Issuu

JUNE 10 - JULY 28, 2017 BRECKENRIDGE, COLORADO

Celebrating Conductor th Carl Topilowâ€™s Anniversary

TWO THOUSAND SEVENTEEN SEASON

I N V E S T E D. Whether it’s picking up the phone when it rings or ensuring a property is carefully attended to, we believe working and living in Breckenridge explains not only why guests feel welcome when they stay with us, but also why so many homeowners trust us with their investment. For nearly 20 years, Great Western Lodging has called Breckenridge home. Because even when you’re not here, it’s nice to know someone is.

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2017 SUMMER SHOW SCHEDULE JUNE 10th | Amy Evans

JULY 21st | Kate Kiesler & Melissa Cooper

AUGUST 25th | Leon Loughridge

SEPTEMBER 23rd | Perry Brown

124 South Main Street (upstairs) | Breckenridge | 970-453-2592 | www.breckenridge-gallery.com

NROMUSIC.COM

We look forward to seeing you

Free Porch Series Concerts

A proud patron for many years Breckenridge Associates Real Estate applauds the

Friday, June 16th. 5-6pm

National Repertory Orchestra for its strong commitment to the performing arts

Thursday, June 22nd. 5-6pm

and our mountain community. Join us this summer for the Porch Series Concerts,

Friday, June 30th. 5-6pm

which take place at our historic brick house on Main Street.

Friday, July 21st. 5-6pm

Our leadership in the Breckenridge real estate market comes from decades of PUTTING YOU FIRST

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TABLE OF CONTENTS

“Although I’ve been working as music director of the NRO for many years, I look forward to each season as a new opportunity to work with our talented and enthusiastic musicians. Their hard work and dedication during their NRO summer, as well as their successes and achievements after, are a source of tremendous pride.” Music Director and Conductor Carl Topilow

CONTRIBUTING PHOTOGRAPHERS

Eli Tianse Abeles-Allison Dario Acosta Tyler Boye Cheryl Groski Jim Patalan Sian Richards Todd Rosenberg Dale Wilcox Travis Wilson National Repertory Orchestra PO Box 6336 111 S. Main Street, C7 Breckenridge, CO 80424 970-453-5825 www.nromusic.com

#NROMUSIC FIND US ON FACEBOOK! FOLLOW US ON TWITTER!

TABL E OF CONTENTS 8

ABOUT THE NRO

12 PROGRAMS AND EVENTS 58 SEASON DONORS AND SUPPORTERS 70 CONDUCTORS 72 GUEST ARTISTS 74 2017 NRO MUSICIANS

Facility rental of the Riverwalk Center has been underwritten through the generous support of the Town of Breckenridge.

COVER ARTWORK BY DAVID V. GONZALES PLEASE VISIT WWWW.RAITMANART.COM

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LIV

to give

#thelifeyoulove Pictured: Madeleine Vaillancourt.

LIV SOTHEBY’S INTERNATIONAL REALTY’S BRECKENRIDGE OFFICE SPONSORED THE 5TH ANNUAL FIRC FASHION SHOW

LIV SOTHEBY’S INTERNATIONAL REALTY WILL HOST THE NATIONAL REPERTORY ORCHESTRA’S “BEETHOVEN’S FIFTH”

6.25.16 / Breckenridge

7.19.17 / Breckenridge

Over 300 guests attended a funfilled fashion evening and helped

The esteemed guest conductor,

raise over $100,000 to support

Karina Canellakis, will be

FIRC’s emergency assistance and

conducting works by Brahms,

parenting education programs.

Adams and Beethoven. Pianist, Stephen Hough, will dazzle the audience with his performance of Brahm’s Piano Concerto.

THE SUMMIT FOUNDATION

Annual Great Rubber Duck Race 9.3.16 / Breckenridge LIV Sotheby’s participated in the 29th Annual Great Rubber Duck Race on September 3rd of last year which saw over 11,000 rubber ducks racing down the Blue River.

LIV INTERNATIONAL REALTY ATTENDED 2016 BENEFIT GALA

in support of the National Repertory Orchestra 6.27.16 / Breckenridge The Gala Carnival Night in Rio featured an 88 piece orchestra and Brazilian dancers.

livsothebysrealty.com 970.453.0550

ABOUT THE NRO WELCOME

Welcome to the National Repertory Orchestra’s 58th season! This is a big year for us. Our Music Director Carl Topilow is celebrating his 40th Year with the Orchestra. He has seen the orchestra move from Evergreen to Keystone to Breckenridge. We hope you will help us celebrate this significant year with him. We are also introducing our new CEO, Dave DePeters. Doug Adams, our previous CEO, decided it was time to retire, gave us well over a year notice and played a major part in our hiring of Dave as his replacement. It is hard to thank Doug enough for the professionalism he brought to the Orchestra, his ability to attract world class guest conductors, or the financial stability he orchestrated. For these and many other things, we owe him a great debt of gratitude. Our new CEO, Dave DePeters, brings a wealth of experience to the NRO. A graduate of Curtis Music Institute, he has over 30 years as a professional musician and musical consultant. He has performed regularly with the symphonies in Baltimore, Philadelphia, New York and many others. Additionally, as CEO he turned around the IRIS Orchestra in Memphis, an organization with which he is still affiliated. We anticipate Dave will continue to drive our mission of “Changing Lives Through Music” as he moves us into new and exciting musical areas, and as the NRO continues to broaden and evolve its education and performance agendas.

Every summer since 1993, the Town of Breckenridge has been honored to partner with the National Repertory Orchestra (NRO) by providing the Riverwalk Center. The NRO gathers 88 of the country’s best and brightest young musicians here for an eight-week residency filled with a full concert season and training to help them become professional musicians. They will go on to perform in major orchestras around the world, and we are fortunate to see them here first! Breckenridge has numerous activities and attractions that make our 158-year-old “Real Town” unique. A great place to start your exploration is our Welcome Center in the heart of one of Colorado’s largest historic districts. It showcases our vibrant history as well as highlights where we’re headed, and is a great place to plan your time here. Take a stroll down our historic Main Street. Feel the vibrant spirit of eclectic boutiques, relax in a cozy café, or explore our emerging Arts District and discover this hub of art, culture and music. The Riverwalk Center graces the western side and the newly expanded Breckenridge Theater anchors the eastern border of our bustling ‘arts campus.’ In between, discover your ‘artful’ side in a variety of renovated historical buildings and unique open spaces that host a wide variety of workshops and events. Even after 30 years of calling Breckenridge home, I have yet to exhaust all that this special place has to offer. Thank you for your support of the National Repertory Orchestra and enjoy the performance.

Thank you for attending our concerts and for your support of our mission.

RICK POPPE President, Board of Trustees National Repertory Orchestra

8 NATIONAL REPERTORY ORCHESTRA

ERIC MAMULA Mayor Town of Breckenridge

Welcome to this summer’s National Repertory Orchestra season, a season of celebration! This year we celebrate the remarkable 40-year tenure of our beloved Music Director Carl Topilow. It is my distinct pleasure to be part of this season as the new CEO. I have followed the NRO’s progress since I was a music student – more than thirty years ago. It was the premier music festival then, and it remains so today. And through it all, Carl Topilow has stood atop the podium, leading the musicians, the orchestra and the organization, through challenges and triumphs. The musicians you see on stage represent the very best of our next generation of classical musician. They have gone through an arduous process to be here. But now that they are in Breckenridge, each musician will be trained on, and perform an incredible array of music from three centuries of the classical canon. The amount of music each musician will learn, at the highest level, will be life changing for them – and awe-inspiring for those of us lucky enough to be present. In addition, these musicians will be seen (and heard) in and around Summit County performing for students and families. They will give free community performances, educational concerts and programs designed for all walks of life. We look forward to celebrating Carl’s 40th anniversary with you, here at the Riverwalk Center, and throughout Summit County. And please join me in celebrating our amazing young musicians who bring so much to our community. They won’t be hard to find.

DAVE DEPETERS CEO National Repertory Orchestra

INTRODUCING THE OUTDRY EXTREME ECO SHELL.

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THE NORTH FACE BRECKENRIDGE 322 SOUTH MAIN STREET BRECKENRIDGE, COLORADO 970-453-1613

NROMUSIC.COM

ABOUT THE NRO LEADERSHIP

AND SUPPORTERS

BOARD MEMBERS & STAFF BOARD OF TRUSTEES Rick Poppe, President John Hayes, Vice President John Stafford, Treasurer Pam Piper Yeung, Secretary Patrice Lara, Past President Libby Bortz Michael Bruggeman Barbara Calvin Melanie Frank Nancy French John Landon Michael Massey Sally Queen Barbara Vonderheid Janice Ward Parrish Pam Wiegand

YEAR-ROUND STAFF Carl Topilow, Music Director David DePeters, CEO Cecile Forsberg, COO Julie Chandler, Director of Marketing & Events Kathleen Clabby, Director of Development Tara Sieber, Accounting & Office Manager

2017 SUMMER STAFF Radu Marian Paponiu, Assistant Conductor Paul Gunther, Principal Librarian Mariel Stauff, Assistant Librarian Eri Isomura, Library Intern Darrin Blume, Production Manager Tim McCarthy, Stage Manager Nathaniel Davis, Recording Engineer David Bonilla, Production Operations & Recording Intern Beth Steele, Orchestra Manager Nolan Welch, Personnel Intern Libby Abbott, Development Intern Allison Mase, Artistic & Education Intern Dan McLain, Video & Photography Intern Carey Skinner, Marketing Intern

NRO SUSTAINERS The Sustainers are past board members and significant contributors to the National Repertory Orchestra in time, talent and finances. Their role is to support the Orchestra by raising awareness of its existence, provide a vehicle to stay connected to the organization, and have camaraderie with others having similar interests and goals in supporting the continuation of live orchestral music in the world. Sandra Mortensen, Chair Mike Altenberg & Libby Bortz Murray & Marlene Altman Barbara & Jim Calvin Gerri Cohen M.A. Deen JoAnn Falletta John Fielder Paul Finkel Nancy & Bob Follett Annette & Gerry Fricke Pamela & Reggie Gray Robin Hadley Kenneth & Annette Hallock Joan Manley Houlton Mike & BC Jacoby Anne & John Kern Don & Jane King Anita & Jim Kreider Patrice & Ron Lara Anne & Bill Mills Harriet Neiman Ann & Tom Rader Barbara Strauss Gretchen & John Swift Kate & Jim Taucher Pam & Sonny Wiegand Lou Wagner Bobbie & Glen Zelkind John Krakauer (Honorary Member)

NRO LEGAL COUNSEL Sonny Wiegand, Wiegand, Attorneys and Counselors, LLC The NRO would like to give a special thank you to our program book editors! Kate Taucher & Suzy Witzler

The National Repertory Orchestra is an equal opportunity employer. The National Repertory Orchestra will not discriminate on the basis of race, color, religion, age, national origin, disability, marital status, sexual orientation, gender identity, gender expression, or military status, in any of its activities or operations and will take affirmative action measures to ensure against discrimination in employment, recruitment, advertisements for employment, compensation, termination, upgrading, promotions, and other conditions of employment.

10 NATIONAL REPERTORY ORCHESTRA

MOUNTAIN THRILLS. TOWN CHARM.

Rentals, tours, lessons and waterside dining. FriscoBayMarina.com NROMUSIC.COM

2017 EVENTS

WHOLE FOODS COMMUNITY GIVING DAY WEDNESDAY, JUNE 21 STORE HOURS: 7AM - 9PM WHOLE FOODS MARKET – FRISCO Whole Foods Market will donate 5% of the day’s net sales to the National Repertory Orchestra on June 21st! Plus ticket giveaways to the Breckenridge Wine Classic during the Ensemble Concert!

JOIN US FOR A FREE NRO ENSEMBLE CONCERT 1:00 – 2:00 PM AT WHOLE FOODS MARKET

September 14-17

Proud to benefit the National Repertory Orchestra BreckenridgeWineClassic.com for tickets and to volunteer!

FALL WINE DINNER TUESDAY, OCTOBER 24, 6:00 PM BLUE RIVER BISTRO, BRECKENRIDGE

The Blue River Bistro will graciously host the NRO’s Fall Wine Dinner. This year’s dinner will be held in honor of longtime NRO supporters Gary and Phyllis Martinez. Come experience an elegant food and wine pairing prepared by Executive Chef Brandon Farr. Tickets $75 (gratuity not included) For Tickets 970-453-5825 or www.nromusic.com

NATIONAL REPERTORY ORCHESTRA

FREE EVENTS

PORCH SERIES

BRECKENRIDGE ASSOCIATES REAL ESTATE

229 S. Main Street, Breckenridge Friday, June 16 Thursday, June 22 Friday, June 30 Friday, July 21 5:00pm - 6:00pm

FRISCO HISTORIC PARK 108 S. Main Street, Frisco

FRISCO FOUNDERS DAY CLASSICAL ENSEMBLE

Sunday, July 2 Noon - 1:00pm

6:00pm - 7:00pm

Thursday, July 20 5:30pm - 7:30pm LIVE ROCK BAND Refreshments available to benefit NRO (not an NRO performance)

Saturday, July 15 6:30pm - 7:30pm

4:00pm - 7:00pm

SUMMIT COUNTY LIBRARY CHILDRENâ€™S EVENTS North Branch Library,

651 Center Circle, Silverthorne Wednesday, June 28 10:30am - 11:30am South Branch Library,

103 S. Harris St., Breckenridge Wednesday, July 19 11:00am - Noon

SWAN MOUNTAIN CONCERT AT WARREN STATION

164 Ida Belle Drive, Keystone Thursday, June 29 6:00pm - 7:00pm

ARTS ALIVE GALLERY

Meet & Greet with guest conductor Miguel Harth-Bedoya and Building Hope Reception La Cima Mall, 500 S Main St, Breckenridge Thursday, July 6

MUSIC AT THE STATION

5:30pm - 6:30pm

Appetizers provided by CB & Potts Restaurant and Taproom Breckenridge Riverwalk Center 150 W Adams Ave, Breckenridge Thursday, June 17

FRISCO CONCERT IN THE PARK

MAIN STREET STATION

505 S. Main Street, Breckenridge Thursday, June 29

MEET & GREET WITH NEW CEO DAVE DEPETERS

BLUE RIVER BISTRO

Classical Ensemble concert at lunch 305 N Main St, Breckenridge Saturday, June 17 Saturday, July 15 12:30pm - 1:30pm

SOUTH BRANCH LIBRARY & NRO PRESENTS CHAMBER CHAT ON THE DECK South Branch Library,

103 S. Harris St., Breckenridge Thursday, July 20 2:00pm - 3:00pm

VILLAGE AT BRECKENRIDGE PLAZA

535 South Park Avenue, Breckenridge Wednesday, July 5 5:00pm - 6:00pm NROMUSIC.COM

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Call to learn how to offset the tax on a Roth IRA conversion!

To set up a complimentary discussion, call 970-668-5700, email information@laramayllc.com or visit www.laramayllc.com. E. Ronald Lara, CFP®, Founder & President Sharon Abbey, Wealth Management Advisor

The Retirement Success Solution® is a planning processes intended to identify an individual’s or a couple’s personal and lifestyle goals and develop strategies targeted to achieve them. Investment plans created in response to these goals are not guaranteed and are subject to market and investment risk. There is a possibility of principal loss, and no assurance of appreciation is made. The investment management plan and/or services provided may have separate charges or commissions, and the investment products used may have separate expenses and fees associated with them. Please take time to read account-related documentation, agreements, and product materials. Lara, May & Associates, LLC and its Financial Advisors do not offer tax or legal advice. Individuals should consult their personal tax and/or legal advisors before making any tax- or legal-related investment decisions. Lara, May & Associates, LLC Member FINRA/SIPC. NATIONAL REPERTORY ORCHESTRA

SEASON AT A GLANCE

JUNE

JULY

10 OPENING NIGHT WITH GERSHWIN

1 COPLAND’S THIRD

7:30 pm

Breckenridge Riverwalk Center

Carl Topilow, conductor Christopher Taylor, piano sponsors: Fatty’s Pizzeria, Centura Health / St. Anthony Summit Medical Center, Michael Bruggeman & Patrick Carter, Global Wellness Day

Brett Mitchell, conductor sponsors: NRO Sustainers, Robin Hadley, Downstairs at Eric’s, The Reginald Gray Family

14 STRAVINSKY’S PETRUSHKA:

Carl Topilow, conductor 10:00am

Rainbow Park, Silverthorne

7:30 pm

sponsor: Lake Dillon Theatre Company 8:00pm

Carl Topilow, conductor sponsors: Kaiser Permanente, Blue River Bistro, The Summit Foundation, Bob & Nancy Follett

CELEBRATION

7:30 pm

Breckenridge Riverwalk Center Carl Topilow, conductor Joan Ellison, vocalist sponsored by Annette and Ken Hallock sponsors: Barbara Vonderheid, Downstairs at Eric’s, Patrice & Ron Lara, Beaver Run Resort

4 PATRIOTIC SALUTE

FREE COMMUNITY CONCERT

Breckenridge Riverwalk Center

14 “TOPILOW POPS!” 40TH ANNIVERSARY

Breckenridge Riverwalk Center sponsors: Barbara & Jim Calvin, Town of Breckenridge, Ernie & Sharon Magness Blake

16 MUSICAL JOURNEYS 11:00 am

Breckenridge Riverwalk Center Radu Marian Paponiu, conductor sponsors: Wyndham Vacation Rentals

In memory of Steven Russell

19 BEETHOVEN’S FIFTH 17 BRUCH’S VIOLIN CONCERTO

7 SHOSTAKOVICH’S FIFTH

7:30 pm

Breckenridge Riverwalk Center

Tito Muñoz, conductor sponsors: Janice Ward Parrish, CB & Potts Restaurant & Taphouse, Ski Village Resorts In Memory of Betsy Crossman

Miguel Harth-Bedoya, conductor Michaela Paetsch, violin sponsors: Building Hope Foundation, Michael Altenberg & Libby Bortz, Bill & Laurie Bolthouse Family, Sandy Mortensen, Kitchenscapes, Lauren & Michael Ruehring In memory of Patti Casey

21 EUROPEAN MASTERS 7:30 pm

Breckenridge Riverwalk Center Radu Marian Paponiu, conductor sponsors: Blue River Bistro, High Country Healthcare, Bonnie Kirschenbaum

24 TCHAIKOVSKY’S VIOLIN CONCERTO PINK CONCERT In support of the Shaw Breast Center & Cancer Clinic - Frisco 7:30 pm

Breckenridge Riverwalk Center Carl Topilow, conductor sponsors: Sandy Mortensen, Rick Poppe & Jana Edwards, Julia Metzger & Samuel Bufford, John & Kathy Landon

28 MENDELSSOHN’S REFORMATION Keystone Appreciation Night 7:30 pm

Breckenridge Riverwalk Center Carl Topilow, conductor sponsors: Blue River Bistro, Pamela & Douglas Adams, Joan Manley Houlton

7:30 pm

Breckenridge Riverwalk Center Karina Canellakis, conductor Stephen Hough, piano sponsored by Annette and Ken Hallock sponsors: Benson Family Foundation, Anne & Bill Mills, LIV Sotheby’s International Realty, Melanie & Marty Frank, Blue River Bistro

22 NATIONAL REPERTORY ORCHESTRA &

BRECKENRIDGE MUSIC FESTIVAL JOINT CONCERT

7:30 pm

8 THE MUSIC OF STAR WARS 7:30 pm

Breckenridge Riverwalk Center Carl Topilow, conductor sponsors: Breckenridge Brewery, Kenneth & Annette Hallock, Nancy & Tom French, Jim & Kay Ross

Breckenridge Riverwalk Center Carl Topilow, conductor Kathryn Hatmaker, violin sponsors: Pat & Jack Thomas, KUNC, KCME, KUVO, SPRTV, & Rocky Mountain PBS

26 STRAUSS’ ALPINE SYMPHONY 11 CLASSICAL KIDS LIVE! “GERSHWIN’S MAGIC KEY” 11:00 am

Breckenridge Riverwalk Center Kensho Watanabe, conductor sponsors: Pediatric Dental Group of Summit County, Centura Health / St. Anthony Summit Medical Center, Vail Resorts EpicPromise, Ebert Family Clinic, Colorado Mountain Express, Summit Association of Realtors

7:30 pm CORPORATE & VOLUNTEER RECOGNITION CONCERT

Breckenridge Riverwalk Center Michael Stern, conductor sponsors: Blue River Bistro, M.A. Deen, Pam & Sonny Wiegand, Carolee & John Hayes, Connie & John Stafford

28 CLOSING NIGHT: A HERO’S TALE 7:30 pm

Breckenridge Riverwalk Center Carl Topilow, conductor sponsors: Barbara Strauss & Paul Finkel, Pam Piper & Dr. Kai Yiu Yeung NROMUSIC.COM

BRECKENRIDGE RIVERWALK CENTER

OPENING WELCOMENIGHT TO THE WITH NEW WORLD GERSHWIN SATURDAY, JUNE 10, 2017 AT 7:30 PM sponsors Fatty’s Bob & Pizzeria, Nancy Follett Centura andHealth Fatty’s/ St. Pizzeria Anthony Summit Medical Center, Michael Bruggeman & Patrick Carter, Global Wellness Day CAR L TOPILOW, conductor CHR ISTOPHER TAY LOR, piano LIBERTY FANFARE

JOHN WILLIAMS (B. 1932)

OVERTURE TO CANDIDE LEONARD BERNSTEIN (1918 – 1990)

CONCERTO IN F FOR PIANO & ORCHESTRA GEORGE GERSHWIN (1898 – 1937)

Christopher Taylor, Piano I. Allegro II. Adagio - Andante con moto III. Allegro agitato

JUNE 14 FREE COMMUNITY REPERTORIE I N T E R M I S S I& O NPROGRAM NOTES SYMPHONY NO.9 IN E MINOR, OP.95 (FROM THE NEW WORLD)

˘ ANTONÍN DVORÁK (1841 – 1904)

I. Adagio - Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER CHRISTOPHER TAYLOR, PIANO

We encourage you to share photos on social media. Be sure to #NROMusic Please silence cell phones during the concert. Audio recording and video recording are strictly prohibited. The National Repertory Orchestra plays exclusively on pianos provided by Schmitt Music.

NATIONAL REPERTORY ORCHESTRA

PROGRAM NOTES

Welcome to the National Repertory Orchestra’s Opening Night. We begin the season with an all American program. John Williams, Leonard Bernstein and George Gershwin might be seen as the American equivalent of Bach, Beethoven and Brahms. For good measure, we add a work by a Bohemian composer with strong American ties, Antonín Dvorák. ˘ Along with Aaron Copland’s Symphony No. 3 (which we will hear in a few weeks), Dvorák’s Symphony No. 9 is often described as a great ˘ American Symphony. But first, a few words about the first half of this evening’s program. John Williams was commissioned to celebrate the Centennial of the Statue of Liberty on July 4, 1986, the year he wrote Liberty Fanfare. However, the piece was actually premiered a month beforehand, on June 4, when Williams conducted the Boston Pops. The entire piece is approximately five minutes in length and utilizes both the brass section for the main themes and the strings for providing a recurring, melodious motif. Before the premiere of the piece, Williams commented that he had “tried to create a group of American airs and tunes of my own invention that I hope will give some sense of the event and the occasion.” This fanfare is answered by the comic Candide Overture by Leonard Bernstein, written in 1956. Bernstein attempted, successfully, to do what George Gershwin had done years before—marry popular American sounds with classical music. Following the success of Rhapsody in Blue in 1924, Gershwin was commissioned to compose a fullblown piano concerto. His previous works were those of a minimalist, short piano works and songs. That background and lack of experience in putting together large-scale works is exposed in Concerto in F. The concerto works with beautiful melodies and sweeping orchestration but it works in an odd sort of way. The standard form is present—fast, slow, fast--but the three pieces are more like three medleys rather than three movements. Gershwin described them this way: “The first movement employs the Charleston rhythm. It is quick and pulsating, representing the young and enthusiastic spirit of American life. . . . The second movement has a poetic nocturnal atmosphere. . . . The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping to the same pace throughout.” Still, in capable hands (and we have them tonight in Christopher Taylor), the whole thing comes together in a brash and energetic way that creates its own definition of concerto. It simply stands alone, without apology. Antonín Dvorák ˘ arrived in New York in 1892, accepting a job as the director of the new National Conservatory of Music of America. The challenge of creating such an auspicious entity was no doubt attractive, as was the prospect of earning 25 times as much as his salary at the Prague Conservatory. Most of the serious music in America in the 1890s was dominated by the German School and Dvorák ˘ had very

strong feelings about the lack of an American nationalistic movement. It was during that tenure in New York that Dvorák ˘ fell in love with American spirituals and Native American music. Of the works written during that period by Dvorák ˘ and others, Symphony No. 9 in E minor, “From the New World” is certainly the outstanding triumph. The Symphony premiered December 16, 1893, commissioned by the New York Philharmonic. The day before the performance, Dvorák ˘ was quoted in the New York Herald: “I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.” Still, in the first movement, you might be able recognize a reference to “Swing Low, Sweet Chariot.” And the very slow second movement is not based on an existing American theme but it sounds so much like a black spiritual that a former student of Dvorák’s wrote ˘ words for it and the spiritual “Goin’ Home” was born. There was controversy from the beginning as to whether this is truly an “American Symphony.” A close study easily finds as many melodies and themes influenced by his native Bohemian musical landscape as there are American roots. There is still discussion about whether this is American but the fact is, “The New World” has musical sounds that are unique and unlike anything else that he wrote. And there is no dispute that it is one of the most spectacularly successful symphonies ever written. While the composition was wildly successful, the business venture of the American Conservatory was decidedly less so, eventually being unable to live up to the commitment to Dvorák’s ˘ salary. At the same time, his popularity in Europe was growing and he was homesick for Bohemia; he returned home in 1895 and resumed his professorship at the Prague Conservatory.

