NRO Program 2019 by nromusic

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ANNIVERSARY MARK YOUR CALENDAR: Weâ€™re celebrating in 2020! Changing Lives Through Music | nromusic.org

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TABLE OF CONTENTS

CONTRIBUTING PHOTOGRAPHERS Eli Tianse Abeles-Allison Jared Farley Tasha Hoskins Joe Kusumoto

National Repertory Orchestra PO Box 6336 111 S. Main Street, C7 Breckenridge, CO 80424 970-453-5825 nromusic.org

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TABLE OF CONTENTS

5 ABOUT THE NRO

13 SEASON DONORS AND SUPPORTERS

19 COMMUNITY EVENTS

23 CONDUCTORS

27 GUEST ARTISTS

28 MUSICIANS

47 SPECIAL EVENTS

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

PROGRAMS 54

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WELCOME

elcome to the 2019 Season of the National Repertory Orchestra! While a student at Juilliard, Walter Charles auditioned for a position in Leopold Stokowski’s All-American Youth Orchestra. Mr. Stokowski complained Walter had no professional experience. Walter went on to grow his career as a professional musician and conductor but continued to contemplate “how young musicians could develop a resume to improve their professional opportunities”. So, in 1960, he founded the Blue Jeans Symphony Orchestra in Estes Park where the musicians had to work to pay for their lodging and meals when not rehearsing or performing to create a stronger resume. Over the last 59 years, the original Blue Jeans Symphony has evolved into the National Repertory Orchestra that we know today. The musicians no longer pay for their room and board but work to provide outstanding musical experiences. It has been quite a journey from Estes Park, to Evergreen, then Keystone, and for the last 26 years in Breckenridge. Through all this change, our music director, Carl Topilow has been a constant and steady influence for over 40 of those years. Even as most arts organizations are struggling with the many changes in the industry, our forecast for the future is very optimistic. We have a strong staff, a solid endowment, and the good fortune to have a solid group of generous donors who make this all possible. Once again, we have been able to assemble a wonderful group of young musicians to perform a series of outstanding programs to include a production of the film E.T. “The Extra-Terrestrial” with the musical track to be provided “live” by the NRO. We hope you will come to our programs frequently and participate in our mission of “Changing Lives Through Music”.

RICK POPPE President, Board of Trustees National Repertory Orchestra

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elcome to Breckenridge and the National Repertory Orchestra, Every summer since 1993, our town has been honored to partner with the National Repertory Orchestra (NRO) by providing the Riverwalk Center. The NRO gathers 89 of the country’s brightest young musicians for an eight-week residency filled with a full concert season and training to help them become professionals. They will go on to perform in major orchestras around the world, and we are fortunate to see them here first! Breckenridge is an amazing place to visit and an even better place to live. We are a small, intimate community with world-class recreation, fantastic arts, great shopping and a vibrant restaurant scene, while providing a safe, friendly and fun place for our citizens to live, work, play and raise a family. Surrounded by the majesty of the Rocky Mountains, Breckenridge has one of the largest historic districts in the State of Colorado with a new, thriving arts campus bookended by the Riverwalk Center and Backstage Theater. You can take a class, see a show or meet an artist in residence. From the downhill experience at the Breckenridge Ski Area to our wonderful Breckenridge and Gold Run Nordic Centers and backcountry trails, the winter has plenty to offer. And the summer is a joy with miles of trails to hike and bike. Golfers will love our 27-hole Jack Nicholas Signature course. While the scenery and offerings of our town are truly remarkable, it is nothing without our people, many who give themselves to the community as docents, commission members and volunteers. Our residents make Breckenridge what it is. I hope you will enjoy our slice of heaven and another NRO season!

ERIC MAMULA Mayor Town of Breckenridge

elcome to the National Repertory Orchestra, one of the premier music festivals in the country! The NRO continues to push the boundaries of classical music, performing many of the most beloved pieces alongside countless premieres and new works. This season we are proud to bring Summit County yet another exciting season of music and events. Read on to see the musical programs that will engage and excite you. There is something for everyone. Our feature events are centered on “Women in the Arts”. Look for our many offerings throughout the season including guest conductors, compositions, artists and lecturers. I hope you will consider attending multiple performances to contrast and compare what these amazing women have to offer. In addition, we continue our beloved “Music in the Mountains” series. These free concerts throughout Breckenridge in partnership with Breckenridge Creative Ars and Breckenridge Heritage Alliance are part of our extensive “Music for Everyone” programs. We are proud to offer 96 FREE programs for residents of and visitors to Summit County. In keeping with our commitment to give back to the community, we are expanding our partnerships with many local organizations including First Responders of Summit County, Building Hope, Friends of the Dillon Ranger District and Mountain Top Children’s Museum. Our young professional musicians are among the best in the country and our reputation continues to grow. NRO alumni are leaders in many of the top organizations in the country. Come and hear for yourself. There is no festival like it!! THE FUTURE IS HERE.

DAVE DEPETERS CEO National Repertory Orchestra

ABOUT THE NRO BOARD MEMBERS & STAFF BOARD OF TRUSTEES

Rick Poppe, President Mike Massey, Executive Vice President Sally Queen, Secretary John Stafford, Treasurer Patrice Lara, Past President Libby Bortz Sam Bufford Barbara Calvin Sean Gatzen John Landon Pam Wiegand Pam Piper Yeung

NRO VOLUNTEER ACCOUNTANT

Gerald Fricke

NRO LEGAL COUNSEL

Sonny Wiegand, Wiegand, Attorneys and Counselors, LLC Barbara Vonderheid, Vonderheid and Associates, P.C.

YEAR-ROUND STAFF

Dave DePeters, CEO Carl Topilow, Music Director Kristin Kall, Director of Operations Åsa Armstrong, Director of Development Carrie Benefiel, Director of Marketing Debbie Higgs, Director of Finance

2019 SUMMER STAFF

Alex Amsel, Assistant Conductor Darrin Blume, Production Manager Carissa Galban, Stage Manager Chace Williams, Production & Recording Fellow Jonathan Cann, Recording Engineer Indigo Fischer, Artistic Liaison Fellow David Bullman, Orchestra Manager Alyssa Wroblewski, Personnel Fellow Nicolas Gonzalez, Community Engagement Manager Nicha Stapanukul, Community Engagement Fellow Paul Gunther, Principal Librarian – (Pre-Season) Eri Isomura, Acting Principal Librarian Mariel Stauff, Acting Principal Librarian Kelsey Lamb, Assistant Librarian Leonardo Ziporyn, Library Fellow Johnathan McCann, CEO Assistant Fellow Shelagh Haney, Development Fellow Haley Nordeen, Development Fellow Jenny Cvek, Photography Fellow Jacqueline Robertson, Marketing Fellow

NRO SUSTAINERS

he 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. Sandy Mortensen, Chair Libby Bortz and Mike Altenberg Murray and Marlene Altman Carlie and Terry Barnhart Ann Brewster Barbara and Jim Calvin Gerri Cohen M.A. Deen JoAnn Falletta John Fielder Paul Finkel and Barbara Strauss Nancy* and Bob Follett Nancy and Tom French Annette and Gerry Fricke Pamela and Reggie Gray Robin Hadley Kenneth and Annette Hallock Joan Manley Houlton Anne and John Kern Jane King Anita and Jim Kreider Patrice and Ron Lara Anne and Bill Mills Harriet Neiman Ann and Tom Rader Kate and Jim* Taucher Jack Thomas Pamela and Sonny Wiegand Lou Wagner Bobbie and Glen Zelkind John Krakauer* *Deceased

DID YOU KNOW?

NRO Alums working as orchestra musicians today include: • 27 Members of the Cleveland Orchestra • 16 Members of the Dallas Symphony Orchestra • 16 Members of the St. Louis Symphony • 14 Members of the Minnesota Orchestra • 14 Members of the San Francisco Symphony • 13 Members of the Boston Symphony Orchestra • 12 Members in Los Angeles Philharmonic • 12 Members of the Philadelphia Orchestra • 9 Members of the Chicago Symphony • 7 Members of the New York Philharmonic And many more!

In keeping with our dedication to equal rights and opportunities for all people, the National Repertory Orchestra is committed to fostering an organizational culture where all people are treated fairly, valued for their differences and given equal opportunities to maximize their success. N ATI O N A L R EP ER TO RY O R CH E S T R A

MOUNTAINS OF MUSIC PROUDLY SUPPORTING YOUNG MUSICIANS FOR 14 YEARS NRO Musicians will play a series of free porch concerts at the Breckenridge Associates Real Estate Office located at 229 S. Main St. in Breckenridge from 4 â€“ 5 p.m. on the following dates: TUESDAY

TUESDAY

MONDAY

JUNE 11TH | JULY 9TH | JULY 16TH | JULY 22ND

970 453 2200 BRECKENRIDGEASSOCIATES.COM

AWARDS OF EXCELLENCE The Michael Altenberg Leadership Award 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.

