* Heidi Itashiki Andrzej Kapica Shu Lee Aleksandr Snytkin* Lydia Umlauf Kaori Yoshida* *Performs in both Violin I and Violin II sections

Christopher Adkins Principal Fannie & Stephen S. Kahn Chair Theodore Harvey Associate Principal Jolyon Pegis Associate Principal Jeffrey Hood Abraham Feder Una Gong Jennifer Humphreys Kari Kettering Nan Zhang

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

FLUTE

BASSOON Ted Soluri Principal Irene H. Wadel & Robert I. Atha, Jr. Chair Scott Walzel Associate Principal Peter Grenier + Contrabassoon

HORN David Cooper (Leave of Absence) 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

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

TROMBONE

OBOE

Matthew Good Principal Dot & Paul Mason Chair

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

Barry Hearn Principal Chris Oliver Associate Principal Darren McHenry + Bass Trombone

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 Anastasia Markina Classical

LIBRARIAN Karen Schnackenberg Principal Mark Wilson Associate Principal Luke Bryson Interim Assistant Melanie Gilmore Choral

PERSONNEL MANAGEMENT Scott Walzel Dir. of Orchestra Personnel + Engagement Chris Oliver Personnel Assistant

STAGE Shannon Gonzalez Stage Manager Alan Bell Assistant Stage Manager Kenneth Winston Lighting Board Technician

TUBA

TIMPANI Brian Jones Principal Dr. Eugene & Charlotte Bonelli Chair Douglas Howard Associate Principal 157

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Now in its tenth year, Hike, Wine & Dine is a family-friendly, moderate five-mile hike in Beaver Creek at the peak of the aspen viewing season. Enjoy gourmet tastings along the

way from several of the valley’s finest restaurants, finishing

with dessert and drinks—all to benefit Shaw Cancer Center and Jack’s Place, a cancer caring house.

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

Stéphane Denève Principal Guest Conductor

Kensho Watanabe Assistant Conductor

FIRST 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 Julia Li William Polk

SECOND VIOLINS Kimberly Fisher, Principal Peter A. Benoliel Chair Paul Roby, Associate Principal Sandra and David Marshall Chair Dara Morales, Assistant Principal Anne M. Buxton Chair

Philip Kates Mitchell and Hilarie Morgan Family Foundation Chair Booker Rowe Joseph Brodo Chair, given by Peter A. Benoliel Davyd Booth Paul Arnold Lorraine and David Popowich Chair Dmitri Levin Boris Balter Amy Oshiro-Morales Mei Ching Huang Yu-Ting Chen Jeoung-Yin Kim

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 Che-Hung Chen Rachel Ku Marvin Moon Meng Wang

CELLOS

CLARINETS

TUBA

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

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

BASSES Harold Robinson, Principal Carole and Emilio Gravagno Chair Joseph Conyers, Assistant Principal John Hood Michael Shahan David Fay Duane Rosengard Robert Kesselman Nathaniel West 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 Erica Peel, Piccolo

OBOES 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

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 Angela Zator Nelson

PIANO AND CELESTA Kiyoko Takeuti

KEYBOARDS Davyd Booth

HORNS Jennifer Montone, Principal Gray Charitable Trust Chair Jeffrey Lang, Associate Principal Hannah L. and J. Welles Henderson Chair Daniel Williams Jeffry Kirschen Ernesto Tovar Torres Shelley Showers

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

HARP Elizabeth Hainen, Principal Patricia and John Imbesi Chair

LIBRARIANS Robert M. Grossman, Principal Steven K. Glanzmann

STAGE PERSONNEL James J. Sweeney, Jr., Manager James P. Barnes *On leave

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

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NEW YORK PHILHARMONIC JAAP van ZWEDEN Music Director Designate

Joshua Gersen Assistant Conductor Leonard Bernstein Laureate Conductor, 1943–1990 Kurt Masur Music Director Emeritus, 1991–2015 Esa-Pekka Salonen The Marie-Josée Kravis Composer-in-Residence Leif Ove Andsnes 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 Fiona Simon The Shirley Bacot Shamel Chair 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 Lydia Hong Hyunju Lee Zeyu Victor Li Joo Young Oh Su Hyun Park Marié Rossano

Mark Schmoockler+ Na Sun The Gary W. Parr Chair Vladimir Tsypin Jin Suk Yu Jessica Fellows++ Marta Krechkovsky++ Conway Kuo++ Suzanne Ornstein++ Sarah Pratt++ David Southorn++ 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 Robert Meyer++ Jenni Seo++ Matthew Sinno++

CELLOS

Carter Brey Principal The Fan Fox and Leslie R. Samuels Chair Eileen Moon-Myers* The Paul and Diane Guenther Chair Eric Bartlett Patrick Jee

Elizabeth Dyson The Mr. and Mrs. James E. Buckman Chair Alexei Yupanqui Gonzales Maria Kitsopoulos The Secular Society Chair Sumire Kudo Qiang Tu Nathan Vickery Ru-Pei Yeh The Credit Suisse Chair in honor of Paul Calello Joseph Lee++

BASSES

Timothy Cobb Principal Max Zeugner* The Herbert M. Citrin Chair Blake Hinson** Satoshi Okamoto

HORNS

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

TRUMPETS

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

TROMBONES

Randall Butler The Ludmila S. and Carl B. Hess Chair David J. Grossman Orin O’Brien+ Isaac Trapkus Rion Wentworth Bradley Aikman++

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

FLUTES

BASS TROMBONE

Robert Langevin Principal The Lila Acheson Wallace Chair Yoobin Son Mindy Kaufman The Edward and Priscilla Pilcher Chair Blair Francis++

PICCOLO

Mindy Kaufman

OBOES

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

ENGLISH HORN Keisuke Ikuma++

CLARINETS

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

E-FLAT CLARINET

Pascual Martínez Forteza

BASS CLARINET Amy Zoloto

SAXOPHONES Dan Goble++ Lino Gomez++ Allen Won++

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

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

TUBA

Alan Baer Principal

TIMPANI

Markus Rhoten Principal The Carlos Moseley Chair Kyle Zerna**

PERCUSSION

Christopher S. Lamb Principal The Constance R. Hoguet Friends of the Philharmonic Chair Daniel Druckman* The Mr. and Mrs. Ronald J. Ulrich Chair Kyle Zerna Barry Centanni++ Pablo Rieppi++ Sean Ritenauer++ James Saporito++

HARP

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

BANJO/ELECTRIC GUITAR Scott Kuney++

ORCHESTRA PERSONNEL

DeAnne Eisch 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 Deborah Borda, President and CEO Bill Thomas, Executive Director

Marita Altman, Vice President, Development Adam Crane, Vice President, External Affairs Miki Takebe, Vice President, Operations and Touring Isaac Thompson, Vice President, Artistic Planning Jennifer Luzzo, Communications and Digital Content Associate Aileen MacDonald, Orchestra Personnel Assistant Patrick O’Reilly, Operations Assistant Brendan Timins, Director, Touring and Operations Pamela Walsh, Artistic Administrator Robert W. Pierpont, Stage Crew Robert Sepulveda, Stage Crew

KEYBOARD

In Memory of Paul Jacobs

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

HARPSICHORD

Citi. Preferred Card of the New York Philharmonic.

PIANO

Emirates is the Official Airline of the New York Philharmonic.

Paolo Bordignon

Eric Huebner The Anna-Maria and Stephen Kellen Piano Chair Steve Beck++

ORGAN Kent Tritle

LIBRARIANS

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

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

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Behzod Abduraimov (piano), born in Tashkent, Uzbekistan, was the grand prize winner of the 2009 London International Piano Competition at age 19. He released his debut album of works by Prokofiev, Liszt, and Saint-Saëns for Decca Records four years later, followed by debuts at the BBC Proms and Carnegie Hall in 2016. His schedule now includes the world’s major music venues with its leading orchestras and conductors. Behzod is an alumnus of Park University’s International Center for Music in Kansas City, where he studied with Stanislav Loudenitch. This summer is his first at Bravo! Vail.

©DAVID ROWE

The Academy of St Martin in the Fields Chamber Ensemble was created in 1967. Drawn from the principal players of the orchestra, the Chamber Ensemble performs in all shapes and sizes, from string quintets to octets, and in various other configurations featuring winds. The group’s touring commitments are extensive and include regular appearances in Europe and North America. The ensemble’s recording contracts with Philips Classics, Hyperion, and Chandos have led to the release of over thirty CDs.

Nicholas Angelich (piano) was born in the U.S. and entered the Paris Conservatory at 13. He has spent much of his career in France, where his teachers were Aldo Ciccolini, Yvonne Loriod, Michel Beroff, and Marie Françoise Bucquet. Top competition prizes came in the 1990s, including the Ruhr Piano Festival’s Young Talent Award given by Leon Fleisher. His extensive discography began in 1995 with Rachmaninoff (Harmonia Mundi) and now includes a 2017 multi-CD set of Brahms (Erato). The Brahms Trios with the Capuçon brothers won the German Record Critics’ Prize. This is his Bravo! Vail debut.

Annaleigh Ashford (vocalist), a Denver native, is known on Broadway as Glinda in Wicked, Margot in Legally Blonde, and Lauren in Kinky Boots. She won a 2015 Tony Award for her work as Essie Carmichael in You Can’t Take It with You, and in 2017 starred as Dot/Marie in Sunday in the Park with George. Recently she completed work on Ryan Murphy’s FX mini-series American Crime Story: Versace and the movie Second Act with Jennifer Lopez. This Bravo! Vail debut is an encore to her New York Philharmonic debut last New Year’s Eve.

Asphalt Orchestra is a street band created by New York City’s Bang on a Can, a leader in new music of every conceivable style and genre. An outdoor “guerrilla” musical force, comprised of top classical, jazz, and rock musicians and choreographed by Susan Marshall and Mark DeChiazza, Asphalt made its debut at Lincoln Center’s Out of Doors Festival in 2009. It has appeared at London’s Barbican Center, Washington, D.C.’s TED Women’s Conference, and the Metropolitan Museum of Art playing music that ranges from Björk to Zappa. This summer marks the ensemble’s Bravo! Vail debut.

©BILL PHELPS

Joshua Bell (violin), born in Bloomington, Indiana, came to national attention at 14 when he

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debuted with Riccardo Muti and the Philadelphia Orchestra, and is now known and celebrated worldwide. His credits include over 40 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 Prize-winning feature in the Washington Post. This is his third summer at Bravo! Vail performing in one of his favorite roles — as the only person other than Sir Neville Marriner to serve as Music Director of the Academy of St Martin in the Fields.

©SMU

Ann Marie Brink (viola) has been Associate Principal Viola of the Dallas Symphony Orchestra since 1999. She began playing in public school at age 10 and joined the Pensacola Symphony while a freshman in high school. She holds degrees from the Cleveland Institute of Music and The Juilliard School, where she was awarded the William Schuman Prize. Active as a chamber musician, she has appeared at Carnegie Hall, Lincoln Center, the Library of Congress, and Cleveland’s Severance Hall.

David Buck (flute) joined the Dallas Symphony Orchestra as Principal Flute last fall, having played in the Detroit Symphony Orchestra since 2012. He is a Philadelphia native and a graduate of The Juilliard School. Previously Buck has held positions with the Los Angeles Philharmonic and the Oregon Symphony and made guest principal appearances with the Chicago Symphony Orchestra, the Pittsburgh Symphony Orchestra, and the Baltimore Symphony. His primary teachers were Robert Langevin, Jeffrey Khaner, and David Cramer.

©LAURA DEAN

Albert Cano Smit (piano) turns 22 this year and is the first prize winner of the 2017 Walter W. Naumburg Piano Competition. He has been winning top prizes at major competitions since 2011 and today continues his studies in Los Angeles with Ory Shihor and Jean-Yves Thibaudet, with whom he performs this summer as a 2018 Bravo! Vail Piano Fellow. Playing concertos, recitals, and chamber music equally occupy his growing schedule of concerts worldwide.

Cassidy Catanzaro (vocalist) is a Grammy-nominated songwriter and Atlantic recording artist. She has toured with the Rolling Stones and Aerosmith and has appeared on The Tonight Show, TODAY, VH1, as well as in a collaborative campaign between The Gap and Archbishop Desmond Tutu. Recently she starred as “Tabitha” in a Los Angeles rock-theater piece, Parallel Worlds. With “Women Rock,” she makes her Bravo! Vail debut.

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. Well known to Bravo! Vail audiences, the ensemble of 180 volunteers is a nationally respected chorus that has joined each of the Festival’s resident orchestras for major choral presentations in honor of Bravo! Vail Founder John Giovando. Mr. Wolfe has also taken the group on multiple European tours.

Héctor Del Curto (bandoneón) was born into a family of bandoneón players in Argentina. His grandfather introduced him to tango, but his career also encompasses jazz, classical, and world music. By 17, he was named Argentina’s best bandoneón player under 25 and received the Golden Note award from the Italian-American Network for musical achievement. He has appeared with major orchestras including the St. Louis and National Symphonies, the Metropolitan Opera Orchestra, and the Buenos Aires Symphony Orchestra. 163

Stéphane Denève (conductor) is well known to Bravo! Vail audiences from his many appearances as Principal Guest Conductor of The Philadelphia Orchestra and his championship of the music of John Williams. He is now Music Director Designate of the St. Louis Symphony, where he will succeed David Robertson beginning in the 2019/20 season. He is also Chief Conductor of the Brussels Philharmonic and Director of its Centre for Future Orchestral Repertoire. Prior posts include Chief Conductor of the Stuttgart Radio Symphony Orchestra and Music Director of the Royal Scottish National Orchestra.

©CARLIN MA

The Dover Quartet (string quartet) became the first-ever Quartet-in-Residence at the Curtis Institute of Music in 2013, the same year it won the Banff Competition. In the 2017-18 season it performed over 100 concerts at major venues, including Carnegie Hall and the Kennedy Center, where it has been made Quartet-in-Residence for the next three seasons. Comprised of Joel Link, Brian Lee, Milena Pajaro-van de Stadt, and Camden Shaw, the group is an active member of Music for Food, an initiative to help musicians fight hunger in their home communities.

Ensemble Connect is a professional development and training program run by Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education. It attracts the finest young musicians in the country, who are equally committed to musical excellence and education. A select group of the program’s members have returned to Bravo! Vail this summer to play chamber music with Anne-Marie McDermott (July 17) as well as outreach concerts throughout the Valley.

©MTKTK

Santino Fontana (vocalist) is an American actor and singer, widely known for playing Greg on the television show Crazy Ex-Girlfriend, and for voicing Prince Hans in the 2013 Disney animated film Frozen. He made his Broadway debut in Sunday in the Park with George in 2007, and originated the role of Tony in the Broadway production of Billy Elliot in 2008. Awarded the 2010 Drama Desk Award for Best Featured Actor in a Play for Brighton Beach Memoirs, he received a Tony nomination role as Prince Topher in Rodgers & Hammerstein’s Cinderella.