Written by Douglas Adams

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We are part of Centura Health, the region’s leading health care network. Centura Health does not discriminate against any person on the basis of race, color, national origin, disability, age, sex, religion, creed, ancestry, sexual orientation, and marital status in admission, treatment, or participation in its programs, services and activities, or in employment. For further information about this policy contact Centura Health’s Office of the General Counsel at 1-303-673-8166 (TTY: 711). Copyright © Centura Health, 2017. ATENCIÓN: Si habla español, tiene a su disposición servicios gratuitos de asistencia lingüística. Llame al 1-970-668-9035 (TTY: 711). CHÚ Ý: Nếu bạn nói Tiếng Việt, có các dịch vụ hỗ trợ ngôn ngữ miễn phí dành cho bạn. Gọi số 1-970-668-9035 (TTY: 711).

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BRECKENRIDGE RIVERWALK CENTER

STRAVINSKY’STO PETRUSHKA: WELCOME THE FREE NEWCOMMUNITY WORLD CONCERT WEDNESDAY, JUNE 14, 2017 AT 7:30 PM sponsors Kaiser Bob & Permanente, Nancy FollettBlue andRiver Fatty’s Bistro, Pizzeria The Summit Foundation, Bob & Nancy Follett CAR L TOPILOW, conductor COCKAIGNE OVERTURE, OP.40 EDWARD ELGAR (1857 – 1934)

CONCIERTO DE ARANJUEZ

JOAQUÍN RODRIGO (1901 – 1999)

Rachel Lee Hall, Harp I. Allegro con spirito II. Adagio III. Allegro gentile

INTERMISSION (1947 COMMUNITY VERSION) JUNEPETRUSHKA 14 FREE Tableau I, The Shrove-Tide Fair REPERTORIE & PROGRAM NOTES Tableau II, Petrushka’s Cell IGOR STRAVINSKY (1882 – 1971)

Tableau III, The Moor’s Cell Tableau IV, The Shrove-Tide Fair (Towards Evening)

RACHAL LEE HALL, HARP

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

PROGRAM NOTES

Welcome to the National Repertory Orchestra’s annual free community concert. If this is your first visit, we want to make you feel welcome and hope you will come back often. We begin with the curiously titled Cockaigne (In London Town) by Edward Elgar. The title is Elgar’s invention, meaning “Cockneyland”. This is a lively and colorful piece that is supposed to depict a musical portrait of life in London at the turn of the century. This is one of Elgar’s happiest works. It feels jaunty, spontaneous and English. Elgar was unabashedly English, in appearance, manner and as revealed by his compositions. Our next composer was just as nationalistic as Elgar. Joaquín Rodrigo, born in 1901, was the last of the great Spanish nationalist composers. He is most famous for his compositions for guitar and orchestra, which sound decidedly Spanish. The most famous of these is Concierto de Aranjuez, composed in 1939. In 1974, Rodrigo transcribed the concerto for harp and orchestra. It is an exceptionally challenging work for the soloist. Two remarkable facts about Joaquín Rodrigo: 1) He was a pianist and never played the guitar and 2) He was blind from the age of three. Igor Stravinsky’s impact on the music world cannot be overstated. With We encourage you to share photos on social media. Be sure to #NROMusic Please silence cell phones during the concert. Audio recording and video recording are strictly prohibited. The National Repertory Orchestra plays exclusively on pianos provided by Schmitt Music.

NATIONAL REPERTORY ORCHESTRA

his ballets Petrushka and The Rite of Spring, he changed the language of large scale composition by using rhythm as the prominent building block. Of all the composers of the 20th Century, Leonard Bernstein said “one figure stands out as a giant—the giant—Igor Stravinsky.” Petrushka is simply astonishing. Following the phenomenally successful ballet The Firebird, Stravinsky began to develop themes for his next composition. He knew he wanted it to be a ballet but he didn’t have a story in mind. He described how he spent hours wandering around the shores of Lake Geneva, whistling tunes from this ballet without a subject matter. Then, he said the idea burst upon him. He would call it Petrushka, after the shy clown Petrushka, who is made of straw and comes alive with human feelings. The cast includes a ballerina with whom he falls in love; and a black-hearted villain, a brutal Moor. His ballet created a world of imagination and fantasy, populated with dolls and puppets. Stravinsky’s work often shocked audiences. This one certainly did: the Moor brutally slays the poor puppet Petrushka. However, as they say on TV, “Wait, there’s more.” The puppet’s ghost appears and seems to put a curse on his tormentor, leaving the audience to wonder what is real and what is fantasy. Petrushka premiered in Paris in 1911 and was immediately successful, even more so than The Firebird. It secured Stravinsky’s place as one of the most important and original composers in the world. In 1947, he made major revision in the work. This is the one most frequently preformed and the one we hear tonight. Unlike the English Elgar and the Spanish Rodrigo, Stravinsky changed nationalities three times. He was born near Saint Petersburg, Russia in 1882. In 1919, he moved his family to a suburb of Paris and applied for French citizenship. For the next fifteen years, Paris was his home and he became more French than Russian. His music also changed, becoming more classically oriented than revolutionary. Stravinsky visited the United States for the first time in 1925, conducting his works before many American orchestras. He made several other trips to the United States over the years. With war approaching in Europe in 1939, Stravinsky changed homes again. He applied for American citizenship in 1941 and soon after settled in California. For many years, he was busy composing and conducting. After 1966, however, his conducting appearances came less frequently and he began having health problems. The family moved to New York in 1969 to find better medical care.

Written by Douglas Adams

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BRUCH’S WELCOME VIOLIN TO THE CONCERTO NEW WORLD SATURDAY, JUNE 17, 2017 AT 7:30 PM sponsors Janice Bob &Ward NancyParrish, FollettCB and&Fatty’s Potts Restaurant Pizzeria and Taphouse, Ski Village Resorts TITO MUÑOZ, conductor SIEGFRIED’S RHINE JOURNEY FROM GÖTTERDÄMMERUNG RICHARD WAGNER (1813 – 1883)

CONCERTO NO.1 IN G MINOR FOR VIOLIN & ORCHESTRA, OP.26 MAX BRUCH (1838 – 1920) Eduardo Rios, Violin

I. Prelude: Allegro moderato II. Adagio III. Finale: Allegro energico

JUNE 14 FREE COMMUNITY INTERMISSION REPERTORIE & PROGRAM NOTES CONCERTO FOR ORCHESTRA

WITOLD LUTOSLAWSKI (1913 – 1994)

I. Intrada II. Capriccio notturno e arioso III. Passacaglia, toccata e corale

IN MEMORY OF BETSY CROSSMAN

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER EDUARDO RIOS, VIOLIN

NATIONAL REPERTORY ORCHESTRA

Richard Wagner is universally considered to be one of the most creative, important and influential composers in history. This is certainly illustrated in The Ring of the Nibelung, based loosely on characters from the Norse sagas and the Nibelungenlied. Wagner’s world here is populated by mortals, gods and goblins, chronicling their epic struggle for love and power. Siegfried’s Rhine Journey depicts the Wagnerian hero setting out on his adventure in Act 1 of Götterdämmerung, the final installment of the four operas which make up The Ring Cycle. You have probably occasionally wondered how history will remember some of the popular composers and songwriters of our day. Contemporary popularity is no guarantee of immortality. Take Max Bruch for example. Born in Cologne in 1838, he composed his first symphony at the age of 14. He was 20 when his first opera was produced in Cologne. He wrote two other large-scale operas, three symphonies, two piano concertos, two string quartets and numerous other compositions. Yet today, only three pieces are performed with any frequency, with the most famous being the Violin Concerto No. 1 in G Minor, Op. 26. If history decides you are going to be a one hit wonder, you might as well make it a big hit. Bruch’s first violin concerto lives on as one of the most popular in the Romantic literature. Our program notes tend to avoid scholarly dissection of music theory and programmatic deconstruction; however, this Bruch concerto deserves a few words about its design because it is so unusual. Most concertos feature a first movement that is large and solid, laying out the themes and direction of the rest of the work. It is often as long as the other two movements combined. Not so in Violin Concerto No. 1. It is short and the orchestral introduction bears relation to the main body of the work. It is so unusual, in fact, that Bruch originally doubted that he should call his composition a concerto at all. Evidently, he put that concern aside and what has survived is something approaching a concerto masterpiece. Although his work is performed less frequently today, Polish composer Witold Lutosławski was one of the preeminent European composers of the twentieth century. It almost didn’t happen. Finishing his musical education in 1937, he had a year of compulsory service in the Polish military in 1939 and was ordered into uniform as an officer cadet in the signal corp. He was promptly captured by the Germans. He managed to escape after eight days, walking 250 miles back to Warsaw and spending the rest of the war supporting himself as a café pianist. Tonight’s selection marks a significant moment in his career. The Concerto for Orchestra, completed in 1954, is his most popular work. It incorporated PROGRAM NOTES

folk themes and was a bold retort to the concept of Soviet control of the arts. Lutosławski attempted to remain a non-political figure, although that was not easy in postwar Communistic Poland. In 1948 his music was condemned as “formalist” meaning it was seen as accessible only to the elite and he had to keep his experimental harmonic ideas to himself. The piece was premiered in Warsaw in 1954 and received immediate positive reaction. It was, in fact, one of the great postwar works. At the time, he described it as “the only serious piece among the folk-inspired works” which he composed in response to Communist criticism. By the 1960s, Lutosławski seemed to attempt to distance himself from this work as his composition style evolved. Despite that, he did conduct the Concerto in 1967 in Copenhagen, after receiving a $10,000 prize from a Danish foundation. In 1973 he said, “I do not like this work of mine very much, but apparently it has preserved some freshness.”

Written by Douglas Adams

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WELCOME TO THE EUROPEAN MASTERS NEW WORLD WEDNESDAY, JUNE 21, 2017 AT 7:30 PM sponsors Blue Bob & River Nancy Bistro, Follett Highand Country Fatty’s Healthcare, Pizzeria Bonnie Kirschenbaum R ADU M AR IA N PAPONIU, conductor SYMPHONY NO.35 IN D MAJOR, K.385 (HAFFNER) WOLFGANG AMADEUS MOZART (1756 – 1791)

Music gift donated by Mr. & Mrs. Paul Cary to the National Repertory Orchestra Library

I. Allegro con spirito II. Andante III. Menuetto IV. Presto

PIANO CONCERTO NO.11 IN D MAJOR, HOB. XVIII/11 FRANZ JOSEPH HAYDN (1732 – 1809) Sophie Brants, piano

JUNE 14I. Vivace FREE COMMUNITY LACHRYMAE, OP.48A REPERTORIE & PROGRAM NOTES Edwardo Rios, viola BENJAMIN BRITTEN (1913 – 1976)

INTERMISSION PETITE SUITE

CLAUDE DEBUSSY (1862-1918)

I. En bateau (In the Boat) II. Cortège III. Menuet IV. Ballet

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

VALSE-SCHERZO, OP.34

PIOTR ILYICH TCHAIKOVSKY (1840 – 1893) Ann Yu, violin

ROMANIAN CONCERTO

GYORGY LIGETI (1923 – 2006)

I. Andantion II. Allegro vivace III. Adagio, ma non troppo IV. Molto vivace

EDWARDO RIOS, VIOLA

ANN YU, VIOLIN

NATIONAL REPERTORY ORCHESTRA

PROGRAM NOTES

This evening, the National Repertory Orchestra will explore the works of six European composers who lived over a 275year span. Franz Joseph Haydn was born in 1732; György Ligeti died in 2006. Wolfgang Amadeus Mozart’s Symphony No. 35 in D Major, “Haffner,” began life as a six movement serenade. It was originally composed in 1782 as a tribute to Sigmund Haffner’s election to the nobility. The symphony was created a year later, eliminating two of the serenade’s movements and adding flutes and clarinets. The result is a comparatively light symphony, albeit one which audiences quickly appreciated and it exists today as one of the most often performed Mozart symphonies. Franz Joseph Haydn did not invent the symphony but he brought it from the loosely structured form of his predecessors, giving it a new order, a bright richness of expression. He introduced the minuet as the third movement and perfected the rondo form for the finale. It is easy to see why he is known as “the father of the symphony.” He wrote an astounding 108 symphonies. In addition to these historic changes, he was virtually the inventor of the string quartet; authoring sixty-eight works. Because of the sheer quantity and brilliance of his work in those two forms, his other compositions are sometimes overlooked. Haydn’s Piano Concerto No.11 in D Major was composed in 1782 and published in 1784. It is the most popular of his keyboard concertos (most musicologists number these at twenty). Today, there is a continued discussion—even controversy—over whether it should be played on harpsicord or piano. As far as I am concerned, either one is acceptable because Haydn noted in the 1784 edition that it was for harpsicord or piano and he performed with both. So there. Benjamin Britten, born in 1913, was Britain’s most well-known modern composer. He was a violist and loved music that featured the instrument. Lachrymae, his only mature piece for viola and piano, was written for the distinguished viola player William Primrose who gave the first performance in 1950 with the composer at the piano. Twenty-five years later, in the last year of his life, Britten orchestrated the piano part for strings to create a concertante piece, Op 48a, which we will hear tonight. While Britten was the greatest British composer of his time, Claude Debussy was the greatest French composer of all time and the greatest of music impressionists. Born in 1862, Debussy was one of the most important figures

in the transition from the late Romantic period into the Modern. He never wrote a symphony, an overture or a concerto. His structures were ambiguous, taking forms that he called sketches, preludes, or images. Petite Suite was composed for four-hand piano in 1889 and orchestrated. Piotr Ilyich Tchaikovsky, born in 1840, remains the most popular Russian composer. He was the first Russian composer whose work was accepted and appreciated by a national audience. The ValseScherzo in C major was composed for piano and violin in 1877, a year before his masterwork violin concerto (which we will hear Saturday night). Musicologists generally believe the lively waltz was at least partly orchestrated by Tchaikovsky’s former pupil, Iosif (Losif ) Kotek. The one movement piece is about twelve minutes long. It’s a challenging showpiece for the soloist. György Ligeti was born in 1923 in Transylvania, Hungary (which is now in Romania). He grew up in a Jewish family during a time when his homeland was ruled first by Nazis and then by Soviets. It was not an easy time for him; he was interned in a camp. Ligeti survived although his father and brother did not. In later years, he commented on the importance of the piece. “In 1949, when I was twenty-six, I learned how to transcribe folk songs from wax cylinders at the Folklore Institute in Bucharest. Many of these melodies stuck in my memory and led in 1951 to the composition of my Romanian Concerto. A public performance had been forbidden. Under Stalin’s dictatorship, even folk music was allowed only in a ‘politically correct’ form. The peculiar way in which village bands harmonized their music, often full of dissonances and ‘against the grain,’ was regarded as incorrect. In the fourth movement of my Romanian Concerto there is a passage in which an F-sharp is heard in the context of F major. This was reason enough for the apparatchiks responsible for the arts to ban the entire piece”.

Written by Douglas Adams

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Sophie Brants has been playing piano with Joyce Li in Colorado since the age of 6. In the past few years, she has won numerous local and international competitions. Sophie is currently 12 years old and is in the 6th grade at Colorado Academy. In addition to piano, her passions include playing competitive club soccer, horseback riding, tennis and skiing.

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The National Repertory Orchestra Invites you to our Annual Gala CELEBRATING CONDUCTOR CARL TOPILOWâ€™S 40th ANNIVERSARY FEATURING:

Seawell Ballroom Denver Center For The Performing Arts Friday, June 23, 2017 at 6:00 pm

For More Information or Tickets Visit www.nromusic.com or Call 970.453.5825

NATIONAL REPERTORY ORCHESTRA

Discounted rates extended to National Repertory Orchestra guests*      

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Walking distance to Riverwalk Center All-suite hotel w/full kitchens All-American Breakfast Buffet for each hotel guest Complimentary parking and WiFi Pet Friendly (with non-refundable deposit) Outdoor pool & hot tub, open year round For reservations call (844) 696-3729 and ask for The National Repertory Orchestra rate. OR Visit www.breckenridgeresidenceinn.com and use Promotional code U98 *Room rate based on availability

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WELCOME TCHAIKOVSKY’S TO THE NEW VIOLIN WORLD CONCERTO

PINK CONCERT: WEAR PINK!

In support of the Shaw Breast Center & Cancer Clinic - Frisco sponsors Bob & Nancy Follett and Fatty’s Pizzeria SATURDAY, JUNE 24, 2017 AT 7:30 PM sponsors Sandy Mortensen, Rick Poppe & Jana Edwards, Julia Metzger & Samuel Bufford, John & Kathy Landon CAR L TOPILOW, conductor OVERTURE TO COLAS BREUGNON (KOLA BRYUN’YON), OP.24 DMITRI KABALEVSKY (1904 – 1987)

CONCERTO IN D MAJOR FOR VIOLIN & ORCHESTRA, OP.35 PIOTR ILYICH TCHAIKOVSKY (1840 – 1893)

Music gift donated by Dr. & Mrs. Richard Linn to the National Repertory Orchestra Library Madeleine Vaillancourt, violin

JUNE 14II. Canzonetta: FREE COMMUNITY Andante III. Finale: Allegro vivacissimo REPERTORIE & PROGRAM NOTES INTERMISSION

I. Allegro moderato

PICTURES AT AN EXHIBITION

MODEST MUSSORGSKY (1839 – 1881) ORCH. MAURICE RAVEL

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

Promenade I. Gnomus Promenade II. The Old Castle Promenade III. Tuileries MADELEINE IV. Bydlo VAILLANCOURT, VIOLIN Promenade V. Ballet of the Chicks in Their Shells VI. Samuel Goldenberg and Schmuyle VII. Limoges VIII. Catacombs Cum mortuis in lingua mortua IX. The Hut on Fowl’s Legs X. The Great Gate of Kiev PROGRAM NOTES Dmitri Kabalevsky was one of the composers, along with Shostakovich, Prokofiev, and Khachaturian, who was forced to compose within the strict guidelines of the Soviet Union. Those requirements included traditional forms, major keys, full harmonies, broad melodies, and a faithful relationship to Russian folk songs. Unlike most of his contemporaries, Kabalevsky joined the Communist party in 1940 and remained loyal throughout his career. The Overture to Colas Breugnon, his best known and most performed work, is a solid example of the Soviet mandate. We encourage We encourage you toyoushare to share photos photos on social on social media. media. Be sure Be sure to #NROMusic to #NROMusic Please Please silence silence cell phones cell phones during during the concert. the concert. AudioAudio recording recording and video and video recording recording are strictly are strictly prohibited. prohibited. The National The National Repertory Repertory Orchestra Orchestra playsplays exclusively exclusively on pianos on pianos provided provided by Schmitt by Schmitt Music.Music.

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NATIONAL NATIONAL REPERTORY REPERTORY ORCHESTRA ORCHESTRA

Tchaikovsky’s Concerto in D Major for Violin & Orchestra began its life with serious difficulties. Written in a two-week period in 1878, the first performance received a terrible review. The often ill-tempered critic Eduard Hanslick wrote that, for the first time, he realized that there was music “whose stink one can hear.” The concerto was dedicated to the great violinist Leopold Auer, who was to perform the premiere. Before that could happen, he pronounced it as unplayable. The critic Hanslick also attacked the difficulty for the soloist, proclaiming that “The violin is no longer played; it is pulled about, torn, beaten black and blue.” Pictures at an Exhibition leads a double life, as a piano suite and as a staple of the concert repertoire. Modest Mussorgsky completed the piano suite in 1874. Maurice Ravel brilliantly scored Pictures for orchestra in 1923, taking on form and color impossible in the piano version. The original project began as tribute to one of Mussorgsky’s closest friends, painter-architect Victor Hartman, who died at the age of thirty-nine. Hartman’s friends decided to honor him with an exhibit of his paintings and this was the occasion for the creation of the music. Ravel’s orchestration begins with the “Promenade,” a bold Russian theme. Following that, each musical number suggests a mood of the corresponding painting. “Gnomus” depicts an awkward and grotesque fellow, characterized by woodwinds, muted brass and plucked strings. “The Old Castle” melody is wistful with the bassoon presenting it and then the alto saxophone picking it up with lovely string accompaniment. “Tuileries” is the famous Paris garden. We hear children chattering and nurses scolding. A “Bydlo” is a crude farm wagon with wheels made of solid wooden disks, drawn by sturdy oxen. The “Ballet of the Chicks in Their Shells” is a delightful little piece; you can hear the chicks bouncing around, breaking out of their shells and chirping. “Samuel Goldenberg and Schmuyle” is a caricature of a wealthy businessman and his “yes man” assistant. Gabbling like old hens, the women in “Limoges: The Market Place” sound annoying and amusing at the same time. “Catacombs” is a deep subject, the music dark and weighty. There are chords; no light, no air. Emerging from the catacombs, we see “A Hut on Fowl’s Legs.” In Russian legend, Bab-Yaga was an evil, man-eating witch who dwelled in that strange hut. We launch without interruption into the finale, “The Great Gate of Kiev,” with noble, broad and soaring passages. You can hear the tolling of bells in the great gate, rising to a dramatic and powerful conclusion, justly earning this work’s reputation as an orchestra showpiece.

Written by Douglas Adams

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MENDELSSOHN’S EHT OT EMOCLE W REFORMATION DL ROW WEN WEDNESDAY, JUNE 28, 2017 AT 7:30 PM sponsors Blue River Bistro, Pamela & Douglas Adams, Joan Manley Houlton CAR L TOPILOW, conductor SYMPHONY NO.31 IN D MAJOR, K.297 (PARIS) WOLFGANG AMADEUS MOZART (1756 – 1791)

I. Allegro assai II. Andantino III. Allegro

CONCERTO NO.2 IN F MAJOR FOR PIANO & ORCHESTRA, OP.102 DMITRI SHOSTAKOVICH (1906 – 1975) Brock Tjosvold, piano

I. Allegro II. Andante III. Allegro

INTERMISSION PIANO CONCERTO NO.23 IN A MAJOR, K.488 WOLFGANG AMADEUS MOZART (1756 – 1791) Audrey Haas, piano

I. Allegro

NAVARRA, OP.33

SYMPHONY NO.5 IN D MAJOR, OP.107 (REFORMATION) FELIX MENDELSSOHN (1809 – 1847)

Music gift donated by Dr. & Mrs. Richard Linn to the National Repertory Orchestra Library

I. Andante - Allegro con fuoco II. Allegro vivace III. Andante IV. Chorale: Andante con moto - Allegro vivace

Keystone Appreciation Night

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SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

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PABLO DE SARASATE (1844 – 1908) Jessica Lyons & Katelyn Lyons, violins

BROCK TJOSVOLD, PIANO

JESSICA LYONS, VIOLIN

KATELYN LYONS, VIOLIN

NATIONAL REPERTORY ORCHESTRA

PROGRAM NOTES

Mozart’s Symphony No. 31 known as “Paris” is one of his most popular symphonies. Of the nearly fifty symphonies Mozart composed at least a dozen are frequently performed today. This one, composed when he was only 22, while seeking a position in Paris, was well-received. Despite the positive reception, it did not result in a job in Paris. Mozart had traveled to Mannheim and Paris with his mother. Soon after the symphony’s premiere, his mother fell ill and died; he had to report that sad news to his father by mail. Symphony No. 31 is remarkable in that it used a relatively large orchestra for the time, with more than the usual number of strings and other instruments. “Paris” is also the first symphony in which Mozart used clarinets. The symphony was commissioned by a symphony society in Paris called the Concerts Spirituels, a group which prided itself on its opening coup d’ archet (bow stroke), in which all the strings came in at the same time. Mozart, writing a symphony in the Parisian style, uses this bow stroke to open the work. “I have been careful,” he wrote to a friend, “not to neglect the le première coup d’ archet—and that is quite sufficient. What a fuss the oxen make of this trick!” The other obvious French element is the fact that there are three rather than four movements in the symphony. If you were to hear our next selection without knowing what it is, it would be highly probable that you would never guess the composer was Dmitri Shostakovich. His Piano Concerto No. 2 in F Major just sounds too cheerful, too bright, too not-Shostakovich. It is, nonetheless, a charming piece. The first and third movements are lively; the second almost melancholy. It is not performed as often as Shostakovich’s first piano concerto but it has sustained a popularity, especially in Europe. Shostakovich composed it in 1957 for his son Maxim’s 19th birthday. Maxim played it for his graduation from the Moscow Conservatory. In 1985, Maxim conducted his own son, Dmitri Shostakovich Jr., in a performance recorded in Montreal. Our second half opens with a bright piece for two violins and orchestra by Spanish performer and composer Pablo de Sarasate. It is called Navarra, a Spanish dance. A bracing chord from the orchestra sets off a vigorous passage for the two violins. This is a very demanding piece for the soloists, demanding intense concentration and precision. Felix Mendelssohn was very different from other composers in classic music history. He did not struggle financially, in fact, he came from a wealthy family. His talent was appreciated and supported by his family. His personal life appears to have been free from strife. He was well-rounded as an artist, in music and in painting. He was an avid reader and travelled widely. German writer and philosopher Johann

Wolfgang von Goethe said Mendelssohn “was born on a lucky day.” His maternal grandfather was the Jewish philosopher Moses Mendelssohn. Felix’s parents, in order to ensure his acceptance in society, decided to bring up their children as Lutheran, with a secret conversion and baptism of Felix and his three siblings. They also added the surname Bartholdy. Felix always signed his name as “Mendelssohn Bartholdy” and remained a devout Lutheran throughout his life. That devotion is demonstrated in his Symphony No. 5 in D Major, written in 1830. It is known as the Reformation Symphony because he wrote it to commemorate the 300th anniversary of one of the most important documents in the Lutheran Church, known as the Augsburg Protestant Confession. There are two religious elements in the symphony. The first is a reference to the “Dresden Amen,” a sequence of six notes sung by choirs during church services in the German state of Saxony since the beginning of the 19th century. The final movement contains a quotation of Martin Luther’s most famous chorale, “Ein’ feste Burg” (A Mighty Fortress is Our God). The eventual evaluation of a composer’s body of work usually includes some judgment as to the composer’s impact on the evolution of music. An example is the impact of Beethoven’s Eroica Symphony and his Symphony No. 9. One of Mendelssohn’s contributions is the rescue of Johann Sebastian Bach’s reputation. After Bach’s death, his work slipped into oblivion. In 1829, Mendelssohn insisted on presenting a performance of Bach’s The Passion According to St. Matthew. This concert led to a revival of interest in Bach and his music. By the way, Mendelssohn was among the first to conduct with a baton.