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

John H. Stafford

Patrice discovered her passion for the performing arts in the 1970’s when she agreed to participate on the Founding Board of the Marin Opera Company in San Rafael, California. This led to her pursuit of a Masters in Arts Management, followed by a five-year tenure as Director of Development for the Fairfax Symphony Orchestra in Virginia. Always committed to community service, Patrice started volunteering as soon as she moved to Summit County in 1998, working with the SC Garden Club, Breck Ski Resort Guest Services, BMF/Applause, Bristlecone, and LAPS. She joined the NRO Board of Trustees in early 2009, taking on the role of Board President in 2014. She continues to serve on numerous Board committees including Finance, Strategic Planning, Planned Giving, Gala, Music Director Search, and the Community Engagement Task Force - while chairing the Trustee Affairs Committee, the 2018 Gala, and the “Blue Jeans to Breckenridge” History Committee. For Patrice, it is primarily about the music and the musicians. She and her husband, Ron, are avid supporters of the Community Link program.

John, an Iowa native, has long admired Summit County, skiing Breckenridge for the first time while in high school, living here for a year just after college, and now as a permanent resident. With degrees in transportation and accounting from Iowa State University and an MBA from the University of Minnesota, John spent his career in financial operations with General Mills, a global consumer foods company headquartered in Minneapolis. He held numerous operating and corporate leadership roles, both domestic and international, including regional chief financial officer roles based in Toronto and The Hague. John retired in 2010 as VP, Global Business Services. John has served on numerous business organization boards as well as home, condo and lake owners association boards. John and his wife Connie are enthusiastic fans of the National Repertory Orchestra, as well as donors and volunteers since 2012. John currently serves as Treasurer of the NRO Board of Trustees and is assisting the CEO with multiple organizational initiatives. John is a fly fishing and upland bird hunting enthusiast. He and Connie enjoy skiing, hiking, and fishing in the Colorado high country. They have two children Sarah, a Denver veterinarian, and John, a commercial real estate underwriter in Denver.

Outstanding Community Service Award

Robin Hadley Philanthropy Award

Patrice Lara

The Outstanding Community Service Award is given annually to an individual or couple that demonstrate long-term exemplary support, not only of the NRO but many Summit County non-profit organizations.

Steve Corneillier Steve began his career with Keystone Resort in December 1975 where he has been employed continually for nearly 44 years. He has held a variety of positions in both the mountain and hospitality divisions including Vice President of Marketing and Director of Golf and Recreation. In September 1986, Steve was asked by Keystone President Jerry Jones, to attend an NRO Board Meeting in Evergreen to request for them to take residence at Keystone Resort. The NRO began their summer residence in June 1987 which became their foundation in Summit County for their next six seasons at Keystone Resort, and then with their eventual move to their permanent home in Breckenridge. Steve and Kathy, (recently deceased) have been engaged and supportive of many nonprofit organizations for the last 35 years beginning with the NRO, Wine in the Pines, Keystone Science School, Lake Dillion Performing Arts, The Summit Foundation, Summit Medical Center, Shaw Cancer Center, FIRC, and the Lake Dillon Soap Box Derby. Steve’s roots are Minneapolis, Minnesota-based where he grew up in the ski and golf industries and holds B.S. & M.A degrees. He enjoys any outdoor activity that’s in our natural resources to include skiing and hiking with daughters Brittony, Nicole and their families!

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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.

M.A. Deen M.A. Deen was born and raised in a small town in western Kansas and has been surrounded by music all her life. At a young age, she started piano lessons and continued playing through High School. Deen also played the Saxophone and sang in several school choirs, developing a love for different styles of music. She has owned a home in the area since 1965 but did not know about the NRO until she had more time to experience Breckenridge summers. After her son graduated from High School, Deen began attending concerts. She likes how the NRO gives young people an opportunity to perform in a beautiful setting and to learn, in a very short time, numerous compositions.

PLANNED GIVING The Walter Charles Legacy Society was established to recognize benefactors who have created a legacy of support for the National Repertory Orchestra (NRO) through a bequest provision in their will or other planned gifts to sustain and enhance the NRO’s mission of Changing Lives Through Music!

BENEFITS OF A PLANNED GIFT Designating a charitable gift to the NRO in your estate plan allows you to: Receive income and valuable tax savings during your lifetime Maximize the benefits of your gift for you and your loved ones Fulfill your philanthropic goals

CONSIDER YOUR OPTIONS There are many charitable giving options, some of which increase income and taxes. For example: Make a bequest of cash, securities or property Name the NRO as a beneficiary of your retirement plan assets (IRA, 401K) or insurance policy Participate in a Pooled Income Fund Establish a trust that gives you income during your lifetime while the remainder will benefit the NRO and its mission

GIVE WITH CONFIDENCE Your donation to the NRO can support the organization’s greatest needs through the general fund. It can also be designated to a specific NRO program such as: Community engagement Education Music purchase Scholarships Endowment

The NRO has several experienced financial advisors ready to answer your planned giving questions. Working in concert with your personal advisor or attorney, they can help you determine the right option for you to reach your philanthropic goals. Please contact the NRO office to learn more about:

MAXIMIZING YOUR GIFT WITH A CORPORATE MATCH Many employers sponsor matching gift programs and will match any charitable contributions made by their current or retired employees. Look for your company online under “matching gift company search” to maximize your gift to the NRO.

the

National Repertory Orchestra

ENDOWMENT TRUST

The NRO Endowment Trust was created in 2004 to provide long-term financial support for the NRO. Through the support of many generous donors the NRO’s mission to Change Lives Through Music! will continue in perpetuity.

ENDOWMENT DONORS From May 16, 2018 – May 1, 2019 Harriet Bobo Barbara and Jim Calvin Reggie and Pamela Gray Family Mary Lou and John Grossmann Robin Hadley Anita and James Kreider Patrice and Ron Lara Eric S Mendelsohn Harold Herring and Susan Lee Pam and Sonny Wiegand

ENDOWMENT TRUSTEES For more information please contact one of the Endowment trustees or call the NRO office at (970) 453-5825 Jim Calvin: jwcalvin@gmail.com or 970-453-7337 Fred Menzer: menzer35@comcast.net or (970) 453-2467 Barbara Vonderheid: bvonderheid@vonderheidlaw.com or 303-217-7718

GIFTS IN MEMORIAM/GIFTS IN HONOR Honoring a family member or friend with a gift is a touching way to pay tribute to a loved one. These tributes have an honored place with the National Repertory Orchestra.

The National Repertory Orchestra is a 501 (c)(3) not-for-profit organization, Tax ID #84-0566793 N ATI O N A L R EP ER TO RY O R CH E S T R A

SEASON TRIBUTE GIFTS IN HONOR OF DONATIONS

CONTRIBUTIONS MADE BETWEEN MAY 16, 2018 AND MAY 1, 2019

BOB FOLLETT Elizabeth Hainen and Dave DePeters The Helen M. Harrison Foundation Elise Murphy Rowe

JIM AND BARB CALVIN Sandra Mortensen Marcia Poirier Carol and Ken Vagnini

CARL TOPILOW Joseph & Sharon Rakoski Michael Udow Barbara and Mark Vonderheid

JOAN MANLEY HOULTON Dana Houlton LISA AND JON HANS Susan and Michael Thonis

DIANA WADE Elaine and Alan Wade

DEBRA IRVINE Belinda and Anthony Jones Jr.

JUDY AND LARRY HOLLOTZ Pat and Roger Odum

PAUL A. FINKEL Patrice and Ron Lara SANDY MORTENSEN The Family Mayer Foundation, Inc. Ellie & Bill Greco Gary and Phyllis Martinez Tom and Ann Rader Pam Piper Yeung and Dr. Kai Yiu Yeung LIBBY BORTZ AND MIKE ALTENBERG Linda and Stephen Kalat

JOANNE MASICA Susan and Michael Thonis

IN MEMORY OF DONATIONS

CONTRIBUTIONS MADE BETWEEN MAY 16, 2018 & MAY 1, 2019

ADAM J. DEPETERS Jean Depeters Elizabeth Hainen and Dave DePeters BETSY CROSSMAN John Crossman DICK MASICA Joanne Masica DON KING Jane King ELIZABETH WHEATON COBDEN Sandra Mortensen HARRIET BOBO Åsa and Olin Armstrong Richard Brown Steve Corneillier Bill & Marianna Goslau

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JIM TAUCHER Pamela and Douglas Adams Michael Altenberg and Libby Bortz Reggie and Pamela Gray Elizabeth Hainen and Dave DePeters Anita and James Kreider Patrice and Ron Lara Gary and Phyllis Martinez Anne and Bill Mills Tom and Anne Rader Julia Shepherd Lee and Kathy Terry Barbara Vonderheid Glen and Bobbie Zelkind

MARY METZ Roger Metz

JUDY EZRA Ann Erickson

PEARL SCHOR Glen and Bobbie Zelkind

KATHLEEN CORNEILLIER Åsa and Olin Armstrong Steve, and daughters Brittony & Nicole Patrice and Ron Lara

RICHARD AND MARGUERITE HEIDER Heider Trust

JUDE FUSCO Roger Metz MICHAEL KIRSCHENBAUM, MD Bonnie Kirschenbaum NANCY FOLLETT Åsa and Olin Armstrong Anthony and Barbara Flitcraft Reggie and Pamela Gray Sandra Mortensen

DONOR BENEFITS For more information how you can become a donor please call 970-453-5825 or visit us online at www.nromusic.org.