Hans Graf (conductor), a native of Austria, won the 2018 Grammy Award for Best Opera Recording (Berg’s Wozzeck) with the Houston Symphony, where he was Music Director from 2001 to 2013, the longest tenure in the orchestra’s history. Previously he was Music Director of the Calgary Philharmonic, Orchestre National Bordeaux Aquitaine, and the Salzburg Mozarteum Orchestra. In demand worldwide as a guest conductor, he is also the recipient of France’s Chevalier de l’Ordre de la Legion and the Grand Decoration of Honour in Gold for Services to the Republic of Austria.

©MAT HENNEK

Hélène Grimaud (piano) was born in Aix-en-Provence, France, and began her musical studies

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at a local school before being accepted into the Paris Conservatoire at age 13. In addition to being a concert pianist, she has published three semi-autobiographical novels and is an active member of Musicians for Human Rights, a worldwide network of musicians that promotes a culture of human rights and social change. Her extensive discography with Deutsche Grammophon includes Duo (with cellist Sol Gabetta), which was the recipient 2013 ECHO Award for Chamber Recording of the Year.

Augustin Hadelich (violin) was born in Italy to German parents. He came to national attention as the Gold Medal winner of the Indianapolis Competition in 2006. He has collected a multitude of honors, including a Grammy Award for his recording of Dutilleux’s Violin Concerto, and in 2018 was named Musical America’s Instrumentalist of the Year. In worldwide demand today as a soloist, this past season he gave the U.S. premiere of new cadenzas for the Ligeti Concerto written by composer Thomas Adès, with the composer conducting the Boston Symphony. His first Bravo! Vail appearance was in 2010.

©CHRIS LEE

Frank Huang (violin) was born in Beijing and joined the New York Philharmonic as Concertmaster (The Charles E. Culpeper Chair) in September of 2015. A sought-after soloist, Huang made his debut with the Houston Symphony at the age of 11 and has since performed with numerous orchestras around the world, including the Cleveland Orchestra, the Los Angeles Philharmonic, and the NDR Radio Philharmonic Orchestra of Hannover. A devoted educator and chamber musician, Huang serves on the faculty of The Juilliard School and tours extensively with the New York Philharmonic String Quartet.

Alexander Kerr (violin), raised in Alexandria, Virginia, began his studies at age seven with members of the National Symphony Orchestra. He went on to study at The Juilliard School and the Curtis Institute of Music and in 1996 was named Concertmaster of the Royal Concertgebouw Orchestra in Amsterdam. In 2006 he began teaching at Indiana University’s Jacobs School of Music and is today Concertmaster of the Dallas Symphony Orchestra. An avid chamber musician, Kerr has recorded the Dvořák Piano Quintet with Sarah Chang and Leif Ove Andsnes.

Do-Hyun Kim (piano), a recent graduate of the Cleveland Institute of Music, is making his Bravo! Vail debut as one of two Piano Fellows chosen each summer by Anne-Marie McDermott. A top prizewinner at numerous competitions, he performed in the Mariinsky Theatre at the 12th International Piano Festival in St. Petersburg, Russia, and last year was a winner of the 2017 Young Concert Artists International Auditions. He will make his recital debuts in New York and at the Kennedy Center in Washington D.C. during the 2018/19 season.

©DARIO ACOSTA

Emily Levin (harp) is Principal Harp of the Dallas Symphony Orchestra and the youngest principal harpist of a major American orchestra. She has appeared as soloist with the Dallas, Jerusalem, and Colorado Symphony Orchestras and currently serves on the faculty at the Young Artist’s Harp Seminar. Her outreach activities have included a concert series benefiting the International Rescue Committee and Refugee Services of Texas. She is a self-proclaimed bookworm and holds degrees in history and music from Indiana University and The Juilliard School.

©SIMON FOWLER

George Li (piano) was a first prize winner of the 2010 Young Concert Artists International Auditions and in 2011 played for President Obama at the White House. The Gilmore Prize, an Avery Fisher Career Grant, and the Silver Medal at the 2015 International Tchaikovsky Competition all followed and led to an exclusive recording contract with Warner Classics. His debut recording, George Li —Live at the Mariinsky, was made in St. Petersburg in 2016. Li is currently a student in the Harvard/New England Conservatory joint program studying with Wha Kyung Byun.

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Louis Lortie (piano) was born in Montreal, Quebec, and made his debut with the city’s symphony orchestra at age 13. In demand as a soloist around the world, Lortie is Artist-inResidence with the Shanghai Symphony and records for the Chandos label. His discography includes the complete Beethoven sonatas, and most recently a Chopin recording, named “One of the Best of the Year” by The New York Times. Lortie is currently the Master-in-Residence at the Queen Elizabeth Music Chapel of Brussels.

©SORIN POPA

Cristian Măcelaru (conductor) was appointed Music Director and Conductor of the Cabrillo Festival of Contemporary Music in 2017. He came to public attention in 2012 when he replaced Pierre Boulez as conductor of the Chicago Symphony Orchestra. He made his debut with The Philadelphia Orchestra in 2013, and in 2014 won the Solti Conducting Award. This summer marks his first at Bravo! Vail with the Dallas Symphony Orchestra.

Magic Circle Mime Company is the partnership of Maggie Petersen and Douglas MacIntyre, both creative artists with backgrounds in theater and instrumental music. Formed in 1978, they have created and performed mime in concert programs with orchestras throughout the United States, Canada, Asia, and Europe. Their newest production, “Orchestra from Planet X,” explores the many influences that helped create the music of the New World.

Anne-Marie McDermott (piano), Bravo! Vail’s Artistic Director since 2011, enjoys a career playing, planning, and recording an incredible variety of music. Last summer she performed Gershwin’s Concerto in F with Alan Gilbert and the New York Philharmonic and gave the world premiere of a Bravo! Vail-commissioned work from composer David Ludwig. She recently performed her first complete Beethoven Concerto cycle with Santa Fe Pro Musica and released her second all-Haydn sonata CD for Bridge Records. An artist member of the Chamber Music Society of Lincoln Center, she also served as Artistic Director of the inaugural McKnight Center Chamber Music Festival at Oklahoma State University this past spring.

©ALAN WEISMAN

David Newman (conductor) is the son of Oscar-winning composer Alfred Newman. Born in Los Angeles, he began his musical training as a child on the violin and piano and holds degrees in orchestral conducting and violin from the University of Southern California. Having received top prizes as a composer in the film music industry, Newman holds an Academy Award nomination for his score to the animated film Anastasia and has scored over 100 films, from The Flintstones to Tarzan. He is in demand as a conductor around the world and makes his Bravo! Vail debut in that capacity this summer.

©CHRIS LEE

New York Philharmonic String Quartet is comprised of four of the orchestra’s principal

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string players: Concertmaster Frank Huang (The Charles E. Culpeper Chair), Principal Associate Concertmaster Sheryl Staples (The Elizabeth G. Beinecke Chair), Principal Viola Cynthia Phelps (The Mr. and Mrs. Frederick P. Rose Chair), and Principal Cello Carter Brey (The Fan Fox and Leslie R. Samuels Chair). The group 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.

Nathan Olson (violin), a native of Berkeley, California, holds the position of CoConcertmaster 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.

Omer Quartet (string quartet) is the 2018 first prize winner of the Young Concert Artists Auditions. Consisting of violinists Mason Yu and Erica Tursi, violist Jinsun Hong, and cellist Alex Cox, the quartet was also a top prizewinner in the Bordeaux International Competition in France and the Fischoff National Chamber Music Competition. Having recently completed a graduate residency at the New England Conservatory, the group is currently the Doctoral Fellowship String Quartet-in-Residence at the University of Maryland. The quartet makes its Bravo! Vail debut this summer as Chamber Musicians in Residence.

©BANDSTAND

Laura Osnes (vocalist) was born in Burnsville, Minnesota, and is a celebrated Tony Awardwinning actress and singer. Known for her work on the Broadway stage, Laura has played starring roles in Grease as Sandy, South Pacific as Nellie Forbush, Anything Goes as Hope Harcourt, and Bonnie and Clyde as Bonnie Parker, for which she received a Tony Award nomination for Best Actress in a Musical. She received a Drama Desk Award and her second Tony nomination starring in title role of Rodgers & Hammerstein’s Cinderella. This is her Bravo! Vail debut.

Radu Paponiu (conductor) is in his first season as the Assistant Conductor of the Naples Philharmonic and Director of the Naples Philharmonic Youth Orchestra. A native of Romania, Radu began his musical studies at the age of seven and recently completed his Master of Music degree in orchestral conducting under Hugh Wolff at the New England Conservatory. A major advocate of community engagement, Radu also served as Conductor of the Herbert Zipper Outreach Orchestra in Los Angeles and is on the faculty of the Juilliard Pre-College Division in New York.

©JAY FRAM

David Robertson (conductor) was born in Santa Monica, California, and currently serves as Music Director of the St. Louis Symphony, as well as Chief Conductor and Artistic Director of the Sydney Symphony Orchestra. An apprentice of Pierre Boulez, he has led dozens of top orchestras, such as the BBC Symphony and the Ensemble Intercontemporain. With St. Louis he won a Grammy Award for Best Orchestral Performance for City Noir, a compilation of works by composer John Adams. He holds a degree from the Royal Academy of Music, where he studied horn and composition. These concerts mark his Bravo! Vail debut.

©BONICA AYALA

Roomful of Teeth (vocal project), founded in 2009 by Brad Wells, is dedicated to mining the expressive potential of the human voice. The group has studied Tuvan throat singing, yodeling, Inuit throat singing, Korean P’ansori, Georgian singing, and Sardinian cantu a tenore styles. Its 2012 debut album received a Grammy Award for Best Chamber Music/Small Ensemble Performance. Its first appearance at Bravo! Vail in 2015 led to this season’s commissioned work for Roomful with the Dover String Quartet from Composer Gabriella Smith, scheduled to be premiered on August 2 at the Donovan Pavilion. 167

Katrina Rose (vocalist) is originally from Durham, NC. She attended the Durham School of the Arts and New York University’s Steinhardt School, where she studied voice and musical theater. During her junior year, Katrina attended an open call for the musical Hairspray and joined the Toronto cast as the show’s lead, Tracy Turnblad. Katrina has also been heard on the 13th season of NBC’s reality TV series The Voice. This is her Bravo! Vail debut.

©SIMON PAULY

Donald Runnicles (conductor) serves as the General Music Director of the Deutsche Oper Berlin, Chief Conductor of the BBC Scottish Symphony Orchestra, and Music Director of the Grand Teton Music Festival in Jackson, Wyoming. He previously spent 17 seasons with the San Francisco Opera and has been given the honor of the Order of the British Empire (OBE), as well as honorary degrees from Edinburgh University, the San Francisco Conservatory of Music, and the Royal Scottish Academy of Music and Drama. This is his second time in Vail conducting The Philadelphia Orchestra.

Shayna Steele (vocalist) makes her Bravo! Vail debut with the Dallas Symphony Orchestra in Women Rock! She has been heard on screen and on stage in Rent, Jesus Christ Superstar, and the original cast of Hairspray, as well as Hairspray Live! in 2016. In addition to producing three of her own solo studio albums, she has appeared with Natasha Bedingfield, John Legend, Dolly Parton, and the two-time Grammy Award-winning fusion band Snarky Puppy.

©DECCA

Jean-Yves Thibaudet (piano) has performed around the world for more than 30 years and recorded more than 50 albums. He has been nominated for two Grammy Awards and has won the Schallplattenpreis, the Diapason d’Or, the Choc du Monde de la Musique, a Gramophone Award, two ECHO awards, and the Edison Prize. A frequent guest of Bravo! Vail, Thibaudet was invited by Anne-Marie McDermott to help select this summer’s two Piano Fellows, with whom he will perform on July 10 and appear as a coach in a public master class on July 11.

©TYLER BOYE

Bramwell Tovey (conductor) is the Grammy and Juno Award-winning Music Director of the Vancouver Symphony Orchestra and Artistic Adviser of the VSO School of Music. Also a composer, Tovey served as the Founding Host and Conductor of the New York Philharmonic’s Summertime Classics series. He is a Fellow of the Royal Academy of Music in London and 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.

©DARIO ACOSTA

Daniil Trifonov (piano) made his Bravo! Vail debut last summer stepping in at the last minute

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to perform Chopin with the New York Philharmonic. It was during the 2010/11 season, at the age of 20, that he won medals at three of the world’s most influential piano competitions —the Chopin Competition in Warsaw, the Rubinstein Competition in Tel Aviv, and the Tchaikovsky Competition in Moscow. In 2016 he received Gramophone’s Artist of the Year Award, and in 2018 his recording of Liszt’s Transcendental Études won a Grammy Award for Best Classical Instrumental Solo.

Kent Tritle (organ) has been the organist of the New York Philharmonic since 1994 and of the American Symphony Orchestra since 1993. He is also director of cathedral music and organist at The Cathedral Church of Saint John the Divine. In 2015, he became chair of the organ department of the Manhattan School of Music. Tritle is featured in the New York Philharmonic’s recordings of Brahms’s A German Requiem, Britten’s War Requiem, and Henze’s Symphony No. 9, as well as the Grammy Award-nominated Sweeney Todd.

Jeff Tyzik, (conductor/composer/arranger), now in his 24th 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 performances, 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.

Hanzhi Wang (accordion) is the first accordionist to be presented at Bravo! Vail, as well as the the first ever to win the Young Concert Artists International Auditions in that organization’s 57-year history. YCA will present her debut concerts in New York City and Washington D.C. this season. In August, Naxos will release its first-ever solo accordion CD featuring Wang in works by Danish composers. She earned degrees at the China Central Conservatory of Music in Beijing and the Royal Danish Academy of Music in Copenhagen as a student of Geir Draugsvoll.

©JESS WEINER

Joshua Weilerstein (conductor) is the Artistic Director of the Orchestre de Chambre de Lausanne. He has conducted extensively in Europe and North America and this season made debuts with the Bamberg Symphony, BBC Philharmonic, St. Paul Chamber Orchestra, and West Australian Symphony Orchestra. His career was launched after he won both the first prize and the Audience Prize at the 2009 Malko Competition for Young Conductors in Copenhagen, which was followed by a three-year appointment as Assistant Conductor of the New York Philharmonic.

Alisa Weilerstein (cello), winner of a 2011 MacArthur Fellowship, was the first cellist in 30 years to be signed by Decca Records. Her first album of concertos by Elgar and Elliott Carter, with Daniel Barenboim and the Staatskapelle Berlin, was named “Recording of the Year 2013” by BBC Music magazine. In world-wide demand as a soloist, Weilerstein is also a devoted chamber musician, recitalist, and a lover of new compositions. She has premiered many important works by composers such as Mathias Pintscher, Osvaldo Golijov, and Lera Auerbach. Weilerstein made her debut at 13 with the Cleveland Orchestra. She holds a degree in History from Columbia University.

Owen Wolfinger (boy alto), is a member of the Colorado Children’s Chorale. He debuted in Chichester Psalms with the Colorado Symphony Orchestra, this spring, and recently returned from the Chorale’s performance tour of Scotland and Iceland. Owen was prepared for this performance by Mary Louise Burke, Associate Director of the Colorado Children’s Chorale. The Colorado Children’s Chorale annually trains 500 members between the ages of 7 and 14 for performances across Colorado, the nation, and the world.