Written by Douglas Adams

Audrey Haas is eight years old. She recently placed 1st at the 2017 Schmitt Music Piano Competition, Advanced Competitive Division I. Audrey has participated with the Colorado Inside the Orchestra program performing the 1st and 3rd movements of Haydn’s Concerto in C. Audrey is thankful for her instructor, Crystal Lee, an exceptional source of guidance, inspiration, encouragement, and unwavering support. Audrey enjoys ballet, swimming, and chess. Her favorite academic subjects are mathematics, writing, and art. NROMUSIC.COM

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E H T OT E M OC L E W COPLAND’S THIRD DL ROW WEN SATURDAY, JULY 1, 2017 AT 7:30 PM sponsors NRO Sustainers, Robin Hadley, Downstairs at Eric’s, Reginald Gray Family BR ETT MITCHELL, conductor

SUPERMAXIMUM

KENJI BUNCH (B. 1973)

CONCERTO IN A MINOR FOR VIOLONCELLO & ORCHESTRA, OP.129 ROBERT SCHUMANN (1810 – 1856)

Benjamin Fryxell, cello

I. Nicht zu schnell II. Langsam III. Sehr lebhaft

INTERMISSION SYMPHONY NO.3

AARON COPLAND (1900 – 1990)

I. Molto moderato; with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato - Allegro risoluto

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SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

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BENJAMIN FRYXELL, CELLO We encourage you to share photos on social media. Be sure to #NROMusic Please recordingaudio and video recording are strictly prohibited. Please silence turn offcell cellphones phonesduring duringthe theconcert. concert.Audio Photography, recording and video recording are strictly prohibited. The The National National Repertory Repertory Orchestra Orchestra plays plays exclusively exclusively on on pianos pianos provided provided by by Schmitt Schmitt Music. Music.

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PROGRAM NOTES

Kenji Bunch is one of America’s up and coming composers. The ominous percussion that opens Supermaximum represents the sound of a chain gang. The percussion is joined by air blown through the mouthpieces of the brass instruments and the tapping on the fingerboards of the strings. Bunch is also an accomplished violist and this piece features that instrument in a section, which brings to mind African American spirituals. After an uplifting section, the sounds of hammers and axes return for the conclusion. Bunch described the ending of the work as “this super-maximum joyfulness that lifts these people out of their situation.” The great conductor George Szell was passionate about Robert Schumann’s music. He called him “the founder of the Romantic symphony, the inventor of not just lovely tunes, but of interesting novel designs of harmony and formal structure which have influenced and stimulated great composers after him.” Szell declared that Schumann was “the greatest purely Romantic composer.” Schumann’s body of work was profoundly affected by his personal problems. He was likely bi-polar and his compositions reflect this. When he was manic, he turned out a huge volume of masterpiece classical material. At other times, his output was comparatively weak. The result was a personal canon that contains true brilliance and, at the same time, mediocrity. Much of Schumann’s best work was for piano and his intention was to be both a composer and a performer. Unfortunately, he suffered a serious injury to his right hand, which ended his concert pianist career. Fortunately, he did not have to be a virtuoso pianist-- he married one. His wife Clara was a phenomenally successful concert pianist. After the piano, Schumann turned to the cello for his performing instrument. He finished his Cello Concerto in A Minor in two rushed weeks in 1849. He called it “a concert piece for cello with orchestral accompaniment,” and he did succeed in managing the tricky balance between the cello and the orchestra, not allowing the ensemble to drown out the soloist. Like his full body of work, the cello concerto contains strengths and weaknesses. Critics sometimes complain the orchestra—allowing the soloist space—is too laid back, sounding weak. And while the piece opens in a typically Romantic style with the cello appearing at once, in un-typical Romantic style he doesn’t allow the soloist much exposition. Still, the

concerto is a quietly revolutionary piece with three movements that are performed without breaks, resulting in a grand sweeping presentation. Written in 1850 it was not performed publicly until 1860, four years after Schumann’s death. The Cello Concerto in A Minor was the only nineteenth-century cello concerto of substantial consequence until Saint Saëns published his in 1872. Aaron Copland was, arguably at least, the greatest American composer of the twentiethcentury. It is a bit ironic that his most important seminal experiences occurred not in America but in Paris. For four years in the early 1920s, he was part of the most exciting creative community in the world, populated by artists such as Stravinsky, Prokofiev, Ravel, Picasso, Hemingway and Gertrude Stein. The exploration of jazz was of great interest to this group. When he returned to the United States in 1925, this influence was evident in his compositions, including the Dance Symphony and his piano concerto. At some point after that, he felt that he had exhausted that line of musical exploration; he set out on a new musical mission—as the leader of a new American school. At first, these were powerful, dissonant and difficult for most audiences to appreciate. Then he changed his style again to a more popular idiom. These are the five for which he is best known and appreciated, the three American ballets—Billy the Kid (1938), Rodeo (1940), and Appalachian Spring (1944), and El Salon Mexico and the Symphony No. 3. Copland started working on the third symphony in 1944, commissioned by the Boston Symphony. The work which has become known as the Great American Symphony, was designed from the beginning to depict America’s place in the new postwar world. In Copland’s words the symphony would “reflect the euphoric spirit of the country at the time”. For the rousing fourth movement, he incorporated Fanfare for the Common Man, which he had written in 1942 as part of a series of fanfares to summon morale for the war effort. “The Symphony has become an American monument,” stated Leonard Bernstein, “like the Washington Monument or the Lincoln Memorial or something.”

Summit County

Parade of Homes

Presented by Summit County Builders Association

2 01 7

OFFICIAL MEDIA SPONSOR

ANNUAL

SEPTEMBER 23-24 & SEPTEMBER 30 - OCTOBER 1 Featuring upscale single, multi-family and remodeled homes in Colorado’s mountain resort communities

Proceeds from ticket sales benefit

The Summit Foundation

FOR TICKETS

visit www.summitcountybuilders.org/paradeofhomes www summitcounty P H OTO B Y D AV E P E T E R M A N

Written by Douglas Adams

NROMUSIC.COM

BRECKENRIDGE RIVERWALK CENTER | RAINBOW PARK

PATRIOTIC SALUTE! TUESDAY, JULY 4, 2017 AT 10:00AM

SILVERTHORNE, RAINBOW PARK - NEW LOCATION! Sponsor Lake Dillon Theatre Company FREE GENERAL ADMISSION, NO TICKETS REQUIRED

2017 Theatre Season

TUESDAY, JULY 4, 2017 AT 8:00PM

BRECKENRIDGE RIVERWALK CENTER Sponsors Town of Breckenridge, Barbara & Jim Calvin,

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ALL TICKETS $20 (Tickets go on sale at noon on June 27th) THE NEW HOME OF THE LAKE DILLON THEATRE COMPANY OPENS JUNE 2017

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JUNE 14Dedicated FREE COMMUNITY to all the men and women serving in&uniform with thanks from a REPERTORIE PROGRAM NOTES grateful nation.

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SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

Buffalo Mountain Metro District Lillian Bickel Russ and Judy Camp Dave and Michelle Feavel Bob and Nancy Follett Ken and Jane Gansmann Lex and Mitzie Hawkins Grover and Maidee Hope Joan Manley Houlton Janie James Warren and Becky Johnson Michael and Hoda Kardoush Ray Keith Gary and Kikken Miller Mark and Becky Price Marshall Rutz Ralph and Lila Stair Don and Meredith VanDyne Cap and Suzy Witzler Breakfast Hosts Jean and John Fitzgerald Lee and Peg Henry

By Bill & Cheri Steinkeller

June 23 - August 13 “The smash hit musical comedy”

GHOST By Bruce Joel Rubin

July 1 - August 27 “Experience the Oscar winning film on stage”

NOISES OFF! By Michael Frayn

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MURDER FOR TWO By Joe Kinosian & Kellen Blair

November 24 - December 17 “The perfect blend of music & mayhem”

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We encourage you to share photos on social media. Be sure to #NROMusic Please turn off phones during concert. Photography, audio recording andare strictly prohibited. Please silence cellcell phones during thethe concert. Audio recording and video recording recording are strictly prohibited. The National Repertory Orchestra plays Music. Thevideo National Repertory Orchestra plays exclusively on pianos provided by Schmitt exclusively on pianos provided by Schmitt Music.

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SHOSTAKOVICH’S EHT OT EMOCLE W FIFTH DL ROW WEN FRIDAY, JULY 7, 2017 AT 7:30 PM sponsors Building Hope, Michael Altenberg & Libby Bortz, Bill and Laurie Bolthouse Family, Sandy Mortensen, Kitchenscapes, Lauren and Michael Ruehring MIGUEL H ARTH-BEDOYA, conductor MICH AEL A PAETSCH, violin FIESTA!

JIMMY LÒPEZ (B. 1978)

CONCERTO IN E MINOR FOR VIOLIN & ORCHESTRA, OP.64 FELIX MENDELSSOHN (1809 – 1847)

Music gift donated by Dr. & Mrs. Richard B. Cattell to the National Repertory Orchestra Library Michaela Paetsch, violin

I. Allegro molto appassionato II. Andante III. Allegretto non troppo - Allegro molto vivace

INTERMISSION SYMPHONY NO.5 IN D MINOR, OP.47 DMITRI SHOSTAKOVICH (1906 – 1975)

I. Moderato II. Allegretto III. Largo IV. Allegro non troppo

MICHAELA PAETSCH, VIOLIN

RE T NEC KL AWRE VIR

mp0 3:7

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

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IN MEMORY OF PATTI CASEY

MEET & GREET

With NRO guest conductor Miguel Harth-Bedoya and Building Hope Reception

THURSDAY, JULY 6, 4:00 PM - 7:00 PM

Arts Alive Gallery, La Cima Mall, 500 S Main St., Breckenridge

Hosted by the Summit County Arts Council (SCAC) at their beautiful gallery space. The reception will also share information about Building Hope, a community wide initiative designed to create a more coordinated, effective and responsive mental health system. Building Hope was launched after the loss of beloved Breckenridge community member, Patti Casey, to suicide. Patti was passionate about classical music and the National Repertory Orchestra. SCAC connects people through Art. SUMMIT COUNTY ARTS COUNCIL

We encourage you to share photos on social media. Be sure to #NROMusic Please Please silence turn offcell cellphones phonesduring duringthe theconcert. concert.Audio Photography, recordingaudio and video recording recording and video are strictly recording prohibited. are strictly prohibited. The The National National Repertory Repertory Orchestra Orchestra plays plays exclusively exclusively on on pianos pianos provided provided by by Schmitt Schmitt Music. Music.

NATIONAL REPERTORY ORCHESTRA

PROGRAM NOTES

Tonight’s program includes pieces from the 19th, 20th and 21st centuries. Two of the composers are consensus choices to be on the list of the best of all time. The third is recognized as one of the most adventurous and exciting young composers working today. The Chicago Sun-Times called Peruvianborn Jimmy López “one of the most interesting young composers anywhere today.” Fiesta! is a rambunctious explosion of musical energy, featuring strong brass expressions, dramatic percussion flourishes and energetic catchy rhythms. Fiesta! was commissioned by tonight’s conductor Miguel Harth-Bedoya on the occasion of the Lima Philharmonic Society’s 100th birthday. It is part of HarthBedoya’s Inca Road Project, which was created to rediscover, preserve and disseminate the musical legacy of South America. Most critics agree that Felix Mendelssohn’s best work came in his early years. By the time he was sixteen, in 1825, he had written concertos, symphonies, cantatas, four operas and many pieces of piano music. The next year, when he was seventeen, he composed what many consider his most perfect work, the Midsummer Night’s Dream overture. Some critics accuse Mendelssohn of playing it too safe after these early successes and failing to explore new musical avenues. Some charged that his work was boring and too predictable. It should be noted that this actually made him so popular with audiences, who delighted in this familiar approach—full of elegance and grace and lacking in dissonant surprises. Don’t overlook the fact that his influence and impact on the classical music world goes far beyond the output from his composer’s pen. By the 1840s, he was still active as a composer but he also was active as a conductor, pianist, orchestra administrator and teacher. It was during this mature period, in 1844, that he wrote a piece which matched his earliest successes. The Violin Concerto in E minor was exceptionally well received and remains to this day among the most beloved works in the repertoire. It is not known if the concerto was intended to be a response to his critics, but the work does break new ground. This was the first time the soloist in violin concerto did not wait for the orchestra to outline the themes of the concerto before making his first entry. Instead, after a few seconds of delicate orchestral tension, he immediately launches into the themes of the passionate first movement. Unlike most other previous violin concertos, this concerto streamlined the tutti (orchestral only) passages

and featured the soloist in a more prominent, even dominant, role. This was a new balance between orchestra and soloist. Mendelssohn died of a stroke three years after writing the concerto. He was 38 years old. Dmitry Shostakovich’s Symphony No. 5 in D minor was an immediate success when it premiered in 1937. It marks a milestone in his composing career. He began writing it shortly after the Soviet government condemned his opera Lady Macbeth of Mtsensk District. The opera enjoyed great popularity both in the Soviet Union and in other countries. Then, in 1935, Joseph Stalin went to see it. Big problem. The result was an editorial in Pravda decrying this “fidgety, screaming, neurotic music.” Shostakovich was derided for the sympathetic portrayal of a heroine who murdered her husband. The social satire of the opera went completely over Stalin’s head. The dictator issued instructions for Soviet operas: they must have a Soviet theme, the music must be “realistic” and based on Russian folk songs and they must be positive with a happy ending. Shostakovich was away from Moscow when the Pravda’s editorial came out. He had been the golden boy of Soviet music. Now, as he wrote in his memoirs, he was “an enemy of the people. I was near to suicide. The danger horrified me and I saw no other way out.” Rehabilitation came with the Fifth Symphony. A journalist characterized Symphony No. 5 as “A Soviet Artist’s Practical Creative Reply to Just Criticism.” Shostakovich was comfortable with that and even quoted the phrase. The symphony complied completely with the Politburo’s dictum that “all aspects of music should be subordinated to melody and such melody should be clear and singable.” The fifth symphony shows a new directness, moving from Shostakovich’s complex structures in his previous works. This one is literally crammed with tunes. And the Party was pleased, declaring the Fifth to be a “positive” symphony. The Fifth is conventionally styled, beginning on a tragic note and proceeding to a heroic, triumphant conclusion. Shostakovich was instantly back in favor.

Arts Alive Gallery

Co-op Gallery of Local Artists

Open 7 days a week 11am-6pm

500 S. Main Street, La Cima Mall, Breckenridge

www.summitarts.org 970-453-0450

Written by Douglas Adams

NROMUSIC.COM

BRECKENRIDGE RIVERWALK CENTER

THE MUSIC OF STAR WARS WELCOME TO THE A JOHN WILLIAMS NEW WORLD CELEBRATION

SATURDAY, JULY 8, 2017 AT 7:30 PM sponsors Breckenridge Bob & NancyBrewery, Follett and Kenneth Fatty’s & Pizzeria Annette Hallock, Nancy & Tom French, Jim & Kay Ross CAR L TOPILOW, conductor STAR WARS: MAIN TITLE SUITE FROM THE PHANTOM MENACE

YODA’S THEME ACROSS THE STARS

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SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

CANTINA BAND Carl Topilow, clarinet THE FORCE AWAKENS I. March of the Resistance

II. Rey’s Theme III. Scherzo for X-Wings IV. Jedi Steps V. Finale

THRONE ROOM AND END TITLE

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Discover the creative side of Breckenridge with a year-round calendar of concerts, performances, festivals, exhibitions, as well as classes, workshops, and special events in the Breckenridge Arts District.

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BRECKENRIDGE RIVERWALK CENTER | GERALD R. FORD AMPHITHEATER | LUNDGREN AMPHITHEATER

WELCOME TO THE NEW WORLD

PRODUCTION Music by George Gershwin

Lyrics by Ira Gershwin

CREATED & DIRECTED BY PAUL PEMENT sponsors Bob & Nancy Follett and Fatty’s Pizzeria

A Collaborative Presentation of National Repertory Orchestra and Bravo! Vail Music Festival TUESDAY, JULY 11, 2017 AT 11:00 AM Breckenridge, Riverwalk Center

Sponsors: Pediatric Dental Group of Summit County, Centura Health / St. Anthony Summit Medical Center, Vail Resorts EpicPromise, Ebert Family Clinic, Colorado Mountain Express, Summit Association of Realtors

WEDNESDAY, JULY 12, 2017 AT 11:00 AM Vail, Gerald R. Ford Amphitheater

JUNEWEDNESDAY, 14 FREE JULY COMMUNITY 12, 2017 AT 6:00 PM Gypsum, Lundgren Amphitheater REPERTORIE & PROGRAM NOTES

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER 38 NATIONAL REPERTORY ORCHESTRA

Elic Bramlett as George Gershwin Lance Newton as “Kid” & Will Martin on Piano Written by Will Martin, Elizabeth Wheeler, Paul Pement Production Advisor: Kevin Cole Music Copyist/Engraver: John Blane Lighting Design: Paul Pement Projections: Scott Fairchild Music Supervisor: Will Martin Associate Director: Steve Hiltebrand Costumes: Alex Meadows Props/Wigs: Kevin Barthel

THE WORLDWIDE COPYRIGHTS IN THE MUSIC OF GEORGE AND IRA GERSHWIN FOR THIS PRODUCTION ARE LICENSED BY THE GERSHWIN® FAMILY. Porgy and Bess permissions granted by the Dubose and Dorothy Heyward Memorial Fund. Projection footage and imagery courtesy of Harold Lloyd Entertainment and the Library of Congress. Actors and Stage Manager are members of Actors’ Equity Association. LEARN MORE ABOUT CLASSICAL KIDS: WWW.CLASSICALKIDSLIVE.COM ENGAGE on Facebook at ClassicalKidsLive and Twitter at Classical_Kids

NEW PATIENTS & VISITING FAMILIES WELCOME

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TOPILOW POPS! WELCOME TO THE 40TH ANNIVERSARY NEWCELEBRATION WORLD FRIDAY, JULY 14, 2017 AT 7:30 PM sponsors Vonderheid, Downstairs at Eric’s, Patrice & Ron sponsors Barbara Bob & Nancy Follett and Fatty’s Pizzeria Lara, Beaver Run Resort CAR L TOPILOW, conductor JOA N ELLISON, vocalist

This evening’s guest artist sponsored by Annette and Ken Hallock OVERTURE TO HELLO DOLLY JERRY HERMAN (ARR. ROBERT WENDEL)

TROLLEY SONG MARTIN & BLANE, ARR. FERGUSON Joan Ellison, vocalist THE BOY NEXT DOOR MARTIN & BLANE, ARR. FERGUSON Joan Ellison, vocalist OVER THE RAINBOW FROM THE WIZARD OF OZ ARLEN & HARBURG, ARR. FERGUSON

Joan Ellison, vocalist

MEDLEY 14 CarlFREE Topilow, clarinet JUNELATINO COMMUNITY CLARINET CANDY Carl Topilow& & Clarinetists of the NRO NOTES REPERTORIE PROGRAM ARR. PAUL FERGUSON

LEROY ANDERSON

GET HAPPY ARLEN & KOEHLER, ARR. FERGUSON Joan Ellison, vocalist THE MAN THAT GOT AWAY ARLEN & HARBURG, ARR. FERGUSON Joan Ellison, vocalist SUITE FOR 4 VIOLINS AND ORCHESTRA: FINALE LUDWIG MAURER

Madeleine Vaillancourt, Yordan Tenev, Eduardo Rios, Carson Marshall, violins

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

INTERMISSION HOE DOWN FROM RODEO AARON COPLAND A CAROL KING MEDLEY ARR. PAUL FERGUSON HORSE AND BUGGY LEROY ANDERSON CARAVAN DUKE ELLINGTON Carl Topilow, clarinet & Jack Bogard, violin CASEY AT THE BAT STEVE REINECKE JOHNNY ONE NOTE RODGERS & HART, ARR. HENRY Joan Ellison, vocalist YES DORY & ANDRE PREVIN, ARR. SALINGER* Joan Ellison, vocalist COME RAIN OR COME SHINE ARLEN & MERCER, ARR. RIDDLE* Joan Ellison, vocalist THE GODFATHER NINO ROTA, ARR. PAUL FERGUSON Carl Topilow, clarinet * These arrangements made possible courtesy of The Judy Garland Heirs Trust

NATIONAL REPERTORY ORCHESTRA

JOAN ELLISON Joan Ellison has been praised for her “vocal prowess [and] organic grasp of the classic songs” by Michael Feinstein. Her long-time immersion in the popular vocal styles of the 1920s to the 1960s includes transcribing hundreds of arrangements note-fornote from classic recordings and restoring several of Judy Garland’s original orchestrations. This intimate understanding of vintage musical and vocal styles brings distinct freshness and authenticity to her interpretations of American standards. To kick off the 2016-’17 season, Joan made her NYC solo cabaret debut at Feinstein’s/54 Below in Get Happy! Judy Garland 1944-’54, of which Cabaret Scenes wrote: “New York deserves to see and hear more of Joan Ellison.” The 2016 TheatreZone production of The Boy From Oz (Naples, Florida) marked the first time Joan had ever actually played Judy Garland, and her new one-woman theatrical piece, All Happiness, Judy Garland, premieres at the Winter Park Playhouse (FL) this June. Her second album,“Retrophonic Gershwin” (2015), features arrangements based on original recordings of the 1920s, ‘30s, and ‘40s. She made her Cleveland Pops Orchestra debut in 2005 and has since sung more than 30 concerts with orchestras around the country in repertoire ranging from The King and I to Wicked. She earned M.M.T. and Bachelor of Music degrees from the Oberlin Conservatory of Music, and currently serves as Teacher of Popular Voice at The Cleveland Institute of Music and a Visiting Guest Artist with the Case Western Reserve University/ Cleveland Play House M.F.A. Acting Program. Joan gratefully acknowledges the Judy Garland Heirs Trust.

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WELCOMEJOURNEYS TO THE MUSICAL NEW WORLD SUNDAY, JULY 16, 2017 AT 11:00 AM sponsors Wyndham Vacation Rentals, Range View Rentals R ADU M AR IA N PAPONIU, conductor LE CORSAIRE, OP.21; OVERTURE FOR ORCHESTRA HECTOR BERLIOZ (1803 – 1869)

CONCERTO COMPETITION The National Repertory Orchestra holds a concerto competition at the beginning of each summer for the orchestra members. The competition winner(s) will be announced on the day of the performance.

LE CHASSEUR MAUDIT (THE ACCURSED HUNTSMAN) CÈSAR FRANK (1822 – 1890)

TZIGANE, FOR VIOLIN & ORCHESTRA MAURICE RAVEL (1875 – 1937)

Tenev, violin JUNE 14Yordan FREE COMMUNITY CAPRICCIO ESPAGNOL, OP.34 REPERTORIE & PROGRAM NOTES Music gift donated by Dr. Peter Nissler & Donald G. Sharp to the National NIKOLAI RIMSKY-KORSAKOV (1844 – 1908)

Repertory Orchestra Library

I. Alborada II. Variazioni III. Alborada IV. Scena e canto gitano V. Fandango asturiano

IN MEMORY OF STEVEN RUSSELL

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

YORDAN TENEV, VIOLIN

We encourage shareduring photosthe on concert. social media. Be sure toaudio #NROMusic Please turn off you cell to phones Photography, recording and video recording are strictly prohibited. Please silenceRepertory cell phones during the Audioonrecording and videobyrecording are strictly prohibited. The National Orchestra playsconcert. exclusively pianos provided Schmitt Music. The National Repertory Orchestra plays exclusively on pianos provided by Schmitt Music.