CHARTER MEMBER

CONCERTMASTER’S CIRCLE

$50 TO $99 Bronze level “Buy One Get One” ticket

$5,000 TO $9,999 Donor recognition in the NRO Program Book Section Chair acknowledgement Concert sponsor acknowledgement Announcement at Wednesday or Saturday concert Pre-concert sponsor loop One 4-bundle silver level tickets ($134 value) Tickets to NRO special event for four guests (excludes Gala) Invitation to private NRO receptions Private NRO Backstage Tour Access to Master Classes and Seminars Two NRO limited edition mugs

ORCHESTRA FRIEND $100 TO $249 Donor recognition in the NRO Program Book Silver level “Buy One Get One” ticket Invitation to private NRO reception

ORCHESTRA CONTRIBUTOR $250 TO $499 Donor recognition in the NRO Program Book Gold level “Buy One Get One” ticket Invitation to private NRO reception

ORCHESTRA SPONSOR $500 TO $999 Donor recognition in the NRO Program Book Two silver level “Buy One Get One” tickets Invitation to private NRO receptions Access to Master Classes and Seminars

ORCHESTRA CENTURY CLUB $1,000 TO $2,499 Donor recognition in the NRO Program Book Two silver level “Buy One Get One” tickets Invitation to private NRO receptions Access to Master Classes and Seminars Two NRO limited edition mugs

MUSICIANS’ CIRCLE $2,500 TO $4,999 Donor recognition in the NRO Program Book Section Chair acknowledgement Concert sponsor acknowledgement Pre-concert sponsor loop One 4-bundle bronze level tickets ($96 value) Tickets to NRO special event for two guests (excludes Gala) Invitation to private NRO receptions Access to Master Classes and Seminars Two NRO limited edition mugs

MAESTRO’S CIRCLE $10,000 TO $24,999 Donor recognition in the NRO Program Book Section Chair acknowledgement Concert sponsor acknowledgement Announcement at popular concert Pre-concert sponsor loop One 4-bundle gold level tickets ($152 value) Tickets to NRO special event for six guests (excludes Gala) One private home or business NRO performance Invitation to private NRO receptions Private NRO Backstage Tour Access to Master Classes and Seminars Two NRO limited edition mugs

PLATINUM CIRCLE $25,000 AND UP Donor recognition in the NRO Program Book Section Chair acknowledgement Concert sponsor acknowledgement Announcement as Season Concert sponsor Pre-concert sponsor loop Two 4-bundle gold level tickets ($304 value) Tickets to NRO special event for eight guests One private home or business NRO performance Invitation to private NRO receptions Private NRO Backstage Tour Access to Master Classes and Seminars Gala table for ten guests at $3,000 sponsorship level Two NRO limited edition mugs

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SEASON DONORS & SUPPORTERS CORPORATE & FOUNDATIONS 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 2018.

$20,000 AND UP Benson Family Foundation Town of Breckenridge Schmitt Music $10,000-19,999 Alpine Bank Dillon Beaver Run Resort Colorado Creative Industries The Lake Dillon Theatre Company Stanley Black & Decker The Summit Foundation Vail Resorts EpicPromise $5,000-$9,999 Blue River Bistro Bravo! Vail Music Festival Breckenridge Creative Arts Breckenridge Grand Vacations Climax Molybdenum Fatty’s Pizzeria The Helen M. Harrison Foundation Ski Village Resorts Town of Dillon Welk Resorts Wyndham Vacation Rentals $2,500-$4,999 Apex Mortgage Breckenridge Associates Real Eastate Building Hope Carboy Winery Downstairs at Eric’s IBM Corporation ISU Insurance Services of Colorado John and Florence Fortune Family Foundation KCME 88.7FM Main Street Station Money/Arenz Foundation Peak Property Management Rockridge Building Company Team Player Productions Inc Victor C. Laughlin Memorial Foundation Trust

$1,000-$2,499 Axis Sports Medicine LLC Aspen Grove Kitchen and Bath Berkshire Taconic Community Foundation Breckenridge Photo Shop Colorado State University of Arts & Media Conoco Philips Company Creative Cabinetry The Family Mayer Foundation, Inc. Great Western Lodging Heider Trust Hinkley Lighting/Inside Source 4 Intuit - Chevron Humankind Matching Gift Program Kenosha Steakhouse Lara, May and Associates Liv Sotheby’s International Realty/Nelson Group and Walley Lloyd J. King and Eleanor R. King Foundation Maximum Comfort Pool and Spa, Inc Pediatric Dental Group of Summit County Rotary Foundation of Summit County Schwier Charitable Fund Shaw Breast Center & Cancer Clinic in Frisco/ Vail Health Slifer Smith & Frampton Summit County Builders Association Summit County Association of Realtors Summit County Senior Citizens, Inc. Summit Mountain Rentals Town of Frisco Town of Silverthorne Town of Vail US Bank Foundation Wiegand, Attorneys & Counselors, LLC Wolfe & Company

$500-$999 Amy L. Scott Family Foundation Blue at Riverwalk Breck Books Breckenridge Gallery Breckenridge Heritage Alliance Colorado State Bank and Trust Mortgage Group/Darlena Marmins Community First Foundation Distinctive Woodwork Innovative Energy Mi Casa/Hearthstone ReMax/Kouri Wolf $150-$499 Alpine Sports Arrow Insurance Management Inc. Blue River Sports Coach Leatherware Craig Realty Group-Silverthorne LLC / Outlets at Silverthorne Custom Creations Photography Gold Pan Restaurant & Saloon

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SEASON DONORS & SUPPORTERS INDIVIDUAL DONORS Special thanks to the following donors From May 16, 2018 – May 1, 2019

PLATINUM CIRCLE

($25,000 AND UP) Robert and Cynthia Benson Harriet Bobo Michael Altenberg and Libby Bortz Barbara and Jim Calvin Robert Follett Robin Hadley Jane King

MAESTRO’S CIRCLE

($10,000 - $24,999) M.A. Deen Barbara Strauss and Paul A. Finkel Nancy Gooding Annette and Ken Hallock Carole Johnson Patrice and Ron Lara Anne and Bill Mills Janice Ward Parrish Jana Edwards and Rick Poppe Sally and Bruce Queen Barbara and David Weaver

CONCERTMASTERS’S CIRCLE ($5,000-$9,999) Sharon Magness Blake and Ernie Blake Steve Corneillier Denise and James Eliopulos Reggie and Pamela Gray Family Carolee and John Hayes Pat and Steve Larson Helen and Lester Lemay Kathie and Michael Massey Sam and Barbara McCleneghan Susan and King Pouw Connie and John Stafford Jack Thomas Pam and Sonny Wiegand

MUSICIAN’S CIRCLE

($2,500-$4,999) Mark and Polly Addison Laurie and William Bolthouse Tim Casey John D. Crossman Elizabeth Hainen and Dave DePeters Kathleen and Thomas Fingleton Tony and Barbara Flitcraft Joan Manley Houlton Bonnie Kirschenbaum Bill and Yvonne McCallum Anne Mead Hon. Samuel L. Bufford and Julia Metzger Michael Molloy Sandra Mortensen Susan and Don Reynolds Cordelle Rierson Mary and George Sissel Karen and Don White

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ORCHESTRA CENTURY CLUB

($1,000-$2,499) Kathy and Bill Adams Åsa and Olin Armstrong Mr. and Mrs. Bernard Bottomley Anne Galluzzo and Rev. Charlie Brumbaugh Howard and Sue Carver Linda Richter and Richard Cheney Andrea and Stephen Coleman Robert and Susan Delaney Ruth Dewton Nancy and Tom French Annette and Gerry Fricke Marilyn and Thomas Gales Bill and Susan Gillilan Charles “Buddy” Greisch III Jane M. Hankison Dee and Rich James Georgia and Glen Kraatz Kathy and John Landon Darlena and Tom Marmins Joanne Masica Robert and Jennifer McIntosh Bonnie Orkow Alice and Leonard Perlmutter Tom and Ann Rader Jim and Kay Ross Bill Sanders Carolyn and Bill Schwartz Sue Harvey Secker David and Denise Snipes Maxine and Martin Solomon James and Rebecca Spearot Pat Spitzmiller Kate Taucher Susan and Michael Thonis Shirley and Carl Topilow Carol and Ken Vagnini Barbara and Mark Vonderheid Lou Wagner Patty and Ed Wahtera Juhree Wendl Pam Piper Yeung and Dr. Kai Yiu Yeung

