2019 Bravo! Vail Program Book by Bravo! Vail

J U N E 2 0 â&#x20AC;&#x201C;A U G U S T 4, 2 019

MOUNTAIN STAR | 777 CHIMING BELLS Homesite | 5.75+/- acres | $995,000 Catherine Jones Coburn | 970.390.1706 cjones@slifer.net

OFFICES & OVER

120 BROKERS

VailRealEstate.com

The

SOUND of the ALPS

VAILCOME at Almresi Restaurant & Bar | 333 Bridge St, Vail, CO 81657 | Tel. (970) 470 4174 mail@almresi-vail.com | www.almresi-vail.com

Unsurpassed lifestyle | Uncompromising exclusivity | One iconic address.

OWN IT.

All-new whole-ownership luxury condominiums now available at Four Seasons Resort and Residences Vail.

A N E X T E L L D E V E L O P M E N T P R O P E RT Y

VailPrivateResidences.com

MOUNTAIN STAR | 28 CHIMING BELLS 5-bedroom | 6.5-bath | 7,637+/- sq.ft. $8,750,000

VAIL VILLAGE | RIVA RIDGE NORTH #625 3-bedroom | 3-bath | 1,248+/- sq.ft. $2,950,000

WEST VAIL | 2609 DAVOS TRAIL 5-bedroom | 3.5-bath | 3,703+/- sq.ft. $2,375,000

eeply rooted within the Vail Valley community, Tina Vardaman has earned a reputation as a highly committed, hard-working professional who does her job with integrity. Her knowledge and connections, coupled with Slifer Smith & Framptonâ&#x20AC;&#x2122;s powerful resources, help her clients achieve their real estate goals.

Tina Vardaman

Service | Trust | Commitment SSF Top 20 Producer 2017 & 2018

Vail Village | 281 Bridge Street Office 970.390.7286 | tvardaman@slifer.net | www.TinaVardaman.com

bear sensation

Bravo! Vail “Where words fail, music speaks.” – Hans Christian Andersen

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

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

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: – Named to Financial Times Top 400 Financial Advisers, 2019 – Named to Barron’s Top 1,200 Financial Advisers, 2019 – Named to Forbes Best-In-State Wealth Advisors, 2019 – Named to Forbes Top 250 Wealth Advisors, 2018

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

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. CIMA® is a registered certification mark of the Investments & Wealth Institute™ in the United States of America and worldwide. As a firm providing wealth management services to clients, UBS Financial Services Inc. offers both investment advisory services and brokerage services. Investment advisory services and brokerage services are separate and distinct, differ in material ways and are governed by different laws and separate arrangements. It is important that clients understand the ways in which we conduct business and that they carefully read the agreements and disclosures that we provide to them about the products or services we offer. For more information, visit our website at ubs.com/workingwithus. Private Wealth Management is a division within UBS Financial Services Inc., which is a subsidiary of UBS AG. © UBS 2019. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. CJ-UBS-888509502 Exp.: 03/31/2020

LIV ICONIC

173 South Fairway Drive, Beaver Creek • 5 Beds • 7 Baths • 6,686 SF • $6,000,000 • BCFairwayLuxury.com

4872 Meadow Lane, Vail • 5 Beds • $4,800,000 | 4870 Meadow Lane • 4 Beds • $3,600,000 | VailMountainModern.com

1800 Beard Creek Trail, Cordillera • 6 Beds • 8 Baths • 7,452 SF • $3,690,000 • ValleyClubLuxury.com MALIA COX NOBREGA 970.977.1041 malia@vailluxurygroup.com VailLuxuryGroup.com

BARBARA SCRIVENS 970.471.1223 bscrivens@livsothebysrealty.com BarbaraScrivens.com

EVERY DAY MADE BETTER

970.949.6339 | mcpsvail.com Eagle Vail Business Center

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

Warmth, hospitality and enjoying life

Strike the right note

Join the new “old” Alpenrose – an institution in Vail since 1974 – for pre or post show dining. Alpenrose Restaurant & Bar, 100 E Meadow Dr Ste 25, Vail, CO 816 57, phone +1 970-476-88 99, www.alpenrose-vail.com

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

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

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

Sold | 711 Bachelor Ridge Road $7,500,000 | Represented Seller

“A home is one of the most important assets that most people will ever buy. Homes are also where memories are made and you want to work with someone you can trust.” - Warren Buffett chairman and CEO, Berkshire Hathaway Inc.

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

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

Classic Pianos classicpianosdenver.com

Authorized Yamaha Piano Representative, Vail, CO

yamahapianos.com

ONE WILLOW BRIDGE ROAD #41 VAIL VILLAGE Penthouse, 4 bedrooms, 4 bathrooms, 3,255 sqft $10,750,000 Joanna Kerwin & Teri Lester • 970.376.0779 vailvalleyteam@evusa.com

1226 WESTHAVEN CIRCLE #W CASCADE VILLAGE, VAIL • SOLD 4 bedrooms, 5 bathrooms, 3,972 sqft $5,151,000 Beth Golde • 843.505.1026 beth.golde@evusa.com

RITZ CARLTON RESIDENCES #R307 VAIL 3 bedrooms, 4 bathrooms, 2,491 sqft $4,700,000 Tyra Rudrud • 970.376.2258 tyra.rudrud@evusa.com

931 SINGLETREE ROAD #24 EDWARDS 2 bedrooms + loft, 2 bathrooms, 1,422 sqft $595,000 Carrie Dill • 970.390.4240 carrie.dill@evusa.com

2150 ALPINE DRIVE #W VAIL 4 bedrooms, 4 bathrooms, 3,349 sqft $1,895,000 Karin Millette • 970.376.0691 karin.millette@evusa.com

AUSTRIA HAUS CLUB VAIL VILLAGE 2-3 bedrooms, Fractional Ownerships Available Priced from $175,000 Jean Mitchell • 970.331.3236 jean.mitchell@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

©2019 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.

PHOTO: PAOLA KUDACKI / MET OPERA

EXPERIENCE THE NEW MET SEASON

Don’t miss the Met’s spectacular 2019–20 season, including three productions conducted by Yannick Nézet-Séguin: a gripping new staging of Berg’s Wozzeck starring Peter Mattei (pictured), a revival of the Met’s beloved Turandot, and Massenet’s Werther. Tickets go on sale June 23—or curate your own series of performances and save up to 15%. Learn more at metopera.org/tickets or by calling 212.362.6000.

Peter Gelb

Yannick Nézet-Séguin

GENER AL MANAGER

JEANET TE LERMAN-NEUBAUER MUSIC DIRECTOR

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 spacious residence may be built on one of two building envelopes. A true Colorado legacy property.

KATHLEEN ECK

2017 EAGLE AWARD (TOP 25 SSF BROKERS) 2018 SSF CUSTOMER SERVICE AWARD

230 Bridge Street | Vail, Colorado 970.376.4516 keck@slifer.net KathleenEck.com

Theresa W. Smith

Vail Luxury Real Estate Bravo! Thank You to the multitude of clients and friends for your business and continued loyalty of my broker services to buy and sell Vailâ&#x20AC;&#x2122;s finest homes since 1990 970.904.0970 VailLuxuryRealEstate.com

Vacation Rentals

Instagram: @VailLuxuryHomes

YOU ARE COLORADO ! e w e r a So

You’re proud to call Colorado home. So are we. Since 1973, we’ve been giving back to the communities where we live, work and play across our great state, and we’re here to stay. If you are looking for an independent, locally managed community bank, where the employees are also the owners, we would like to be your bank.

We’re Alpine Bank. INDEPENDENCE • COMMUNITIES • COMPASSION • INTEGRIT Y • LOYALT Y

alpinebank.com | Member FDIC

Providing architectural & interior design Services throughout the U.S.

Vail, COlOradO

970 926 4301

www.berglundarchitects.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.

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An Education

that cannot be found anywhere else in the world.

WWW.VMS.EDU INFO@VMS.EDU 970–477–7184

BOOK YOUR VACATION RENTAL WITH US.

Offering the largest vacation rental collection in the Vail Valley. www.eastwest.com/our-destinations 800.273.1756 Beaver Creek • Snowmass • Tahoe • Vail • Hawaii

Set yourself up for success! Hire Brooke Ferris - A true professional known for record breaking sales prices, skilled negotiating & distinctive marketing VORLAUFER PEntHOUSE – SOLd! Vail Village $4,000,000 – Seller representation

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. dani Bedoni Caracas, Venezuela & new York

Brooke Ferris Vail Real Estate is the company to choose! As our exclusive Vail representative as well as a great friend for 15 years, Brooke has successfully been our broker for numerous sales and purchases – each time exceeding our expectations with her negotiating skills. Selling our Potato Patch house as well as our house on Whiskey Hill... for Record Breaking Prices in Record Breaking Speed speaks for itself. daniella Bogota, Columbia

FORESt ROAd – SOLd! Forest Road Mansion, Vail Village $8,250,000 – Buyer representation

Please look for me at tonight’s performance (Sec. 2 • Seat A2) to schedule breakfast as my guest to discuss your Real Estate Interests

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

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 three 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

TAKE A PEAK The choice to live in the Vail Valley is deliberate. The glorious Rocky Mountains, where the outdoors beckon in all seasons. Our passion for these mountains and this valley drive our dedication to lead you to a life you love. Because buying or selling a home is about more than real estate. Itâ&#x20AC;&#x2122;s life.

Doug & Erin Seabury Rachel Sibley McKeefer Seabury@livsothebysrealty.com 970.390.8786

THANK YOU FOR SHOPPING WITH US! PERCH

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VOTED BEST KID’S CLOTHING BOUTIQUE IN THE VAIL VALLEY ANGEL DEAR l APPAMAN l AVIATOR NATION l IMOGA PETIT BATEAU l PINK CHICKEN l SPIRITUAL GANGSTER

SKIPPERSCOUT.COM l 970.470.4380 141 E. MEADOW DR., #106 VAIL , CO 81657 @SKIPPERSCOUTVAIL

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. With nearly 150 shops, 10 spas, and more than 75 restaurants, thereâ&#x20AC;&#x2122;s always something exciting to experience in Vail. Discover all Vail has to offer at vailsummer.com.

WELCOME TO THE 2019 SEASON A MUSICAL ADVENTURE LIKE NO OTHER.

elcome to the 32nd season of Bravo! Vail. There is so much beautiful music ahead this summer, with each day bringing something new to enjoy.

We are honored to continue the tradition of hosting an internationally renowned chamber orchestra by welcoming Anne-Sophie Mutter and Chamber Orchestra Vienna – Berlin for their North American debut to begin the season. The Dallas Symphony Orchestra, The Philadelphia Orchestra, and the New York Philharmonic all return to Vail with concerts that showcase some of the world’s greatest soloists and offer highlights including a mini-Beethoven series, an action-packed film set to music, and the return of a beloved music director.

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

One of the most transcendent events of the year will undoubtedly be Bravo’s premiere opera production, Puccini’s Tosca, which comes to Vail under the baton of Philadelphia Orchestra and Metropolitan Opera Music Director, Maestro Yannick Nézet-Séguin. Brimming with drama, suspense, and tragedy, Tosca in Vail combines remarkable artistry with an unparalleled setting for a truly memorable experience. Chamber music is at the heart of the Festival and this season’s chamber programs are phenomenal. The Chamber Music Series at Donovan Pavilion brings amazing musicianship to life with members of the Dallas Symphony Orchestra, the Takács Quartet, the St Lawrence String Quartet, and a once-in-a-lifetime solo recital by Yefim Bronfman. On Tuesdays and Thursdays you can enjoy superb free concerts at the Vail Chapel, and the ever-popular Classically Uncorked Series will feature the Bravo! Vail premiere of a commissioned work by Philip Glass.

CAITLIN M U R R AY Executive Director

At Bravo! Vail, we are committed to promoting a lifelong appreciation of the arts which is why family-friendly programming is so important to us. Through Little Listeners @ the Library, Instrument Petting Zoos, and our Free Family Concerts, children can encounter music and instruments in a new way, opening their eyes, ears, and minds to exciting possibilities. This summer, we invite you to our new Inside The Music Series on select Wednesdays at the Vail Chapel where you can gain deeper musical insight and perspective. We hope you’ll also join us for our re-imagined After Dark Series on select Sunday evenings designed for adventurous listeners and set in an informal venue. A remarkable community of music-makers and music-lovers bring Bravo! Vail to life each summer. We extend our heartfelt thanks to our musicians, partner orchestras, Board of Trustees, Advisory Council, staff, volunteers, patrons, partners, and audience members. It is because of you that Bravo! Vail is able to enrich people’s lives through the power of music. Thank you, we hope you enjoy every note.

G REG W A LT O N Board Chair

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

Learn more at BravoVail.org 31

BOARD OF TRUSTEES Greg Walton, Chair

Doe Browning

Fred Kushner

Michele Resnick

Barry Beracha, Vice Chair

John Dayton

Diane Loosbrock

Byron Rose

Kathleen Eck, Vice Chair

Marijke de Vink

Shirley McIntyre

Adrienne Rowberry

Paul Rossetti, Treasurer

Gary Edwards

Laurie Mullen

Lisa Schanzer

Cathy Stone, Secretary

Cookie Flaum

Blaine Nelson

Carole Segal

Charlie Allen

Dan Godec

Gary Peterson

Rachel Smiley

Ronnie Baker

Hank Gutman

Steve Pope

Frank Strauss

Paul Becker

Linda Hart

Brad Quayle

Fred Tresca

Sarah Benjes

Alan Kosloff

Drew Rader

ADVISORY COUNCIL David Anderson

Harry Frampton

Rob LeVine

Rod Slifer

Marilyn Augur

Joan Francis

Vicki Logan

Randy Smith

Bill Burns

Michael Glass

John Magee

Marcy Spector

Jenn Bruno

Mark Gordon

Tony Mayer

Tye Stockton

Edwina Carrington

Jeanne Gustafson

Sarah Millett

Susan Suggs

Carol Cebron

Kim Hackett

Matt Morgan

Lisa Tannebaum

Becky Crawford

Martha Head

Bill Morton

Doug Tansill

Tim Dalton

Becky Hernreich

Richard Niezen

Anne Verratti

Lucy Davis

Mark Herron

Kalmon Post

Michael Warren

Brian Doyle

Jeremy Krieg

Tom Rader

Carole A. Watters

Kabe ErkenBrack

Honey M. Kurtz

Susan Rogel

Sallie Fawcett

Sandy LaBaugh

Terie Roubos

FROM THE FOUNDER It is a great pleasure to welcome you to the 2019 season of the Bravo! Vail Music Festival. Bravo has become one of America’s best and most steadfast performing arts organizations and this season welcomes, as do I, Bravo’s new Executive Director, Caitlin Murray. Each patron, audience member, volunteer, and staff person has made Bravo! Vail the Festival it is today, connecting people to people through the power of music. Very heartfelt and sincere thanks to you all, for without you, this annual celebration of great music in the Rocky Mountains would not be possible. Enjoy!

John W. Giovando FOUNDER & EXECUTIVE DIRECTOR EMERITUS

32 Learn more at BravoVail.org

August 15â&#x20AC;&#x201C;18, 2019

OFFERED BY INVITEDHOME

Telluride Reserve focuses on the intimacy of each tasting by providing direct interaction with award-winning chefs, winemakers, sommeliers, and the wines that express the terroir of vineyards from around the world.

Guests will select their weekend of tastings by their interests, each with a maximum of 50 guests. The locations for the 17 Taste & Terroir four-course lunches will be private homes, each limited to only 30 guests. Please join us.

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Improving Quality of Life for All in the Eagle Valley. EVCF focuses on healthy food access, early childhood learning, health and wellness and increasing community collaboration to inspire collective solutions.

JOIN US IN MAKING A DIFFERENCE

EAGLEVALLEYCF.ORG

SUNDAY

MONDAY

TUESDAY

2019 SEASON AT A GLANCE COLOR KEY Orchestra Concerts

Chamber Music Concerts

Chamber Orchestra Vienna – Berlin 6:00PM | GRFA

Opera Explored with Vail Symposium 6:00PM | VIC

Soirée 6:00PM | Gogel Residence Free Family Concert 6:00PM | LAG

1 JULY

Dallas Symphony Orchestra Special time, 7:30PM | GRFA

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

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

Pre-Concert Talk 5:00PM | GRFA The Philadelphia Orchestra 6:00PM | GRFA Bravo! Vail After Dark 8:30PM | SB

Little Listeners 2:00PM | APL Soirée 6:00PM | Micati Residence Free Concert 6:00PM | EIC

Free Concert 1:00PM | VIC Little Listeners 2:00PM | VPL Pre-Concert Talk 5:00PM | DP Chamber Music 6:00PM | DP

Free Concert 6:00PM | BCP Soirée 6:00PM | Amanda Precourt Residence

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

Classically Uncorked presented by Meiomi Wine Free Concerts Education & Engagement Events Linda & Mitch Hart Soirée Series Bravo! Vail After Dark

LOCATION KEY APL: Avon Public Library BCP: Brush Creek Pavilion, Eagle DP: Donovan Pavilion, Vail EIC: Edwards Interfaith Chapel EPL: Eagle Public Library GESC: Golden Eagle Senior Center, Eagle GPL: Gypsum Public Library

GRFA: Gerald R. Ford Amphitheater, Vail

Bravo! Vail After Dark 8:30PM | SB

Chamber Music 6:00PM | DP

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

LAG: Lundgren Amphitheater, Gypsum SB: Shakedown Bar, Vail VIC: Vail Interfaith Chapel VPL: Vail Public Library WMSC: Walking Mountain Science Center, Avon

Bravo! Vail After Dark 8:30PM | SB

4 AUGUST 34 Get tickets at BravoVail.org

Bravo! Vail After Dark 8:30PM | SB

Classically Uncorked 7:30PM | DP

WEDNESDAY

THURSDAY 20 JUNE

FRIDAY 21

Pre-Concert Talk 5:00PM | GRFA Chamber Orchestra Vienna – Berlin 6:00PM | GRFA 2019 Virtual Gala Auction Bidding Opens

SATURDAY 22 Pre-Concert Talk 5:00PM | GRFA Chamber Orchestra Vienna – Berlin 6:00PM | GRFA

Pre-Concert Talk 5:00PM | GRFA Dallas Symphony Orchestra 6:00PM | GRFA

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

The Philadelphia Orchestra 6:00PM | GRFA

Inside the Music 1:00PM | VIC

Free Concert 1:00PM | VIC Pre-Concert Talk 5:00PM | GRFA The Philadelphia Orchestra, Tosca 6:00PM | GRFA

Opera Explored with Vail Symposium 12:00PM | VIC The Philadelphia Orchestra 6:00PM | GRFA

Pre-Concert Talk 5:00PM | GRFA The Philadelphia Orchestra, Tosca 6:00PM | GRFA

Inside the Music 1:00PM | VIC Little Listeners 2:00PM | GPL New York Philharmonic 6:00PM | GRFA

Free Concert 1:00PM | VIC Little Listeners 2:00PM | EPL New York Philharmonic 6:00PM | GRFA

Pre-Concert Talk 5:00PM | GRFA New York Philharmonic 6:00PM | GRFA

Inside the Music 1:00PM | VIC Little Listeners 2:00PM | GPL New York Philharmonic 6:00PM | GRFA

Free Concert 11:00AM | GESC Free Concert 1:00PM | VIC Little Listeners 2:00PM | EPL Science Behind Sound 6:30PM | WMSC 2019 Virtual Gala Auction Bidding Closes

1 AUGUST

Inside the Music 1:00PM | VIC Classically Uncorked 7:30PM | DP

Pre-Concert Talk 6:30PM | DP Classically Uncorked 7:30PM | DP

Free Family Concert 6:00PM | GRFA

Soirée 6:00PM | Smith Residence Free Concert 6:00PM | EIC

CHAMBER ORCHESTRA VIENNA – BERLIN

IN RESIDENCE JUNE 20–23, 2019

Bravo! Vail is thrilled to present the North American debut of this unique collaboration of two of the world’s most prestigious ensembles, featuring the magnificent Anne-Sophie Mutter in Mozart’s brilliant Violin Concertos.

SCHEDULE AT A GLANCE JUN

20 JUN

22 JUN

ANNE-SOPHIE MUT TER VIOLIN

36 Learn more at BravoVail.org

Mutter Plays Mozart, Part I.......................................................51 Mutter Plays Mozart, Part II................................................... 55 Haydn Cello Concerto & Mozart........................................... 59

©BASTIAN ACHARD (1); ©PHILIPP HORAK (1)

HE VIENNA AND BERLIN PHILHARMONIC Orchestras stand as two fundamental pillars of orchestral excellence. Despite sharing decade-long collaborations with esteemed conductors Wilhelm Furtwängler, Herbert von Karajan, and Claudio Abbado, audiences and critics alike acknowledge their contrasting identities. The noble Viennese are defined by smooth elegance and velvety strings; whereas, the captivating, passionate Berliners speak to the virtue of brilliant wind soloists. The sensation that is Chamber Orchestra Vienna – Berlin emerged from Sir Simon Rattle’s dream for his 50th Birthday Celebration: to unite both orchestras on one stage for the first time. This concert of epic proportions uncovered a mutual ambition and ability to combine chamber-music-like delicacy with symphonic force. The ensemble, which represents the essence of both orchestras by putting forth their most renowned musicians, looks to create a unique creative exchange where refinement of technique, enormous flexibility, and specific beauty of sound result in exciting experiences for musicians and audiences alike. Since the formation of the Chamber Orchestra Vienna – Berlin in 2012, the ensemble has toured across Europe and Asia with featured soloists Yefim Bronfman, Anne-Sophie Mutter, Jonas Kaufmann, Antoine Tamestit, Gautier Capucon, Gabor Boldoczki, Denis Matsuev, Yuja Wang, and Daniel Müller-Schott.

“CHAMBER ORCHESTRA VIENNA – BERLIN SHOWCASES THE PROWESS, SOPHISTICATION, AND COLLABORATIVE SPIRIT OF TWO DOMINANT FORCES IN CLASSICAL MUSIC”

Rainer Honeck (concert master of the Orchestra of the Vienna State Opera since 1984 and concert master of the Vienna Philharmonic Orchestra since 1992) acts as primarius and Artistic Director of the Orchestra. In May 2019, Mutter and Chamber Orchestra Vienna – Berlin embarked on an extensive tour of Central and Western Europe featuring Mozart’s Violin Concertos, with appearances in twenty cities between May 6 and June 2, 2019, including Bratislava, Munich, Cologne, Hamburg, Berlin, as well as Athens, Greece, among others. These concerts mark their North American debut.

FRIENDS OF THE CHAMBER ORCHESTRA VIENNA – BERLIN 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

The Paiko Foundation

PREMIER BENEFACTOR ($50,000+)

BENEFACTOR ($5,000+)

Town of Vail

John Dayton Shelby and Frederick Gans Ann and William Lieff

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

— B R O A D WAY W O R L D

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

Learn more at BravoVail.org 37

DALLAS SYMPHONY ORCHESTRA

IN RESIDENCE JUNE 28â&#x20AC;&#x201C;JULY 4, 2019

The Dallas Symphony Orchestra celebrates its 19th summer at Bravo! Vail with a rich lineup of classical masterworks and exciting popular programs, all performed with inventive, unforgettable vitality.

SCHEDULE AT A GLANCE JUN

28 JUN

29 JUN

30 JUL

CONDUC TOR , DALL AS SYMPHONY ORCHESTRA

38 Learn more at BravoVail.org

Beethoven Triple & Symphony 7................................. 71 Jurassic Park in Concert...................................... 75

Unforgettable: 100 Years of Nat & Natalie Cole....... 79

JUL

Patriotic Concert

DONALD RUNNICLES

Beethoven: Piano & Violin Concertos.................. 67

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

©ROBERT KUSEL

HE DALLAS SYMPHONY ORCHESTRA IS the largest performing arts organization in the Southwest, engaging its audiences with distinctive classical programs, inventive pops concerts and innovative multi-media performances. 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. In June 2018, the Dallas Symphony Orchestra named Fabio Luisi as the next Music Director. Luisi is also General Music Director of the Zurich Opera, Chief Conductor of the Danish National Symphony Orchestra and Music Director Designate of Maggio Musicale Fiorentino. He was Principal Conductor at the Metropolitan Opera in New York from 2011 to 2017, and Music Director of the Orchestre de la Suisse Romande (1997-2002) and of the Tonkünstler Orchestra in Vienna (1995-2000). 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. 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, 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. Van Zweden was named Musical America Conductor of the Year in 2012 in recognition of his work as

“EXHILARATING,” “REVELATORY,” “INTENSELY DRAMATIC,” AND “AS ELECTRIFYING AS YOU’LL HEAR ANYWHERE.” —DALLAS MORNING NEWS ON THE DALL AS SYMPHONY ORCHESTRA

Music Director of the Dallas Symphony and as a guest conductor with the most prestigious U.S. orchestras. For the DSO Live record label, van Zweden released a number of albums including the world-premiere recording of Steven Stucky’s concert drama August 4, 1964, which garnered Stucky a GRAMMY® nomination. Jaap van Zweden concluded his tenure with the DSO in May 2018 to assume the post of Music Director of the New York Philharmonic. The Dallas Symphony Orchestra is proud to serve the citizens of North Texas with programs that excite, inspire, engage, and reach more than 211,000 adults and children annually through performances, educational and outreach programs. Through these initiatives, the DSO hopes to expand horizons, initiate cultural conversations and bring music to audiences in the city and around the world.

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 Marcy and Steve Sands

OVATION ($15,000+) Margie and Chuck Steinmetz Carole A. Watters

Peggy and Gary Edwards Cindy Engles Carole C. and CDR. John M. Fleming Jane and Stephen Friedman Rebecca and Ron Gafford Karen and Al Meitz Vicki Rippeto Debbie and Ric Scripps Donna and Randy Smith Dr. and Mrs. Bill Weaver

ALLEGRO ($10,000+) John Dayton Alexia and Jerry Jurschak Brenda and Joe McHugh Sammye and Mike A. Myers

Learn more at BravoVail.org 39

THE PHILADELPHIA ORCHESTRA

IN RESIDENCE JULY 5–13, 2019

The Philadelphia Orchestra inspires and enthralls with unsurpassed artistry, and a historic premiere opera production at the centerpiece of its 13th annual Bravo! Vail residency.

SCHEDULE AT A GLANCE JUL

05 JUL

06 JUL

07 JUL

11 JUL

12 JUL

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

40 Learn more at BravoVail.org

Hilary Hahn Plays Mendelssohn............................. 87 Denève Conducts: Magic of Music........................91 Brahms Piano Concerto 2.................................... 95 Puccini’s Tosca: An Opera Production............ 107 Mozart & Rachmaninoff........................ 111 Puccini’s Tosca: An Opera Production............ 107

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 eighth season as Music Director of The Philadelphia Orchestra. He joins a remarkable list that covers the Orchestra’s 118 seasons: Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach. Yannick’s connection to the musicians of the Orchestra has been praised by both concertgoers and critics. The New York Times has said, “Mr. Nézet-Séguin ... showed complete 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 decadeslong tradition of presenting collaborative learning and community engagement opportunities for listeners of all ages across the Delaware Valley. Today it serves as a catalyst for cultural activity across Philadelphia’s many communities, building an offstage presence as strong as its onstage one and inspiring a uniquely Philadelphia energy. 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, Philadelphians who will have opportunities to experience the Orchestra personally, and those not connected with the Orchestra or symphonic music, 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

“THE ENSEMBLE, FAMOUS FOR ITS GLOWING STRINGS AND HOMOGENEOUS RICHNESS, HAS NEVER SOUNDED BETTER” —T H E N E W Y O R K T I M E S

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. The ensemble today boasts five-year partnerships with the NCPA and the Shanghai Media Group. This year the Orchestra undertakes two tours, one to China in May and one to Taiwan, Japan, and South Korea in November. 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 Betsy Wiegers

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post Sharon and Marc Watson

IMPRESARIO ($25,000+)

BENEFACTOR ($5,000+)

Virginia J. Browning Karen and Michael Herman Sandra and Greg Walton

Christine and John Bakalar Dr. David Cohen Wendi and Brian Kushner Laura and James Marx Mr. John McDonald and Mr. Rob Wright Barbara and Howard Rothenberg Mr. and Mrs. Ernest Scheller, Jr. Elaine and Steven Schwartzreich Susan and Steven Suggs Dhuanne and Doug Tansill

VIRTUOSO ($20,000+) Anonymous Donna and Patrick Martin Cathy and Howard Stone

OVATION ($15,000+) Susan and Richard Rogel

ALLEGRO ($10,000+) John Dayton Anne and Hank Gutman Teri Perry

Learn more at BravoVail.org 41

NEW YORK PHILHARMONIC

IN RESIDENCE JULY 17–24, 2019

A new era begins: Jaap van Zweden returns to Vail in his debut season as Music Director of America’s oldest symphony orchestra in its 17th spectacular summer at Bravo! Vail.

SCHEDULE AT A GLANCE JUL

17 JUL

18 JUL

19 JUL

20 JUL

MUSIC DIREC TOR , NE W YORK PHILHARMONIC

42 Learn more at BravoVail.org

Legendary Movie Music............................ 125 Hadelich Plays Britten.............................................. 129 Beethoven & Brahms........................................... 133

Tovey Presents Cole Porter................................. 139

JUL

Tovey & Bronfman

JA AP VAN ZWEDEN

Van Zweden’s Return: Beethoven Eroica..............121

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

143

©BERT HULSELMANS

HE NEW YORK PHILHARMONIC plays a leading cultural role in New York City, the United States, and the world, connecting with up to 50 million music lovers each season through live concerts in New York and around the world, international broadcasts, albums and digital recordings, and education programs. The 2018–19 season marked Jaap van Zweden’s first as the Orchestra’s 26th Music Director, and ushered in an expanded connection to New York City. Maestro van Zweden led five World Premieres — by Ashley Fure, Conrad Tao, Louis Andriessen, Julia Wolfe, and David Lang — and core symphonic masterworks; presided over Music of Conscience, New York Stories: Threads of Our City, and The Art of Andriessen; and welcomed New York’s community and service professionals to Phil the Hall. The Philharmonic has commissioned and/or premiered works by leading composers from every era since its founding in 1842. Highlights include Dvořák’s New World Symphony; Gershwin’s Concerto in F; John Adams’s Pulitzer Prize–winning On the Transmigration of Souls, dedicated to the victims of 9/11; Esa-Pekka Salonen’s Piano Concerto; Wynton Marsalis’s The Jungle (Symphony No. 4); and Julia Wolfe’s Fire in my mouth. The Philharmonic introduced two new-music series in the 2018–19 season. A resource for its community and the world, the New York Philharmonic complements annual free concerts across the city — including the Concerts in the Parks, Presented by Didi and Oscar Schafer — with Philharmonic Free Fridays and education projects including the famed Young People’s Concerts. The Philharmonic established the Shanghai Orchestra Academy and Partnership, presented by Starr International Foundation, and a residency partnership with the University Musical Society of the University of Michigan. Renowned around the globe, the Orchestra has appeared in 432 cities in 63 countries. Highlights include the 1930 tour of Europe; the 1959 tour of the USSR; the 2008 visit to Pyongyang, DPRK, the first there by an American orchestra; and the Orchestra’s debut in Hanoi, Vietnam, in 2009. 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 partnership with Decca Gold, Universal Music Group’s newly established U.S.

classical music label, was launched in February 2018. In 2016 the Philharmonic produced its first-ever Facebook Live concert broadcast, reaching more than one million online viewers that season. The free New York Philharmonic Leon Levy Digital Archives makes available the Orchestra’s extensive history, including every printed program as well as scores and parts marked by past musicians and Music Directors. Founded in 1842, 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. As Music Director, Jaap van Zweden succeeds musical leaders including Alan Gilbert, Maazel, Masur, Zubin Mehta, Boulez, Bernstein, Toscanini, and Mahler.

FRIENDS OF THE NEW YORK PHILHARMONIC Bravo! Vail gratefully acknowledges the support of the following patrons: DIAMOND ($40,000+)

SILVER ($15,000+)

ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

Jeri and Charlie Campisi Lucy and Ron Davis Fundacion Cultural Kaluz Terri and Tom Grojean Margaret and Alex Palmer Sandra and Alejandro Rojas Terie and Gary Roubos Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein

PLATINUM ($30,000+) 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

BRONZE ($10,000+) Pamela and David Anderson Jean and Harry Burn Susan and John Dobbs Liz and Tommy Farnsworth Laura and Bill Frick Penny and Bill George Melinda and Tom Hassen Martha Head Karen and Jay Johnson June and Peter Kalkus Mr. and Mrs. Arthur Kelton, Jr. Dr. and Mrs. Frederick Kushner The McClean Family Foundation Mr. John McDonald and Mr. Rob Wright Jean and Ray Oglethorpe Martha Dugan Rehm and Cherryl Hobart Carole and Peter Segal Judy and Martin Shore Sue and Marty Solomon and P&S Equities, Inc.

Learn more at BravoVail.org 43

CHAMBER MUSIC SERIES

JULY 2–22, 2019

DALLAS STRINGS & MCDERMOTT (page 83) 44 Learn more at BravoVail.org

TAKÁCS STRING QUARTET (page 103)

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS: The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation Town of Vail

ST LAWRENCE STRING QUARTET (page 118)

FROM LEFT: ©AMANDA TIPTON (1); ©MARCO BORGGREVE (1)

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 JUL

02 JUL

09 JUL

16 JUL

Dallas Strings & McDermott................................... 83 Takรกcs String Quartet............................................ 103 St Lawrence String Quartet............................................ 118 Bronfman Plays Beethoven.................................. 137

Learn more at BravoVail.org 45

CLASSICALLY UNCORKED PRESENTED BY MEIOMI WINE

JULY 30–AUGUST 1, 2019

HIS INNOVATIVE SERIES pulls out all the stops in an exceptional chamber music experience unlike any other. With handcrafted wines, delicate desserts, and intimate seating in an exquisite mountain setting, Classically Uncorked presented by Meiomi Wine explores the remarkable depth and scope of music by today’s most cutting-edge composers. Co-curated by the Grammy-winning ensemble Third Coast Percussion, this year’s programs are spectacular sonic adventures featuring thrilling multimedia, transcendent artistry, and a Philip Glass premiere.

SERIES PRESENTED BY

Amy and Charlie Allen Big Delicious Catering The Francis Family The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair Meiomi Wine The Paiko Foundation Town of Vail

46 Learn more at BravoVail.org

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF:

SCHEDULE AT A GLANCE JUL

30 JUL

31 AUG

Reflections on Water: Paddle to the Sea............... 153 Third Coast, Reich, & Harrison.................................. 155 A Philip Glass Premiere....................................... 156

Learn more at BravoVail.org 47

EDUCATION & ENGAGEMENT DURING THE SUMMER For a look at our Education & Engagment Events beyond the summer check out page 148

FOR KIDS & FAMILIES Bravo! Vail’s vibrant education programs are a fun entry-point into the exciting world of classical music and help children of all ages develop a life-long appreciation of the arts.

FREE FAMILY CONCERTS

LITTLE LISTENERS @ THE LIBRARY

Bravo! Vail and the National Repertory Orchestra collaborate to present Meet the Orchestra, a fun, informative encounter with today’s most talented young musicians on a journey to discover music “Made in America.” Don’t miss the interactive Instrument Petting Zoo before the performance!

Bravo! Vail’s 2019 resident musicians travel throughout the Vail Valley to perform free, fun, and engaging programs for children and families. Kids enjoy amazing music and participate in musical activities like instrument petting zoos where they can hold, explore, and play musical instruments. Great for our very youngest listeners (or music lovers!).

FOR ADULTS

Promoting a life-long appreciation of the arts.

PREMIER BENEFACTOR ($50,000 and above) The Paiko Foundation

PRE-CONCERT TALKS Led by renowned musicologists and designed to create deeper connections to the evening’s program, these talks are held one hour prior to select concerts and are free for concert ticketholders. Whether through fun facts about a composer’s life, exploring symphonic structure, or learning about the story behind an innovative work, patrons will leave intrigued, invigorated, and ready to get the most out of the music. Pre-Concert Talks are presented by Wall Street Insurance in partnership with Cincinnati Insurance.

SPECIAL COLLABORATIONS

PLATINUM ($30,000 and above) Bravo! Vail Guild IMPRESARIO ($25,000 and above) Virginia J. Browning Kathy and David Ferguson Donna and Patrick Martin VIRTUOSO ($20,000 and above) Linda and Mitch Hart

INSIDE THE MUSIC Gain intriguing insight and unique perspective during these free, informative talks and Master Classes held on select Wednesdays at 1:00PM at the Vail Interfaith Chapel. Inside the Music events are presented by The Paiko Foundation

Collaborative partnerships make the music available to audiences who cannot attend Festival performances. Bravo! Vail takes the music to campers at Roundup River Ranch, and to patients at two of Vail Health’s locations throughout the valley: Vail Campus and Jack’s Place. 48 Learn more at BravoVail.org

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES THE SUPPORT OF THE FOLLOWING PATRONS

OVATION ($15,000 and above) Dierdre and Ronnie Baker Sandi and Leo Dunn Cookie and Jim Flaum Town of Gypsum ALLEGRO ($10,000 and above) Alpine Bank Diane and Lou Loosbrock Anne-Marie McDermott and Michael Lubin Marcy and Gerry Spector BENEFACTOR ($5,000 and above) Kelly and Sam Bronfman, II Gallegos Corporation Sue and Dan Godec Judy and Alan Kosloff Barbie and Tony Mayer Ferrell and Chi McClean Amy and James Regan June and Paul Rossetti Elaine and Steven Schwartzreich Carol and Kevin Sharer Slifer Smith & Frampton Foundation

For event dates, times, and locations see the 2019 season at a glance on pages 34-35

Experiences for music lovers of all ages!

MUSIC BEYOND THE CONCERT HALL

PROFESSIONAL DEVELOPMENT Bravo! Vail supports and nurtures the next generation of performers. PIANO FELLOWS 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. Bravo! Vail is pleased introduce the 2019 Piano Fellows: Aristo Sham and Angie Zhang.

CHAMBER MUSICIANS IN RESIDENCE

FREE CONCERT SERIES

BRAVO! VAIL AFTER DARK

Take a break from the day with a free, hourlong chamber music concert performed by the Festivalâ&#x20AC;&#x2122;s renowned musicians. These programs offer a wide variety of repertoire, and are held in beautiful and unique community venues throughout the Vail Valley.

Sundays @ Shakedown 8:30PM | $10 Per Ticket Boundary-defying musicians set up at Shakedown Bar to create a truly original concert experience. Hear vibrant performances, from classical pieces to innovative contemporary works and cutting-edge premieres, in a casual, intimate venue.

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 AnneMarie McDermott and other renowned Festival musicians. Bravo! Vail is pleased to introduce this yearâ&#x20AC;&#x2122;s Chamber Musicians in Residence: the Omer Quartet, the Verona Quartet, The Brass Project, and accordionist Hanzhi Wang.

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 highlyqualified interns each summer who aspire to develop their skill sets, network with successful professionals, and work on diverse projects.

Learn more at bravovail.org Learn more at BravoVail.org 49

WELCOME TO BRAVO! VAIL’S FIRST-EVER

VIRTUAL GIVING GALA JUNE 20–JULY 25

From June 20 – July 25, you can support Bravo! Vail’s mission in many ways. Your contribution brings world class performances, inspiration, engagement, and education for the entire community. WAYS TO PARTICIPATE: • Purchasing a virtual ticket or table. These purchases are symbols of your generous contribution towards Bravo! Vail’s mission and vision. • Donating to Bravo! Vail’s Education and Engagement Programs that foster music education and promote a lifelong appreciation of the arts.* • Bidding on exclusive packages and experiences available in our online auction.

On behalf of the thousands of children and adults whose lives have been enriched by your support—thank you.