169

Camille Zamora (soprano), a noted interpreter of classical Spanish song, regularly

collaborates with artists ranging from Plácido Domingo to Sting, singing a repertoire that ranges from Mozart to tango. Recent seasons have included performances with Yo-Yo Ma at the U.S. Capitol, a Kennedy Center debut, and seven new operatic roles. An advocate for education, she is the Co-Founder of Sing for Hope, a leading “arts peace corps” that mobilizes artists and presents initiatives that make the arts accessible to many. A graduate of The Juilliard School, she makes her Bravo! Vail debut this summer.

Principal Guest Conductor of the Mariinsky Orchestra St. Petersburg, he regularly plays and conducts with orchestras such as the Staatskapelle Dresden, Cleveland Orchestra, and the New York Philharmonic. In 2018, Znaider will continue a Mozart recording project with the London Symphony Orchestra, directing the second and third concertos from the violin. He has recorded the complete violin and piano works of Johannes Brahms with Yefim Bronfman.

At Roundup River Ranch children with serious illnesses

2018 is an exciting year for Roundup River Ranch as we construct a new building and prepare to serve more children with serious illnesses than ever before. We hope you’ll help campers reach for the stars.

Extraordinary camp experiences for kids with serious illnesses and their families offered at no cost thanks to friends like you. Get involved. Schedule a tour. Volunteer. Attend an event. Make a gift. RoundupRiverRanch.org | 970.748.9983

170 Learn more at BravoVail.org

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

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COMMUNITY FOUNDATION Addressing issues that impact the quality of life of our hardworking community, including hunger, early childhood learning and mental health. OurCommunityFoundation.org

WE ARE GRATEFUL FOR ALL DONATIONS TO OUR COMMUNIT Y FOUNDATION Your gif ts ensure quality of life for everyone who makes this special place home. To make a donation contact Susie Davis | 970.977.1093 | Susie@OurCommunityFoundation.org Our Community Foundation was established in 2015 as a 501(c)3 nonprofit to serve local families living in the Eagle River Valley.

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. 176 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.

IRA CHARITABLE ROLLOVER Donors aged 70 ½ or older can donate directly to Bravo! Vail from their IRA and receive tax benefits. IN-KIND GIFTS Donations of products, 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

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) Anonymous**** ANB Bank and The Sturm Family* Eva-Marie and Ray Berry and The Paiko Foundation* The Francis Family***** Linda and Mitch Hart Town of Vail****** PREMIER BENEFACTOR ($50,000 and above) Gina Browning and Joe Illick* Marijke and Lodewijk de Vink*** The Sidney E. Frank Foundation* Billie and Ross McKnight Betsy Wiegers Choral Fund, in Honor of John W. Giovando***** DIAMOND ($40,000 and above) Julie and Tim Dalton*** Lyn Goldstein**** Jeanne and Jim Gustafson** Judy and Alan Kosloff**** Amy and James Regan***** Cathy and Howard Stone**** PLATINUM ($30,000 and above) Dierdre and Ronnie Baker** Angela and Peter Dal Pezzo* Mr. Claudio X. Gonzalez*** Vera and John Hathaway* Cynnie and Peter Kellogg**** Honey M. Kurtz*** Donna and Patrick Martin* Leni and Peter May**** Shirley and William S. McIntyre, IV*** Bruce Tabb Carol and Pat Welsh**** IMPRESARIO ($25,000 and above) Amy and Charlie Allen* Barbara and Barry Beracha* John Dayton*** Stephanie and Lawrence Flinn, Jr.**** Peggy and Steve Fossett Foundation** Georgia and Don Gogel* Karen and Michael Herman***

Lyda Hill*** Barbie and Tony Mayer**** Alysa and Jonathan Rotella Mary Lynn and Warren Staley** Dhuanne and Doug Tansill*** Vail Valley Foundation****** Sandra and Greg Walton* Barb and Dick Wenninger* VIRTUOSO ($20,000 and above) Marilyn Augur**** Jayne and Paul Becker***** Doe Browning** Amy and Steve Coyer** LIV Sothebyâ&#x20AC;&#x2122;s International Realty* 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** OVATION ($15,000 and above) Anonymous Anonymous, in honor of Nancy Stevens** Letitia and Christopher Aitken* Alpine Bank*** Sandy and John Black Virigina J. Browning, in honor of Doe Browning* Susan and Van Campbell*** Jeri and Charlie Campisi**** Debbie and Jim Donahugh** Penny and Bill George**** Holly and Ben Gill*** GMC Terri and Tom Grojean**** Anne and Hank Gutman* Ann and David Hicks Patricia and Peter Kitchak Rose and Howard Marcus**** Mr. John McDonald and Mr. Rob Wright**** Kathie Mundy and Fred Hessler National Endowment for the Arts** Margaret and Alex Palmer* The Precourt Family** Martha Dugan Rehm and Cherryl Hobart*** Susan and Rich Rogel**** Sandra and Alejandro Rojas Sally and Byron Rose** Terie and Gary Roubos****

Each * denotes five years of consecutive donations.

Marcy and Stephen Sands** Carole and Peter Segal** Mary Sue and Mike Shannon* Sue and Marty Solomon*** Charles and Margery Pabst Steinmetz**** Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein* Town of Gypsum*** U.S. Bank*** U.S. Bank Foundation* Martin Waldbaum*** Carole A. Watters** ALLEGRO ($10,000 and above) Pamela and David Anderson** Herbert and Sharron Bank; Penny Bank*** Kelly and Sam Bronfman, II* Jean and Harry Burn* Caryn Clayman** Lucy and Ron Davis Antonio Del Valle Ruiz Susan and John Dobbs**** Janet and Jim Dulin Julie and Bill Esrey**** Liz and Tommy Farnsworth*** Susan and Harry Frampton***** Nancy Gage and Allan Finney* Jane and Michael Griffinger**** Martha Head**** Alexia and Jerry Jurschak* June and Peter Kalkus***** Dr. and Mrs. Frederick Kushner* Jan and Lee Leaman* Nancy and Richard Lubin*** Meiomi Wine Carolyn and Gene Mercy**** Sammye and Mike A. Myers** Patti and Blaine Nelson Teri Perry, in memory of Tony Perry**** Carolyn and Steve Pope*** Janet Pyle and Paul Repetto Wendy and Paul Raether Ann and Richard Rothkopf Mr. and Mrs. Ernest Scheller, Jr.*** Soros Fund Charitable Foundation Matching Gifts Program Brooke and Hap Stein**** Stolzer Family Foundation**** Bea Taplin*** Debbie and Fred Tresca* 177

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) Eva-Marie and Ray Berry and The Paiko Foundation* PREMIER BENEFACTOR ($50,000 and above) Town of Vail****** PLATINUM ($30,000 and above) Marijke and Lodewijk de Vink*** VIRTUOSO ($20,000 and above) ANB Bank and The Sturm Family* Gina Browning and Joe Illick* ALLEGRO ($10,000 and above) The Sidney E. Frank Foundation* Cathy and Howard Stone**** Martin Waldbaum***

BENEFACTOR ($5,000 and above) John Dayton*** Shelby and Frederick Gans, in honor of Carole and Peter Segal Ann and William Lieff*** PATRON ($3,000 and above) Michelle and Jamie Horton Mr. and Mrs. Lawrence H. Kyte*** CONTRIBUTOR ($1,200 and above) Amy and Steve Coyer** Gail and Jack Klapper Gigi Reynolds and Bob Bunting Charles and Margery Pabst Steinmetz**** Debbie and Fred Tresca* Leewood and Tom Woodell* Kathy and Jonathan Zeschin

FRIEND ($600 and above) Jenny and Wendell Erwin***** Penny and Bill George**** Helena and Peter Leslie*** DONOR ($300 and above) Anonymous Alberta and Reese Johnson Midori and Masako Oishi Beth and Rod Slifer Marcos M. Suarez MEMBER ($150 and above) Drs. Nerissa and Scott Collins Mika Nakamura and Gary Wood

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* Marilyn Augur**** OVATION ($15,000 and above) Marcy and Stephen Sands** Charles and Margery Pabst Steinmetz**** Carole A. Watters** ALLEGRO ($10,000 and above) John Dayton*** Alexia and Jerry Jurschak* Sammye and Mike A. Myers** Patti and Blaine Nelson 178 Learn more at BravoVail.org

SOLOIST ($7,000 and above) Carol and Ronnie Goldman** Bobbi and Richard Massman***

Jere W. Thompson*** Gena and Bob Wilhelm Leewood and Tom Woodell*

BENEFACTOR ($5,000 and above) Peggy and Gary Edwards** Cindy Engles** Rebecca and Ron Gafford* Brenda and Joe McHugh**** Mr. and Mrs. Al Meitz* Allison and Russell Molina* Jane Parker**** Debbie and Ric Scripps** Bill and Katie Weaver Charitable Trust*

CONTRIBUTOR ($1,200 and above) Clara Willoughby Cargile***** Amy Faulconer** Carol and Jeff Heller** Karen and Steve Livingston*** Carolyn Wittenbracker*

PATRON ($3,000 and above) Edwina P. Carrington*** Jane and Stephen Friedman Fanchon and Howard Hallam, in honor of Shirley and William McIntyre, IV Randi and Ed Halsell*

FRIEND ($600 and above) Penny and Bill George**** Carol and John MacLean**** Patty and Denny Pearce** Margot and Ross Perot Violet and Harry Wickes** DONOR ($300 and above) Gerry and Don Houk* Jan and Bob Pickens

THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ($50,000 and above) ANB Bank and The Sturm Family* Town of Vail****** IMPRESARIO ($25,000 and above) Karen and Michael Herman*** Sandra and Greg Walton* VIRTUOSO ($20,000 and above) Donna and Patrick Martin* OVATION ($15,000 and above) Anonymous, in honor of Nancy Stevens** Anne and Hank Gutman* Susan and Rich Rogel**** ALLEGRO ($10,000 and above) John Dayton*** Teri Perry, in memory of Tony Perry**** Cathy and Howard Stone**** SOLOIST ($7,000 and above) Sue and Michael Callahan* Linda Farber Post and Dr. Kalmon D. Post***

BENEFACTOR ($5,000 and above) Christine and John Bakalar*** Dr. David Cohen Sue and Dan Godec** Laura and James Marx** Mr. John McDonald and Mr. Rob Wright**** Barbara and Howard Rothenberg** Mr. and Mrs. Ernest Scheller, Jr.*** Carole and Peter Segal** Susan and Steven Suggs** Dhuanne and Doug Tansill*** Sharon and Marc Watson*** PATRON ($3,000 and above) Shannon and Todger Anderson* Dierdre and Ronnie Baker** Dokie* Wendi and Brian Kushner** Michele and Jeffrey Resnick* CONTRIBUTOR ($1,200 and above) Elia Buck Drs. Maryalice Cheney and Scott Goldman* Cathy and Graham Hollis*

Sharon Prizant and Neal Colton, in honor of Barbara and Howard Rothenberg Mr. and Mrs. Richard Scalpello* FRIEND ($600 and above) Constance and Robert Anderson Penny and Bill George**** Sue and Dr. Brian Gordon Judy and John Stovall DONOR ($300 and above) Anonymous Mary Jo Curran Bernice and John Davie* Doris and Steven Field* MEMBER ($150 and above) Eileen and Jack Hardy PRELUDE ($50 and above) Jenene and Jim Stookesberry

THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ($40,000 and above) ANB Bank and The Sturm Family* Julie and Tim Dalton*** Lyn Goldstein**** Jeanne and Jim Gustafson** Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan***** Town of Vail****** PLATINUM ($30,000 and above) Marijke and Lodewijk de Vink*** Mr. Claudio X. Gonzalez*** Vera and John Hathaway* Cynnie and Peter Kellogg**** Honey M. Kurtz*** Leni and Peter May**** 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* Judy and Alan Kosloff**** 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**** Margaret and Alex Palmer* The Precourt Family** Martha Dugan Rehm and Cherryl Hobart***

Each * denotes five years of consecutive donations.

Sandra and Alejandro Rojas Terie and Gary Roubos**** Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein* BRONZE ($10,000 and above) Pamela and David Anderson** Jean and Harry Burn* Lucy and Ron Davis Antonio Del Valle Ruiz Susan and John Dobbs**** Liz and Tommy Farnsworth*** Penny and Bill George**** Martha Head**** June and Peter Kalkus***** Dr. and Mrs. Frederick Kushner* Mr. John McDonald and Mr. Rob Wright**** Carolyn and Gene Mercy**** Carole and Peter Segal** Sue and Marty Solomon*** 179

FESTIVAL SUPPORT

he gifts listed below represent charitable donations to Bravo! from May 15, 2017 - May 15, 2018. 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 Eva-Marie and Ray Berry and The Paiko Foundation 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 Judy and Alan Kosloff Artistic Director Chair The Betsy Wiegers Choral Fund, in Honor of John W. Giovando GRAND BENEFACTOR ($100,000 and above) Anonymous**** ANB Bank and The Sturm Family* Eva-Marie and Ray Berry and The Paiko Foundation* The Francis Family***** Linda and Mitch Hart Town of Vail****** PREMIER BENEFACTOR ($50,000 and above) Gina Browning and Joe Illick* Marijke and Lodewijk de Vink*** The Sidney E. Frank Foundation* Billie and Ross McKnight Betsy Wiegers Choral Fund, in Honor of John W. Giovando***** DIAMOND ($40,000 and above) Julie and Tim Dalton*** Lyn Goldstein**** Jeanne and Jim Gustafson** Judy and Alan Kosloff**** G Amy and James Regan***** Cathy and Howard Stone****

180 Learn more at BravoVail.org

PLATINUM ($30,000 and above) Dierdre and Ronnie Baker** G Angela and Peter Dal Pezzo* Mr. Claudio X. Gonzalez*** Vera and John Hathaway* R Cynnie and Peter Kellogg**** Honey M. Kurtz*** Donna and Patrick Martin* Leni and Peter May**** Shirley and William S. McIntyre, IV*** R Bruce Tabb Carol and Pat Welsh**** IMPRESARIO ($25,000 and above) Amy and Charlie Allen* Barbara and Barry Beracha* G John Dayton*** R Stephanie and Lawrence Flinn, Jr.**** Peggy and Steve Fossett Foundation** Georgia and Don Gogel* Karen and Michael Herman*** Lyda Hill*** Barbie and Tony Mayer**** S Alysa and Jonathan Rotella Mary Lynn and Warren Staley** Dhuanne and Doug Tansill*** Vail Valley Foundation****** Sandra and Greg Walton* G Barb and Dick Wenninger* VIRTUOSO ($20,000 and above) Marilyn Augur**** Jayne and Paul Becker***** Doe Browning** G Amy and Steve Coyer** LIV Sothebyâ&#x20AC;&#x2122;s International Realty* 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** OVATION ($15,000 and above) Anonymous S