NATIONAL REPERTORY ORCHESTRA

PROGRAM NOTES

Welcome to the National Repertory Orchestra’s Sunday morning concert, which features the work of three French composers and a bonus work by a Russian master. Le Corsaire (The Corsair), Op. 21, was composed while Hector Berlioz was on holiday in Nice in August 1844. He conducted it the following January. Berlioz began conducting after he witnessed a terrible premiere of his opera Benvenuto Cellini, conducted by someone who showed a complete lack of appreciation for the work. Berlioz decided he could protect the integrity of his works by conducting them himself. As part of his touring performances, he composed several small works to fill out his programs. Le Corsaire was one of those compositions. The first performance was titled La Tour de Nice (The Tower of Nice), after the lodging he occupied in Nice. “The room in which in 1831 I had written the Roi Lear overture was occupied by an English family, so I settled higher up in a tower perched on a ledge of the Ponchettes rock, and feasted myself on the glorious view over the Mediterranean and tasted a peace such as I had come to value more than ever.” Berlioz, a fan of James Fenimore Cooper, later renamed it Le Corsaire Rouge, after Cooper’s novel The Red Rover. A few years later, Berlioz renamed it a final time, shortening it to Le Corsaire, evoking Lord Byron’s poem The Corsair. The overture is a stand-alone work that does not attempt to describe any action from the novel or the poem. Rather, Berlioz said it captures and reflects the mood of those works. Le Chasseur Maudit (The Accursed Huntsman), a symphonic poem by César Franck, was also inspired by a poem. Der Wilde Jäger (The Wild Hunter) by the German poet Gottfried August Bürger is a moody, dark tale and Franck’s music matches the poem’s atmosphere. The story goes like this: A count of the Rhine dares to go hunting on the Sabbath, when any such activity is strictly prohibited. Deep in the woods, he hears a terrible voice that condemns him to be forever chased by demons. (I hope you went to the early service today). Our third French composer this morning is Maurice Ravel. Judging by the number of compositions in the standard repertoire, he is one of the most successful composers of the 20th century. Tzigane, which means Gypsy, was composed for violin and piano in 1924 and transformed later that year into a piece for violin and orchestra. Like Russian composer Nikolai Rimsky-Korsakov, he is celebrated for his orchestration skills, beautifully demonstrated in Tzigane. The colorful orchestrations appear both in his own compositions and in his orchestrations of other composers’ works, notably the scoring of Mussorgsky’s piano suite Pictures at an Exhibition into an orchestral showcase. Nikolai Rimsky-Korsakov wrote Capriccio Espagnol in 1887. It is based on Spanish folk melodies

and is warmly regarded because of the beautiful, extravagant orchestration. It is also an excellent example of the Baroque tradition of concertante playing—the continuous use of orchestra soloists. (It’s an excellent choice for the NRO, showcasing the fine musicians across the stage). Rimsky-Korsakov obviously felt strongly about the musicians in the first performance; he dedicated the score to the musicians and the names of all sixty-seven are listed on the title page. There are five short movements; the final two are played without a pause. Capriccio Espagnol is one of three pieces known and loved by western audiences. The other two are Scheherazade and the Russian Easter Overture. All are masterworks of incomparable orchestration. There is no better description of his orchestral mastery than in the words of Sergei Rachmaninoff: “In Rimsky-Korsakov’s scores there is never the slightest doubt about the ‘meteorological picture’ the music is meant to convey. When there is a snowstorm the flakes seem to dance and drift from the woodwinds and the sound holes of the violins; when the sun is high, all instruments shine with an almost fiery glare; when there is water, the waves ripple and dance audibly through the orchestra, and this effect is not achieved by the comparatively cheap means of a harp glissando. The sound is cool and glassy when he describes a calm winter night with a glittering starlit sky. He was a great master of orchestral sound-painting and one can still learn from him.” His impact on Russian music cannot be overstated. Among his pupils were Glazunov, Arensky, Prokofiev and Stravinsky.

Written by Douglas Adams

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WELCOME TO THE BEETHOVEN’S NEW WORLD FIFTH WEDNESDAY, JULY 19, 2017 AT 7:30 PM sponsors FamilyFollett Foundation, AnnePizzeria & Bill Mills, LIV sponsors Benson Bob & Nancy and Fatty’s Sotheby’s International Realty, Melanie & Marty Frank, Blue River Bistro

K AR INA CA NELL AK IS, conductor STEPHEN HOUGH, piano This evening’s guest artist sponsored by Annette and Ken Hallock SHORT RIDE IN A FAST MACHINE JOHN ADAMS (B. 1947)

CONCERTO NO.1 IN D MINOR FOR PIANO, OP.15 JOHANNES BRAHMS (1833 – 1897)

Stephen Hough, piano I. Maestoso II. Adagio III. Rondo: Allegro non troppo

JUNE 14 FREE COMMUNITY REPERTORIE & PROGRAM NOTES INTERMISSION

SYMPHONY NO.5 IN C MINOR, OP.67 LUDWIG VAN BEETHOVEN (1770 – 1827)

Music gift donated by Mr. & Mrs. James Ryan to the National Repertory Orchestra Library

I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro

SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

STEPHEN HOUGH, PIANO Please turn off you cell phones Photography, recording and video recording are strictly prohibited. We encourage to shareduring photosthe on concert. social media. Be sure audio to #NROMusic The National Orchestra exclusively pianos provided by recording Schmitt Music. Please silenceRepertory cell phones during plays the concert. Audioonrecording and video are strictly prohibited. The National Repertory Orchestra plays exclusively on pianos provided by Schmitt Music.

NATIONAL REPERTORY ORCHESTRA

PROGRAM NOTES

John Adams wrote Short Ride in a Fast Machine in 1986. Asked to comment on the title, Adams said “You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t?” This fanfare is a burst of energy, written in the minimalist style. In Short Ride, Adams used a motive called an ostinato, a phrase that persistently repeats in the same musical voice. This piece was well received and continues to be programmed frequently as a concert opener. It was scheduled to be played twice at the Proms in London and was cancelled both times because of sensitivity due to its title. The first was scheduled shortly after Princess Diana was killed in a car crash, the second following the attacks of September 11. “Exit - in case of Brahms.” The music of Johannes Brahms has been in and out of favor numerous times for the past 250 years. The “exit” quote was a sarcastic comment from critic Philip Hale who hated Brahms and suggested such a sign be placed in Symphony Hall when it opened in Boston in 1900. Such criticism actually began early for Brahms. A critic reviewing the First Piano Concerto cited the common complaint that Brahms’ music was too academic to be enjoyed-- that it offered only “waste, barren dreariness.” Even Tchaikovsky weighed in as a critic, calling him “a giftless bastard” and declaring, “It annoys me that this self-inflated mediocrity is hailed as a genius.” The reality today is that Brahms has a huge amount of material in the standard repertoire, including his four symphonies, two piano concertos, the Violin Concerto, the Double Concerto, the Haydn Variations, the German Requiem, and the Academic Festival Overture. Brahms consistently vied with Beethoven as the most popular symphony composers (although that competition became more complicated when Mahler began to receive widespread attention in the 1960s). Brahms was often seen as the successor to Beethoven and indeed his music never looked forward from the style of Beethoven, Mendelssohn and Schumann. That position as a classicist and romanticist placed him in direct opposition to proponents of “music of the future,” most notably Franz Liszt and Richard Wagner. The pro-Wagner faction loved Wagner and Liszt’s dramatic art form; Brahms rejected it in favor of his view that music should be pure—music for its own sake. It is true then that Brahms was not a revolutionary in any sense, a trait that brought criticism but also resulted in a loyal and appreciative audience which still exists today. The Piano Concerto No. 1 in D minor, Op. 15 was completed in 1858 when he was only 25. It was his first performed orchestral work. The reception was mixed, at best. Of the first five performances, only one received a positive reaction from the audience. Subsequently

however, the concerto received the recognition it deserved, partly due to support from his friend Clara Schumann. When the Piano Concerto No. 1 in D minor is performed it is usually the most well known piece on the program—unless it appears with Beethoven’s Symphony No. 5 in C minor. The Fifth Symphony is one of the most recognizable for audiences everywhere. Its first performance was unusual in that the program also included the premiere of Symphony No 6 in F Major “Pastoral.” This was a massive, historic concert, presented on December 22, 1808 in Vienna with Beethoven conducting. It lasted more than four hours. The program looked like this: 1.The Sixth Symphony (Premiere) 2.Aria: Ah! perfido, Op. 65 3.The Gloria movement of the Mass in C major 4.The Fourth Piano Concerto (played by Beethoven himself ) 5. (Intermission) 6.The Fifth Symphony (Premiere) 7.The Sanctus and Benedictus movements of the C major Mass 8.A solo piano improvisation played by Beethoven 9.The Choral Fantasy Perhaps the most amazing thing about this - the orchestra had only one rehearsal. That certainly contributed to the fact that the concert was not a complete success. The concert hall was cold, the audience largely uncomfortable. There was a mistake in the Choral Fantasy; Beethoven stopped and started it over again. A year and half later, an important critique of the Fifth appeared and its place as a seminal event in the history of music was secured. Beethoven dedicated the Fifth Symphony to two of his patrons, Prince Franz Joseph von Lobkowitz and Count Razumovsky. (An original manuscript of the Fifth can be seen in the Lobkowitz Palace in Prague, along with other Beethoven and Mozart manuscripts).

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BRECKENRIDGE RIVERWALK CENTER

NATIONAL REPERTORY EHT O&TBRECKENRIDGE EMOCLE W ORCHESTRA DLJOINT ROW WEN MUSIC FESTIVAL CONCERT SATURDAY, JULY 22, 2017 AT 7:30 PM sponsors Pat & Jack Thomas, KUNC, KCME, KUVO, SPRTV, & Rocky Mountain PBS CAR L TOPILOW, conductor K ATHRY N H ATM AK ER, violin

FANFARE FROM OTHELLO GIUSEPPE VERDI (1813 – 1901)

THE LARK ASCENDING

RALPH VAUGHAN WILLIAMS (1872 – 1958)

Kathryn Hatmaker, Violin

SYMPHONY NO.1 FOR STRINGS, 14 BRASS, AND PERCUSSION WORLD PREMIERE ANTHONY PLOG (B. 1947)

I. Allegro II. Andante III. With freedom IV. Allegro

INTERMISSION

OTTORINO RESPIGHI (1879 – 1936)

I. Circus Games II. The Jubilee III. Harvest Festivals in October IV. Epiphany

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SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

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FESTE ROMANE (ROMAN FESTIVALS), P.157

KATHRYN HATMAKER, VIOLIN

We encourage you to share photos on social media. Be sure to #NROMusic Please off cell phones during the concert. Audio Photography, audio and video recording are strictly prohibited. Please turn silence recording and recording video recording are strictly prohibited. The The National National Repertory Repertory Orchestra Orchestra plays plays exclusively exclusively on on pianos pianos provided provided by by Schmitt Schmitt Music. Music.

NATIONAL REPERTORY ORCHESTRA

PROGRAM NOTES

Our program this evening begins with Giuseppe Verdi’s Fanfare from Othello. Although it sounds like an overture, Verdi’s opera doesn’t have one. The Fanfare is from Act III; it heralds the arrival of the delegation from Venice. What we hear tonight is the fanfare arranged by Carl Topilow, combining phrases from various sections of the opera. Like Edward Elgar before him, Ralph Vaughn Williams was the most important English composer of his day. As a composer, he was a nationalist. “Every composer,” he wrote, “cannot expect to have a worldwide message, but he may reasonably expect to have a special message for his own people, and many young composers make the mistake of imagining that they can be universal without at first having been local.” Vaughan Williams wrote The Lark Ascending in 1914 as a work for violin and piano. In 1920 he rescored it for violin and orchestra. The music was inspired by a poem of the same name written by English poet George Meredith. The piece is an evocation of the flight of the lark, sketched with the violin’s flowing passages, ornamented over a light orchestral accompaniment. The result is brilliant. Anthony Plog began studying music at the age of 10, and by the age of 19 he was playing extra trumpet with the Los Angeles Philharmonic under conductors such as Zubin Mehta, James Levine, Michael Tilson Thomas, and Claudio Abbado, to name a few. His first orchestral position was Principal Trumpet with the San Antonio Symphony from 1970-1973 and was followed by a 2-year stint with the Utah Symphony as Associate Principal. He left the Utah Symphony in 1976 to pursue a solo and composition career, and while living in Los Angeles from 1976-1988 supported himself by playing Principal Trumpet with the Los Angeles Chamber Orchestra and the Pacific Symphony and by occasionally playing in the film studios (including Star Trek 1, Gremlins, Rocky 2&3 and Altered States). At the beginning of his compositional career Plog wrote almost exclusively for brass but eventually broadened his compositional horizons and his literature includes operas, chamber works and three children’s operas. Symphony No. 1 has been substantially revised since then. Tonight is the world premiere of the Symphony. The operas by Giuseppe Verdi and Giacomo Puccini were successful; by 1900 Italy had no significant composers of orchestral music. The challenge of restoring the country’s

Written by Douglas Adams

RM PB S.. . C• AB S• CB C• NB

musical tradition fell to Ferruccio Busoni and Ottorino Respighi. Italian music meant opera. While Busoni is something of a forgotten man (few of his works are performed today), Respighi (1879-1936) maintains an important position in the repertoire. His most famous compositions are the three tone poem portrayals of the Italian capital: Fountains of Rome (1916), Pines of Rome (1924) and Roman Festivals (1929). Respighi studied with Nikolay RimskyKorsakov in St. Petersburg, where he was first violist in the Opera Orchestra. His expertise in teaching orchestration greatly influenced Respighi. As is the case with Fountains and Pines, Roman Festivals is a series of four interconnected sections, each with its own identify and mood. The four movements depict four festivals: The Circuses, the Jubilee, the October Festival and the Epiphany. Respighi supplied descriptive paragraphs for each movement. Here they are: Games at the Circus Maximus — A threatening sky hangs over the Circus Maximus, but it is the people’s holiday: “Ave Nero!” The iron doors are unlocked, and the air carries the strains of a religious chant and the howling of wild beasts. The crowd rises and seethes: unperturbed, the song of the martyrs rises, conquers, and is lost in the tumult. The Jubilee — Pilgrims trail along the highway, praying. Finally, from the summit of Monte Mario, there appears to their ardent eyes and yearning souls the Holy City: “Rome, Rome!” A hymn of praise bursts forth and the church bells ring out their reply. The October Festival — The October festival in the Roman castelli (a small fortress), all covered with vines: echoes of the hunt, tinkling of bells, love songs. Then, in the tender evenfall, a romantic serenade trembles in the air. The Epiphany — The night before Epiphany in the Piazza Navona: a characteristic rhythm of trumpets dominates the frantic clamor; above the swelling din float, from time to time, rustic motives, the cadences of a saltarello, the sounds of a barrel-organ, the appeal of the barker, the raucous song of the drunk, and the proud verse in which the people’s soul expresses itself. “Lassàtece passà, semo Romani!” — Let us through, we’re Romans!

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BRECKENRIDGE RIVERWALK CENTER

STRAUSS’ EHT OT EALPINE MOCLE W DL ROW WEN SYMPHONY WEDNESDAY, JULY 26, 2017 AT 7:30 PM sponsors Blue River Bistro, M.A. Deen, Pam & Sonny Wiegand, Carolee & John Hayes, Connie & John Stafford MICH AEL STER N, conductor FOREST MURMURS FROM SIEGFRIED RICHARD WAGNER (1813 – 1883)

POÈME FOR VIOLIN & ORCHESTRA, OP.25 ERNEST CHAUSSON (1855 – 1899)

Carson Marshall, Violin

INTERMISSION ALPINE SYMPHONY, OP.64

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SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

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RICHARD STRAUSS (1864 – 1949)

I. Night II. Sunrise III. The Ascent IV. Entering the Forest V. Wandering near the Stream VI. At the Waterfall VII. Apparition VIII. On Blooming Meadows IX. On the Alpine Pasture X. Going Astray in Thicket and Underbrush XI. On the Glacier XII. Dangerous Moments XIII. At the Summit XIV. View XV. Fog Arises XVI. The Sun Gradually Darkens XVII. Elegy XVIII. Calm Before the Storm XIX. Thunder and Storm XX. Sunset XXI. Vanishing Sound XXII. Night

CORPORATE & VOLUNTEER RECOGNITION CONCERT

CARSON MARSHALL, VIOLIN We encourage you to share photos on social media. Be sure to #NROMusic Please turn off cell audio and video are strictly prohibited. Please silence cellphones phonesduring duringthe theconcert. concert.Photography, Audio recording andrecording video recording arerecording strictly prohibited. TheThe National Repertory Orchestra plays exclusively onon pianos provided byby Schmitt Music. National Repertory Orchestra plays exclusively pianos provided Schmitt Music.

NATIONAL REPERTORY ORCHESTRA

PROGRAM NOTES

Scandinavian and German myths inspired Ricard Wagner’s great drama, Ring des Niebelungen: Das Rheingold, Die Walküre, Siegfried, and Götterdämmerung. Forest Murmurs is a lyrical episode derived from the second act of Siegfred, in which the hero Siegfried meditates on his lost parents in a forest glen where the rustling of trees is portrayed by strings and the birds by flute, clarinet, and oboe. In his libretto, Wagner wrote that while Siegfried is resting in the forest under a linden tree, he “leans back and looks up through the [tree] branches and becomes enchanted by ‘the forest murmurs’ and listens with great interest to the song of a bird in the branches above him.” The bird tells him a beautiful woman named Brünnhilde is asleep on a mountain encircled by a ring of magic fire. Only one who has no fear can pass through the flames and awaken her from sleep. Siegfried immediately sets out to find her. Wagner wrote his own orchestral suite from this scene, weaving together various parts from the opera score into an instrumental work. Poème for Violin & Orchestra, Op.25 is a staple of the violinists’ repertoire. Written in 1896 while he was on holiday in Florence, it is considered Ernest Chausson’s best-known and most-loved composition. While on holiday in 1899, at the age of 45, he ran his bicycle into a wall and was killed. Eine Alpensinfonie (Alpine Symphony) celebrates a day spent in nature. The 22 movements, played through without pause, depict the ascent and descent from an Alpine mountain. Strauss completed the tone poem, his final symphonic work, in 1915, although the original draft had been sketched out years earlier. The Alpine Symphony opens with a moody, dark B-flat “opaque mass” representing the mysterious night on the mountain. Trombones and tuba rise above the blanket of sound, proclaiming the mountain theme that returns in other movements. The mountain theme gives way to the sunrise theme. This is the end of the introduction, followed by the beginning of the journey—the ascent. The rhythms here represent the act of climbing. The brass fanfare represents the rugged, challenging parts of the journey. After these climbing motives, we hear offstage horns announcing the arrival of the hunting party. As Norman Del Mar describes it in his book, Richard Strauss: A critical commentary on his life and works, Vol. 2, Upon entering the wood there is an abrupt change of texture and mood—the “instrumental tones deepen as thick foliage obscures the

sunlight”. Woodwinds produce bird calls. The following sections describe various aspects of the journey, beginning with “Wandering by the Brook,” and continuing through other features of the climb as described by the titles provided by Strauss. During the section called “On the Alpine Pasture”, listen for the use of cowbells and the sounds of bird calls and yodeling. After this peaceful interlude, things begin to get complicated and dangerous until we reach the summit. Suddenly, the climbers arrive at the peak and we hear the “peak motive,” delivered by the trombones. This theme is reminiscent of Strauss’s famous opening to Also Sprach Zarathustra. After this celebration, however, there is a sudden shift in mood as “Mists Rise” and ”The Sun Gradually Becomes Obscured”. “The Calm Before the Storm” begins with an ominous drumroll. Plucking strings on the violins represent raindrops. The piccolo brings flashes of lightning. The last phase of the journey begins with “Thunder and Tempest, Descent”. It is easy to hear the whirling winds and thunder in this section. The orchestration is dense and furious as the climbers begin to retrace their steps and clamber down the mountain. Many of the climbing motives heard on the way to the top reappear in reverse order. Eventually the storm begins to subside as the mountain theme reappears and it is time for sunset. As darkness falls, the sounds of night which opened the symphony return. The brass emerges from this dark blanket of sound and proclaims the mountain theme for a final time. The symphony closes as the violins play a slow, spectral variation of the marching theme, ending with a final dying glide to the last note. The Alpine Symphony continues to be performed often. It was popular enough that in 1981 a recording of Alpine Symphony, with Herbert von Karajan conducting the Berlin Philharmonic, became one of the first compact discs to be pressed.

ELEVATING THE VITALITY OF BRECKENRIDGE. SINCE 1967.

Written by Douglas Adams

WE ARE PLEASED TO BE A CORPORATE SPONSOR OF THE NATIONAL REPERTORY ORCHESTRA.

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BRECKENRIDGE RIVERWALK CENTER

CLOSING EHT OTNIGHT: EMOCLA EW DL R OW WEN HERO’S TALE FRIDAY, JULY 28, 2017 AT 7:30 PM sponsors Barbara Strauss & Paul Finkel, Pam Piper & Dr. Kai Yiu Yeung CAR L TOPILOW, conductor CONCERTO IN B MINOR FOR VIOLONCELLO & ORCHESTRA, ˘ OP.104 ANTONÍN (1841 – 1904) ˘ DVORÁK Music gift donated by Mrs. ˘ Pearl Josephs to the National Repertory Orchestra Library Thomas Carpenter, cello I. Allegro

II. Adagio ma non troppo III. Finale: Allegro moderato

INTERMISSION EIN HELDENLEBEN, OP.40

THOMAS CARPENTER, CELLO

RICHARD STRAUSS (1864 – 1949)

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SATURDAY, JUNE 14, 7:30pm RIVERWALK CENTER

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Music gift donated by John C. Reed & Deborah M. Fassler to the National Repertory Orchestra Library

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ROCKY MOUNTAIN PBS

Please turn off cell phones during the concert. Photography, audio recording and video recording are strictly prohibited. The National Repertory Orchestra plays exclusively on pianos provided by Schmitt Music.

NATIONAL REPERTORY ORCHESTRA

PROGRAM NOTES

Two nights ago, the National Repertory Orchestra presented An Alpine Symphony, one of the great tone poem compositions by Richard Strauss. Tonight we will hear another that was penned about sixteen years earlier. Strauss’s Ein Heldenleben (A Hero’s Life) is a huge tone poem. Although he denied it more than once, this is an autobiographical work. It contains more than thirty quotations from Strauss’ earlier works including Also Sprach Zarathustra, Till Eulenspiegels Lostige Streiche, and Death and Transfiguration. It is the inclusion of references from Strauss’ Don Quixote (delivered by the flute and oboe) in the movement called “The Hero’s Works of Peace” that was the real clue to determining the hero’s true identity. Critics were outraged at what they considered outrageous artistic egotism, despite Strauss’ denials. In a program note he wrote that the hero of the piece was “not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism.” Strauss further described the work this way: “It is entitled ‘A Hero’s Life’, and while it has no funeral march, it does have lots of horns, horns being quite the thing to express heroism. Thanks to the healthy country air, my sketch has progressed well and I hope to finish by New Year’s Day.” He did, on December 27th. Originally, the scores included the following titles but Strauss later instructed that they be omitted. Don’t tell on us, but here they are: 1. “Der Held” (The Hero) 2. “Des Helden Widersacher” (The Hero’s Adversaries) 3. “Des Helden Gefährtin” (The Hero’s Companion) 4. “Des Helden Walstatt” (The Hero at Battle) 5. “Des Helden Friedenswerke” (The Hero’s Works of Peace) 6. “Des Helden Weltflucht und Vollendung” (The Hero’s Retirement from this World and Consummation) Critics believe Strauss’ later works did not live up to the earlier ones. Noted conductor Aantal Dorati said, “Good beginnings and weaker endings are a characteristic of the music of Strauss. And in all of Strauss’ life it was this way—the beginning of his life…so exciting so full of promise, and in the end, under the Nazi shadow. But at least he was a marvelous beginner.” The Nazi shadow was real; the Nazi propaganda machine, directed by Joseph Goebbels, used his music and public image. Strauss was commissioned to compose the Olympic Hymn for the 1936 Olympics in

Berlin. After the war, Strauss maintained that cooperation with the Nazis was the only way to protect his daughter-in-law Alice, who was Jewish, and her two sons. Allied denazification tribunals eventually cleared his name and he returned in 1949 to Garmisch, a mountain resort town in Bavaria, where he died three months after his 85th birthday celebrations. His self-evaluation shows what may be considered a nice sense of humor: “I may not be a first-rate composer, but I am a first-class second-rate composer.” Antonín Dvorák’s Cello Concerto in B ˘ minor, Op. 104, B. 191 was completed in 1895. It remains one of the most popular and important works for cello. It almost never happened. Dvorák ˘ had been asked many times over the years to write a cello concerto. He always refused, saying the instrument simply was not suitable for a solo run. In 1892, Dvorák ˘ moved to New York City and was appointed Director of the National Conservatory of Music of America. In 1894 one of the Conservatory teachers, Victor Herbert, completed his Cello Concerto No. 2 in E minor, Op. 30, and premiered it in a series of concerts. After attending two of these concerts, Dvorák ˘ was apparently convinced that the instrument could be used as the star in a concerto. Since Herbert served as something of a muse for Dvorák, ˘ he deserves a few words about his work and career. Herbert had been principal cello in the orchestra that premiered Dvorák’s ˘ Symphony No. 9. Herbert’s cello concerto was enthusiastically received and continues in the standard repertoire today. Johannes Brahms was Dvorák’s mentor. He ˘ offered to correct the proofs of Dvorák’s Cello ˘ Concerto in B minor prior to its publication. Although Brahms did not write a cello concerto (he did compose a concerto for violin and cello), he knew Dvorák’s work very well. In ˘ 1896, Brahms heard Dvorák’s concerto played ˘ with Brahms’ piano accompaniment. Brahms is reported to have said, “If I had known that it was possible to compose such a concerto for the cello, I would have tried it myself.”