For more information, please contact Shelley Pinkham, Director of Development, at 970.827.4327 or SPinkham@bravovail.org. BRAVOVAIL.ORG/GALA *Refer to page 149 for more details on supporting Education and Engagement Programs. 50

MUTTER PLAYS MOZART PART I

ANNE-SOPHIE MUTTER & CHAMBER ORCHESTRA VIENNA – BERLIN JUN

THURSDAY JUNE 20, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: GINA BROWNING AND JOE ILLICK AMY AND STEVE COYER CATHY AND HOWARD STONE

SPECIAL GRATITUDE TO: The Friends of the Chamber Orchestra Vienna – Berlin The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation

SPONSORED BY: Janet Pyle and Paul Repetto Terie and Gary Roubos

SOLOIST SPONSORS: Anne-Sophie Mutter, violin, sponsored by Valerie and Robert Gwyn

JUN

THURSDAY JUNE 20, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

ANNE-SOPHIE MUTTER & CHAMBER ORCHESTRA VIENNA – BERLIN Rainer Honeck, concertmaster

MOZART Violin Concerto No. 2 in D major, K. 211 (19 minutes) Allegro moderato Andante Rondeau: Allegro

MOZART Violin Concerto No. 3 in G major, K. 216, “Strassburg” (24 minutes) Allegro Adagio Rondo: Allegro-Andante-Allegretto

— INTERMISSION — MOZART Violin Concerto No. 5 in A major, K. 219, “Turkish” (31 minutes) Allegro aperto Adagio Tempo di Menuetto — Allegro — Tempo di Menuetto

52 Learn more at BravoVail.org

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

Janice Dickensheets (University of Northern Colorado), speaker

MUTTER PLAYS MOZART PART I Violin Concerto No. 2 in D major, K. 211 (1775) Violin Concerto No. 3 in G major, K. 216 (1775) Violin Concerto No. 5 in A major, K. 219, “Turkish” (1775) WOLFGANG AMADEUS MOZART (1756-1791)

he name of Mozart brings to mind the breathtaking array of compositions he left to posterity. To his contemporaries, however, he was also known as one of the foremost instrumentalists of the day. His masterful piano playing was lauded in Vienna, London, Paris and elsewhere, and his reputation for tasteful virtuosity persisted for several decades after his death. Less known was his extraordinary talent on the violin. His father, Leopold, was a renowned teacher of the instrument who issued a popular tutor for violin instruction in 1756, the year of Wolfgang’s birth. It was probably inevitable that young Mozart learned the violin early and well, and he displayed it as one of his chief accomplishments on his first tour in 1763. He was seven. Upon his return to Salzburg from his debut trip to Italy in 1770 (age fourteen), he was appointed concertmaster of the Court Orchestra, a position he held until moving to Vienna in 1781. Leopold had a high opinion of his son’s ability and told him, “You have no idea how well you play the violin. If you would play with boldness, spirit and fire, you would be the first violinist in Europe.” Wolfgang was, however, more interested in the keyboard than in the violin, and after he left Salzburg he never picked up the violin again, preferring to play viola in his string quartet sessions in Vienna. Mozart’s five violin concertos were all products of a single year, 1775. At nineteen, he was already a veteran of five years experience as concertmaster in the Salzburg archiepiscopal music establishment, for which his duties included not only playing, but also composing, acting as co-conductor with the keyboard performer (modern conducting did not originate for at least two more decades), and soloing in concertos. It was for this last function that he wrote these concertos. He was, of course, a quick study at all he did, and each of these concertos builds on the knowledge gained from its predecessors. It was with the last three

(K. 216, K. 218, K. 219) that something more than simple experience emerged, however, because it is with those works that Mozart entered the age of his maturity. They are his earliest pieces now regularly heard in the concert hall. Mozart had spent some seven of his nineteen years on the road — Paris, London, Vienna, Italy, Munich — by the time he wrote the violin concertos, and the Second Concerto is imbued with some of the many influences he absorbed along the way. The opening Allegro begins with a unison flourish and proceeds with a refined, galant movement decorated with many trills and decorative figurations, both traits favored in France. In several passages, the movement’s orchestration shows the influence of the Italian concerto in its reduced accompaniment to support the soloist. The music’s tunefulness is a quality fostered by John Christian Bach (Johann Sebastian’s youngest son) while the two played fugues to each other in London — Mozart was six at the time. The soulful Andante derives from the style of the Italian opera aria. The finale, a Rondeau, is not only French in its title but also shows such Parisian niceties as the immediate appearance of the soloist at the start and the inclusion of a minor-key episode. The opening movement of the G major Concerto is one of Mozart’s perfectly balanced sonata-concerto forms. The orchestral introduction presents at least four thematic kernels: PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 196

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF CHAMBER ORCHESTRA VIENNA – BERLIN GRAND BENEFACTOR

ALLEGRO ($10,000+)

($100,000+)

The Paiko Foundation

The Sidney E. Frank Foundation Cathy and Howard Stone

PREMIER BENEFACTOR

BENEFACTOR ($5,000+)

($50,000+)

John Dayton Shelby and Frederick Gans 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 Chamber Orchestra Vienna - Berlin while in residency at Bravo! Vail. Pre-Concert Talks are presented by Wall Street Insurance in partnership with Cincinnati Insurance. Tonight’s Pre-Concert Donor Reception is presented by Fidelity Investments.

INSIDE STORY

MUTTER’S MUSICAL EVOLUTION “I remember one of the first moments when I put the violin on my shoulder, and the feeling of total unity: a déjà vu, a kind of ease. That was the beginning of a lifelong passion. I was never quite satisfied with my performance as a teenager. Not that I’m always satisfied with my performances today, because recreating art is always a work in progress. It’s never totally what you’re dreaming of. “As you become older you become more aware of what people might expect from you or what you might have to do in order to attract attention, which is losing your artistic innocence, which one should avoid at any price! Of course, over the years you become more self-critical, and it’s always difficult to keep the balance between the part of your brain that tells you, ‘this is just horrible,’ and the other part that tells you, ‘this is the most divine thing ever.’ Between these two poles, you hopefully reach an interpretation which is different from the night before, and some kind of evolution between your musical past and present.” 53

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MUTTER PLAYS MOZART PART II

ANNE-SOPHIE MUTTER & CHAMBER ORCHESTRA VIENNA – BERLIN JUN

SATURDAY JUNE 22, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: JEANNE AND JIM GUSTAFSON

SPECIAL GRATITUDE TO: The Friends of the Chamber Orchestra Vienna – Berlin The Paiko Foundation

SPONSORED BY: Patricia and Peter Kitchak Sally and Byron Rose Judy and Martin Shore

SOLOIST SPONSORS:

Anne-Sophie Mutter, violin, sponsored by Linda Farber Post and Dr. Kalmon D. Post

JUN

SATURDAY JUNE 22, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

ANNE-SOPHIE MUTTER & CHAMBER ORCHESTRA VIENNA – BERLIN Rainer Honeck, concertmaster

MOZART Divertimento for Oboe, Two Horns and Strings in D major, K. 251 (26 minutes) Allegro molto Menuetto Andantino Menuetto: Tema con Variazioni Rondeau: Allegro assai Marcia alla francese

MOZART Violin Concerto No. 1 in B-flat major, K. 207 (21 minutes) Allegro moderato Adagio Presto

— INTERMISSION — MOZART Symphony No. 1 in E-flat major, K. 16 (12 minutes) Allegro molto Andante Presto

MOZART Violin Concerto No. 4 in D major, K. 218 (29 minutes) Allegro Andante cantabile Rondeau: Andante grazioso

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

Abigail Shupe (Colorado State University), speaker

MUTTER PLAYS MOZART PART II Divertimento for Oboe, Two Horns and Strings in D major, K. 251 (1776) WOLFGANG AMADEUS MOZART (1756-1791)

ozart composed this D major Serenade during the summer of 1776, apparently in celebration of the 25th birthday (July 30th) or the name-day (July 25th) of his sister, Nannerl. It was heard again the following summer as a Final-Musik, an outdoor serenade provided to their professors by the students of Salzburg University at the end of the annual term. Mozart is said to have fashioned the piece to please Nannerl’s taste for things French by including in it a rondeau and a closing “Marcia alla francese.” The opening Allegro is a compact essay in sonata form whose second theme, given by the oboe, is inflected with a certain bittersweet nostalgia that presages Mozart’s masterworks of his later years. There follows an elegant Minuet. The Andantino glows with Rococo grace but closes with a fast-tempo, music-box parody of itself. Next comes an unusual Minuet with Variations, in which the original Minuet returns intact to separate the three variations. Mozart constructed the Rondeau in the French manner, in quickstep duple meter rather than in the swinging 6/8 galop often found in the German variety of the form. An understated March alla francese closes this delightful Divertimento.

Violin Concerto No. 1 in B-flat major, K. 207 (1775) Violin Concerto No. 4 in D major, K. 218 (1775) FOR ADDITIONAL INFORMATION ON MOZ ART ’S VIOLIN CONCERTOS, PLEASE SEE THE PROGRAM NOTES ON PAGE 52

The Violin Concerto No. 1 opens with an orchestral introduction that presents the movement’s two most important themes: a vigorous, sunny strain given by the full ensemble with a demure response led by the oboes and a motive in snappier rhythms that alternates quickly between loud and soft. The soloist enters and elaborates these ideas before an orchestral tutti leads to the movement’s central section, which is a digression through 56 Learn more at BravoVail.org

various keys using new material rather than a development of the exposition’s themes. The Adagio, more pretty than profound, follows a loose sonata form. The sparkling finale is organized in three large structural paragraphs that all draw on the motives given in the orchestral introduction. The D major Concerto opens with a mock-military fanfare, answered immediately by a balancing phrase of characteristic Mozartian suavity. The orchestral introduction continues with a lyrical contrasting theme presented by oboe and violins before the soloist enters. The movement’s central section is less a true development of earlier motives than a free fantasia of pearly scales and flashing arpeggios. The recapitulation begins without fuss as the soloist tosses off an altered version of the main theme. The remaining themes are recalled before the soloist is allowed a cadenza. The second movement is sonatina in form (sonata without development section) and moonlight-tender in mood. In contrast, the finale is dance-like and outgoing, an ingenious international blend of open-faced Italian melody, French elegance and German structural sophistication in its blend of rondo and sonata forms. PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 196

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF CHAMBER ORCHESTRA VIENNA – BERLIN GRAND BENEFACTOR

ALLEGRO ($10,000+)

($100,000+)

The Paiko Foundation

The Sidney E. Frank Foundation Cathy and Howard Stone

PREMIER BENEFACTOR

BENEFACTOR ($5,000+)

($50,000+)

John Dayton Shelby and Frederick Gans 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

INSIDE STORY

THE MOZART EFFECT Can listening to Mozart really make you smarter? The phrase “the Mozart Effect” was coined by Dr. Alfred A. Tomatis, a physician who promoted alternative treatments for dyslexia, autism, and other learning disorders. In 1991, Dr. Tomatis released a book, titled Pourquoi Mozart?, which argued that listening to Mozart’s music promotes positive health benefits—mentally, physically, and emotionally. A study in the journal Nature two years later sparked widespread public interest, and the idea that classical music somehow improves the brain took off. Parents all over the world started playing Mozart to their children. In 1998, Zell Miller, the Governor of Georgia, even requested that money be set aside in the state budget so that every newborn baby could be sent a classical music CD. It’s not just babies and children who were deliberately exposed to Mozart’s melodies. When Sergio Della Sala, the psychologist and author of the book, Mind Myths, visited a mozzarella farm in Italy, the farmer proudly explained that the buffalos listened to Mozart three times a day to help them to produce better milk. 57

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HAYDN CELLO CONCERTO & MOZART

CHAMBER ORCHESTRA VIENNA – BERLIN JUN

SUNDAY JUNE 23, 6:00PM ORCHESTRA SERIES

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

SPECIAL GRATITUDE TO: The Friends of the Chamber Orchestra Vienna – Berlin The Paiko Foundation

SPONSORED BY: Holly and Ben Gill Mrs. Jean Graham-Smith and Mr. Philip Smith Anne and Hank Gutman Nancy and Richard Lubin

JUN

SUNDAY JUNE 23, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

CHAMBER ORCHESTRA VIENNA – BERLIN Rainer Honeck, Artistic Director and concertmaster Luíz Fïlíp Coelho, violin Sebastian Bru, cello* Knut Weber, cello* Clemens Horak, oboe

HAYDN Symphony No. 59 in A major, “Fire” (22 minutes) Presto Andante o più tosto Allegretto Menuetto Allegro assai

MOZART Concertone for Two Violins, Oboe, Cello and Orchestra in C major, K. 190 (K. 186E) (30 minutes) Allegro spiritoso Andantino grazioso Tempo di Menuetto. Vivace

— INTERMISSION — HAYDN Cello Concerto No. 1 in C major, H. VIIb:1 (26 minutes) Moderato Adagio Allegro molto

HAYDN Symphony No. 49 in F minor, “La Passione” (22 minutes) Adagio Allegro di molto Menuet Finale: Presto * Mr. Weber performs in the Haydn’s Cello Concerto; Mr. Bru performs in the Mozart Concertone.

60 Learn more at BravoVail.org

HAYDN CELLO CONCERTO & MOZART Symphony No. 59 in A major, “Fire” (1767-1768) JOSEPH HAYDN (1732-1809)

mong the most eagerly awaited visitors to Esterháza Palace, where Haydn was music director, was the theatrical troupe of Karl Wahr, a fine actor and a capable businessman. In 1774, Wahr’s troupe mounted Die Feuerbrunst (“Fire-Passion”) by Gustav Friedrich Wilhelm Grossman (1746-1796), for which Haydn apparently drew incidental music from an A major Symphony he had composed six or seven years before. The dramatic nature of the music suggests it may have been intended for some earlier stage presentation, but no evidence to that effect has come to light and the nickname “Fire” has always been attached to this Symphony. It is one of Haydn’s most highly charged pieces. The opening Presto begins with a machine-gun theme of accelerating repeated notes suddenly broken off for a quiet chordal phrase. To these two elements — repeated notes and quiet phrase — is added the formal second theme, a playful motive of descending triplets. The repeated notes and triplets find a place in the compact development. The recapitulation of the earlier material and a dying close end the movement. A sad song for strings begins the Andante; formal and expressive balance is provided by a lyrical melody in a brighter key. The theme of the Menuetto is modeled on that of the Andante, but changed into a major mode; the central trio provides melancholy contrast. The finale, with its horn calls, oboes duets and propulsive rhythms, provides a jolly ending for the Symphony.

Concertone for Two Violins, Oboe, Cello and Orchestra in C major, K. 190 (K. 166b) (1773) WOLFGANG AMADEUS MOZART (1756-1791)

The Concertone, written when he was seventeen, is Mozart’s first original concerto, his earlier works in the form having been arrangements of music by other composers. He seems to have intended the unusual title to mean “grand concerto,” and it is indeed large both in its group of soloists led by the two violins and in its temporal length. It is his only so-named work; there is evidence of a few other concertones by his contemporaries (the Salzburg Kapellmeister, for example, placed an order for such pieces with Joseph Mysliveczek in November 1777; two were delivered in January), though none of that music is known

to exist. As with many of Mozart’s early works, the Concertone quarries several stylistic mines: French, in its instrumental layout, forceful opening coup d’archet or “first stroke of the bow,” and general galanterie; Italian, in its lyricism and a certain formal prolixity then characteristic of Milanese instrumental works; Mannheim, in some of its melodic gestures and exploitation of orchestral resources; and Viennese, in its harmonic daring and thematic development. Mozart’s melodic fecundity, everywhere evident in the Concertone’s three movements, here leads to a looseness of form that he was not fully able to remedy until the last three Violin Concertos of 1775. Much of the interest in the Concertone therefore lies in his handling of the concertante group, which at times extends even beyond the four designated soloists to include a second oboe, a double bass and a pair of violas. While it only hints at the sublime concerted works that he would later write, the C major Concertone is filled with true Mozartian charm, grace and beauty.

Cello Concerto No. 1 in C major, H. VIIb:1 (early 1760s) JOSEPH HAYDN

Haydn composed the C major Cello Concerto in the early 1760s for Joseph Franz Weigl, a musician in the Esterháza orchestra and a close friend for many years. It is one of few works in which all three movements are in the same form, as PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 196

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF CHAMBER ORCHESTRA VIENNA – BERLIN GRAND BENEFACTOR

ALLEGRO ($10,000+)

($100,000+)

The Paiko Foundation

The Sidney E. Frank Foundation Cathy and Howard Stone

PREMIER BENEFACTOR

BENEFACTOR ($5,000+)

($50,000+)

John Dayton Shelby and Frederick Gans 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 Chamber Orchestra Vienna - Berlin while in residency at Bravo! Vail.

INSIDE STORY

A MUSICAL BROMANCE Haydn was already a renowned composer when Mozart was young, and inspired a set of six string quartets, K. 168-173, the 17-year-old Mozart wrote during a visit to Vienna. Haydn even lent young Mozart his personal copy of the famous Baroque counterpoint textbook Gradus ad Parnassum, which was covered with Haydn’s personal annotations. By the time the two finally met in person, likely around Christmas of 1783, Haydn was the most celebrated composer in Europe and Mozart’s star was on a rapid rise. They quickly discovered a strong kinship which evolved into deep friendship and mutual admiration. Haydn wrote, “If I could only impress on the soul of every friend of music, and on high personages in particular, how inimitable are Mozart’s works, how profound, how musically intelligent, how extraordinarily sensitive! (for this is how I understand them, how I feel them) — why then the nations would vie with each other to possess such a jewel within their frontiers.” Mozart, responding to a fellow composer’s criticism: “You could melt the two of us together, and we would still not add up to a Haydn!” 61

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JUN

TUESDAY JUNE 25, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

GOGEL RESIDENCE, PILGRIM DOWNS

THE LINDA AND MITCH HART SOIRÉE SERIES

James Ehnes, violin Andrew Armstrong, piano

JAMES EHNES PERFORMS BEETHOVEN

SELECTIONS WILL BE ANNOUNCED FROM THE STAGE

he curtain rises on Bravo! Vail’s mini-celebration of LUDWIG VAN BEETHOVEN (1770-1827) with the dazzling craftsmanship of his violin sonatas. James Ehnes and Andrew Armstrong, old friends who have been recording and performing together for years, released their recording of these landmark works in 2017 to worldwide acclaim: “Violinist James Ehnes and pianist Andrew Armstrong play together with an easy spark and suppleness that only old friends really can. In the past they’ve done excellent things with Franck, Strauss, Debussy and Elgar; now they turn to Beethoven with the same combination of light touch and searing focus. There’s a clarity of ideas that means they never have to overstate... The uncluttered, conversational generosity of this duo speaks volumes.” (The Guardian)

CATERED BY VAIL CATERING CONCEPTS, ERIC BERG

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE FROM: THIS EVENING’S HOSTS Georgia and Don Gogel

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

SPONSORED BY B-Line Xpress Vail Catering Concepts Vintage Magnolia West Vail Liquor Mart

JAMES EHNES 63

JUN

TUESDAY JUNE 25, 6:00PM F R E E FA M I LY CO N C E R T

LUNDGREN AMPHITHEATER, GYPSUM

JUN

WEDNESDAY JUNE 26, 6:00PM F R E E FA M I LY CO N C E R T

GERALD R. FORD AMPHITHEATER, VAIL

Instrument Petting Zoo and other activities for the whole family starting at 6:00PM

ONE-HOUR CONCERT STARTS 6:45 PM

NATIONAL REPERTORY ORCHESTRA Jason Seber, conductor Musical Selections by LEONARD BERNSTEIN AARON COPLAND JOAN TOWER ANTONÍN DVOŘÁK GABRIELA LENA FRANK

FREE FAMILY CONCERTS

MADE IN AMERICA

his summer for the first time in their long-standing partnership Bravo! Vail and the National Repertory Orchestra are working together to create a new kind of concert for family audiences. This year’s Free Family Concerts feature an engaging “introduction to the orchestra” specially designed by the NRO players themselves with the help of a team of devoted educators, music administrators, and the exciting young conductor: Jason Seber. Join us in the special event “Made in America: An Introduction to the Symphony” as the players introduce each section of the orchestra through the amazing breadth of what is “American” music — from the classic sounds of Aaron Copland to the South American influenced style of Joan Tower to vibrant rhythms of composers influenced by Central America and beyond. The evening starts at 6:00PM with an engaging Instrument Petting Zoo and activies, followed by this interactive concert, in which each section of the orchestra is featured, and with the help of the players, the audience will compose its very own Fanfare for Vail! Meet tomorrow’s leading orchestra players today.

DID YOU KNOW? THE PRINCIPAL TRUMPETS IN ALL THREE OF BRAVO! VAIL’S RESIDENT SYMPHONY ORCHESTRAS ARE ALUMNI OF THE NATIONAL REPERTORY ORCHESTRA.

64 Learn more at BravoVail.org

INSIDE STORY

DID YOU KNOW? MEMBERS FROM THE NATIONAL REPERTORY ORCHESTRA

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT IN GYPSUM FROM: Dierdre and Ronnie Baker Virginia J. Browning Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum The Lyn and Phillip Goldstein Maestro Society Diane and Lou Loosbrock The Paiko Foundation Slifer Smith & Frampton Foundation Town of Gypsum

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT IN VAIL FROM: Dierdre and Ronnie Baker Virginia J. Browning Costco Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum The Lyn and Phillip Goldstein Maestro Society Diane and Lou Loosbrock The Paiko Foundation Slifer Smith & Frampton Foundation

The National Repertory Orchestra is comprised of 100 of the finest musicians in the country between the ages of 18 and 29. Through a demanding audition process these young people have been chosen to spend their summer in Breckenridge, CO, honing their skills as orchestral musicians. Their passion for playing their instruments has led them to pursue a professional career in music, and the NRO is their elite summer training program. Operating since 1960, alumni of the NRO today hold positions in virtually every major American Orchestra including the Dallas Symphony Orchestra, The Philadelphia Orchestra, and the New York Philharmonic. This concert is specially designed by the players themselves with the help of a team of devoted educators, music administrators, and the exciting young conductor Jason Seber. Embarking on his fourth season as Associate Conductor with the Kansas City Symphony, Jason has made an indelible mark in the Symphony’s musical offerings, having lead the orchestra in more than 75 concerts each season.

BEETHOVEN: PIANO & VIOLIN CONCERTOS

DALLAS SYMPHONY ORCHESTRA JUN

FRIDAY JUNE 28, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: LINDA AND MITCH HART

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

SPONSORED BY: Susan and Van Campbell Debbie and Jim Donahugh Brenda and Joe McHugh Carole A. Watters

SOLOIST SPONSORS: James Ehnes, violin, sponsored by Bobbi and Richard Massman Anne-Marie McDermott, piano, sponsored by Carol and Ronnie Goldman Donald Runnicles, conductor, sponsored by Sue and Michael Callahan

JUN

FRIDAY JUNE 28, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

DALLAS SYMPHONY ORCHESTRA Donald Runnicles, conductor Anne-Marie McDermott, piano James Ehnes, violin

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

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

BEETHOVEN

BEETHOVEN: PIANO & VIOLIN CONCERTOS

Overture to Fidelio, Op. 72c (6 minutes)

Overture to Fidelio, Op. 72c (1814) LUDWIG VAN BEETHOVEN (1770-1827)

BEETHOVEN Piano Concerto No. 1 in C major, Op. 15 (36 minutes) Allegro con brio Largo Rondo: Allegro scherzando

— INTERMISSION — BEETHOVEN Violin Concerto in D major, Op. 61 (45 minutes) Allegro ma non troppo Larghetto — Rondo: Allegro

68 Learn more at BravoVail.org

eethoven devoted a decade (1804-1814) to his only opera, Fidelio, and the most visible remnants of his extensive revisions are the quartet of overtures he composed for the work. The first version of the opera, written between January 1804 and early autumn 1805, was initially titled Leonore after the heroine, who courageously rescues her husband from his wrongful incarceration. For that production, Beethoven wrote the Leonore Overture No. 1, utilizing themes from the opera. The composer’s early biographer Anton Schindler recorded that Beethoven rejected that first attempt after hearing it privately performed at Prince Lichnowsky’s palace before the premiere. (Another theory, supported by recent examination of the paper on which the sketches were made, holds that this work was written in 1806-1807 for a projected performance of the opera in Prague that never took place, thus making Leonore No. 1 the third of the Fidelio overtures.) Beethoven then composed a second overture, Leonore No. 2, and that piece was used at the first performance, on November 20, 1805. (The management of Vienna’s Theater-an-der-Wien, site of the premiere, insisted on changing the title from Leonore to Fidelio to avoid confusion with Ferdinand Paër’s Leonore.) The opera foundered. Not only was the audience largely populated by French officers of Napoleon’s army (which had invaded Vienna exactly one week earlier) but also there were problems with Fidelio’s dramatic structure. Beethoven was encouraged by his aristocratic supporters to rework the opera and present it again. That second version, for which the magnificent Leonore Overture No. 3 was written, was presented in Vienna on March 29, 1806, but met with only slightly more acclaim than its forerunner. In 1814, some members of the Court Theater approached Beethoven, by then Europe’s most famous composer, about reviving Fidelio. The idealistic subject of the opera had never been far from his thoughts, and he agreed to the project. The libretto was revised yet again, and Beethoven rewrote all the numbers in the opera and changed their order to enhance the

work’s dramatic impact. The new Fidelio Overture, the fourth he composed for his opera, was among the revisions.

INSIDE STORY

Piano Concerto No. 1 in C major, Op. 15 (1795) Beethoven came to Vienna for good in 1792, having made an unsuccessful foray in 1787, and quickly attracted attention for his piano playing. His appeal was in an almost untamed, passionate, novel quality in both his manner of performance and his personality, characteristics that first intrigued and then captivated those who heard him. It was for his own concerts that Beethoven composed the first four of his five mature piano concertos. The opening movement of the First Piano Concerto is indebted to Mozart for its handling of the concerto-sonata form, for its technique of orchestration, and for the manner in which piano and orchestra are integrated. Beethoven added to these quintessential qualities of the Classical concerto a wider-ranging harmony, a more openly virtuosic role for the soloist, and an emotional weight characteristic of his large works. The Largo is a richly colored song PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 197

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

SOLOIST ($7,000+)

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

Carol and Ronnie Goldman Bobbi and Richard Massman

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

VIRTUOSO ($20,000+) ANB Bank and The Sturm Family Marilyn Augur Marcy and Steve Sands

OVATION ($15,000+) Margie and Chuck Steinmetz Carole A. Watters

ALLEGRO ($10,000+)

John Dayton Alexia and Jerry Jurschak Brenda and Joe McHugh Sammye and Mike A. Myers

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 are the official homes of the Dallas Symphony Orchestra while in residency at Bravo! Vail. Pre-Concert Talks are presented by Wall Street Insurance in partnership with Cincinnati Insurance.

EHNES ON BEETHOVEN “I’ve known the Beethoven Violin Concerto for as long as I can remember. My parents had several recordings that I listened to, but I was about seven when I first heard it in concert. Dmitry Sitkovetsky came to play with the Winnipeg Symphony in my home town of Brandon, Manitoba, and although I already knew it was a beautiful piece, that day it came alive for me. “The piece requires great refinement, consistency, and complete and unbroken concentration, and for that reason always remains a challenge. So much can be learned from the experience of playing it; on every occasion, you hopefully know the general ideas you want to express, but the journey you make to get there will be different. “The Beethoven Concerto is a perfect opportunity for one to take a step back and listen to what you’re doing. It’s such a refined piece, it’s perfect for you to examine and listen to the persuasiveness of your own playing.” 69

BEETHOVEN TRIPLE & SYMPHONY 7

DALLAS SYMPHONY ORCHESTRA JUN

SATURDAY JUNE 29, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: THE SIDNEY E. FRANK FOUNDATION SHIRLEY AND WILLIAM S. MCINTYRE, IV

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

SPONSORED BY: Cindy and Guy Griffin Alexia and Jerry Jurschak Kathie Mundy and Fred Hessler Debbie and Fred Tresca

SOLOIST SPONSORS: James Ehnes, violin, sponsored by Sam B. Ersan Annie-Marie McDermott, piano, sponsored by Sam B. Ersan Daniel Müller-Schott, cello, sponsored by Sheika and Pepi Gramshammer Donald Runnicles, conductor, sponsored by B-Line Xpress

JUN

SATURDAY JUNE 29, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

DALLAS SYMPHONY ORCHESTRA Donald Runnicles, conductor James Ehnes, violin Daniel Müller-Schott, cello Anne-Marie McDermott, piano

BEETHOVEN Leonore Overture No. 3, Op. 72b (14 minutes)

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

Jonathan Bellman (University of Northern Colorado), speaker

BEETHOVEN TRIPLE & SYMPHONY 7 Leonore Overture No. 3, Op. 72b (1806) LUDWIG VAN BEETHOVEN (1770-1827)

For more information on this work, please see the notes

BEETHOVEN

for the Fidelio Overture on page 68.

Concerto for Violin, Cello, Piano and Orchestra in C major, Op. 56, “Triple Concerto” (36 minutes) Allegro Largo — Rondo alla Polacca

— INTERMISSION — BEETHOVEN Symphony No. 7 in A major, Op. 92 (40 minutes) Poco sostenuto — Vivace Allegretto Presto Allegro con brio

he Leonore Overture No. 3 distills the opera’s essential dramatic progression into purely musical terms: the triumph of good over evil, the movement from darkness to light, from subjugation to freedom. The Overture begins with a broad, slow introduction, by turns lugubrious and threatening, during which the clarinets and bassoons intone the opening phrases of the aria Florestan sings in his dungeon prison. In a faster tempo, the violins present the arch-shaped main theme; the lyrical strain is introduced by flute and violins. The development is filled with sudden dynamic changes and expressive harmonic excursions that mirror the struggles of the play. Then, in an unforgettable coup de théâtre, a distant trumpet call signals deliverance for Florestan and his faithful Leonore. The recapitulation of the themes glows in triumph before a jubilant coda brings this superb work to a stirring close.

Concerto for Violin, Cello, Piano and Orchestra in C major, Op. 56, “Triple Concerto” (1803-1804) “Everyone likes flattery; and when you come to Royalty you should lay it on with a trowel,” counseled the 19th-century British statesman Benjamin Disraeli. He would have gotten no argument from Beethoven. When Rudolph, Archduke of Austria and titled scion of the Habsburg line, turned up among Beethoven’s Viennese pupils, the young composer realized he had tapped into the highest echelon of European society. Beethoven gave instruction in both piano and composition to Rudolph, who had a genuine if limited talent for music. Concerning flattery, the most important manner in which 19th-century composers could praise royalty was by dedicating a composition to a noble personage. Beethoven wrote the Triple Concerto for Rudolph, who eventually 72 Learn more at BravoVail.org

became Archbishop Cardinal of Austria and remained a lifelong friend and patron of the composer, and dedicated to him such important works as the Fourth and Fifth Piano Concertos, “Lebewohl” and “Hammerklavier” Sonatas, Op. 96 Violin Sonata, “Archduke” Trio, Missa Solemnis and Grosse Fuge. The “Triple” Concerto’s first movement is a modified sonata design with a lengthy exposition and recapitulation necessitated by the many thematic repetitions needed to give equal prominence to the three soloists. After a hushed and halting opening in the strings, the full orchestra takes up the main thematic material of the movement. The soloists enter, led, as usual throughout this Concerto, by the cello with the main theme. The second theme begins, again in the cello, with a snappy broken chord. Much of the remainder of the movement is given over to repetitions and figurations rather than to true motivic development. A sudden quickening of the tempo charges the concluding measures of the movement with flashing energy. The second movement is a peaceful song for the solo strings with elaborate embroidery for the piano. The finale is a strutting Rondo alla Polacca in the style of the Polish polonaise.

INSIDE STORY

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

MCDERMOTT ON BEETHOVEN

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

SOLOIST ($7,000+)

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

Carol and Ronnie Goldman Bobbi and Richard Massman

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

VIRTUOSO ($20,000+) ANB Bank and The Sturm Family Marilyn Augur Marcy and Steve Sands

OVATION ($15,000+) Margie and Chuck Steinmetz Carole A. Watters

ALLEGRO ($10,000+) John Dayton Alexia and Jerry Jurschak Brenda and Joe McHugh Sammye and Mike A. Myers

“When I was younger, Beethoven was always a challenge, and it was because I did not understand two things. First, there is the weightiness of sound. You can’t play Beethoven like Mozart. It demands more weight from the arm and shoulder, which provides a darker sound. Then, second, the subito (‘immediately’) dynamics are crazy challenging — that you flip in a millisecond from forte to piano, that’s not a natural reaction you have as a musician, but when you embrace it, it makes sense. “At first, Beethoven seems not very pianistic, not natural in the hands; but over time it becomes natural. As you absorb the language more, it grows more comfortable. I like to believe he intended the struggle to be heard — that he knew how hard it was and that it adds to the intensity of his music. I wish I could ask him about it.” 73

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JURASSIC PARK IN CONCERT

DALLAS SYMPHONY ORCHESTRA JUN

SUNDAY JUNE 30, 7:30PM ORCHESTRA SERIES

TOWN OF VAIL NIGHT THIS EVENING’S PERFORMANCE IS PRESENTED BY: DIERDRE AND RONNIE BAKER ANGELA AND PETER DAL PEZZO CYNNIE AND PETER KELLOGG DONNA AND PATRICK MARTIN

SPECIAL GRATITUDE TO:

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

SPONSORED BY: Letitia and Christopher Aitken Gina Browning and Joe Illick Mr. and Mrs. Arthur Kelton, Jr. Margie and Chuck Steinmetz U.S. Bank

JUN

SUNDAY JUNE 30, 7:30PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

DALLAS SYMPHONY ORCHESTRA Constantine Kitsopoulos, conductor

A STEVEN SPIELBERG FILM JURASSIC PARK Starring SAM NEILL LAURA DERN JEFF GOLDBLUM RICHARD ATTENBOROUGH BOB PECK MARTIN FERRERO B.D. WONG SAMUEL L. JACKSON WAYNE KNIGHT JOSEPH MAZZELLO ARIANA RICHARDS Live Action Dinosaurs STAN WINSTON Full Motion Dinosaurs by DENNIS MUREN, A.S.C. Dinosaur Supervisor PHIL TIPPETT Special Dinosaur Effects MICHAEL LANTIERI Music by JOHN WILLIAMS Film Edited by MICHAEL KAHN, A.C.E. Production Designer RICK CARTER Director of Photography DEAN CUNDEY, A.S.C. Based on the Novel by MICHAEL CRICHTON Screenplay by MICHAEL CRICHTON and DAVID KOEPP Produced by KATHLEEN KENNEDY and GERALD R. MOLEN Directed by STEVEN SPIELBERG, A UNIVERSAL PICTURE

Tonight’s program is a presentation of the complete film Jurassic Park with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. Jurassic Park is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All Rights Reserved.

The running time of this program is just over two hours and includes one brief intermission.

JURASSIC PARK IN CONCERT

inosaur fossils have been known since ancient times — the Chinese thought they were the remains of dragons, Europeans that they were from human giants or other Biblical creatures — but their earliest scholarly evaluation was in 1677 by Robert Plot, first curator of Oxford University’s Ashmolean Museum, though he still attributed them to Biblical giants. Further fossilized discoveries in Europe and America in the early 18th century heightened interest and research around these artifacts and it came to be realized that they were the remains of huge, long-extinct creatures thought to be ancestors of modern reptiles, dubbed by English paleontologist Richard Owen in 1842, “dinosaurs” — “terrible lizards.” Finds and knowledge multiplied quickly thereafter, and in 1868 the first reconstructed dinosaur skeleton (of Hadrosaurus foulkii) went on display at the Academy of Natural Sciences in Philadelphia. Other recovered specimens and many copies began to stalk the halls of similar institutions on both sides of the Atlantic, igniting an apparently insatiable and wide-spread curiosity about these remarkable, longvanished animals and the strange world they inhabited. Such stuff, of course, was manna for Hollywood, or, according to the tagline for Steven Spielberg’s 1993 blockbuster Jurassic Park, “An Adventure 65 Million Years in the Making.” The first film in which a dinosaur was represented was D.W. Griffith’s silent Brute Force of 1914, in which some of our ancient ancestors sensibly steered clear of the giant creatures. (Live-action movies set in the ancient past almost always show humans and dinos together, though we missed each other by at least 60 million years.) Also in 1914, American cartoonist Winsor McKay released the animated Gertie the Dinosaur, in which he tried to suggest the animal’s natural movements according to the latest research. Next came The Dinosaur and the Missing Link: A Prehistoric Tragedy, released in 1917 by Thomas Edison’s film company, Conquest Pictures, and The Ghost of Slumber Mountain (1918), the first movie to show live actors and stop-motion creatures together on screen. The Lost World (1925), based on the 1912 novel by Arthur Conan Doyle (famed as the creator of Sherlock Holmes), was a significant technical advance in dinosaur films, and the stop-motion specialeffects pioneer Willis O’Brien used his experience on that film to prepare for the classic King Kong of 1933. (Clips from all these remarkable early films are available on-line.) Some 200 movies featuring dinosaurs appeared during the following decades, most live-action with special-effects animals, and constantly sought more life-like representations of their

appearance and motions. Such was the challenge when Steven Spielberg decided to make a movie of Michael Crichton’s sciencefiction adventure novel Jurassic Park in 1989. Four studios vied for the rights to the book, but Crichton chose Spielberg and Universal Studios, not just because the director was a master of specialeffects movies — Close Encounters of the Third Kind, ET The ExtraTerrestrial and three Indiana Jones movies had all been mega-hits by then — but also because another Crichton novel had been the basis of Spielberg’s iconic 1975 summer-screamer, Jaws. Numerous techniques had been used to bring dinosaurs to life on screen — animation, stop-motion, mechanical contraptions, puppets, costumed actors, magnified reptiles — and Spielberg began immediately to round up the best special-effects artists in Hollywood to see what they could devise for Jurassic Park. They quickly realized that the new field of Computer-Generated Imagery would have to be used to create naturalistic images and rushed to develop a technology that would not only make Jurassic Park believable but would also pioneer a virtually limitless story-telling technique for the whole industry. The team began more than two years of work and regularly amazed Spielberg with their remarkable advances. When they showed him a flock of Gallimimus stampeding across a grassy valley in August 1992, he said they were ready to start filming — the Hawaiian island of Kauai PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 198

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

SOLOIST ($7,000+)

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

Carol and Ronnie Goldman Bobbi and Richard Massman

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

VIRTUOSO ($20,000+) ANB Bank and The Sturm Family Marilyn Augur Marcy and Steve Sands

OVATION ($15,000+) Margie and Chuck Steinmetz Carole A. Watters

INSIDE STORY

FUN FACTS BEHIND THE SOUNDS OF JURASSIC PARK “If people knew where the sounds in Jurassic Park came from, it’d be rated R!” according to sound designer Gary Rydstrom. “It’s somewhat embarrassing, but when the raptors bark at each other to communicate, it’s a mating tortoise. One of the key elements of the raptor screams was a boy dolphin in heat, so you can see a pattern here!” Other surprising sources of the terrifying pre-historic sounds include: • A donkey’s bray and a baby elephant’s trumpet, slowed down • The sound of a whale exhaling through its blowhole • Swans, rattlesnakes, and hawks • Rydstrom’s own breathing

ALLEGRO ($10,000+) John Dayton Alexia and Jerry Jurschak Brenda and Joe McHugh Sammye and Mike A. Myers

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

UNFORGETTABLE: 100 YEARS OF NAT & NATALIE COLE

DALLAS SYMPHONY ORCHESTRA JUL

MONDAY JULY 1, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: ANB BANK AND THE STURM FAMILY DOE BROWNING LYDA HILL MARCY AND STEVE SANDS MARY LYNN AND WARREN STALEY

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

SPONSORED BY: Barbara A. Allen Charitable Foundation Nancy Gage and Allan Finney Brooke and Hap Stein

SOLOIST SPONSORS: Dee Daniels, vocalist, sponsored by Joyce and Paul Krasnow Denzal Sinclaire, vocalist, sponsored by The Gorsuch Family Jeff Tyzik, conductor, sponsored by Kathy and Roy Plum

JUL

MONDAY JULY 1, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Dee Daniels, vocalist Denzal Sinclaire, vocalist BLOOM “Day In, Day Out”

AHLERT & TURK “Walking My Baby Back Home”

EVANS & LIVINGSTON “Mona Lisa”

ELLINGTON & RUSSELL “Don’t Get Around Much Anymore”

NOBLE “The Very Thought of You”

DEE DANIELS

FARRES “Quizás, Quizás, Quizás”

CHAPLIN, PARSONS, & PHILLIPS “Smile”

ARLEN, HARBURG, & ROSE “It’s Only a Paper Moon”

TROUP “Route 66”

GABLER & KAEMPFERT “Love”

— INTERMISSION — HEYMAN & YOUNG “When I Fall in Love”

JACKSON & YANCY “I’ve Got Love on My Mind” “This Will Be” “No Plans for the Future”

SHERMAN “To The Ends of The Earth”

AHBEZ “Nature Boy”

COLE & MILLS “Straighten Up and Fly Right”

JACKSON & YANCY “Inseparable”

LERNER & LOEWE “Almost Like Being in Love”

GORDON “Unforgettable” The running time of this concert is approximately 90 minutes including intermission.

UNFORGETTABLE: 100 YEARS OF NAT & NATALIE COLE

at King Cole, a celebrated jazz pianist early in his career, was propelled to stardom in the 1940s thanks to his silky baritone. Ranked alongside such contemporaries as Frank Sinatra, Perry Como, and Dean Martin, his storied career encompassed hit records, international touring, radio and television shows, and appearances in films. In the 1960s, Cole was one of the most prominent African-American entertainers during an era of tumultuous social change. It isn’t easy being the child of an superstar, and early in her singing career, Natalie Cole resisted the legacy of her famous father. With a jazzand-gospel-inflected voice whose power was undeniable, Cole not only emerged from the shadow of her legendary father— staking out her own successful career, selling more than 30 million albums and earning nine Grammy Awards— but embracing her family history with the 1991 album “Unforgettable … With Love,” which included a series of her father’s favorite standards and a “virtual” duet of one of his signature songs. Tonight’s Nat and Natalie Cole revue, starring powerhouse vocalist Denzal Sinclaire (who portrayed Nat King Cole in the stage musical “Unforgettable”) and one-of-a-kind diva Dee Daniels, pays wholehearted tribute to these iconic artists.

INSIDE STORY

NAT KING COLE, TELEVISION PIONEER

DENZEL SINCLAIRE

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

SOLOIST ($7,000+)

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

Carol and Ronnie Goldman Bobbi and Richard Massman

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

VIRTUOSO ($20,000+) ANB Bank and The Sturm Family Marilyn Augur Marcy and Steve Sands

OVATION ($15,000+) Margie and Chuck Steinmetz Carole A. Watters

ALLEGRO ($10,000+) John Dayton Alexia and Jerry Jurschak Brenda and Joe McHugh Sammye and Mike A. Myers

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

By the mid 1950s, Nat King Cole was an international superstar. He was a frequent guest on TV variety programs of the time, and with his popularity it seemed natural to give him a show of his own. When it premiered on November 5, 1956, “The Nat King Cole Show” made history as the first variety television series to be hosted by an African American. For many white families, Cole was the first black man welcomed into their living rooms each night. The show had all the ingredients for success, but the one thing it was never able to get was a national sponsor. Potential advertisers were fearful about how Southern customers might respond to an African American man who was not in a obsequious role. Despite its high ratings, the lack of national advertisers doomed its prospects, and the show was cancelled after just thirteen months. Today, “The Nat King Cole Show” is celebrated as a pioneer that opened the door for African-American entertainers on network television. Did you know? You can watch digitally remastered Kinescope recordings of “The Nat King Cole Show” online. 81

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TUESDAY JULY 2, 6:00PM

JUL

CHAMBER MUSIC SERIES

DONOVAN PAVILION, VAIL

Anne-Marie McDermott, piano

DALLAS STRINGS & MCDERMOTT

ward-winning American composer LOWELL LIEBERMANN (b. 1961) premiered his own Piano Sonata at Carnegie Hall when he was sixteen, earned three degrees from Juilliard, and joined the faculty of Mannes College in New York in 2012. His 1989 Concerto for Violin, Piano and String Quartet (Chamber Concerto No. 1) takes its instrumentation and concept of paired soloists competing/ cooperating with an accompanying ensemble, from Chausson’s eponymous work of 1891, which closes this concert. The folkflavored Terzetto for Two Violins and Viola (1887) of ANTONÍN DVOŘÁK (1841-1904) was written in just one week for a young chemistry student and amateur violinist named Josef Kruis then living in the same Prague apartment building as the composer, the young man’s teacher, Jan Pelikán, a violinist with the Prague National Theater Orchestra, and himself as violist. The title of the Concert for Piano, Violin and String Quartet in D major, Op. 21 (1889-1891) of ERNEST CHAUSSON (1855-1899) derives from the French Baroque practice of Couperin and Rameau, who called certain of their large chamber pieces “concerts,” in the sense of accord among the instruments. (English, Italian and French all use the word “concerto” for works for soloist and orchestra.)