Anonymous, in honor of Nancy Stevens** Letitia and Christopher Aitken* Alpine Bank*** Sandy and John Black Virigina J. Browning, in honor of Doe Browning* Susan and Van Campbell*** Jeri and Charlie Campisi**** Debbie and Jim Donahugh** Penny and Bill George**** Holly and Ben Gill*** GMC Terri and Tom Grojean**** Anne and Hank Gutman* Ann and David Hicks Patricia and Peter Kitchak Rose and Howard Marcus**** Mr. John McDonald and Mr. Rob Wright**** Kathie Mundy and Fred Hessler National Endowment for the Arts** Margaret and Alex Palmer* The Precourt Family** Martha Dugan Rehm and Cherryl Hobart*** Susan and Rich Rogel**** Sandra and Alejandro Rojas Sally and Byron Rose** R Terie and Gary Roubos**** Marcy and Stephen Sands** Carole and Peter Segal** Mary Sue and Mike Shannon* Sue and Marty Solomon*** Charles and Margery Pabst Steinmetz**** Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein* Town of Gypsum*** U.S. Bank*** U.S. Bank Foundation* Martin Waldbaum*** Carole A. Watters** ALLEGRO ($10,000 and above) Pamela and David Anderson** Herbert and Sharron Bank; Penny Bank*** Kelly and Sam Bronfman, II*

indicates Soiree Host | G indicates Gala Sponsor | R indicates Reception Host

Jean and Harry Burn* Caryn Clayman** Lucy and Ron Davis Antonio Del Valle Ruiz Susan and John Dobbs**** Janet and Jim Dulin Julie and Bill Esrey**** Liz and Tommy Farnsworth*** Susan and Harry Frampton***** Nancy Gage and Allan Finney* Jane and Michael Griffinger**** Martha Head**** R Alexia and Jerry Jurschak* June and Peter Kalkus***** Dr. and Mrs. Frederick Kushner* Jan and Lee Leaman* Nancy and Richard Lubin*** Meiomi Wine Carolyn and Gene Mercy**** Sammye and Mike A. Myers** Patti and Blaine Nelson Teri Perry, in memory of Tony Perry**** Carolyn and Steve Pope*** Janet Pyle and Paul Repetto Wendy and Paul Raether Ann and Richard Rothkopf S Mr. and Mrs. Ernest Scheller, Jr.*** Soros Fund Charitable Foundation Matching Gifts Program Brooke and Hap Stein**** Stolzer Family Foundation**** Bea Taplin*** Debbie and Fred Tresca* SOLOIST ($7,000 and above) Sue and Michael Callahan* Norma and Charlie Carter**** Carol and Harry Cebron Cookie and Jim Flaum*** The Frigon Family* Carol and Ronnie Goldman** The Gorsuch Family, Gorsuch Ltd.* Mrs. Jean Graham-Smith and Mr. Philip Smith**** Cindy and Guy Griffin* Valerie and Robert Gwyn**** Karen and Jim Johnson* Mr. and Mrs. Arthur Kelton, Jr.*****

Joyce and Paul Krasnow*** Diane and Lou Loosbrock S Bobbi and Richard Massman*** Ferrell and Chi McClean* Sarah and Peter J. Millett S Marge and Phil Odeen* Marlys and Ralph Palumbo Mary Lou Paulsen and Randy Barnhart* Kathy and Roy Plum**** Linda Farber Post and Dr. Kalmon D. Post*** Maria Santos* Slifer Smith & Frampton Foundation*** BENEFACTOR ($5,000 and above) Anonymous Dr. Nancy Alexander and David Staat* Christine and John Bakalar*** Margo and Terence Boyle Claudia and Marc Braunstein Barbara and Christopher Brody* Kay Chester*** Dr. David Cohen Nancy and Andy Cruce*** Peggy and Gary Edwards** Holly and Buck Elliott**** Gail and Jim Ellis* Cindy Engles** Four Seasons Private Residences exclusively offered by Slifer Smith & Frampton Real Estate Laura and Bill Frick**** Helen and Bob Fritch***** Rebecca and Ron Gafford* Linda Galvin***** Shelby and Frederick Gans, in honor of Carole and Peter Segal Sue and Dan Godec** Sheika and Pepi Gramshammer**** Melinda and Tom Hassen Debbie and Patrick Horvath Kay and Michael Johnson Susu and George Johnson** Daney and Lee Klingenstein**** Lewis Bess Williams & Weese P.C. Ann and William Lieff*** Gail and Jay Mahoney****

Each * denotes five years of consecutive donations.

Laura and James Marx** Mason Family Foundation Jean and Tom McDonnell** Brenda and Joe McHugh**** Mr. and Mrs. Al Meitz* Allison and Russell Molina* Jane Parker**** Diane Pitt and Mitchell Karlin* Mimi and Keith Pockross**** Tom and Ann Rader Nancy and Ted Reynolds Amy L. Roth, Ph.D. and Jack Van Valkenburgh* Barbara and Howard Rothenberg** Peggy and Tony Sciotto*** Debbie and Ric Scripps** Dorsey Seed Pat and Larry Stewart** Susan and Steven Suggs** Jennifer Teisinger and Chris Gripkey Nancy Traylor***** Sharon and Marc Watson*** Michael Watters* Bill and Katie Weaver Charitable Trust* Jane and Thomas Wilner Leewood and Tom Woodell* Nancy and Harold Zirkin PATRON ($3,000 and above) Alpine Party Rentals Shannon and Todger Anderson* Marcy and Michael Balk* Eleanor and Gus Bramante***** Dan Braun Jan Broman Edwina P. Carrington*** Coldwell Banker Distinctive Properties Kathy Cole* Costco Dokie* Jill and Al Douglass Lois and John Easterling Kathleen and Jack Eck*** G Jane and Stephen Friedman Mikki and Morris Futernick***** Gerald and Lindy Gold** Barbara and Ty Goletz Joan and Joseph Goltzman** 181

FESTIVAL SUPPORT Vivien and Andrew Greenberg Francie and Michael Gundzik*** Fanchon and Howard Hallam, in honor of Shirley and William McIntyre, IV Randi and Ed Halsell* Lorraine Higbie***** Cheryl Holman Holy Cross Energy Michelle and Jamie Horton Lynn and Dr. Andrew Kaufman** Barbara and Tim Kelley Rosalind A. Kochman**** Wendi and Brian Kushner** Mr. and Mrs. Lawrence H. Kyte*** Karen Lechner and Mark Murphy Linda and Christopher Mayer 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** Ronnie and William A. Potter**** Jackie and James Power**** Patti and Drew Rader** Rader Engineering** Michele and Jeffrey Resnick* Jane and Dan Roberts Susanne S. Robinson Lisa and Ken Schanzer G Suzanne and Bernard Scharf** Debbie and Jim Shpall Beth and Rod Slifer Chuck Smallwood with Edward Jones Dr. and Mrs. Barry S. Strauch** Jere W. Thompson*** Tim Tyler*** Paula and Will Verity* Sally and Dennis von Waaden*** Wall Street Insurance* Anne and Chris Wiedenmayer* Gena and Bob Wilhelm CONTRIBUTOR ($1,200 and above) Jan Andersen* Bank of America Matching Gifts 182 Learn more at BravoVail.org

Sarah Benjes and Aaron Ciszek Sally Blackmun and Michael Elsberry Mr. and Mrs. B. A. Bridgewater, Jr.** Sunny and Phil Brodsky** Linda and Joe Broughton** Elia Buck Alison and Kurt Burghardt**** Janie and Bill Burns Bette and Trent Campbell*** Clara Willoughby Cargile***** April and Art Carroll* Ellie Caulkins Patsy and Pedro Cerisola***** Martha Chamberlin Elizabeth Chambers and Ronald Mooney Toko and Bill Chapin** Drs. Maryalice Cheney and Scott Goldman* Cincinnati Insurance Donna and Ted Connolly* Jan and Philip Coulson*** Sherry and Robert Damico Sharon Dennis Martinna and Charlie Dill* Mary and Rodgers Dockstader** Irene and Jared Drescher**** Eagle County** Eagle Ranch Association** Amy Faulconer** Carole and Peter Feistmann** Professor Meyer Feldberg Diane and Larry Feldman FirstBank*** Barbara and Paul Flowers*** Craig J. Foley Donald Fraser Margie and Tom Gart* Diane and Tom Gates Donna M. Giordano**** Anne and Donald Graubart***** Alison and Michael Greene** Ines and Enrique Grisoni Mr. and Mrs. Neal Groff**** Carol and Jeff Heller** Helen Hodges Cathy and Graham Hollis* Nancy and Dr. John Horgan* Mrs. Polly Horger and Dr. Ed Horger* IBM Matching Grants Program*

Henny Kaufmann* Ellyn and Howard Kaye Keller Williams Real Estate Bonnie and Larry Kivel*** Gail and Jack Klapper Gloria and Joel Koenig** KPMG Allison Krausen and Kyle Webb Sue B. and Robert J. Latham* Kay Lawrence*** Helena and Peter Leslie*** Jane and Robert Lipnick Karen and Steve Livingston*** Idy and Bob Love Ginnie Maes Regina and John Magee Joyce A. Mollerup and Robert H. Buckman**** Jeanne and Dale Mosier* Laurie and Tom Mullen Hazel and Matthew Murray* Karen Nold and Robert Croteau* Pam and Ben Peternell** Sharon Prizant and Neal Colton, in honor of Barbara and Howard Rothenberg Carolyn and Bob Reintjes*** Mary Reisher and Barry Berlin Gigi Reynolds and Bob Bunting Nancy and Robert Rosen* Mr. and Mrs. Richard Scalpello* Emely and Dennis Scioli Kathie and Bob Shafer Judy and Martin Shore* SHS Solutions Patti Shwayder-Coffin and Steve Coffin Dr. and Mrs. C. John Snyder*** Kathy and David Stassen Anne and Joe Staufer**** Susan Stearns and Frank O’Loughlin* Lynn Streeter, Marie and Bud Wonsiewicz Linda and Stewart Turley**** UBS U.S. Trust Lois and John Van Deusen*** Marjorie Vickers Susan and Tom Washing*** Susan and Albert Weihl**

S indicates Soiree Host | G indicates Gala Sponsor | R indicates Reception Host

Western Union Foundation Leslie and Mike Winn* Winslow BMW of Colorado Springs* Ellen and Bruce Winston** Carolyn Wittenbracker* Linda Wolcott Kathy and Jonathan Zeschin Diane and Michael Ziering* FRIEND ($600 and above) Anonymous Shelly and Arthur Adler* Janet and Bill Adler* Constance and Robert Anderson Barbara and Steve F. Armstrong Ellen Arnovitz* Karin and Ron Artinian Sheryl and Eliot Barnett* Nancy Bedlington and Robert Elkins Sandy and Stephen Bell Nancy and Peter Berkley* Anne and John Blair Sandy and John Blue David Borns Shirley and Jeff Bowen** Loretta and David Brewer Gary W. Cage**** Robin and Dan Catlin Karen and Nate Cheney* Community First Foundation* Mary Ellen and Stan Cope Lucinda and Andy Daly* Silvia and Alan Danson* Doris Dewton and Richard Gretz* Fran and Don Diones 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 Marilyn Fleischer* Arthur and Helen Geoffrin Kitty George Doris and Matthew Gobec Billie Kay and David Gohn Karen and Clifford Goldman Sue and Dr. Brian Gordon

Charles Greisch, III Becky Hernreich Suzi Hill and Eric Noreen Judy and Bob Hoehn Carol and Jack Holt* Marilyn and Matthew Horween Jill and Loyal Huddleston Elizabeth Keay**** Jayne and Jack Kendall Maddy and Bob Kleinman Margaret and Ed Krol Terry and John Leopold** JoAnn and Ed Levy Steven Lindseth Peggy Lyon and Peter Lyons Suzanne and Jim MacDougald Lynne and Peter Mackechnie*** Carol and John MacLean**** Evi and Evan Makovsky Ginny Mancini*** Elaine and Carl Martin*** Liz and Luc Meyer* Mr. and Mrs. W. Peterson Nelson***** Marcia and Joseph Newhart Suzanne and John Oro Sherrill and William Pantle Gina and Rick Patterson Patty and Denny Pearce** Margot and Ross Perot Cynthia and Lorne Polger Kathi Renman and Jim Picard Gussie Ross Adrienne and Chris Rowberry Susan and Alberto Sanchez* Linda and Shaun Scanlon** Carole Schragen**** Harriett and Bernard Shavitz* Suzie Shepard Sydney and Stanley Shuman The Sidhu Family Marty and Sam Sloven*** Carolyn Smith and George Mizner***** Judy and John Stovall Phyllis and Steve Straub Rhonda and Marc Strauss Kaye Summers and Dan Carpenter Frankie and Bill Tutt United Way of Eagle River Valley

Each * denotes five years of consecutive donations.

Ellen and Ray van der Horst Bonnie Vogt Patty and Ed Wahtera** Elyce and David Walthall Violet and Harry Wickes** Dr. and Mrs. Larry Wolff* William Woolford Mariette and Wayne Wright Monica and Alejandro Zapata DONOR ($300 and above) Anonymous (4)*** Sandi and Larry Agneberg*** Joanne and Richard Akeroyd Larry Allen Lisa and Joe Bankoff* Elise and Brian Barish Rachel Barrett Michelle and Dr. Douglas Bell Susan and Lee Berk Laura and Len Berlik Kimberly and David Bernstein Cathy and Bill Bethke Lucy and Henry Billingsley Julie and Larry Blivas Pamela and Brooks Bock** Michele and Richard Bolduc* Joan and Henry Bornstein Joan and Marion Brawley Patricia and Rex Brown Nancy Lee Bryan Anna Marie Campbell and Andrew McElhany Ann and Lester Cole Mary Jo Curran Bernice and John Davie* J. Lynn Davis Maria A. and Robert B. Davison Mrs. Gabriela G. de Kalb Susan and Dr. Mark Dean* Sallie Dean and Larry Roush**** Alitza and Dwight Devon D. A. Duke Janis and Thomas Dunn Jane Eisner and Sam Levy Pam and Ernie Elsner Gina Erickson and Clark Brook Joan and Joel Ettinger Exxon Mobil 183

FESTIVAL SUPPORT Signe L. and Donald R. Ferguson Barbara and Larry Field**** Doris and Steven Field* Regina and Kyle Fink** Mr. and Mrs. Michael Finley*** Sally and Crosby Foster**** Grace and Steve Gamble GE Foundation Wright B. George* Dianne and Ed Green* Julie Grimm Carla Guarascio and Caz Casber Dana Gumber Dr. Mary E. Guy Lowell Hahn Jeri and Brian Hanly Colleen M. and David B. Hanson*** Tonay and John Hayward Jane and Tom Healy Mindy and Andrew Heyer Joel High Peter Hillback Pamela and Richard Hinds Jennifer and Don Holzworth Gerry and Don Houk* Sonny and Steve Hurst Alberta and Reese Johnson Gerry and Jay Karkowsky Kerma and John Karoly** Amy Keller Joanne Kemp William Koch Nancy and Carl Kreitler Mr. and Mrs. Wolfgang Lampe Dr. and Mrs. Robert Landgren**** Evelyn and Fred Lang*** Laine and Merv Lapin Drs. Nancy and Richard Lataitis Monique and Peter Lathrop*** Harrel Lawrence and Jerry McMahan** Sherri and Bruce Lazear Sheila and Aaron Leibovic Jessica and Igor Levental Nancy and John Lindahl** Drs. Gretchen and Charles Lobitz**** Mary and John Lohre Linda and Stuart Lubitz Peter L. Macdonald**** Cheryl Marks 184 Learn more at BravoVail.org