Summer 2017

U June 9- Aug 6

Roald Dahl’s

June 22- Aug 5

July 6- Aug 12

Written by Douglas Adams

Aug 25- Sept 4 We encourage you to share photos on social media. Be sure to #NROMusic Please silence cell phones during the concert. Audio recording and video recording are strictly prohibited. The National Repertory Orchestra plays exclusively on pianos provided by Schmitt Music.

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PLANNED GIVING The Walter Charles Legacy Society was established to recognize those who make a gift to the Orchestra through a bequest, charitable gift annuity, trust arrangement, or other estate plan provision. Your legacy is the gift of classical music for future generations.

WHY MAKE A PLANNED GIFT? Designating a charitable gift to the NRO in your estate plan allows you to: • Provide for the NRO’s future growth and financial security • Receive income and valuable tax savings during your lifetime • Maximize the benefits of your gift for you and your loved ones • Make a significant contribution in support of the NRO’s mission

Both the Operating Fund and the Endowment Trust welcome your gift. In addition to cash donations, the following vehicles can be used to support the NRO.

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MATCHING GRANTS CONSIDER YOUR OPTIONS There are many charitable giving options, some of which increase income and decrease taxes. For example: • • • •

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NRO ARTS SCHOLARSHIP Congratulations to Carly Hough, winner of the National Repertory Orchestra’s annual Arts Scholarship. This scholarship is open to graduating seniors of Summit High School who are planning to pursue a degree in the field of Arts or Arts Administration. Fields of study may include, but are not limited to, music, dance, theater, film, visual and/or multimedia arts. Primary emphasis is placed on career goals, community service and GPA. In addition to her impressive resume, Carly was chosen for her passionate paper about the importance of the arts in education. Carly is planning to attend Ithaca College in New York. She be majoring in film, photography, and visual arts this fall. We wish her the best of luck and it is our hope that her college education will help her climb to new heights.

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This Award was created to honor those individuals who have demonstrated exceptional foresight, fortitude and dedication in support of the National Repertory Orchestra. The recipients of this annual award set a standard of patronage, volunteerism and financial support that few have achieved.

The Outstanding Volunteer of the Year Award is given in recognition of outstanding service, dedication and support of the National Repertory Orchestra.

BARBARA VONDERHEID 2016 PAUL FINKEL 2016 Last year’s honoree was Paul Finkel, a strong community advocate and generous patron of the arts and education. Since retiring here in 1998, he has taken on leadership roles with many local organizations, including the Summit Foundation, Breckenridge Music Festival, Summit Public Radio, the Summit County Library Foundation, Education Foundation of the Summit, Synagogue of the Summit, Summit County Arts Council and FIRC. He is an NRO Sustainer, he has served as Treasurer on the NRO Board of Trustees and today he participates on our Planned Giving Committee, underwrites one of our winter fundraisers, and is the head usher for our concerts. Finkel’s private family foundation, F Cubed, funds educational projects and scholarship programs in Summit County and has endowed the Finkel Auditorium at CMC and the Main Reading Room of the Breckenridge Library.

BOB AND NANCY FOLLETT 2017 Bob and Nancy’s first encounter with the NRO was when the NRO performed in Keystone in 1992. Despite the challenge of a leaky tent, the concerts were always a wonderful experience and the musicians an inspiration. Nancy joined the Board of Trustees and served as both Treasurer and President. Bob served as the chair of the Endowment Committee. They are currently NRO Sustainers. They believe that classical music needs a large measure of help to survive and prosper. The NRO plays a critical role in the future of classical music by offering unique opportunities to young musicians aspiring to be professional career musicians. It also provides patrons the privilege of listening to great music and the opportunity to interact with dedicated and passionate musicians.

NATIONAL REPERTORY ORCHESTRA

Barbara joined the Board of Trustees in January 2012 after serving as Chair/CoChair of the NRO’s fundraiser, Dancing on the Peaks, for two years. Nine months later she was elected President of the Board. She continues to be a member of the NRO’s Board of Trustees. Barbara represents the NRO on the Breckenridge Cultural Coalition and successfully worked with the Breckenridge Creative Arts and the Town of Breckenridge on behalf of the NRO and other BCC members to negotiate use agreements for the Riverwalk Center and other Town owned venues. Barbara and her husband, Mark Vonderheid, are residents of Breckenridge and have participated for many years in the NRO’s Community Link program, hosting several musicians each summer.

PATRICE LARA 2017 The 2017 Outstanding Volunteer is Patrice Lara. She joined the Board of Trustees in early 2009, serving as Trustee Affairs Chairman for four years, before taking on the role of Board President in October 2014 for two years. She continues to serve on numerous NRO committees including Trustee Affairs, Finance, Strategic Planning, Community Engagement Task Force, Planned Giving and the Gala. Patrice and her husband, Ron, love the Community Link program and host several musicians every summer.

OUTSTANDING COMMUNITY SERVICE AWARD & BLUE RIVER BISTRO DINNER HONOREES The Outstanding Community Service Award is given annually to a couple that demonstrate long-tern exemplary support, not only of the NRO but of many Summit County non-profit organizations.

ROBIN HADLEY PHILANTHROPY AWARD The Robin Hadley Philanthropy Award Is given in recognition of unparalleled financial support of the NRO as well as other arts and cultural organizations in Summit County.

ROBIN HADLEY 2017 BARBARA AND JIM CALVIN 2016 Barbara and Jim Calvin are members of the National Repertory Orchestra’s Sustainers group, which is comprised of significant contributors to the organization in time, talent and finances. Barbara is also a current NRO Board member and leader of the Community Link program, which connects NRO musicians with members of the Summit County community. Jim currently serves as chair of the NRO’s Endowment Committee and is Barbara’s right hand man in accomplishing heroic tasks for the Community Link program. When they are not serving the NRO, you will often find them cheering on the Broncos, playing with their grandchildren, traveling to far corners of the earth, and actively participating in their church. Their generosity, boundless energy, and full support of this organization and the entire community deserves to be recognized!

GARY AND PHYLLIS MARTINEZ 2017 Phyllis and Gary Martinez are enthusiastic supporters of the NRO. They have a strong commitment to volunteerism, non-profit development and leadership, and philanthropy. Phyllis’ professional career included fundraising positions for The Keystone Center and Keystone Science School, Heuga Center for Multiple Sclerosis, and Colorado Mountain College. She served on the Boards of The Summit Foundation, Backstage Theatre, Bristlecone Health Services, Breckenridge Film Festival, and she currently is a member of the Climax Area Community Investment Committee. Gary served as both the Breckenridge Town Manager and Summit County Manager. During his tenure as Town Manager, Gary guided efforts to bring the National Repertory Orchestra to Breckenridge, which led to the initial construction of the Riverwalk Center in 1992. His volunteer service has included the Breckenridge Film Festival Board President, The Summit Foundation Board, the Fifth Judicial District Review Commission, Colorado Children’s Chorale Board, and the NRO’s Community Engagement Task Force Chair.

Robin is the recipient of the first annual Philanthropy Award named in her honor. Robin is a former teacher who believes in a “rigorous education” that brings out the best in an individual. Although Robin prefers working behind the scenes and under the radar, she agreed to join the NRO Sustainers. After hearing the annual discussion about the need to increase the funding of the Endowment, she finally said, “Enough talk, let’s get something done” and led with her own significant gift. Less than a year after, Robin agreed to chair the Endowment Fundraising Committee. The Orchestra now boast an endowment of over a $1.7 million.

THE NATIONAL REPERTORY ORCHESTRA ENDOWMENT The NRO Endowment Trust was created in 2004 to provide longterm financial support for the NRO. It continues to grow through the generosity of many donors. We thank all those who have contributed to the long-term financial health of the NRO— and thus the long-term musical health of all the symphony orchestras who depend upon the NRO to help train their musicians.

E N D OW M E N T D O N O R S Contributions made between May, 2016 to May, 2017 Michael Altenberg & Libby Bortz Barbara & James Calvin Kathleen Clabby Geraldine Cohen Cecile L. Forsberg Wendy Friedman Reggie & Pamela Gray Robin Hadley Patrice & Ron Lara Jose-Luis Novo Marc & Joelle Schlesinger Tara Sieber Harold Herring & Susan Lee D. Stevens David Swenson Kate & Jim Taucher Lee & Kathy Terry NROMUSIC.COM

SEASON DONORS & SUPPORTERS

I N M E M O R Y O F D O N AT I O N S Contributions made between May 16, 2016 & May 15, 2017 MARIAN BANNER

Catherine Payne

ANDREW BOGIAGES

Lesley Cleary

CLAIRE BROWN

Tom Brown

ROY CARLSON

Susan Carlson

PATTI CASEY

Tim Casey

PATRICK EDWARD COLEMAN

Patrice & Ron Lara

IN HONOR OF I N H O N O R O F D O N AT I O N S DOUGLAS ADAMS

Kathy & Bill Adams Robert & Cynthia Benson Joshua Blanchard JoAnn Falletta Robert & Nancy Follett Robin Hadley Cy & Lyndia Harvey Peg & Lee Henry Joan Manley Houlton Sandra Mortensen Patty O’Neil Kate & Jim Taucher Barbara Vonderheid Jack & Wendy Wolfe Pam Piper Yeung & Dr. Kai Yiu Yeung LIBBY BORTZ & MICHAEL ALTENBERG

BETSY CROSSMAN

The Denver Foundation Greg & Carol Dobbs Bernice Lane Charlene Shaffer Allan M. Striker Anschel & Bernice Tarlie Kate & Jim Taucher Dick & Naomi Wisott

Charlotte W. Weiler JOANN DUFTY

Bev Warburton

DOTTIE ELFERS

Anita & James Kreider KEN HARPER

Amy Harr

BARBARA & JIM CALVIN

ROBERT LAGUARDIA

Jolie & Eugene Berry John & Caroline Crider Annette & Gerry Fricke Fred & Vicki Menzer Marcia Poirier Janet Ulrey & Carl Richter Carolyn & Bill Schwartz Carol & Ken Vagnini Suzy & Cap Witzler

Jo Ann LaGuardia

EDWARD J. MACK

Carole Mack

DICK MASICA

Joanne Masica MARY METZ

Roger Metz

GARY MILZER, MD

JULIE CHANDLER

Bev Emery

Felice Huntley

STEPHEN C. RUSSELL

John G. Russell

JAMES R. CLABBY

Kathryn M. Clabby

ELDON SELLERS

Anne Shannon

PAUL FINKEL

Ginger & Dick Newkirk NANCY & BOB FOLLETT

Steve & Kathy Corneillier PATRICE LARA

Karen & Mont Levy SANDY MORTENSEN

The Family Mayer Foundation, Inc. Eleanor & William Greco Let Summit Wealth Advisors be the Maestro of your financial orchestra. To schedule an appointment please call: 970-468-8800

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NATIONAL REPERTORY ORCHESTRA

Frank Sargent CARTER SCHUCKER

Barbara Vonderheid Emily Messegee, CFP®

Securities offered through Registered Representatives of Cambridge Investment Research, Inc., a Broker/Dealer, Member FINRA/SIPC. Advisory services offered through Cambridge Investment Research Advisors, Inc., a Registered Investment Advisor. Summit Wealth Advisors, Inc., and Cambridge are not affiliated.

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I N H O N O R O F C A R L TO P I LOW ’ S 4 0 T H A N N I V E R S AY Raydean Acevedo Patricia Ann Dash Dave DePeters & Elizabeth Hainen Greg & Carol Dobbs James L. & Janys M. Leary

Jeannie Mann Roger Metz Betty Naster Barbara Pollack

Joseph G Rakoski John & Gerda Reed Bob & Nancy Swett Suzy & Cap Witzler

M U S I C F O R K I D S C A M PA I G N CO N T R I B U T O R S DOUGLAS & PAMELA ADAMS BARBARA & JIM CALVIN ANDREW COLEMAN LOUISE FOREMAN NANCY & TOM FRENCH CHRISTINA & CHRISTOPHER HAMMOCK

JAMES & JEAN HAMMOND JEANIE & MIKE KRAMER CARRIE LEINBACH SARAH LEINBACH ERIC MAMULA DARLENA & TOM MARMINS SAM & BARBARA MCCLENEGHAN

KATHLEEN & JON MCCLENEGHAN PETER MOORE DEB & TERRY RUCKRIEGLE CHARLES SHAW JENNIFER & JOHN SZARO BARBARA VONDERHEID ROBERT WILLIAMS

Congratulations to the NRO on another spectacular year!

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COMMUNITY LINK COMMUNITY LINK: Connecting our musicians with our community Thank you, Community Link host families! The activities and support you provide make the summer memorable for the NRO musicians and are an essential part of what makes the NRO a unique experience. The NRO provides the musicians with housing, while the host families generously provide their musicians some activities and home-cooked meals. For more information on being an NRO Community Link Host Family, contact Barbara Calvin at (970) 453-7337 or at Barbara.K.Calvin@gmail.com

COMMUNITY LINK HOST FAMILIES Marci & Andrew Aerenson Marlene & Murray Altman Leah Arnold Kim Ruhland & John Bally Marny & Mick Bixler Kady Hubschman & Lyndsey Brozne Patrick Carter & Mike Bruggeman Barbara & Jim Calvin Ron Carlson Rebecca Comstock Jan & Steve Cornwell Susan Propper & Donald Dankner Christine Ebert-Santos MD Amy & John Evans

Mary Francis Nancy & Tom French Annette & Gerry Fricke Helen & Kipp Friedli Johanna & Dan Gibbs Rosemary & Joe Grove Lisa & Jon Hans Bonnie Kirschenbaum Jeanie & Mike Kramer Kathy & John Landon Patrice & Ron Lara Darlena & Tom Marmins Jenny & Bob McIntosh Violeta & John Powell

Donna & David Schroeder Carolyn & Bill Schwartz Arlene & Jim Seltzer Joanne Stolen & Rob Garrity Kate & Jim Taucher Erika Tobias Carol & Ken Vagnini Janice Ward Parish Pam & Sonny Wiegand Duck & Vince White-Petteruti Clare Ann & Jonathan Whitfield Pam Piper & Dr. Kai Yiu Yeung

To the wonderful cooks who donated scrumptious dishes to the 2016 Thursday night dinners, we thank you! Without your contribution, it would not be possible to offer a weekly feast for the hungry musicians, summer staff and interns. We invite anyone with interest in supporting this remarkable weekly dinner to email Nancy French at nkfrench@comcast.net.

2016 THURSDAY COMMUNITY LINK DINNER CONTRIBUTORS Doug & Pamela Adams Kim Ruhland & John Bally Marny & Mick Bixler Barbara & Jim Calvin Jan & Steve Cornwell Joan Davids Amy & John Evans Mary Francis Nancy Kinney & Robert Franken Nancy & Tom French Annette & Gerry Fricke Kipp & Heidi Friedli Lisa & Jon Hans

Diane Henderson Steve Immer Jane Jones Ellie & Sy Katz Bonnie Kirschenbaum Kathy & John Landon Patrice Lara Barbara & Sam McCleneghan Jen McIntosh Janice Parrish Duck & Vince Petterutti-White Violeta & John Powell Karen Schilling

Carolyn & Bill Schwartz Arlene Seltzer Randy & Dawn Smith Joanne Stolen Carol & Ken Vagnini Clare Anne & Jonathan Whitfield Gwen Whitney Pam Piper & Dr. Kai Yiu Yeung

City Market Community Rewards An easy way to support the NRO by doing what you already do, shop at City Market. Hereâ€™s how... 1. Go to www.citymarket.com to register your City Market value card online. 2. Choose the National Repertory Orchestra by using our name or number 10528. 3. Swipe your value card when you shop at City Market and a portion of sales will go directly to the NRO.

NATIONAL REPERTORY ORCHESTRA

EDUCATION AND OUTREACH

STEVE AND PAT LARSON ARTIST-INRESIDENCE PROGRAM

EDUCATION & COMMUNITY ENGAGEMENT OUTREACH PROGRAMS A central mission of the National Repertory Orchestra is education. Each Year, the National Repertory Orchestra creates Education & Community Engagement Outreach programs especially for young listeners. These programs, which are presented at Summit County libraries, camps and pre-schools, include education programs featuring small groups of NRO musicians explaining their instruments and performing age-appropriate chamber works. In addition, the full orchestra performs a Children’s Concert at the Breckenridge Riverwalk Center. The performance is followed by an “Instrument Petting Zoo,” where youngsters can visit with National Repertory Orchestra musicians and get a hands-on experience with orchestral instruments. Thank you to Alpine Bank and the Summit Association of Realtors for their generous support of this important program.

In an attempt to provide musicians with more practical hands-on career development opportunities, the NRO sought feedback from recent NRO alumni, music professors at the top music universities across the country and professional musicians to see how we can improve the festival experience for the musicians. This feedback led us toward creating a more in depth career development program with higher quality educational experiences. Therefore, we are moving from a season with 10 to 15 single event master classes to a season where we are going to bring in a minimum of 5 professional musicians for a full week in residency. During their week in residency, each professional musician will take part in rehearsals, working together with the conductor and the musicians in their section and providing feedback. Our guest artists will also have open lessons for people in their section, hold mock auditions, conduct master classes, take part in panel discussions, and lead seminars and sectionals. This program is intended to give musicians more direct contact with seasoned professionals that will allow them to enter the professional world better prepared for success.

community

Your . Our focus. Each time you use your Arts Loyalty Debit Card, Alpine Bank donates 10 cents per transaction to help the National Repertory Orchestra and other local organizations.

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NROMUSIC.COM

FILM & VIDEO PRODUCTION

MUSIC & ENTERTAINMENT INDUSTRY STUDIES VISUAL ARTS

Learn More and Apply: CAM.ucdenver.edu 303.556.2279 | CAM@ucdenver.edu 62 NATIONAL REPERTORY ORCHESTRA

Laurence Kaptian - Dean NRO (Colorado Philharmonic, section percussion ‘73 and principal percussionist ‘74, alumni concerto soloist ‘85)

We don’t just practice here. We live here. West Brown Huntley has been one of the most trusted legal teams on the Western Slope for over 40 years, offering client services for real estate, land use, business, civil litigation, criminal law, homeowner associations, and wills, trusts & estates.

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WHERE ARTISTRY + INNOVATION SHARE CENTER STAGE music.cmu.edu | Application Deadline: December 1

CMU and National Repertory Orchestra faculty:

Andrés Cárdenes Professor of Violin, Music Director of Orchestral Studies NROMUSIC.COM

The National Repertory Orchestra would like to thank the 2016 Gala Supporters. GALA COMMITTEE Wendy King, Chair Barbara Calvin, Nancy French, Patrice Lara, Terry Lowe, Dana McLure-Barone, Andrea Sobczak, Kate Taucher, Pamela Wiegand

2016 GALA AUCTION DONORS Arapahoe Basin Ski Area Basecamp Wine & Spirits The Boatyard Pizzaria & Grill The Bookies Breckenridge Festival of Film Barbara & Jim Calvin Cherry Creek Grill Cherry Crest Seafood Colorado Native Massage Therapy Colorado Rockies Baseball Club Colorado Rocky Mountain Resorts Colorado Symphony Del Frisco Grille DelaFoto Pet Photography Distinctive Woodwork The Enchanted Biscuit EurAsian Interiors John Fielder FirstBank of Littleton Golden Music Center Greco’s Pastaria Hotel Santa Fe

2016 “CARNAVAL NIGHT IN RIO” GALA 2016 GALA SUPPORTERS

J.F. Sholl Fine Jewelry Keystone Golf Course/ The River Course at Keystone Kindness Yoga George Lasnier & Wendy King Cathy & Jordan Klein Lake Dillon Theatre Company Patrice & Ron Lara The Lodge at Breckenridge & Traverse Restaurant Terry & Dan Lowe MiCasa/Hearthstone The Mountain Goat Peppino’s Pizza & Subs The Photo Shop Precision Ski Proto’s Pizza The Real Dill Rialto Cafe Rio Grande Restaurant Michael & Lauren Ruehring Sheraton Denver Downtown Hotel SOL Store of Lingerie Stout Street Social Summit Gold Kate & Jim Taucher Waterworks Car Wash The Wooden Table

Sponsors Breckenridge Grand Vacations Climax Molybdenum Company First Western Trust John & Florence Fortune Family Foundation John Tobey Event Design ISU Insurance/ Bill & Pam Adams Kaiser Permanente Kitchenscapes Lara, May & Associates, LLC LIV Sotheby’s International Realty Richmond America Foundation Vonderheid & Associates, P.C Whiting-Turner Contracting Co.

Underwriters Ernie & Sharon Magness Blake Donna & Michael Boender Mike Altenberg & Libby Bortz Barbara & Jim Calvin Nancy & Tom French John & Carolee Hayes Wendy King & George Lasnier Janice Ward Parrish Rick Poppe & Jana Edwards Connie & John Stafford Kate & Jim Taucher Pam Piper & Dr. Kai Yiu Yeung

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NATIONAL REPERTORY ORCHESTRA

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SEASON DONORS & SUPPORTERS

CORPORATE & FOUNDATION

Special thanks to the following Businesses and Corporate/Community Foundations for their support of the NRO in cash and/or in- kind donations since May 2016.

$20,000 AND UP Benson Family Foundation Schmitt Music Town of Breckenridge $10,000 - $19,999 Beaver Run Resort Lake Dillon Theatre Company National Endowment for the Arts The Summit Foundation

$5,000 - $9,999 Blue River Bistro Breckenridge Grand Vacations Climax Molybdenum Company Daniels-Houlton Family Foundation Fatty’s Pizzeria Helen M. Harrison Foundation Kaiser Permanente Ski Village Resorts Vail Resorts EpicPromise

$2,500 - $4,999 Art on a Whim Bravo! Vail Music Festival Breckenridge Associates Real Estate Breckenridge Brewery Centura Health/St. Anthony Medical Center First Western Trust Great Western Lodging John & Florence Fortune Family Foundation Kitchenscapes LIV Sotheby’s International Realty Main Street Station Pediatric Dental Group of Summit County Rockridge Building Company Shaw Breast Center & Cancer Clinic Frisco Summit County Senior Citizens Town of Frisco Vail Valley Medical Center The Whiting-Turner Contracting Co. Victor C. Laughlin Trust Wyndham Vacation Rentals

$1,000 - $2,499 Alpine Bank Aspen Grove Kitchen & Bath Axis Sports Medicine Breckenridge Art Gallery Building Hope Carnegie Mellon University Conoco Phillips Company

Outlets at Silverthorne CB & Potts Restaurant & Taproom Columbia Sportswear Breckenridge Creative Cabinetry The Crown Cafe & Tavern CU College of Arts & Media Distinctive Woodworking/Geoff Palmer Downstairs at Eric’s The Family Mayer Foundation Harmony Interiors Heider Trust Henry R. Schwier Charitable Fund High Country Healthcare IBM Corporation Innovative Energy Kenosha Steakhouse & Rita’s Krystal 93 FM / C Rock 103.3 Main Street Outlets Maryland Creek Ranch Modis Restaurant Mountain Comfort Furnishings Lara, May & Associates Organic Male OM4 Oxi Fresh of the Rockies Peak Performance Peak Property Management/Mike Hessel Pediatric Dental Group of Summit County Raitman Art Galleries Range View Rentals Residence Inn by Marriott Breckenridge Sharper Edge Anti-Aging & Rejuvenation Clinic Slifer Smith & Frampton Summit Association of Realtors Summit County Builders Association Summit Sky Ranch The Family Mayer Foundation The North Face Breckenridge Team Player Productions Town of Vail University of Colorado Denver US Bank Foundation Wiegand, Attorneys & Counselors, LLC

$500 - $999 Arts Alive Gallery Axis Sports Medicine Breckenridge Distillery Breckenridge Heritage Alliance Carlson & Carlson Attorneys-at-Law, P.C. Chevron Humankind Colorado Custom Wood Floors Colorado State Bank & Trust Mortgage Group

Ebert Family Clinic Edward Jones Financial/Mark Nunn Fireside Inn Hyman Foundation/Jeffrey Hyman Innovative Energy Inside Source J&M Jewelry KCME 89.3 FM Classical Music KUVO / KVJC Culture & Music La Française French Bakery LoLo Juice MiCasa/Hearthstone Pfizer Foundation Matching Gifts Re/Max – Kouri Wolf Rotary Foundation of Summit County Summit Express Summit Wealth Advisors / Robert Lau & Emily Messegee The Village at Breckenridge HOA Town of Dillon Town of Silverthorne West Brown Huntley PC Wolf Real Estate/Kouri Wolf

$350 - $499 Colorado Mountain College Rocky Mountain PBS Summit Public Radio & TV

$100 - $349 Affinity Wealth Management/Aleda Kresge American Family Insurance Wiese Agency Arrow Insurance Management Blue River Sports Breckenridge Backstage Theatre Breckenridge Dental Group Breckenridge Family Dental Breckenridge Resort Managers Community First Foundation Community Foundation of the Ozarks CS3 Marketing The Denver Foundation - The L&L Foundation Fund Distinctive Woodwork Georgian Square Joint Venture J. L. Sutterley, Architect, P.C. Joy of Sox & Excessories Kroger KUNC Community Radio PNC Foundation Summit Dental Group Summit Smile Center Title Company of the Rockies NROMUSIC.COM

SEASON DONORS & SUPPORTERS PLATINUM CIRCLE

($25,000 and up)

Robert & Cynthia Benson Michael Altenberg & Libby Bortz Barbara & Jim Calvin Robin Hadley

MAESTRO’S CIRCLE

($10,000 to $24,999) M.A. Deen Paul A. Finkel Annette & Ken Hallock Janice Ward Parrish Pat & Jack Thomas