ORCHESTRA SPONSOR

($500-$999) Richard and Linda Bateman Greg and Kathy Bird Sara Burks Rebecca Comstock Cary and Marsha Cooper Betsy and Ron Cytron Susan Propper and Donald Dankner Jean DePeters Thayis and Jim Dionne Shari and Chris Dorton Ann Erickson Barbara Ferguson Kipp and Helen Friedli Judy and James Graunke

Cheryl and Harry Greene Lex and Mitzie Hawkins Jim and Sharon Hourihan Katherin and Duane Howell Kenneth Hutchins Anita and James Kreider Jane Johnston and Thomas Krusko Donald Leach Karen and Mont Levy Win and Susan Lockwood Tom and Lu Ann McCullough Maureen McCullough Margarita Montanaro Michael and Mary Moyer Barbara Pollack Patricia and Wayne Powell Violeta and John Powell Suzanne Price Barbara Phelan and Carol Reed Randy and Christy Rost Charlotte and Jerome Ryan Ron and Jeni Shelton Jean Sherman Doug and Nancy Sims Alan and Kathy Sonnanstine Michael Stern

ORCHESTRA CONTRIBUTOR ($250-$499) Larry Abston Mike Adams Michele and Tim Alexander Jon Bader Jane Barber Bill and Rita Bergman Michael and Peggy Borkon Tom Brown Marnie and Bob Chisholm Geraldine Cohen Donna and Ted Connolly Dr. and Mrs. Edward Crane Donald and Marsha Dunn Roger and Carol Dutton Michael and Marylynn Eipper Evan and Kim Ela Michael and Alice Epstein Alan Evans and Maureen Logan Cecile Forsberg Diane and Hank Fuchs Joan and Lester Garrison Dan and Johanna Gibbs Michael and Rosemary Ginzberg Linda Graebner & Charlie Shalvey Rose Mary and Joseph Grove Scott Hamilton Joel and Christine High Steven and Ellen Hirsch Rick Holman Becky and Warren Johnson Belinda and Anthony Jones Jr.

SEASON DONORS & SUPPORTERS INDIVIDUAL DONORS Linda Kalat Dannah Kilborn Dale and Marilyn Kuhn Peggy and David Lindstrom Nancy and Kevin Malone Jeannie Mann Gary and Phyllis Martinez Beverly and David McArthur Lynn E. Hornbrook and Linda McNeive Amie and Tinsley Morozs Robert and Judi Newman Jim and Bonnie Noffsinger Alan Nye Pam and Jack O’Neil Marcia Poirier Joseph G Rakoski Larry and Dianne Samuelson Beverly and David Schler James and Adrienne Sielaff Mel and Carolyn Stjernholm Alan and Elizabeth Swanson John and Pat Taylor Robin and Patty Theobald Jane and Frank Venable Michelle and Michale Wade Dan Welcher Robert Williams and Treva Womble Marylin Withers Susan Yates Christine Yuhas Dr. Glen and Bobbie Zelkind

ORCHESTRA FRIEND

($100-$249) Wallace and Jan Acker Dr. and Mrs. James Adams Pameal and Douglas Adams Liz and Tuck Aikin Murray and Marlene Altman Rita and Jeffrey Aron Sandy and Steven Bainbridge F.A. and Judy D. Baker Amy and Alan Banta Peter Beck Col. Jl Berkheiser Sue and James Bicknell Tom Bonfili Mary and Richard Bremer Jerry and Joan Brett Bruce and Jeanie Bundy James and Evelyn Cavins Samantha Chin Mary and Dick Clark Charlie Cole Kris Coleman James and Katherine Conely Susie Cortright Jane Peterson and Kenneth Cremer John and Caroline Crider Brian Moriarty and Joan Davids

Laura DeLuca Diana and Don Dettmering Greg and Carol Dobbs Dr. Alex and Marsha Douglass Maggie and Wally Ducayet Karen and Lloyd Edraney Chris and Rose Field Erik Foster Mary R. Francis Adrienne and Allen Frechter Candice and Joe Fricke Emily and Sean Gatzen Mr. and Mrs. Bob and Judy Girvin Ben and Cynthia Gordon Marianna and Bill Goslau Ellie & Bill Greco Suzanne Greene Margaret Johnson Greene Tom Gross Mary Lou and John Grossmann Beth and Neil Groundwater Jerry Gruber Jim and Jeanie Hammond Don and Jeanette Hansen Arthur and Lilly Hardin Michael and Bonnie Harris Taylor Herda Adrienne and Louis Herman Tom and Gigi Hillyer Sandra Holdgreve Joel Horwich Dana Houlton Martha and Greg Hughes Mike and Jan Huiatt Casey and Julie Kaptur Dale and Judith Kesler Bill and Pat Kessler Susan Knopf Craig Phillip Knox Jeanie and Mike Kramer Jim and Polly Kuelbs Kenyon and Karen Kugler John Lafollette Anita J. Lange Kent and Bonnie Lattig James L. and Janys M. Leary Earl and Victoria Lehrer Janice Leopold Steve Levy Donald and Marie Ann Logan Jim and Diane Luellen Timothy Macek Henry Mahlman Nanci Mancinelli Robert W. and Doretta M. Marwin Faye and Michael Masanoff Gaelen McCormick Dr. Greta and Scott McLaren James McShane Eric S Mendelsohn

Dr. and Mrs. Steven J Meyerson CJ Milmoe Daria and Larry Moskowitz Ted Mueller Sally Nave Ginger and Dick Newkirk Linda and Jim Northrop Denny and Cheryl Parkinson Charles and Debra Pitman Mary Jo and Doyle Preheim Patrice and Paul Reilly Sandy and Gail Richardson Tim Riley Dr. John Roehm Elise Murphy Rowe Jessica Ruda Karen and Stan Ruden Kristine and Bill Schneider Richard and Beth Seeley Anne Shannon Jonathan Sherwin Lucy and Robert Showalter Lisa Schultz Carol & Jeff Simon Haynes and Sue Smith Jay and Helen Smith Steve and Sandee Smith Gene Sobczak Karen and Allen Spelman James Stanfield Dr. Tim Steele and Inge La Cour Carol Barrons and Martin Strull Mike and Karen Svetlic Lee and Kathy Terry John Thorne Susan and John Thornton Pat and Kathy Thrall Julie Anne Tifft Joan Tilden Janet Trojak Marilyn Turner Debra S. and Harold Tyber Michael Udow Nancy and Andre Van Hall Tom and Emily Wahl Leonard and Roberta Waldbaum John and Edde Walker Colin Walker Jean & Jim Way Diane and Sid Waynick Andrea and Loren Weinstein Claire Ann and Jonathan Whitfield Linda and Richard Wiesner Carmen and Steve Wiest Penington and Linda Wimbush Rich and Sara Wrenn Scott Yule and Karen McDonough-Yule

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SEASON DONORS & SUPPORTERS IN-KIND DONORS These donors have generously given goods or services to the NRO between the dates of May 16, 2018 and May 1, 2019

5th Avenue Grille A New You A&A Pet Supply & Feed Larry Abston Adams Studio Alpine Bank Alpine Spa and Salon Michael Altenberg and Libby Bortz Murray and Marlene Altman Amazing Grace Natural Food Store Patty Andrews Angry James Brewing Peter Anwyl Awaken the Core Basecamp Wine & Spirits Beloved Boutique Amy Berger Bhava Yoga Blue River Sports Blue Sage Spa Breckenridge Brewery Breckenridge Building Company Breckenridge Candle Cabin Breckenridge Creative Arts Breckenridge Distillery Breckenridge Grand Vacations Breckenridge Hair Company Breckenridge Jewelers The Briar Rose Chop House and Saloon Brooklyn’s Tavern The Butterhorn Bakery & Cafe Cabin Fever Barbara and James Calvin Thomas Capp Carboy Winery Carvers CB & Potts Restaurant & Taphouse The Chopping Block Alicia Clark-Fulcher Clint’s Bakery Colorado Document Security Rebecca Comstock Creatures Great and Small The Crown Cafe and Tavern Cuppa Joe Custom Eyes Denver Center for the Performing Arts Denver Museum of Nature and Science Denver Zoo Diamond Tees Digitiqe