Judith McBride and Bruce Baumgartner Marcia and Tom McCalden** Linda McKinney* BJ and Harold Meadows Phipps and Bruce Menk Paul Mesard and Mike Waterman Andrea and Dr. Robert Miller Holly and John Moebius Robert Moore Susan W. and William O. Morris** Beverly and Jon Myers Mika Nakamura and Gary Wood Leslie and Dr. Robert Nathan* Marcia and Joseph Newhart Dr. Rita Numerof and Michael Abrams Jacque and Bill Oakes*** Midori and Masako Oishi Gerry and Ed Palmer Kim and Alan Parnass Alice and Norman Patton Jan and Bob Pickens Margaret and Melvin Pitts Mary Pownall Eileen Rowe and Kenneth Stein* Marilyn and Jack Rubin Jill and Robert Rutledge Catherine and Donald Salcito Christine and Douglas Scheetz Arlene and Jack Schierholz*** Laura and Dr. Michael Schiff Sharon and Dr. Samuel Schwartz Ivylyn and Dick Scott* Pamela and Jerry Secor* Mary and Charles Seibert Carol and Dr. Stanley Shapiro Shaunie and Ted Smathers Susan and Bruce Smathers** Shirley and William Smith Sheryl and Joseph Speelman Karlene Spivak* Elissa Stein and Richard Replin Shelley and Dale Stortz Marcos M. Suarez E. Diane Tope Living Trust Francine and Jorge Topelson Solly Toussier Sabrina and Robert Triplett Carol and Albert Tucker

Rosie and Bob Tutag* Carroll Tyler Katie and Mike Warren Enid and Stephen Wenner* Clare Anne and Jonathan Whitfield Joan T. Whittenberg***** Janice and Dee Wisor Rosalie Wooten*** MEMBER ($150 and above) Anonymous (2)* Laila and Alejandro Aboumrad* Lynn and Jerry Anderson Ast and McFerrin Plumbing & Heating, Inc. Deborah Avant and Timothy Herbst Kristin and Matthew Banner Beth and Judith Barrett Ann and Jerry Bass Judy and Don Baxter Judy and Tom Biondini Patty and David Bomboy Shan and Caleb Burchenal Mary A. and James V. Byrne Sara and Steve Cady Molly Casey Lynn and Jim Chapin* Robert B. Clasen Francis Cloudman Jo Ellen Cohen Drs. Nerissa and Scott Collins Sharon and Martin Coloson John Connell Linda and Ted Cox Kathi and Steve Cramer Marilyn S. Cranin* Mike Cusick Michele and Will Darken Phyllis and Robert Decker Alison and David Dennis Michael Dossey William W. Dunkin Delight and John Eilering*** Anne and Thomas Eller Dr. and Mrs. Gerhard C. Endler Anne Esson**** Claire and R. Marshall Evans**** Julie and Barnet Feinblum Walter Figel, Jr.

S indicates Soiree Host | G indicates Gala Sponsor | R indicates Reception Host

Clark Fitzmorris Terry and John Forester* Mercedes and Elmer Franco Carolyn and Dr. Walter Frank Joseph Freedman Dr. and Mrs. Alan L. Freeman Jane and Gerald Gamble Alexandra and Rand Garbacz** Laura and Warren Garbe Betty and Robert Gaynor Wilma and Arthur Gelfand Sarah Gerhart Kathy and Milt Gillespie Carol and Henry Goldstein Mary Ann and Dirk Gralka Eileen and Jack Hardy Diana Heinle Cliff Hendrick Cathey A. Herren***** Amber and Pete Herron Debra Herz Stacy and Brenen Hofstadter Judy and Bob Holmes Dee and Don Hunter Judy and Phil Hutchison Dr. Susan Rae Jensen and Tom A. Trainer Gale and Ron Kahn Karen and Michael Kaplan John Katopodis Phoenix Cai and Martin Katz* Lisa Katze Herb Kaufman William Kehr Bob Keller Grant S. Kesler Donald Kirkpatrick Georgeanna and Bill Klingensmith Sally and James Kneser Diane Larsen and David Floyd* Joseph Latella Carol Laycob Michele Lier Missy and Bill Love Beverley Milder Magencey Joanne and Douglas Mair Robert Grey Marshall Chris Mayhew Veryl and Michael McBride Jan and Gary McDavid

Sam Meals Mari Medley Elecive and Dr. George Mellott Jean and Thomas Merrick Dr. Michael A. Mertens Leila M. Messier Sharon McKay-Jewett* Mary Jane and Frank Miller** Harriet and Daniel Mironov Barbara Mullenger Elaine and Edward Nafus Jean Naumann Donna Newmyer Joan and Ronald Nordgren* Tiffany and David Oestreicher, II* Jean and Ed Onderko Stephen Penrose Monica and Mark Perin Susan and Albert Pollack* Susan and Ivan Popkin Myra and John Porter* Happy and JP Power Suzanne Price and James Berry, MD Ranelle Randles Yvonne and Calvin Reid Janice Reid-Davis and Stephen Davis Margaret and Albert Reynolds Michael Ritchie Mary Jane and Warren Rothstein Gray and Melvin Rueppel Lynn and Rick Russell* Cheryl and Harvey Saipe Sallie and Don Salanty Jimmy Kay and Dr. Jack Sanders* Lawrence Schanzmeyer Ronald Schlitt Betty and Harvey Scwartzberg Connie and Ken Scutari Ricki and Gabe Shapiro Howard Siegel Lynn P. and Raymond J. Siegel* Eileen Silvers and Richard Bronstein Pat and Ralph Silversmith**** Diane and Loren Smith* Barb and Mitch Solich Linda Sommers**** Colleen and John Sorte Barbara and Jim Spiker*** Drs. Arlene and Bob Stein** Dorothy and Stanley Stein

Each * denotes five years of consecutive donations.

Elizabeth and David Stern Jill R. Stewart and Michael E. Huotari Michella Maria Stiles Jenene and Jim Stookesberry Harvey Sweetbaum Kathie Talbot* Bernice Tarlie Susan Taub Marilu and George Theodore Jane Thompson and Jack McNett Town of Eagle Marianne Tracey Jeanette Louise Trover Sharon and Thomas Trumble Sarah Valente John and Alison Warren Deborah Webster and Stephen Blanchard**** Jan Weiland and Alan Gregory Barbara and Stanley Weinstein Monica and Dan White Sheila Whitman** Carla Wilson Gwynne and Walter Wohlgemuth Ursule Yates YourCause LLC Trustee for Adobe Libby and Bobby Zachariah PRELUDE ($50 and above) Donna Abbruzzese Simon Aron, Esq Pamela Bailey Sheri Ball Margo and Roger Behler***** Barbara Behrendt Kathryn Benysh Pat and Brian Blood Charlyn C. Canada** Larry Carlson Janet and Raymond Cartade Renee Ann Chelm Lynn Cohagan* Alix Shelly Corboy Tiberiu D. Corduban Abby Dixon* Lillian and Jay Edwards Lucy and Dan Ellerhorst Cynthia Evans Jay Fell 185

FESTIVAL SUPPORT Carole and Robert Freilich Mr. and Mrs. Peter Frieder**** Manuel Gomez-Daza* Sandra Gooch and Harry S. Lederman* Carol and Marc Gordon Mr. and Mrs. David Warren Grawemeyer* Susan and Ronald Gruber*** Nancy Hartenstine Judy and Jim Heinze*** Dwight Henninger Kim and John Hoffman Betsy and Arlen Holter Linda Hryckowian and Buzz Finn Sonya Jinich Susan and David Joffee* Sarah Johnston Fran and Vince Jones Azali Kassum Brooke Lee Linda and Bob Llewellyn Kevin Maben Kathleen Madrid Barbara McGrath Jean Allison Melville Jeanne Meyers Sara Newsam** Nancy Nottingham Shaun Oâ&#x20AC;&#x2122;Keefe Nancy and Jules Paderewski Donna and John Pariseau Dick Patriacca Judy and Tom Pecsok Gina Quaid Mindy and Jay Rabinowitz Melanie Reed and Jerome Freier Merri Rubin Linda and Don Sage* Aline and Richard Sandomire Bobbi and Jon Schwartz*** Anne Sheldon***** Litamae and David Sher Lisa and Nathan Siegert Bonnie and Theron Sims Sylvia and Luis Sneider Karen and Martin Sosland Carol and Roger Sperry Nancy and Jerry Stevens Judy and Rob Stiber 186 Learn more at BravoVail.org

Fran and Steve Susman*** Linda and Thomas Swanberg Elisabeth and Karl Swann Leila Thorne Eileen and Skip Thurnauer Betti Tiner Lynn and Marc Trudeau Irit and Art Waldbaum Trudy and Bob Walsh* Barbara and Timothy Watson Jennifer Woolley** Gerald Yallaly* Fran and Allan Zalesky** Kenneth Zarecor Stephen Zimmer IN HONOR OF Doe Browning Virginia J. Browning Neal Groff Sally and Wil Hergenrader Marilyn and Ronald Wollard Alan Kosloff Julie and Steve Johannes

Carole Segal Debi and Norman Dreyfuss Carole and Peter Segal Shelby and Frederick Gans Nancy Stevens Anonymous Debra Stowe Bridget Davis Duaine Wolf and Colorado Symphony Chorus Susie Rhodes Glen Yarberry Valinda and Steve Yarberry IN MEMORY OF Carolyn S. Cage Gary W. Cage Bill Clinkenbeard Fara and Jason Denhart Peggy Fossett John W. Giovando

Valerie and Noel Harris Diana Harris

John Galvin Joan Francis Linda and Mitch Hart Martha Head PMB Helin Donovan â&#x20AC;&#x201C; Kelly Logan Trautmann Family Fund

Linda and Mitch Hart Judy and Alan Kosloff

Harley Higbie Joan Francis

Shirley and William S. McIntyre, IV Fanchon and Howard Hallam

Margaret Hoye Jean Naumann

Melissa Meyers Jane and Michael Griffinger Laura and Cary Meyers

Jane Parker Stacy and John Wilkirson

Georgina and Donald Lucero Ivan Anaya

Caitlin Murray Margo and Terence Boyle Michele Resnick Debi and Norman Dreyfuss Barbara and Howard Rothenberg Sharon Prizant and Neal Colton Gladys Rutschman Carla and Ed Rutschman Steven Schwartzreich Meryl Meltzer Kim and Alan Parnass Nancy Steiner

Tony Perry Teri Perry Fernand Roy Anonymous Morrie Shepard Linda and Bill Autrey Rita Clements and her children Nancy and John Kleinman Susan and Steven Roberts Jill and Bill Whitener Sheila S. Strauss Rhonda and Marc Strauss Andrea Westcott John Westcott

S indicates Soiree Host | G indicates Gala Sponsor | R indicates Reception Host

EDUCATION AND ENGAGEMENT PROGRAMS

ravo! Vail is proud to offer dozens of free and low-cost concerts and events to the community each summer and throughout the year. We thank all those whose support makes these events possible. Anonymous Letitia and Christopher Aitken Amy and Charlie Allen Alpine Bank Mercedes and Alfonso Alvarez Dierdre and Ronnie Baker Jayne and Paul Becker Sarah Benjes and Aaron Ciszek Barbara and Barry Beracha Elinor and Howard Bernstein Eva-Marie and Ray Berry and The Paiko Foundation Courtney Block Adriana and David Bombard Bravo! Vail Guild Kelly and Sam Bronfman, II Lilia and Nico Brown Alison and Nick Budor Jean and Harry Burn Janie and Bill Burns Greta and Michael Campanale Moe and Steve Cardinale Edwina P. Carrington Carol and Harry Cebron Sara and Michael Charles Dr. David Cohen Costco Rebecca Crawford Keelin Davis Katherine and Hassan Dayem John Dayton Robin Deighan Barb and Rob DeLuca Kathy and Brian Doyle Molly Doyle and Richard Niezen Sandi and Leo Dunn Eagle County Eagle Ranch Association Peggy and Gary Edwards Julie and Bill Esrey Holly and Tim Finchem Barbara and Howard Finkelstein FirstBank Jamie Fisher Deb and Ed Fitts Courtney and Brian Fitzgerald Cookie and Jim Flaum Joan Francis Jane and Stephen Friedman Sue and Dan Godec Jennifer and J. Bradley Greenblum Mr. and Mrs. Neal Groff Terri and Tom Grojean Diana Harris, in honor of Valerie and

Noel Harris Valerie and Noel Harris Linda and Mitch Hart William Hecht Becky Hernreich Cheryl Holman Michele Howe Carol and Richard Hunton Ellen and Mike Imhof Anna Janes and Sig Langegger Theresa and Steven Janicek Sue and Rich Jones Vicki and David Judd Alexia and Jerry Jurschak Elaine and Art Kelton Dorothy and James Klein Judy and Alan Kosloff Dr. and Mrs. Frederick Kushner Linda and Robert Llewellyn Rallet and John Lovett Donna and Patrick Martin Barbie and Tony Mayer Ferrell and Chi McClean Anne-Marie McDermott and Michael Lubin Shirley and William S. McIntyre, IV Billie and Ross McKnight Melissa Meyers Kay and Bill Morton Caitlin and Dan Murray Krizia Naegele-Routh and Michael Routh National Endowment for the Arts Renee Okubo Martha and Kent Petrie Linda Farber Post and Dr. Kalmon D. Post Betsy and Pedo Printz Jerry Raemisch Mary Pat and Keith Rapp Amy and James Regan Michele and Jeffrey Resnick Susan and Rich Rogel Adrienne and Chris Rowberry Lisa and Ken Schanzer Peggy and Tony Sciotto Mary Sue and Mike Shannon Cheryl and Richard Shaw Harvey Simpson Slifer Smith & Frampton Foundation Slifer Smith & Frampton Real Estate Beth and Rod Slifer Rachel and David Smiley Brooke and Hap Stein Nancy and Jerry Stevens Cathy and Howard Stone Susan and Steven Suggs Lisa Tannebaum and Don Brownstein Dhuanne and Doug Tansill Jennifer Teisinger and Chris Gripkey Joe Tonahill, Jr. Town of Eagle Town of Gypsum United Way of Eagle River Valley

U.S. Bank U.S. Bank Foundation Elli Varas Anne and Jim von der Heydt Martin Waldbaum Wall Street Insurance Jackie and Norm Waite Sandra and Greg Walton Carole A. Watters Gunnel and Hal Weiser John Westcott, in memory of Andrea Westcott Ellen and Bruce Winston Pam and Joe Woods

LUIS D. JUAREZ HONORARY MUSIC AWARD

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 P. Carrington 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 187

ENDOWMENT AND LEGACY SOCIETY GIFTS TO THE ENDOWMENT

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

188 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

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 Dhuanne and Doug Tansill $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 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. EVA-MARIE AND RAY BERRY AND THE PAIKO FOUNDATION Bravo! Vail gratefully acknowledges the generosity of Eva-Marie and Ray Berry and The Paiko Foundation for the purposes of music education, community engagement, future planning to promote the growth of the Festival and more.