CONCERTMASTER’S CIRCLE

($5,000 to $9,999) Ernie & Sharon Magness Blake John D. Crossman Carolee & John Hayes Joan Manley Houlton Patrice & Ron Lara Pat & Steve Larson Anne & Bill Mills Jana Edwards & Rick Poppe Connie & John Stafford Barbara & David Weaver Pam & Sonny Wiegand Pam Piper Yeung & Dr. Kai Yiu Yeung

MUSICIAN’S CIRCLE

($3,000 to $4,999) Donna & Michael Boender Laurie & William Bolthouse Michael Bruggeman Tim Casey Rebecca & Patrick Depole Robert & Nancy Follett Marty & Melanie Frank Nancy & Tom French Reggie & Pamela Gray George Lasnier & Wendy King Bonnie Kirschenbaum Kathy & John Landon Samuel Bufford & Julia Metzger Sandra Mortensen Ginger & Dick Newkirk Susan & King Pouw Jim & Kay Ross Michael & Lauren Ruehring Barbara Vonderheid

ORCHESTRA PATRON

($2,000 to $2,999) Pamela & Douglas Adams Harriet Bobo Robert & Susan Delaney Kathleen & Thomas Fingleton Wendy Friedman Richard & Renee Goble Jane & Don King

NATIONAL REPERTORY ORCHESTRA

INDIVIDUAL DONORS

Helen & Lester Lemay Darlena & Tom Marmins Joanne Masica Sam & Barbara McCleneghan Michael Molloy Pat Spitzmiller Kate & Jim Taucher Karen & Don White

ORCHESTRA CENTURY CLUB

($1,000 to $1,999) Larry Abston Kathy & Bill Adams Mark & Polly Addison Anonymous Jolie & Eugene Berry Bernard & Judith Bottomley Anne Galluzzo & Charlie Brumbaugh Nancy & Bob Campbell Howard & Sue Carver Nikki & Britton Colquitt John & Jean Fitzgerald Tony & Barbara Flitcraft Annette & Gerry Fricke Louis & Geri Gasperut Bill & Susan Gillilan Robert & Diane Gilmore Cy & Lyndia Harvey John Jenkins Marvin & Carole Johnson Georgia & Glen Kraatz Margery & Donald Langmuir Steve & Susan Lapinsohn Karen & Mont Levy Sherry Lewis Kathy & Steve Loomis Ann McCrerey Fred & Vicki Menzer Lynn Myers Alice & Leonard Perlmutter Barbara Phelan & Carol Reed Gale Roberts Sandra Rush Carolyn & Bill Schwartz Sue Harvey Secker Shirley & Carl Topilow Patty & Ed Wahtera Ginnie Maes & Myron Weinbach Juhree Wendl Suzy & Cap Witzler Jack & Wendy Wolfe

ORCHESTRA SPONSOR

($500 to $999)

Raydean Acevedo Darcy & Blake Anderson Richard & Linda Bateman Bill & Rita Bergman Mick & Marny Bixler Linda Richter & Richard Cheney Cary & Marsha Cooper Steve & Kathy Corneillier Edward & Anne Edward Crane

Burt & Sylvia Darmour Patricia Ann Dash Nancy Kinney & Robert Franken Kipp & Helen Friedli Marilyn & Thomas Gales Marianna & Bill Goslau Linda Graebner Jane M. Hankison Lex & Mitzie Hawkins Peg & Lee Henry James & Sharon Hourihan Katherin & Duane Howell Jeanie & Mike Kramer Peter & Judy Lederer Robert W. Marwin John & Linda McDonald Kathie & Gordon Miller Mark & Sharon Nunn William Pain & Debra Abbott Pain Barbara Pollack Violeta & John Powell Suzanne Price Janet Ulrey & Carl Richter Doug & Nancy Sims Maxine & Martin Solomon Kathy Sonnanstine James & Rebecca Spearot Alan & Elizabeth Swanson Lee & Kathy Terry Carol & Ken Vagnini Jane & Frank Venable Kouri Wolf Susan & Austin Young

ORCHESTRA CONTRIBUTOR

($250 to $499)

Leslie & Philip Aaholm Pam Adams Liz & Tuck Aikin Murray & Marlene Altman Monica & Scott Barker Sue & James Bicknell Tom Brown Chris Cincera James & Kathryn Clabby Donna & Ted Connolly Jane Peterson & Kenneth Cremer Susan Propper & Donald Dankner Roger & Carol Dutton Evan & Kim Ela Michael & Alice Epstein Norton Berlin & Jo Fetterman Joan & Lester Garrison Robert Graham Rose Mary & Joseph Grove Jerry Gruber Jim & Jeanie Hammond Joyce Herron Joel & Christine High Becky & Warren Johnson Belinda & Anthony Jones Jr. Anita & James Kreider Donald Leach

John Graham & Lorin Lear David Lindstrom Win & Susan Lockwood Carol & Wayne Lockwood Jeannie Mann Lynn E. Hornbrook & Linda McNeive Michael & Mary Moyer Robert & Judi Newman Linda & Jim Northrop Alan Nye Blaze Panariso Catherine Payne Marcia Poirier Bill and Cindy Putnam Susie & Jeff Raizner Joseph G Rakoski John G. Russell Jonathan & Toni Saiber Tatiana Sanin Joan Schubart Spencer & Kathleen Seery Anne Shannon James & Adrienne Sielaff Randy Smith David & Denise Snipes Bob & Nancy Swett John & Pat Taylor Eileen Terens Jeri Jorgensen & Don Verhaeghe Tom & Emily Wahl Dave & Mary Whitham Linda & Richard Wiesner Robert Williams & Treva Womble

ORCHESTRA FRIEND

($100 to $249)

Lorraine & James Adams Jeff & Julie Anderson Anonymous Leah Arnold Rita & Jeffrey Aron Barbara Atkins Kathleen Martynowicz & Jon Bader Sandy & Steven Bainbridge Janis Bakken Judy & Bill Batton Ellen & Steve Blank Darrin Blume Michael & Peggy Borkon Minnie & Jerry Bowden Walter G. Briney Dareth Newley & Mike Bristow Sandi & Bill Bruns Gary Wilkinson & Joyce Burford Art & Marilynn Burger Susan Carlson Julie & Jim Chandler Anne Marie & Dayton Chapin Marnie & Bob Chisholm Rogers Brewbaker & Jolene Christensen Lesley Cleary Andrea & Stephen Coleman

James & Katherine Conely Rosemary & Harvey Cove John & Caroline Crider Louise & Roger Crosby Betsy & Ron Cytron Judy Avey & John Darling Brian Moriarty & Joan Davids Diana & Don Dettmering Greg & Carol Dobbs Ted & Karen Dreier Becky & Kevin Durham Karen & Lloyd Edraney Norman Eiss Bev Emery Alan Evans & Maureen Logan Maria & Scott Evans JoAnn Falletta Allen Fazendin Moncia & Jeff Fazendin Chris & Rose Field Cecile L. Forsberg Mary R. Francis Ron & Jacque Frazzini Piper & Lance French Casey Kaptur & Julie Fritts-Kaptur Diane & Hank Fuchs Tim & Ann Gagen Patricia Gauron Eleanor & William Greco Suzanne Greene Brook & Brian Griese Beth & Neil Groundwater Twyla & Doug Gurlea Stan & Mary Hamilton Scott Hamilton Christina & Christopher Hammock Don & Jeanette Hansen Arthur & Lilly Hardin Richard & Nancy Henry Marc & Marilyn Hogan Sandra Holdgreve Mike & Jan Huiatt David & Johane Hunter Nancy N. Hurd Maryann Ill Kelly & Chris Inmann BC & Michael Jacoby Jayoung Joh Gary W. Johnson Sue Juergensmeier Marjorie & Robert Julian Dale & Judith Kesler Bill & Pat Kessler Margie Kinslow Cathy & Jordan Klein Craig Phillip Knox Jim & Polly Kuelbs Kenyon & Karen Kugler Dale & Marilyn Kuhn Karen & Gary Lach Bernice Lane James L. & Janys M. Leary Steve Levy

Danielle Liagone Lloyd-Monson Family Donald & Marie Ann Logan Jim & Diane Luellen Carole Mack Henry Mahlman Joelyn Mann Gary & Phyllis Martinez Beverly David McArthur Gaelen McCormick Anne Mead Jim & Peggy Melhouse Roger Metz CJ Milmoe Peter Moore Daria & Larry Moskowitz Sheila Nevin Jerry & Willow Nisker Jose-Luis Novo Patty Oâ€™Neil Nancy & Dave Oelz Don Parsons Cathy & John Pershing David & Rhona Pessel Patricia & Wayne Powell Matt & Susan Rawley John & Gerda Reed Patrice & Paul Reilly Sandy & Gail Richardson Jason Rodon Dr. John Roehm Robert Rottman Karen & Stan Ruden Steven & Pamela Rusch Jeffery and Pamela Rush Sherry & Frank Sargent Marcia & Allan Schutt Richard & Beth Seeley Ron & Jeni Shelton Norma Shultz Donald & Debbie Silversmith Steve & Sandra Smith Jay & Helen Smith Mark & Peggy Smith Andrea & Gene Sobczak Tim Steele & Inge La Cour Rick & Kimberly Lord Stewart Marce Strickland & Robert Kryter Allan M. & Helena Striker Megan & Chris Stromberg Carol Barrons & Martin Strull Mike & Karen Svetlic David & Zandra Swenson Michael Lipfield & Jill Tabak Geri & Buddy Thomas Susan & John Thornton Pat & Kathy Thrall Joan Tilden Sally Covington & Thomas Townley Laurence & Isabell Trerotola Janet Trojak

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SEASON DONORS & SUPPORTERS

INDIVIDUAL DONORS & IN-KIND DONORS

These donors have generously given goods or services to the NRO between the dates of May, 2016 to May, 2017

ORCHESTRA FRIEND CONTINUED ($100 to $249) Marilyn Turner June Twinam Debra S. & Harold Tyber Lou Wagner Leonard & Roberta Waldbaum Andrea & Loren Weinstein Dan Welcher Bill & Charlie Welsh Eden & Phyllis Wenig Rick & Carol Anne White Carmen & Steve Wiest Marylin Withers Rich & Sara Wrenn Mary Jane & Hans Wurster Christine Yuhas Mary Zulack

IN KIND DONORS 5-Star Catering A Clean Sweep Douglas & Pamela Adams Adobe Alpine Sports Arapahoe Basin Ski Area Art on a Whim Basecamp Wine & Spirits Beaver Run Resort Andrea & Paul Best Big O Tires Blitz Paintball Blue Sage Spa The Boatyard Pizzeria & Grill The Bookies Breckenridge Backstage Theatre Breckenridge Brewery Breckenridge Creative Arts Breckenridge Distillery Breckenridge Festival of Film Breckenridge Gallery, LLP Breckenridge Golf Club Breckenridge Grand Vacations Breckenridge Jewelers Breckenridge Recreation Center The Briar Rose Broken Compass Brewing Company

NATIONAL REPERTORY ORCHESTRA

Burke & Riley’s Irish Pub Cabin Fever / The Christmas Store Barbara & James Calvin The Canteen Thomas Capp Julie & Jim Chandler Cherry Creek Grill Cherry Crest Seafood The Chocolate Therapist Colorado Avalanche Hockey Team Colorado Mountain College Colorado Native Massage Therapy Colorado Rockies Baseball Club Colorado Rocky Mountain Resorts Colorado Symphony Orchestra Columbine Garden & Lawn Care Creatures Great & Small Cucumber Creek Boutique Brian Moriarty & Joan Davids Christina Davis Joe Davis Daylight Doughnuts Del Frisco Grille Dela Foto Pet Photography Denver Zoo Dillon Marina Disneyland Distinctive Woodwork Divide Ranch & Club Downstairs at Eric’s Barbara East Elitch Gardens Theme & Water Park The Enchanted Biscuit Estee Lauder Companies /The Cosmetics Company Store EurAsian Interiors Amy & John Evans Fatty’s Pizzeria, INC John Fielder FirstBank of Littleton Gregory & Lesley Flaks Mary Francis Nancy & Tom French Annette & Gerry Fricke

Frisco Adventure Park Frisco Rowing Center Georgetown Loop Railroad Glenwood Caverns Adventure Park Golden Himalaya Golden Music Center David Gonzales Marianna & Bill Goslau Greco’s Pastaria Beth & Neil Groundwater David Hanley Heinz Salon High Country Cleaning Hotel Santa Fe J.F. Sholl Fine Jewelry JetBlue Airways Jane Jones Joy of Sox & Excessories Kenosha Steakhouse Keystone Golf Kindness Yoga Joseph King George Lasnier & Wendy King Bonnie Kirschenbaum Cathy & Jordan Klein Kut & Klip Lake Dillon Theatre Company Kathy & John Landon Patrice & Ron Lara Brian Lecklitner The Lodge at Breckenridge & Traverse Restaurant The Lost Cajun Terry & Dan Lowe Sam & Barbara McCleneghan Christopher McHarg MiCasa/Hearthstone Microsoft Motherloaded Tavern Mount Princeton Hot Springs Mountain Angler The Mountain Goat Murdoch’s Ranch & Home Supply Northside Pizza Olive Fusion Overland Sheepskin Company Peak A Boo Toys Pediatric Dental Group of Summit County Sally & Butch Peel

Peppino’s Pizza & Subs The Photo Shop Violeta & John Powell Precision Ski Liz & Randy Price Proto’s Pizza Raven Golf Club at Three Peaks Ready Paint Fire The Real Dill Rialto Cafe Rio Grande Lelija Roy Ruby Jane Michael & Lauren Ruehring John Bally & Kim Ruhland Jost & Margot Schmitt Schmitt Music CompanyColorado The Sculpting Spa Service Monkey Sheraton Denver Downtown Hotel Tara Sieber & Chris Cichocki Silverthorne Recreation Center Ski Butlers SOL Store of Lingerie Stage Coach Luxury Limousine Stout Street Social Summit Express LLC Summit Gold Summit Mountain Rentals Sun Logic Pam Swift Kate & Jim Taucher Holistic Therapeutic Massage Phillip A. Treuer Vail Resorts Barbara Vonderheid Chris & Nancy Wackman Waterworks Car Wash Vince & Duck White-Petteruti Pamela & Sonny Wiegand The Wooden Table Pam Piper & Dr. Kai Yiu Yeung Young Colors/ Cowboys & Daisies

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ABOUT THE NRO

CONDUCTORS

CARL TOPILOW |

m u s i c d i r e c to r

Music Director and Conductor Carl Topilow, currently in his 40th year with the National Repertory Orchestra, has led the orchestra to the forefront of summer music festivals. He has assisted in the training of talented young musicians and conductors for positions in orchestras in the United States and abroad. His manner of presenting the music through musical illustrations and guides has enhanced the concert experience for the NRO’s appreciative audiences. Topilow is the founding conductor of the Cleveland Pops Orchestra, serves as conductor and director of the orchestral program at the Cleveland Institute of Music, and is also music director and conductor of the Firelands Symphony Orchestra in Sandusky, Ohio. Past positions have included principal pops conductor with the Toledo Symphony and Southwest Florida Symphony. He has served as guest conductor for more than 120 orchestras in 37 states and 12 foreign countries. Future performances will take him to the orchestras of Fresno, South Bend, Toledo, and Wichita. He always feels at home as guest conductor, invariably finding NRO alumni wherever his travels take him. Topilow’s wife Shirley is the Director of the Morgenstern Dance Studio and President and CEO of the Cleveland Pops Orchestra. Daughter Jenny, an NRO alumna from the 2001 and 2003 seasons, is a member of the Charlotte Symphony Orchestra. This fall, daughter Emily will be starting her junior year at Bowling Green State University (OH) where she studies psychology and marketing, and performs as a violinist with the university orchestra. Carl’s hobbies include reading, foreign languages, traveling, golf, and especially enjoys his time with his two grandchildren, Edie and Arlo.

BRETT MITCHELL |

JU LY 1 s t

Hailed for delivering compelling performances of innovative, eclectic programs, Brett Mitchell has been named the fourth Music Director of the Colorado Symphony, beginning in the 2017-18 season. Prior to this four-year appointment, he will serve as the orchestra’s Music Director Designate during the 2016-17 season. Mr. Mitchell is currently the Associate Conductor of The Cleveland Orchestra. He Joined the orchestra as Assistant Conductor in 2013, and was promoted to his current position in 2015, becoming the orchestra’s first Associate Conductor in over three decades. Mr. Mitchell also currently serves as the Music Director of the Cleveland Orchestra Youth Orchestra, which he recently let on a four-city tour of China, marking the ensemble’s second international tour and its first to Asia. In addition to his positions, recent and upcoming guest engagements include appearances with the Dallas, Detroit, National, Houston, Indianapolis, Milwaukee and Oregon symphonies, the Rochester Philharmonic, and the Saint Paul Chamber Orchestra. From 2007 to 2011, Brett Mitchell led over one hundred performances as Assistant Conductor of the Houston Symphony, to which he frequently returns as a guest conductor. He also held Assistant Conductor posts with the Orchestre National de France and the Castleton Festival. In 2015, Mr. Mitchell completed a highly successful five-year tenure as Music Director of the Saginaw Bay Symphony Orchestra, where an increased focus on locally relevant programming and community collaborations resulted in record attendance throughout his tenure. Born in Seattle in 1979, Brett Mitchell holds degrees in conducting from the University of Texas at Austin and composition from Western Washington University.

M I G U E L H A RT H- B E D OYA |

JU LY 7 t h

Grammy®-nominated and Emmy Award-winning conductor Miguel Harth-Bedoya is Music Director of the Fort Worth Symphony Orchestra and Chief Conductor of the Norwegian Radio Orchestra in Oslo. He is also the Founder and Artistic Director of Caminos del Inka, Inc., a non-profit organization dedicated to performing and promoting music of the Americas. Mr. Harth-Bedoya has appeared as a regular guest conductor with major American orchestras including Chicago, Boston, Cleveland, Philadelphia, Minnesota, Atlanta, Baltimore, Dallas, Seattle, New York, Indianapolis, and the National Symphony. He is also a regular guest at major North American festivals. Harth-Bedoya has led top orchestras throughout Europe, Australia, New Zealand, Asia, and South America. Summer 2016 saw his Japanese debut conducting both the NHK Symphony and Tokyo Metropolitan Symphony Orchestras. Equally at home in the theatre, Harth-Bedoya conducted the 2015 world premiere of Jennifer Higdon’s first opera, Cold Mountain, for Santa Fe Opera. Other notable operas include La Bohème at English National Opera, Barber of Seville with the Canadian Opera Company, Tosca and Un Ballo in Maschera for Minnesota Opera, and five productions of Golijov’s Ainadamar. An active recording artist, Mr. Harth-Bedoya’s discography includes recordings on Harmonia Mundi, Deutsche Grammophon, Decca, CSO Resound, and AVIE. Born and raised in Peru, Mr. Harth-Bedoya received his Bachelor of Music degree from the Curtis Institute of Music and his Master of Music degree from The Juilliard School. He was previously Assistant Conductor of the New York Philharmonic under Kurt Masur, and Associate Conductor of the Los Angeles Philharmonic under Esa-Pekka Salonen. He also served as Music Director of the Auckland Philharmonia, Eugene Symphony, Lima Philharmonic, and the New York Youth Symphony at Carnegie Hall.

NATIONAL REPERTORY ORCHESTRA

T I T O M U Ñ OZ |

JULY 17 t h

In his third season as Music Director of The Phoenix Symphony, Tito Muñoz is increasingly recognized as one of the most gifted and versatile conductors of his generation. He previously served as Music Director of the Opéra national de Lorraine and the Orchestre symphonique et lyrique de Nancy in France. Prior appointments include Assistant Conductor positions with The Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra and the Aspen Music Festival. Mr. Muñoz’s recent and upcoming guest appearances include the Cleveland Orchestra, Atlanta Symphony, Baltimore Symphony, Indianapolis Symphony, North Carolina Symphony, Saint Paul Chamber Orchestra, Orchestra of St. Luke’s, National Repertory Orchestra, Calgary Philharmonic, Royal Conservatory of Music in Toronto, and a residency at the Butler School of Music at the University of Texas in Austin. Additional international engagements include the Frankfurt Radio Symphony, SWR Sinfonieorchester, Deutsche Radio Philharmonie Saarbrücken, Orchestre Philharmonique de Marseille, Sao Paolo State Symphony, and Brazilian Symphony Orchestra. Committed to working with young artists, Mr. Muñoz has conducted performances at the Aspen Music Festival, Boston University Tanglewood Institute, Cleveland Institute of Music, Indiana University, Kent/Blossom Music Festival, Music Academy of the West, New England Conservatory, New World Symphony, Oberlin Conservatory, as well as led conducting classes. Muñoz was a prizewinner in the 2010 Sir Georg Solti International Conducting Competition. He made his professional conducting debut in 2006 with the National Symphony Orchestra at the Kennedy Center as a participant of the National Conducting Institute, followed by his Cleveland Orchestra debut at the Blossom Music Festival that same year.

K A R I NA C A N E L L A K I S |

JU LY 19 t h

Winner of the 2016 Sir George Solti Conducting Award, Karina Canellakis has rapidly gained international recognition as one of today’s most dynamic and exciting young American conductors. In summer 2017, Canellakis makes debuts with the Los Angeles Philharmonic at the Hollywood Bowl, and with the Scottish Chamber Orchestra with whom she will tour the Highlands. Notable debuts of her 2017/18 season include the London Proms with the BBC Symphony Orchestra, Orchestre de Paris, Berlin Radio Symphony Orchestra, Gürzenich Orchester in Cologne, Bamberg Symphony, Spanish National Orchestra and Choir, Netherlands Philharmonic, Hallé Orchestra, Iceland Symphony, National Arts Centre Orchestra in Ottawa, and the symphony orchestras of Indianapolis, Phoenix, Seattle, and Utah. In addition, she conducts Mozart’s The Magic Flute at the Zurich Opera House. Last season, she made debuts with the Swedish Radio Orchestra, Royal Scottish National Orchestra, Orchestre National de Lyon, Luxembourg Philharmonic, and the City of Birmingham, Milwaukee, Toronto, and Vancouver symphony orchestras, among others. A virtuoso violinist, Canellakis was encouraged to pursue conducting by Sir Simon Rattle while a member of Berlin Philharmonic’s OrchesterAkademie. She played regularly in both the Berlin Philharmonic and Chicago Symphony Orchestra for several years, and has appeared as guest concertmaster of the Bergen Philharmonic in Norway. Karina Canellakis served for two seasons as Assistant Conductor of the Dallas Symphony Orchestra (2014-2016). She was a recipient of a 2015 Solti Foundation U.S. Career Assistance Award, and the winner of the 2013 Taki Concordia Conducting Fellowship. She holds a Bachelor’s degree in violin from the Curtis Institute of Music and a Master’s degree in orchestral conducting from The Juilliard School.

M I C H A E L ST E R N |

JU LY 26 t h

Conductor Michael Stern is embarking on his 12th season as Music Director of the Kansas City Symphony and 17th season as Founding Artistic Director and Principal Conductor of the IRIS Orchestra. Stern and Kansas City have been hailed for their remarkable artistic ascent, original programming, organizational development and stability, and the extraordinary growth of its varied audiences since his tenure began. Since 2008, Stern and the orchestra have partnered with Grammy®Award-winning Reference Recordings for an ongoing series of highly praised CDs. IRIS Orchestra in Germantown, Tennessee is widely praised for the virtuosity of its playing; the depth and variety of its programming, with special emphasis on American contemporary music; and its acclaimed recordings on the Naxos and Arabesque labels. Under Stern’s direction, IRIS has commissioned and premiered works a wide variety of works by an array of esteemed composers. In North America, Stern has conducted the Atlanta, Baltimore, Chicago, Cincinnati, Houston, Indianapolis, National (Washington, D.C.), Montreal, Pittsburgh, St. Louis, Seattle and Boston symphonies, the Cleveland and Philadelphia orchestras, as well as the New York Philharmonic. Michael Stern has led orchestras throughout Europe and Asia, including the London Symphony, London Philharmonic, Royal Stockholm Philharmonic, Orchestre de Paris, Helsinki Philharmonic, Budapest Radio Symphony Orchestra, Israel Philharmonic, Moscow Philharmonic, National Symphony of Taiwan, Tokyo’s NHK Symphony and the Vienna Radio Symphony, among many others. Stern received his music degree from the Curtis Institute of Music in Philadelphia. He is a 1981 graduate of Harvard University, where he earned a degree in American history. NROMUSIC.COM

ABOUT THE NRO

GUEST ARTISTS

C H R I ST O P H E R TAY L O R |

june

10 t h

Among his generation of pianists, Christopher Taylor stands out as an innovative musician with a diverse array of talents and interests. During the past few years he has appeared regularly in many important concert halls and developed a loyal following throughout the United States and abroad; critics hail him as “one of the most impressive young pianists on the horizon today” (The Washington Post) and “frighteningly talented” (The New York Times). In recent seasons Mr. Taylor has concertized around the globe, performing throughout Europe, Asia, and the Caribbean. At home in the U.S. he has appeared with such orchestras as the New York Philharmonic, Los Angeles Philharmonic, Colorado Symphony, Detroit Symphony, St. Louis Symphony, Atlanta Symphony, Houston Symphony, and the Boston Pops. In addition to his busy concert schedule, he currently serves as Paul Collins Associate Professor of Piano Performance at the University of Wisconsin in Madison. He pursues a variety of other interests, including: mathematics, philosophy, computing, linguistics, and biking. Mr. Taylor lives in Middleton, Wisconsin, with his wife and two daughters. Christopher Taylor is a Steinway artist.