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Elisabeth Ehrling The Enchanted Biscuit Glenn and Carla Erickson Escape Room - Breckenridge Eyes on Breckenridge Father Dyer United Methodist Church Flip Side, Bold, Blue Stag Restaurant Bob Follett Mary Francis Nancy and Tom French Annette and Gerry Fricke Frisco Adventure Park Frisco Nails The Glass Art Co. Marianna and Bill Goslau Elizabeth Hainen and Dave DePeters Annette and Ken Hallock Harmony Health & Massage Harmony Interiors Haven Salon Havest Moon Estate & Winery Carolee and John Hayes History Colorado Center Lynn E. Hornbrook and Linda McNeive Huxley Rose Hair Shop Joseph J King Family LTD Partnership Jumpstreet Indoor Trampolin Park Kaleidoscope Seymour and Elinor Katz Jane King Kingdom Massage Bonnie Kirschenbaum Kroenke Sports Enterprises La Francaise French Bakery Lake Dillon Theatre Company Patrice and Ron Lara Tim Larson Helen and Lester Lemay Lilli’s Lighting and Decor Log Cabin Cafe LoLo Juice The Lost Cajun Marigolds Farmhouse Sam and Barbara McCleneghan Fred and Vicky Menzer Microsoft Anne and Bill Mills Mountain Comfort Furnishings & Design The Mountain Goat Sandra Mortensen Mountain Sports Outlet

Mountain Top Cookie Shop NAPA Auto Parts Nature’s Own Northside Pizza Olive Fusion Steve Parry Peak A Boo Toys Peak Property Management Phillip A. Treuer Violeta and John Powell Precision Ski Quandary Grille Red Mountain Grill Rio Grande Linda Richter and Richard Cheney Roots Hair Salon Randy and Christy Rost Randy and Christy Ruhland Scheid Family Wine Serenity Spa and Salon Shine Nail Salon Shirt and Ernie’s Skinny Winter Gifts Holly Slocum Rob Sollenberger Lois Stuart Summit Express Tara Sieber Tatiana Sanin Jewelry Team Player Productions Inc Trifecta Yoga, Events, Retreats Uptown Bistro Inc. Carol and Ken Vagnini VIVE Float Studio Warren Station Pam and Sonny Wiegand Wilderness Sports Suzy and Cap Witzler Zen 4 You

CALLING ALL DREAMERS, ARTISTS, AND CREATORS. WELCOME HOME. The College of Arts & Media is where students learn from leaders in Denver's thriving creative economy and hone their skills in film, music, television, recording arts, visual arts, and the entertainment industry. The opportunity to live what you love is more than a career. It's a calling. artsandmedia.ucdenver.edu

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

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EDUCATION & OUTREACH MUSIC FOR ALL The National Repertory Orchestra is first and foremost an educational, nonprofit organization that creates win-win opportunities for our local community, the attending musicians and the audience. Through the universal language of music, we inspire young children with free library and classroom performances, mentor aspiring musicians from across the country to pursue musical careers, provide the residents and visitors of Summit County with high-caliber performances and free community outreach events throughout June and July. A sincere Thank You to our sponsors for their investment in the NRO, making music accessible to our residents and visitors. Alpine Bank Breckenridge Associates Real Estate Breckenridge Grand Vacations EpicPromise – Vail Resorts Main Street Station Pediatric Dental Group The Summit Foundation Summit Association of Relators USBank Welk Resorts Wolfe & Company

STEVE AND PAT LARSON ARTIST IN RESIDENCE PROGRAM The Artist in Residence program was created to teach mentorship, leadership and musicianship to the aspiring musicians of the National Repertory Orchestra. During our summer festival, the Artists in Residence work with the 89 NRO musicians to provide career guidance and direct instruction. Program participants conduct master classes, perform alongside the NRO musicians In rehearsals, hold seminars and mock auditions, offer career development advice, participate in panel discussions, and lead outreach performances that will engage our local and neighboring communities. This program is yet another way the NRO provides invaluable experiences, helping create the leaders of tomorrow – TODAY. 2018 Professional Artists in Residence included: David Bilger, Principal Trumpet, The Philadelphia Orchestra Joseph Conyers, Assistant Principal Bass, The Philadelphia Orchestra Chris Deviney, Principal Percussion, The Philadelphia Orchestra Elizabeth Hainen, Principal Harp, The Philadelphia Orchestra Nitzan Haroz, Principal Trombonet, The Philadelphia Orchestra Mary Javian, Chair of Career Studies, The Curtis Institute of Music Jeffrey Khaner, Principal Flute, The Philadelphia Orchestra Ricardo Morales, Principal Clarinet, The Philadelphia Orchestra Amy Oshiro, First Violin, The Philadelphia Orchestra

JUNE 29 CHRIS VEENEMAN J U LY 1 2 A M Y E VA N S J U LY 2 6 K AT E K I E S L E R AU G U S T 1 0 PA U L A S C HUE T TE-KRAEMER SEPTEMBER 14 PERRY BR OWN BRE C KE NRI DGE GA LLERY | S IN C E 1 9 69 U P S TA I R S AT 1 2 4 S O U T H M A I N S T | 97 0 4 5 3 2 5 9 2 | B R E C K E N R I D G E G A L L E R Y . C O M

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MUSIC FOR EVERYONE! FREE COMMUNITY ENGAGEMENT EVENTS WAVE: LIGHT+WATER+SOUND “Floating Brass” In partnership with: Breckenridge Creative Arts THURSDAY, MAY 30TH – SUNDAY, JUNE 2ND

CONCERTS ON THE SQUARE

Sponsored by: LIV Sotheby’s International Realty, Main Street Station and Wolfe & Company Main Street Station 505 S. Main Street, Breckenridge 5:00PM – 6:00PM TUESDAY, JUNE 18TH FRIDAY, JUNE 21ST TUESDAY, JULY 9TH TUESDAY, JULY 16TH

MUSIC IN THE MOUNTAINS

In partnership with: Breckenridge Creative Arts and Breckenridge Heritage Alliance 1:30PM – 2:30PM TUESDAY, JUNE 11TH TUESDAY, JULY 9TH Blue River Plaza Blue River Plaza (next to Welcome Center) (next to Welcome Center) 137 S. Main Street, Breckenridge 137 S. Main Street, Breckenridge Sponsored by: Breckenridge Grand Vacations Sponsored by: Welk Resorts THURSDAY, JUNE 13TH SATURDAY, JULY 13TH Alice G. Milne Memorial Park Prospector Park 102 N. Harris Street, (next to Alpine Bank) Breckenridge 112 N. Main Street, Breckenridge Sponsored by: Breckenridge Grand Vacations Sponsored by: Breckenridge Grand Vacations FRIDAY, JUNE 21ST TUESDAY, JULY 16TH Blue River Plaza Blue River Plaza (next to Welcome Center) (next to Welcome Center) 137 S. Main Street, Breckenridge 137 S. Main Street, Breckenridge Sponsored by: Welk Resorts Sponsored by: Welk Resorts TUESDAY, JULY 2ND MONDAY, JULY 22ND Prospector Park Blue River Plaza (next to Alpine Bank) (next to Welcome Center) 112 N. Main Street, Breckenridge 137 S. Main Street, Breckenridge Sponsored by: Breckenridge Grand Vacations Sponsored by: Welk Resorts

A UNIVERSE OF STORIES FOR CHILDREN

Presented by: Summit County Libraries Interactive Music Program by the NRO 1:30PM – 2:30PM TUESDAY, JUNE 18TH Sponsored by: Breckenridge Grand Vacations Main Branch Library, 37 Peak One Drive, Frisco North Branch Library, 651 Center Circle, Silverthorne South Branch Library, 103 S. Harris Street, Breckenridge

PORCH SERIES

Sponsored by and located at: Breckenridge Associates Real Estate, 229 S. Main Street, Breckenridge 4:00PM – 5:00PM TUESDAY, JUNE 11TH TUESDAY, JULY 9TH TUESDAY, JULY 16TH MONDAY, JULY 22ND

NRO REHEARSALS

All NRO rehearsals in June and July at the Riverwalk Center in Breckenridge (except for E.T.) are open to the public. For a schedule of rehearsals, visit nromusic.org/tickets-and-events

COMMUNITY ENGAGEMENT PARTNERS N ATI O N A L R EP ER TO RY O R CH E S T R A

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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 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 with activities and home-cooked meals. For more information on being an NRO Community Link Host Family, contact Barbara Calvin at (970) 453-7337/Barbara.K.Calvin@gmail.com or Carol Vagnini at (330) 749-0590/kcmka@aol.com.