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 2018 Season features the New York Philharmonic, led by Bramwell Tovey, performing Bernstein’s Chichester Psalms on July 21. 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. ANB BANK AND THE STURM FAMILY The Festival gratefully acknowledges ANB Bank and the Sturm Family for their generous underwriting of the residencies of the Academy of St Martin in the Fields, the Dallas Symphony Orchestra, The Philadelphia Orchestra, and the New York Philharmonic. 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 Eva-Marie and Ray Berry and The Paiko Foundation and the Town of Vail for their support of the fund.

REHEARSAL SPACE Antlers at Vail, Cathy and Howard Stone, Vail Mountain School, and the Vail Interfaith Chapel all provide invaluable rehearsal space. Thank you for this unique gift. CORPORATE PARTNERSHIPS The Festival is pleased to acknowledge support from ANB Bank, Bridge Street Ski Haus, Chuck Smallwood with Edward Jones, Lewis Bess Williams & Weese P.C., LIV Sotheby’s International Realty, Keller Williams, Meiomi Wine, U.S. Trust, and Vail Resorts for sponsoring various Bravo! Vail events. Bravo! Vail thanks all its corporate and government supporters for their invaluable partnership. 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 and Vail Powder Cars 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. LUIS D. JUAREZ HONORARY MUSIC AWARD Established in 2016, the Luis D. Juarez Honorary Music Award supports and extends opportunities for students to pursue musical studies. Bravo! Vail thanks the donors whose support provides financial assistance to students for the costs of instruments, lessons, software, and other essential materials. 189

CORPORATE & GOVERNMENT SUPPORT

ravo! Vail is indebted to the Town of Vail, the Vail Town Council and the Festival’s many corporate, government, and community partners for the financial support. GRAND BENEFACTOR ($100,000 and above) ANB Bank and The Sturm Family* Town of Vail****** IMPRESARIO ($25,000 and above) Vail Valley Foundation****** VIRTUOSO ($20,000 and above) LIV Sotheby’s International Realty* OVATION ($15,000 and above) Alpine Bank*** GMC National Endowment for the Arts** Town of Gypsum*** U.S. Bank*** U.S. Bank Foundation*

190 Learn more at BravoVail.org

ALLEGRO ($10,000 and above) Meiomi Wine Soros Fund Charitable Foundation Matching Gifts Program SOLOIST ($7,000 and above) Gorsuch Ltd.* Slifer Smith & Frampton Foundation*** BENEFACTOR ($5,000 and above) Four Seasons Private Residences exclusively offered by Slifer Smith & Frampton Real Estate Lewis Bess Williams & Weese P.C. PATRON ($3,000 and above) Alpine Party Rentals Coldwell Banker Costco Holy Cross Energy Rader Engineering** Chuck Smallwood with Edward Jones Wall Street Insurance*

CONTRIBUTOR ($1,200 and above) Bank of America Matching Gifts Cincinnati Insurance Eagle County** Eagle Ranch Association** FirstBank*** IBM Matching Grants Program* Keller Williams Real Estate KPMG UBS U.S. Trust Western Union Foundation FRIEND ($600 and above) Community First Foundation* Faegre Baker Daniels Foundation United Way of Eagle River Valley DONOR ($300 and above) Exxon Mobil GE Foundation MEMBER ($150 and above) Town of Eagle YourCause LLC Trustee for Adobe

Each * denotes five years of consecutive donations.

IN-KIND GIFTS

ravo! Vail is grateful to all its partners who provide in-kind donations to the Festival. PREMIERE BENEFACTOR ($50,000 and above) The Antlers at Vail FirstBank Hotel Talisa The Lodge at Vail Town of Vail Vail Marriott Mountain Resort and Spa Vail Resorts Vail Resorts EpicPromise Vail Valley Foundation PLATINUM ($30,000 and above) West Vail Liquor Mart IMPRESARIO ($25,000 and above) Ali & Aaron Creative Alpine Bank VIRTUOSO ($20,000 and above) The Vail Daily Dr. Steve Yarberry ALLEGRO ($10,000 and above) Carol and Harry Cebron Doubletree by Hilton Faegre Baker Daniels LLP Foods of Vail Four Seasons Resort Vail Vera and John Hathaway The Left Bank Diane and Lou Loosbrock Barbie and Tony Mayer Shirley and William S. McIntyre, IV Sarah and Peter Millett Mirabelle at Beaver Creek Red Canyon Catering Ann and Dick Rothkopf Sonnenalp Hotel Splendido at the Chateau Vail Catering Concepts Yamaha SOLOIST ($7,000 and above) The Christie Lodge Destination Resorts Landmark Condominiums

The Lift House Lodge Lion Square Lodge Manor Vail Lodge Maddy and Bob Kleinman The Sebastian Vail Sitzmark Lodge Vail Mountain Lodge and Spa Vail’s Mountain Haus BENEFACTOR ($5,000 and above) Gina Browning and Joe Illick Colorado Mountain Express Crazy Mountain Brewing Company John Dayton Elway’s Martha Head Meiomi Wine Mountain Standard Sarah Nash and Michael Sylvester Sally and Byron Rose Sweet Basil Vail Racquet Club PATRON ($3,000 and above) Evergreen Lodge Maxine and Chick Gleicher La Tour Montaneros in Vail Vail Powder Cars CONTRIBUTOR ($1,200 and above) Dierdre and Ronnie Baker

Bridge Street Ski Haus Edwina Carrington Cedar’s Flower Shop Rebecca Crawford Fancy Pansy Fall Line Go Photo Booth The Golden Bear Green Elephant Juicery Matsuhisa Tiga Advertising White Bison FRIEND ($600 and above) Chocolove The Club at Cordillera Terra Bistro Westside Café DONOR ($300 and above) Formation Boutique Rose Petals MEMBER ($150 and above) Patty and Christian Geltz Tennessee Pass Cookhouse PRELUDE ($50 and above) 4 Eagle Ranch City Market Vines at Vail Winery

191

BRAVO! VAIL STAFF ARTISTIC DIRECTOR Anne-Marie McDermott

Executive Assistant Carol Schimmer

Education Intern Annealea Flynn, University of Utah

EXECUTIVE DIRECTOR Caitlin Murray

Front Office Manager Heidi Young

Sound Recording Interns Nick Cecconi, Michigan Technology University Jimmy Kavetas, New York University

ARTISTIC Director of Artistic Planning Jacqueline Taylor DEVELOPMENT Vice President of Development Jason Denhart Database Manager Beth Pantzer Individual & Corporate Giving Manager Lynn Martin

TECHNOLOGY Director of Technology David Judd OPERATIONS & EDUCATION Director of Operations Elli Varas Education Manager Keelin Davis Education Assistant Justi Lundeberg Audience Services Manager Courtney Block

Development & Events Manager Melissa Meyers

Concert Production Manager Brett Logan

Development Associate Kristina Brownlee

PRODUCTION CREW Devin Klepper Rane Logan Zac Logan Kalen Martinez Robert Pastore Jr. Steve Schrader

MARKETING AND SALES Interim Vice President of Marketing Ronda Helton Director of Marketing Carly West Marketing Coordinator Katie Cassin Sales Manager Nancy Stevens Sales & Marketing Associate Anna Janes Public Relations Amanda Sweet, Bucklesweet Media BOX OFFICE ASSOCIATES Courtney Block Natalie LaVire Rachel Moore Amy Sherman ADMINISTRATION Vice President of Finance and Human Resources Monica White

192 Learn more at BravoVail.org

Piano Technician Michael Jackson Sound Engineering and Recording Todd Howe with THD Productions SEASONAL STAFF Henry Bowen, Artist Liaison FESTIVAL INTERNSHIP PROGRAM: Development Interns Hannah Lewis, Indiana University Samantha Verdonck, Clemson University Marketing & Public Relations Interns Julia Passantino, Coe College Amber Hederer, University of Wisconsin â&#x20AC;&#x201C; Stevens Point Operations Intern Jessica Bachman, University of Northern Colorado

RESIDENT ORCHESTRA PHYSICIAN Dr. Steve Yarberry PROGRAM BOOKS Alice Kornhauser, Managing Editor GUILD Jack and Mary Jo Allen Jill Anderson Ann Antonius Gini Bartley Janet Beals Pat Blood Carol Bosserman Barbara Bower Carol Brannigan Peggy Buchannan Kathy Cardwell Edwina Carrington David and Judy Carson Kris Cashman Barbara Coffey Nancy Collins Bob and Jan Cope Rod and Dolly Corlin Becky Crawford Bruce Crow William David Doris Dewton Carol and Greg Dobbs Holly Eastman Ann and Sandy Faison Debbie Feeney Jean Furneaux Warren and Laura Garbe Greer and Jack Gardner Colleen Gauron Dick Gretz Pam Hamilton Irene Hayes Summer Holm Don Hoolihan Becky Hopkins

SPECIAL NOTES Sharon Johnson Jane Jones Jean Kearns Elizabeth Keay Julie Kenfield Betty Kerman Char Koegel Jane Koerbel Don and Marion Laughlin James Lewis Ann Loper Nicole Lucido Diane and Jim Luellen Hank Mader Louise McGaughey Carole Ann McNeill Bruce and Ferol Menzel Kevin and Martha Milbery Frank and Mary Jane Miller Sandra Morrison Alan and Crisiti Musser Paolo and Susan Narduzzi Rita Neubauer Suzette Newman Nancy Nottingham Bill Nussabum George and Mickie Parsons Jim and Barb Risser Tom Russo Scott and Ana-Maria Schaefer Carol Schimmer Andy Searls Mary Servais Charles Sherwood Bill and Connie Smith Diane and Loren Smith Diane and Mark Smooke Paige Sodergren Eileen Sordi Frank and Joanne Strauss Joan Tilden Judy and Michael Turtletaub Elli Varas Karla Wall Dianne and Leo Williams Dean and Linda Wolz Sheena Woods Allison Wright

BRAVO! VAIL PIANO PROGRAM TEACHING STAFF Bora Basyildiz Karie Grayson Justi Lundeberg Desy Mendoza Melissa Meyers Jenny Roussel Yerlyn Trimino 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. ÂŠ 2018 Bravo! Vail. All rights reserved. Bravo! Vail Program Book ÂŠ 2018. MAIL/ADMINISTRATION 2271 N Frontage Rd W, Suite C Vail, CO 81657 970.827.5700 | 877.812.5700 toll free Fax 970.827.5707

TICKETS Online: bravovail.org Phone: 877.812.5700 Email: ticketing@bravovail.org Box Office: 2271 N Frontage Rd W, Suite C, Vail, CO 81657 All sales are final. There are no refunds or exchanges. Inclement weather is not a cause for refund unless a performance is cancelled. If you are unable to attend a concert, please call the Bravo! Vail offices at 877.812.5700 prior to the concert to donate your tickets. A tax receipt will be issued to you for your ticket donation. Thank you! GERALD R. FORD AMPHITHEATER INFORMATION: Gates to the 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 nonalcoholic 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: Mendelssohn, Bruch..., Continued From Page 53

Symphony No. 6 in F major, Op. 68, “Pastoral” (1807-1808) LUDWIG VAN BEETHOVEN (1770 -1827)

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

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Bell: Saint-Saëns & Beethoven, Continued From Page 57

Symphony No. 4 in B-flat major, Op. 60 (1806) LUDWIG VAN BEETHOVEN

On November 13, 1805 Napoleon’s army entered Vienna. They withdrew early the next year, but their presence spoiled the premiere of Beethoven’s Fidelio on November 22nd. The opera, extensively revised, was presented again on March 29, 1806, but its reception was still cool. Beethoven spent the following summer away from Vienna, during which he met Count Franz von Oppersdorf, an admirer of his music. Oppersdorf commissioned him to write a new symphony, so he put aside the Symphony No. 5, already well advanced, and composed the Fourth Symphony during September and October 1806. Sweetness subtly tinged with Romantic pathos opens the Fourth Symphony. The main theme is a buoyant tune given by the violins; the complementary melody is a snappy theme discussed by woodwinds. Inventive elaborations of the main theme occupy the development before the earlier melodies are recapitulated. Of the Adagio, Hector Berlioz wrote, “Its form is so pure and the expression of its melody so angelic and of such irresistible tenderness that the prodigious art by which this perfection is attained disappears completely.” Beethoven called the third movement a minuet, but it is really one of his most boisterous scherzos. The outer sections, with their rugged syncopations, sudden harmonic and dynamic shifts and tossing-about of melodic fragments, stand in strong contrast to the suave central trio. The finale is a whirlwind sonata form with occasional moments of strong expression in the development section. Bell: Bach, Haydn & Tchaikovsky, Continued From Page 61

Souvenir de Florence for Strings, Op. 70 (1890) 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)

Tchaikovsky’s soul was seldom at rest in the years following his marital disaster in 1877, and he sought distraction in frequent travel abroad; Paris and Italy were his favorite destinations. In January 1890, he settled in Florence and spent the next three months in that city working on his latest operatic venture, Pique Dame (“The Queen of Spades”). After a brief stay in Rome, he arrived back in Russia on May 1st, noting five days later to a friend that after finishing Pique Dame, “I want to make sketches for a sextet for strings.” The orchestration of the opera was completed

by early the next month, and on June 12th he told his brother Modeste that he was “starting the string sextet tomorrow.” The work was sketched within a month and performed privately in November, but Tchaikovsky reported to the composer Mikhail Ippolitov-Ivanov that “it turned out poorly in all respects.” He began a revision early in 1891, but had to put it aside for his tour to the United States in April and May, and then for the composition and production of The Nutcracker and the opera Iolanthe; the new version was not finished until January 1892 in Paris. In their biography of Tchaikovsky, Lawrence and Elisabeth Hanson wrote, “The Souvenir de Florence is not great music but it is very pleasant and extremely cleverly constructed. It is above all suffused with an atmosphere not often associated with this composer, of a calm geniality.” It is probably this quality that prompted Tchaikovsky, who often wrote in his letters of the “heavenly” Italian climate, to use the sobriquet for the work’s original title. The music itself is decidedly Russian in mood and melody, with only a certain lightness of spirit in the first two movements showing any possible Italianate traits. The opening movement is in the style of a bustling waltz. The following Adagio is disposed in a three-part form whose brief center section is constructed from a fluttering rhythmic figuration. The two closing movements are based on folk-like themes, the first a sad song that is the subject of considerable elaboration, the other a bounding Cossack dance. Măcelaru Conducts Rachmaninoff, Continued From Page 65

Russia — the only world he had ever known. He was forced to flee his beloved country for America and he pined for his homeland the rest of his life. He did his best to keep the old language, food, customs and holidays alive in his own household, “but it was at best synthetic,” wrote American musicologist David Ewen. “Away from Russia, which he could never hope to see again, he always felt lonely and sad, a stranger even in lands that were ready to be hospitable to him. His homesickness assumed the character of a disease as the years passed, and one symptom of that disease was an unshakable melancholy.” By 1940, when he composed the Symphonic Dances, he was worried about his daughter Tatiana, who was trapped in France by the German invasion (he never saw her again), and had been weakened by a minor operation in May. Still, he felt the need to compose for the first time since the Third Symphony of 1936, and the Symphonic Dances were written quickly at his idyllic retreat on Long Island