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

MEMBERS OF DALLAS SYMPHONY ORCHESTRA Alexander Kerr, violin Nathan Olson, violin Eunice Keem, violin Ann Marie Brink, viola Christopher Adkins, cello

LIEBERMANN Concerto for Violin, Piano and String Quartet (Chamber Concerto No. 1), Op. 28 (18 minutes)

DVOŘÁK Terzetto for Two Violins and Viola in C major, Op. 74 (20 minutes) Introduzione: Allegro ma non troppo — Larghetto Scherzo: Vivace Tema con Variazioni: Poco adagio — Molto allegro

— INTERMISSION — CHAUSSON Concert for Violin, Piano and String Quartet in D major, Op. 21 (41 minutes) Décidé — Calme — Animé Sicilienne: Pas vite Grave Très animé

Concessions provided by:

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JUL

THURSDAY JULY 4, 2:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

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 by showcasing the diversity of American music, from folk roots to military marches, and Tin Pan Alley to the silver screen. Conductor/ composer/arranger JEFF TYZIK (b. 1951) applies his seemingly endless talents to beloved tunes by IRVING BERLIN (1888-1989), STEPHEN FOSTER (1826-1864), and songs of World War I; along with his own Great Westerns Suite, drawn from classic western movie soundtracks including The Magnificent Seven and How the West Was Won. According to composer MARK O’CONNOR (b. 1961), his Strings and Threads Suite represents both the evolution of American folk music and his own family’s migration from Ireland and Holland to America. The inspiring words of Presidents Reagan, Eisenhower, and Lincoln form the text for Gardens of Stone by JAMES BECKEL, JR. (b. 1948), which—paired with the traditional Armed Forces Song Medley—comprise a dramatic and heartfelt salute to the services. And no Fourth of July concert would be complete without the rousing marches of JOHN PHILIP SOUSA (1854-1932).

DALLAS SYMPHONY ORCHESTRA Jeff Tyzik, conductor Doug LaBrecque, vocalist Greg Galeazzi, narrator

WILLIAMS Liberty Fanfare

SOUSA Semper Fideles

BERLIN/ARR. TYZIK Alexander’s Ragtime Band

BERLIN/ARR. BARKER America The Beautiful

ARR. TYZIK The Great Westerns Suite (excerpt)

O’CONNOR Strings and Threads Suite Movements I, V, IX, VII, VI Nathan Olson, violin

FOSTER/ARR. TYZIK Oh! Susannah Beautiful Dreamer Camptown Races

BAGLEY National Emblem

— INTERMISSION — SOUSA The Glory of The Yankee Navy

ARR. BARKER/ORCH. TYZIK WWI Song Medley BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: ANB BANK AND THE STURM FAMILY THE VAIL VALLEY FOUNDATION SPECIAL GRATITUDE TO The Friends of the Dallas Symphony Orchestra The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation

COHAN/ARR. TYZIK George M. Cohan Medley

BECKEL Gardens of Stone

ARR. TYZIK Armed Forces Song Medley

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

God Bless America

SOUSA The Stars & Stripes Forever

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HILARY HAHN PLAYS MENDELSSOHN

THE PHILADELPHIA ORCHESTRA JUL

FRIDAY JULY 5, 6:00PM ORCHESTRA SERIES

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

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

SPONSORED BY: Herbert Bank and Family; Penny Bank and Family Susan and John Dobbs Jane and Michael Griffinger Teri Perry

SOLOIST SPONSORS: Stéphane Denève, conductor, sponsored by Gail and Jay Mahoney Hilary Hahn, violin, sponsored by Gina Browning and Joe Illick

JUL

FRIDAY JULY 5, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Hilary Hahn, violin

MENDELSSOHN Violin Concerto in E minor, Op. 64 (27 minutes) Allegro molto appassionata — Andante — Allegretto non troppo — Allegro molto vivace

— INTERMISSION — DUKAS The Sorcerer’s Apprentice (12 minutes)

RAVEL Suite No. 2 from Daphnis et Chloé (18 minutes) Daybreak — Pantomime — General Dance

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

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

The Sorcerer’s Apprentice (1897) PAUL DUK AS (1865-1935)

Parisian composer Paul Dukas’ The Sorcerer’s Apprentice is based on Goethe’s 1797 ballad Der Zauberlehrling, which in turn was derived from the dialogues of the 2nd-century Greek satirist Lucian. The tale tells of a naive apprentice to a wizard who overhears a magic incantation used by his master to animate the household broom into a water-carrier. In the sorcerer’s absence, the neophyte tries the spell on the broom, and — to his delight — it works. The broom marches smartly between well and water basin until the latter is full, then overflowing, then flooding — the apprentice never learned the magic words to stop his wooden servant! Not knowing what to do, he axes the broom in half, only making matters worse — now there are two water-carriers instead of one. More chopping produces more brooms. Just before the 88 Learn more at BravoVail.org

novice drowns in his own mischief, the sorcerer returns and, with a sweep of his hand and a muttered word, quiets the tumult. In Dukas’ tone poem, the quiet, mysterious strains of the beginning depict the wizard and his incantations, while the apprentice scurries about to lively phrases in the woodwinds. When the door slams behind the departing sorcerer (a loud whack on the timpani), the tyro is left in silence. A rumble in the low instruments signals the stirring of the enchanted broom. The rumble becomes a galumphing accompaniment, over which the bassoons play the main theme of the work. This melody, combined with a quicker version of the incantation theme, suggests the aquatic havoc being wrought in the wizard’s absence. At the height of the confusion, the magician bursts through the door (the mysterious music of the opening returns to indicate his presence), and he orders the flood to subside. When peace is restored, the apprentice receives a swift boxing of the ears to end this delightful musical tale.

INSIDE STORY

PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 198

HILARY HAHN AND THE DOMINO EFFECT

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 Betsy Wiegers

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post Sharon and Marc Watson

IMPRESARIO ($25,000+)

BENEFACTOR ($5,000+)

Virginia J. Browning Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ($20,000+) Anonymous Donna and Patrick Martin Cathy and Howard Stone

OVATION ($15,000+) Susan and Richard Rogel

ALLEGRO ($10,000+) John Dayton Anne and Hank Gutman Teri Perry

Funded in part by a generous grant from the Town of Vail. The Antlers at Vail and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residency at Bravo! Vail. Tonight’s Pre-Concert Donor Reception is sponsored by Slifer Smith & Frampton.

“I think my way of perceiving music has changed over the years, but it’s hard to define how. If you think about a song that you loved when you were sixteen and you listen to it now, it may have a completely different meaning. You may hear the words talking about something in an entirely different way than what you thought they meant, and have an entirely different emotional reaction to the music. But your initial reaction is still ingrained in there because you listened to that song a hundred times a week. “Every time I play, in every performance, I find myself getting a new idea in the moment and trying it out. It can be a big idea or it can be a detail that has a sort of domino effect on all the other details. Things happen every day that affect us emotionally at every age, and it’s a matter of how you take those experiences and put them into the music.” 89

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DENÈVE CONDUCTS: MAGIC OF MUSIC

THE PHILADELPHIA ORCHESTRA JUL

SATURDAY JULY 6, 6:00PM ORCHESTRA SERIES

COLORADO PUBLIC RADIO NIGHT THIS EVENING’S PERFORMANCE IS PRESENTED BY: BEST FRIENDS OF THE BRAVO! VAIL ENDOWMENT SANDRA AND GREG WALTON

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

SPONSORED BY: Kelly and Sam Bronfman The McClean Family Foundation Sammye and Mike A. Myers Stolzer Family Foundation Martin Waldbaum

SOLOIST SPONSORS: Stéphane Denève, conductor, sponsored by Sharon and Marc Watson

JUL

SATURDAY JULY 6, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Bruce Adolphe, narrator

ROSSINI Overture to William Tell (12 minutes)

PROKOFIEV Peter and the Wolf, Symphonic Tale for Narrator and Orchestra, Op. 67 (24 minutes)

— INTERMISSION — WILLIAMS Selections from Harry Potter (30 minutes)

BRITTEN The Young Person’s Guide to the Orchestra (Variations and Fugue on a Theme of Purcell) for Narrator and Orchestra, Op. 34 (17 minutes) Narration adapted by Bruce Adolphe.

DENÈVE CONDUCTS: MAGIC OF MUSIC Overture to William Tell (1828-1829) GIOACHINO ROSSINI (1792-1868)

n 1824, Rossini moved to Paris to direct the Théâtre Italien and there became aware of the revolutionary artistic and political trends that were then gaining popularity. Rossini was too closely attuned to public fashion to ignore the changing audience tastes, and he began to cast about for a libretto that would keep him abreast of the latest developments in the musical theater while solidifying his new position in Paris. Schiller’s play William Tell, based on the Swiss struggle against tyranny in the 14th century, had recently created much interest when it was introduced to Paris in a French translation, and Rossini decided that the drama would make a fine opera (or, at least, a saleable one). He seems to have taken special care to incorporate the emerging Romantic style into this epic work, as evidenced by its subject matter, symphonic scope, and attention to dramatic and poetic content. The four sections of the Overture, virtually a miniature tone poem, represent dawn in the mountains, a thunderstorm, the pastoral countryside, and the triumphant return of the Swiss troops.

Peter and the Wolf, Op. 67 (1936) SERGEI PROKOFIEV (1891-1953)

The suggestion to create Peter and the Wolf came to Prokofiev from Natalie Satz, director of the Moscow Children’s Theater. The Theater produced operas, concerts and ballets for and with children, and Prokofiev was familiar with its work through taking his sons there. Soon after the Theater moved into a new home in March 1936, Satz asked Prokofiev to write a piece demonstrating the orchestral instruments by associating them with images. “How about the flute as a little bird?” she suggested. “Absolutely,” Prokofiev agreed. “Perhaps a number of animals and birds, and at least one person,” Satz urged. He devised his own tale about a boy and a wolf and completed the music for it in just two weeks. Peter and the Wolf was an immediate success. A few days after the premiere, Sergei Prokofiev, the famed “children’s composer,” was approached by Anastas Mikoyan, Soviet Commissar of Supplies, with an interesting proposal. Would he participate in a program to popularize children’s songs, poems and fairy tales by writing a little tune that would be printed on

wrappings of chocolates, toys and sweets? Prokofiev agreed as soon as he learned that his new song would be used for the wrapper of the chocolates that were his childhood favorite.

INSIDE STORY

Selections from Harry Potter JOHN WILLIAMS (B. 1932)

Wonder is one of the most powerful human emotions, and the ability to inspire it one of the greatest gifts of creative genius. Certainly J.K. Rowling tapped a deep vein of wonder and magic and mystery in millions of readers with her books about the boy wizard Harry Potter and the forces of good and evil ranged around him at Hogwarts, the fantastic academy Harry attends as a student. The first production of what has now become a franchise encompassing not just books and films but video games, theme parks and countless other spin-offs — Harry Potter and the Sorcerer’s Stone — scored a phenomenal success upon its release in November 2001 with Harry’s fans (not to mention studio executives and merchandisers). Harry’s cinematic world PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 199

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 Betsy Wiegers

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post Sharon and Marc Watson

IMPRESARIO ($25,000+)

BENEFACTOR ($5,000+)

Virginia J. Browning Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ($20,000+) Anonymous Donna and Patrick Martin Cathy and Howard Stone

OVATION ($15,000+) Susan and Richard Rogel

ALLEGRO ($10,000+) John Dayton Anne and Hank Gutman Teri Perry

ADG

Funded in part by a generous grant from the Town of Vail. The Antlers at Vail and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residency at Bravo! Vail.

A PORTRAIT OF THE COMPOSER AS A YOUNG MAN Sergei Prokofiev got his start in music even before he was born. His mother played the piano for hours a day while she was pregnant with him, and she was his first teacher. He never wanted to be anything other than a musician and composer, writing his first piece at age five. His first opera, written at age nine, was called The Giant and inspired by games he played with friends. (His family put on the only known performance, with Sergei singing as himself.) The prodigy was also a bit of a spoiled brat! Years younger than most of his classmates at the St. Petersburg Conservatory, young Prokofiev was arrogant and argumentative, and was not shy about telling his teachers he found their lessons boring. He always remembered his childhood as a happy one, and loved composing for children as an adult. Around the time he wrote Peter and the Wolf (as a favor to the Moscow Children’s Musical Theater, he told them to pay him whatever they could), he had recently completed Music for Children, and would go on to write Three Children’s Songs later the same year. 93

Vail Interfaith Interfaith Chapel Chapel Bringing Bringing

Spiritual Spiritual Harmony Harmony to to the the Vail Vail Valley Valley

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

Episcopal Church of the Transfiguration Episcopal Church of the Transfiguration

St. Patrick Catholic Church St. Patrick Catholic Church

Covenant Presbyterian Covenant Presbyterian Pastor Tim Wilbanks

Mount of the Holy Cross Lutheran Mount ofPastor the Holy ScottCross Beebe Lutheran

Mountain Community Church Mountain Community Pastor Matt Wyatt Church

Rabbi Joel Newman Rabbi Joel Newman 970-477-2992 970-477-2992 www.bnaivail.org www.bnaivail.org

Pastor Tim Wilbanks 970-477-0383 970-477-0383 www.covenantvail.org www.covenantvail.org

Fr. Brooks Keith Fr. Brooks Keith 970-476-0618 970-476-0618 www.episcopalvail.com www.episcopalvail.com

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

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

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

BRAHMS PIANO CONCERTO 2

THE PHILADELPHIA ORCHESTRA JUL

SUNDAY JULY 7, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: ANB BANK AND THE STURM FAMILY THE FRANCIS FAMILY VERA AND JOHN HATHAWAY BARBIE AND TONY MAYER

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

SPONSORED BY: Ann Hicks Margaret and Alex Palmer Susan and Richard Rogel Mr. and Mrs. Ernest Scheller, Jr.

SOLOIST SPONSORS: Nicholas Angelich, piano, sponsored by Marge and Phil Odeen Stéphane Denève, conductor, sponsored by The Frigon Family

JUL

SUNDAY JULY 7, 6:00PM PRE-CONCERT TALK, 5:00PM

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER LOBBY

GERALD R. FORD AMPHITHEATER, VAIL

THE PHILADELPHIA ORCHESTRA Stéphane Denève, conductor Nicholas Angelich, piano

BRAHMS Piano Concerto No. 2 in B-flat major, Op. 83 (46 minutes) Allegro non troppo Allegro appassionato Andante Allegretto grazioso

— INTERMISSION — PROKOFIEV Selections from Romeo and Juliet, Op. 64 (40 minutes) Montagues and Capulets (opening) Minuet The Young Juliet Masks Montagues and Capulets (continuation) Romeo and Juliet Friar Laurence The Death of Tybalt Romeo at Juliet’s Tomb The Death of Juliet

JOIN US FOR BRAVO! VAIL AFTER DARK, 8:30PM KEN THOMSON SHAKEDOWN BAR, VAIL VILLAGE (details on page 98)

96 Learn more at BravoVail.org

Ryan Bañagale (Colorado College), speaker

BRAHMS PIANO CONCERTO 2 Piano Concerto No. 2 in B-flat major, Op. 83 (1878 and 1881) JOHANNES BR AHMS (1833-1897)

n April 1878, Brahms journeyed to Goethe’s “land where the lemon trees bloom” with two friends, the Viennese surgeon Theodor Billroth and the composer Carl Goldmark. Though he found the music of Italy ghastly (he complained of hearing one opera that consisted wholly of final cadences), he loved the cathedrals, the sculptures, the artworks and, especially, the countryside. Spring was just turning into summer during his visit, and he wrote to his friend Clara Schumann, “You can have no conception of how beautiful it is here.” Still under the spell of the beneficent Italian climate, Brahms sketched themes for his Second Piano Concerto on his return to Austria on the eve of his 45th birthday. Other matters pressed, however, and the Concerto was put aside. Three years later, during the spring of 1881, Brahms returned to Italy and he was inspired by that second trip to resume work on the Concerto. The score was completed by July. Whether or not the halcyon influence of Italy can be detected in the wondrous music of the B-flat Concerto is for each listener to decide. This work is certainly more mellow than the stormy First Concerto, introduced over twenty years earlier, but whether that quality is the result of Brahms’ trips to the sunny south, or of a decade of imbibing Viennese Gemütlichkeit, or simply of greater maturity remains a matter for speculation. The Concerto opens with a sylvan horn call answered by sweeping arpeggios from the piano. These initial gestures are introductory to the sonata form proper, which begins with the robust entry of the full orchestra. A number of themes are presented in the exposition; most are lyrical but one is vigorously rhythmic. The development uses all the thematic material, with one section welded almost seamlessly to the next, a characteristic of all Brahms’ greatest works. The recapitulation is ushered in by the solo horn, here given a richer orchestral accompaniment than on its earlier appearance. It is rare for a concerto to have more than three movements, but the second movement, a scherzo, was added by Brahms

to provide a contrast of tonality and mood within the overall architecture of the work. The third movement is a touching nocturne based on the song of the solo cello heard immediately at the beginning. (Brahms later fitted this same melody with words as the song Immer leiser wird mein Schlummer [“My Sleep Grows Ever More Peaceful”].) An agitated central section gives way to long, magical phrases for the clarinets that lead to a return of the solo cello’s lovely theme. The finale fuses rondo and sonata elements in a style strongly reminiscent of Hungarian Gypsy music.

INSIDE STORY

Selections from Romeo and Juliet (1935) SERGEI PROKOFIEV (1891-1953)

When Prokofiev returned to Russia in 1933 after his long sojourn in the West, he had already acquired a reputation as a composer of ballet. His first balletic effort had been the volcanic Ala and Lolly written in 1914 for Sergei Diaghilev’s Ballets Russes in Paris, whose music is better known in its concert form as the PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 199

ANGELICH ON BRAHMS 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 Betsy Wiegers

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post Sharon and Marc Watson

IMPRESARIO ($25,000+)

BENEFACTOR ($5,000+)

Virginia J. Browning Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ($20,000+) Anonymous Donna and Patrick Martin Cathy and Howard Stone

OVATION ($15,000+)

Susan and Richard Rogel

ALLEGRO ($10,000+) John Dayton Anne and Hank Gutman Teri Perry

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail and Manor Vail Lodge are the official homes of The Philadelphia Orchestra while in residency at Bravo! Vail. Pre-Concert Talks are presented by Wall Street Insurance in partnership with Cincinnati Insurance.

“I have lived with Brahms’s music for a very long time. One of the many records I vividly remember from [my childhood] is the B-flat Piano Concerto with Wilhelm Backhaus at the piano and Karl Böhm conducting. I have listened to it many, many times and it comes close to what I feel is my ideal perspective of this great music. Notwithstanding the immense respect and love I have for all those great recordings, we should never lose our own individuality in making music. Music is a living organism and not something inert, albeit it has been meticulously written down. Music has to live, to breathe, what is on paper needs to be brought to life, and this is a mysterious process. The music itself does not evolve, but you should. All great musicians offer that unique mix of spontaneity and thought.” 97

JUL

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

SHAKEDOWN BAR, VAIL

Ken Thomson, clarinets

THOMSON Range

STRAVINSKY Three Pieces for Clarinet Solo

THOMSON burst

WIELAND Hands

LANG press release

REICH New York Counterpoint

KEN THOMSON

f you saw or heard the Asphalt Orchestra power through Vail last year, you have a glimmer of the fiery intensity that clarinet-composer-saxophone-bandleader and Bang on a Can All Star member, Ken Thomson, brings to Bravo! Vail After Dark. But even if you know what to expect, you’ll never believe what you’re hearing is a solo set. Says Thompson, “Range is a piece I often use to open a set; it’s all about the joy of the horn, with screaming highs and guttural lows. It’s about discovering the horn for me and the audience.” IGOR STRAVINSKY (1882-1971) wrote his Three Pieces out of gratitude to the patron who financed A Solider’s Tale, who was also an amateur (though clearly skilled) clarinetist. Thomson’s burst, originally written for woodwind quartet, here receives its premiere performance in an arrangement for clarinet and recorded accompaniment, followed by a deep breath of introspective lyricism with Hands by CASSIE WIELAND (b. 1994). DAVID LANG (b. 1957), a longtime collaborator of Thomson’s, called his press release “a driving funk thing” channeling James Brown’s best-inthe-business bass lines. In New York Counterpoint, composer STEVE REICH (b. 1936) calls for ten pre-recorded clarinet and bass clarinet parts against a final 11th part played live, bringing this electrifying set to an appropriately mindblowing close.

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

Amy and Charlie Allen The Judy and Alan Kosloff Artistic Director Chair

KEN THOMSON 98 Learn more at BravoVail.org

JUL

MONDAY JULY 8, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

MICATI RESIDENCE, CORDILLERA

THE LINDA AND MITCH HART SOIRÉE SERIES

HANZHI WANG: ACCORDION EXTRAORDINAIRE

he first accordionist to join the roster of Young Concert Artists in its 57-year history of discovering extraordinary musicians, Hanzhi Wang made her Bravo! Vail debut last year, just after being named Musical America’s New Artist of the Month. Shortly thereafter she released her first recording— Naxos’s first ever solo accordion album—and made her New York debut at Carnegie Hall. Declared “utterly fabulous” by Bravo! Vail’s Artistic Director Anne-Marie McDermott, Hanzhi brings her engaging presence and contagious passion to an eclectic program of works by JOHANN SEBASTIAN BACH (1685-1750), EDVARD GRIEG (1843-1907), ASTOR PIAZZOLLA (1921-1992) and the mesmerizing Prélude, Fugue et Variation by CÉSAR FRANCK (18221890). Praised for her “staggering virtuosity and a gift for drawing colours and magical dynamics from her accordion,” her Soirée Series debut traverses both traditional and unexpected repertoire from around the world.

Hanzhi Wang, accordion (2019 Bravo! Vail Chamber Musician in Residence)

SELECTIONS TO BE ANNOUNCED FROM THE STAGE

CATERED BY THE LEFT BANK, JEAN-MICHEL CHELAIN

This concert features a 2019 Bravo! Vail Chamber Musician in Residence. Visit page 49 for more information about this professional development program.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE FROM: THIS EVENING’S HOSTS Elise and Vic Micati

SPECIAL GRATITUDE TO Linda and Mitch Hart

SPONSORED BY B-Line Xpress The Left Bank Vintage Magnolia West Vail Liquor Mart

HANZHI WANG 99

JUL

MONDAY JULY 8, 6:00PM FREE CONCERT SERIES

EDWARDS INTERFAITH CHAPEL

OMER STRING QUARTET (Bravo! Vail 2019 Chamber Musicians in Residence) Mason Yu, violin Erica Tursi, violin Jinsun Hong, viola Alex Cox, cello

SCHUBERT Quartet in E-flat major, Deutsch 87 (20 minutes) Allegro moderato Scherzo: Prestissimo Adagio Allegro

ROGERSON Quartet No. 1 (14 minutes) Duel Hymn Dance

BARTÓK Quartet No. 3, Szőllősy 85 (15 minutes) Prima parte (Moderato) — Seconda parte (Allegro) — Ricapitulazione della prima parte (Moderato) — Coda (Allegro molto) Played without pause

FREE

SCHUBERT, BARTÓK, & ROGERSON

he sixteen-year-old FRANZ SCHUBERT (1797-1828) wrote the String Quartet in E-flat major in November 1813 for one of the informal amateur musical soirées in which he participated throughout his life. CHRIS ROGERSON (b. 1988) is a graduate of Curtis, Yale, and Princeton, and is now on the faculty of the Curtis Institute. His Quartet No. 1 (2009) won the New York Art Ensemble Composition and Society for New Music Prize. The Quartet No. 3 (1927) of BÉLA BARTÓK (1881-1945), one of the great masterworks of 20th-century music, is founded on two traditional but seemingly opposed musical streams — the folk music of Eastern Europe, a subject on which Bartók was a scholar of the highest accomplishment, and the elaborate contrapuntal constructions of Sebastian Bach and other Baroque composers. SCHUBERT’S Du bist die Ruh (“You Are the Peace”) (1823) sets of a poem by Friedrich Rückert. This concert features 2019 Bravo! Vail Chamber Musicians in Residence. Visit page 49 for more information about this professional development program.

SCHUBERT Du bist die Ruh, D. 776 (4 minutes)

OMER STRING QUARTET 100 Learn more at BravoVail.org

Christie Lodge Kathy and David Ferguson The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation

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

JUL

TUESDAY JULY 9, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE

DVOŘÁK & GOLIJOV

NTONÍN DVOŘÁK (1841-1904) composed the Bagatelles for Two Violins, Cello and Harmonium in 1878 to include a part for his friend Josef Srb-Debrnov, a music journalist and devotee of that small reed organ. Argentinean-American composer OSVALDO GOLIJOV (b. 1960) wrote that Yiddishbbuk for String Quartet (1992) was inspired by “a collection of apocryphal psalms written in Hebrew characters and surrounded with musical notation that Franz Kafka claimed to have read while living in Prague’s Street of the Alchemists. The only remnants of the collection are a few verses interspersed among the entries in his notebooks. Based on these vestiges, Yiddishbbuk for string quartet is an attempt to reconstruct that music.” DOMENICO SCARLATTI (1685-1757), the son of the celebrated Neapolitan opera composer Alessandro Scarlatti, held important positions in Naples and Rome, including that of maestro di cappella at the Vatican. Around 1719, he moved to Lisbon and ten years later to Madrid, where he helped to found the Spanish school of instrumental composition. Swedish composer, conductor, teacher, organist and ethnomusicologist GUNNAR VALKARE (b. 1943) wrote, “The sister compositions Taang (2001) and eX (2000) can be performed together or separately at the beginning and end of a concert. Taang has tango associations; eX is ‘exit’ music. They are partly based on African cross-rhythms.” This concert features 2019 Bravo! Vail Chamber Musicians in Residence. Visit page 49 for more information about this professional development program.

Hanzhi Wang, accordion (Bravo! Vail 2019 Chamber Musician in Residence)

OMER STRING QUARTET (Bravo! Vail 2019 Chamber Musicians in Residence) Mason Yu, violin Erica Tursi, violin Jinsun Hong, viola Alex Cox, cello

DVOŘÁK Bagatelles for Two Violins, Cello and Harmonium, Op. 47 (18 minutes) Allegretto scherzando Tempo di Minuetto: Grazioso Allegretto scherzando Canon: Andante con moto Poco Allegro

GOLIJOV Yiddishbbuk for String Quartet (14 minutes) I. Ia. D.W. (1932-1944) Ib. F.B. (1930 1944) Ic. T.K. (1934-1943) II. I.B.S. (1904-1991) III. L.B. (1918-1990)

D. SCARLATTI Selected Sonatas for Accordion Announced from the Stage

VALKARE Taang and eX for Accordion and String Quartet (11 minutes)

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Destination Resorts Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum The Sidney E. Frank Foundation Holy Cross Energy The Paiko Foundation

HANZHI WANG 101

Thank You Bravo! Vail for 32 Wonderful Years

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

TUESDAY JULY 9, 6:00PM

JUL

PRE-CONCERT TALK, 5:00PM DONOVAN PAVILION

CHAMBER MUSIC SERIES

DONOVAN PAVILION, VAIL

Steven Bruns (University of Colorado, Boulder), speaker

TAKÁCS STRING QUARTET

OLFGANG AMADEUS MOZART (1756-1791) and Joseph Haydn were friends, despite the 24 years difference in their ages, and took delight in learning from and praising each other’s music. Mozart paid his greatest tribute to his colleague in the six superb “Haydn” quartets, including the “Dissonant” Quartet (1785), that he composed between 1782 and 1785 and dedicated to him upon their publication in September 1785. BÉLA BARTÓK (18811945) was obsessed with achieving formal integration in his music. He assimilated traditional Classic forms into his style and added to them a formal technique new to 20th-century music — the so-called “arch” form. Such pieces were held in balance by an overall symmetry in which phrases, sections and complete movements were paired, mirror-like, around a central point. The Fourth Quartet (1928) is Bartók’s most rigorous application of that principle. In spring 1827, FELIX MENDELSSOHN (18091847) fell in love, at least a little. The circumstances, even the maiden’s name, are unknown, but he was sufficiently moved by the experience to set to music a poem that began, “Is it true [Ist es wahr?] that you are always waiting for me in the arbored walk?” and quoted the song in his A minor String Quartet later that year.

Edward Dusinberre, violin Harumi Rhodes, violin Geraldine Walther, viola András Fejér, cello

MOZART String Quartet No. 19 in C major, K. 465, “Dissonant” (“Haydn No. 6”) (28 minutes) Adagio — Allegro Andante cantabile Menuetto: Allegro Allegro

BARTÓK String Quartet No. 4 (23 minutes) Allegro Prestissimo con sordino Non troppo lento Allegretto pizzicato Allegro molto

— INTERMISSION — MENDELSSOHN String Quartet No. 2 in A minor, Op. 13, “Ist Es Wahr?” (28 minutes) Adagio — Allegro vivace Adagio non lento — Poco più animato — Tempo I Intermezzo: Allegretto con moto — Allegro di molto — Tempo I Presto — Adagio non lento — Adagio

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

Concessions provided by:

Pre-Concert Talks are presented by Wall Street Insurance in partnership with Cincinnati Insurance.

103

JUL

WEDNESDAY JULY 10, 1:00PM INSIDE THE MUSIC

VAIL INTERFAITH CHAPEL

Robert Marx, speaker Joseph Illick, speaker

FREE

INSIDE THE MUSIC: A CONDUCTOR’S GUIDE TO TOSCA

L BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S EVENT FROM: Kathy Cole The Paiko Foundation Carole A. Watters

Presented in partnership with Vail Symposium

earn what to look and listen for in Bravo! Vail’s production of Tosca from two leading experts on opera via an engaging, interactive format. Since 1995, Robert Marx has appeared on the Metropolitan Opera’s live Saturday matinee radio broadcasts as an intermission host, commentator, and Opera Quiz panelist. As current President of the Fan Fox & Leslie R. Samuels Foundation, a leading arts philanthropy, and former Executive Director of New York Public Library for the Performing Arts, his experience and knowledge make him a highly sought-after speaker. Artistic Director and Principal Conductor of the Fort Worth Opera, Joseph Illick is both opera scholar and composer. As a guest conductor he has worked with Opera Theatre of St. Louis, San Francisco Opera (Merola), Covent Garden Ensemble, Miami Symphony, and more.

All new Antlers guest experience coming winter 2019/2020! 104 Learn more at BravoVail.org

JUL

THURSDAY JULY 11, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE

BACH, DEBUSSY & NELSON

he Clavier Concerto No. 1 by JOHANN SEBASTIAN BACH (1685-1750) was composed around 1730 for Leipzig’s Collegium Musicum, which gave its concerts at a local coffee house on Friday afternoons. JESPER KOCH (b.1965) studied at the Royal Danish Academy of Music in Copenhagen and Royal Danish Academy in Aarhus, and has composed for orchestras, chamber ensembles, and soloists across Scandinavia. His honors include a grant from the Danish National Arts Foundation, Carl Nielsen Award, and a First Prize from the International Rostrum of Composers in Paris. By 1893, CLAUDE DEBUSSY (1862-1918) had begun to establish his distinctive creative voice as an Impressionist, and in his String Quartet of that year incorporated some of that style’s techniques into one of the quintessential classical forms. Swedish composer DANIEL NELSON (b. 1965) wrote of My Inner Disco (2002), “I think everybody has heard a snippet of a song on the radio that has completely captivated them. Somehow, the music has the rhythm, tempo, harmony and timing that exactly correspond to your own inner groove. My Inner Disco is a compilation of such musical components that make my own inner clock tick.” This concert features 2019 Bravo! Vail Chamber Musicians in Residence. Visit page 49 for more information about this professional development program.

Hanzhi Wang, accordion (Bravo! Vail 2019 Chamber Musician in Residence)

OMER STRING QUARTET (Bravo! Vail 2019 Chamber Musicians in Residence) Mason Yu, violin Erica Tursi, violin Jinsun Hong, viola Alex Cox, cello

BACH Movement I (Allegro) from the Clavier Concerto No. 1 for Accordion and String Quartet, BWV 1052 (7 minutes)

KOCH Parts-apart (10 minutes)

DEBUSSY String Quartet in G minor, Op. 10 (27 minutes) Animé et très décidé Assez vif et bien rythmé Andantino, doucement expressif Très modéré — Très mouvemente et avec passion

NELSON My Inner Disco for Accordion and String Quartet (9 minutes)

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Citywide Banks Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum The Sidney E. Frank Foundation The Paiko Foundation Sonnenalp Hotel Vail Marriott Mountain Resort Vail’s Mountain Haus

HANZI WANG 105

OPERA EXPLORED:

An In-Depth Look at Puccini’s Tosca Tosca educational events presented in partnership with the Vail Symposium

his summer, Bravo! Vail Music Festival embarks on one of its most ambitious project to date—a staged production of Puccini’s Tosca, under the musical direction of Yannick Nézet-Séguin, Music Director of The Philadelphia Orchestra and New York City’s famed Metropolitan Opera. The Gerald R. Ford Amphitheater will be transformed under the directorial guidance of James Alexander and his innovative production company, Symphony V. For two nights, the magic of opera comes to life using modern technology, an all-star vocal cast, two choirs, and the stunning artistry of

The Philadelphia Orchestra. For more than a century, Tosca and its characters have fascinated both performers and audiences, and it remains one of the most frequently performed operas. Bravo! Vail is partnering with the Vail Symposium, renowned for its thoughtprovoking educational programs, to host five unique opportunities to enrich the Tosca experience: An immersive introduction, a conductor’s perspective, a conversation with Stage Director James Alexander, and two pre-concert talks. These events provide an inside scoop on this historic opera presentation. Learn from the experts just what makes Tosca tick.

JUNE 24, 6:00PM

JULY 10, 1:00PM

JULY 11 & 13, 5:00PM

JULY 12, 12:00PM

PUCCINI’S TOSCA: AN IMMERSIVE INTRODUCTION

INSIDE THE MUSIC: OPERA CONDUCTOR’S GUIDE TO TOSCA

PRE-CONCERT TALK

MEET THE DIRECTOR & CAST

VAIL INTERFAITH CHAPEL

ELLEN LOCKHART, Assistant Professor of Musicology at the Faculty of Music, University of Toronto

VAIL INTERFAITH CHAPEL ROBERT MARX, Metropolitan Opera Quiz panelist and opera expert The history and significance of Tosca, the opera, and Tosca, the diva role (as embodied by its most famous interpreter, Maria Callas) will be illustrated with clips from an iconic 1964 BBC broadcast and the recently released documentary, Maria by Callas, followed by a Q&A with Bravo! Vail’s Artistic Director, Anne-Marie McDermott, and members of the creative team. Tickets $25 through the Vail Symposium (vailsymposium.org/events).

ROBERT MARX, host JOSEPH ILLICK, Artistic Director and Principal Conductor of the Fort Worth Opera As part of Bravo! Vail’s new Inside the Music series, this event provides a unique perspective on Tosca via an interactive interview with a renowned opera conductor and composer. Free, no tickets or reservations required.

GERALD R. FORD AMPHITHEATER LOBBY

Timely insights to enhance the Tosca opera experience. Free to ticket-holders for that evening’s performance.

VAIL INTERFAITH CHAPEL ROBERT MARX, host and moderator JAMES ALEXANDER, Stage Director PATRICK CARFIZZI, baritone (Sacristan) Fascinating behind-thescenes conversation about bringing Tosca to life at the Ford Amphitheater. Free, no tickets or reservations required.

For more information and additional Tosca resources please visit BravoVail.org/tosca

TOSCA: A PREMIERE OPERA PRODUCTION

THE PHILADELPHIA ORCHESTRA JUL

11 JUL

THURSDAY JULY 11, 6:00PM ORCHESTRA SERIES

SATURDAY JULY 13, 6:00PM ORCHESTRA SERIES

TOSCA PERFORMANCES ARE PRESENTED BY: THE PAIKO FOUNDATION BETSY WIEGERS

SPECIAL THANKS TO MEMBERS OF THE TOSCA CIRCLE PREMIER BENEFACTOR

PUCCINIâ&#x20AC;&#x2122;S

TOSCA

Doe Browning Gina Browning and Joe Illick Virginia J. Browning Chadwick Loher Foundation The Betsy Wiegers Choral Fund, in honor of John W. Giovando

IMPRESARIO Vera and John Hathaway

OVATION Judy and Alan Kosloff

ALLEGRO Dierdre and Ronnie Baker Jeffrey B. Byrne Ellie Caulkins Kathy Cole Anne and Hank Gutman Vicki and Kent Logan Amy and James Regan Sally and Byron Rose Carole and Peter Segal Marilyn and James Steane Bea Taplin Carole A. Watters Nancy and Harold Zirkin 107

JUL

11 JUL

THURSDAY JULY 11, 6:00PM ORCHESTRA SERIES

SATURDAY JULY 13, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor TOSCA, Julianna Di Giacomo CAVARADOSSI, Yusif Eyvazov SCARPIA, Elchin Azizov ANGELOTTI, Richard Bernstein A SACRISTAN, Patrick Carfizzi SPOLETTA, Greg Fedderly SCIARRONE, Christopher Job A JAILER, André Courville Charles Hutchings, boy soprano Bravo! Vail Festival Chorus, Duain Wolfe, Director Colorado Children’s Chorale, Deborah DeSantis, Director James Alexander, Designer and Stage Director

GIACOMO PUCCINI’S TOSCA

PUCCINI’S

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

July 11 & 13 - Ellen Lockhart (University of Toronto), speaker

Libretto by Giuseppe Giacosa and Luigi Illica After Victorien Sardou’s play La Tosca

TOSCA: A PREMIERE OPERA PRODUCTION

Opera in Three Acts

Performed in Italian with English Supertitles The opera runs approximately 2 hours and 20 minutes and will be performed with one intermission.

osca is a thrilling political melodrama set in Rome during the Napoleonic wars. The plot centers around three main characters – Floria Tosca, a famous diva; her lover Mario Cavaradossi, a painter and idealistic Republican; and the despicably corrupt Chief of Police, Baron Scarpia, who has long lusted after Tosca. When Cavaradossi risks his life to help an escaped political prisoner, his plotting is overheard by Tosca who—in true diva fashion—suspects infidelity. Scarpia manipulates Tosca into revealing the prisoner’s hiding place, then arrests and tortures Cavaradossi. Tosca makes her fateful choice, and after many twists and turns, the fatal love triangle comes to a harrowing end. A full program book for Tosca, including artist biographies, program notes and more will be available at the performances.

108 Learn more at BravoVail.org

INSIDE STORY

DID YOU KNOW?

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 Betsy Wiegers

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post Sharon and Marc Watson

IMPRESARIO ($25,000+)

BENEFACTOR ($5,000+)

Virginia J. Browning Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ($20,000+) Anonymous Donna and Patrick Martin Cathy and Howard Stone

OVATION ($15,000+) Susan and Richard Rogel

ALLEGRO ($10,000+) John Dayton Anne and Hank Gutman Teri Perry

Each act of Tosca is set in a very real place in Rome: Act I in the church of Sant’Andrea della Valle, Act II in Scarpia’s apartment within the Palazzo Farnese, and Act III on the battlements of the Castel Sant’Angelo. Together, they represent three facets of Rome’s power – church, palace and prison. Puccini — master of detail and perfectionist that he was — visited the Castel Sant’Angelo to research exactly how the matins bells of Rome would sound from where Act III takes place. He then had bells custom cast to order, and specified in the score how they should be placed to create his desired effect. After Tosca’s premiere in 1900, Illica the librettist wasn’t sure it had been worth it. He wrote to the publisher, “the great fuss and the large amount of money for the bells have constituted an additional folly, because it passes completely unnoticed!” 109

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TaborOperaHouse.net 719-486-8409 308 Harrison Avenue, Leadville, Colorado

MOZART & RACHMANINOFF

THE PHILADELPHIA ORCHESTRA JUL

FRIDAY JULY 12, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: MARILYN AUGUR VIRGINIA J. BROWNING KAREN AND MICHAEL HERMAN

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

SPONSORED BY: Carol and Harry Cebron Rose and Howard Marcus Mary Lou Paulsen and Randy Barnhart Carolyn and Steve Pope Marion Woodward

SOLOIST SPONSORS: Seong-Jin Cho, piano, sponsored by Nancy Traylor

111

JUL

FRIDAY JULY 12, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

THE PHILADELPHIA ORCHESTRA Yannick Nézet-Séguin, conductor Seong-Jin Cho, piano

CLYNE Masquerade (5 minutes)

MOZART Piano Concerto No. 20 in D minor, K. 466 (31 minutes) Allegro Romanza Rondo: Allegro assai

— INTERMISSION — RACHMANINOFF Symphony No. 1 in D minor, Op. 13 (45 minutes) Grave — Allegro ma non troppo Allegro animato Larghetto Allegro con fuoco

MOZART & RACHMANINOFF Masquerade (2013) A N N A C LY N E ( B . 1 9 8 0 )

nna Clyne was born in London in 1980, studied music from early in life, began composing at age eleven, and received her undergraduate training at Edinburgh University and the Manhattan School of Music. Her career has been on a meteoric trajectory since she completed her education, including an extended residency with the Chicago Symphony Orchestra (2010-2015) during which she composed the Grammy-nominated double-violin concerto Prince of Clouds and five other works. She also led workshops in the city’s schools and juvenile detention center. Clyne’s honors include eight ASCAP Plus Awards, Hindemith Prize, Charles Ives Fellowship from the American Academy of Arts and Letters, and Clutterbuck Award from the University of Edinburgh. Clyne wrote that Masquerade, commissioned in 2013 for the “Last Night of the Proms” at London’s Royal Albert Hall, “draws inspiration from the original mid-18th century promenade concerts held in London’s pleasure gardens, where people from all walks of life enjoyed a wide array of music and other forms of entertainment, from the sedate to the salacious. The work derives its material from two melodies. For the main theme, I imagined a chorus welcoming the audience and inviting them into their vanished world. The second theme, Juice of Barley, is an old English country-dance melody and drinking song that first appeared in John Playford’s 1695 edition of The English Dancing Master.”