2019 COMMUNITY LINK HOST FAMILIES Robert Franken and Nancy Kinney Nancy and Tom French Kipp and Helen Friedli Anne Galluzzo and Rev. Charlie Brumbaugh Johanna and Dan Gibbs Steve and Cheryl Golub Lisa and Jon Hans Iva and Jim Hesse Bonnie Kirschenbaum Jeanie and Mike Kramer Gail and Milton Klein Kathy and John Landon Darlena and Tom Marmins Kate Neuschaefer

Marci and Andrew Aerenson Marlene and Murray Altman Suzanne Anderson Leah Arnold Kim Ruhland and John Bally Barbara and Jim Calvin Rebecca Comstock Jan and Steve Cornwell Tom Day Maggie and Wally Ducayet Brian Duchensky and Jim Kohn Christine Ebert-Santos MD Amy and John Evans Mary R. Francis

Liz and David O’Donnell Karen and David Pringle Violeta and John Powell Susan Propper and Donald Dankner Jules Rosen and Debra Fox Donna and David Schroeder Arlene and Jim Seltzer Sharon and Ray Smith Joanne Stolen and Rob Garrity Carol and Ken Vagnini Barbara and Mark Vonderheid Duck and Vince White-Petteruti Lydia Wittman and Rafi Ziauddin

To the wonderful cooks who donated scrumptios dishes to the 2018 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

2018 THURSDAY COMMUNITY LINK DINNER CONTRIBUTORS Patty and Will Andrews Marci and Andrew Aerenson Marny and Mick Bixler Barbara and Jim Calvin Rebecca Comstock Jan and Steve Cornwell Amy and John Evans Mary R. Francis Helen and Kipp Friedli Johanna and Dan Gibbs Lisa and Jon Hans

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Diane Henderson Stephen Immer Jane Jones Seymour and Elinor Katz Bonnie Kirschenbaum Kathy and John Landon Patrice Lara Sam and Barbara McCleneghan Jenny McIntosh Vicki Menzer Kate Neuschafer

Violeta and John Powell Kim Ruhland and John Bally Carolyn and Bill Schwartz Dawn and Randy Smith St. John’s Bible Study Group Joanne Stolen Carol and Ken Vagnini Vince and Duck White-Petteruti Clare Ann and Jonathan Whitfield Pam Piper Yeung and Dr. Kai Yiu Yeung

CONDUCTORS Carl Topilow, MUSIC DIRECTOR For more than four decades, Music Director and Conductor Carl Topilow has influenced the sound of American orchestras through his work as conductor of the National Repertory Orchestra and with the orchestras at the Cleveland Institute of Music. It is estimated he has heard more than 40,000 auditions and has given thoughtful feedback to each person. His continuous commitment to the quality of orchestral playing is demonstrated by the results. His students may be found as orchestra and faculty members throughout the United States and abroad. Topilow is the founding conductor of the Cleveland Pops Orchestra, and music director and conductor of the Firelands Symphony Orchestra in Sandusky, Ohio. Past positions have included conductor and director of the orchestral program at the Cleveland Institute of Music, and principal pops conductor with the Toledo Symphony, Southwest Florida Symphony and Mansfield Symphony. He has served as guest conductor for more than 120 orchestras in 37 states and 12 foreign countries, invariably finding NRO alumni wherever his travels take him.

Topilow’s wife Shirley is the President and CEO of the Cleveland Pops Orchestra. Their daughter Jenny, an NRO alumna from the 2001 and 2003 seasons, is a violinist with the Charlotte Symphony Orchestra. Their daughter Emily is a recent graduate from Bowling Green State University (OH) where she majored in psychology, minored in marketing and performed as a violinist with the university orchestra. Carl’s hobbies include reading, foreign languages, traveling, golf, spectator sports, and especially enjoys time with his two grandchildren, Edie and Arlo. Topilow is very proud of the accomplishments of his assistant conductors. They hold or have held positions with the following orchestras: Annapolis Symphony, Baltimore Symphony, Binghamton (NY) Symphony, Boise Philharmonic, Buffalo Philharmonic, Cincinnati Symphony, Cleveland Orchestra, Colorado Symphony, Columbus (OH) Symphony, Evansville Philharmonic, Houston Symphony, Illinois Philharmonic, Indianapolis Symphony, Kansas City Symphony, Limoges (France) Opera, Louisville Orchestra, Naples Philharmonic, New Haven Symphony, Richmond Symphony, Santa Fe Symphony, Seattle Symphony, Springfield (MA) Symphony, St. Paul Chamber Orchestra, Symphony in C, Thunder Bay Symphony, and Toledo Symphony and others.

Jason Seber, CONDUCTOR Jason Seber is about to embark on his fourth season as Associate Conductor of the Kansas City Symphony. In this position he leads the Symphony in 75 concerts each season on the Classics Uncorked, Pops, Family, Film + Live Orchestra, Young People’s Concerts, KinderKonzerts, and Link Up series, as well as Christmas Festival, Symphony in the Flint Hills, and a multitude of other programs. In October 2019, he will make his debut on the Classical Series. Prior to his appointment with the Kansas City Symphony, Seber served for three years as Education and Outreach Conductor of the Louisville Orchestra and Music Director of the Louisville Youth Orchestra from 2005 to 2016. Previously, he served as Assistant Conductor of the Cleveland Pops Orchestra and the National Repertory Orchestra.

Seber has guest conducted the Charleston, Colorado, Houston, Indianapolis, National, St. Louis, and Windsor Symphonies, as well as the Cleveland Pops and Denver Young Artists Orchestra. In the summer of 2019, he will make return appearances with the National Repertory Orchestra, Cleveland Pops, Houston Symphony, and the Honors Performance Series Orchestra at Royal Festival Hall in London. A passionate advocate of music education, Seber conducted the Honors Performance Series Orchestra at the Sydney Opera House in 2017 and Carnegie Hall. Seber has performed with a diverse range of artists including Patti Austin, Andrew Bird, Boyz II Men, Jinjoo Cho, Melissa Etheridge, Ben Folds, Lyle Lovett, Brian Stokes Mitchell, My Morning Jacket, Leslie Odom, Jr., Aoife O’Donovan, Pink Martini, Doc Severinsen, Conrad Tao, Bobby Watson, Wynonna, and Joyce Yang.

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CONDUCTORS Anu Tali, CONDUCTOR

Bramwell Tovey, CONDUCTOR

Described by the Herald Tribune as “charismatic, brilliant, energetic”, Anu Tali is one of the most intriguing conductors on the international scene today, belonging to a new generation of artists who are constantly searching for fresh musical ideas. In August 2013, Tali became Music Director of the Sarasota Orchestra in Florida. Alongside her duties in Sarasota, highlights of the current season include her debuts with Pacific Symphony and at the Fringe Festival in Philadelphia. She continues in her role as Chief Conductor of the Nordic Symphony Orchestra, which she founded in 1997 together with her twin sister Kadri Tali. Anu Tali appears regularly with orchestras worldwide including the Japan and Tokyo Philharmonic orchestras, Orchestre National de France, Chamber Orchestra of Europe, New Jersey, Vancouver, Houston, Milwaukee, Gothenburg and Swedish Radio symphony orchestras. In Germany she worked with Deutsches Symphonieorchester Berlin, Symphonieorchester des Bayerischen Rundfunks, Berliner Konzerthausorchester, Deutsche Kammerphilharmonie Bremen and Ensemble Modern. Tali’s debut recording, Swan Flight, (Finlandia/Warner Classics) earned her the 2003 ECHO Klassik ‘Young Artist of the Year’ Award. Other recordings include Action Passion Illusion for Warner Classics featuring works by Rachmaninov, Sibelius and Erkki-Sven Tüür. Her most recent CD, featuring Tüür’s Strata and Noēsis, was released on ECM in January 2011 and met with significant critical acclaim.

Grammy and Juno award-winning conductor and composer Bramwell Tovey has most recently added the title of Artistic Director of Calgary Opera Company to his role as Principal Conductor of the BBC Concert Orchestra, Artistic Advisor to the Rhode Island Philharmonic and Music Director Emeritus of the Vancouver Symphony. During 2018/2019, his guest appearances included the Chicago, St. Louis, Houston, and Toronto symphonies, and special Christmas programs with The Philadelphia Orchestra. In January 2019 he returned to the Winnipeg Symphony’s New Music Festival which he initiated during his tenure there. The summer of 2019 will include his annual visit to the Hollywood Bowl, return visits to Blossom with the Cleveland orchestra, Bravo! Vail with New York Philharmonic, and his first visit to Japan. Mr. Tovey was the recipient of the Oskar Morawetz 2015 Prize for Excellence in Music Performance. He was previously Music Director of Orchestre Philharmonique du Luxembourg where he led the world premiere of Penderecki’s Eighth Symphony on the opening of the principality’s new concert hall, the Philharmonie. He won the Prix d’or of the Academie Lyrique Française for his recording of Jean Cras’ 1922 opera Polyphème with OPL and toured with the orchestra to China, Korea, the United States and throughout Europe. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music. Since 2006 he has been Artistic Director of the National Youth Brass Band of Great Britain. In 2017 he joined the faculty of Boston University where he serves as Director of Orchestral and Conducting Studies.