Sound that summer. Still, it was the man and not the setting that was expressed in this music. “I try to make music speak directly that which is in my heart at the time I am composing,” he once told an interviewer. “If there is love there, or bitterness, or sadness, or religion, these moods become part of my music, and it becomes either beautiful or bitter or sad or religious.” The first of the Symphonic Dances, in a large three-part form (A–B–A), is spun from a tiny threenote descending motive heard at the beginning. The middle portion is given over to a folk-like melody initiated by the alto saxophone. The return of the opening section, with its distinctive falling motive, rounds out the first movement. The waltz of the second movement is more rugged and deeply expressive than the Viennese variety. The finale begins with a sighing introduction for the winds, which leads into a section in quicker tempo. The movement accumulates rhythmic energy as it progresses and virtually explodes into the last pages, a coda based on an ancient Russian Orthodox chant. Tchaikovsky’s Fifth Symphony, Continued From Page 73

Symphony No. 5 in E minor, Op. 64 (1888) 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)

Tchaikovsky was never able to maintain his selfconfidence for long. More than once, his opinion of a work fluctuated between the extremes of satisfaction and denigration. The unjustly neglected Manfred Symphony of 1885, for example, left his pen as “the best I have ever written,” but the work failed to make a good impression at its premiere and Tchaikovsky’s estimation of it tumbled. The score’s failure left him with the worry that he might be “written out” and the three years after Manfred were devoid of creative work. It was not until May 1888 that he again started collecting “little by little, material for a symphony,” he wrote to his brother Modeste. He worked doggedly on the new symphony, ignoring illness, the premature encroachment of old age (he was only 48, but suffered from continual exhaustion and loss of vision), and his doubts about himself. He pressed on, and when the Fifth Symphony was completed, at the end of August, he said, “I have not blundered; it has turned out well.” The Fifth Symphony progresses from minor to major, from darkness to light, from melancholy to joy — or at least to acceptance and stoic resignation. Its four movements are linked by a recurring “Fate” motto theme, given by clarinets as the brooding introduction to the first movement. The sonata form starts with 195

Excerpt from “Mars, The Bringer of War” from The Planets, Op. 32 (1914-1917) GUSTAV HOLST (1874-1934)

Tchaikovsky’s Fifth Symphony, Continued From Page 195

a melancholy melody for bassoon and clarinet. A romantic tune for the strings, an aggressive strain given in dialogue between winds and strings, and a languorous string melody round out the exposition. All of the exposition’s materials are used in the development. The bassoon ushers in the recapitulation. The Andante recalls an operatic love scene; twice, the imperious Fate motto intrudes upon the starlit mood of this romanza. A flowing waltz melody dominates much of the third movement; the central trio exhibits a scurrying figure in the strings. Quietly and briefly, the Fate motto returns in the movement’s closing pages. The finale begins with a long introduction based on the Fate theme in a heroic mood. A vigorous exposition, a concentrated development and an intense recapitulation follow. The long coda uses the motto theme in its major-key, victory-won setting.

Holst wrote of The Planets, “These pieces were suggested by the astrological significance of the planets. There is no program music in them, neither have they any connection with the deities of classical mythology bearing the same names. If any guide to the music is required, the subtitle to each piece will be found sufficient, especially if it is used in a broad sense.” Mars, the Bringer of War is one of the most graphic depictions of its subject in the orchestral literature.

Main Title from Alien (1979) JERRY GOLDSMITH

Jerry Goldsmith wrote the score for the harrowing Alien (1979), which won that year’s Academy Award for Best Visual Effects, was ranked by the American Film Institute as the seventh-best science fiction movie of all time, and included on the United States National Film Registry by the Library of Congress in 2002.

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his ideas and images perfectly, however, so he created the entire soundtrack from compositions by the two Strausses, Ligeti and Khachaturian.

Excerpts from Close Encounters of the Third Kind (1977) JOHN WILLIAMS

Williams provided one of Hollywood’s most musically sophisticated scores for Close Encounters of the Third Kind (1977), director Steven Spielberg’s visionary account of the arrival of aliens on earth. In the film, Roy Neary (played by Richard Dreyfuss) has strange visions and keeps hearing five musical notes in his mind after being inexplicably bathed in light on a lonely road at night. He is drawn to a remote site where scientists secretly await the landing of the aliens, who prove to be gentle, childlike beings of beneficent intent. In addition to weaving Neary’s five-note motive throughout his score, Williams used serialism and other modernistic techniques for the early, tense scenes of the film, and lyrical, inspirational, expansive music to accompany the story’s optimistic resolution (as well as an ingenious quotation from the Oscar-winning song When You Wish Upon a Star from Disney’s 1940 Pinocchio). The score received an Oscar nomination, but lost out that year to Williams’ music for Star Wars. 196 Learn more at BravoVail.org

Excerpts from E.T.: Adventures on Earth (1982) JOHN WILLIAMS

Director Steven Spielberg’s E.T.: Adventures on Earth (1982) is the enchanting story of a ten-year-old who befriends a gentle, lovable alien stranded on earth when his space ship hurriedly leaves without him. E.T. was nominated for nine Academy Awards, including Best Picture, and John Williams’ memorable score won both an Oscar and a Golden Globe Award. Denève Conducts Brahms..., Continued From Page 89

social superiors, and frequently remiss in his social behavior. He was never completely at ease in large cities, with the demands they made on him. He was happiest when he was close to the soil, raising pigeons, taking long, solitary walks in the hills and forests of the Bohemia he loved so deeply. Yet he was by no means a recluse. In the company of his intimate friends, particularly after a few beers, he was voluble, gregarious and good-humored.” His music reflects his salubrious nature, and the G major Symphony, composed during his annual summer country retreat at Vysoká, perfectly mirrors its creator. Dvořák was absolutely profligate with themes in the Symphony’s opening movement. The first theme is presented without preamble in the rich

hues of trombones, low strings and low woodwinds; the second theme is a chirruping melody for flute. The opening theme is recalled to initiate both the development and the recapitulation. The second movement contains two kinds of music, one hesitant and somewhat lachrymose, the other stately and smoothly flowing. The first is indefinite in tonality, rhythm and cadence. Its theme is a collection of fragments; its texture is sparse. The following section is greatly contrasted: its key is unambiguous; its rhythm and cadence points are clear; its melody is a long, continuous span. These two antitheses alternate, and the form of the movement is created as much by texture and sonority as by the traditional means of melody and tonality. The third movement is a lilting essay in the style of an Austrian folk dance, the Ländler. The trumpets herald the start of the finale, a theme and variations with a central section resembling a development in character. Beethoven’s Emperor & Mahler’s..., Continued From Page 93

Carl’s wife, Marion. He was serious enough to propose that he and Marion run away together, but at the last minute she had a change of heart and left Mahler standing, literally, at the train station. The emotional turbulence of those encounters found its way into the First Symphony, especially the finale, but, looking back in 1896, Mahler put these experiences into perspective. “The Symphony,” he wrote, “begins where the love affair [with Johanne] ends; it is based on the affair which preceded the Symphony in the emotional life of the composer. But the extrinsic experience became the occasion, not the message of the work.” The Symphony begins with an evocation of verdant springtime. The movement’s main theme, which enters softly in the cellos, is based on the second of the Songs of a Wayfarer, Ging heut’ Morgen übers Feld (“I Crossed the Meadow this Morn”). The movement is largely given over to this theme combined with the spring sounds of the introduction. The second movement is a dressed-up version of the Austrian peasant dance known as the Ländler balanced by a gentle central trio. The third movement begins and ends with a lugubrious transformation of the French folk song Frére Jacques. The middle of the movement contains a melody marked “Mit Parodie” (played “col legno” by the strings, i.e., tapping with the wood rather than the hair of the bow), and a tender theme based on another of the Wayfarer songs, Die zwei blauen Augen (“The Two Blue Eyes”). The finale, according to Bruno Walter, conducting protégé of the composer, is filled

with “raging vehemence.” The stormy character of the beginning is maintained for much of the movement. Throughout, themes from earlier movements are heard again, with the hunting calls of the introduction given prominence. The tempest is finally blown away by a blast from the horns to usher in the triumphant ending of the work. Thibaudet Plays Saint-Saëns, Continued From Page 97

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, “E chiaro nella valle il fiume appare (‘And Clearly in the Valley the River Appears’), which constitutes the central movement of the Symphonic Trilogy, was inspired by a verse from La quiete dopo la tempesta (‘The Calm after the Storm’) by Giacomo Leopardi (1798-1837): The storm is past: the birds have a holiday and the hen up the street echoes their calls. The weather breaks to the west of the mountain, and clearly in the valley the river appears. I wanted to compose a piece that celebrated the beauty of the Italian landscape, the natural calm and lyricism that gleam when it is reborn after a storm.”

The Pines of Rome (1923-1924) OT TORINO RESPIGHI (1879-1936)

“The Pines of Rome,” Respighi wrote, “uses nature as a point of departure, in order to recall memories and visions. The centuries-old trees that so characteristically dominate the Roman landscape become testimony for the principal events in Roman life. “1. The Pines of the Villa Borghese. Children are at play in the pine grove of the Villa Borghese. Suddenly the scene changes to ... “2. The Pines near a Catacomb. We see the shadows of the pines, which overhang the entrance of a catacomb. From the depths rises a chant that re-echoes solemnly, like a hymn, and is then mysteriously silenced. “3. The Pines of the Janiculum. There is a thrill in the air. The full moon reveals the profile of the pines of Gianicolo’s Hill. A nightingale sings. “4. The Pines of the Appian Way. Misty dawn on the Appian Way. Indistinctly, incessantly, the rhythm of innumerable steps. To the poet’s fantasy appears a vision of past glories; the army of the Consul advances brilliantly in the grandeur toward the Sacred Way, mounting in triumph the Capitoline Hill.” 197

Raiders of the Lost Ark, Continued From Page 105

unforgettable scene when Indy and his bullwhip are pitted against stuntman Terry Richards’ sword had to be cut short because Ford was suffering badly from the malady that day. “Let’s just shoot the sucker,” he pleaded with Spielberg.) All the visual effects were created by Industrial Light & Magic, the groundbreaking company Lucas had established to support the cinematic wizardry of Star Wars. Raiders of the Lost Ark, released on June 12, 1981, was an immediate hit with both the public and with critics. Vincent Canby in The New York Times called it “one of the most deliriously funny, ingenious and stylish American adventure movies ever made.” Pulitzer Prize-winning Chicago Sun Times critic Roger Ebert praised its “sense of humor and the droll style of its characters.... We find ourselves laughing in surprise, in relief, in incredulity at the movie’s ability to pile one incident upon another in an inexhaustible series of inventions.” Raiders was the year’s top-grossing film and was nominated for nine Academy Awards, including Best Picture and Best Score; it won for Art Direction, Film Editing, and Sound and Visual Effects with a Special Achievement Award for Sound Effects Editing. The film’s success led to three sequels — Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), and Indiana Jones and the Kingdom of the Crystal Skull (2008); another is scheduled for possible release in 2020. Raiders of the Lost Ark was entered into the Library of Congress‘ National Film Registry in 1999 as being “culturally, historically or aesthetically significant.” Mozart, Barber & Brahms, Continued From Page 111

Variations on a Theme of Joseph Haydn, Op. 56a (1873) JOHANNES BR AHMS (1833-1897)

The seed for Brahms’ Haydn Variations was sown in November 1870 when Karl Ferdinand Pohl, librarian for Vienna’s Gesellschaft der Musikfreunde, ran across some unpublished manuscripts in his research for a biography of Haydn. Pohl assumed that these works, a set of six Feldpartiten (open-air suites for wind instruments), were by Haydn, and, knowing of Brahms’ interest in old music, he invited the composer to have a look at the scores. Brahms was especially interested in a movement of the Partita in B-flat that took as 198 Learn more at BravoVail.org

its theme a melody labeled “Choral St. Antoni.” The idea for a set of variations based on this sturdy tune apparently sprang to his mind immediately, and he copied the theme into his notes before he left Pohl’s study. Though Brahms did not know it, the melody he copied from Pohl’s manuscript was probably not by Haydn at all. It has been suggested that it was an old Austrian pilgrims’ song, though conclusive evidence has never been brought forth to support that theory. We may never know for sure. To best appreciate the Haydn Variations, it is important to recognize the structure of its opening theme, with its irregular five-measure phrases and repeated sections. The eight variations that follow preserve the theme’s structure, though they vary greatly in mood: thoughtful, gentle, martial, even frankly sensual, this last being Brahms’ rarest musical emotion. The finale is constructed on a recurring fivemeasure motive derived from the bass supporting the theme. This fragment, repeated many times in the low strings before it migrates into the higher instruments, generates both an irresistible rhythmic motion and a spacious solidity as the finale progresses. It leads inexorably to the breathtaking moment when (after a minor-mode episode) the original theme bursts forth triumphantly in the strings as the woodwinds strew it with ribbons of scales. Trifonov Plays Rachimaninoff, Continued From Page 115

The Pantomime that closes Act II depicts Hansel and Gretel at their bedtime prayers and the flight of fourteen angels who guard them through the night.

Overture to Tannhäuser (1843-1845) RICHARD WAGNER (1813-1883)

Tannhäuser opens in a grotto in the Venusberg, a mountain where Venus, the goddess of love, is said by German legend to have taken refuge after the fall of ancient civilization. Tannhäuser has forsaken the world to enjoy her sensual pleasures, but after a year he longs to return home and find forgiveness. He invokes the name of the Virgin Mary, and the Venusberg is swallowed by darkness. Tannhäuser finds himself in a valley below Wartburg Castle, where he is passed by a band of pilgrims journeying to Rome. His friend Wolfram recognizes him, tells him how Elisabeth, his betrothed, has grieved during his absence, and invites him to the Wartburg to see her and to take part in a singing contest. Elisabeth is joyous at Tannhäuser’s return, and they reassure each other of their love. At

the contest, however, Tannhäuser sings a rhapsody to Venus and the pleasures of carnal love that so enrages the assembled knights and ladies that Elisabeth must protect him from their threats of violence. Tannhäuser agrees to join the pilgrims to atone for his sins. Several months later, he returns from Rome, alone, haggard and in rags. He tells Wolfram that the Pope has said it is as impossible for someone who has dwelled in the Venusberg to be forgiven as for the Papal staff to sprout leaves. He considers going again to Venus, but withstands that temptation when Wolfram mentions Elisabeth’s name. Elisabeth, however, not knowing of Tannhäuser’s return and despairing of ever seeing her lover again, has died of grief. Her bier is carried past Tannhäuser, who kneels next to it, and also dies. As morning dawns, pilgrims from Rome arrive bearing the Pope’s staff, which has miraculously grown leaves. The Overture to Tannhäuser encapsulates in musical terms the dramatic conflict between the sacred love of Elisabeth and the profane love of Venus. Bernstein on Broadway, Continued From Page 125

As the story nears its end, Eileen finds a job singing at the Greenwich Village Vortex, where she belts out the infectious Wrong Note Rag.