Piano Concerto No. 20 in D minor, K. 466 (1785) WOLFGANG AMADEUS MOZART (1756-1791)

The year 1785 marked a turning point in Mozart’s attitude toward his work and his public, a change in which this D minor Concerto was central. When he tossed over his secure but hated position with the Archbishop Colloredo in his native Salzburg, he determined that, at age 25, he would go to Vienna to seek his fame and fortune as a piano virtuoso. He found both, at least for the first few years, during which he gave a large number of concerts during the Lenten seasons, when regular theatrical and operatic activities were prohibited. His concertos for those programs satisfied the Viennese requirement for pleasantly diverting entertainment, and they were among the most eagerly awaited of his new music. His success in 1784 may be gauged by the length of the subscription 112 Learn more at BravoVail.org

list for his concerts, which included more than 150 names representing the cream of the city’s nobility. The D minor Concerto of 1785 must have puzzled the concert habitués of Vienna. This new and disturbing work, from a composer who had previously offered such ingratiating pieces, did not conform to their standard for a pleasant evening’s diversion but rather demanded greater attention and a deeper emotional involvement than they were used to expending. Mozart’s tendency in his later years toward a more subtle and profound expression was gained at the expense of alienating his listeners. His aristocratic patrons were not quite ready for such revolutionary ideas, and it is little surprise that when he circulated a subscription list for his 1789 concerts, it was returned with only one signature. The first movement follows concerto-sonata form and is filled with conflict between soloist and tutti heightened by enormous harmonic, dynamic and rhythmic tensions. The Romanza moves to a brighter key to provide a contrast to the stormy opening Allegro, but even this lovely music summons a dark, minor-mode intensity for one of its episodes. The finale is a complex sonata-rondo form with developmental episodes. The

INSIDE STORY

PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 200

CHO ON MOZART

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 Betsy Wiegers

Sue and Michael Callahan Linda Farber Post and Dr. Kalmon D. Post Sharon and Marc Watson

IMPRESARIO ($25,000+)

BENEFACTOR ($5,000+)

Virginia J. Browning Karen and Michael Herman Sandra and Greg Walton

VIRTUOSO ($20,000+) Anonymous Donna and Patrick Martin Cathy and Howard Stone

OVATION ($15,000+) Susan and Richard Rogel

ALLEGRO ($10,000+)

John Dayton Anne and Hank Gutman Teri Perry

“[The D minor Piano Concerto] to me is the most special and unique concerto by Mozart. Normally people think Mozart’s music is just beautiful, and pure, and humorous, but this concerto has quite a dark feeling, frightening and dramatic. The second movement is very emotional but not in a dark way. It’s light and somehow romantic, and also very pure, so the second movement is quite contrary. The last movement is virtuosic, lots of fireworks. There’s some emotion which is quite lonely and sad, but it ends in a major key. “I always feel that Mozart’s music is really like opera. When singers sing, they have to breathe. It’s the same with a pianist. Some people think that Classical era music you have to just play strictly, but I don’t agree with them. Somehow you have to take some time — I can’t say rubato, but the timing is important, to play like singing. His music has everything, and Mozart is really genius.” 113

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JUL

MONDAY JULY 15, 6:00PM FREE CONCERT SERIES

BRUSH CREEK PAVILION, EAGLE

FREE

2019 PIANO FELLOWS

he 32 Variations on an Original Theme (1806) by LUDWIG VAN BEETHOVEN (1770-1827), wrote Otto Klauwell, are “so rich in relations and so meaningfully interconnected that the hearer’s interest is captured undiminished, even increased, down to the very end.” CLAUDE DEBUSSY (1862-1918) was inspired to compose L’Isle Joyeuse (“The Joyous Island”) (1904) by the famous painting of the French 18th-century artist Jean Antoine Watteau titled The Pilgrimage to Cythera, which the noted art historian H.W. Janson described: “Young couples [in voluptuously elegant dress] have come to Cythera, the island of love, to pay homage to Venus.” Humoreske was composed in 1839, when ROBERT SCHUMANN (1810-1856) was in Vienna and separated from his beloved fiancée, Clara Wieck in Leipzig. It distills the emotions of the years of his early maturity into music of rich and intense expression, inventive formal design, and awareness of the keyboard’s most sumptuous sonorities. The Petite Suite (1889) by CLAUDE DEBUSSY comprises a set of four evocative musical tone paintings: the lullaby-barcarolle En Bateau (“In a Boat”); Cortège (a pleasant stroll along a bubbling stream); a wistful Menuet; and a lively Ballet. This concert features 2019 Bravo! Vail Piano Fellows. Visit page 49 for more information about this professional development program.

Aristo Sham, piano (2019 Bravo! Vail Piano Fellow) Angie Zhang, piano (2019 Bravo! Vail Piano Fellow)

BEETHOVEN 32 Variations on an Original Theme in C minor, WoO 80 (10 minutes) Ms. Zhang

DEBUSSY L’Isle Joyeuse (6 minutes) Ms. Zhang

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

DEBUSSY Petite Suite for Piano, Four Hands (13 minutes) En Bateau Cortège Menuet Ballet Mr. Sham, Ms. Zhang

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Eagle Ranch Association Evergreen Lodge Kathy and David Ferguson The Sidney E. Frank Foundation The Paiko Foundation Town of Eagle

ARISTO SHAM 115

JUL

MONDAY JULY 15, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

AMANDA PRECOURT RESIDENCE, L AKE CREEK

Anne-Marie McDermott, piano

MEMBERS OF ST LAWRENCE STRING QUARTET Geoff Nuttall, violin Lesley Robertson, viola Christopher Costanza, cello

DVOŘÁK Piano Quartet No. 2 in E-flat major, Op. 87 (34 minutes) Allegro con fuoco Lento Allegro moderato, grazioso Finale. Allegro ma non troppo

CATERED BY MIRABELLE AT BEAVER CREEK, DANIEL JOLY

THE LINDA AND MITCH HART SOIRÉE SERIES

ST LAWRENCE PERFORMS DVOŘÁK

ravo! Vail Artistic Director joins three-quarters of the renowned St Lawrence String Quartet for the exuberant, exquisite sweep of Dvořák’s beloved Second Piano Quartet. Powerfully self-assured, infused with supercharged lyricism and boisterous congeniality, this is chamber music to luxuriate in. Composed during the summer of 1889 during a torrent of creativity, Dvořák wrote to a friend: “Do you want to know what I’m doing? My head is full of it. If only one could write it immediately! But it’s no use, I have to go slowly, only what the hand can manage and the Lord God will grant the rest of it. Now I have again already three movements of a new quartet with piano completely ready and the finale will be finished in several days. It’s going unexpectedly easily and melodies are coming to me in droves. Thanks be to God!”

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S SOIRÉE FROM: THIS EVENING’S HOST Amanda Precourt

The Francis Family Linda and Mitch Hart

SPONSORED BY

ST LAWRENCE STRING QUARTET 116 Learn more at BravoVail.org

B-Line Xpress Mirabelle at Beaver Creek Vintage Magnolia West Vail Liquor Mart

SPECIAL GRATITUDE TO

JUL

TUESDAY JULY 16, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE

BACH, BEETHOVEN, & LISZT

he Well-Tempered Clavier (ca. 1720) of JOHANN SEBASTIAN BACH (1685-1750) was originally written as study material for his children, but he also used it as teaching material for his pupils. Each of the two books of the Well-Tempered Clavier comprises 24 paired preludes and fugues, one in each of the major and minor keys. The B-flat Sonata (1800) of LUDWIG VAN BEETHOVEN (1770-1827) is one of his most genteel examples of the genre, “one of the few Beethoven sonatas,” wrote German musicologist Karl Schumann, “in which intellectual composition takes second place to joy in sound and open-hearted playfulness.” FRANZ LISZT (1811-1886) composed three Études de Concert in 1848 that were less for the pedagogical studio than for the concert platform. Un Sospiro (“A Sigh”) is characterized by a nocturnal mood indebted to Frédéric Chopin. The piano cycle Goyescas (1909-1911) of ENRIQUE GRANADOS (1867-1916) was intended to evoke both Francisco Goya’s paintings and tapestry cartoons and the subtilized idioms of Spain’s indigenous music. Los Requiebros (“Flatteries”) is in the style of a jota, the lively dance that originated in the northeastern region of Aragon.

Angie Zhang, piano (2019 Bravo! Vail Piano Fellow)

J.S. BACH Prelude and Fugue No. 4 in C-sharp minor from Book I of The Well-Tempered Clavier, BWV 849 (6 minutes)

BEETHOVEN Piano Sonata No. 11 in B-flat major, Op. 22 (19 minutes) Allegro con brio Adagio con molto espressione Menuetto Rondo: Allegretto

LISZT “Un Sospiro” from Études de Concert, S. 144, No. 3 (5 minutes)

GRANADOS “Los Requiebros” from Goyescas (9 minutes)

This concert features 2019 Bravo! Vail Piano Fellows. Visit page 49 for more information about this professional development program.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Citywide Banks Sandy and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum The Sidney E. Frank Foundation The Paiko Foundation Vail Racquet Club

ANGIE ZHANG 117

TUESDAY JULY 16, 6:00PM

JUL

CHAMBER MUSIC SERIES

DONOVAN PAVILION, VAIL

Anne-Marie McDermott, piano

ST LAWRENCE STRING QUARTET

Geoff Nuttall, violin Owen Dalby, violin Lesley Robertson, viola Christopher Costanza, cello

HAYDN String Quartet in D major, Op. 20, No. 4 (24 minutes) Allegro di molto Un poco adagio e affettuoso Menuet alla Zingarese: Allegretto Presto e scherzando

BEACH Quintet for Piano and String Quartet in F-sharp minor, Op. 67 (27 minutes) Adagio — Allegro moderato Adagio espressivo Allegro agitato — Adagio come prima — Presto

— INTERMISSION — BRAHMS String Quartet No. 2 in A minor, Op. 51, No. 2 (30 minutes) Allegro non troppo Andante moderato Quasi Minuetto, moderato — Allegretto vivace — Tempo di Minuetto — Allegretto vivace — Tempo di Minuetto Finale: Allegro non assai

Concessions provided by:

ST LAWRENCE STRING QUARTET

he six Quartets of Op. 20 by JOSEPH HAYDN (17321809), composed in 1772, are known as the “Sun” Quartets because the cover of their first edition was emblazoned with a drawing of the rising sun. The sobriquet was just as appropriate for musical reasons, since these were really the earliest quartets in which Haydn’s full genius in the form dawned. AMY (MRS. H.H.A.) BEACH (1867-1944) was the most prominent American female composer of her day; one of the leading keyboard artists during the years around World War I; the first native woman composer to earn recognition abroad; the first well-known female musician to receive her entire professional training in this country; and the first to write a symphony. In 1885, she married the Boston surgeon Henry Harris Aubrey Beach, and thereafter referred to herself in the Victorian fashion as “Mrs. H.H.A. Beach” (initials only). Her Piano Quintet dates from 1907. Colleagues pestered JOHANNES BRAHMS (1833-1897) for years to let them have a string quartet from his pen. He apparently began sketching a Quartet in A minor in 1865, but there was no further evidence of it until Clara Schumann reported that Brahms showed her two quartet movements in 1869. It took Brahms, who was both secretive and meticulous with his creative process, four more years until the two Quartets of his Op. 51 were put into their final shape.

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

118 Learn more at BravoVail.org

JUL

WEDNESDAY JULY 17, 1:00PM INSIDE THE MUSIC

VAIL INTERFAITH CHAPEL

FREE

INSIDE THE MUSIC: QUINTET READING

oday at Inside The Music, The St Lawrence String Quartet and Bravo! Vail’s 2019 Piano Fellows meet at the intersection of established expertise and flourishing talent with readings of the opening movements from two great works for piano and string quartet: Aristo Sham for Brahms’s Op. 34 Piano Quintet, and Angie Zhang for Dvorák’s Piano Quintet No. 2. Together, these musicians will probe the depths and heights of this powerful repertoire, giving insight into the careful collaboration it takes to coordinate and communicate a musical message to an audience. Music critic Alex Ross of The New Yorker writes that the St Lawrence String Quartet is “remarkable not simply for the quality of their music making, exalted as it is, but for the joy they take in the act of connection.” St Lawrence earned critical acclaim right from their founding in 1989. They have earned two Grammy nominations and a host of other prizes, and are currently ensemble-in-residence at Stanford University. Anne-Marie McDermott handpicked this year’s Piano Fellows, Aristo Sham and Angie Zhang, for an immersive two weeks of performance and collaboration at Bravo! Vail. The Piano Fellows Program, established in 2015, provides young pianists with valuable professional development, connecting them with their professional counterparts at the Festival, and introduces audiences to exciting, emerging talent.

Aristo Sham, piano (2019 Bravo! Vail Piano Fellow) Angie Zhang, piano (2019 Bravo! Vail Piano Fellow)

ST LAWRENCE STRING QUARTET

Geoff Nuttall, violin Owen Dalby, violin Lesley Robertson, viola Christopher Costanza, cello

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S EVENT FROM: The Paiko Foundation

ST LAWRENCE STRING QUARTET 119

VAN ZWEDEN’S RETURN: BEETHOVEN EROICA

NEW YORK PHILHARMONIC JUL

WEDNESDAY JULY 17, 6:00PM ORCHESTRA SERIES

SPECIAL THANKS AND APPRECIATION TO LENI AND PETER MAY THIS EVENING’S PERFORMANCE IS PRESENTED BY: MARIJKE AND LODEWIJK DE VINK

SPECIAL GRATITUDE TO: The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Judy and Alan Kosloff Artistic Director Chair

SPONSORED BY: Jeri and Charlie Campisi Fundacion Cultural Kaluz Penny and Bill George Terri and Thomas Grojean Sandra and Alejandro Rojas

121

JUL

WEDNESDAY JULY 17, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

NEW YORK PHILHARMONIC Jaap van Zweden, conductor

SHOSTAKOVICH Chamber Symphony for Strings in C minor, Op. 110a (after String Quartet No. 8, Op. 110) (26 minutes) (Arranged by Rudolf Barshai) Largo Allegro molto Allegretto Largo Largo Played without pause

— INTERMISSION — BEETHOVEN Symphony No. 3 in E-flat major, Op. 55, “Eroica” (47 minutes) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto – Poco andante — Presto

122 Learn more at BravoVail.org

VAN ZWEDEN’S RETURN: BEETHOVEN EROICA Chamber Symphony for Strings in C minor, Op. 110a (after String Quartet No. 8, Op. 110) (1960; arr. 1967) (Arranged by Rudolf Barshai) DMITRI SHOSTAKOVICH (1906-1975)

n July 1960, Shostakovich was in Dresden composing the score for a joint Soviet–East German film about the Second World War called Five Days, Five Nights. So moved was he by the subject of the story and by the still-unhealed scars of the city, which the Allies had reduced to rubble in 1945 in a single night of the most fearsome bombing in the history of warfare, that he poured his feelings into the musical form that he had entrusted with his most personal thoughts — the string quartet. The Eighth Quartet was composed in three days in Dresden and dedicated to “the memory of the victims of fascism and the war.” It was premiered on October 2nd in Leningrad by the Beethoven Quartet, though the composer had to miss the performance because he was hospitalized to treat a broken leg he had suffered in September at the wedding of his son, Maxim. In Testimony, Shostakovich’s purported memoirs, the composer stated that the Eighth is “an autobiographical quartet.” Without giving elucidating details, he implied that its essential message is carried by the title of a well-known song of the Russian Revolution that he quoted in the fourth movement: Exhausted by the Hardships of Prison. The chief motive running through the Quartet, and providing the germ for much of its thematic material, is Shostakovich’s musical “signature” — DSCH, the notes D–E-flat– C–B. (The note D represents his initial. In German transliteration, the composer’s name begins “Sch”: S [ess] in German notation equals E-flat, C is C, and H equals B-natural.) The Quartet is in five continuous movements. The DSCH motive is heard immediately in imitation in the somber opening of the first movement. Three other themes provide contrast: a quotation in dotted rhythms from the First Symphony; an eerie descending chromatic scale; and a reminiscence of the Fifth Symphony. The four thematic elements are recapitulated and lead without pause to a furious toccata, brutal, hammering music depicting the destruction of war. The third movement is a scherzo, by turns sardonic and lyrical. The slow fourth movement explodes with an accompaniment figure transmogrified into gunshots. The three lower voices in unison play a melody from the Eleventh Symphony (“The Year 1905”) of 1957. After a repetition of the gunshots, the Russian song Exhausted by the Hardships

of Prison is intoned by the first violins. The gunshots, the Russian Revolutionary song, and the Eleventh Symphony motive in condensed versions serve as the movement’s coda. The finale eschews Romantic apotheosis in favor of 20th-century doubt. The austere mood and the DSCH theme of the first movement return, and the music seems hardly able to maintain its forward motion. Its energy dissipated, perhaps through catharsis or just from weariness, the music dies away on an inconclusive, openinterval harmony.

INSIDE STORY

PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 200

MUSIC OF CONSCIENCE BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ($40,000+)

SILVER ($15,000+)

ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

PLATINUM ($30,000+)

BRONZE ($10,000+)

Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

Pamela and David Anderson Jean and Harry Burn Susan and John Dobbs Liz and Tommy Farnsworth Laura and Bill Frick Penny and Bill George Melinda and Tom Hassen Martha Head Karen and Jay Johnson June and Peter Kalkus Mr. and Mrs. Arthur Kelton, Jr. Dr. and Mrs. Frederick Kushner The McClean Family Foundation Mr. John McDonald and Mr. Rob Wright Jean and Ray Oglethorpe Martha Dugan Rehm and Cherryl Hobart Carole and Peter Segal Judy and Martin Shore Sue and Marty Solomon and P&S Equities, Inc.

Funded in part by a generous grant from the Town of Vail. The Antlers at Vail, Manor Vail Lodge and Vail Marriott Mountain Resort are the official homes of the New York Philharmonic while in residency at Bravo! Vail. Tonight’s Pre-Concert Donor Reception is presented by LIV Sotheby’s International Realty.

At the center of Jaap van Zweden’s inaugural season as the New York Philharmonic’s Music Director were three anchor projects that explored different themes. Tonight’s program is drawn from the last of these, which closed the Philharmonic’s season just over a month ago. Music of Conscience showcased unforgettable music created in response to historical events, political unrest, and societal turmoil. Shostakovich’s wrenching Chamber Symphony, his tribute to “the victims of fascism and war,” was written under the brutal tyranny of Stalin’s regime. Beethoven’s “Eroica” will forever be linked to Napoleon — nearly its dedicatee, until he crowned himself emperor. Beethoven’s moral compass thus betrayed, he changed the dedication to instead celebrate “the memory of a great man.” Did you know? For his inaugural season, Jaap van Zweden commissioned “Everything Must Go” by Conrad Tao (who performs with Bravo! Vail on July 20), the fifth of Tao’s works to be premiered by van Zweden. 123

JUL

THURSDAY JULY 18, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

Aristo Sham, Piano (2019 Bravo! Vail Piano Fellow)

DEBUSSY Études, Book I (22 minutes) Pour les “cinq doigts,” d’après Monsieur Czerny Pour les tierces Pour les quartes Pour les sixtes Pour les octaves Pour les huit doigts

BRAHMS Piano Sonata No. 3 in F minor, Op. 5 (41 minutes) Allegro maestoso Andante espressivo Scherzo: Allegro energico Intermezzo (Rückblick): Andante molto Finale: Allegro moderato ma rubato

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DEBUSSY & BRAHMS

he twelve Études (1915), the last piano works of CLAUDE DEBUSSY (1862-1918), are divided into two books of six numbers each: the first set broaches traditional problems of technique; the second, matters of musical figurations. Though grown from the dusty but indispensable realm of piano pedagogy, these movements soar far beyond pieces merely for the practice of keyboard mechanics in their expressive and compositional content — Paul Jacobs, one of the finest exponents of Debussy’s piano music, called them the composer’s “most finished, perfect and yet adventurous [piano] pieces.” The Piano Sonata No. 3 (1853) of JOHANNES BRAHMS (1833-1897) is remarkable for the way in which the twenty-year-old composer harnessed the surging Romantic language of his youthful style within the logical constructions of Classical form. It is this masterly balance of ardent emotional expression and intellectual formal necessity — of heart and head — that imparts such power to this music. Also evident in this Sonata is Brahms’ ability to blend rigorous counterpoint with singing lyricism. This concert features 2019 Bravo! Vail Piano Fellows. Visit page 49 for more information about this professional development program.

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

ARISTO SHAM 124 Learn more at BravoVail.org

Antlers at Vail Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum The Sidney E. Frank Foundation The Paiko Foundation

LEGENDARY MOVIE MUSIC

NEW YORK PHILHARMONIC JUL

THURSDAY JULY 18, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: JULIE AND TIM DALTON STEPHANIE AND LAWRENCE FLINN, JR. JUNE AND PAUL ROSSETTI

SPECIAL GRATITUDE TO: The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society

SPONSORED BY: Liz and Tommy Farnsworth Karen and Jay Johnson Jean and Ray Oglethorpe Amy L. Roth, Ph.D. and Jack Van Valkenburgh

125

JUL

THURSDAY JULY 18, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

LEGENDARY MOVIE MUSIC

NEW YORK PHILHARMONIC

“Ride of the Valkyries” from Die Walküre (1854-1856)

Alexander Joel, conductor

WAGNER “Ride of the Valkyries” from Die Walküre (5 minutes)

KORNGOLD “Fanfare” and “Love Scene” from The Adventures of Robin Hood (7 minutes) (Arr. John Mauceri)

HERRMANN Suite from Vertigo (12 minutes) Prelude The Nightmare Scène d’amour GERSHWIN An American in Paris (19 minutes)

— INTERMISSION —

RICHARD WAGNER (1813-1883)

he Valkyries are the nine warrior-maidens of German mythology who ride through the air on their steeds, bringing heroes killed in battle to Valhalla, home of the gods. The Ride occurs in Wagner’s opera when the curtain rises on a rocky mountain to reveal four of the Valkyries watching their sisters return from the battleground.

“Fanfare” and “Love Scene” from The Adventures of Robin Hood (1938) ERICH WOLFGANG KORNGOLD (1897-1957)

The Adventures of Robin Hood, Warner Bros.’s first full Technicolor feature, is based on the legend of the nobleman who turns virtuous outlaw to rob from the rich, give to the poor, and defend England from internal usurpers and external enemies. It was nominated for four Academy Awards, including Best Picture, and won for Korngold’s score.

JARRE Overture to Lawrence of Arabia (5 minutes)

Suite from Vertigo (1958) BERNARD HERRMANN (1911-1975)

ELGAR “Nimrod” from Variations on an Original Theme, “Enigma,” Op. 36 (4 minutes)

WAXMAN Sunset Boulevard: Suite (8 minutes) Prelude Norma Desmond The Studio Stroll The Comback: Norma as Salome

WILLIAMS “Superman March” from Superman (5 minutes) “Rey’s Theme” from Star Wars: The Force Awakens (4 minutes) “Raiders’ March” from Raiders of the Lost Ark (3 minutes)

126 Learn more at BravoVail.org

Hitchcock’s masterful thriller Vertigo concerns Scottie Ferguson, a San Francisco police detective who has been forced into early retirement because a rooftop chase that resulted in the death of another officer has caused him to suffer from extreme fear of heights. The climax finds Scottie at the top of the bell tower of a mission church trying to prevent what he thinks will be the attempted suicide of Madeleine, whom he has come to love. The Prelude provides the musical gateway for this gripping tale. In The Nightmare sequence, Scottie has a terrifying dream in which he has a premonition of himself falling from the tower. The Scène d’amour accompanies Madeleine and Scottie’s first embrace.

An American in Paris (1928) GEORGE GERSHWIN (1898-1937)

In 1951, An American in Paris and several of Gershwin’s finest songs inspired an Oscar-winning film from director Vincente Minnelli. In the story, a struggling American painter in Paris falls in

love with a lovely French girl. An American in Paris provides the music for the colorful ballet that serves as the film’s dazzling climax.

INSIDE STORY

Overture to Lawrence of Arabia (1962) MAURICE JARRE (1924-2009)

Lawrence of Arabia, which brought French composer Maurice Jarre an Oscar, is based on the exploits of the British author, archaeologist, diplomat and military officer Thomas Edward Lawrence (1888-1935), who helped lead the Arab Revolt against the Ottoman Empire during the First World War. Jarre’s score evokes the film’s sweeping panoramas and action sequences, as well as its cultural settings. PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 201

FROM SYMPHONIES TO SOUNDTRACKS

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ($40,000+)

SILVER ($15,000+)

ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

PLATINUM ($30,000+)

BRONZE ($10,000+)

Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

Quite a few composers have made names for themselves as writers of music for film. John Williams, of course, is a household name; others include Danny Elfman (associated with Tim Burton movies), James Horner (who wrote the music for Titanic) and Bernard Hermann (forever linked with Alfred Hitchcock’s Psycho). However, there are a number of “classical” composers who you might be surprised to learn wrote soundtracks as well as symphonies: Benjamin Britten scored Night Mail, a classic 1936 documentary about a mail train, which also featured text by the poet W. H. Auden. Sergei Prokofiev’s soundtrack for the historical epic Alexander Nevsky contains some of his most dramatic and inventive music. Camille Saint-Saëns was the first famous composer to write an original film score, for The Assassination of the Duke of Guise in 1908. Dmitri Shostakovich accompanied silent films on piano as a youth, and composed a large quantity of film music over the course of his career. 127

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HADELICH PLAYS BRITTEN

NEW YORK PHILHARMONIC JUL

FRIDAY JULY 19, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: JUDY AND ALAN KOSLOFF BILLIE AND ROSS MCKNIGHT DHUANNE AND DOUG TANSILL

SPECIAL GRATITUDE TO: The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation

SPONSORED BY: Susan and Harry Frampton Martha Dugan Rehm and Cherryl Hobart Mary Sue and Mike Shannon Bea Taplin

SOLOIST SPONSORS: Augustin Hadelich, violin, sponsored by Gina Browning and Joe Illick

129

JUL

FRIDAY JULY 19, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

NEW YORK PHILHARMONIC Jaap van Zweden, conductor Augustin Hadelich, violin

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

Mitch Ohriner (University of Denver), speaker

HADELICH PLAYS BRITTEN

BRITTEN

Violin Concerto, Op. 15 (1938-1939)

Violin Concerto, Op. 15 (32 minutes) Moderato con moto Vivace Passacaglia Played without pause

BENJAMIN BRIT TEN (1913-1976)

— INTERMISSION — RACHMANINOFF Symphony No. 2 in E minor, Op. 27 (58 minutes) Largo — Allegro moderato Allegro molto Adagio Allegro vivace

130 Learn more at BravoVail.org

enjamin Britten was 26 in 1939, and much unsettled about his life. Though he had already produced fourteen works important enough to be given opus numbers and a large additional amount of chamber music, choral works, songs, and film and theater scores, he felt his career was stymied both by an innate conservatism among the British music public and by the increasingly assured threat of war in Europe. Also troubling was his proclaimed pacificism in a nation girding itself for battle. In January 1939, his friends poet W.H. Auden and novelist Christopher Isherwood left for America in search of creative stimulation and freedom from what Auden called the English artist’s feeling of being “essentially lonely, twisted in dying roots.” Britten followed them in May, producing such important scores as the Violin Concerto, Les Illuminations, Michelangelo Sonnets, Sinfonia da Requiem and Ceremony of Carols during his three years in this country. The Violin Concerto’s broad, darkly noble first movement begins with a succinct, open-interval motive in the timpani that recurs throughout as a motto. Above the bassoon’s muttering repetitions of the motto, the violin presents the main theme, a melody made from a series of short, smooth, mostly descending phrases. The second subject is constructed from extensive elaborations of the rhythms and intervals in the motto. A climax is built from this material in the development before the recapitulation begins with roles reversed from the exposition: upper strings play the main theme while the soloist hammers out aggressive permutations of the motto. The second subject is omitted in the recapitulation, but the violin reclaims the main theme in the coda, intoning it above a sparse accompaniment of timpani, harp and plucked strings. The second movement is a driving, virtuosic, slightly sinister scherzo for which the more relaxed central section provides formal and expressive contrast. A brilliant cadenza that recalls the timpani motto and the main theme from the first movement serves as a bridge to the finale. The somber finale is a passacaglia, a formal technique using a series of variations on a short, recurring melody. Britten fitted this passacaglia with nine variations on a stern scalar theme, and gave

the music a serious emotional cast that seems to have reflected his sorrow over the horrors of the Spanish Civil War, which reached its bloody climax when he was completing the Concerto. “It is at times like these,” he said, “that work is so important — so that people can think of other things than blowing each other up! ... I try not to listen to the radio more than I can help.” Though Britten was only 27 when he composed his Violin Concerto, the work shows that he was already a master of reflecting the human condition in music of technical polish and emotional depth.

INSIDE STORY

PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 201

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ($40,000+)

SILVER ($15,000+)

ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

PLATINUM ($30,000+)

BRONZE ($10,000+)

Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

Funded in part by a generous grant from the Town of Vail. The Antlers at Vail, Manor Vail Lodge and Vail Marriott Mountain Resort are the official homes of the New York Philharmonic while in residency at Bravo! Vail. Pre-Concert Talks are presented by Wall Street Insurance in partnership with Cincinnati Insurance.

HADELICH ON BRITTEN’S VIOLIN CONCERTO “The Violin Concerto is one of Britten’s early works, and he was perhaps a bit over-enthusiastic about using every possible extended violin technique. It’s a bit daunting at first. When I first heard it in 2005, I was immediately drawn in. The lyrical beauty of the first movement, the energy of the second movement, the pyrotechnic, passionate cadenza and then the incredibly moving passacaglia. I knew right away that I wanted to learn it and play it! “I feel that the technical difficulty is always in the service of the music, not for its own sake—sometimes the strain of the performer is actually the point; if the piece was too easy, it would not communicate the struggle and anguish that Britten was going for. Britten was a passionate pacifist, and was deeply affected and shaken by the Spanish Civil War. This work can be seen as a kind of requiem for the dead of that horrific war.” 131

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BEETHOVEN & BRAHMS

NEW YORK PHILHARMONIC JUL

SATURDAY JULY 20, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: GEORGIA AND DON GOGEL ANN AND ALAN MINTZ KAY AND BILL MORTON

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

SPONSORED BY: Laura and Bill Frick Martha Head Carole and Peter Segal Lisa Tannebaum and Don Brownstein

133

JUL

SATURDAY JULY 20, 6:00PM PRE-CONCERT TALK, 5:00PM

ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER LOBBY

GERALD R. FORD AMPHITHEATER, VAIL

NEW YORK PHILHARMONIC Jaap van Zweden, conductor Conrad Tao, piano

BEETHOVEN Piano Concerto No. 2 in B-flat major, Op. 19 (29 minutes) Allegro con brio Adagio Rondo: Molto allegro

— INTERMISSION — BRAHMS Symphony No. 1 in C minor, Op. 68 (45 minutes) Un poco sostenuto — Allegro Andante sostenuto Un poco allegretto e grazioso Adagio — Allegro non troppo, ma con brio

134 Learn more at BravoVail.org

Jack Sheinbaum (University of Denver), speaker

BEETHOVEN & BRAHMS Piano Concerto No. 2 in B-flat major, Op. 19 (1794-1795, revised 1798) LUDWIG VAN BEETHOVEN (1770-1827)

n November 1792, the 22-year-old Ludwig van Beethoven, full of talent and promise, arrived in Vienna. So undeniable was the genius he had already demonstrated in a sizeable amount of piano music, numerous chamber works, cantatas on the death of Emperor Joseph II and the accession of Leopold II, and the score for a ballet that the Elector of Bonn, his hometown, underwrote the trip to the Habsburg Imperial city, then the musical capital of Europe, to help further the young musician’s career (and the Elector’s prestige). Despite the Elector’s patronage, however, Beethoven’s professional ambitions consumed any thoughts of returning to the provincial city of his birth, and when his alcoholic father died in December, he severed for good his ties with Bonn in favor of the stimulating artistic culture of Vienna. The occasion of Beethoven’s first Viennese public appearance was a pair of concerts — “A Grand Musical Academy, with more than 150 participants,” trumpeted the program in Italian and German — on March 29, 1795 at the Burgtheater whose proceeds were to benefit the Widows’ Fund of the Artists’ Society. (It is likely that Antonio Salieri, Beethoven’s teacher at the time, had a hand in arranging the affair, since the music of one Antonio Cordellieri, another of his pupils, shared the bill.) Beethoven chose for the occasion a piano concerto in B-flat major he had been working on for several months, but which was still incomplete only days before the concert. In his reminiscences of the composer, Franz Wegeler recalled, “Not until the afternoon of the second day before the concert did he write the rondo, and then while suffering from a pretty severe colic which frequently afflicted him. I relieved him with simple remedies so far as I could. In the anteroom sat copyists to whom he handed sheet after sheet as soon as they were finished being written.” The work was completed just in time for the performance. It proved to be a fine success (“he gained the unanimous applause of the audience,” reported the Wiener Zeitung), and did much to further Beethoven’s dual reputation as performer and composer. For a concert in Prague three years later, the Concerto was extensively revised, and it is this version that is known today. The original one has vanished.

A traditional device — one greatly favored by Mozart — is used to open the Concerto: a forceful fanfare motive immediately balanced by a suave lyrical phrase. These two melodic fragments are spun out at length to produce the orchestral introduction. The piano joins in for a brief transition to the re-presentation of the principal thematic motives. The sweet second theme is sung by the orchestra alone, but the soloist quickly resumes playing to supply commentary on this new melody. The development is based largely on transformations of the principal theme. The recapitulation proceeds apace and includes an extended cadenza. The touching Adagio is less an exercise in rigorous, abstract form than a lengthy song of rich texture and operatic

INSIDE STORY

PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 202

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ($40,000+)

SILVER ($15,000+)

ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

PLATINUM ($30,000+)

BRONZE ($10,000+)

Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

Funded in part by a generous grant from the Lyn and Phillip Goldstein Piano Concerto Artist Project and the Town of Vail. The Antlers at Vail, Manor Vail Lodge and Vail Marriott Mountain Resort are the official homes of the New York Philharmonic while in residency at Bravo! Vail. Pre-Concert Talks are presented by Wall Street Insurance in partnership with Cincinnati Insurance.

TAO ON VIRTUOSITY “There is definitely a benefit to things seeming effortless—the primary way we understand virtuosity—because that reaffirms the notion of the music speaking for itself. But that is not the only truth available to us in music-making. Why is virtuosity prioritized? When it is, what has been compromised, if anything? It seems truer to grant virtuosity status as a part of making music. “Embedded in virtuosity is this emotional charge and excitement of wondering whether or not this is going to work; it’s not about regurgitating a loaded page of black dots. I’m interested in the sonics of effort. I struggle with the holier-thanthou attitude of purism that views music as a disembodied thing and ignores the insistently present aspect of music-making.” Did you know? Tao was the only classical artist on Forbes magazine’s “30 Under 30” list on the music industry in 2011. He was 17 at the time. 135

JUL

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

SHAKEDOWN BAR, VAIL

THE BRASS PROJECT (Bravo! Vail 2019 Chamber Musicians in Residence) Brian Olson, trumpet Theo Van Dyck, trumpet Cort Roberts, horn Oliver Barrett, trombone Daniel Schwalbach, trombone Jake Fewx, tuba

ESMAIL Tuttarana

BACH, J.S. Contrapunctus I Contrapunctus XII Contrapunctus IX

COLE Chorale

ABOU-AFACH Exodus

LAURELLO Autumns

LANSKY Holy Moly

QUAYLE Small Talk

FRANKLIN Nocturne

THE BRASS PROJECT

he title of Tattarana by REENA ESMAIL (b.1983) conflates the Italian word “tutti,” which means “all” or “everyone,” and the term “tarana,” which designates a specific Hindustani (North Indian) musical form, whose closest Western counterpart is the “scat” in jazz. All fourteen fugues in The Art Of Fugue by JOHANN SEBASTIAN BACH (1685-1750) are built on the same small set of notes. Syrian-born KINAN ABOUAFACH (b. 1977) said that Exodus was composed “for people who fled their houses looking for peace and safety.” Autumns by MICHAEL LAURELLO (b. 1981) reflects his fascination with temporal dissonance and emotional immediacy. Holy Moly is by Princeton University faculty member PAUL LANSKY (b. 1944). MATTHEW QUAYLE (b. 1975), composer of Small Talk, is Head of the Music Program and Assistant Arts Professor of Music at NYU Abu Dhabi in the United Arab Emirates. Nocturne is by composer and trumpet player STEVEN FRANKLIN (b. 1995), currently a fellow at the New World Symphony in Florida. Franklin’s Three Romances were influenced by 19th-century Romanticism but, he adds, “continue exploring warmth, richness and lyricism in my writing.” JEREMY HOWARD BECK (b. 1985) wrote that in Roar he “set out to capture the common autistic experience of being over-stimulated — i.e., sensory overload.” English Consort Music by JOHN WARD (1571-1638) and GIOVANNI COPERARIO (1575-1626) samples instrumental pieces popular in Jacobean Britain. This concert features 2019 Bravo! Vail Chamber Musicians in Residence. Visit page 49 for more information about this professional development program.

BECK Roar

WARD/COPERARIO English Consort Music

FRANKLIN Three Romances, III. Finale BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Amy and Charlie Allen

136 Learn more at BravoVail.org

JUL

MONDAY JULY 22, 6:00PM CHAMBER MUSIC SERIES

DONOVAN PAVILION, VAIL

Yefim Bronfman, piano

BRONFMAN PLAYS BEETHOVEN

he three Sonatas comprising the Op. 10 of LUDWIG VAN BEETHOVEN (1770-1827) were composed in 1796-1798, when he had become well established as a composer and piano virtuoso in Vienna after arriving from his native Bonn in 1792. In his biography of the composer, Peter Latham described him at that time as “a young giant exulting in his strength and his success, and youthful confidence gave him a buoyancy that was both attractive and infectious.” The Op. 10 Sonatas offer a snapshot of the range of Beethoven’s creativity when he was in his late twenties: No. 1 in C minor foreshadows the distillation of that Romantically tragic-heroic key in the Fifth Symphony a decade later; No. 2 in F major is one of his most compact such works and one of his sunniest; No. 3 in D major, with its starkly contrasted thematic material, is an early example of the technique with which he later built some of his most powerfully dramatic compositions. The “Appassionata” Sonata, created in 1804-1806 during the most fruitful period of his life, stands upon the highest plateau of Beethoven’s achievement.

BEETHOVEN Piano Sonata No. 5 in C minor, Op. 10, No. 1 (18 minutes) Allegro molto con brio Adagio molto Finale: Prestissimo

BEETHOVEN Piano Sonata No. 6 in F major, Op. 10, No. 2 (15 minutes) Allegro Allegretto Presto

BEETHOVEN Piano Sonata No. 7 in D major, Op. 10, No. 3 (23 minutes) Presto Largo e mesto Menuetto: Allegro Rondo: Allegro

— INTERMISSION — BEETHOVEN Sonata No. 23 in F minor, Op. 57, “Appassionata” (24 minutes) Allegro assai Andante con moto — Allegro ma non troppo

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

137

JUL

TUESDAY JULY 23, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

Aristo Sham, piano (2019 Bravo! Vail Piano Fellow)

VERONA QUARTET (Bravo! Vail 2019 Chamber Musicians in Residence) Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello

JANÁČEK String Quartet No. 2, “Intimate Letters” (28 Minutes) Andante Adagio Moderato Allegro

SHOSTAKOVICH Quintet for Piano and String Quartet in G minor, Op. 57 (35 minutes) Prelude: Lento — Fugue: Adagio Scherzo: Allegretto Intermezzo: Lento — Finale: Allegretto

FREE

JANÁČEK & SHOSTAKOVICH

n 1917, when he was 63, the Moravian composer LEOŠ JANÁČEK (1854-1928) fell in love with Kamila Stösslová, the 25-year-old wife of a Jewish antiques dealer from Písek. The true passion seems to have been entirely on his side (“It is fortunate that only I am infatuated,” he wrote to her), but Kamila did not reject his company, apparently feeling admiration rather than love for the man who, with the successful staging of his Jenůfa in Prague in 1915, was gaining an international reputation as a master composer. Under the sway of his feelings for Kamila, Janáček wrote his greatest music, including the String Quartet No. 2, “Intimate Letters” (1928). DMITRI SHOSTAKOVICH (19061975) was not only among the foremost composers of the 20th century, he was also a gifted pianist. After years of prompting, the Beethoven String Quartet, the ensemble that premiered all of Shostakovich’s fifteen quartets except No. 1, finally convinced the composer-pianist to write a Piano Quintet (1940) that would allow them to perform together. The work’s premiere was greeted with universal acclaim and earned Shostakovich a Stalin Prize. This concert features 2019 Bravo! Vail Piano Fellows and Chamber Musicians in Residence. Visit page 49 for more information about these professional development programs.