M I C H A E L A PA E T S C H |

j u ly

7th

Michaela Paetsch’s playing has been described as “gloriously charged…beguilingly velvety” (The Strad). Her captivating artistry is celebrated for the soaring vitality and the personal commitment she shows her audiences. She grew up in a musical family on a mountain in Colorado Springs. “Making music and performing with my family chamber ensemble was the most important part of my development as a performing artist,” Michaela says. “I grew as a soloist as well as a chamber musician. These experiences set me up for life! This family chamber ensemble still exists – in extended form, and has performed in Colorado as well as in Europe.” Michaela has garnered international attention and numerous awards, including first prize in the G.B. Dealey International Competition, a bronze medal in the Queen Elisabeth International Competition, and the prize for the Russian Composition by Juri Falik at the International Tchaikovsky Competition. Michaela has performed as soloist, recitalist, and chamber musician in the major musical centers of the world, including New York’s Carnegie Hall and Avery Fischer Hall, and the Library of Congress (in Washington, D.C.). She has played in major music festivals such as Marlboro (Vermont), Davos (Switzerland), Brandenburg Summer Concerts (Berlin), Banff (Canada), Boulder Bach Festival, “Mostly Mozart” in New York, the Rhein-Sieg and the Niederrhein Chamber Music Festivals (both in Germany).

ST E P H E N H O U G H |

j u ly

19 t h

Stephen Hough is regarded as a renaissance man of his time. Over the course of his career he has distinguished himself as a true polymath, not only securing a reputation as a uniquely insightful concert pianist, but also as a writer and composer. Mr. Hough is commended for his mastery of the instrument along with an individual and inquisitive mind which has earned him a multitude of prestigious awards and long-standing international following. In 2001 Mr. Hough was the first classical performing artist to win a MacArthur Foundation Fellowship. Stephen Hough has appeared with most of the major European and American orchestras and regularly plays recitals in major halls and concert series around the world. He is also a regular guest at festivals including the BBC Proms and many more where he has made over 20 concerto appearances. Additionally, Mr. Hough’s catalogue of over 50 albums have garnered international prizes. The Gramophone ‘Gold Disk’ Award in 2008, named his complete Saint-Saens Piano Concertos as the best recording of the past 30 years. Mr. Hough resides in London where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School.

K AT H RY N H ATA K E R |

j u ly

22 n d

Kate Hatmaker enjoys a varied career as performer, educator and entrepreneur. She is the Executive and Artistic Director of Art of Élan (www.artofelan.org), a San Diego chamber music organization committed to bringing classical music to diverse audiences, and has been a violinist with the San Diego Symphony since 2006. Ms. Hatmaker has been a featured soloist with a variety of North American orchestras and has performed at the Vail International Dance Festival, La Jolla Music Society’s SummerFest and the Strings Music Festival. She teaches privately and at the Coronado School of the Arts and is a frequent chamber music recitalist and guest clinician.

NATIONAL REPERTORY ORCHESTRA

SUMMIT COUNTY DENTISTS

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Summit Dental Group

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MUSICIANS ASSISTANT

CONDUCTOR & VIOLIN

R A D U M A R I A N PA P O N I U |

co-concertmaster

JOHN & KATHY LANDON CHAIR Originally from Western Massachusetts, Carson received his Bachelor of Music from Rice University. He has attended Aspen Music festival, and in 2016 attended Music Academy of the West. In 2012 he performed on the PBS radio show “From the Top” and is a recipient of the Jack Kent Cooke young artist award. Carson is an avid fly-fisherman and tea enthusiast, and is currently pursuing a Masters of Music at Rice University, studying with Paul Kantor.

VIOLIN

Madeleine Vaillancourt co-concertmaster

VIOLIN

Hattie Ahn VIOLIN

21 s t &

j u ly

16 t h

Born in Romania in 1989, conductor and violinist Radu Marian Paponiu began studying the violin at age seven, moving on to study privately with Carmen Runceanu and Stefan Gheorghiu. After coming to the United States at the invitation of the Perlman Music Program, Radu completed two degrees in violin performance at the Colburn School Conservatory of Music in Los Angeles. Beginning his conducting studies with Maxim Eshkenazy and continuing with Yehuda Gilad and Alexander Treger, Radu was appointed Assistant Conductor of the American Youth Symphony in the spring of 2011. Additionally, during his time in Los Angeles, Radu frequently conducted the Colburn Conservatory Orchestra, Colburn Chamber Orchestra, Colburn Youth Orchestra, and the Colburn Contemporary Players. Radu recently completed his Master of Music degree in Orchestral Conducting at the New England Conservatory in Boston, working privately with Hugh Wolff. Since the fall of 2016, Radu divides his time between Boston and New York, where he serves on the conducting faculty for the Juilliard Pre-College Division. During the 2016-2017 season, Radu will appear as guest conductor with the Naples Philharmonic and the North Carolina Symphony.

Assistant Conductor

Carson Marshall

june

Eduardo Rios

co-concertmaster

VIOLIN

JANICE WARD PARRISH CHAIR Violinist Madeleine Vaillancourt made her Carnegie Hall Debut with the Metropolitan Youth Orchestra at 17. She has been featured as a soloist with Aspen Philharmonic Orchestra, New York Chamber Players, Island Symphony Orchestra, Colburn Orchestra, National Repertory Orchestra, and Massapequa Philharmonic. Madeleine was a full-scholarship student at the Aspen Music Festival in 2012, 2013, and 2015. Madeleine is currently a student at the Colburn Conservatory of Music where she is co-concertmaster of the Colburn Orchestra.

KING & SUSAN POUW CHAIR Hattie Ahn is currently finishing her Master of Music in violin performance at The Jacobs School of Music at Indiana University, studying with Jorja Fleezanis. She received her Bachelor of Music at Oberlin Conservatory, under Milan Vitek. Hattie performs on a violin by Antonio Sgarbi, 1902, on generous loan from the Rachel Barton Pine Foundation. In addition to music, she loves spending time outdoors and looking at corgi pictures.

NATIONAL REPERTORY ORCHESTRA

Yordan Tenev

assistant principal second

VIOLIN

Sarah Berger VIOLIN

MIKE BRUGGEMAN CHAIR Winner of the 2015 Sphinx Competition, twentyone-year old violinist Eduardo Rios was born and raised in Lima, Peru. He made his American debut with the Houston Symphony at age nineteen. Other solo appearances include the Nashville Symphony, the Charlotte Symphony and the Brevard Concert Orchestra. Mr. Rios is an Artist Diploma candidate at the Colburn Conservatory of Music, where he studies with Robert Lipsett. He is currently co-concertmaster of the Coburn Orchestra.

CAROLYN & BILL SCHWARTZ CHAIR Born in Plovdiv, Bulgaria, Yordan Tenev began studying the violin at age six. He went on to study at Louisiana State University and Indiana University, Bloomington with Prof. Kevork Mardirossian. Yordan has attended numerous festivals in the US and Europe, including Spoleto Festival, National Repertory Orchestra, AIMS in Austria and the Aldebourgh World Orchestra. Yordan is currently working towards his master’s degree at the Lynn University Conservatory in Boca Raton, FL with Professor Carol Cole.

CONNIE & JOHN STAFFORD CHAIR Originally from Denver, Colorado, Sarah is pursuing her BM in violin performance at Eastman School of Music. While studying privately with Renée Jolles, she has worked with various ensembles such as the Eastman Philharmonia, Collegium Musicum, and OSSIA New Music. Last summer, Sarah participated in the New Mexico Chamber Music Festival, working with members of the American String Quartet. Additionally, she studied with William Preucil, David Coucheron, and Jonathan Carney at Brevard Music Center.

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Sarah Biagini VIOLIN

Jack Bogard VIOLIN

Julia Anne Castellanos VIOLIN

Hannah Cartwright VIOLIN

JOHN & VIOLETA POWELL CHAIR A native of La Crescenta, California, Sarah is currently pursuing her Bachelor of Music in violin performance at the Cleveland Institute of Music along with a minor in marketing from Case Western Reserve University. Her primary teachers include Joan Kwuon and Bing Wang. She is an active orchestral player, being a member of the Firelands Symphony as well as attending festivals such as Aspen Music Festival and Round Top Festival Institute.

DARLENA & TOM MARMINS CHAIR Growing up in Cincinnati, Ohio, Jack Bogard picked up the Irish Fiddle when he was seven years old. Finding his way to classical violin, he continued his studies at CCM where he studied classical violin with Gabe Pegis and Gershon Gerchikov as well as taking Jazz and Improvisation lessons from Paul Patterson. He graduated as a Cincinnatus Scholar in 2017 with a bachelor’s degree in Jazz Studies. Besides violin, Jack enjoys dogs, hiking, and Brazilian Samba.

NANCY & TOM FRENCH CHAIR An east coast native, Julia earned a BA in violin performance from the University of New Hampshire in 2009. She earned a Master of Music from Colorado State in 2016 and is now an active performer in Colorado, playing for the Fort Collins Symphony, Cheyenne Symphony, and Greeley Philharmonic. Her primary teachers include Pamela Hentges, Michael Davis, and Keng Yuen Tseng. In addition to violin, Julia enjoys bread baking, literature, and the great outdoors.

MICHAEL & KATHIE MASSEY CHAIR A native of Wichita, Kansas, Hannah began studying violin at age three. She recently completed her Masters of Music at DePaul University studying with Janet Sung. She has a Bachelor of Music from NYU where she studied with Gregory Fulkerson. Back for her second summer in the NRO, she has also attended Bowdoin Music Festival, Round Top Festival, and The Castleman Quartet Program. This fall she will be joining the Civic Orchestra of Chicago.

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MUSICIANS VIOLIN

Liang Dong VIOLIN

Vladimir Gebe VIOLIN

Katherine Kobylarz VIOLIN

Kelly Sohyoung Lee VIOLIN

VICTOR C. LAUGHLIN FOUNDATION CHAIR Liang Dong was born in Zhengzhou, Henan Province, China. He is currently a graduate student at the University of Denver and a Graduate Teaching Assistant under Professor Linda Wang. He enjoys playing the violin for people in different countries. He has played solo, chamber, and orchestra in Russia, Austria, Italy and America in recent years. He also studied with Professo Renata Knific at Western Michigan University and Yuan Fang, at the China Conservatory of Music.

GREAT WESTERN LODGING CHAIR Returning to NRO for a 2nd season, violinist Vladimir Gebe is currently a DMA candidate at Arizona State University studying with Katie McLin. A Romanian native, he has received his BM and MM from the Gheorghe Dima Music Academy in Cluj, Romania, as well as a MM from Bowling Green State University. Previously, he has attended Chautauqua Music Festival, Red Rocks Music festival, San Diego International Youth Symphony and Manchester Music Festival.

ALPINE BANK CHAIR Katherine Kobylarz is currently pursuing a master’s degree at the Cleveland Institute of Music, studying with Principal Second of The Cleveland Orchestra, Stephen Rose. Beforehand, she completed her undergraduate studies at Indiana University Jacobs School of Music with Grigory Kalinovsky and was a member of the Manhattan School of Music Precollege Division. Katherine frequently performs with the Akron Symphony, Erie Philharmonic, Firelands Symphony, and serves as Assistant Concertmaster of the Richmond Symphony Orchestra. HIGH COUNTRY HEALTHCARE CHAIR Kelly Sohyoung Lee from Seoul, Korea began her studies at the age of five. At an early age, she studied at the pre-college program in Korea National University of Arts, and won various competitions such as Nanpa Concours and Eumak Journal. She also had orchestral experiences with Shanghai International Youth Orchestra and Firelands Symphony Orchestra. Kelly currently studies at Oberlin Conservatory with Milan Vitek. In addition, she loves summer dresses and beautiful weather.

NATIONAL REPERTORY ORCHESTRA

Joseph Duque

JANA EDWARDS & RICK POPPE CHAIR A San Antonio native, Joseph began playing violin when he was ten. He currently attends Baylor University where he studies with Dr. Eka Gogichashvili. He has been a part of festivals such as the New York String Orchestra Seminar and Round Top Music Festival. Besides music, Joseph enjoys running, cooking/baking, and reading good literature.

VIOLIN

Kyle Gilner VIOLIN

Kah Yan Lee

VIOLIN

Ella Loman VIOLIN

BRECKENRIDGE ASSOCIATES REAL ESTATE CHAIR Kyle Anthony Gilner is from Los Angeles, California born and raised in Eagle Rock. Mr. Gilner is currently pursuing a Professional Studies Diploma and is currently ﬁnishing his ﬁrst year of study with esteemed faculty member and current concertmaster of The Cleveland Orchestra, William Preucil, at the Cleveland Institute of Music. Mr. Gilner’s goals and dreams for his career are to make a living off ensemble playing; whether it be big or small.

ST. ANTHONY SUMMIT MEDICAL CENTER CHAIR Kah Yan Lee is currently pursuing her Master of Music at Indiana University Jacobs School of Music under Kevork Mardirossian. Originally from Malaysia, Kah Yan completed her Bachelor of Music at Oberlin Conservatory under Milan Vitek. She enjoys exploring different genres of music and, during her sophomore year in college, performed with electro synthpop duo, Twinkids. In addition to music, Kah Yan enjoys hiking, attempting to play ultimate frisbee, and being outdoors.

BEAVER RUN RESORT CHAIR A Dallas native, Ella Loman began playing the violin at the age of five. She is currently pursuing her Bachelor of Music in violin performance at Indiana University where she studies with violinist Alexander Kerr. During her time at IU, Ella has served in various orchestral leadership roles including concertmaster of the Symphony Orchestra. Last summer she attended the Aspen Music Festival and looks forward to her time this summer at NRO.

Jessica Lyons VIOLIN

Katelyn Lyons VIOLIN

Myles Mocarski VIOLIN

Sabrina Parry VIOLIN

PAUL FINKEL & BARBARA STRAUSS CHAIR Jessica, age 22, is a violinist from Leonardtown, Maryland. She is a rising grad student at the Cleveland Institute of Music, studying with Stephen Rose, Principal Second Violin of The Cleveland Orchestra. Jessica began playing the violin at age four. She and her sister, Katelyn Lyons, perform regularly as a violin duo and have performed all over the United States in many of the greatest concert halls.

BRECKENRIDGE GRAND VACATIONS CHAIR Katelyn, age 19, is a violinist from Leonardtown, Maryland. In May, she graduated with her bachelor’s degree in violin performance from the Cleveland Institute of Music. Katelyn began playing the violin at age two and entered college at age 15. She was a member of the prestigious Kennedy Center’s National Symphony Orchestra Youth Fellowship Program and has appeared as a soloist at the Kennedy Center and the Kimmel Center. Katelyn enjoys hiking, eating, and traveling.

PAMELA & DOUGLAS ADAMS CHAIR A native of Connecticut, Myles received his undergraduate degrees in music and speech language hearing sciences from the University of Connecticut in December 2016. In previous summers, he has attended the National Repertory Orchestra and the National Orchestral Institute. He currently works as a freelance violinist and violin teacher in Connecticut and is looking forward to his second summer in Breckenridge!

VAIL RESORTS EPICPROMISE CHAIR Sabrina Parry, from Utah, is pursuing her BM in violin performance at the Eastman School of Music, where she studies under the tutelage of Oleh Krysa. She has worked with Irvine Arditti, the Juilliard Quartet, the JACK quartet, and recently played at the Kennedy Center and Lincoln Center. In addition to violin, Sabrina considers singing to be one of her biggest passions and is assistant musical director of the all-female a cappella group, Vocal Point.

Sarah Page VIOLIN

Kristen Seto

VIOLIN

JOHN & FLORENCE FORTUNE FOUNDATION CHAIR Originally from Indianapolis, Sarah moved to Cleveland in 2015 for her graduate studies at the Cleveland Institute of Music where she studied with William Preucil. She has served as concertmaster of CIM’s Orchestra. As first prize winner in the American Protégé Competition, Sarah recently appeared in recital at Carnegie Weill Recital Hall. Sarah is a member of the Kalos Quartet, and has studied under the Cavani Quartet in CIM’s Intensive Quartet Seminar.

SHARPER EDGE CHAIR Kristen Seto is currently pursuing her Master of Music in violin performance at the Cleveland Institute of Music, studying with Joan Kwuon. She has performed abroad at Liberty Hall Theatre in Dublin, Ireland and with the Costa Rica National Symphony Orchestra at the National Theatre of Costa Rica. Kristen has collaborated with world-renown musicians such as Joshua Bell, Ida Handel, Elmar Oliviera, Charles Castleman and the Cavani Quartet.

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MUSICIANS VIOLIN

Ellen Sonnenberg VIOLIN

Isabelle Wong VIOLIN

Edwardo Rios principal

VIOLA

Kathryn Hilger VIOLA

| VIOLA

LAURIE & WILLIAM BOLTHOUSE CHAIR Ellen Sonnenberg, a violinist from Wisconsin, is currently pursuing her master’s degree in Violin Performance at the Eastman School of Music, studying with Juliana Athayde. She also completed her BM in performance at Eastman, studying with Federico Agostini. She is now completing her first season as a core member of Symphoria, a professional orchestra in Syracuse, NY, and has just been awarded tenure. In addition to music, she enjoys running, yoga, and exploring parks in Upstate New York.

KAREN & DON WHITE CHAIR Isabelle Wong is a violinist from Denver, CO. At Vanderbilt University, she studied with Cornelia Heard and received a BM in violin performance and biology. In 2011, she had the opportunity to attend the Heifetz Institute in Wolfsboro, New Hampshire, where she studied with Todd Phillips, Paul Biss, David and Linda Cerone, and Tao-Chang Yu. She has also participated in the Credo Chamber Music Festival and the Quartet Program in Fredonia, NY.

CAROLEE & JOHN HAYES CHAIR A Texas native, Edwardo began the viola at age eleven and was self-taught until the age of seventeen. He is currently pursuing a bachelor’s degree in music performance at the University of North Texas under Susan Dubois. In 2016, Edwardo was selected as a winner of the University of North Texas Concerto Competition performing Bartok’s Viola Concerto. He has attended the Round Top Festival Institute and is a returning member of the National Repertory Orchestra.

TOWN OF SILVERTHORNE CHAIR Kathryn is from Kansas City, Missouri and is working on her Bachelor of Music in viola performance at the University of Missouri- Kansas City under Scott Lee. Kathryn is principal viola in the Midwest Chamber Ensemble. Previously she has participated in the National Symphony Orchestra Summer Music Institute, the Medical Arts Symphony, the Lee’s Summit Symphony, and the Heartland Chamber Music Festival.

NATIONAL REPERTORY ORCHESTRA

Brent Taghap VIOLIN

Ann Yu VIOLIN

Julia Vicic assistant principal

VIOLA

Kevin Lin VIOLA

SCHWIER CHARITABLE FUND CHAIR Brent Taghap, 23, is a violinist from the Tampa Bay area. A recent graduate of Florida State University, Brent holds a BM in violin performance. His primary teachers include Eliot Chapo, former concertmaster of the New York Philharmonic, and Corinne Stillwell, former concertmaster of the Rochester Philharmonic. Brent is currently working on his MM at DePaul University under the tutelage of Janet Sung. Other interests include eating, sleeping, art, and playing with his cat, Wrenly.

JOHN TOBEY EVENT DESIGN CHAIR Known for her “full-bodied, rich and warm tone” (Cleveland.com), twenty-year-old violinist Ann Yu hails from Hudson, Ohio and will be a senior at the Cleveland Institute of Music studying with William Preucil. She has soloed with the CIM Orchestra and the Cleveland Orchestra, attended the Credo Chamber Music Festival, and was a member of the National Youth Orchestra-USA and the New York String Orchestra. Outside of music, Ann enjoys reading, exercising, cooking, and traveling.

BARBARA & JAMES CALVIN CHAIR A native of St. Paul, Minnesota, Julia is pursuing a Bachelor of Music in viola performance at Indiana University. A student of Stephen Wyrczynski, she has served as principal viola for three of IU’s five main orchestras. This year Julia had the opportunity to perform with Joshua Bell in a chamber orchestra comprising the school’s top string players. In addition to viola, she loves to sing, and is working toward a Certificate in Global French.

BLUE RIVER BISTRO CHAIR Born in Chicago, Kevin Lin began violin lessons at age six and transitioned to viola at age sixteen. Kevin earned his bachelor’s degree from Roosevelt University studying with Li-Kuo Chang and is currently pursuing a master’s degree at DePaul University studying with Rami Solomonow. Kevin spent the summer of 2016 in Ecuador traveling and concertizing. He previously attended the Hot Springs Music Festival and Manchester Music Festival. Kevin plays a viola by Johann Georg Thir.

Timothy MacDuff VIOLA

Hanna Pederson VIOLA

Laura Williamson VIOLA

Justin Truell VIOLA

JEANNE & DICK SAUNDERS CHAIR Tim, from Hudson Falls, NY, is a current doctoral student studying with Katherine Murdock at the University of Maryland. Tim has earned degrees from Rice University with James Dunham and SUNY Potsdam studying with Shelly Tramposh. Recent orchestral performances include the Fairfax Symphony Orchestra, the Glens Falls Symphony, and the Orchestra of Northern New York. Tim has spent his summers at Round Top, Lake George Music Festival, and Green Mountain Chamber Music Festival.

RENEE & RICHARD GOBLE CHAIR A violist originally from Lancaster, Pennsylvania, Hanna earned her Master of Music from Rice University and her Bachelor of Music from the University of Maryland, College Park. Her primary teachers include Ivo Van Der Werff, Joan DerHovsepian, and Katherine Murdock. Hanna has attended the Chautauqua Summer Music Festival, the National Orchestral Institute, and the Contemporary Performance Institute. In her spare time, she loves to indulge in a good book, tea, and chocolate.

CY & LYNDIA HARVEY CHAIR Laura Williamson, from Saint Paul, MN, plays regularly with the Arkansas Symphony Orchestra and has also performed and recorded with the Orquesta Sinfónica Nacional de Cuba. In recent summers Laura has attended the Round Top Festival Institute and the Brevard Music Center. Laura graduated from Vanderbilt University’s Blair School of Music in 2016 with a degree in Viola Performance and Sociology-Criminology and is currently pursuing a master’s degree at New England Conservatory in Boston, MA.

SCHMITT MUSIC CHAIR Justin Truell, from Woodstock, VT, spent most of his musical career as violinist, soloing with the Vermont Youth Orchestra at age 17 and playing in masterclasses for Soovin Kim and Rachel Barton Pine. He completed his bachelor’s degree in violin performance and pedagogy at Wheaton College with Chicago Symphony Orchestra violinist, Cornelius Chiu. He is now at Indiana University pursuing his master’s in viola performance with Stephen Wyrczynski. His passions include teaching and ultimate frisbee.

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MUSICIANS VIOLA

Samantha Wilson VIOLA

Benjamin Fryxell

assistant principal

CELLO

Holly Garrett CELLO

Johnny Mok CELLO

| CELLO

LAKE DILLON THEATRE COMPANY CHAIR A native of Southern California, Samantha began violin lessons at age eight and transitioned to viola in her junior year of high school. She received her Bachelor of Arts in viola performance from Westmont College in Santa Barbara, CA, followed by her Performance Certificate from University of Denver. She has studied with Andrew Pickens, Helen Callus, Michael Lieberman, and Basil Vendryes. Previously, she has attended festivals including Center Stage Strings and the Aspen Music Festival.

REGGIE & PAM GRAY CHAIR Cellist Benjamin Fryxell, 22, has concertized as a soloist with orchestras such as the Kentucky Symphony Orchestra, the National Repertory Orchestra, and many others, including a performance with William White and members of the Cincinnati Symphony Orchestra and Youth Orchestra in 2013, and the world premiere of Frank Protoâ€™s Divertimento for Cello and Orchestra with Michael Chertock and the Blue Ash-Montgomery Symphony in 2014. He currently studies at The Juilliard School with Natasha Brofsky.

ANNE & BILL MILLS CHAIR Holly, from Milwaukee, WI, is pursuing her Master of Music in cello performance & literature at the University of Illinois at Urbana-Champaign, studying with Daniel McDonough. She holds bachelor degrees in cello performance and psychology from Boston University, where she studied with Michael Reynolds. She performs regularly with regional orchestras in the Central Illinois area, and her festival appearances include Classical Pops/Barbados, Garth Newel Music Center, Texas Music Festival, and Aspen Music Festival.

SAM & BARBARA MCCLENEGHAN CHAIR Born in Hong Kong, Johnny Mok started his cello studies at the age of five, and continued in the US in 2001. He earned his BM at the University of Alabama with Carlton McCreery, and Master of Music at The Boston Conservatory with Andrew Mark. Mok has played with the Huntsville Symphony Orchestra, Tuscaloosa Symphony Orchestra, Santa Fe Symphony Orchestra and New Mexico Philharmonic. He is currently an active performer and teacher in the Boston area.

NATIONAL REPERTORY ORCHESTRA

Thomas Carpenter principal

CELLO

Bery Filsaime CELLO

Joseph Howe

CELLO

Soyoon Park CELLO

PATRICE & RON LARA CHAIR Thomas Carpenter, cello, began his studies at age ten. Mr. Carpenter has participated in several festivals including the New York String Orchestra Seminar, the Tanglewood Music Center and as a member of the Canton Symphony Orchestra from 2011 to 2013. He received his bachelors in cello performance at the Cleveland Institute of Music and his masters in cello performance at Rice University Shepherd School of Music. He is currently a member of the New World Symphony.