HISTORIC BRECKENRIDGE

Courtesy Dr. Sandra F. Mather Archives, From Breckenridge Heritage Alliance

HISTORIC TOURS AND EVENTS THROUGHOUT THE YEAR

The Breckenridge Heritage Alliance offers fun and fascinating historic tours in Breckenridge led by passionate and informative local guides. Special seasonal tours and events include Hike with a Historian, Historically Speaking Library Series, Victorian Afternoon Teas and Paranormal Investigations. Be sure to include year-round favorites in your plans, Breckenridge Historic Walking and Haunted Tours, and Behind Swinging Doors Saloon Tour. BreckHeritage.com and 970-453-9767 x2

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CONDUCTORS Karina Canellakis, CONDUCTOR Karina Canellakis begins her tenure as Chief Conductor of the Netherlands Radio Philharmonic in the 2019/20 season. Also in 2019/20, Canellakis becomes the first Principal Guest Conductor in the history of the Berlin Radio Symphony Orchestra (RSB), and she is featured as the RSB’s Artist in Focus in her inaugural season. Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Canellakis has conducted many of the top orchestras in North America, Europe, the UK, and Australia since winning the Sir Georg Solti Conducting Award in 2016. Highlights of the 2019/20 season include debuts with the Atlanta Symphony, Minnesota Orchestra, Philadelphia Orchestra, San Francisco Symphony, London Symphony Orchestra, Orchestre Philharmonique de Radio France, Munich Philharmonic, NDR Hamburg, and Rotterdam Philharmonic. Re-invitations include the Los Angeles Philharmonic and the symphony orchestras of Toronto, Dallas, Houston, and North Carolina. In Europe, in addition to her concerts with the Netherlands Radio Philharmonic Orchestra and RSB, she returns to the Orchestre de Paris, Stockholm Philharmonic, Gurzenich Orchester, and Zurich Opera to conduct Verdi’s Requiem. On the operatic stage, Canellakis has conducted Die Zauberflöte with the Zurich Opera, Don Giovanni and Le nozze di Figaro with Curtis Opera Theatre, and gave the world premiere of David Lang’s opera The Loser at the Brooklyn Academy of Music. She has also led Peter Maxwell Davies’ opera The Hogboon with the Luxembourg Philharmonic. Karina Canellakis previously served as Assistant Conductor of the Dallas Symphony Orchestra. She is a graduate of the Curtis Institute of Music and the Juilliard School.

Tania Miller, CONDUCTOR Canadian Conductor Tania Miller has distinguished herself as a dynamic interpreter, musician and innovator on the podium and off. She has guest conducted throughout Canada, the USA and Europe with appearances that include the Toronto, Chicago and Vancouver symphonies, the Calgary Philharmonic, the National Arts Centre Orchestra in Ottawa, and Montreal’s Orchestre Metropolitain to name a few. In 14 years as Music Director of the Victoria Symphony in Canada, Tania Miller gained national acclaim for her passion and commitment to the orchestra and community. She was the driving force behind new growth, innovation and quality for the Victoria Symphony, and gained a national reputation as a highly effective advocate and communicator for the arts. As curator, she distinguished herself as a visionary leader and innovator. Acknowledged for the impact and success of her tenure, in 2017 the Victoria Symphony bestowed her with the title Music Director Emerita. Recipient of the 2017 Friends of Canadian Music award from the Canadian League of Composers and Canadian Music Centre for her acclaimed commitment to contemporary music in Canada, other awards include an honorary Doctor of Laws degree from Royal Roads University in 2015 in recognition of her exemplary work as a leader and for her extraordinary artistic achievements in the community. In addition, she was a recipient of the 2016 Paul Harris Award from the Rotary Foundation for distinguished musical excellence and leadership. Canada’s Royal Conservatory of Music bestowed her with an Honorary Diploma in 2015 for her impact on music in Canada.

Alex Amsel, ASSISTANT CONDUCTOR Argentinian-born conductor Alex Amsel is quickly establishing himself as a conductor equally at home with orchestral and operatic repertoire, as well as in music education for students of all ages. Amsel’s hope is to integrate music into the fabric of every community he works with to reshape how we think about society and our place in it. This summer marks Amsel’s return to Breckenridge after being a bassoonist with Breckenridge Music Festival in the past and his first as Assistant Conductor with NRO. Amsel has worked as Cover Conductor for the Baltimore, Fort Worth, Indianapolis, and New Hampshire

Symphonies. Other recent engagements have been as Associate at the Cabrillo Music Festival, Assistant Conductor for the Hot Springs and Miami Festivals, and has also appeared with the Monteux School Festival Orchestra. He was a winner of the 2016 Miami Music Festival Conducting Competition and led the Miami Music Festival Orchestra in concert at the New World Center. He has been designated as Assistant Conductor and Choir Master for the Peabody Conservatory Symphonies, Chorus and Opera and previously served as Resident Conductor for the Philadelphia International Music Festival. Amsel currently studies under the tutelage of Marin Alsop at the Peabody Conservatory. During his free time, Amsel is a hiking, wine, and Golden Retriever aficionado.

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GUEST ARTISTS Laurence Kaptain, JULY 20TH

Connor Bogart O’Brien, JUNE 29TH

At the age of 20, Laurence Kaptain was a section percussionist with the Colorado Philharmonic (now, National Repertory Orchestra) in 1973 and then returned at Principal Percussionist in 1974. He was alumni concerto marimba soloist in 1985. As a percussionist and symphonic cimbalom artist, Laurence Kaptain appears regularly with major ensembles, award-winning composers and renowned performing artists, including the New York Philharmonic, the Chamber Music Society of Lincoln Center, the Philadelphia Orchestra and the Pittsburgh Symphony. His performances may also be heard on recordings with the Chicago Symphony, St. Louis Symphony, Orpheus Chamber Orchestra, St. Paul Chamber Orchestra and the Czech National Symphony. Kaptain has been interviewed and featured on programs such as NPR’s Morning Edition, All Things Considered and, most recently, a retrospective broadcast of historic recordings made by Georg Solti on the Chicago Symphony’s BP Network broadcasts. He has also performed with renowned artists including Yo-Yo Ma, Isaac Stern, Pierre Boulez, Karlheinz Stockhausen, Elliot Carter, Gil Shaham, Suzanne Farrell, Kurt Masur, Elvis Costello, Henry Mancini, Donna McKechnie, Carol Channing and Robert Altman. In his current position as dean of the College of Arts & Media at the University of Colorado Denver, Kaptain is an energetic, well-respected academic leader with an exemplary record of effectiveness directing internationally renowned higher education programs and performing arts units in the provision of superlative learning, creative and performance opportunities. He was previously Dean of the College of Music and Dramatic Arts at LSU and prior to that Dean of Shenandoah Conservatory in Virginia. He received the first doctorate in percussion instruments at the University of Michigan, where he was a Fulbright Scholar to Mexico and received the prestigious Rackham Graduate School Pre-Doctoral Fellowship.

After studying opera at the Eastman School of Music in New York, Connor has been a soloist with the National Repertory Orchestra, The Detroit Symphony Orchestra, The Southeast Texas Symphony, The New Haven Symphony, The Firelands Symphony, The Rochester Philharmonic, The Akron Symphony, The Cleveland Pops, and the Cleveland Orchestra. He also starred on The History Channel’s Shifting Gears, and has served as executive music supervisor and composer to The Discovery Channel. With his rock band, he has performed as the opening act on over 20 national tours. Including Jim Brickman, Huey Lewis and The News, Edwin McCain, Richard Marx, Rick Springfield, Hall & Oates, and Mariah Carey. Connor can currently be heard behind the scenes singing and recording jingles for American Greetings, directing the “All City Musical” at the Akron Civic Theatre, as well as an international headliner on cruise lines worldwide with his show available in both English and Mandarin Chinese. www.connorbogart.com

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MUSICIANS VIOLIN

Mina Hong co-concertmaster

VIOLIN

Katelyn Lyons Peaden co-concertmaster

VIOLIN

Natsuko Takashima co-principal second

VIOLIN

Originally from Los Angeles, California, Mina Hong recently completed her Master of Music at the University of Michigan, under the tutelage of David Halen. She holds a Bachelor of Music from the University of Southern California, where she studied with Margaret Batjer. Mina made her solo debut with the National Repertory Orchestra in 2018, where she served as concertmaster. This is her second summer with the NRO and she is looking forward to another thrilling season!

Ella Loman co-concertmaster

VIOLIN

A Dallas native, Ella Loman is a violinist pursuing a performer’s diploma in orchestral studies at Indiana University, where she studies with Alexander Kerr. Currently, Ella works as the principal second violinist of the Richmond (IN) Symphony Orchestra and has served as concertmaster for several orchestras at IU. She has attended both the Aspen Music Festival and the Kent Blossom Festival as Concertmaster in collaboration with the Cleveland Orchestra and is extremely excited for this summer at the NRO!