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

ARISTO SHAM 138 Learn more at BravoVail.org

Sandi and Leo Dunn Kathy and David Ferguson Cookie and Jim Flaum Four Seasons Resort Vail The Sidney E. Frank Foundation Holy Cross Energy Lion Square Lodge The Paiko Foundation

TOVEY PRESENTS COLE PORTER

NEW YORK PHILHARMONIC JUL

TUESDAY JULY 23, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: ANB BANK AND THE STURM FAMILY HONEY M. KURTZ AMY AND JAMES REGAN MARCY AND GERRY SPECTOR

SPECIAL GRATITUDE TO: The Friends of the New York Philharmonic The Lyn and Phillip Goldstein Maestro Society The Paiko Foundation

SPONSORED BY: Pam and David Anderson Lucy and Ron Davis Melinda and Tom Hassen Sue and Marty Solomon and P&S Equities, Inc. Barbara and Carter Strauss

139

JUL

TUESDAY JULY 23, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

NEW YORK PHILHARMONIC Bramwell Tovey, conductor/piano Nicole Cabell, soprano Jennifer Johnson Cano, mezzo-soprano Ben Bliss, tenor Rod Gilfry, baritone

PORTER’S OVERTURE A “Ridin’ High” from Red, Hot and Blue — “Love for Sale” from The New Yorkers — “Anything Goes” from Anything Goes

“Let’s Do It, Let’s Fall in Love” from Paris (Orch. Philip J. Lang) “All of You,” from Silk Stockings (Arr. and Orch. Jack Mason) Selections from Can-Can “I Love Paris” (Orch. Lang) “Can-Can” (Arr. and Orch. Mason) Songs from Anything Goes “I Get a Kick Out of You” (Orch. Elman Anderson) “You’re the Top” “Blow, Gabriel, Blow” “Begin the Beguine,” from Jubilee (Orch. Lang)

TOVEY PRESENTS COLE PORTER COLE PORTER (1891-1964)

ole Porter, born in 1891 into a wealthy family in Peru, Indiana, was musically precocious but attended Worcester Academy and Yale to become a lawyer (at his rich grandfather’s insistence) before abandoning the study of law for music almost as soon as he entered graduate school at Harvard. After the flop of his first Broadway show (1916, See America First), Porter went to Paris and (may have) served in the French Foreign Legion. He stayed in Europe after World War I ended, studying composition with Vincent d’Indy and throwing sybaritic parties that endeared him to the social set. He returned to New York in 1919, married the wealthy divorcée Linda Thomas, scored his first Broadway success (Hitchy-Koo), and earned a reputation for his melodic gifts and urbane, witty and sometimes risqué lyrics. From the 1920s to the 1950s, Porter was known almost as much for his grand lifestyle in New York, Los Angeles, Venice and Paris as for his shows for Broadway: Fifty Million Frenchmen; DuBarry Was a Lady; Anything Goes; Can-Can; Silk Stockings; and Kiss Me, Kate, the first production to win a Tony for Best Musical, and for his songs for Hollywood: “You’d Be So Easy to Love;” “I’ve Got You Under My Skin;” “In the Still of the Night;” and “True Love.” Despite suffering a riding accident in 1937 that crushed his legs and left him in constant pain and nearly debilitated, Porter

— INTERMISSION — PORTER’S OVERTURE B “It’s De-lovely” from Red, Hot and Blue — “I Love You” from Mexican Hayride “You’d Be So Nice To Come Home To” from Something To Shout About — “Another Op’nin’, Another Show’’ from Kiss Me, Kate

Songs from Kiss Me, Kate “So in Love” “Were Thine That Special Face” “Wunderbar” “Why Can’t You Behave” “Too Darn Hot” (Orch. Lang)

“Night and Day,“ from Gay Divorce All orchestrations by Robert Russell Bennett unless noted otherwise. The running time of this concert is approximately 95 minutes including intermission.

SILK STOCKINGS

worked industriously until his right leg had to be amputated in 1958. He died in his memorabilia-filled apartment at the Waldorf Towers in New York six years later. “Cole Porter not only wrote music but also wrote lyrics,” said Marvin Hamlisch, winner of a Tony Award and Pulitzer Prize (both for A Chorus Line) and an Oscar (The Way We Were). “He was a very cool, brilliant, ultra-sophisticated Manhattanite…. He was a particularly high-brow, smart composer, a ‘composer’s composer,’ and he raised the bar when it came to the taste of Americans and the world. I can’t think of anybody who sounds like Cole Porter. His is a very distinctive style.”

INSIDE STORY

TOVEY SAVES THE (BIG) DAY BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ($40,000+)

SILVER ($15,000+)

ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

PLATINUM ($30,000+)

BRONZE ($10,000+)

Mr. Claudio X. Gonzalez Vera and John Hathaway Cynnie and Peter Kellogg Honey M. Kurtz Leni and Peter May Carol and Pat Welsh

In 2009, Bramwell Tovey was in England conducting the National Youth Brass Band when he got an unexpected call. There was a wedding next door, and the pianist wasn’t going to make it on time. The desperate groom ran to the concert venue, hoping to find a passable replacement or even a CD to borrow, and found the band’s administrator, who called Tovey. “I put my foot down and made a few illegal turns and got there in under 10 minutes. I thought if the police stopped me, they would understand.” Still in shorts and a t-shirt, Tovey was asked if he could play Cole Porter’s “Night and Day.” “No one had told me what to play as the bride and groom walked out, so I decided to be traditional and went with the Mendelssohn march, which I finished with a big flourish.” Referring to the old “Is there a doctor in the house?” cliche, Tovey had often joked about there being no emergency for which a musician is qualified to help. “Lo and behold,” he laughed, “there actually was one!” 141

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WEDNESDAY JULY 24, 1:00PM INSIDE THE MUSIC

VAIL INTERFAITH CHAPEL

Aristo Sham, piano (2019 Bravo! Vail Piano Fellow) Anne-Marie McDermott, coach

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S EVENT FROM: The Paiko Foundation

FREE

INSIDE THE MUSIC: MASTERCLASS

ach year, Artistic Director Anne-Marie McDermott picks two young pianists to live, learn, and perform in Vail, Colorado for two weeks during the Festival season. Today, Anne-Marie coaches Piano Fellow Aristo Sham through solo piano repertoire in front of a live audience. Aristo Sham has been described by the Washington Post as a young artist with “boundless potential” who can “already hold his own with the best.” Born and raised in Hong Kong, he is currently pursuing a BA in Economics and French, and an MMus in Piano Performance in a joint program at Harvard University and the New England Conservatory. While Bravo! audiences know Anne-Marie McDermott as a beloved Artistic Director, she balances a versatile career as both soloist and collaborator. Anne-Marie performs over 100 concerts a year in a combination of solo recitals, concerti, and chamber music.

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

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

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

www.bnaivail.org

We make kids with serious illnesses feel like ordinary kids. Giggling, laughing, kayaking, arrow-shooting, horseback-riding, art-creating kids. They find new courage, create lasting friendships, and enjoy the pure joy of childhood. Always free of charge.

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TOVEY & BRONFMAN

NEW YORK PHILHARMONIC JUL

WEDNESDAY JULY 24, 6:00PM ORCHESTRA SERIES

THIS EVENING’S PERFORMANCE IS PRESENTED BY: ANB BANK AND THE STURM FAMILY LYN GOLDSTEIN SARAH NASH AND MICHAEL SYLVESTER DIDI AND OSCAR SCHAFER CAROL AND PAT WELSH

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

SPONSORED BY: Jeanie and Harry Burn June and Peter Kalkus Dr. and Mrs. Frederick Kushner Mr. John McDonald and Mr. Rob Wright

SOLOIST SPONSORS: Yefim Bronfman, sponsored by Gina Browning and Joe Illick

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WEDNESDAY JULY 24, 6:00PM ORCHESTRA SERIES

GERALD R. FORD AMPHITHEATER, VAIL

TOVEY & BRONFMAN

NEW YORK PHILHARMONIC

“Wedding March” from the Incidental Music to A Midsummer Night’s Dream, Op. 61 (1842)

Bramwell Tovey, conductor Doe Browning, special guest conductor Yefim Bronfman, piano

FELIX MENDELSSOHN (1809-1847)

MENDELSSOHN “Wedding March” from Incidental Music to A Midsummer Night’s Dream (5 minutes)

RACHMANINOFF Piano Concerto No. 3 in D minor, Op. 30 (40 minutes) Allegro ma non tanto Intermezzo: Adagio — Finale: Alla breve

— INTERMISSION — TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 (42 minutes) Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato (Allegro) Finale: Allegro con fuoco

endelssohn was enamored during his teenage years with reading the works of Shakespeare, and in the summer of 1826, when he was seventeen, he was inspired to write an overture to A Midsummer Night’s Dream. It was premiered in February 1827 in Stettin and immediately garnered a success that has never waned. By 1842, Mendelssohn was the most famous musician in Europe and in demand everywhere. He was director of the superb Gewandhaus Orchestra in Leipzig, a regular visitor to England, and Kapellmeister to King Friedrich Wilhelm IV of Prussia in Berlin. For Mendelssohn’s Berlin duties, Friedrich required incidental music for several new productions at the Royal Theater, including Sophocles’ Oedipus and Antigone, Racine’s Athalie, and Shakespeare’s The Tempest and A Midsummer Night’s Dream, for which he composed twelve pieces of the incidental music that perfectly matched the inspiration and style of his 1826 Overture. The majestic Wedding March, the Entr’acte to Act V, accompanies the festive triple wedding of Theseus and Hippolyta, Demetrius and Helena, and Lysander and Hermia.

Piano Concerto No. 3 in D minor, Op. 30 (1909) SERGEI R ACHMANINOFF (1873-1943)

The worlds of technology and art sometimes brush against each other in curious ways. In 1909, it seems, Sergei Rachmaninoff wanted one of those new mechanical wonders — an automobile. And thereupon hangs the tale of his first visit to America. The impresario Henry Wolfson of New York arranged a thirtyconcert tour for the 1909-1910 season for Rachmaninoff to play and conduct his works in several American cities. Rachmaninoff was hesitant about leaving his family for such an extended overseas trip, but the generous financial remuneration was too tempting to resist. With a few tour details still left unsettled, Wolfson died suddenly in spring 1909, and the composer was much relieved that the journey would probably be cancelled. Wolfson’s agency had a contract with Rachmaninoff, however, and during the summer finished the arrangements for his appearances so that the composer–pianist–conductor was obliged to leave for New York as scheduled. Looking on the bright side of that daunting prospect, Rachmaninoff wrote to 144 Learn more at BravoVail.org

his friend Nikita Morozov, “I don’t want to go. But then perhaps after America I’ll be able to buy myself that automobile.... It may not be so bad after all!” It was for the American tour that Rachmaninoff composed his Third Piano Concerto. The first movement is a modified sonata form that begins with a haunting theme, recalled in the later movements, which sets the work’s mood of somber intensity; the espressivo second theme is presented by the pianist. The development is concerned mostly with transformations of fragments from the first theme. A massive cadenza, separated into two parts by a recall of the main theme by the woodwinds, leads to the recapitulation. The Intermezzo is a set of free variations with an inserted episode. The finale is in three large sections. The first part has an abundance of themes derived

INSIDE STORY

PROGRAM NOTES BY DR. RICHARD E. RODDA CONTINUED ON PAGE 203

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FROM THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ($40,000+)

SILVER ($15,000+)

ANB Bank and The Sturm Family Julie and Tim Dalton Marijke and Lodewijk de Vink Lyn Goldstein Jeanne and Jim Gustafson Linda and Mitch Hart Billie and Ross McKnight Amy and James Regan Town of Vail

PLATINUM ($30,000+)

BRONZE ($10,000+)

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

FIMA’S EARLY YEARS “Having been born into a musical family, I didn’t know anything else. My parents and sister all played instruments, so I thought that the whole world was doing the same. When I was very little, my father, who was the concertmaster of the opera orchestra in Tashkent, took me to sit in the pit during performances because there was no babysitter. So I was always listening to Tosca and Aida and Cio-Cio San, all these classical operas I heard from the time I was three, four years old, before I started playing the piano. I would sing along with the singers, and I remember at one point during a performance I made a mistake and was singing during a pause. I will never forget—the audience started laughing! I think that the reason I am sometimes very shy in front of an audience is because of that incident. 145

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THURSDAY JULY 25, 11:00AM FREE CONCERT SERIES

GOLDEN EAGLE SENIOR CENTER, EAGLE

THE BRASS PROJECT (Bravo! Vail 2019 Chamber Musicians in Residence) Brian Olson, trumpet Theo Van Dyck, trumpet Cort Roberts, horn Oliver Barrett, trombone Daniel Schwalbach, trombone Jake Fewx, tuba

SELECTIONS TO BE ANNOUNCED FROM THE STAGE

FREE

BRASS PROJECT COMMUNITY CONCERT

he Brass Project, a sextet founded at the Curtis Institute of Music in 2016, seeks to expand the repertoire for chamber brass, to record and distribute new works, and to engage with a wide community through outreach and educational programs. The Brass Project has collaborated with composers from around the world on 35 new works, including several heard at the ensemble’s Bravo! Vail appearances this summer. As part of The Brass Project’s initiative to bring music to diverse communities, they have worked with young students in over eighty educational concerts across northern New Mexico and held multiple residencies in Philadelphia area schools through the Curtis Institute of Music’s Community Artists Program. The Brass Project’s debut album, Cityscaping, was released in fall 2018.

Kathy and David Ferguson The Paiko Foundation United Way of Eagle River Valley

THE BRASS PROJECT 146 Learn more at BravoVail.org

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

JUL

THURSDAY JULY 25, 1:00PM FREE CONCERT SERIES

VAIL INTERFAITH CHAPEL

FREE

GILBERTSON & RAVEL

ICHAEL GILBERTSON (b. 1987), born in Dubuque, Iowa, holds degrees from Juilliard and Yale, and now teaches at the San Francisco Conservatory of Music. He is also Resident Composer with the San Francisco Contemporary Music Players and founder of ChamberFest Dubuque. Gilbertson wrote of his String Quartet, a 2018 Pulitzer Prize nominee, “In the fall of 2016, I was commissioned to compose a string quartet for the Verona Quartet. They’re a really great, ambitious group, so I wanted to write them an ambitious piece. When the election ‘hit’ in November 2016, I had sketches for the piece, but felt like I needed to start over. I felt the need to write something consoling and comforting.” MAURICE RAVEL (1875-1937) composed his String Quartet in 1902-1903, when he was finishing his studies at the Paris Conservatoire. He completed the first movement in time to submit it to a competition at the Conservatoire in January 1903, but the reactionary judges found this glowing specimen of musical color and light “laborious” and “lacking simplicity.” Ravel left the Conservatoire for the last time and never again set foot in one of its classrooms. More angry than discouraged, he continued work on the Quartet and completed it in April 1903.

VERONA QUARTET (Bravo! Vail 2019 Chamber Musicians in Residence) Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello

GILBERTSON String Quartet (15 minutes) Mother Chords Simple Sugars

RAVEL String Quartet in F major (26 minutes) Allegro moderato Assez vif, très rythmé — Lent — Tempo I Très lent Vif et agité

This concert features 2019 Bravo! Vail Chamber Musicians in Residence. Visit page 49 for more information about this professional development program.

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S CONCERT FROM: Citywide Banks Sandi and Leo Dunn Kathy and Dave Ferguson Cookie and Jim Flaum The Sidney E. Frank Foundation Lodge at Vail The Paiko Foundation The Sebastian - Vail

VERONA QUARTET 147

EDUCATION & ENGAGEMENT BEYOND THE SUMMER For a look at our Education & Engagment Events during the summer check out page 48-49

BRAVO! VAIL EDUCATION YEAR-ROUND Bravo! Vail makes the finest artists, composers, instruments, and instruction accessible to all, inspiring and supporting a music-loving community. SPRING FAMILY CONCERTS April 1 – 7 marked Bravo! Vail’s 3rd Annual Spring Family Concert Series. We engaged a talented group of young, enthusiastic, professional resident musicians and singers to visit a total of 16 schools throughout Eagle County during the week to bring interactive workshops to students of all ages. The week culminated with two performances of Opera Colorado’s production of Hansel & Gretel at Vilar Performing Arts Center and Eagle Valley High School.

“NOTHING WOULD BE POSSIBLE IF THERE WERE NOT PEOPLE WORKING, BRINGING RESOURCES TO THIS VALLEY, HELPING US WITH OUR CHILD’S EDUCATION. THEY ARE BECOMING THE FUTURE OF THIS COUNTRY AND I THINK IT’S WELL WORTH IT.” —MOTHER OF A BR AVO! VAIL PIANO STUDENT

AFTER-SCHOOL PROGRAMS Bravo! Vail’s After-School Violin and Piano Programs give students a solid foundation in music by teaching them to play an instrument, read music and understand musical concepts. These weekly classes are held at several locations from Vail to Gypsum to students in grades 2 – 5.

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. Recipients will have displayed commitment, dedication, and excellence in their musical studies. The goal of the award is to provide financial assistance to a student in his or her pursuit of serious high-level music studies in an accredited program, camp, academic institution, or another similar setting, or to assist with the costs of instruments, software, or other materials essential to the student’s continued musical studies. 148 Learn more at BravoVail.org

WELCOME TO BRAVO! VAIL’S FIRST-EVER

VIRTUAL GIVING GALA JUNE 20–JULY 25

As part of Bravo! Vail’s first-ever Virtual Giving Gala, donations can be made directly to support our Education and Engagement Programs. From meeting professional artists or exploring instruments during the Instrument Petting Zoos, to After-School Programs and in-depth pre-concert discussions, Bravo! Vail’s Education and Engagement programs foster music education for thousands of children and adults. Bravo! Vail’s Education and Engagement Programs bring the gift of music to our community. Your generous donation will develop a lifelong appreciation of the arts and will enrich the lives of the people we serve.

Show your support. Raise your virtual paddle. Donate to Educate. BRAVOVAIL.ORG/GALA 149

JUL

SATURDAY JULY 27, 6:00PM FREE CONCERT SERIES

EDWARDS INTERFAITH CHAPEL

THE BRASS PROJECT (Bravo! Vail 2019 Chamber Musicians in Residence) Brian Olson, trumpet Theo Van Dyck, trumpet Cort Roberts, horn Oliver Barrett, trombone Daniel Schwalbach, trombone Jake Fewx, tuba

ESMAIL Tuttarana (3 minutes)

J.S. BACH Three Contrapunctus from The Art of Fugue (9 minutes) No. I No. XII No. IX

WARD/COPERARIO English consort music, edited by Raymond Mase (5 minutes)

FRANKLIN Nocturne (4 minutes)

LAURELLO Autumns (4 minutes)

LANSKY Holy Moly (4 minutes)

FRANKLIN

FREE

THE BRASS PROJECT

omprised of “six superb brass players” (Philadelphia Inquirer), The Brass Project is committed to invigorating the brass chamber music experience through vibrant performance and fearless exploration. So committed, in fact, that its inaugural season included an extraordinary project, involving commissioning 32 brand-new works from accomplished, beautifully distinct composers. Tonight’s program intersperses music from Bach to Beck with several of these commissioned works, many of which were included on their debut album, Cityscaping: “In this commissioning project, we asked our composers to write music they imagined might be performed in a public space, perhaps even outdoors. We also asked that they keep their works short – roughly three minutes in length. The result is a collection of pieces, each roughly the length of a pop song, which proudly displays the diverse voices of contemporary composers from around the world. Our imagined scenario of outdoor performances in civic spaces hearkens back to an era when participation in town bands and other forms of civic music was a central part of American culture. We like to think this program, with its short works, can encourage a fresh mode of engagement with new music—we hope you may even think of it as a kind of sonic tasting menu.” This concert features 2019 Bravo! Vail Chamber Musicians in Residence. Visit page 49 for more information about this professional development program.

Three Romances (17 minutes) Elegy Intermezzo Finale

THE BRASS PROJECT 150 Learn more at BravoVail.org

Kathy and David Ferguson The Sidney E. Frank Foundation The Lift House Lodge The Paiko Foundation Sitzmark Lodge

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

JUL

SATURDAY JULY 27, 6:00PM THE LINDA AND MITCH HART SOIRÉE SERIES

SMITH RESIDENCE, ARROWHEAD

THE LINDA AND MITCH HART SOIRÉE SERIES

AN EVENING WITH ANNE-MARIE

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

Anne-Marie McDermott, piano

SELECTIONS TO BE ANNOUNCED FROM THE STAGE

CATERED BY FOODS OF VAIL, TRACEY VAN CURAN

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

SPECIAL GRATITUDE TO The Francis Family Linda and Mitch Hart

SPONSORED BY B-Line Xpress Foods of Vail Vintage Magnolia West Vail Liquor Mart

ANNE-MARIE 151

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SUNDAY JULY 28, 8:30PM BRAVO! VAIL AFTER DARK

SHAKEDOWN BAR, VAIL

Edgar Meyer, bass George Meyer, violin With special guest Mike Marshall, mandolin

SELECTIONS TO BE ANNOUNCED FROM THE STAGE

EDGAR & GEORGE MEYER

ouble bassist and composer Edgar Meyer has been a summertime fixture in Colorado since his student days at Aspen in the early 1980s. His monumental career has included an Avery Fisher Prize, a MacArthur “genius” grant and a genre-agnostic approach to music that he describes as “a multidimensional spectrum, and not a collection of specialized niches.” The New Yorker declared him “the most remarkable virtuoso in the relatively un-chronicled history of his instrument.” He has a knack for memorable collaborations, and over the years has performed with banjoist Bela Fleck, tabla player Zakir Hussain, jazz bassist Christian McBride, violinist Joshua Bell, and mandolin players Chris Thile and Mike Marshall. At this very special After Dark, audiences will enjoy a truly unforgettable collaboration: the premiere of the very first piece co-composed by Edgar and his son George, an acclaimed violinist and composer in his own right whose works have been performed at Chamber Music Northwest, the Telluride and RockyGrass Bluegrass Festivals, and the Savannah Music Festival. “George is one of my favorite composers,” explains the elder Meyer. “I have actually never really given him any particular advice on composing, partially because he does not seem to need it. Definitely cuts down on my work load.”

Amy and Charlie Allen The New Works Fund Town of Vail

EDGAR & GEORGE MEYER 152 Learn more at BravoVail.org

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

JUL

30 PADDLE TO THE SEA

TUESDAY JULY 30, 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, VAIL

Multimedia Journey to the Open Sea Film by Bill Mason Lighting Design and Video Projections by Joseph Burke Stage Direction by Leslie Buxbaum Danzig Music by Glass, Druckman, trad. Shona

THIRD COAST PERCUSSION

GLASS/ARR. THIRD COAST PERCUSSION

he protagonist of Holling C. Holling’s 1941 children’s book Paddle-to-the-Sea is a small wooden figure in a canoe, lovingly carved by a Native Canadian boy. From the Nipigon Country north of Lake Superior, the figure travels for years through the Great Lakes and St. Lawrence Seaway out to the Atlantic Ocean and beyond, encountering a variety of people, creatures and environments along the way. Indeed, these encounters make the long journey possible — rather than keeping “Paddle” for themselves, those who find the figurine choose to send him further along the waterways, perhaps with a fresh coat of paint or a new rudder. Paddle to the Sea includes music composed collaboratively by the members of Third Coast Percussion, interwoven with pre-existing music by American composers PHILIP GLASS (b. 1937), arranged by Third Coast, and JACOB DRUCKMAN (1928-1996), and traditional music of the Shona people of Zimbabwe. The music composed by Third Coast Percussion accompanies the 1966 film Paddle to the Sea. The other works are performed with newly created video art by Joseph Burke. This project is supported by the Paul M. Angell Family Foundation and a grant from the National Endowment for the Arts, with additional support from the Elizabeth F. Cheney Foundation, and is made possible through a collaboration with the National Film Board of Canada. Paddle to the Sea was commissioned with lead support from the Maxine and Stuart Frankel Foundation. The work was co-commissioned by the Cleveland Museum of Art, Meany Center for the Performing Arts at University of Washington, ArtsLIVE at University of Dayton, and University of Notre Dame’s DeBartolo Performing Arts Center.

Sean Connors Robert Dillon Peter Martin David Skidmore

“Madeira River”

DRUCKMAN “Crystalline”

THIRD COAST PERCUSSION Paddle to the Sea, Act 1

GLASS/ARR. TCP “Amazon River”

DRUCKMAN “Relentless”

THIRD COAST PERCUSSION Paddle to the Sea, Act 2

DRUCKMAN “Profound”

GLASS/ARR. TCP “Xingu River”

THIRD COAST PERCUSSION Paddle to the Sea, Act 3

DRUCKMAN “Fleet”

THIRD COAST PERCUSSION Paddle to the Sea, Coda

TRADITIONAL/ARR. MUSEKIWA CHINGODZA & TCP Chigwaya BOLD TEXT from Glass: Aguas da Amazonia UNDERLINED TEXT from Druckman: Reflections on the Nature of Water for solo marimba

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Amy and Charlie Allen Big Delicious Catering The Sidney E. Frank Foundation The Judy and Alan Kosloff Artistic Director Chair Meiomi Wine The Paiko Foundation Town of Vail

This evening’s wine provided by

This evening’s desserts provided by

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WEDNESDAY JULY 31, 1:00PM INSIDE THE MUSIC

VAIL INTERFAITH CHAPEL, VAIL

Jack Sheinbaum, speaker and author

FREE

INSIDE THE MUSIC: MUSIC TALK

D BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS AFTERNOON’S EVENT FROM: The Paiko Foundation

ive into Western culture’s definition of “good music” with Jack Sheinbaum, Associate Professor of Musicology and Associate Director of Academic Affairs at the Lamont School of Music in The University of Denver. Sheinbaum is curator of the Pre-Concert Talks Series at Bravo! Vail, where he selects scholars and speakers with unique perspectives on each program. At Inside The Music, Sheinbaum shares his passion for popular music and Western art music of the 19th and early 20th centuries. His newly published book, Good Music: What It Is & Who Gets to Decide, is an exploration of the traditional models we use to value music and the metaphors of perfection by which we judge it. Described by BBC Music Magazine as “a persuasive argument for reappraising how we integrate this beloved art into our lives,” Sheinbaum’s book shines a light on the transcendence of music and our place in its appreciation.

FirstBank Proudly Supports Bravo! Vail.

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154 Learn more at BravoVail.org

JUL

31 THIRD COAST, REICH, & HARRISON

merican composer STEVE REICH (b. 1936) is widely viewed as one of the most influential composers of the last hundred years. His music is known for steady pulse, repetition, and a fascination with canons. It also embraces harmonies and rhythmic concepts from non-Western and American vernacular music (especially jazz). Music for Pieces of Wood (1973) is a study in economy of means, in terms of both physical and musical materials. To celebrate Reich’s 80th birthday, in 2016, Third Coast Percussion released a Grammy-winning album of his works on Cedille Records. LOU HARRISON (1917-2003) was one of the first generation of classical composers to write for percussion ensemble, with works dating back to the 1930s. He was fascinated with the aesthetics of non-Western musical traditions, particularly the Javanese gamelan, and the pipes, bell plates, and Thai gongs in the Concerto for Violin and Percussion Orchestra (1940/1959), which create moments of gamelan-like fanfare amongst the fluid asymmetrical dances. TCP celebrated Harrison’s Centenary, in 2017, with performances and an HD video recording of the Concerto for Violin and Percussion Orchestra with violinist Todd Reynolds, available online. Supplementing the works by Reich and Harrison of this program are compositions by TCP members PETER MARTIN (b. 1980), ROBERT DILLON (b. 1980), and DAVID SKIDMORE (b. 1982), as well as Death Wish (2017) by New Zealand-American composer GEMMA PEACOCKE (b. 1984), inspired by a film about a survivor of sexual assault.

WEDNESDAY 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, VAIL

Yvonne Lam, violin John Corkill, percussion

THIRD COAST PERCUSSION

Sean Connors Robert Dillon Peter Martin David Skidmore

REICH Music for Pieces of Wood (8 minutes)

HARRISON Concerto for Violin and Percussion Orchestra (20 minutes)

Allegro Maestoso – Allegro Vivace Largo, Cantabile Allegro, Vigoroso, Poco Presto

— INTERMISSION — MARTIN BEND (8 minutes)

DILLON Ordering-instincts (8 minutes)

PEACOCKE Death Wish (10 minutes)

SKIDMORE Aliens with Extraordinary Abilities (15 minutes)

Don’t Eat Your Young Take Anything You Want Torched and Wrecked

BRAVO! VAIL GRATEFULLY ACKNOWLEDGES SUPPORT FOR THIS EVENING’S CONCERT FROM: Amy and Charlie Allen Big Delicious Catering The Sidney E. Frank Foundation Meiomi Wine The Paiko Foundation Town of Vail

This evening’s wine provided by

This evening’s desserts provided by

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THURSDAY 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, VAIL

PRE-CONCERT TALK, 6:30PM DONOVAL PAVILION

Leah Weinberg (University of Denver), speaker

Anne-Marie McDermott, piano Amy Yang, piano

THIRD COAST PERCUSSION

Sean Connors Robert Dillon Peter Martin David Skidmore

GLASS Perpetulum (22 minutes) NEW WORKS PROJECT

— INTERMISSION — CRUMB Music for a Summer Evening (Makrokosmos III) for Two Pianos and Percussion (40 minutes) Nocturnal Sounds (The Awakening) Wanderer Fantasy The Advent Myth Music of the Starry Night Perpetulum by Philip Glass was commissioned for Third Coast Percussion with lead support from the Maxine and Stuart Frankel Foundation. The work was co-commissioned by Elizabeth and Justus Schlichting for Segerstrom Center for the Arts, Bravo! Vail Music Festival, San Francisco Performances, Town Hall Seattle, Performance Santa Fe, University of Notre Dame’s DeBartolo Performing Arts Center, and Third Coast Percussion New Works Fund, with additional support from Friedrich Burian, Bruce Oltman, MiTO Settembre Musica, The Saint Paul Chamber Orchestra’s Liquid Music Series, and the Percussive Arts Society.

A PHILIP GLASS PREMIERE

merican composer PHILIP GLASS (b. 1937) has had an extraordinary and unprecedented impact on the musical and intellectual life of his times. Although percussion instruments have played an important role in much of Glass’ music, and a number of his works have been arranged for percussion by other musicians, he had never composed a work for percussion ensemble until Third Coast Percussion commissioned Perpetulum (2018). Glass is now 82 years old, but when composing this work, he hearkened back to childhood memories of his first experience with percussion instruments. Perpetulum blends an almost child-like exploration of the sounds of percussion with Glass’ signature musical voice. The works of GEORGE CRUMB (b. 1929), winner of a Pulitzer Prize, a Grammy, and dozens of other awards, have the deeply spiritual air of man considering nature and his universe. Music for a Summer Evening is the third installment of his Makrokosmos series, whose title refers to Mikrokosmos, Béla Bartók’s six-volume series of progressive piano studies. Crumb also borrowed the instrumentation of this work from Bartók’s Sonata for Two Pianos and Percussion (1937).

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

This evening’s wine provided by

This evening’s desserts provided by

Amy and Charlie Allen Big Delicious Catering The Francis Family The Sidney E. Frank Foundation Meiomi Wine The New Works Fund The Paiko Foundation Town of Vail Yamaha

Pre-Concert Talks are presented by Wall Street Insurance in partnership with Cincinnati Insurance

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AUG

SUNDAY AUGUST 4, 8:30PM BRAVO! VAIL AFTER DARK

SHAKEDOWN BAR, VAIL

Yvonne Lam, violin

YVONNE LAM

iolinist Yvonne Lam, co-artistic director of Eighth Blackbird (“one of the smartest, most dynamic contemporary classical ensembles on the planet” according to the Chicago Tribune) curates a visionary kaleidoscopic aural display of solo violin and electronics. The evening opens with a pairing of a Mystery Sonata by Baroque master HEINRICH IGNAZ FRANZ VON BIBER (1644-1704) with a parallel work by DAVID LANG (b. 1957). A Long Line by NICO MUHLY (b. 1981) is both meditative and a little unnerving, while the “wild and beautiful extremes” of Uzbek jaw harp playing inspired Tooth and Nail by MISSY MAZZOLI (b. 1980). The violin bears solemn and poignant witness with the sky was still there, based on life under the Army’s “Don’t Ask Don’t Tell” policy as told by a friend of composer’s DAVID T. LITTLE (b. 1978), followed by the world premiere of Watch Over Us, composed for Lam by NATHALIE JOACHIM and inspired by the Muslim call to prayer. Written in response to a line by Leonardo da Vinci, Well-Spent by EVE BEGLARIAN (b. 1958) references and evokes the flow of a rushing river as a metaphor for creative life. Until Next Time by KENJI BUNCH (b. 1972) is, true to its title, a fond farewell, sending listeners off into the night.

BIBER Rosary Sonatas, XVI: Passacaglia

LANG Selections from mystery sonatas

MUHLY A Long Line

MAZZOLI Tooth and Nail

LITTLE and the sky was still there

JOACHIM Watch Over Us

BEGLARIAN Well-spent

BUNCH Until Next Time

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

YVONNE LAM 157

CHAMBER ORCHESTRA VIENNA – BERLIN

Michal Kostka Vienna Philharmonic Orchestra, Second Violin

DOUBLE BASS

COLUMBIA ARTISTS

Iztok Hrastnik Vienna Philharmonic Orchestra, First Principal Double Bass

TOUR DIRECTION: Stefana Atlas, Senior Vice President Karen Kloster, Tour Coordinator Samantha Scully, Associate Manager

VIOLA

Rainer Honeck Artistic Director and Concertmaster

VIOLIN I Rainer Honeck Vienna Philharmonic Orchestra, First Concertmaster Thomas Timm Berlin Philharmonic Orchestra , First Principal Second Violin Luiz Felipe Coelho Berlin Philharmonic Orchestra, First Violin

Dorian Xhoxhi Berlin Philharmonic Orchestra, First Violin

VIOLIN II Christoph Koncz Vienna Philharmonic Orchestra, First Principal Second Violin Romano Tommasini Berlin Philharmonic Orchestra , Second Violin

Wolf-Dieter Rath Vienna Philharmonic Orchestra, First Principal Viola Wolfgang Talirz Berlin Philharmonic Orchestra, Viola Innokenti Grabko Vienna Philharmonic Orchestra, Viola

CELLO Sebastian Bru Vienna Philharmonic Orchestra, First Principal Cello Knut Weber Berlin Philharmonic Orchestra, Cello

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OBOE Clemens Horak Vienna Philharmonic Orchestra, First Solo Oboe Wolfgang Plank Vienna Philharmonic Orchestra, Oboe

HORN Josef Reif Vienna Philharmonic Orchestra, First Solo Horn Wolfgang Tomböck Vienna Philharmonic Orchestra, Principal Horn

KÜNSTLERAGENTUR DR. RAAB & DR. BÖHM REPRESENTATION: Mag. Nora Pötter, Managing Director Carolin Storch, Personal Assistant to Managing Director

DALLAS SYMPHONY ORCHESTRA

VIOLA

CLARINET

PERCUSSION

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

Vacant Principal Margie & William H. Seay Chair Daniel Florio Acting Principal Ronald Snider Assistant Principal

Music Director Designate Louise W. & Edmund J. Kahn Music Directorship

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

Jaap van Zweden

CELLO

Fabio Luisi

Conductor Laureate

Gemma New Principal Guest Conductor Designate Dolores G. & Lawrence S. Barzune, M.D. Chair

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

Joshua Habermann Chorus Director Jean D. Wilson Chorus Director Chair

VIOLIN I

VIOLIN II

Alexander Kerr Concertmaster Michael L. Rosenberg Chair Nathan Olson Co-Concertmaster Fanchon & Howard Hallam Chair Gary Levinson Sr. Principal Associate Concertmaster Emmanuelle Boisvert Associate Concertmaster Robert E. & Jean Ann Titus Family Chair Eunice Keem Associate Concertmaster Diane Kitzman Principal Filip Fenrych Maria Schleuning Lucas Aleman Mary Reynolds Andrew Schast Nora Scheller Motoi Takeda Associate Concertmaster Emeritus Daphne Volle Bruce Wittrig Kaori Yoshida*

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* Andrzej Kapica Paige Kossuth Shu Lee Matt Milewski Aleksandr Snytkin* Lydia Umlauf

*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 Grace An Una Gong Jennifer Humphreys Kari Kettering Hannah Thomas-Hollands Nan Zhang

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

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

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

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

HARP Emily Levin Principal Elsa von Seggern Principal Harp Chair

ORGAN Bradley Hunter Welch Resident Organist Lay Family Chair

STAFF KEYBOARD

HORN David Cooper Principal Howard E. Rachofsky Chair David Heyde Associate Principal Linda VanSickle Chair Haley Hoops Yousef Assi Kevin Haseltine Alexander Kienle Assistant Principal/Utility

TRUMPET Ryan Anthony Principal Diane & Hal Brierley Chair L. Russell Campbell Associate Principal Kevin Finamore Elmer Churampi

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

TUBA Matthew Good Principal Dot & Paul Mason Chair

TIMPANI Brian Jones Principal Dr. Eugene & Charlotte Bonelli Chair

Dallas Symphony Orchestra League, Junior Group & Innovators Chair Steven Harlos Pops Gabriel Sanchez Classical Anastasia Markina Classical

LIBRARIAN Karen Schnackenberg Principal Mark Wilson Associate Principal Robert Greer Assistant Melanie Gilmore Choral

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

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

159

Opening Night Friday, July 26 7:30pm

NOW: Premieres Monday, August 5 7:30pm

Gerald R. Ford Amphitheater, Vail

American Ballet Theatre Saturday, July 27 7:30pm

Tuesday, August 6 7:30pm

Gerald R. Ford Amphitheater, Vail

Malpaso Dance Company Sunday, July 28 7:30pm

Vilar Performing Arts Center, Beaver Creek

BalletX: The Little Prince

Tuesday, July 30 7:30pm

Gerald R. Ford Amphitheater, Vail

UpClose: JUST Dances

Wednesday, July 31 6:30pm

Vilar Performing Arts Center, Beaver Creek

International Evenings of Dance I & II Friday, August 2 7:30pm Saturday, August 3 7:30pm

Dance for $20.19

Gerald R. Ford Amphitheater, Vail

Dancing in the Park: Colorado Ballet & Alonzo King LINES Ballet Wednesday, August 7 5:30pm

Avon Performance Pavilion at Nottingham Park

Martha Graham Dance Company Friday, August 9 7:30pm

Gerald R. Ford Amphitheater, Vail

Closing Night Celebration with Ballet Hispánico Saturday, August 10 7:30pm Gerald R. Ford Amphitheater, Vail

Gerald R. Ford Amphitheater, Vail

2019 Artist-In-Residence Lauren Lovette in rehearsal with Patrica Delgado Photo by Erin Baiano

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

Stéphane Denève Principal Guest Conductor

Kensho Watanabe Assistant Conductor

VIOLAS

FLUTES

TRUMPETS

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

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

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

OBOES

TROMBONES

Peter Smith, Associate Principal Jonathan Blumenfeld Edwin Tuttle Chair Elizabeth Starr Masoudnia, English Horn Joanne T. Greenspun Chair

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

CELLOS FIRST VIOLINS

SECOND VIOLINS

David Kim, Concertmaster Dr. Benjamin Rush Chair Juliette Kang, First Associate Concertmaster Joseph and Marie Field Chair Ying Fu*, Associate Concertmaster Marc Rovetti, Assistant Concertmaster Barbara Govatos Robert E. Mortensen Chair Jonathan Beiler Hirono Oka Richard Amoroso Robert and Lynne Pollack Chair Yayoi Numazawa Jason DePue Larry A. Grika Chair Jennifer Haas Miyo Curnow* Elina Kalendarova Daniel Han Julia Li William Polk Mei Ching Huang

Kimberly Fisher, Principal Peter A. Benoliel Chair Paul Roby, Associate Principal Sandra and David Marshall Chair Dara Morales, Assistant Principal Anne M. Buxton Chair Philip Kates 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 Yu-Ting Chen Jeoung-Yin Kim

Hai-Ye Ni, Principal Priscilla Lee, Associate Principal Yumi Kendall, Assistant Principal Wendy and Derek Pew Foundation Chair Richard Harlow Gloria dePasquale Orton P. and Noël S. Jackson Chair Kathryn Picht Read Robert Cafaro Volunteer Committees Chair Ohad Bar-David John Koen Derek Barnes Mollie and Frank Slattery Chair Alex Veltman

BASSES Harold Robinson, Principal Carole and Emilio Gravagno Chair Joseph Conyers, Acting Associate Principal Tobey and Mark Dichter Chair 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.