Three Dance Variations from Fancy Free (1944) The ballet Fancy Free is set in a deserted street in lower Manhattan in 1944. Three sailors on shore leave burst onto the scene, meet two girls in a bar, and, in Three Dance Variations, have a competition, judged by the girls, to decide which two of them will have companions for the evening. The first sailor does a boisterous Galop, the second a lyrical Waltz, and the third a sinuous Latin Danzon.

Selections from West Side Story (1957) In the story, Riff, leader of the Jets, an “American” street gang, determines to challenge Bernardo, head of the rival Sharks, a group of young Puerto Ricans, to a rumble. Riff asks Tony, his best friend and a co-founder of the Jets, to help. Tony has been growing away from the gang, and he senses better things in his future (Something’s Coming), but agrees. The Jets and the Sharks meet that night at a dance in the gym, where they engage in competitive dancing (Mambo) and Tony falls in love at first sight with Maria, Bernardo’s sister, recently arrived from Puerto Rico. Later that night, Tony meets Maria on the fire escape of her apartment

(Tonight). The next day, Tony visits Maria at the bridal shop where she works, and they enact a touching wedding ceremony. Tony promises Maria he will try to stop the rumble, but he is unsuccessful and becomes involved in the fighting. He kills Bernardo. Maria learns that Tony has slain her brother. Tony comes to her apartment, but she cannot send him away and they long for a place free from prejudice (Somewhere). Tony leaves and hides in Doc’s drugstore. Maria convinces Anita, Bernardo’s girl, of her love for Tony, and Anita agrees to tell Tony that the Sharks intend to hunt him down. She is so fiercely taunted by the Jets at the drugstore, however, that she spitefully tells Tony that Maria has been killed. Tony numbly wanders the streets and meets Maria. At the moment they embrace, he is shot dead. The Jets and the Sharks appear from the shadows, drawn together by the tragedy. They carry off the body of Tony, followed by Maria. The Spirit of Bernstein, Continued From Page 129

Selections from Old American Songs for Chorus and Orchestra (1950, 1952) A ARON COPL AND (1900-1990)

Soon after he completed the Twelve Poems of Emily Dickinson in March 1950, Copland turned to some lighter fare by “newly arranging” a set of five traditional 19th-century American songs for voice and piano on a commission from English composer Benjamin Britten and tenor Peter Pears for performance at the Aldeburgh Festival. A second group of five followed in 1952, and Copland orchestrated Set I in 1954 and Set II three years later. In her study of Copland’s music, Julia Smith suggested that the Old American Songs form “a kind of vocal suite [and] the accompaniments offer moods by turns nostalgic, energetic, sentimental, devotional and humorous.” The most familiar melody among these Songs is Simple Gifts, the evergreen Shaker tune Copland had earlier used with such excellent effect in Appalachian Spring. Like the other Songs, it taps a deep, quintessentially American sentiment in its sturdy simplicity and its plain words, qualities that Copland captured perfectly in his colorful, atmospheric settings.

Chichester Psalms for Mixed Choir, Boy Soloist and Orchestra (1965) LEONARD BERNSTEIN (1918-1990)

The Chichester Psalms was commissioned by the Very Rev. Walter Hussey, Dean of Chichester Cathedral 199

The Spirit of Bernstein, Continued From Page 199

for the 1965 Southern Cathedrals Festival, in which the musicians of Chichester have participated with those of the neighboring cathedrals of Salisbury and Winchester since 1959. The mood of the Chichester Psalms is humble and serene, unlike the powerful but despairing nature of Bernstein’s “Kaddish” Symphony of 1963, composed shortly before this work. Both use traditional texts sung in Hebrew, but the message of the Psalms is one of man’s closeness to God rather than the one of frustration and anger and shaken faith engendered by God’s inexplicable acts as portrayed by the “Kaddish.” It is indicative that the composer chose the 23rd Psalm (“The Lord is my Shepherd”) for the second movement, the heart of the Chichester Psalms. The first movement opens with a broad chorale (“Awake, psaltery and harp!”) that serves as the structural buttress for the entire composition. It is transformed, in quick tempo, to open and close the dance-like main body of this movement (in 7/4 meter), and it reappears at the beginning and end of the finale in majestic settings. The exuberant energy of the fast music of the first movement is a perfect embodiment of the text, “Make a joyful noise unto the Lord all ye lands.” The touching simplicity of the second movement recalls the pastoral song of David, the young shepherd. The sopranos take over the melody from the soloist, and carry it forward in gentle but strict imitation. Suddenly, threatening music is hurled forth by the men’s voices punctuated by slashing chords from the orchestra. They challenge the serene strains of peace with the harsh question, “Why do the nations rage?” The quiet song, temporarily banished, reappears in the high voices, like calming oil on troubled waters. The hard tones subside, and once again the shepherd sings and strums upon his harp. As a coda, the mechanistic sounds of conflict, soft but worrisome, enter once again, as if blown on an ill wind from some distant land. The finale begins with an instrumental prelude based on the stern chorale that opened the work. The muted solo trumpet and harp recall a phrase from the shepherd’s song to mark the central point of this introductory strain. The chorus intones a gently swaying theme on the text, “Lord, Lord, My heart is not haughty.” The Chichester Psalms concludes with yet another adaptation of the recurring chorale, here 200 Learn more at BravoVail.org

given new words and a deeper meaning. This closing sentiment is not only the central message of the work and the linchpin of its composer’s philosophy of life, but also is a thought that all should hold dear in these troubled times: Behold how good, And how pleasant it is, For brethren to dwell Together in unity.

Mendelssohn & Saint-Saëns, Continued From Page 133

Mendelssohn’s First Concerto is in the traditional three movements — fast–slow–fast — though, unlike the Classical model, these are instructed to be played without pause. (Mendelssohn abhorred applause between movements.) The opening movement (marked “Very fast, with fire”) follows sonata form, though the return of its thematic materials is considerably compressed. The Andante is a deliciously filigreed song-without-words given by the soloist. The finale is a glittering rondo prefaced by a mockdramatic orchestral strain.

Symphony No. 3 in C minor, Op. 78, “Organ” (1886) C A M I L L E S A I N T-S A Ë N S (1 8 3 5 -1 92 1 )

The Paris in which Saint-Saëns grew up, studied and lived was enamored of the vacuous stage works of Meyerbeer, Offenbach and a host of lesser lights in which little attention was given to artistic merit, only to convention and entertainment. Berlioz tried to break this stranglehold of mediocrity, and he earned for himself a reputation as an eccentric, albeit a talented one. Saint-Saëns, with his love of Palestrina, Rameau, Beethoven, Liszt and, above all, Mozart, also determined not to be enticed into the Opéra Comique but to follow his calling toward a more noble art. To that end, he helped establish the Société Nationale de Musique in 1871 to perform serious concert works by French composers. The venture was a success, and it did much to give a renewed sense of artistic purpose to the best of the country’s musicians. Saint-Saëns produced a great deal of music to promote the ideals of the Société, including the Symphony No. 3 in C minor, his masterwork in the genre. Saint-Saëns wrote, “This Symphony is divided into two parts, though it includes practically the traditional four movements. The first, checked in development, serves as an introduction to the Adagio. In the same

manner, the scherzo is connected with the finale.” Saint-Saëns clarified the division of the two parts by using the organ only in the second half of each: dark and rich in Part I, noble and uplifting in Part II. The entire work is unified by transformations of the main theme, heard in the strings at the beginning after a brief and mysterious introduction. In his “Organ” Symphony, Saint-Saëns combined the techniques of thematic transformation, elision of movements and richness of orchestration with clarity of thought and grandeur of vision to create one of the masterpieces of French symphonic music. Lalo Symphonie Espagnole..., Continued From Page 139

conductor André Messager, Debussy prefaced the notice that he had begun work on La Mer. Debussy’s father was a sailor and his tales of vast oceans and exotic lands held Claude spellbound as a boy. A family trip to Cannes when he was seven years old ignited his life-long fascination with the thoughts and moods evoked by moving water. Twenty years later, he discovered an aspect of the sea very different from the placid one he had seen on the resort beaches of the Mediterranean. In early June of that year, he was traveling with friends along the coast of Brittany. Their plans called for passage in a fishing boat from Saint-Lunaire to Cancale, but at the time they were scheduled to leave a threatening storm was approaching and the captain advised canceling the trip. Debussy insisted that they sail. It turned out to be a dramatic, storm-tossed voyage with no little danger to crew and passengers. Those experiences of the sea — one halcyon, the other threatening — were captured years later in La Mer. From Dawn to Noon on the Sea, built around the play of thematic and rhythmic fragments rather than conventional melodies, is perfectly suited to expressing the changing reflections of the morning sun in the air, clouds and water. The Play of the Waves is a brilliant essay in orchestral color, woven and contrasted with the utmost evocative subtlety. Dialogue of the Wind and the Sea reflects the awesome power of the sea as well as its majesty.

Boléro (1928) MAURICE R AVEL (1875-1937)

Ravel originated what he once called his “danse lascive” at the suggestion of Ida Rubinstein, the famed ballerina who also inspired works from

Debussy, Honegger and Stravinsky. Rubinstein’s balletic interpretation of Boléro, set in a rustic Spanish tavern, portrayed a voluptuous dancer whose stomps and whirls atop a table incite the men in the bar to mounting fervor. With growing intensity, they join in her dance until, in a brilliant coup de théâtre, knives are drawn and violence flares on stage at the moment near the end where the music modulates, breathtakingly, from the key of C to the key of E. Ravel wrote, “Boléro consists wholly of ‘orchestral tissue without music’ — one long, very gradual crescendo. There are no contrasts, there is practically no invention except the plan and the manner of execution. The themes are altogether impersonal ... folktunes of the usual Spanish-Arabian kind, and (whatever may have been said to the contrary) the orchestral writing is simple and straightforward throughout, without the slightest attempt at virtuosity.”

The Weilersteins: Elgar &..., Continued From Page 143

Toward the end, the stillness of the third movement creeps over the music, and the soloist indulges in an extended soliloquy. Brief bits of earlier movements are remembered before a final recall of the fast rondo music closes this thoughtful Concerto.

Symphony No. 5 in C minor, Op. 67 (1804-1808) LUDWIG VAN BEETHOVEN (1770-1827)

Beethoven’s Fifth Symphony is the archetypal example of the technique and content of the form. Its overall structure is a carefully devised whole in which each of the movements serves to carry the work inexorably toward its end. The progression from minor to major, from dark to light, from conflict to resolution is at the heart of the “meaning” of this work. The psychological progression toward the finale — the relentless movement toward a life-affirming close — is one of Beethoven’s most important technical and emotional legacies, and it established for following generations the concept of how such a creation could be structured, and in what manner it should engage the listener. The opening gesture establishes the stormy temper of the Allegro by presenting the germinal cell from which the entire movement grows. The gentler second theme derives from the opening motive, and gives only a brief respite in the headlong rush that hurtles through the movement. It provides the necessary contrast while doing nothing to impede the music’s flow. The 201

The Weilersteins: Elgar &..., Continued From Page 201

development is a paragon of cohesion, logic and concision. The recapitulation begins after a series of breathless chords that pass from woodwinds to strings and back. The second movement is a set of variations on two contrasting themes. The first theme, presented by violas and cellos, is sweet and lyrical in nature; the second, heard in horns and trumpets, is heroic. The ensuing variations on the themes alternate to produce a movement by turns gentle and majestic. The Scherzo returns the tempestuous character of the opening movement, as the four-note motto from the first movement is heard again in a brazen setting led by the horns. The fughetta, the “little fugue,” of the central trio is initiated by the cellos and basses. The Scherzo returns with the mysterious tread of the plucked strings. Then begins another accumulation of intensity as a bridge to the finale. The closing movement is jubilant and martial. The sonata form proceeds apace. At the apex of the development, however, the mysterious end of the Scherzo is invoked to serve as the link to the return of the main theme in the recapitulation. The closing pages repeat the cadence chords extensively as a way of discharging the work’s enormous accumulated energy.

falsehood and inconstancy of all women, had sworn an oath to put to death each of his wives after the first night. However, the sultana Scheherazade saved her life by arousing his interest in the tales she told him during 1,001 nights. Driven by curiosity, the sultan postponed her execution from day to day, and at last abandoned his sanguinary design.” To each of the four movements Rimsky gave a title: The Sea and Sinbad’s Ship, The Story of the Kalandar Prince, The Young Prince and the Young Princess and Festival at Baghdad–The Sea–Shipwreck. At first glance, these titles seem definite enough to lead the listener to specific chapters of Scheherazade’s nightly soap opera. On closer examination, however, they prove too vague to be of much help. The Kalandar Prince, for instance, could be any one of three noblemen who dress as members of the Kalandars, a sect of wandering dervishes, and tell three different tales. “I meant these hints,” advised the composer, “to direct but slightly the hearer’s fancy on the path which my own fancy had traveled, and leave more minute and particular conceptions to the will and mood of each listener. All I had desired was that the hearer should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders.”

New York Closing: Ravel &..., Continued From Page 147

episodes from Scheherazade.” Thus did Nikolai RimskyKorsakov give the curt explanation of the genesis of his well-known work in his autobiography, My Musical Life. His friend Alexander Borodin had died the year before, leaving his magnum opus, the opera Prince Igor, in a state of unfinished disarray. Rimsky-Korsakov had taken it upon himself to complete the piece, and may well have been inspired by its exotic setting among the Tartar tribes in 12th-century central Asia to undertake his own embodiment of musical Orientalism. The stories on which he based his orchestral work were taken from The Thousand and One Nights, a collection of millennium-old fantasy tales from Egypt, Persia and India that had been gathered together, translated into French, and published in many installments by Antoine Galland beginning in 1704. To refresh the listener’s memory of the ancient legends, Rimsky-Korsakov prefaced the score with these words: “The sultan Shakriar, convinced of the 202 Learn more at BravoVail.org

Richard Rodda (program annotator) has provided 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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International Evenings of Dance I

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Gerald R. Ford Amphitheater, Vail

International Evenings of Dance II Saturday, August 4 7:30pm Gerald R. Ford Amphitheater, Vail

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Monday, August 6 7:30pm

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Opening Night 30th Anniversary Season

Dancing in the Park:

Gerald R. Ford Amphitheater, Vail

Avon Performance Pavilion at Nottingham Park

Ballet Hispánico

Saturday, July 28 7:30pm

Wednesday, August 8 5:30pm

American Ballet Theatre

Ballet Hispánico

Gerald R. Ford Amphitheater, Vail

Vilar Performing Arts Center, Beaver Creek

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Avon Performance Pavilion at Nottingham Park

Alonzo King LINES Ballet Tuesday, July 31 7:30pm

Gerald R. Ford Amphitheater, Vail

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Friday, August 10 7:30pm

Gerald R. Ford Amphitheater, Vail

UpClose: Vail Premieres

Closing Night Celebration with BalletX

Vilar Performing Arts Center, Beaver Creek

Gerald R. Ford Amphitheater, Vail

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Saturday, August 11 7:30pm

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