MICHAEL ALTENBERG & LIBBY BORTZ CHAIR A Florida native, Mr. Filsaime began playing the cello when he was nine. He earned his Bachelor of Music in cello performance at the University of North Florida, studying with Nick Curry. He recently completed his Master of Music at the University of Tennessee with Wesley Baldwin. This year Bery was a finalist in the University of Tennessee Symphony Concerto Competition and was invited to do a live audition for the New World Symphony.

PAT & JACK THOMAS CHAIR Joseph Howe received a Bachelor of Music from the University of Oregon and a Master of Music from the University of Colorado Boulder. His teachers have included Judith Glyde, Steven Pologe, Bruce McIntosh, and David Requiro. Other recent festivals include Trinity Alps Chamber Music Festival, Mendocino Music Festival, and Texas Music Festival. Joseph is an active freelancer and teacher in Colorado. He enjoys running around in the mountains, reading, and exploring craft breweries.

JANE & DON KING CHAIR Soyoon Park, born and raised in Seoul, South Korea, started playing the cello when she was six years old. She will be graduating with a Bachelor of Music at the University of Cincinnati College-Conservatory of Music in the spring of 2017 where she studied with Alan Rafferty. She is an active performer as a soloist, chamber, and an orchestra musician where she plays in the cello section of the Kentucky Symphony Orchestra.

Sam Viguerie CELLO

Yi-Wen Zhang CELLO

Timothy Chen BASS

Daniel Meyers BASS

KATE & JIM TAUCHER CHAIR Sam Viguerie graduated from St. Olaf College where he was a student of David Carter. He received fisrt prizes in the MTNA Young Artist Strings Competition, Thursday Musical, and Schubert Club competitions. He performed the Schumann and Dvorak concertos with St. Olaf Orchestra, and as featured soloist during the ensemble’s west coast tour. His interests include programing, logic, philosophy, Nintendo, and the great outdoors. This fall he will begin his master’s degree at New England Conservatory.

PAM PIPER & DR. KAI YIU YEUNG CHAIR Yi-wen from Chengdu, China is an adjunct cello instructor at Heidelberg University, Ohio; member of Canton Symphony Orchestra and Chengdu Philharmonic. She received her Master of Music and Performance Certificate at the Cleveland Institute of Music and her Bachelor of Music from Bowling Green State University. Recipient of several first prizes; soloist with several orchestras and invited for concerts sponsored by the Japanese and Arizona governments. Festivals includes: National Orchestra Institute, Colorado Springs Music Festival and Blossom Music Festival. Love hiking, cooking, travelling, billiards, movies, and pets. ERNIE & SHARON MAGNESS BLAKE CHAIR Timothy Chen, a NRO alumni from Plano, Texas, completed his Bachelor of Music at Juilliard in the spring of 2016. He is currently pursuing his Master of Music in the studio of Albert Laszlo. Timothy has received orchestral experience through the various ensembles in Juilliard’s distinguished orchestra program. His previous instructors include, Eugene Levinson, Joel Braun and Roger Fratena. In his free time, Timothy enjoys traveling, reading, cooking, and spending time with family.

WENDY KING & GEORGE LASNIER Daniel Meyers, a native of Waverly, Iowa, is a member of the Civic Orchestra of Chicago and has performed with numerous regional orchestras and with the Chicago Symphony Orchestra. He holds a Bachelor of Music from St. Olaf College in Minnesota, and in June 2017, he will graduate with a Master of Music from DePaul University in Chicago. When he isn’t playing, Daniel likes to read, climb, practice yoga, and spend time outdoors.

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MUSICIANS CELLO

Joseph Newton BASS

Robert Scharmann BASS

Gabriel Fridkis FLUTE

Johanna Gruskin FLUTE

| BASS | FLUTE | OBOE

SKI VILLAGE RESORTS CHAIR A native of Dallas, Texas, Joseph began studying bass at the age of 14. Joseph is pursuing a bachelor’s degree in double bass performance at the New England Conservatory of Music. He is currently studying with Lawrence Wolfe, assistant principal bass of the Boston Symphony Orchestra. Joseph enjoys reading, watching movies, good food, and spending time with family and friends. Last summer, he attended NRO and is looking forward his second season with the orchestra.

SUMMIT ASSOCIATION OF REALTORS CHAIR Originally from Manhattan, KS, Robert (Bobby) is a stylistically diverse bassist with experience in a wide range of genres. He currently performs with the Omaha Symphony, and works regionally as a freelance musician. Bobby also serves on faculty teaching double bass at the Omaha Conservatory of Music, as well as Union College in Lincoln, NE. Robert received his Master of Music from Indiana University in 2015 and currently lives in Omaha with his two cats.

KAISER PERMANENTE CHAIR A Native of Princeton NJ, Gabriel Fridkis graduated from Purchase Conservatory of Music in 2016. Gabriel is currently pursuing a master’s in music performance at DePaul University, studying with Mark Sparks. He is also a member of the Civic Orchestra of Chicago and a performs regularly with the Fort Worth Symphony. In previous summers, Gabriel has attended the Aspen and Brevard Music Festivals.

MELANIE & MARTY FRANK CHAIR Johanna Gruskin joined the Knoxville Symphony as principal flutist in 2016. She holds performance degrees from the Colburn Conservatory, New England Conservatory, and the Eastman School of Music. Her primary teachers include Jim Walker, Elizabeth Rowe, and Bonita Boyd. Johanna has been a fellow at the Tanglewood Music Center and Aspen Music Festival, and she has performed with the San Antonio Symphony, Louisiana Philharmonic, and New World Symphony. Johanna is originally from Duluth.

NATIONAL REPERTORY ORCHESTRA

PAM & SONNY WIEGAND CHAIR Joseph Nuñez is from El Paso, Texas and is currently pursuing a Bachelor of Music in double bass performance at the University of North Texas under the tutelage of Jeff Bradetich. Aside from music, Joseph enjoys morning walks, good coffee, listening to podcasts, and spending time with his family.

Joseph Nuñez BASS

Vincent Trautwein BASS

Meera Gudipati

FLUTE

Julie Lee FLUTE

REBECCA & PATRICK DEPOLE CHAIR A native of Manassas, Virginia, Vincent Trautwein earned his bachelor’s degree from the Peabody Institute and pursued his graduate studies at Boston University, studying with Ed Barker and Paul Johnson. Vincent also attended the National Orchestral Institute and Domaine Forget Academy. He has performed with the National Symphony Orchestra, Boston Philharmonic and as a member of the Maryland Symphony. Vincent will join the Civic Orchestra of Chicago for their 2017/18 seasons.

LIV SOTHEBY’S INTERNATIONAL REALTY CHAIR Meera Gudipati is acting principal flute with the New Haven Symphony since 2015. She completed her Master of Music under Ransom Wilson at the Yale School of Music. For her Bachelor of Music, she studied with Marianne Gedigian at the University of Texas at Austin. During her summers, she has performed at the National Orchestral Institute, Brevard Music Festival, and Round Top Festival. In 2013, Gudipati won the Orchestral Audition Competition at the National Flute Association.

JOHN CROSSMAN CHAIR Born in Vancouver, Canada and raised in Seoul, Korea, Julie received her Bachelor of Music from Mannes School of Music and Master of Music from Carnegie Mellon University. Her primary teachers include Alberto Almarza, Jeanne Baxtresser and Keith Underwood. Julie won the Concerto Competition at Carnegie Mellon University and won 2nd Prize at the New York Flute Club Competition. Julie is currently a freelance flutist and teacher based in New York City and New Jersey.

Mayu Isom OBOE

GINGER & DICK NEWKIRK CHAIR A native of Los Angeles, Mayu received her BM at the Jacobs School of Music under Linda Strommen where she was awarded the prestigious Jacobs Scholarship. She is currently earning her MM at the Shepherd School of Music with Robert Atherholt. Mayu also substitutes with the Houston Grand Opera. She has performed in a variety of summer festivals including the National Orchestral Institute, where she was a part of their first live recording by Naxos.

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Abigail Hawthorne OBOE

Elliot Lichtenberg OBOE

SHAW BREAST CENTER & CANCER CLINIC CHAIR Abigail is pursuing a Bachelor of Music at Southern Methodist University, studying with Erin Hannigan. She performed with the Music in the Mountains Festival Orchestra during the July 2016 season and substitutes oboe/English horn with the Lone Star Wind Orchestra. Abigailâ€™s primary teachers also include David Matthews and Megan Blauvelt Heuer. In addition to playing the oboe, Abigail enjoys copy-editing for the Honors campus newspaper Hilltopics and dancing on the SMU Ballroom Dance team.

STEVE & PAT LARSON CHAIR Elliot Lichtenberg is currently a senior at the Eastman School of Music where he studies with Richard Killmer. Outside of school, he has performed with the Texas Festival Orchestra, Aspen Festival Orchestra, and substitutes with the Battle Creek Symphony. Elliot has also enjoyed playing chamber music in various ensembles. His other favorite activities are folding origami, playing with his dog Mozie, listening to and arranging music, and studying scores.

, KUVO S SIGNATURE EVENT

LIVE at the vinEyards

OBOE

LIVE at the vinEyards

Ron Cohen Mann

BONNIE KIRSCHENBAUM CHAIR Ron Cohen Mann is a freelance oboist and English hornist based in Toronto, Canada. He is a graduate of the Yale School of Music where he received his Artist Diploma. His previous studies were at Mannes School of Music and at the University of British Columbia. Ron was a prizewinner at the Orchestre Symphonique de Montreal Manulife Competition 2014, and winner of the Yamaha Young Performing Artists Competition 2013. Connect with him at www.oboeron.com.

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bobby watson,s all-star quartet & Kansas City Jump Band

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MUSICIANS CLARINET

Benjamin Chen CLARINET

Charles Sonoda CLARINET

| BASSOON | HORN | TRUMPET

MICHAEL & LAUREN RUEHRING CHAIR A member of the Erie Philharmonic and Cleveland Pops Orchestras, Ben Chen enjoys an active performing career in Cleveland with the North Coast Winds quintet and Ars Futura new music ensemble. Ben toured Japan with the Pacific Music Festival and has performed with the New World Symphony, Detroit Symphony, and The Cleveland Orchestra. He earned degrees from the Cleveland Institute of Music as a student of Franklin Cohen and the Oberlin Conservatory with Richard Hawkins.

HARRIETT BOBO CHAIR A native of Los Angeles, Charles earned his Bachelor of Music at DePaul University and is currently pursuing a Master of Music at Northwestern University. His primary teachers include Stephen Williamson, Julie DeRoche, and Steve Cohen. Charles is also an active learner of Chinese and has completed additional studies in language and literature at Shanghai’s Fudan University and the Beijing Language and Culture University.

Jakob Lenhardt CLARINET

Frederik von Würden CLARINET

Michael Allard

JOAN MANLEY HOULTON CHAIR Michael, from Siloam Springs, Arkansas, earned a Bachelor of Music in bassoon performance at DePaul University under the tutelage of Bill Buchman and Miles Maner and is currently pursuing a Master of Music at Southern Methodist University under Wilfred Roberts. When Michael isn’t making reeds he loves listening to podcasts and playing chess.

BASSOON

Ivy Ringel BASSOON

Mackenzie Brauns BASSOON

TIM CASEY & BUILDING HOPE CHAIR Bassoonist Ivy Ringel earned her BM degree and Performer’s Certificate from the Eastman School of Music, and is currently a MM student at Rice University, studying with Benjamin Kamins. She is a winner of the 2014 Meg Quigley Vivaldi Competition, the Yamaha Young Performing Artist Competition, and the Eastman School of Music’s Concerto Competition. Her orchestral work includes performances with the Rochester Philharmonic Orchestra, Buffalo Philharmonic Orchestra, Sy mphoria, and the New World Symphony.

NATIONAL REPERTORY ORCHESTRA

Joshua Sechan BASSOON

SAMUEL BUFFORD & JULIA METZGER CHAIR A New Jersey native, Jakob holds a MM in clarinet performance from the University of Michigan, and a BM in music education from The College of New Jersey. His primary teachers include Daniel Gilbert, Chad Burrow, Calvin Falwell, and Roger McKinney. In past years, Jakob has participated in other music festivals such as the Colorado College Summer Music Festival. In addition to music, he loves spending time outdoors, watching sports, and exploring new restaurants.

ROCKRIDGE BUILDING COMPANY CHAIR Frederik von Würden received his BM and MM in clarinet performance from the Royal Danish Academy of Music in Copenhagen, Denmark and is a graduate certificate student at the University of Southern California. Frederik has played with the most prominent orchestras in Denmark and was a member of The European Union Youth Orchestra, Orkester Norden and The Baltic Sea Philharmonic. He is presently on trial for principal clarinet of the Royal Queens Guard Band in Copenhagen.

ROBERT & SUSAN DELANEY CHAIR Mackenzie is Principal Bassoon of the Columbus Indiana Philharmonic, and frequently subs with the Cincinnati Chamber Orchestra, West Virginia Symphony, Carmel Symphony Orchestra (Indianapolis), Terre Haute Symphony Orchestra, and others. Mackenzie received her BM and MM degrees from the University of Cincinnati CollegeConservatory of Music (CCM) under the instruction of William Winstead. Mackenzie has also attended The Aspen Music Festival, Colorado College Music Festival, Sarasota Music Festival, Kent/Blossom Music Festival, and the National Orchestral Institute. FATTY’S PIZZERIA CHAIR Joshua Sechan received his Bachelor of Music at The Juilliard School as a student of Judith LeClair in 2015. He recently completed his first season as Principal Bassoonist of the Colorado Springs Philharmonic while simultaneously finishing his Artist Diploma at Oberlin Conservatory, studying with George Sakakeeny. Mr. Sechan also performs regularly with the Boulder Philharmonic, with whom he recently toured to the Kennedy Center as part of the 2017 Shift Festival for American Orchestras.

Luke Baker HORN

Garrett Law HORN

Katherine Seybold HORN

Samuel Huss TRUMPET

RAITMAN ART GALLERIES CHAIR Luke Baker from Houston, TX, is currently a graduate student at the Yale School of Music under the tutelage of William Purvis. His previous teachers include Greg Hustis, Haley Hoops, Gavin Reed and Holley Linder. While Luke enjoys playing in large orchestras, he also has a passion for solo performance, and won the Meadows Undergraduate Concerto Competition in 2014. While Luke is not playing the Horn, he enjoys racquetball, rock-climbing, and social dancing.

CLIMAX MOLYBDENUM COMPANY CHAIR Arkansas native, Garrett Law, received his MM from Southern Methodist University and his BM from Vanderbilt University. Garrett’s primary teachers include Greg Hustis, Leslie Norton, and Haley Hoops. Garrett has performed with the Nashville Symphony, Dallas Winds, Texarkana Symphony, and was the winner of the MTNA National Young Artist competition in 2015. Garrett is a Dallas-based freelancer, maintains a large private teaching studio, and will start as Third Horn of the Las Colinas Symphony this fall.

WENDY FRIEDMAN CHAIR Katherine Seybold grew up in Grafton, Wisconsin. She is currently a member of the Fox Valley Symphony Orchestra and performs with the Rockford and Kenosha Symphony Orchestras. Katherine has performed in orchestras accompanying musicians Josh Groban, Edgar Meyer, and Itzhak Perlman. She graduated from DePaul University in 2017 with a Bachelor of Music, and has studied with Darcy Hamlin, Oto Carrillo, Neil Kimel, and Jim Smelser.

SANDY MORTENSEN & LOU WAGNER CHAIR Originally from Sanford, Michigan, Samuel Huss is currently pursuing a master’s degree in trumpet performance from the Shepherd School of Music at Rice University, studying with Barbara Butler. Prior to Rice, Sam attended the Eastman School of Music where he studied with James Thompson. Sam was recently awarded 2nd place in the Ellsworth Smith International Trumpet Competition. In addition to Sam’s experience as a soloist, he has performed with the Rochester Philharmonic Orchestra.

Madeleine Folkerts HORN

Jessica Pinkham HORN

Omri Barak TRUMPET

David Puchkoff TRUMPET

COLORADO CREATIVE INDUSTRIES CHAIR Madelei ne Fol ker ts is f rom Por t Orcha rd, Washington. She graduated from St. Olaf College in 2017, majoring in horn performance and psychology/neuroscience. She was a three-year principal of the St. Olaf Orchestra and Band, and has appeared as a soloist with the band, orchestra, and in St. Olaf Christmas Festival. Madeleine previously attended the National Symphony Orchestra’s Summer Music Institute (2016) and the Rafael Mendez Brass Institute (2015).

WYNDHAM VACATION RENTALS CHAIR Jessica Pinkham is a DMA student at the University of Cincinnati College-Conservatory of Music and a freelance musician in greater Cincinnati. She received her MM in horn performance from Southern Methodist University in 2016 where she performed regularly with the Dallas Symphony Orchestra. Jessica received her Bachelor of Music in horn performance from CCM in 2014. She also studies music cognition, and presented at the International Conference of Music Perception and Cognition in July 2016.

HELEN AND LESTER LEMAY CHAIR Omri just completed his freshman year at the Curtis Institute of Music, where he studies with David Bilger. Beginning with piano and violin at age five, he picked up the trumpet at age eight and took to it immediately. Growing up in Pittsburgh, Omri studied with members of the Pittsburgh Symphony, and spent a year learning computer science and mathematics before changing focus. While not practicing, Omri enjoys coffee, sightseeing, and the great outdoors.

HEIDER TRUST CHAIR David is in pursuit of a BM from the Eastman School of Music under James Thompson. He is currently a member of the Upstate Brass Band and several other school and self-initiated ensembles. David enjoys performing on both Modern and Baroque trumpet. He recently discovered his knack in arranging for various ensembles, including brass quintet and trumpet ensemble. In addition to music, David enjoys hiking, cooking, and time with friends and family.

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MUSICIANS TRUMPET

Justin Rowan TRUMPET

Aaron Zalkind TROMBONE

Emily Carter TUBA

James Cromer PERCUSSION

THE SUMMIT FOUNDATION CHAIR Justin Rowan is an eclectic and versatile musician from Atlanta. He received his Master of Music from the Cleveland Institute of Music while studying with Michael Sachs and Michael Miller, and his Bachelor of Music from Kennesaw State University under Thomas Hooten and Jennifer Marotta. He is a founder of Spectacle Brass and a member of the Cavaliers Drum and Bugle Corps educational team. Justin is an XO Brass Artist and a Jupiter Educational Ambassador.

MICHAEL MOLLOY CHAIR Originally from Salt Lake City, trombonist Aaron Zalkind is currently pursuing his master’s degree at The Juilliard School under the tutelage of Joseph Alessi. Aaron has performed in several music festivals throughout the United States, including The National Orchestral Institute, The Brevard Music Center and The Pierre Monteux School. Aaron attended Indiana University for his bachelor’s degree where he studied with Peter Ellefson. In his spare time, Aaron enjoys skiing and hiking.

GERRY & ANNETTE FRICKE CHAIR Originally from West Chester, OH, Emily recently graduated from Northwestern University with her master’s degree. Studying with Rex Martin, she also received her bachelor’s degree from Northwestern. While living in Chicago she performed with the Evanston Symphony, Northwestern University ensembles, and freelanced with groups throughout the city. She received the Musicians Club of Women Chicago’s Nerenberg Scholarship of $10,000 in 2015 and is a finalist for the New World Symphony fellowship in Miami Florida.

DOWNSTAIRS AT ERIC’S CHAIR Originally from Baltimore, MD, James earned both his BM and MM in percussion performance from the Jacobs School of Music at Indiana University. While at IU, he studied with faculty members John Tafoya, Kevin Bobo, and Steve Houghton. James has been an Associate Instructor for the IU Percussion Department since 2014, and has performed with the New World Symphony and Indianapolis Symphony. In his spare time, he likes hiking, jogging, and trying to cook.

NATIONAL REPERTORY ORCHESTRA

Jared Dickerson

TROMBONE

Lisa Stoneham BASS TROMBONE

Zubin Hathi TIMPANI

Bernadette Manalo PERCUSSION

JIM & KAY ROSS CHAIR Born in Dallas, Texas, Jared began playing piano at the age of seven. In the sixth grade, he started playing trombone, and discovered that music was his passion. He received his Bachelor of Music from Baylor University, and is currently studying with Mark Lawrence, working towards his Master of Music from The Colburn School. He enjoys reading, and taking walks and discovering new music of all types when he is not with friends.

TOWN OF FRISCO CHAIR Hailing from Beverly, Massachusetts, Lisa is currently pursuing a master’s degree in bass trombone performance at Rice University, under the tutelage of Allen Barnhill. She earned her bachelor’s from SUNY Fredonia, where she studied with Jeffrey Dee. Last summer, Lisa played with the National Orchestral Institute in Maryland. She maintains an active schedule as a freelancer and private teacher in Houston. In her free time, she enjoys trying new food, drinking coffee and being outdoors.

M.A. DEEN CHAIR A native of Roanoke, Virginia, Zubin is currently pursuing his bachelor’s degree at the Curtis Institute of Music. His primary teachers are Don Liuzzi, Robert van Sice, and Eric Millstein. Zubin has performed with the New York String Orchestra, Symphony Orchestra of India, and Curtis Symphony Orchestra. He has also attended the Interlochen Arts Camp, Juilliard Summer Percussion Seminar, and Boston University Tanglewood Institute.

PAT SPITZMILLER CHAIR Bernadette is a native from Flower Mound, Texas and currently lives in Chicago, Illinois. She earned her Bachelor in Music from Northwestern University and her Master in Music from DePaul University. She was also a member of Civic Orchestra of Chicago. Her primary teachers include Eric Millstein, Marc Damoulakis, and James Ross.

HARP | PIANO

Nicholas Matthiesen PERCUSSION

Matt Moore PERCUSSION

Rachel Hall HARP

Brock Tjosvold PIANO

ROBERT & CYNTHIA BENSON CHAIR Born and raised in the San Francisco Bay Area, Nicholas began his musical studies at age fourteen. He received his Bachelor of Music from San Jose State University and his Master of Music from the San Francisco Conservatory. His primary teachers include Galen Lemmon, Jack Van Geem, Trey Wyatt, and Jacob Nissly. He has performed with San Francisco Symphony, San Francisco Opera, New Century Chamber Orchestra, Cabrillo Festival Orchestra, and many other ensembles.

Support & Satisfy Indulge in a decadent dinner after the show. Spencer’s Restaurant and Beaver Run Resort are proud supporters of the NRO.

TOWN OF BRECKENRIDGE CHAIR From Scarborough, Ontario, Matt is currently pursuing a Bachelor of Music in percussion performance at the University of Toronto. He has played in the percussion sections of the Toronto Symphony Orchestra, Royal Conservatory Orchestra, and the National Youth Orchestra of Canada with renowned conductors including Sir Andrew Davis, Stéphane Denève, Peter Oundjian, and Michael Francis. Matt has had the privilege of studying with many great teachers including John Rudolph, Russell Hartenberger, and Alan Abel.

ROBERT & NANCY FOLLETT CHAIR Rachel Lee Hall holds a MM degree in harp performance from the Cleveland Institute of Music where she studied with Yolanda Kondonassis. Rachel is a winner of the CIM Concerto Competition, the Alice Chalifoux Award, and the Lyon and Healy Award, and has performed concerti with members of the Philadelphia Orchestra, the CIM Symphony Orchestra and Cleveland’s Suburban Symphony. Rachel Lee Hall is from Roanoke, a valley nestled among the Blue Ridge Mountains in Virginia.

ANNETTE & KEN HALLOCK CHAIR A graduate of the University of Wyoming and the University of Michigan, Brock Tjosvold is currently working towards a Performer’s Diploma in collaborative piano at Indiana University Jacobs School of Music, where he studies with Anne Epperson and Kevin Murphy. He has attended many festivals and conferences, including SongFest and the Aspen Music Festival and School where he attended on full fellowship. His former teachers include Patricia Randolph, Theresa Bogard, and Martin Katz.

Located Slopeside Peak 9 at Beaver Run Resort 620 Village Road, Breckenridge For reservations call 970.453.8755.

www.BeaverRun.com

NROMUSIC.COM

HANDMADE

HEARTFELT

Coloradoâ€™s exclusive, authorized representative for new and used Steinway & Sons pianos.

Handcrafted in a machine-made universe. Exacting to the millimeter in a close-enough culture. Built of genuine hardwood and cast iron in a world of artificiality. For over 160 years, one name has been making instruments so passionately conceived and meticulously crafted, it can take dozens of artisans with decades of experience twelve months to create...one. To enable a sound so RICH RESONANT and deep and unmistakable that once you’ve experienced it, anything less than these unreasonable standards becomes unacceptable. To make the only piano built to perfection for perfectionists, by artisans for artists. To merge PRECISION PASSION, experience and expression, power and elation, artist and audience. Until effort becomes effortless, weight becomes weightless...and it’s possible for you to CLOSE YOUR EYES SOAR.

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303-777-1900 TOLL-FREE 800 -577-5257 Please contact us at dnkb@schmittmusic.com • schmittmusic.com

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NATIONAL REPERTORY ORCHESTRA

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Elder Money Management Financial & Estate Planning Business Planning & Tax Law Music Appreciation

Wiegand Attorneys. Experts in the things that matter to you. Even Mozart. Since 1977, businesses and individuals in Breckenridge and Denver have turned to us for counsel. As business leaders and tax law experts, we offer a real-world, practical perspective and actionable, realistic counsel that clients value. Attorneys: Kim Raemdonck and Sonny Wiegand

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