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

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

TIMPANI Don S. Liuzzi, Principal Dwight V. Dowley Chair Angela Zator Nelson, Associate Principal

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

PERCUSSION Christopher Deviney, Principal Angela Zator Nelson

PIANO AND CELESTA Kiyoko Takeuti

KEYBOARDS 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

Davyd Booth

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 Dennis Moore, Jr. *On leave 161

June 30 - September 2 2019

NEW YORK PHILHARMONIC JAAP van ZWEDEN

FLUTES

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

PICCOLO

Mindy Kaufman

Music Director

OBOES

Leonard Bernstein Laureate Conductor, 1943–1990

Kurt Masur Music Director Emeritus, 1991–2015

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

ENGLISH HORN Grace Shryock++

VIOLINS

Frank Huang Concertmaster The Charles E. Culpeper Chair Sheryl Staples Principal Associate Concertmaster The Elizabeth G. Beinecke Chair Michelle Kim Assistant Concertmaster The William Petschek Family Chair Quan Ge Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair Lisa GiHae Kim Kuan Cheng Lu Kerry McDermott Su Hyun Park Anna Rabinova Fiona Simon The Shirley Bacot Shamel Chair Sharon Yamada 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 Dasol Jeong Hyunju Lee Zeyu Victor Li Kyung Ji Min Joo Young Oh Marié Rossano Na Sun The Gary W. Parr Chair Jin Suk Yu Andi Zhang Lydia Hong++ Suzanne Ornstein++ Emily Popham++ David Southorn++ Alisa Wyrick++ Jungsun Yoo++

VIOLAS

CLARINETS

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

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

Leah Ferguson Katherine Greene The Mr. and Mrs. William J. McDonough Chair Hung-Wei Huang Vivek Kamath Peter Kenote Kenneth Mirkin Judith Nelson Rémi Pelletier Robert Rinehart The Mr. and Mrs. G. Chris Andersen Chair

Pascual Martínez Forteza

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 Caitlin Sullivan++

E-FLAT CLARINET BASS CLARINET Amy Zoloto

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

SAXOPHONES Dan Goble++ Lino Gomez++ Steve Kenyon++

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++ Theodore Primis++ Eric Reed++

BASSES

TRUMPETS

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

Christopher Martin Principal The Paula Levin Chair Ethan Bensdorf Thomas Smith Kenneth DeCarlo++

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

TROMBONES

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

BASS TROMBONE

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

TUBA

Alan Baer Principal

TIMPANI

Markus Rhoten Principal The Carlos Moseley Chair Kyle Zerna**

PERCUSSION

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

HARP

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

KEYBOARD

In Memory of Paul Jacobs

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 Peter Biloen, Assistant Conductor Jennifer Luzzo, Communications and Digital Content Associate Patrick O’Reilly, Operations Assistant Brendan Timins, Director, Touring and Operations Pamela Walsh, Artistic Administrator Robert W. Pierpont, Stage Crew Robert Sepulveda, Stage Crew

HARPSICHORD

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

PIANO

Citi. Preferred Card of the New York Philharmonic.

Paolo Bordignon+

Eric Huebner The Anna-Maria and Stephen Kellen Piano Chair

ORGAN

Kent Tritle+

LIBRARIANS

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

ORCHESTRA PERSONNEL

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.

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

163

Christopher Adkins (cello) joined the Dallas Symphony in 1987 and currently holds the Fannie & Stephen S. Kahn Principal Cello Chair.. He previously served with the Milwaukee, New Haven and Denver symphonies. A native of Denton, Texas, he holds degrees from the University of North Texas and Yale University, and studied with former Dallas Symphony Principal Cellist Lev Aronson. He is a member of the Dallas String Quartet and has performed with the ensemble throughout the United States and Europe. He also serves as Adjunct Associate Professor of Music at the Meadows School of the Arts at Southern Methodist University. He is married to Dallas Symphony violinist Alexandra Adkins.

Bruce Adolphe (narrator) is a composer, author, lecturer, and performer. Known as the Piano Puzzler on American Public Media’s Performance Today, Bruce is also the resident lecturer and director of family concerts for the Chamber Music Society of Lincoln Center; composer-inresidence at the Brain and Creativity Institute; founding creative director of The Learning Maestros; artistic director of Off the Hook Arts Festival; and the author of several books. Among the artists who have performed his works are Daniel Hope, Itzhak Perlman, Yo-Yo Ma, the Washington National Opera, the Orpheus Chamber Orchestra, and the Brentano and Miami String Quartets.

Nicholas Angelich (piano) entered the Paris Conservatory at 13. Although American born, 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 on Harmonia Mundi, and includes a 2017 multi-CD set of Brahms (Erato). The Brahms Trios recording with the Capuçon brothers won the German Record Critics’ Prize. This is his return engagement following his Bravo! Vail debut last season.

Andrew Armstrong (piano) has a repertoire of more than 50 concertos. He has appeared in solo recitals and in chamber music concerts with the Elias, Alexander, American, and Manhattan String Quartets, and as a member of the Caramoor Virtuosi, Boston Chamber Music Society, Seattle Chamber Music Society, and Jupiter Symphony Chamber Players. In 2018 he became Artistic Director of Chamber Music on Main at the Columbia Museum of Art in South Carolina, and Director of the Green Lake Festival of Music’s Chamber Music Camp in Ripon, Wisconsin. He has released several award-winning recordings with recital partner James Ehnes.

Ben Bliss (tenor) recently performed Ferrando in Così fan tutte at the Metropolitan Opera, Seattle Opera, and Oper Frankfurt. He also made his Opera Philadelphia debut as Tamino in The Magic Flute; sang Cassio in Otello with the Atlanta Symphony; and Robert Wilson in Dr. Atomic, directed by Peter Sellars, at the Santa Fe Opera. He made his Metropolitan Opera debut as Vogelgesang in Die Meistersinger von Nürnberg, and recently sang Belmonte in Die Entführung aus dem Serail there. He previously appeared at Bravo! Vail with the New York Philharmonic in 2015, singing the role of Tony in Bernstein’s West Side Story Concert Suite No. 1.

The Brass Project (sextet), founded at the Curtis Institute of Music in 2016, has collaborated

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with composers worldwide on thirty-five new works. In 2016 and 2017 it was Ensemble-inResidence at Music from Angel Fire, and last year was the Fellowship Brass Ensemble at the Aspen Music Festival, where it was mentored by the American Brass Quintet. The Sextet has worked with young students in more than eighty educational concerts across Northern New Mexico; has held multiple residencies in Philadelphia schools; and has been engaged for three years with the Curtis Institute of Music’s Community Artists Program.

Ann Marie Brink (viola) has been Associate Principal Viola of the Dallas Symphony since 1999. She began playing in public school at age ten, and joined the Pensacola Symphony while a freshman in high school. She holds degrees from the Cleveland Institute of Music and Juilliard, where she was awarded the William Schuman Prize. As a chamber musician, she has appeared at Carnegie Hall, Lincoln Center, the Library of Congress, and Cleveland’s Severance Hall. She is Adjunct Associate Professor of Viola at Southern Methodist University and Adjunct Professor of Instrumental Studies at the University of North Texas.

Yefim Bronfman (piano) emigrated to Israel from the Soviet Union in 1973. At 14 he studied with Arie Vardi, later attending Juilliard, Marlboro School of Music, and Curtis Institute. He has given recitals around the world, including his acclaimed debut at Carnegie Hall in 1989, and in 1991 gave joint recitals with Isaac Stern in Russia. He toured last season with mezzosoprano Magdalena Kožená. Since his Bravo! Vail debut in 2012, the Grammy-Award winner has served as the New York Philharmonic’s Mary and James G. Wallach Artist-in-Residence, led his own Perspective Series at Carnegie Hall, and premiered concertos by Esa-Pekka Salonen and Jörg Widmann.

Sebastian Bru (cello) was born into a musical family in Vienna in 1987. As a young cellist he played with the Wiener Jeunesse Orchestra, the Gustav Mahler Youth Orchestra and the Verbier Festival Orchestra. In 2006, at age 18, he was accepted into the Vienna State Opera Orchestra, and in 2013 joined the Vienna Philharmonic. He has been Principal Cellist with the Vienna Symphony and has performed with the Orquesta Sinfonía Nacional (Buenos Aires), Sofia Philharmonic Orchestra, Wiener Chamber Orchestra, Philharmonic Ensemble Vienna, the orchestra “Spirit of Europe,” and others.

Nicole Cabell (soprano) 2005 winner of the BBC Singer of the World Competition, returns to Bravo! Vail following recent performances as Violetta in La Traviata at Covent Garden and Mimi in La Bohème at Opéra National de Paris. At the Metropolitan Opera, she has sung Micaela in Carmen, Musetta in La Bohème, Pamina in The Magic Flute, and Adina in L’Elisir d’Amore. She sang Beethoven’s Ninth with the Boston Symphony Orchestra at Tanglewood and the Cleveland Orchestra on tour. Among her several recordings, her solo debut album, Soprano, was named Editor’s Choice by Gramophone.

Jennifer Johnson Cano (mezzo-soprano) has given more than 100 performances at the Metropolitan Opera, most recently as Emilia in Otello and Meg Page in Falstaff. This season she sang Bernstein’s Jeremiah Symphony with the Pittsburgh Symphony, and Beethoven’s Ninth with the Pittsburgh and Cincinnati symphonies. She joined Matthew Polenzani and Julius Drake at Carnegie Hall for an evening of Schubert, Beethoven, Brahms, and Janáček, and sang Ravel’s Scheherazade and Falla’s Psyche with the Chamber Music Society of Lincoln Center. She recently recorded Jeremiah with Marin Alsop and the Baltimore Symphony for Naxos.

Seong-Jin Cho (piano) was the youngest-ever winner of Japan’s Hamamatsu International Piano Competition, and took Third Prize at Moscow’s Tchaikovsky Competition in 2011. He won First Prize at the Chopin International Competition in Warsaw in 2015 and signed an exclusive contract with Deutsche Grammophon the following year. An active recitalist, he has also collaborated with conductors Valery Gergiev, Esa-Pekka Salonen, Vladimir Ashkenazy, Yuri Temirkanov, and Leonard Slatkin, among others. His 2017 Carnegie Hall main stage concert sold out. Deutsche Grammophon recently released his recording of Mozart’s Piano Concerto No. 20 with Yannick Nézet-Séguin conducting the Chamber Orchestra of Europe. 165

Luíz Fïlíp Coelho (violin), a native of São Paulo, began playing the violin at age four. After graduating with distinction from Berlin’s University of the Arts, he was a student of the Orchestra Academy of the Berlin Philharmonic, and played in its first and second violin sections for three years. He became a regular member of the Berlin Philharmonic in 2012. He won the German Musical Instruments Fund competition of the German Foundation for Musical Life several times. He plays a Lorenzo Storioni Cremona violin from 1774, owned by the Federal Republic of Germany.

Dee Daniels (vocalist) infuses jazz styling with gospel and blues flavoring. She has performed and recorded with many jazz artists, and has shared stages with orchestras across the U.S. and Canada with her Pops programs Great Ladies of Swing; The Soul of Ray: The Music of Ray Charles; and A Night Out With the Boys. She toured with the Nord Netherlands Symphony Orchestra; performed Songs From Disney Movies with the Munich Radio Orchestra; and recorded Wish Me Love with the Metropole Orchestra and Holiday Pops with the Vancouver Symphony. In 2013 she created the Dee Daniels Vocal Jazz Workshop.

Stéphane Denève (conductor) is well known to Bravo! Vail audiences from his many appearances as Principal Guest Conductor of The Philadelphia Orchestra, and his championing of the music of John Williams. He is Music Director Designate of the St. Louis Symphony, where he succeeds David Robertson in the coming season. He is also Chief Conductor of the Brussels Philharmonic through 2022, and Director of its Centre for Future Orchestral Repertoire. His prior posts include Chief Conductor of the Stuttgart Radio Symphony Orchestra and Music Director of the Royal Scottish National Orchestra.

James Ehnes (violin) , a native of Canada, made his orchestral debut with Orchestre Symphonique de Montréal at thirteen, and later graduated from Juilliard, winning its Peter Mennin Prize. Founder of the Ehnes String Quartet, he also directs the Seattle Chamber Music Festival. His recordings have received Grammy, Gramophone and JUNO Awards. He last appeared at Bravo! Vail in 2017 performing the Tchaikovsky Violin Concerto with the Philadelphia Orchestra. A Fellow of the Royal Society of Canada and Member of the Order of Canada, he plays the “Marsick” Stradivarius of 1715.

Greg Galeazzi (narrator) is a retired US Army Captain currently pursuing a medical degree at Harvard Medical School. In May 2011, while deployed to Afghanistan with the Army’s 4th Infantry Division, Greg was seriously injured when a roadside bomb exploded beneath his feet. The explosion resulted in above-knee amputations of both legs, and permanent damage to his right arm. After years in recovery, and with a newfound outlook on life, Greg began working toward obtaining a medical degree. He holds a B.B.S. in Marketing from Loyola University Maryland, and lives in Boston, MA.

Rod Gilfry (baritone) a two-time Grammy nominee, has created twelve leading roles in opera

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world premieres, most recently in David Lang’s the loser at the Brooklyn Academy of Music, and Jake Heggie’s It’s a Wonderful Life at the Houston Grand Opera. He has also appeared in The Exterminating Angel at the Metropolitan Opera where this fall he appears in Dead Man Walking. Recordings include It’s a Wonderful Life, Mozart’s Cosi fan Tutte, Great Voices Sing John Denver, Matson’s Cooperstown, and Stucky’s August 4th, 1964. He is Associate Professor of Vocal Arts at the University of Southern California Thornton School of Music.

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 with the Seattle Symphony, 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 Thomas Adès’s new cadenzas for the Ligeti Concerto, with Adès conducting the Boston Symphony Orchestra. He made his Bravo! Vail debut with the New York Philharmonic in 2010.

Hilary Hahn (violin) was named “America’s Best Young Classical Musician” by Time magazine in 2001. After completing university requirements at the Curtis Institute at sixteen, and following debuts with the New York Philharmonic and other orchestras, she embraced total-immersion programs in German, French, and Japanese at Middlebury College, which awarded her an honorary doctorate. She spent four summers at the Marlboro Music Festival. Her eighteen albums have garnered three Grammy Awards; she is also featured on the Oscar-nominated soundtrack to The Village and collaborates with alt-rock and folk-rock musicians. Her aim to connect with audiences has led to a mastery of social media.

Rainer Honeck (violin) joined the Vienna State Opera in 1981 and became concert master of Vienna Philharmonic in 1992. Besides this orchestral work, he has appeared as soloist with the Vienna Philharmonic, London Symphony, Pittsburgh Symphony and the orchestra of Mariinsky in St. Petersburg under renowned conductors such as Muti, Jansons, Gergiev, Blomstedt, his brother Manfred Honeck, Tilson Thomas and others. He was a founding member of various chamber music ensembles and of the Chamber Orchestra Vienna-Berlin. He plays the „Chaconne“ Stradivarius (1725) on loan from the Austrian National Bank.

Clemens Horak (oboe), a native of Vienna, began studying recorder at age nine, and several years later took up the oboe. In 1989 he became First Oboist with the Vienna Symphony Orchestra. He graduated from the Vienna College of Music in 1994. He has appeared as soloist with the Vienna Symphony, Ensemble Kontrapunkt, and Vienna Philharmonic, among others. In 1998 he became Principal Oboist with the Vienna State Opera Orchestra. He performed Haydn’s Sinfonia concertante in B-flat major, with Zubin Mehta conducting, in Vienna, Mumbai and Taipei.

Alexander Joel (conductor) studied piano at Vienna’s Academy of Music before completing conducting studies with honors at the Vienna Conservatory of Music. He was First Kapellmeister at the Deutsche Oper am Rhein from 2001 to 2007, and General Music Director of the Staatstheater and Staatsorchester Braunschweig from 2007 to 2014, conducting the symphonic repertoire with an emphasis on Mahler and music of Beethoven, Brahms and Bruckner. In opera he has specialized in German repertoire including Salome, Lohengrin, Der Rosenkavalier, Tristan und Isolde, and Parsifal. This performance marks his debuts with both the New York Philharmonic and at Bravo! Vail.

Eunice Keem (violin) attended Carnegie Mellon University. After joining the Dallas Symphony Orchestra in 2011, she became Associate Concertmaster in the 2014-15 season. As a chamber musician, she was a member of the Fine Arts Trio and later, the Orion Piano Trio, both of which took top honors at the Fischoff National Chamber Music Competition. She was a founding member of Carnegie Mellon’s Starling Quartet. In addition to American music festivals, she has participated in the Rencontres Musicales Internationales des Graves in Bordeaux, and the International Music Academy in Pilsen, Czech Republic, where she was a faculty member. 167

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 Juilliard 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. He is Concertmaster (Michael L. Rosenberg Chair) of the Dallas Symphony Orchestra and Principal Guest Concertmaster of the Indianapolis Symphony Orchestra. An avid chamber musician, Kerr has recorded the Dvořák Piano Quintet with Sarah Chang and Leif Ove Andsnes.

Constantine Kitsopoulos (conductor), covers the gamut of opera, symphonic repertoire, film with live orchestra, music theatre, and composition. He has conducted major orchestras in North America as well as the Hong Kong Philharmonic and Tokyo Philharmonic. He is Music Director of the Festival of the Arts Boca in Boca Raton, Florida and General Director of New Jersey’s Chatham Opera. He was recently appointed General Director of the New York Grand Opera and is working with that company to bring free opera open to the public back to Manhattan’s Central Park.

Doug LaBrecque (vocalist) starred as the Phantom and Raoul in the Harold Prince production of The Phantom of the Opera. He starred on Broadway as Ravenal in the Prince revival of Showboat, and was featured in Oscar Hammerstein’s 100th Birthday Celebration on Broadway. He performed with Marvin Hamlisch with the Chicago Symphony and the Pittsburgh Symphony. He has been a soloist with the National Symphony, Israel Philharmonic, Chicago Symphony, Cleveland Orchestra, Atlanta Symphony, and San Francisco Symphony among many others, and made his Carnegie Hall debut as a soloist with the New York Pops.

Yvonne Lam (violin) is Co-Artistic Director of Eighth Blackbird, with whom she performs some fifty concerts a year and has recorded three albums including a Grammy winner. In 2017, she co-founded the Blackbird Creative Lab, an intensive tuition-free training program for performers and composers in Ojai, California. She served three seasons as Assistant Concertmaster of the Washington National Opera Orchestra and as Associate Concertmaster of the Cabrillo Festival Orchestra. An avid chamber musician, she toured the East Coast with Musicians From Marlboro. She has an ongoing collaboration with jazz composer Matt Ulery.

Anne-Marie McDermott (piano), Artistic Director of Bravo! Vail since 2011, enjoys performing, planning and recording an awe-inspiring variety of music. Her repertoire includes more than 50 concertos. She recently performed her first complete Beethoven Concerto cycle with Sante Fe Pro Musica, and released her second all-Haydn Sonata CD for Bridge Records. Long an Artist Member of the Chamber Music Society of Lincoln Center, she served as Artistic Director of the inaugural McKnight Center Chamber Music Festival at Oklahoma State University in 2018. With the Dover Quartet, she will give the world premiere of a piano quintet by Chris Rogerson, a Bravo! Vail commission, in 2020.

Edgar Meyer (double bass), a MacArthur Award winner, straddles the classical and bluegrass

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worlds. The Goat Rodeo Sessions, teaming him with Yo-Yo Ma, Chris Thile, and Stuart Duncan, won a Grammy Award. With Ma and Mark O’Connor he recorded Appalachia Waltz and the Grammy-winning Appalachian Journey. For Bravo! Vail’s 30th Anniversary in 2017, he was commissioned by the festival to compose a work for Joshua Bell, which the violinist premiered with the Academy of St. Martin in the Fields. This season marks the premiere by Meyer and his son George of a duo they co-wrote, co-commissioned by Bravo! Vail.

George Meyer (violin) graduated from Harvard University in 2015 with a degree in English, and then began a master’s degree in Violin at Juilliard. He has performed his own compositions at Chamber Music Northwest, the Telluride and RockyGrass Bluegrass Festivals, and the Savannah Music Festival. In 2016 Ensemble Quodlibet premiered his Concerto Grosso for string quartet and orchestra in New York City. Other performances include those at the Rome Chamber and Aspen Music Festivals. With his father, Edgar, he is premiering a duo co-written by the two Meyers that was co-commissioned by Bravo! Vail.

Daniel Müller-Schott (cello) won first prize at the International Tchaikovsky Competition in 1992 at 15. André Previn, Peter Ruzicka, Sebastian Currier, and Olli Mustonen have composed works for him. As a chamber musician he collaborates with such artists as Renaud Capuçon, Julia Fischer, and Anne-Sophie Mutter. For the Day of German Unity in 2018 and in memory of his teacher Mstislav Rostropovich, he played music by Bach for a half million listeners at Berlin’s Brandenburg Gate. Artistic Director for the Rügen Classical Music Spring Festival 2019, he plays the 1727 “Ex Shapiro” Goffriller cello.

Anne-Sophie Mutter (violin), four-time Grammy winner, has given world premieres of 28 works including those composed for her by Currier, Dutilleux, Gubaidulina, Lutoslawski, Penderecki, Previn, Rihm and Williams. She regularly shares the stage with The Mutter Virtuosi, former and current recipients of scholarships from her foundation. This year she performs Mozart’s violin concertos throughout Europe and the U.S. Her numerous awards include those for social activism as well as the German Grand Order of Merit, French Medal of the Legion of Honor, and this month the King of Sweden presented her with the Polar Music Prize in Stockholm. This season marks her Bravo! Vail debut.

National Repertory Orchestra (NRO) is a summer symphony orchestra and academy based in Breckenridge, Colorado since 1993. It offers full fellowships to train young musicians for professional careers in music through performances, master classes and workshops. Members, ranging in age from 18 to 29, are selected from auditions held yearly throughout the United States, and spend eight weeks performing symphonic and chamber music concerts and outreach programs. NRO alumni play in professional orchestras all over the country. The orchestra is annually featured in concerts for family audiences at Bravo! Vail.

Yannick Nézet-Séguin (conductor) is Music Director of the Philadelphia Orchestra, Metropolitan Opera and Orchestre Métropolitain of Montreal, and Honorary Conductor of the Rotterdam Philharmonic. He studied at the Conservatoire de musique du Québec and Westminster Choir College before studying with Carlo Maria Giulini and other renowned conductors. His cycle of Mozart operas for Festspielhaus Baden-Baden is being recorded live by Deutsche Grammophon, which recently released his recording of Mozart’s Piano Concerto No. 20 with Seong-Jin Cho, which is being performed this Bravo! Vail season. His honors include Musical America’s 2016 Artist of the Year and six honorary doctorates.

Nathan Olson (violin), holds the position of Co-Concertmaster (Fanchon & Howard Hallam Chair) 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, he 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, he earned minors in both mathematics and music theory. 169

The Omer Quartet (string quartet), comprising violinists Mason Yu and Erica Tursi, violist Jinsun Hong, and cellist Alex Cox, was the 2018 First Prize winner of the Young Concert Artists Auditions. The quartet was also a top prizewinner in the Bordeaux International Competition 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 foursome made their Bravo! Vail debut last summer as Chamber Musicians in Residence.

Donald Runnicles (conductor) serves as General Music Director of the Deutsche Oper Berlin; Music Director of the Grand Teton Music Festival in Jackson, Wyoming; and Principal Guest Conductor of the Atlanta Symphony. He is Conductor Emeritus of the BBC Scottish Symphony Orchestra, where he was Chief Conductor from 2009 to 2016. He spent seventeen seasons with the San Francisco Opera, where last summer he conducted the complete Ring Cycle. He is a recipient of the Order of the British Empire (OBE), and holds honorary degrees from Edinburgh University, San Francisco Conservatory of Music, and Royal Scottish Academy of Music and Drama.

Jason Seber (conductor) is Associate Conductor of the Kansas City Symphony. Previously, he was Education and Outreach Conductor of the Louisville Orchestra; Music Director of the Louisville Youth Orchestra; and Assistant Conductor of the Cleveland Pops and the National Repertory Orchestra. He earned his master’s degree in orchestral conducting from the Cleveland Institute of Music and his bachelor’s degrees in violin performance and music education from Baldwin Wallace University. A passionate advocate of music education, he has conducted the Honors Performance Series Orchestra at the Sydney Opera House and Carnegie Hall.

Aristo Sham (piano) was featured in the documentary The World’s Greatest Musical Prodigies. He joined the Hong Kong Academy for Performing Arts at age six. In 2018 he won First Prize and all three special prizes in the inaugural Charles Wadsworth Piano Competition, and First Prize in the Young Concert Artists International Auditions. He has performed with the Hong Kong Philharmonic, English Chamber Orchestra, and Minnesota Orchestra among others. He is pursuing degrees in Economics, French, and Piano Performance through a joint program at Harvard and the New England Conservatory. He is a 2019 Bravo! Vail Piano Fellow.

Denzal Sinclaire (vocalist), a graduate of McGill University’s Jazz Performance program, is a JUNO Award nominee; recipient of the 2004 National Jazz Award for Best Album; four-time recipient of Jazz Report Magazine’s Award for Male Jazz Vocalist; and recipient of France’s 2007 Choc Jazzman Award. A former member of Jamie Lidell’s band, he appeared in television’s Battlestar Galactica; the motion picture Being Julia; William Saroyan’s The Time of Your Life; and Tapestry: The Music of Carole King, produced by Bravo! Vail perennial Jeff Tyzik. He has a longtime collaboration with composer and arranger Bill Coon.

St Lawrence String Quartet, established in Toronto in 1989, has performed in John Adams’s

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Absolute Jest for string quartet and orchestra with Gustavo Dudamel and the Los Angeles Philharmonic, and Marin Alsop and the Baltimore Symphony. It also performed the European premiere of Adams’s Second String Quartet. After earning two Grammy nominations, in 1998 the quartet was appointed Ensemble-in-Residence at Stanford University, where it directs the music department’s chamber music program and collaborates with the Schools of Law, Medicine, Business and Education. The Quartet recorded Haydn’s six Op. 20 quartets in high-definition video for free online release in 2018.

Takács Quartet, formed in 1975 in Budapest, is based at the University of Colorado and performs some eighty concerts a year worldwide. In 2012 it was the only string quartet inducted into Gramophone’s first Hall of Fame. It was the first string quartet to win London’s Wigmore Hall Medal, and continues to serve as Associate Artists there. The quartet performed Philip Roth’s Everyman program with Meryl Streep at Princeton in 2014, having initially performed it with Philip Seymour Hoffman at Carnegie Hall in 2007. A new CD by the Grammy winners teams them with pianist Marc-André Hamelin in music of Dohnányi.

Conrad Tao (piano) was awarded an Avery Fisher Career Grant in 2012, and in 2018 was named a Lincoln Center Emerging Artist. While he served as the Dallas Symphony’s Artist-in-Residence as a composer, the orchestra premiered his The world is very different now, commissioned in observance of the 50th anniversary of President Kennedy’s assassination. This past autumn the New York Philharmonic premiered his Everything Must Go, a work commissioned by the orchestra, and he made his Los Angeles Opera debut in David Lang’s the loser. As a pianist, he is making his Bravo! Vail as well as his New York Philharmonic debut this season.

Third Coast Percussion (quartet) is Ensemble-in-Residence at the University of Notre Dame’s DeBartolo Performing Arts Center. It has collaborated with University engineers; architects at the Frank Lloyd Wright Foundation; dancers at Hubbard Street Dance Chicago; and musicians from traditions ranging from the mbira music of Zimbabwe’s Shona people, to indie rockers, to concert musicians. Its recording of Steve Reich’s works for percussion won a 2017 Grammy. It makes its Bravo! Vail debut with the premiere of a Philip Glass work cocommissioned by the Festival that is also the genesis of 2019’s Classically Uncorked Series cocurated by the quartet and Bravo! Vail.

Ken Thomson (woodwinds, composer) plays clarinet for the Bang on a Can All-Stars; is Music Director and saxophonist with Asphalt Orchestra, with which he appeared at Bravo! Vail last summer; and plays saxophone for the punk/jazz band Gutbucket, among other gigs. With his quintet, Slow/Fast, he has released two CDs. The CD Thaw, with his music performed by the JACK Quartet, was listed on NPR’s “Top 10 Songs Public Radio Can’t Stop Playing.” His music has been commissioned by the American Composers Orchestra, among others. His solo show opens the Bravo! Vail After Dark series at Shakedown Bar.

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

Jeff Tyzik, (conductor/composer/arranger) is the Dot & Paul Mason Principal Pops Conductor of the Dallas Symphony Orchestra. He was a member of Chuck Mangione’s jazz orchestra in the 1970s, and is today in his 25th year as Principal Pops Conductor of the Rochester Philharmonic Orchestra. He 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, and the annual Fourth of July celebration. He has produced and composed theme music for major television networks and released six of his own albums. He produced the Grammy Award-winning “The Tonight Show Band” with Doc Severinsen, Vol. 1. 171

Verona Quartet won the 2015 Concert Artists Guild competition. Projects have included a performance art installation with Ana Prvački; artistic exchange with poets in the United Arab Emirates; and collaboration with Brooklyn’s Dance Heginbotham. It has been Quartet-inResidence of the Indiana University Summer String Academy since 2016, and has the same honor at the New England Conservatory’s Professional String Quartet training program. With Concert Artists Guild, it commissioned Michael Gilbertson’s Quartet, a finalist for the 2018 Pulitzer Prize in Music, which it performs at Vail Interfaith Chapel in its Bravo! Vail debut as 2019 Chamber Musicians in Residence.

Hanzhi Wang (accordion) returns to Bravo! Vail as Chamber Musician in Residence after her debut last season, when she was the first accordionist ever to be presented here. She was also the first accordionist ever to win the Young Concert Artists International Auditions in that organization’s 57-year history. She earned her degrees at the China Central Conservatory of Music in Beijing and the Royal Danish Academy of Music in Copenhagen. YCA presented her debut concerts in New York City and Washington D.C. last season. She is featured on Naxos’s first-ever solo accordion CD in works by Danish composers.

Knut Weber (cello) found his musical passion at age five; he loved the cello’s low strings and the fact that one could play it while sitting. He received his first musical training from the Slovenian cellist Miloš Mlejnik, and later studied with the Alban Berg Quartet and Beaux Arts Trio. He was Principal Cellist of the Gustav Mahler Youth Orchestra before being engaged by the Berlin Philharmonic. He is a member of the 12 Cellists of the Berlin Philharmonic and appears regularly as a soloist and in various chamber ensembles in Europe, Asia, and the Americas.

Amy Yang (piano) has been praised by the Washington Post as a “jaw-dropping pianist who steals the show…with effortless finesse,” pianist Amy Yang has collaborated with Anne-Marie McDermott, Patricia Kopatchinskaya, Richard Goode, Ida Kavafian; members of Guarneri String Quartet and Mahler Chamber Orchestra; and the Dover, Jasper, and Aizuri string quartets. She has appeared as a soloist with the Houston, Newport and Tuscaloosa symphony orchestras, and Orquesta Juvenil Universitaria Eduardo Mata de la UNAM; premiered music by Caroline Shaw, Avner Dorman, Michael Hersch, Ezra Laderman; and appeared in such prestigious venues as the Marlboro, Ravinia, Aldeburgh, and Ojai music festivals.

Angie Zhang (piano), recipient of the Kovner Fellowship at Juilliard, made her debut playing under Grammy-nominated conductor Niel DePonte at age ten. She won the 2016 Juilliard Concerto Competition and earned top prizes in both the PianoArts and New York International Piano Competition. A Princeton, New Jersey native, she recently made debuts with the Juilliard Orchestra under Fabio Luisi, Milwaukee Symphony under Andrews Sill, and Indianapolis Chamber Orchestra under Matthew Kraemer. She also performed with the Olympia Symphony Orchestra, marking her fifth collaboration with Huw Edwards. She is a 2019 Bravo! Vail Piano Fellow.

Jaap van Zweden (conductor) became the New York Philharmonic’s 26th Music Director

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in September 2018. He also serves as Music Director of the Hong Kong Philharmonic, Conductor Laureate of the Dallas Symphony Orchestra, and Honorary Chief Conductor of the Netherlands Radio Philharmonic. The Amsterdam native became the youngest-ever Concertmaster of the Royal Concertgebouw Orchestra at age 19. He began his conducting career almost 20 years later, in 1996, and was named Musical America’s 2012 Conductor of the Year. In 1997 he and his wife, Aaltje, established the Papageno Foundation, which focuses on the development of children and young adults with autism.

——— 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

Colorado Nonprofit Project of the Year 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.

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

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.

VIRTUAL GIVING GALA Support Bravo! Vail’s mission all season long through the first ever Virtual Giving Gala at BRAVOVAIL.ORG/GALA. ANNUAL FUND Your gift ensures that music continues to resound throughout the Vail Valley. ORCHESTRAL UNDERWRITING The world’s top orchestras come to Vail each summer. Designate your gift to support your favorite.

EDUCATION PROGRAMS Support Bravo’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. 174 Learn more at BravoVail.org

GIFTS TO THE ENDOWMENT Create a legacy that lasts in perpetuity when you contribute to Bravo! Vail’s Endowment. TRIBUTE AND MEMORIAL GIFTS Give a meaningful gift to a music lover, or honor the memory of a loved one.

CORPORATE Enjoy benefits like 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.

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) ANB Bank and The Sturm Family* Gina Browning and Joe Illick* Virginia J. Browning* The Francis Family***** Linda and Mitch Hart The Paiko Foundation* June and Paul Rossetti* Town of Vail****** Betsy Wiegers***** PREMIER BENEFACTOR ($50,000 and above) Barbara and Barry Beracha** Doe Browning** John Dayton and Chadwick Loher Foundation*** Marijke and Lodewijk de Vink*** The Sidney E. Frank Foundation* Vera and John Hathaway** Judy and Alan Kosloff**** Billie and Ross McKnight* Amy and James Regan***** Cathy and Howard Stone***** Sandra and Greg Walton* The Betsy Wiegers Choral Fund, in honor of John W. Giovando***** DIAMOND ($40,000 and above) Dierdre and Ronnie Baker** Julie and Tim Dalton*** Sam B. Ersan Lyn Goldstein**** Jeanne and Jim Gustafson*** Donna and Patrick Martin* PLATINUM ($30,000 and above) Angela and Peter Dal Pezzo* Mr. Claudio X. Gonzalez*** Cynnie and Peter Kellogg**** Honey M. Kurtz*** Leni and Peter May**** Barbie and Tony Mayer***** Shirley and William S. McIntyre, IV*** Marcy and Gerry Spector** Vail Valley Foundation****** Carol and Pat Welsh**** IMPRESARIO ($25,000 and above) Amy and Charlie Allen* Kathy and David Ferguson Stephanie and Lawrence Flinn, Jr.**** Georgia and Don Gogel** Karen and Michael Herman*** Lyda Hill***

Mary Lynn and Warren Staley** Dhuanne and Doug Tansill**** Carole A. Watters** Barb and Dick Wenninger** VIRTUOSO ($20,000 and above) Anonymous** Marilyn Augur**** Jayne and Paul Becker***** Amy and Steve Coyer*** Anne and Hank Gutman* LIV Sothebyâ&#x20AC;&#x2122;s International Realty* Ann and Alan Mintz**** Kay and Bill Morton***** Sarah Nash and Michael Sylvester*** Sally and Byron Rose** Marcy and Steve Sands** Didi and Oscar Schafer*** Carole and Peter Segal** Bea Taplin*** Martin Waldbaum*** OVATION ($15,000 and above) Anonymous (2)* Letitia and Christopher Aitken** Alpine Bank*** Kelly and Sam Bronfman, II** Susan and Van Campbell*** Jeri and Charlie Campisi**** Lucy and Ron Davis* Debbie and Jim Donahugh** Sandi and Leo Dunn*** Nancy Gage and Allan Finney* Cookie and Jim Flaum*** Fundacion Cultural Kaluz Penny and Bill George**** Holly and Ben Gill*** GMC Terri and Tom Grojean***** Patricia and Peter Kitchak Rose and Howard Marcus***** The McClean Family Foundation** Mr. John McDonald and Mr. Rob Wright**** Kathie Mundy and Fred Hessler Margaret and Alex Palmer* Susan and Richard Rogel***** Sandra and Alejandro Rojas Terie and Gary Roubos**** Mary Sue and Mike Shannon* Sue and Marty Solomon and P&S Equities, Inc.*** Margie and Chuck Steinmetz**** Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein* Town of Gypsum*** Nancy and Harold Zirkin ALLEGRO ($10,000 and above) Anonymous (2) Barbara A. Allen Charitable Foundation

Each * denotes five years of consecutive donations.

Pamela and David Anderson** Herbert Bank and Family; Penny Bank and Family*** Jean and Harry Burn* Jeffrey B. Byrne Ellie Caulkins Carol and Harry Cebron Caryn J. Clayman** Kathy Cole** Colorado Creative Industries Susan and John Dobbs**** Liz and Tommy Farnsworth**** Fidelity Investments Susan and Harry Frampton***** Laura and Bill Frick**** Mrs. Jean Graham-Smith and Mr. Philip Smith***** Cindy and Guy Griffin* Jane and Michael Griffinger**** Melinda and Tom Hassen Martha Head**** Ann Hicks Karen and Jim Johnson** Alexia and Jerry Jurschak* June and Peter Kalkus***** Mr. and Mrs. Arthur Kelton, Jr.***** Dr. and Mrs. Frederick Kushner* Vicki and Kent Logan Diane and Lou Loosbrock Nancy and Richard Lubin*** Anne-Marie McDermott and Michael Lubin Brenda and Joe McHugh**** Meiomi Wine Sammye and Mike A. Myers Jean and Ray Oglethorpe Mary Lou Paulsen and Randy Barnhart* Teri Perry**** Carolyn and Steve Pope*** Janet Pyle and Paul Repetto* Wendy and Paul Raether Martha Dugan Rehm and Cherryl Hobart**** Amy L. Roth, Ph.D. and Jack Van Valkenburgh* Mr. and Mrs. Ernest Scheller, Jr.*** Elaine and Steven Schwartzreich Carol and Kevin Sharer Judy and Martin Shore* Slifer Smith & Frampton Foundation*** Slifer Smith & Frampton Real Estate*** Soros Fund Charitable Foundation Matching Gifts Program* Marilyn and James Steane Brooke and Hap Stein**** Stolzer Family Foundation**** Debbie and Fred Tresca* U.S. Bank*** U.S. Bank Foundation* Marion Woodward 175

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

THE FRIENDS OF THE CHAMBER ORCHESTRA VIENNA â&#x20AC;&#x201C; BERLIN GRAND BENEFACTOR ($100,000 and above) The Paiko Foundation* PREMIER BENEFACTOR ($50,000 and above) Town of Vail****** PLATINUM ($30,000 and above) Marijke and Lodewijk de Vink***

BENEFACTOR ($5,000 and above) John Dayton*** Shelby and Frederick Gans Ann and William Lieff*** PATRON ($3,000 and above) Mr. and Mrs. Lawrence H. Kyte*** Susan and Albert Weihl* Kathy and Jonathan Zeschin

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

CONTRIBUTOR ($1,200 and above) Amy and Steve Coyer*** Debbie and Fred Tresca* Leewood and Tom Woodell*

ALLEGRO ($10,000 and above) The Sidney E. Frank Foundation* Cathy and Howard Stone*****

FRIEND ($600 and above) Gail and Jack Klapper Helena and Peter Leslie****

Midori and Masako Oishi DONOR ($300 and above) Drs. Nerissa and Scott Collins Alberta and Reese Johnson William Mohrman Beth and Rod Slifer* MEMBER ($150 and above) Claudia Dakkouri Marcos M. Suarez

THE FRIENDS OF THE DALLAS SYMPHONY ORCHESTRA PLATINUM ($30,000 and above) Linda and Mitch Hart Shirley and William S. McIntyre, IV*** Billie and Ross McKnight* IMPRESARIO ($25,000 and above) Lyda Hill*** VIRTUOSO ($20,000 and above) ANB Bank and The Sturm Family* Marilyn Augur**** Marcy and Steve Sands** OVATION ($15,000 and above) Margie and Chuck Steinmetz**** Carole A. Watters** ALLEGRO ($10,000 and above) John Dayton*** Alexia and Jerry Jurschak* Brenda and Joe McHugh**** Sammye and Mike A. Myers SOLOIST ($7,000 and above) Carol and Ronnie Goldman** Bobbi and Richard Massman*** 176 Learn more at BravoVail.org

BENEFACTOR ($5,000 and above) Peggy and Gary Edwards** Cindy Engles** Carole C. and CDR. John M. Fleming Jane and Stephen Friedman Rebecca and Ron Gafford* Karen and Al Meitz* Vicki Rippeto Debbie and Ric Scripps** Donna and Randy Smith Dr. and Mrs. Bill Weaver** PATRON ($3,000 and above) Joanne Bober Edwina P. Carrington*** Susan and Gordon Coburn Becky Crawford Marla and Stewart Feldman Mary Clare Finney Fanchon and Howard Hallam Randi and Ed Halsell** Yon Jorden Nancy and Richard Leslie Jere W. Thompson*** Gena Whitten and Bob Wilhelm* Leewood and Tom Woodell*

CONTRIBUTOR ($1,200 and above) Amy Faulconer** Penny and Bill George**** Karen and Steve Livingston**** Patty and Denny Pearce** Carolyn Wittenbraker and Arkay Foundation* FRIEND ($600 and above) Margot and Ross Perot DONOR ($300 and above) Clara Willoughby Cargile***** Marshall Gordon Carlos Gracia Andrea and Dr. Robert Miller Jan and Bob Pickens Jane E. and Stanton Rosenbaum Violet and Harry Wickes** MEMBER ($150 and above) Maureen and Pat McCaffrey

THE FRIENDS OF THE FABULOUS PHILADELPHIANS PREMIER BENEFACTOR ($50,000 and above) ANB Bank and The Sturm Family* Town of Vail****** Besty Wiegers***** IMPRESARIO ($25,000 and above) Virginia J. Browning* Karen and Michael Herman*** Sandra and Greg Walton* VIRTUOSO ($20,000 and above) Anonymous** Donna and Patrick Martin* Cathy and Howard Stone***** OVATION ($15,000 and above) Susan and Richard Rogel***** ALLEGRO ($10,000 and above) John Dayton*** Anne and Hank Gutman* Teri Perry**** SOLOIST ($7,000 and above) Sue and Michael Callahan*

Linda Farber Post and Dr. Kalmon D. Post*** Sharon and Marc Watson***

Cathy and Graham Hollis* Gwen and Rick Scalpello*

BENEFACTOR ($5,000 and above) Christine and John Bakalar*** Carol and Harry Cebron Dr. David Cohen Wendi and Brian Kushner** Laura and James Marx** Mr. John McDonald and Mr. Rob Wright**** Barbara and Howard Rothenberg** Mr. and Mrs. Ernest Scheller, Jr.*** Elaine and Steven Schwartzreich Susan and Steven Suggs** Dhuanne and Doug Tansill****

FRIEND ($600 and above) Constance and Robert Anderson* Mary Jo Curran Sue and Dr. Brian Gordon Judy and John Stovall

PATRON ($3,000 and above) Shannon and Todger Anderson* Dierdre and Ronnie Baker** Michele and Jeffrey Resnick**

MEMBER ($150 and above) Patricia and Donald Cook Catherine and Barry Gassman Eileen and Jack Hardy* Thomas Vernon F. Gordon Yasinow

CONTRIBUTOR ($1,200 and above) Elia Buck Drs. Maryalice Cheney and Scott Goldman* Penny and Bill George****

DONOR ($300 and above) Anonymous Bernice and John Davie** Doris and Steven Field* IBM Matching Grants Program* Jessica and Igor Levental* Sam Meals

PRELUDE ($50 and above) Maria A. and Dr. Robert B. Davison* Mary Alice Malone Jenene and James Stookesberry

THE FRIENDS OF THE NEW YORK PHILHARMONIC DIAMOND ($40,000 and above) ANB Bank and The Sturm Family* Julie and Tim Dalton*** Marijke and Lodewijk de Vink*** 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) 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**** Lucy and Ron Davis* Fundacion Cultural Kaluz Terri and Tom Grojean***** Margaret and Alex Palmer* Sandra and Alejandro Rojas Terie and Gary Roubos**** Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein*

Each * denotes five years of consecutive donations.

BRONZE ($10,000 and above) Pamela and David Anderson** Jean and Harry Burn* Susan and John Dobbs**** Liz and Tommy Farnsworth**** Laura and Bill Frick**** Penny and Bill George**** Melinda and Tom Hassen Martha Head**** Karen and Jay Johnson** June and Peter Kalkus***** Mr. and Mrs. Arthur Kelton, Jr.***** Dr. and Mrs. Frederick Kushner* The McClean Family Foundation** Mr. John McDonald and Mr. Rob Wright**** Jean and Ray Oglethorpe Martha Dugan Rehm and Cherryl Hobart**** Carole and Peter Segal** Judy and Martin Shore* Sue and Marty Solomon and P&S Equities, Inc.*** 177

TOSCA CIRCLE Bravo! Vail expresses its most sincere gratitude to the generous donors whose incremental support has made Tosca possible.

PRESENTING SPONSOR ($250,000 and above) The Paiko Foundation* Betsy Wiegers***** PREMIER BENEFACTOR ($50,000 and above) Doe Browning** Gina Browning and Joe Illick* Virginia J. Browning* Chadwick Loher Foundation*** The Betsy Wiegers Choral Fund, in honor of John W. Giovando*****

IMPRESARIO ($25,000 and above) Vera and John Hathaway** OVATION ($15,000 and above) Judy and Alan Kosloff**** ALLEGRO ($10,000 and above) Dierdre and Ronnie Baker** Jeffrey B. Byrne Ellie Caulkins Kathy Cole** Anne and Hank Gutman* Vicki and Kent Logan

Amy and James Regan***** Sally and Byron Rose** Carole and Peter Segal** Marilyn and James Steane Bea Taplin*** Carole A. Watters** Nancy and Harold Zirkin

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

GRAND BENEFACTOR ($100,000 and above) June and Paul Rossetti

IMPRESARIO ($25,000 and above) Barbara and Barry Beracha Sam B. Ersan Sandra and Greg Walton

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.

178 Learn more at BravoVail.org

PREMIER BENEFACTOR ($50,000 and above) The Paiko Foundation* PLATINUM ($30,000 and above) Bravo! Vail Guild

IMPRESARIO ($25,000 and above) Virginia J. Browning* Kathy and David Ferguson Donna and Patrick Martin*

VIRTUOSO ($20,000 and above) Linda and Mitch Hart OVATION ($15,000 and above) Dierdre and Ronnie Baker** Sandi and Leo Dunn*** Cookie and Jim Flaum*** Town of Gypsum*** ALLEGRO ($10,000 and above) Alpine Bank*** Diane and Lou Loosbrock Anne-Marie McDermott and Michael Lubin Marcy and Gerry Spector** BENEFACTOR ($5,000 and above) Kelly and Sam Bronfman, II** Gallegos Corp. Sue and Dan Godec** Judy and Alan Kosloff**** Barbie and Tony Mayer***** Ferrell and Chi McClean** Amy and James Regan***** June and Paul Rossetti* Elaine and Steven Schwartzreich Carol and Kevin Sharer Slifer Smith & Frampton Foundation*** U.S. Bank Foundation* Martin Waldbaum*** Sandra and Greg Walton* PATRON ($3,000 and above) Doe Browning** Carol and Harry Cebron Kathy and Brian Doyle* Valerie and Noel Harris Holy Cross Energy Wall Street Insurance* CONTRIBUTOR ($1,200 and above) Letitia and Christopher Aitken** Mia and Bill Benjes Barbara and Barry Beracha** Citywide Banks John Dayton*** Marijke and Lodewijk de Vink*** Eagle Ranch Association** Ann Fish Sue and Dr. Brian Gordon Terri and Tom Grojean*****

Kathy and Al Hubbard Cathy Jones-Coburn and Russell Coburn Alexia and Jerry Jurschak* Henny Kaufmann* Kathleen and Michael Moore Caitlin and Dan Murray Renee Okubo* Diane Pitt and Mitchell Karlin* Drs. Julie and Robert Rifkin Sally and Byron Rose** Lisa and Ken Schanzer* Carole and Peter Segal** Karen and Martin Sosland Dhuanne and Doug Tansill**** Monica and Dan White FRIEND ($600 and above) Mercedes and Alfonso Alvarez* Sara and Michael Charles Cincinnati Insurance Costco Barb and Rob DeLuca Peggy and Gary Edwards** Susan and Harry Frampton***** Jane and Stephen Friedman Anne and Hank Gutman* Patrick Hibler Mr. and Mrs. Loyal Huddleston* Jackie and Norm Waite* Mr. and Mrs. Arthur Kelton, Jr.***** Linda and Christopher Mayer Shirley and William S. McIntyre, IV*** Sarah and Peter Millett Kay and Bill Morton***** Jean and Ray Oglethorpe Tom and Ann Rader Patsy Randolph Beth and Rod Slifer* Brooke and Hap Stein**** United Way of Eagle River Valley Carole A. Watters** Gunnel and Hal Weiser Alida Zwaan and George Gregory DONOR ($300 and above) Bonnie Barrett Patti Cogswell Fara and Jason Denhart Michael Evans and William Kohut Andrea and Mike Glass Jennifer and Brad Greenblum Jim Grunditsch

Each * denotes five years of consecutive donations.

Pamela and Gibson Harris Karen and Jim Johnson** Sue and Rich Jones Tiffany and David Oestreicher* Carolyn and Steve Pope*** Michele and Jeffrey Resnick** Sue Rosenblatt Adrienne and Chris Rowberry Susan and Steven Suggs** Debbie and Fred Tresca* Ken Wilson MEMBER ($150 and above) Elinor and Howard Bernstein* Dana Bronfman Janie and Bill Burns* Edwina P. Carrington*** Kathleen and Jack Eck*** Karon and David Hammond William Hecht Dr. Susan Rae Jensen and Tom Adams Trainer Vicki and David Judd Sydney and Mark Pittman Betsy and Pedro Printz Town of Eagle* John O. Westcott PRELUDE ($50 and above) Anonymous Karen Baird Michele and Richard Bolduc* Kris Brownlee Alison and Nick Budor Darlene Daugherty Kabe ErkenBrack James Goerke Michele Howe Anna Janes and Sig Langegger Sandy and Todd LaBaugh Therese and Douglas Landin Lynn and Webb Martin Melissa Meyers Jullie and Gary Peterson Lindsay Schanzer Carol Schimmer Nancy and Jerry Stevens Joe Tonahill, Jr.* Anne and Robert Trumpower Elli Varas Samantha Verdonck Carly and Jared West Heidi and Bret Young 179

FESTIVAL SUPPORT

he gifts listed below represent charitable donations to Bravo! from May 15, 2018 – May 15, 2019. The Board of Trustees expresses its sincere thanks to each supporter for making it possible for Bravo! Vail to achieve its mission. PERMANENT RESTRICTED FUNDS Best Friends of the Bravo! Vail Endowment The Francis Family The Lyn and Phillip Goldstein Maestro Society The Lyn and Phillip Goldstein Piano Concerto Artist Project The Judy and Alan Kosloff Artistic Director Chair The Paiko Foundation The Betsy Wiegers Choral Fund, in honor of John W. Giovando GRAND BENEFACTOR ($100,000 and above) ANB Bank and The Sturm Family* Gina Browning and Joe Illick*(G) (R) Virginia J. Browning* The Francis Family***** Linda and Mitch Hart The Paiko Foundation* June and Paul Rossetti*(G) Town of Vail****** Betsy Wiegers***** PREMIER BENEFACTOR ($50,000 and above) Barbara and Barry Beracha**(G) Doe Browning**(G) John Dayton and Chadwick Loher Foundation*** Marijke and Lodewijk de Vink***(R) The Sidney E. Frank Foundation* Vera and John Hathaway** Judy and Alan Kosloff****(G) Billie and Ross McKnight* Amy and James Regan***** Cathy and Howard Stone*****(R) Sandra and Greg Walton*(G) The Betsy Wiegers Choral Fund, in honor of John W. Giovando***** DIAMOND ($40,000 and above) Dierdre and Ronnie Baker**(G)

180 Learn more at BravoVail.org

Julie and Tim Dalton*** Sam B. Ersan Lyn Goldstein**** Jeanne and Jim Gustafson*** Donna and Patrick Martin* PLATINUM ($30,000 and above) Angela and Peter Dal Pezzo* Mr. Claudio X. Gonzalez*** Cynnie and Peter Kellogg**** Honey M. Kurtz*** Leni and Peter May**** Barbie and Tony Mayer***** Shirley and William S. McIntyre, IV***(R) Marcy and Gerry Spector** Vail Valley Foundation****** Carol and Pat Welsh**** IMPRESARIO ($25,000 and above) Amy and Charlie Allen* Kathy and David Ferguson Stephanie and Lawrence Flinn, Jr.**** Georgia and Don Gogel**(S) Karen and Michael Herman*** Lyda Hill*** Mary Lynn and Warren Staley** Dhuanne and Doug Tansill**** Carole A. Watters** Barb and Dick Wenninger** VIRTUOSO ($20,000 and above) Anonymous** Marilyn Augur**** Jayne and Paul Becker***** Amy and Steve Coyer*** Anne and Hank Gutman* LIV Sotheby’s International Realty* Ann and Alan Mintz**** Kay and Bill Morton***** Sarah Nash and Michael Sylvester*** Sally and Byron Rose** Marcy and Steve Sands** Didi and Oscar Schafer*** Carole and Peter Segal** Bea Taplin*** Martin Waldbaum*** OVATION ($15,000 and above) Anonymous (2)* Letitia and Christopher Aitken** Alpine Bank***(G)

Kelly and Sam Bronfman, II** Susan and Van Campbell*** Jeri and Charlie Campisi**** Lucy and Ron Davis* Debbie and Jim Donahugh** Sandi and Leo Dunn*** Cookie and Jim Flaum*** Nancy Gage and Allan Finney* Fundacion Cultural Kaluz Penny and Bill George**** Holly and Ben Gill*** GMC Terri and Tom Grojean***** Patricia and Peter Kitchak Rose and Howard Marcus***** The McClean Family Foundation** Mr. John McDonald and Mr. Rob Wright**** Kathie Mundy and Fred Hessler Margaret and Alex Palmer* Susan and Richard Rogel***** Sandra and Alejandro Rojas Terie and Gary Roubos**** Mary Sue and Mike Shannon* Sue and Marty Solomon and P&S Equities, Inc.*** Margie and Chuck Steinmetz**** Barbara and Carter Strauss Lisa Tannebaum and Don Brownstein* Town of Gypsum*** Nancy and Harold Zirkin ALLEGRO ($10,000 and above) Anonymous (2) Barbara A. Allen Charitable Foundation Pamela and David Anderson** Herbert Bank and Family; Penny Bank and Family*** Jean and Harry Burn* Jeffrey B. Byrne Ellie Caulkins Carol and Harry Cebron Caryn J. Clayman** Kathy Cole** Colorado Creative Industries Susan and John Dobbs**** Liz and Tommy Farnsworth**** Fidelity Investments Susan and Harry Frampton***** Laura and Bill Frick**** Mrs. Jean Graham-Smith and Mr. Philip Smith*****

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

Cindy and Guy Griffin* Jane and Michael Griffinger**** Melinda and Tom Hassen Martha Head**** Ann Hicks Karen and Jim Johnson** Alexia and Jerry Jurschak* June and Peter Kalkus***** Mr. and Mrs. Arthur Kelton, Jr.***** Dr. and Mrs. Frederick Kushner* Vicki and Kent Logan Diane and Lou Loosbrock Nancy and Richard Lubin*** Anne-Marie McDermott and Michael Lubin Brenda and Joe McHugh**** Meiomi Wine Sammye and Mike A. Myers Jean and Ray Oglethorpe Mary Lou Paulsen and Randy Barnhart* Teri Perry**** Carolyn and Steve Pope*** Janet Pyle and Paul Repetto* Wendy and Paul Raether Martha Dugan Rehm and Cherryl Hobart**** Amy L. Roth, Ph.D. and Jack Van Valkenburgh* Mr. and Mrs. Ernest Scheller, Jr.*** Elaine and Steven Schwartzreich Carol and Kevin Sharer Judy and Martin Shore* Slifer Smith & Frampton Foundation*** Slifer Smith & Frampton Real Estate*** Soros Fund Charitable Foundation Matching Gifts Program* Marilyn and James Steane Brooke and Hap Stein**** Stolzer Family Foundation**** Debbie and Fred Tresca* U.S. Bank*** U.S. Bank Foundation* Marion Woodward SOLOIST ($7,000 and above) B-Line Xpress Sue and Michael Callahan* Norma and Charlie Carter**** The Frigon Family* Sue and Dan Godec** Carol and Ronnie Goldman**

The Gorsuch Family, Gorsuch Ltd.* Sheika and Pepi Gramshammer**** Valerie and Robert Gwyn**** Joyce and Paul Krasnow**** Gail and Jay Mahoney**** Bobbi and Richard Massman*** Elise and Vic Micati (S) Marge and Phil Odeen* Diane Pitt and Mitchell Karlin* Kathy and Roy Plum***** Linda Farber Post and Dr. Kalmon D. Post*** Amanda Precourt (S) Sherry and Jim Smith (S) Nancy Traylor***** Sharon and Marc Watson*** BENEFACTOR ($5,000 and above) Anonymous Christine and John Bakalar*** Margo and Terence Boyle* Barbara and Christopher Brody** Kay Chester*** Dr. David Cohen Nancy and Andy Cruce**** Sherry and Robert Damico Mary Beth and Neil Dermody Janet and Jim Dulin* Peggy and Gary Edwards** Holly and Buck Elliott**** Gail and Jim Ellis* Cindy Engles** Carole C. and CDR. John M. Fleming Jane and Stephen Friedman Rebecca and Ron Gafford* Gallegos Corp. Linda Galvin***** Shelby and Frederick Gans Diane and Tom Gates Francie and Michael Gundzik*** Debbie and Patrick Horvath* Kathy and Al Hubbard Wendi and Brian Kushner** Lewis Bess Williams & Weese P.C. Ann and William Lieff*** Laura and James Marx** Meg and Peter Mason Jean and Tom McDonnell*** Karen and Al Meitz* Carolyn and Gene Mercy***** Caitlin and Dan Murray (G) The Niblock Charitable Trust

Each * denotes five years of consecutive donations.

Marlys and Ralph Palumbo* Mimi and Keith Pockross**** Tom and Ann Rader (G) Nancy and Ted Reynolds Vicki Rippeto Jane and Dan Roberts Barbara and Howard Rothenberg** Paula and Scott Ryan Maria Santos** Lisa and Ken Schanzer*(G) Peggy and Tony Sciotto*** Debbie and Ric Scripps** Silversmith Legal Donna and Randy Smith Pat and Larry Stewart*** Susan and Steven Suggs** Temple Hoyne Buell Foundation Michael Watters* Dr. and Mrs. Bill Weaver** Jane and Thomas Wilner Leewood and Tom Woodell* PATRON ($3,000 and above) Dr. Nancy Alexander and David Staat** Shannon and Todger Anderson* Marcy and Michael Balk* Joanne Bober Eleanor and Gus Bramante***** Dan Braun Jan Broman Edwina P. Carrington*** Susan and Gordon Coburn Costco Becky Crawford Jill and Al Douglass Kathy and Brian Doyle* Lois and John Easterling Kathleen and Jack Eck***(G) Julie and Bill Esrey***** Marla and Stewart Feldman Mary Clare Finney Mikki and Morris Futernick***** Lindy and Gerald Gold*** Barbara and Ty Goletz Joan and Joseph Goltzman** Sue and Dr. Brian Gordon Vivien and Andrew Greenberg Neal Groff***** Mary Hagopian and Wright B. George* Fanchon and Howard Hallam Randi and Ed Halsell** Valerie and Noel Harris 181

FESTIVAL SUPPORT Lorraine Higbie***** Cheryl A. Holman Holy Cross Energy Yon Jorden Dr. and Mrs. Andrew B. Kaufman** Henny Kaufmann* Ellyn and Howard Kaye Barbara and Tim Kelley Rosalind A. Kochman***** Mr. and Mrs. Lawrence H. Kyte*** Sue and Bob Latham* Kay Lawrence*** Nancy and Richard Leslie Linda and Christopher Mayer Carolyn and Rollie McGinnis MentorMore Foundation J. Frederick Merz, Jr.** Sarah and Peter MillettR Ellen Mitchell** Rosanne and Gary Oatey* Sally and Dick O’Loughlin** Priscilla W. O’Neil***** Mary Beth and Charlie O’Reilly* Nancy and Douglas Patton** Ronnie Potter***** Jackie and James Power**** Patti and Drew Rader** Rader Engineering** Michele and Jeffrey Resnick** Suzanne and Bernard Scharf*** Debbie and Jim Shpall* SHS Solutions Patti Shwayder-Coffin and Steve Coffin Beth and Rod Slifer* Anne and Joe Staufer**** Susan Stearns and Frank O’Loughlin* Evelyn and Barry Strauch, M.D.** Judith and Mark Taylor Jere W. Thompson*** Tim Tyler*** Paula and Will Verity* Sally and Dennis von Waaden**** Wall Street Insurance* Susan and Albert Weihl* Anne and Chris Wiedenmayer* Gena Whitten and Bob Wilhelm* Kathy and Jonathan Zeschin CONTRIBUTOR ($1,200 and above) Anonymous* Bank of America Private Bank 182 Learn more at BravoVail.org

Sandy and Stephen Bell Mia and Bill Benjes Sally Blackmun and Michael Elsberry Anne and John Blair Stephen Brint and Mark Brown Sunny and Phil Brodsky** Linda and Joe Broughton** Elia Buck Alison Burghardt***** Bette and Trent Campbell*** Patsy and Pedro Cerisola***** Martha Chamberlin Elizabeth Chambers and Ronald Mooney Toko and Bill Chapin** Drs. Maryalice Cheney and Scott Goldman* Citywide Banks Jan and Philip Coulson*** Mr. and Mrs. David Cross Doris Dewton** Martinna and Charlie Dill* Mary and Rodgers Dockstader*** Irene and Jared Drescher**** Eagle Ranch Association** Jana Edwards and Rick Poppe* ExxonMobil Amy Faulconer** Carole and Peter Feistmann*** Professor Meyer Feldberg* Diane and Larry Feldman FirstBank*** Ann Fish Michelle Fitzgerald and Jonathan Guyton Barbara and Paul Flowers*** Craig J. Foley Margie and Tom Gart* Sharon and Herbert Glaser Anne and Donald Graubart***** Alison and Michael Greene** Helen Hodges* Cathy and Graham Hollis* Nancy and Dr. John Horgan* Mrs. Polly Horger and Dr. Ed Horger* IBM Matching Grants Program* Cathy Jones-Coburn and Russell Coburn Kerma and John Karoly** Bonnie and Larry Kivel*** Maddy and Bob Kleinman Gloria and Joel Koenig**

Allison Krausen and Kyle Webb Mr. and Mrs. Steven Kumagai Allison Lee and Steven Lindseth Helena and Peter Leslie**** Jane and Bobby Lipnick Karen and Steve Livingston**** Judy and Bob Love Ginnie Maes Regina and John Magee* M. Elaine and Carl E. Martin*** Marcia and Tom McCalden*** Joyce A. Mollerup and Robert H. Buckman**** Kathleen and Michael Moore Jeanne and Dale Mosier* Laurie and Tom Mullen Hazel and Matthew Murray* Karen Nold and Robert Croteau* Renee Okubo Patty and Denny Pearce** Pam and Ben Peternell** Carolyn and Bob Reintjes*** Drs. Julie and Robert Rifkin Nancy and Robert Rosen* Jo Dean and Juris Sarins Gwen and Rick Scalpello* Carole Schragen**** Emely and Dennis Scioli Dorsey Smith Seed Kathie and Bob Shafer Janie and Nelson Sims Chuck Smallwood with Edward Jones Karen and Martin Sosland Kaye Summers and Danny Carpenter E. Diane Tope UBS Ellen and Ray van der Horst* Lois and John Van Deusen*** Marjorie Vickers Sheila Wald Monica and Dan White Winslow BMW of Colorado Springs* Ellen and Bruce Winston** Carolyn Wittenbraker and Arkay Foundation* Betty and Michael Wohl Linda Wolcott FRIEND ($600 and above) Anonymous Shelly and Arthur Adler* Jane and Bill Adler*

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

Joanne and Richard Akeroyd Mercedes and Alfonso Alvarez* Mary Ellen Anderson Constance and Robert Anderson* Barbara and Steve Armstrong Ellen Arnovitz* Karin and Ron Artinian Robert M. Balas Barbara Baldrey Sheryl and Eliot Barnett* Nancy Bedlington and Robert Elkins* Sarah Benjes and Aaron Ciszek* Laura and Len Berlik Sandy and John Blue Pamela and Brooks Bock** David J. Borns Shirley and Jeff Bowen*** Loretta and David Brewer* Patricia and Rex Brown* Janie and Bill Burns* Gary W. Cage***** April and Art Carroll* Robin and Dan Catlin Sara and Michael Charles Karen and Nate Cheney* Cincinnati Insurance Megan and Michael Cohen Donna and Ted Connolly* Mary Ellen and Stanley P. Cope Alix and John Corboy Mary Jo Curran Lucinda and Andy Daly* Barb and Rob DeLuca Alitza and Dwight Devon Monica Diaz Rivera and Lorne Polger Dr. Fred W. Distelhorst* Suzy and Jim Donohue*** Barbara and Lane Earnest* David Elderkin Jenny and Wendell Erwin***** Joan and Joel Ettinger* Marisol and Frank Ferraiuoli* Marilyn Fleischer* Helen and Jeanne Fritch***** Donna M. Giordano***** Andrea and Mike Glass Karen and Clifford Goldman Charles Greisch, III Julie Grimm-Reeves and Rich Reeves Dana Dennis Gumber Ronda and Hank Helton Becky Hernreich

Patrick Hibler Suzi Hill and Eric Noreen Kim and Dr. John Hoffman Carol and Jack Holt* Mr. and Mrs. Loyal Huddleston* Jacqueline and David Irwin Elizabeth Keay**** Gail and Jack Klapper Margaret and Ed Krol* Karen Lechner and Mark Murphy Terry and John Leopold** JoAnn and Ed Levy Candace and Brian Loftus Mary and John Lohre* Susan Lynch and Daniel Virnich Peggy Lyon and Peter Lyons Suzanne and James MacDougald Lynne and Peter Mackechnie*** Evi and Evan Makovsky* Virginia Mancini*** Cheryl Marks Liz and Luc Meyer* Mr. and Mrs. W. Peterson Nelson***** Jacque and Bill Oakes*** James Stanley Ogsbury, III Midori and Masako Oishi Gerry and Ed Palmer* Margot and Ross Perot Jullie and Gary Peterson Patsy Randolph Mary Reisher and Barry Berlin* Kathi Renman and Jim Picard Etty and Alberto Rimoch Gussie Ross* Adrienne and Chris Rowberry Linda and Shaun Scanlon** Harriett and Bernard Shavitz* Suzie Shepard* Sydney and Stanley Shuman Marty and Sam Sloven*** Carolyn Smith and George Mizner***** Judy and John Stovall Steve and Phyllis Straub Rhonda and Marc Strauss Solly Toussier Sabrina and Robert Triplett Rosie and Bob Tutag* United Way of Eagle River Valley Vail Coach Bonnie Vogt Patty and Ed Wahtera**

Each * denotes five years of consecutive donations.

Jackie and Norm Waite* Elyce and David Walthall Gunnel and Hal Weiser Clare Anne and Jonathan Whitfield Janice and Dee Wisor Linda and Bob Wohleber Dr. and Mrs. Larry Wolff* Janice and William Woolford Sue and Rod Wright Mariette and Wayne Wright Alida Zwaan and George Gregory DONOR ($300 and above) Anonymous (4)* Larry Abston Sandi and Larry Agneberg*** Larry Allen Deborah Avant and Timothy Herbst Suzi Ballard Lisa and Joe Bankoff* Elise and Brian Barish Bonnie Barrett Drs. Michelle and Douglas Bell Susan and Lee Berk Nancy and Peter Berkley** Dr. Joan and Mr. Henry Bornstein Mr. and Mrs. John Box Joan and Marion Brawley Mr. and Mrs. B. A. Bridgewater, Jr.** Helen Neuhoff Butler Anna Marie Campbell and Andy McElhany Clara Willoughby Cargile***** Lynn and Jim Chapin* Kay and Sepp Cheney John E. Clark, Esq. Patti Cogswell Lynn Cohagan* Jo Ellen Cohen Mr. and Mrs. Les Cole Drs. Nerissa and Scott Collins Colorado Health Foundation Community First Foundation* Jean and Paul Corcoran Julie Countiss and Stan Beard Silvia and Alan Danson* Bernice and John Davie** J. Lynn Davis Maria A. and Dr. Robert B. Davison* Sallie Dean and Larry Roush***** Suzy DeFrancis and Phil Wakelyn Fara and Jason Denhart 183

FESTIVAL SUPPORT Shirley and William Dunkin Janis and Thomas Dunn Jane Eisner and Sam Levy* Pam and Ernie Elsner* Laurie and Charles Ermer Michael Evans and William Kohut Signe and Donald Ferguson Barbara and Larry Field***** Doris and Steven Field* Regina and Kyle Fink*** Dr. and Mrs. Alan L. Freeman Jane and Gerald Gamble Maria and Andres Garcia Vicky and John Garnsey** Wilma and Arthur Gelfand Eduardo Gomez Marshall Gordon Carlos Gracia Jennifer and Brad Greenblum Jim Grunditsch Carla Guarascio Dr. Mary E. Guy Lowell Hahn Jeri and Brian Hanly Colleen M. and David B. Hanson*** Pamela and Gibson Harris Tonay and John Hayward Judy and Stuart Heller Debra Herz* Joel L. High Peter Hillback* Pamela and Richard Hinds Jennifer and Don Holzworth* Eileen Honnen-McDonald and Ed McDonald Marilyn and Matthew Horween Joan Manley Houlton*** Judy and Phil Hutchison* Pia and Tomas Jablonski Marcie Jaeger and DeBruce Gandrud Alberta and Reese Johnson Sally Johnston Sue and Rich Jones Geraldine Karkowsky Donna and Ward Katz Joanne Kemp and Family Jayne and Jack Kendall* Georgeanna and Bill Klingensmith Sally and James Kneser Nancy and Carl Kreitler* Jennifer Krizek Dr. and Mrs. Robert Landgren**** 184 Learn more at BravoVail.org

Evelyn and Fred Lang*** Laine and Merv Lapin* Claudia and Gregg Laswell Drs. Nancy and Richard Lataitis Monique and Peter Lathrop*** Harrel Lawrence and Jerry McMahan** Jessica and Igor Levental* Nancy and John Lindahl** Gretchen and Charles Lobitz**** Linda and Stuart Lubitz Peter L. Macdonald**** Dale Marcus Judith McBride and Bruce Baumgartner* Susan and Joseph McCormick Linda McKinney* BJ and Harold Meadows* Sam Meals Leslie Melzer Dr. Michael A. Mertens Ginny and Dick Michaux Andrea and Dr. Robert Miller Ellen Miller and Irv Robinson Diane and Dr. Glen Mogan William Mohrman Liz and Ern Mooney Susan W. and William O. Morris** Barbara and John Musselman Beverly and Jon Myers Dr. and Mrs. Robert Nathan* Judith and Barry Nelson Donna Newmyer Bernard Niznik Claire and Mark Noble Dr. Rita E. Numerof and Mr. Michael Abrams Jacque and Bill Oakes*** Tiffany and David Oestreicher* Jean and Ed Onderko Angela and Hugh Overy Alice and Norman Patton Monica and Mark Perin* Jan and Bob Pickens Margaret and Melvin Pitts Mary Pownall Cherie Robertson Judy and Ken Robins Jane E. and Stanton Rosenbaum Sue Rosenblatt Marilyn and Jack Rubin Jill and Robert Rutledge Susan and Alberto Sanchez*

Christine and Douglas Scheetz Arlene and Jack Schierholz*** Laura and Dr. Michael Schiff* Susan and Ambassador Alvin Schonfeld Jane and Chuck Schultz Sharon and Dr. Samuel Schwartz Ivylyn and Dick Scott* Mary and Charles Seibert* The Sidhu Family Lynn P. and Raymond J. Siegel* Susan and Bruce Smathers** Shaunie and Ted Smathers* Shirley and William Smith Colleen and John Sorte Joan and Tom Stamper Elissa Stein and Richard Replin Jill R. Stewart and Michael E. Huotari Judy and Rob Stiber Francine and Jorge Topelson* Carol and Albert Tucker Drs. Carol Traut and David Wahl Alice and James Villone Pam and Joe Walck Barbara Wallace Katie and Mike Warren Deborah Webster and Stephen Blanchard**** Karen and Paul Weinewuth Marilyn and John Wells Enid and Stephen Wenner* Brenda and Michael Whealy Susan and Gerald Whiteman Joan T. Whittenberg***** Violet and Harry Wickes** Ken Wilson Elaine Wolff and Michael Westheimer Rosalie Oâ&#x20AC;&#x2122;Reilly Wooten*** MEMBER ($150 and above) Anonymous (8)* Margaret and Norm Aarestad Nadine and Dennis Ainbinder Steve and Elaine Bachenheimer Sheri Ball* Elaine and Matthew Banner Beth Barrett Ann and Jerry Bass Judy and Don Baxter Gail and Martin Berliner Lisa and Jerry Bernard Judy and Tom Biondini*

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

Margaret Blazek Pat and Brian Blood Dr. and Mrs. David W. Bomboy Rachel and David Bondelevitch Carolyn Borus Jeffery Bosch Debra Brindis Dana Bronfman Nancy Bryan* Mr. and Mrs. Caleb W. Burchenal Phoenix Cai and Martin Katz* Charlyn Canada*** Tatiana Chiaoudkoulene Liane and Robert Clasen John R. Connell Mr. and Mrs. Thomas Conners Patricia and Donald Cook David Costantino Linda and Ted Cox Kathi and Steve Cramer Marilyn S. Cranin* Claudia Dakkouri Molly Daniels and Liz McGrail Michele and Will Darken Susan and Mark Dean* Bruce Deberry Phyllis and Robert Decker Linda and Al Demarest Fran and Don Diones* Lynn and Ira Dubinsky Meg and Jaime Duke Jeanne and Tom Ehrenberg Delight and John Eilering*** Anne and Thomas Eller Lucy and Dan Ellerhorst Dr. and Mrs. Gerhard C. Endler Anne Esson***** Claire and R. Marshall Evans**** Julie and Barnet Feinblum Clark Fitzmorris Terry and John Forester* Victoria Frank Carolyn and Dr. Walter Frank Prof. Tom Franks Janna and Semyon Friedman Laura and Warren Garbe Catherine and Barry Gassman Betty Ann and Robert Gaynor* Kathy and Milt Gillespie Carol and Henry Goldstein* Manuel Gomez-Daza* Tracy and Mark Gordon

Maxine and Warren Graboyes Patricia and Richard Graham Mary Ann and Dirk Gralka Judith Green Donna and Rob Gregg Alex Griffin Jennifer Griffis Susan and Ron Gruber*** Karon and David Hammond Eileen and Jack Hardy* William Hecht Karen J. Hedlund Betty Thomas Hefner Cathey A. Herren***** Amber and Peter Herron JoAnn G. Hickey Brenda and Alan Himelfarb Christy Hoyl Kathy and Peter Huddleston Margie and Dave Hunter Dee and Don Hunter Sonny and Steve Hurst* Robert Hyatt Vina and Thomas Hyde Cecilia Hyland* Nancy and Carrick Inabnett Rivers and Paul Jardis Dr. Susan Rae Jensen and Tom Adams Trainer Vicki and David Judd Gale and Ron Kahn Karen and Michael Kaplan Draginja Kasap and John Tydeman William Kehr* Shannon and Bob Keller Julia and Michael Kirk Donald Kirkpatrick Gene R. Klein Dolores Kopel Wolfgang and Annemarie Lampe Diane Larsen and David Floyd* Michele Lier Myra Little-Porter and John Porter Linda and Bob Llewellyn Christine and Michael Losier Missy and Bill Love Barbara and Edward Lukes Beverly Milder Magencey Joanne and Dr. Douglas Mair Wolfgang Mairhofer Vicki and Roger Marce Maureen and Pat McCaffrey

Each * denotes five years of consecutive donations.

Jan and Gary McDavid* Sharon McKay-Jewett* Eric McLaughlin, MD Jean and Thomas Merrick Paul Mesard and Mike Waterman Laura and Cary Meyers Mark Mollinet Robert Montgomery Pamla Moore Elaine and Ed Nafus Kimberly Opekar and Cynthia Reynolds Alyn Park and Jay Wissot Glenna and Bruce Pember Stephen Penrose Sydney and Mark Pittman Suzanne Price and James Berry Betsy and Pedro Printz Mandy and Adam Quinton Ranelle Randles and Bruce Manchon Melanie Reed and Jerome Freier Yvonne and Calvin Reid Anne and Albert Reynolds Michael Ritchie Mr. and Mrs. Tim Roble Coralie and Bruce Rogers Eileen Rowe and Kenneth Stein** Shawn Rudy, Nancy Rudy and Will Schleifer Gray and Mel Rueppel Lynn and Rick Russell* Cheryl and Harvey Saipe Sallie and Don Salanty* Elaine Sauer and Cliff Hendrick Robin and David Savitz Susan and Frederick Schantz Cynthia Schmeiser J. Edward Schorsch Bobbi and Jon Schwartz*** Connie and Ken Scutari Ricki and Gabe Shapiro* Andrea Shatken Melody Shepherd Eileen Silvers and Richard Bronstein Pat and Ralph Silversmith***** Bonnie and Buddy Sims Monica Slim Jule Smith Diane and Loren Smith* Jo-Una Spadafora Barbara and Jim Spiker*** Drs. Arlene and Bob Stein** 185

FESTIVAL SUPPORT Dorothy and Stanley Stein Jenene and James Stookesberry Shelley and Dale Stortz Marcos M. Suarez Morris Susman Harvey Sweetbaum Steven Tomares Town of Eagle* Marianne Tracey Eric Tyrrell Sarah Valente Russ Varley Painting Thomas Vernon Irit and Art Waldbaum Anne Wattenberg Jan Weiland and Alan Gregory* Bobbie and Stanley Weinstein Anne and Dennis Wentz Karen and John Weslar John O. Westcott* Goldie and Dr. Kenneth Wetcher Sheila Whitman** Cynthia Wiedemann Stacy and John Wilkirson F. Gordon Yasinow Dr. and Mrs. Marvin Zelkowitz Victor Zorrilla PRELUDE ($50 and above) Anonymous Laila and Alejandro Aboumrad* Karen Baird Margo and Roger Behler***** Barbara Behrendt Sharon Bell*** Lori Bender and Barry Mankowitz Kathryn Benysh* Michele and Richard Bolduc* Kris Brownlee Alison and Nick Budor Darlene Daugherty Mrs. Gabriela G. de Kalb Abby Dixon* Deb and Drex Douglas Kabe ErkenBrack Jay Fell* Brooke Ferris Vail Real Estate Lyn Fitzpatrick The Forrest Family Laura and Peter Frieder**** James Goerke Carol and Marc Gordon 186 Learn more at BravoVail.org

Suzanne Greene Nancy Hartenstine Judy and Jim Heinze*** Dwight Henninger* Nan and Charlie Holt Betsy and Arlen Holter Michele Howe Anna Janes and Sig Langegger Susan and David Joffe* David Kellogg, Esq. Joan and Irwin Kowal Sandy and Todd LaBaugh Therese and Douglas Landin Sandy and Harry Lederman* Brooke Lee Mary Alice Malone Lynn and Webb Martin Jaime Martinez Negrete Jean A. Melville Melissa Meyers Mary Jane and Frank Miller** Jean Naumann Sara Newsam** Nancy Nottingham* Donna and John Pariseau Judy and Tom Pecsok* Evelyn Pinney and Rob LeVine Susan Pollack* Alex and Bradley Quayle Mindy and Jay Rabinowitz* Mary Harding Ross Mr. and Mrs. Adam Rudner Linda and Don Sage* Aline and Richard Sandomire Lindsay Schanzer Carol Schimmer Anne Sheldon***** Litamae and David Sher Ricki and Steve Sherlin Lisa Seigert-Free and Nate Free Luz Emilia Solorzano Carol and Roger Sperry Nancy and Jerry Stevens Frances and Steve Susman*** Eileen and Skip Thurnauer Joe Tonahill, Jr.* Anne and Robert Trumpower Elli Varas Samantha Verdonck Trudy and Bob Walsh** Carly and Jared West Vali and Willy Wilcox

Valinda and Steve Yarberry Shigemichi Yazawa Heidi and Bret Young IN HONOR OF Ryan Anthony Carole C. and CDR. John M. Fleming Dierdre and Ronnie Baker Karen and Martin Sosland Kevin Forrest and Christopher Forrest Forrest Family Jane and Tom Healy Ginny and Dick Michaux Diana and Dave Kennedy Betty Thomas Hefner Melissa Meyers Laura and Cary Meyers Shirley and William S. McInytre, IV Fanchon and Howard Hallam Maureen and Pat McCaffrey Carole and Peter Segal Shelby and Frederick Gans Glen Yarberry Valinda and Steve Yarberry IN MEMORY OF Jackson Payne Ballard Suzi Ballard Dot and Stan Bondelevitch Rachel and David Bondelevitch Joe Borus Carolyn Borus Bob Fritch Helen and Jeanne Fritch J. Mitchell Hoyt Joan Francis Catherine Kelley Patricia and Rex Brown Dorothy L. Michie Donna and Rob Gregg Evelyn Rosen-Budd Fara and Jason Denhart Beatrice Travis-Cole Judy and Martin Shore Andrea Westcott John O. Westcott

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

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 GIFTS $100,000 and above Maryan and K Hurtt Leni and Peter May Betsy and George Wiegers MILLENNIUM GROUP $50,000 and above Jean and Dick Swank $40,000 and above Ralph and Roz Halbert Gilbert Reese Family Foundation BEST FRIENDS OF THE MILLENNIUM $20,000 and above Jayne and Paul Becker Jan Broman The Cordillera Group/Gerry Engle Linda and Mitch Hart Fran and Don Herdrich The Mercy Family Susan and Rich Rogel BEST FRIENDS OF THE ENDOWMENT $10,000 and above Mr. and Mrs. Elton G. Beebe, Sr. Mary Ellen and Jack Curley The Francis Family Merv Lapin Amy and Jay Regan $5,000 and above Margo and Roger Behler/FirstBank Carolyn and Gary Cage

Jeri and Charlie Campisi Kay and E.B. Chester in Memory of Louise and Don Hettermann Millie and Vic Dankis Susan and Harry Frampton Linda and John Galvin Sheika and Pepi Gramshammer Nita and Bill Griffin Becky Hernreich Bob Hernriech Mary and Jim Hesburgh Bruce Jordan Gretchen and Jay Jordan Kensington Partners Alexandra and Robert Linn Gerard P. Lynch Priscilla O’Neil Patricia O’Neill and John Moore Joan and Richard Ringoen Family Foundation, Inc. Terie and Gary Roubos/Roubos Foundation Seevak Family Foundation Helen and Vincent Sheehy The Smiley Family Claudia Smith Mark Smith Cathy and Howard Stone Stewart Turley Foundation TRUSTEES’ MILLENNIUM FUND $2,000 and above Sallie and Robert Fawcett Mr. and Mrs. Lawrence Flinn, Jr. June and Peter Kalkus/Kalkus Foundation Karen and Walter Loewenstern John McDonald and Rob Wright Jean and Thomas McDownell The Merz Family Zoe and Ron Rozga Dr. and Mrs. William T. Seed Carole J. Schragen Deb and Rob Shay Mrs. Jean Graham-Smith and Mr. Philip Smith Karin and Bob Weber Anne and Dennis Wentz Barbara and Jack Woodhull Carol and Bob Zinn

THE BRAVO! VAIL 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 Anne and Donald Graubart Maryan and K Hurtt/Lockheed Martin Corporation Directors Charitable Award Fund Judy and Alan Kosloff Dhuanne and Doug Tansill $50,000 and above Rosalind A. Kochman $20,000 and above Steven and Julie Johannes $10,000 and above John W. Giovando Jeanne and Craig White Legacy Society Members Jeanne and Jim Gustafson Valerie and Noel Harris Cathey A. Herren Caitlin and Dan Murray Martha Dugan Rehm and Cherryl Hobart Carole Schragen Jennifer Teisinger and Chris Gripkey Betsy and George Wiegers BRAVO! VAIL EMERITUS SOCIETY Judy and Howard Berkowitz Sharon and Bill Donovan Sallie and Robert Fawcett Vicki and Kent Logan Molly and Jay Precourt 187

SPECIAL GIFTS ARTISTIC EXCELLENCE FUND Bravo! Vail is committed to presenting the greatest musicians and finest orchestras, and has established The Artistic Excellence Fund to uphold that legacy. The Fund supports the amazing musical experiences Bravo! Vail provides by enabling the Festival to continue to elevate the level of artistic quality it offers. THE 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 Chamber Orchestra Vienna – Berlin, 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. 188 Learn more at BravoVail.org

THE PAIKO FOUNDATION Bravo! Vail gratefully acknowledges the generosity of The Paiko Foundation for the purposes of music education, community engagement, future planning to promote the growth of the Festival and more. 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 2019 Season features The Philadelphia Orchestra, led by Yannick Nézet-Séguin, performing Puccini’s Tosca on July 11 and July 13. 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 Chamber Orchestra Vienna – Berlin, 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 Chamber Orchestra Vienna – Berlin, 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. Special thanks to 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, Costco, Chuck Smallwood with Edward Jones, Fidelity Investments, Lewis Bess Williams & Weese P.C., LIV Sotheby’s International Realty, Meiomi Wine, Silversmith Legal, Slifer Smith & Frampton Real Estate, U.S. Bank, Bank of America Private Bank, 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 Epic Mountain Express for its 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 The Luis D. Juarez Honorary Music Award supports and extends opportunities for students to pursue musical studies. Bravo! Vail thanks the donors whose support provides financial assistance to students for the costs of instruments, lessons, software, and other essential materials.

CORPORATE & GOVERNMENT SUPPORT

ravo! Vail is indebted to the Town of Vail, the Vail Town Council and the Festival’s many corporate, government, and community partners for their financial support. GRAND BENEFACTOR ($100,000 and above) ANB Bank and The Sturm Family* Town of Vail****** PLATINUM ($30,000 and above) Vail Valley Foundation****** VIRTUOSO ($20,000 and above) LIV Sotheby’s International Realty* OVATION ($15,000 and above) Alpine Bank*** GMC Town of Gypsum***

ALLEGRO ($10,000 and above) Colorado Creative Industries Fidelity Investments Meiomi Wine Slifer Smith & Frampton Foundation*** Slifer Smith & Frampton Real Estate*** Soros Fund Charitable Foundation Matching Gifts Program* U.S. Bank*** U.S. Bank Foundation* SOLOIST ($7,000 and above) B-Line Xpress Gorsuch Ltd.* BENEFACTOR ($5,000 and above) Gallegos Corp. Lewis Bess Williams & Weese P.C. Silversmith Legal PATRON ($3,000 and above) Costco Holy Cross Energy

Rader Engineering** Wall Street Insurance* CONTRIBUTOR ($1,200 and above) Bank of America Private Bank Citywide Banks Eagle Ranch Association** ExxonMobil FirstBank*** IBM Matching Grants Program* Chuck Smallwood with Edward Jones UBS FRIEND ($600 and above) Cincinnati Insurance United Way of Eagle River Valley DONOR ($300 and above) Colorado Health Foundation Community First Foundation* MEMBER ($150 and above) Town of Eagle*

Each * denotes five years of consecutive donations. 189

IN-KIND GIFTS

ravo! Vail is grateful to all its partners who provide in-kind donations to the Festival. Grand Benefactor ($100,000 and above) The Antlers at Vail Vail Marriott Mountain Resort Vail Resorts Vail Resorts EpicPromise Vail Valley Foundation PREMIERE BENEFACTOR ($50,000 and above) Colorado Public Radio FirstBank Joyce and Paul Krasnow The Lodge at Vail Sonnenalp Hotel Town of Vail PLATINUM ($30,000 and above) West Vail Liquor Mart IMPRESARIO ($25,000 and above) Ali & Aaron Creative VIRTUOSO ($20,000 and above) The Vail Daily OVATION ($15,000 and above) Alpine Bank The Sebastian-Vail ALLEGRO ($10,000 and above) Foods of Vail Georgia and Don Gogel The Left Bank Shirley and William S. McIntyre, IV Elisa and Vic Micati Mirabelle at Beaver Creek Amanda Precourt Sherry and Jim Smith Splendido at the Chateau Vail Catering Concepts Vail Mountain School Yamaha

190 Learn more at BravoVail.org

SOLOIST ($7,000 and above) B-Line Xpress Destination Resorts Sandy and Todd LaBaugh The Lift House Lodge Lion Square Lodge Viking River Cruises BENEFACTOR ($5,000 and above) 5280 Magazine Gina Browning and Joe Illick The Christie Lodge Elway’s Epic Mountain Express Joan Francis La Tour Restaurant Meiomi Wine Anne-Marie McDermott and Michael Lubin Mountain Standard Sarah and Peter Millett Sarah Nash and Michael Sylvester Sweet Basil Vail Racquet Club PATRON ($3,000 and above) Doubletree by Hilton Sitzmark Lodge Terra Bistro Vail’s Mountain Haus

CONTRIBUTOR ($1,200 and above) Almresi Alpenrose Dierdre and Ronnie Baker Barbara and Barry Beracha Bridge Street Ski Haus Cedar’s Flower Shop The Club at Cordillera The Golden Bear Diane and Lou Loosbrock Matsuhisa The Philadelphia Orchestra Amy and Jay Regan Tiga Advertising Vintage Magnolia White Bison FRIEND ($600 and above) Christy Sports Evergreen Lodge Frost Creek DONOR ($300 and above) Breckenridge Film Festival Chamber Music Society of Lincoln Center Dallas Symphony Orchestra Fancy Pansy Metropolitan Opera Rose Petals

BRAVO! VAIL STAFF ARTISTIC DIRECTOR Anne-Marie McDermott

Office Manager Heidi Young

EXECUTIVE DIRECTOR Caitlin Murray

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DEVELOPMENT Vice President of Philanthropy Jason Denhart Director of Development Shelley Pinkham Database Manager Beth Pantzer Individual & Corporate Giving Manager Lynn Martin Development Associate Linda Boyne MARKETING AND SALES Director of Marketing Carly West Marketing Manager Jordan Halter Senior Marketing Specialist Katie Cassin Sales Manager Nancy Stevens Sales & Marketing Associate Anna Janes BOX OFFICE ASSOCIATES Courtney Block Maddie Stevens ADMINISTRATION Vice President of Finance and Human Resources Monica White Senior Accountant Molly Haley

Audience Services Manager Courtney Block Concert Production Manager Brett Logan PRODUCTION CREW Paul Casey Devin Klepper Rane Logan Zac Logan Kalen Martinez Robert Pastore Jr. Brandon Reid Steve Schrader Piano Technician Michael Jackson Sound Engineering and Recording Todd Howe with THD Productions BRAVO! VAIL TEACHING STAFF Brooklynn Adelman Mike Barca Celesta Cairns Scott Carroll Langley Cerovich Gabby Martin Melissa Meyers Lauren Milligan Jenny Roussel Jaden Webster FESTIVAL INTERNSHIP PROGRAM: Artist Liaison Henry Bowen, Indiana University Operations Liaison Jessica Bachman, Indiana University

Development Interns Riley Brennan, University of Denver Mackenzie Murphy, University of Redlands Marketing & Public Relations Interns Erin Baright, Skidmore College Amber Hederer, University of Wisconsin â&#x20AC;&#x201C; Stevens Point Paul Powers, Indiana University Education Intern Samantha Verdonck, Clemson University Sound Recording Interns Liz Bellotti, Peabody Conservatory Daniel Benoit, Indiana University RESIDENT ORCHESTRA PHYSICIAN Dr. Steve Yarberry PROGRAM BOOKS Managing Editor, Alice Kornhauser GUILD Mary Jo Allen Linda and Bruce Alper Ann Antonius Gini Bartley Janet Beals Pat Blood Deborah Bolon-Feeney Carol Bosserman Barbara Bower Carol Brannigan and Don Hoolihan Fern and Sherman Canter Edwina Carrington Judy and David Carson Kristine Cashman Barbara K. Coffey Nancy Collins Jan and Bob Cope Dorothy and Rodney Corlin Pamela and James Crine Bruce Crow William David Doris Dewton Carol and Greg Dobbs Holly Eastman Ann and Sandy Faison Tracy Feldman and Robert Dagostino

191

STAFF & SPECIAL NOTES Eleanor Finlay Laura and Warren Garbe Greer and Jack Gardner Colleen Gauron Asimina Ginis Anne Hatch Summer Holm Rebecca Hopkins Sharon Johnson Jane Jones Jean Kearns Elizabeth Keay Julie Kenfield Betty Kerman Charlene Koegel Marion and Don Laughlin James Lewis Vicky Litchev Ann Loper Nicole Lucido Diane and Jim Luellen Linda Lund

Hank Mader Maureen McCullough Louise McGaughey Carole Ann McNeill Ferol and Bruce Menzel Martha and Kevin Milbery Mary Jane and Frank Miller Sandy Morrison Cristi and Al Musser Susan and Paolo Narduzzi Suzette Newman Rita Neubauer Nancy Nottingham William Nussbaum Annette Parsons George Person Barbara and Jim Risser Thea Rumford Tom Russo Nancy and George Saunders Linda and Gary Scanlon Carol Schimmer

Andy Searls Mary Servais Charles Sherwood Eileen and Michael Sinneck Diane and Loren Smith Diane and Mark Smooke Paige Sodergren Eileen Sordi Jon-Una Spadafora Joanne and Frank Strauss Anne-Marie Tellefsen Pamela Thorn Judy and Michael Turtletaub Elli Varas Ana-Maria Vergara-Schaefer and Scott Schaefer Karla Wall Dianne and Leo Williams Linda and Dean Wolz Allison Wright Chiann-Yi and Brian Yawitz

available on a first-come, first-served basis. The Gerald R. Ford Amphitheater is fully ADA compliant.

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, photographing, or videoing of concerts is strictly prohibited. Concerts start punctually at the time indicated. Latecomers may be admitted at the discretion of our ushers, either between movements or between pieces. Please respect our volunteer ushers. We ask that adults accompany young children at all times. Artists 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. © 2019 Bravo! Vail. All rights reserved. 192 Learn more at BravoVail.org

MAIL/ADMINISTRATION 2271 N Frontage Rd W, Suite C Vail, CO 81657 970.827.5700 | 877.812.5700 toll free Fax 970.827.5707 TICKETS Online: bravovail.org Phone: 877.812.5700 Email: ticketing@bravovail.org Box Office: 2271 N Frontage Rd W, Suite C, Vail, CO 81657 Concerts take place rain or shine. The GRFA is an open-air venue. Refunds are not given due to weather unless a concert is canceled in its entirety with no performance rescheduled. If you are unable to attend a concert, please call the Bravo! Vail offices at 877.812.5700 2 hours prior to the concert to donate your tickets. 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

The following are policies of the Gerald R. Ford Amphitheater Management and are not permitted in the facility: audio and video recording devices, standardheight lawn chairs, cameras, cigarette and cigar smoking, skateboards, bicycles, scooters, in-line skates, pets, and alcoholic beverages. Concessions with food, beverage, and alcohol sales are available at the facility. Picnics and commercially sealed non-alcoholic beverages are permitted. Personnel directly associated with the Management of the Amphitheater will inspect all private refreshment coolers and personal items at the entrance gates. Bravo! Vail is committed to sustaining its local community – not only through music, but also through responsible environmental practices.

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ORCHESTRA NOTES

The first movement of the Violin Concerto No. 5 is in conventional concerto form but has some curious structural experiments more associated with the music of Haydn than with that of Mozart. After the initial presentation of the thematic material by the orchestra, the soloist is introduced with the surprising device of a brief, stately Adagio. When the Allegro tempo resumes, the soloist plays not the main theme already announced by the ensemble, but a new lyrical melody for which the original main theme becomes the accompaniment. More new material fills the remainder of the exposition. The development is invested with passages of dark harmonic color that cast expressive shadows across the movement’s generally sunny landscape. The recapitulation calls for restrained, elegant virtuosity from the soloist. The second movement is a graceful song in sonatina form (sonata without development section). The finale is a rondo in the style of a minuet whose themes are in the style of Hungarian folk music, known, vaguely, as “Turkish” in the 18th century.

Leopold claimed him to be a year younger for publicity purposes). Just four days later, the Mozarts appeared before the German-speaking King George III and Queen Charlotte at court, where they won the enthusiastic advocacy of Johann Christian Bach, youngest son of Johann Sebastian, one of London’s most successful composers and impresarios and Master of the Queen’s Music. On August 5th, Leopold got sick. London was too promising for them to abandon just then, however, so as Nannerl explained, “we rented a country house in Chelsea, outside the city of London, so that father could recover from his dangerous throat ailment, which brought him almost to death’s door.... Since our father lay dangerously ill, we were forbidden to touch the keyboard and therefore, in order to occupy himself, Wolfgang composed his first symphony.... At last, after two months, when father had completely recovered, we returned to London.” On February 21, 1765, Leopold produced a concert at the Haymarket Theatre that probably included the Chelsea symphony, and perhaps movements from four others Wolfgang is thought to have written during the intervening months (K. 16a, K. 19, K. 19a and K. 19b; K. 16a and 19b are lost); another orchestral concert followed on May 13th. By the end of July, Leopold was ready to return to the Continent, and, as a memento of their residency in London, he deposited in the British Museum the manuscript of God Is Our Refuge (K. 20), Mozart’s only English-language composition. It is uncertain whether the Chelsea symphony is actually the Symphony No. 1 in E-flat major, K. 16 (placed first in Breitkopf und Härtel’s complete edition of Mozart’s works, begun in the 1870s). Even if the E-flat Symphony and the Chelsea symphony are not the same work, the E-flat Symphony certainly dates from the months in London, and cogently represents the musical personality of the eight-year-old Mozart. The work consists of a pleasant opening movement in sonata form, a somber Andante in two-part structure, and a dashing sonata-rondo for the finale.

Mozart Part II, Continued From Page 57

Haydn Cello Concerto..., Continued From Page 61

Symphony No. 1 in E-flat major, K. 16 (1764)

though Haydn were experimenting to discover what sort of musical material best fit into this particular construction. Each movement comprises alternations between orchestra and soloist, the basic formal principle of the old Baroque concerto. There are four orchestral sections interspersed with three for the cellist. Unlike the Baroque model, however, the three cello sections take on the Classical properties of

Mozart Part I, Continued From Page 53

the bold opening gesture; a mock fanfare; a subsidiary melody with long notes in the woodwinds; and a motive with quick, flashing notes in the violins. The soloist enters with the bold opening gesture, and continues with elaborations upon the themes from the introduction. The development is largely based on the subsidiary theme decorated with some rapid figurations from the soloist. A recitative-like passage links this central section to the recapitulation, which, with the exception of the cadenza, follows the progress of the exposition. The Adagio proceeds in sonata form with an exquisite grace and refined elegance that no composer has ever surpassed. The finale is an effervescent rondo which Mozart said was based on a musette tune from Strassburg.

On April 23, 1764, Leopold Mozart of Salzburg descended upon London for the purpose of displaying the astounding musical gifts of his precocious daughter, Maria Anna (“Nannerl,” age twelve), and son, “the miracle that God permitted to be born in Salzburg,” Wolfgang Amadeus (eight, though 196 Learn more at BravoVail.org

exposition, development and recapitulation with the intervening orchestral episodes serving as introduction, interludes and coda. The soloist is provided with an opportunity for a cadenza in the closing orchestral coda. There are only two exceptions to this pattern in the Concerto: the second movement has no orchestral interlude before the soloist’s recapitulation and there is no cadenza in the last movement.

Symphony No. 49 in F minor, “La Passione” (1768) JOSEPH HAYDN

The “passion” evoked by Haydn’s F minor Symphony is that associated with the death of Christ, whose emotions perfectly suited the expressive essence of Sturm und Drang, the name given to the German style characterized by minor keys, sudden contrasts, chromatic harmonies and a pervasive sense of agitation that was named after Friedrich Maximilian von Klinger’s 1776 play, Wirrwarr, oder, Sturm und Drang (“Confusion, or, Storm and Stress”). Indeed, one theory about the genesis of the Symphony No. 49 is that it was expressly composed for the observance of Good Friday. The opening sonata-form movement retains its somber Adagio tread throughout, as though evoking “winding lines of penitents before the Cross,” wrote Haydn authority H.C. Robbins Landon. There follows a fast movement in agitated rhythms. The thoughtful Menuet provides the only glint of sunlight in the work when its central trio turns to a major key. The finale, tempestuous and unsettled, is one of the most dramatic instrumental statements of its era. Beethoven: Piano & Violin..., Continued From Page 69

with an important part for the solo clarinet. The rondofinale brims with high spirits and good humor.

Violin Concerto in D major, Op. 61 (1806) In 1794, two years after he moved to Vienna from Bonn, Beethoven attended a concert by an Austrian violin prodigy named Franz Clement. To Clement, then fourteen years old, the young composer wrote, “Dear Clement! Go forth on the way you hitherto have travelled so beautifully, so magnificently. Nature and art vie with each other in making you a great artist. Follow both and, never fear, you will reach the great — the greatest — goal possible to an artist here on earth. All wishes for your happiness, dear youth; and return soon, that I may again hear your dear, magnificent playing. Entirely your friend, L. v. Beethoven.”

Beethoven’s wish was soon granted. Clement was appointed conductor and concertmaster of the Theater-an-der-Wien in Vienna in 1802. There he was closely associated with Beethoven in the production of Fidelio and as the conductor of the premiere of the Third Symphony. It was for Clement that Beethoven produced his only Violin Concerto. The five soft taps on the timpani that open the Concerto recur as a unifying phrase throughout. The main theme is introduced in the second measure by the woodwinds. A transition, with rising scales in the winds and quicker rhythmic figures in the strings, accumulates a certain intensity before it quiets to usher in the second theme, another legato strain entrusted to the woodwinds. The development is largely given over to wide-ranging figurations for the soloist. The recapitulation begins with a recall of the five drum strokes of the opening, this time spread across the full orchestra sounding in unison. Though the hymnal Larghetto is technically a theme and variations, it seems less like some earth-bound form than a floating constellation of ethereal tones. Music of such limited dramatic contrast cannot be brought to a satisfactory conclusion in this context, and so here it leads without pause into the vivacious rondo-finale. The solo violin trots out the principal theme before it is taken over by the full orchestra. This jaunty tune returns three times, the last appearance forming a large coda. Beethoven Triple & Symphony 7, Continued From Page 73

Symphony No. 7 in A major, Op. 92 (1811-1812) The Seventh Symphony is a magnificent creation in which Beethoven displayed several technical innovations that were to have a profound influence on the music of the 19th century: he expanded the scope of symphonic structure through the use of more distant tonal areas; he brought an unprecedented richness and range to the orchestral palette; and he gave a new awareness of rhythm as the vitalizing force in music. It is particularly the last of these characteristics that most immediately affects the listener, and to which commentators have consistently turned to explain the vibrant power of the work. Perhaps the most famous such observation about the Seventh Symphony is that of Richard Wagner, who called the work “the apotheosis of the Dance in its highest aspect ... the loftiest deed of bodily motion incorporated in an ideal world of tone.” “Beethoven,” John N. Burk explained, “seems to have built up this impression by willfully driving 197

Beethoven Triple & Symphony 7, Continued From Page 197

a single rhythmic figure through each movement, until the music attains (particularly in the body of the first movement and in the finale) a swift propulsion, an effect of cumulative growth which is akin to extraordinary size.” The slow introduction, almost a movement in itself, employs two themes: the first, majestic and unadorned, is passed down through the winds; the second is a graceful melody for oboe. The transition to the main part of the movement is accomplished by the superbly controlled reiteration of a single pitch. This device both connects the introduction with the exposition and also establishes the dactylic rhythm that dominates the movement. The Allegretto is a series of variations on the heartbeat rhythm of its opening measures. In spirit, however, it is more closely allied to the austere chaconne of the Baroque era than to the light, figural variations of Classicism. The third movement, a study in contrasts of sonority and dynamics, is built on the formal model of the scherzo, but expanded to include a repetition of the horn-dominated Trio (Scherzo – Trio – Scherzo – Trio – Scherzo). In the sonata-form finale, Beethoven not only produced music of virtually unmatched rhythmic energy (“a triumph of Bacchic fury,” in the words of Sir Donald Tovey), but did it in such a manner as to exceed the climaxes of the earlier movements and make it the goal toward which they had all been aimed.

Jurassic Park in Concert, Continued From Page 77

as a stand-in for the fictional Isla Nublar, huge sets on Universal’s soundstages for small scenes and interiors. Despite the digital technology that made Jurassic Park possible, many effects relied on more conventional means. The terrifying Tyrannosaurus Rex in the van attack is a twenty-foot, six-ton, remotecontrolled, animatronic model that repeatedly malfunctioned under the pounding rain. Between takes, the crew worked frantically with towels and blow dryers to keep it running, but sometimes remaining moisture unexpectedly brought the creature to life and terrified the actors. Some shots of the Raptors in the kitchen scenes were played by men in costumes. Surprisingly, one of the most difficult effects to create was the footfall-induced ripples in the water glass on the van dashboard as the T. Rex approaches. What 198 Learn more at BravoVail.org

finally worked was a plucked guitar string attached beneath the dash. Creating sounds for these longdead creatures required equal ingenuity, and the foley artists employed an entire menagerie to make them, from horses, geese and chihuahuas to baby elephants, mating tortoises and dolphins in heat. Jurassic Park was a sensation when it was released in June 1993 and remains the standard for pre-historic movie tales. It won Oscars for Sound Editing, Sound Mixing and Visual Effects, spawned a thriving film franchise (Fallen Kingdom was released in June 2018; a yet-unnamed film is scheduled for 2021), inspired merchandise, video games, the name of Toronto’s NBA team (Raptors) and one of Universal Studios’ most popular attractions, and caused a surge in the study of paleontology. The film’s world-wide box office receipts now exceed $1 billion dollars and it continues to sell thousands of DVDs every month. With full symphony orchestra performing John Williams’ score live, Jurassic Park is one of cinema’s most exhilarating experiences. Hilary Hahn Plays Mendelssohn, Continued From Page 89

Suite No. 2 from Daphnis et Chloé (1909-1912) MAURICE R AVEL (1875-1937)

Ravel’s ballet, set in a visionary ancient Greece, opens in a meadow bordering a sacred wood on the island of Lesbos. Greek youths and maidens enter with wreaths and flowers to place at the altar of the nymphs as the shepherd Daphnis descends from the hills. His lover, Chloé, crosses the meadow to meet him. The girls are attracted to the handsome Daphnis and dance seductively around him, inciting Chloé’s jealousy. Chloé, in turn, becomes the object of the men’s advances, most particularly a crude one from the clownish goatherd Dorcon. Daphnis’ jealousy is now aroused and he challenges Dorcon to a dancing contest, the prize to be a kiss from Chloé. Dorcon performs a grotesque dance and Daphnis easily wins Chloé’s kiss. The crowd leads Chloé away. Daphnis’ attention is suddenly drawn to shouts of alarm from the woods. Pirates have invaded. Daphnis rushes off to protect Chloé, but she returns and is captured. In Scene Two, set on a rugged seacoast, the brigands lead Chloé, hands bound, into their hideaway. She pleads for her release. When the chief refuses, the sky grows dark and the god Pan, arm extended threateningly, appears upon the nearby mountains. The frightened pirates flee, leaving Chloé alone. Scene Three is again set amid the hills and meadows of the ballet’s first

scene. It is sunrise. Chloé has been rescued and she appears and throws herself into Daphnis’ arms. The old shepherd Lammon explains to them that Pan has saved Chloé in remembrance of his love for the nymph Syrinx. In gratitude, Daphnis and Chloé re-enact the ancient tale, in which Syrinx is transformed into a reed by her sisters to save her from the lustful pursuit of Pan, who then made a flute from that selfsame reed — the pipes of Pan — upon which to play away his longing. Daphnis and Chloé join in the joyous general dance that concludes the ballet. The Second Suite parallels the action of the ballet’s final Scene: Daybreak, Pantomime of the adventure of Pan and Syrinx, and the concluding General Dance. Denève Conducts: Magic of Music, Continued From Page 93

was brought to life in Sorcerer’s Stone by fine acting, superb design and special effects, and John Williams’ Oscar-nominated score. “Williams’ music captures the soul of Harry Potter’s world,” said the film’s director, Chris Columbus. “It liberates your imagination, and gives you the freedom to dream, to dream of magic.”

The Young Person’s Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), Op. 34 (1946) BENJAMIN BRIT TEN (1913-1976)

Early in 1945, the British Ministry of Education approached Benjamin Britten with a request to compose music for a film they were preparing to introduce the orchestra to children, and he agreed to the project. He cast his work as a series of variations with a concluding fugue based on the Hornpipe from Purcell’s incidental music to Abdelazar, or The Moor’s Revenge (1695), and gave it the dual title of The Young Person’s Guide to the Orchestra and Variations and Fugue on a Theme of Purcell. (He is said to have preferred the former.) The film, titled simply The Instruments of the Orchestra, was first shown on November 2, 1946, but Britten’s music had already been heard in a concert by the Liverpool Philharmonic Orchestra under the direction of Malcolm Sargent on October 15th. The Young Person’s Guide is in three large sections. The first presents the full orchestra and then “the four teams of players,” as the instrumental choirs are called in the preface to the score: woodwinds, brass, strings and percussion. The work’s second section is a series of variations introducing the instruments individually. The concluding section is a fugue whose theme is loosely based on Purcell’s

melody, with each of the instruments joining the fugue in the order in which it was introduced in the variations. Just as the fugue seems about to burst from its own complexity, Purcell’s original theme is recalled in a gloriously majestic proclamation by the brass while the rest of the orchestra continues the fugue as accompaniment. This masterful essay on orchestral tone color comes to a rousing close with a splash of percussion and a full-throated cadence from the assembled instruments. Brahms Piano Concerto 2, Continued From Page 97

thunderous Scythian Suite. Though Diaghilev did not like the piece and refused to stage it, he remained convinced of Prokofiev’s talent and commissioned Chout (“The Buffoon”) from him in 1921 and produced it with his Ballet Russe. Le Pas d’acier (“The Steel Step”) followed in 1927 and The Prodigal Son in 1928, which was the last new ballet Diaghilev produced before his death the following year. Sur le Borysthène (“On the Dnieper”) was staged, unsuccessfully, by the Paris Opéra in 1932. The last two of these works showed a move away from the spiky musical language of Prokofiev’s earlier years toward a simpler, more lyrical style, and the Kirov Theater in Leningrad took them as evidence in 1934 that he should be commissioned to compose a full-length ballet on Shakespeare’s Romeo and Juliet. After difficulties staging the ballet in Russia, Romeo and Juliet was premiered in Brno, Czechoslovakia in December 1938 and has since come to be regarded as one of Prokofiev’s most masterful creations. Montagues and Capulets incorporates, as slow introduction, the music accompanying the Duke as he forbids further fights between the families on pain of death, the heavy-footed Dance of the Capulet Knights from the Act I ballroom scene, and a graceful transformation of the Knights’ theme to portray Juliet. The Minuet describes the arrival of the guests at the Capulet mansion in the Act I ball scene. The Young Juliet characterizes the several moods of the heroine, not yet fourteen years old. The swaggering/cautious Masks depicts the arrival in masks and costumes of Romeo, Mercutio and Benvolio at the ball in the house of their enemy. The rapturous balcony scene is titled simply Romeo and Juliet. The ecclesiastical music depicting Friar Laurence occurs as the friendly monk and Romeo await Juliet in the cleric’s cell. The Death of Tybalt is based on the music 199

Brahms Piano Concerto 2, Continued From Page 199

accompanying the duel of Tybalt and Mercutio, Tybalt’s death and his funeral procession. Romeo at Juliet’s Tomb is taken from the ballet’s final scene: Juliet’s funeral procession and Romeo’s grief at her presumed death. The Death of Juliet is the touching music that closes the ballet. Mozart & Rachmaninoff, Continued From Page 113

major-key coda provides less a lighthearted, happy conclusion than a sense of catharsis capping the cumulative drama of this noble masterwork.

Symphony No. 1 in D minor, Op. 13 (1895) SERGEI R ACHMANINOFF (1873-1943)

“If there is a conservatory competition in Hell, this Symphony would gain first prize,” railed César Cui. “Forgive me,” Nikolai Rimsky-Korsakov said to the composer, “but I do not find this music at all agreeable.” The object of these critical thunderbolts was the First Symphony of a 24-year-old Russian musician who had already won the highest rating ever given by the Moscow Conservatory to one of its graduates; established a reputation as a top-notch pianist; had an opera staged by the Moscow Bolshoi; had orchestral, chamber and piano works played by some of the country’s leading artists; acquired a prestigious publisher; and been hailed as a genius by the late Peter Ilyich Tchaikovsky: that is, Sergei Rachmaninoff. After that debacle, it took extensive counseling, including hypnosis, before he could bring himself to compose again, but the Piano Concerto No. 2, premiered successfully in 1901, confirmed his renewed creativity. Rachmaninoff’s First Symphony follows the conventional four movements, though the faster scherzo comes second, and the slower Larghetto third. The tiny slashing motive of close intervals that opens the work recurs throughout, most obviously at the beginning of each movement. The brief slow introduction contains a broad unison phrase in the strings, which, speeded up, becomes the main theme of the first movement’s sonata form; a Gypsyinfluenced melody serves as the contrasting second theme. The development is concerned with the two motives of the main theme. The second movement, 200 Learn more at BravoVail.org

the Symphony’s scherzo, is built from a variant of the opening movement’s main theme. The Larghetto takes as its subject a romantic strain, first sung by the clarinet, for which the turbulent central episode, based on the slashing motive that opened the Symphony, provides contrast. The finale gathers together the principal thematic elements of the Symphony as a summary of the entire work. Van Zweden’s Return..., Continued From Page 123

Symphony No. 3 in E-flat major, Op. 55, “Eroica” (1803-1804) LUDWIG VAN BEETHOVEN (1770-1827)

The “Eroica” (“Heroic”) is a work that changed the course of musical history. There was much sentiment at the turn of the 19th century that the expressive and technical possibilities of the symphonic genre had been exhausted by Haydn, Mozart, C.P.E. Bach and their contemporaries. It was Beethoven, and specifically this majestic Symphony, that threw wide the gates on the unprecedented artistic vistas that were to be explored for the rest of the 19th century. For the first time, with this music, the master composer was recognized as an individual responding to a higher calling. After Beethoven, composers came to be regarded as visionaries — special beings lifted above mundane experience — who could guide benighted listeners to loftier planes of existence through their valued gifts. The modern conception of the Artist — what they are, their place in society, what they can do for those who experience their work — stems from Beethoven. Romanticism began with the “Eroica.” The vast first movement opens with a summons of two mighty chords. At least four thematic ideas are presented in the exposition. The development is a massive essay progressing through many moods, all united by a sense of titanic struggle. It is in this central portion of the movement and in the lengthy coda that Beethoven broke through the boundaries of the 18thcentury symphony to create a work not only longer in duration but also more profound in meaning. The beginning of the Marcia funebre (“Funeral March”), with its plaintive themes intoned over a mock drumroll in the basses, is the touchstone for the expression of tragedy in instrumental music. A development-like section, full of remarkable contrapuntal complexities, is followed by a return of the opening threnody. The third movement is a lusty Scherzo; the central section is a rousing trio for horns. The Finale is a large set of variations on two themes, the first of

which provides the bass line for the other. The second theme, introduced by the oboe, also appears in Beethoven’s ballet The Creatures of Prometheus, Contradanse No. 7 and Variations and Fugue, Op. 35. The variations accumulate energy, and, just as it seems the movement is whirling toward its final climax, the music comes to a full stop before launching into an Andante section that explores first the tender and then the majestic possibilities of the themes. A brilliant Presto led by the horns concludes this epochal work. Legendary Movie Music, Continued From Page 127

“Nimrod” from Variations on an Original Theme, “Enigma,” Op. 36 (1898-1899) SIR EDWARD ELGAR (1857-1934)

Nimrod has become associated with musical commemorations, but it was conceived as a musical tribute to August Jaeger, Elgar’s publisher and close friend, who lived and worked for another decade after “Enigma” was written. The title, borrowed from the Old Testament hunter Nimrod, is a play on Jaeger’s name and the German homonym “Jäger” (“hunter”). Hans Zimmer used Nimrod as the theme for his score for the 2017 film Dunkirk, which portrayed the heroic rescue by civilian boaters of British soldiers from the shores of France after the failed invasion of June 1940.

Sunset Boulevard: Suite (1950) FR ANZ WA XMAN (1906-1967)

Sunset Boulevard was director Billy Wilder’s unblinking cinematic look at a faded silent-era star named Norma Desmond (played by Gloria Swanson) living in a crumbling Hollywood mansion whose hopes for a comeback are encouraged by the struggling screenwriter Joe Gillis (William Holden) and her devoted butler (and one-time husband and director) Max von Mayerling (Erich von Stroheim). When Joe falls in love with a young writer (Nancy Olson) at the studio, Norma loses her reason and Joe loses his life. Sunset Boulevard was nominated for eleven Academy Awards, including Best Picture, Best Director and all four leading actors, and won for Best Screenplay, Art Direction and Waxman’s score.

“Superman March” from Superman (1978) “Rey’s Theme” from Star Wars: The Force Awakens (2015) “Raiders’ March” from Raiders of the Lost Ark (1981) JOHN WILLIAMS (B. 1932)

Superman, starring Christopher Reeve, was director Richard Donner’s screen realization of America’s quintessential superhero, created in Cleveland in 1938 by writer Jerry Siegel and artist Joe Shuster. The film was nominated for four Oscars (including Williams’ score) and won for Best Visual Effects. The “Superman March,” also known as the Theme from Superman, evokes the daring and bravery of the title character and includes the lyrical “flying theme” (recorded by Maureen McGovern in 1978 as the single Can You Read My Mind?) as its central episode. Episode VII: The Force Awakens, the first installment of the sequel trilogy to the original Star Wars series, is set when the First Order has succeeded the defeated Empire as the enemy of the Republic. Among the characters who enter the epic tale in that film is the resourceful female scavenger Rey, who was abandoned as a child and joins the Resistance against the First Order. Williams’ music, his fifth Oscar nomination for the Star Wars series (he won for the first, in 1978), weaves themes associated with characters seen in earlier installments through a brilliant new score. Indiana Jones made his screen debut in 1981 in Raiders of the Lost Ark, the first adventure for the tweedy college archeologist-turned-bullwhiptoting action hero, Stephen Spielberg’s tribute to the Saturday matinee cliffhanger serials. John Williams’ score matched the speed, wit, thrills and varied locales of Raiders of the Lost Ark, and his work was recognized with a nomination for an Academy Award, one of nine the film received, including Best Picture and Best Director. Hadelich Plays Britten, Continued From Page 131

Symphony No. 2 in E minor, Op. 27 (1906-1908) SERGEI R ACHMANINOFF (1873-1943)

Early in 1906, Rachmaninoff decided to sweep away the rapidly accumulating obligations of conducting, concertizing and socializing that cluttered his life in Moscow in order to find some quiet place in which to devote himself to composition. His determination may have been strengthened by the political unrest beginning to rumble under the 201

Hadelich Plays Britten, Continued From Page 201

foundations of the aristocratic Russian political system. The uprising of 1905 was among the first signs of trouble for those of his noble class (he eventually moved to the United States as a result of the swallowing of his family’s estate and resources by the 1917 Revolution), and he thought it a good time to start looking for a quiet haven. A few years before, Rachmaninoff had been inspired by a performance of Die Meistersinger he heard at the Dresden Opera. The memory of that evening and the aura of dignity and repose exuded by the city remained with him, and Dresden, at that time, seemed like a good place to be. The atmosphere there was so conducive to composition that within a few months of his arrival he was working on the Second Symphony, First Piano Sonata, Op. 6, Russian folk songs and symphonic poem The Isle of the Dead. The Second Symphony was unanimously cheered when it was premiered under his direction in St. Petersburg on February 7, 1908. The Symphony’s majestic scale is established by a brooding introduction. A smooth transition to a faster tempo signals the arrival of the main theme, an extended and quickened transformation of the basses’ opening motive; the expressive second theme enters in the woodwinds. The development deals largely with the vigorous main theme. The second movement is the most nimble essay in Rachmaninoff’s orchestral works. After two preparatory measures, the horns sound the main theme. Eventually, the rhythmic bustle is suppressed to make way for the central section, whose skipping lines embody some of Rachmaninoff’s best fugal writing. The Adagio is music of heightened passion that resembles an operatic love scene. Alternating with the joyous principal melody is an important theme from the first movement, heard in the central portion and the coda. The finale bursts forth in the whirling rhythm of an Italian tarantella. The propulsive urgency subsides to allow another of Rachmaninoff’s finest melodic inspirations to enter. A development of the tarantella motives follows, into which are embroidered thematic reminiscences from each of the three preceding movements. The several elements of the finale are gathered together in the closing pages.

202 Learn more at BravoVail.org

Beethoven & Brahms, Continued From Page 135

sentiment. The finale is a rondo based on a bounding theme announced by the soloist.

Symphony No. 1 in C minor, Op. 68 (1862-1877) JOHANNES BR AHMS (1833-1897)

In 1853, when Brahms was twenty, Robert Schumann wrote an article for the widely distributed Neue Zeitschrift für Musik (“New Journal for Music”) hailing his young colleague as the savior of German music, the rightful heir to the mantle of Beethoven. Encouraged by Schumann to undertake a symphony, Brahms made some attempts in 1854, but he was unsatisfied with the symphonic potential of the sketches and diverted them into the First Piano Concerto and German Requiem. He began again a year later and set down a first movement, but that music he kept to himself. Seven years passed before he sent that movement to Clara, Schumann’s widow, to seek her opinion. She was pleased with the sketch and encouraged him to finish the rest so that it could be performed. Brahms, however, was not to be rushed. Eager inquiries from conductors in 1863, 1864 and 1866 went unanswered. It was not until 1870 that he hinted about any progress beyond the first movement. The success of the superb Haydn Variations for orchestra of 1873 seemed to convince him that he could complete his initial symphony, and in the summer of 1874 he began two years of labor — revising, correcting, perfecting — before he signed and dated the score of the First Symphony in September 1876. The first movement begins with a slow introduction energized by the heartbeat of the timpani. The violins announce the upward-bounding main theme in a faster tempo that launches a magnificent, seamless sonata form. The second movement starts with a placid, melancholy song led by the violins. After a mildly syncopated middle section, the bittersweet melody returns. The third movement, with its prevailing woodwind colors, is reminiscent of the pastoral serenity of Brahms’ earlier Serenades. The finale begins with an extended slow introduction based on several thematic ideas and concludes with a noble chorale intoned by trombones and bassoons. The finale proper starts with a new tempo and a hymnal theme, and progresses in sonata form, but without a development section. The work closes with a majestic coda in the brilliant key of C major featuring the trombone chorale of the introduction.

Tovey & Bronfman, Continued From Page 145

from those of the opening movement, a relationship further strengthened in the second section, where both themes from the opening movement are recalled in slow tempo. The pace again quickens, and the music from the first part of the finale returns with some modifications before the Concerto’s brilliant close.

Symphony No. 4 in F minor, Op. 36 (1877-1878) P E T E R I LY I C H T C H A I KO V S K Y ( 1 8 4 0 -1 8 9 3)

The Fourth Symphony was a product of the most crucial and turbulent time of Tchaikovsky’s life — 1877, when he met two women who forced him to evaluate himself as never before. The first was the sensitive, music-loving widow of a wealthy Russian railroad baron, Nadezhda von Meck, who became not only his personal confidante but also the financial backer who allowed him to quit his irksome teaching job at the Moscow Conservatory to devote himself entirely to composition. Though they never met, her place in Tchaikovsky’s life was enormous and beneficial. The second woman was Antonina Miliukov, an unnoticed student in one of his large lecture classes at the Moscow Conservatory who had worked herself into a passion over her professor. Tchaikovsky paid her no special attention, and he had quite forgotten her when he received an ardent love letter professing her desire to meet him. Tchaikovsky (age 37), who should have burned the thing, answered the letter of the 28-year-old Antonina in a polite, cool fashion, but did not include an outright rejection of her advances. He had been considering marriage in the hope that it would give him both the stable home life he had not enjoyed in the twenty years since his mother died, as well as to help dispel the all-tootrue rumors of his homosexuality. He believed he might achieve both those goals with Antonina. What a welter of emotions must have gripped his heart when, a few weeks later, he proposed marriage to her! Inevitably, the marriage crumbled within days of the wedding amid Tchaikovsky’s self-deprecation. It was during May and June that Tchaikovsky sketched the Fourth Symphony, finishing the first three movements before Antonina began her siege. The Finale was completed by the time he proposed. Because of that chronology, the program of the Symphony was not a direct result of his marital disaster. All that — the July wedding, the mere eighteen days of bitter conjugal farce, the two separations — postdated the actual composition of

the Symphony by a few months. What Tchaikovsky found in his relationship with this woman (who by 1877 already showed signs of approaching the mental ward in which, still legally married to him, she died in 1917) was a confirmation of his belief in the inexorable workings of Fate in human destiny. Tchaikovsky wrote of the Fourth Symphony: “The introduction [blaring brasses heard in a motto theme that recurs throughout the Symphony] represents Fate, which hinders one in the pursuit of happiness. There is nothing to do but to submit and vainly complain [the melancholy, syncopated shadowwaltz of the main theme]. Would it not be better to turn away from reality and lull one’s self in dreams? [The second theme is begun by the clarinet.] But no — these are but dreams: roughly we are awakened by Fate. [A brass fanfare begins the development.] The second movement shows how sad it is that so much has already been and gone! In the third movement are capricious arabesques, vague figures that slip into the imagination when one is slightly intoxicated. Military music is heard in the distance. If you find no pleasure in yourself go to the people, so the finale [based on the traditional song A Birch Stood in the Meadow] pictures a folk holiday.”

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. Program notes for Classically Uncorked presented by Meiomi Wine, provided by Third Coast Percussion 203

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