John Katie Landon Chair

Barbara Strauss and Paul A. Finkel Chair

Katelyn Lyons Peaden is a graduate of the Cleveland Institute of Music, where she earned her dual master’s degree in violin performance and Suzuki pedagogy. Katelyn performs regularly with the Canton Symphony Orchestra, and frequently performs with the Charleston Symphony, Des Moines Symphony, and Annapolis Symphony. Last fall, she taught at Drake University in Iowa as the head Violin and Viola Professor. This is Katelyn’s 4th summer with the NRO. She looks forward to frequent hikes!

A native of Washington D.C., Michael Romans began playing violin at the age of 10. He received his bachelor’s degree from Indiana University and is currently pursuing his master’s at the University of Michigan. His primary teachers include Jim Batts, Grigory Kalinovsky, and Danielle Belen. Michael has also participated in New York String Orchestra Seminar, Sarasota Music Festival, and SchleswigHolstein Music Festival. In addition to violin, Michael enjoys running and spending time outdoors.

Carolee and John Hayes Chair

Japanese-American violinist Natsuko Takashima is an experienced orchestral musician from Englewood, NJ. She has participated in various music festivals such as the Aspen Music Festival, Pacific Music Festival, and New York String Orchestra Seminar. Natsuko received her bachelor’s degree at the Juilliard School with Naoko Tanaka and is currently pursuing her master’s degree at the University of Michigan with David Halen. In addition to performing, she enjoys traveling, hiking, and cooking with friends and family.

Michael Romans co-principal second

VIOLIN

Sarah Biagini VIOLIN

Kathleen and Thomas Fingleton Chair

Sarah is currently pursuing her Master of Music at the Cleveland Institute of Music, where she also received her Bachelor of Music, studying with Joan Kwuon. Sarah is originally from Los Angeles, California and has received coachings and masterclasses from many renowned musicians, notably the Cavani Quartet, Peter Salaff, Keith Robinson, the Dover Quartet and the Juilliard Quartet. She plays with orchestras such as Canton Symphony, Firelands Symphony, and the Cleveland Opera Theater. Barb and Jim Calvin Chair

Laurie and William Bolthouse Chair

Jessica Lyons Blocher VIOLIN

Jessica Lyons Blocher, a violinist from Florida, is a graduate of the Cleveland Institute of Music (CIM), where she earned her dual master’s degree in violin performance and Suzuki pedagogy and her bachelor’s degree in violin performance. She studied with William Preucil (concertmaster) and Stephen Rose (principle second) of the Cleveland Orchestra and CIM. This is her third year attending NRO. In her spare time, Jessica loves to go hiking, shopping, and cooking.

Julia Brandenburg VIOLIN

A Rhode Island native, Julia began playing the violin at the age of five. She earned her Bachelor of Music in violin performance at the Robert Mcduffie Center for Strings at Mercer University and her Master of Music at Southern Methodist University. Her primary teachers include Emanuel Borok, David Halen, Amy-Schwarz Moretti and Robert Mcduffie. Julia maintains an active career as a freelance violinist in Dallas, TX. Barb and Jim Calvin Chair

Sam and Barbara McCleneghan Chair

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MUSICIANS VIOLIN

Gina Buzelli VIOLIN

Sarah Elert VIOLIN

A native of Bowling Green, OH, Gina Buzzelli holds a MM and a Graduate Certificate from the University of Northern Colorado and a BM from Ball State University. She has participated in numerous summer orchestral festivals and has had the opportunity to perform in masterclasses with artists such as Hilary Hahn. In addition to being classically trained, Gina loves playing alternative styles and has participated in various jazz combos at BSU and UNC.

Allyson Cohen VIOLIN

Allyson is a violinist studying at the Robert McDuffie Center for Strings with Amy Moretti, David Kim, and Robert McDuffie. She previously studied with Dara Morales of the Philadelphia Orchestra. Allyson was a member of the Braverman quartet, as well as the Philadelphia Youth Orchestra. In 2017, she joined NYO-USA’s tour of South America, led by famed conductor Marin Alsop. Outside of music, Allyson is a passionate vegan and enjoys hiking and playing board games.

Shaw Breast Center & Cancer Clinic in Frisco Chair

Alpine Bank Chair

Originally from Maryland, Sarah made her solo debut with the Baltimore Symphony Orchestra at age sixteen. She holds a Bachelor of Music in violin performance from the University of Colorado – Boulder under Harumi Rhodes, and is currently pursuing a Master of Music at Boston University under Bayla Keyes. An avid orchestral and chamber musician, Sarah has also participated in the Aspen Music Festival, National Symphony Orchestra Summer Music Institute, and Icicle Creek Chamber Music Institute.

A native of Philadelphia, PA, Jonathan began playing the violin at the age of nine. He is currently pursuing his Bachelor of Music degree at the Eastman School of Music, studying with Federico Agostini. He has performed in masterclasses for Yevgeny Kutik, Christian Tetzlaff, Daniel Phillips and Kathleen Winkler.

Jonathan Eng VIOLIN

Town of Breckenridge Chair

Schmitt Music Chair

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N ATI O N A L R EP ER TO RY O R CH E S T R A

MUSICIANS VIOLIN

Claire Geho VIOLIN

Josephine Hu VIOLIN

Claire is pursuing her Bachelor of Music degree under Charles Castleman at the University of Miami. A Cleveland native, Claire studied with Emilio Llinas and participated in the Cleveland Orchestra Youth Orchestra. She has attended the National Symphony Orchestra Summer Music Institute, the Interlochen Violin Institute, and the National Arts Centre Young Artist Program, and has toured internationally with the National Youth Orchestras of the USA and Canada. Claire enjoys traveling, film music, and baking.

Simone Hammett Lynch VIOLIN

Simone, from Denver, Colorado, is currently pursuing a Bachelor of Music at the Oberlin Conservatory of Music under Marilyn McDonald. She helped found Oberlin Students for Gender Inclusivity in Music, and actively performs the work of non-male composers. Simone has served as Concertmaster of the Texas Festival Orchestra at Round Top and Assistant Concertmaster of the Oberlin Orchestra. A devoted dancer, poet, and collaborative artist, Simone enjoys a part-time career in dance social media marketing.

Jana Edwards and Rick Poppe Chair

Wyndham Vacation Rentals Chair

Josephine Hu, from Taipei, Taiwan, began playing the violin at the age of six. She moved to New York when she was 13 and attended the Manhattan School of Music Precollege where she studied with Grigory Kalinovsky. She continued her studies with Kalinovsky at the Jacobs School of Music at Indiana University. Currently she is pursuing her master’s degree at the Cleveland Institute of Music studying with Ilya Kaler.

Violinist Caroline Joyner of Ridgefield, CT is pursuing bachelor’s degrees in violin performance studying with Joan Kwuon, and music theory at the Cleveland Institute of Music, as well as a bachelor’s in German at Case Western Reserve University. She was named CIM’s Theodore Presser Scholar in 2018. In past summers she has attended the Aspen Music Festival and School, the National Symphony Orchestra Summer Music Institute, and the Meadowmount School for Strings.

Caroline Joyner VIOLIN

Reggie and Pamela Gray Family Chair Main Street Station Chair

Erin Kim VIOLIN

Violinist Erin Yerin Kim is pursuing her bachelor’s degree in violin performance at the Cleveland Institute of Music, studying under Ilya Kaler. At 18-years-old, Erin is the youngest ever musician on the New World Symphony’s roster and has attended the Aspen Music Festival, Brevard Music Festival, and Indiana University’s Summer String Academy. Erin is also prizewinner in the Vienna Grand Prize Virtuoso International Competition, the Northwest Florida Symphony Orchestra Concerto Competition, and the MTNA Competition.

Luke Lentini VIOLIN

Hailing from Rochester Hills, Michigan, Luke is currently pursuing a Master of Music degree at Northwestern University, where he studies with Gerardo Ribeiro. Luke made his orchestral solo debut with the Richmond (IN) Symphony Orchestra at the age of 14, and holds a Bachelor of Music degree from the Oberlin Conservatory of Music, where he was a student of Marilyn McDonald. Outside of music, Luke has an interest in law, and is an avid runner. Bonnie Kirschenbaum Chair

Victor C. Laughlin Memorial Foundation Trust Chair

Yunghsuan Lo VIOLIN

Yunghsuan Lo is a current doctoral student at Michigan State University under the mentorship of Dmitri Berlinsky. She holds positions in the Lansing Symphony Orchestra and Flint Symphony Orchestra. Yunghsuan has joined International Chamber Soloists directed by Dmitri Berlinisky and performed with other talented musicians around Michigan. Her talent as a chamber musician let her collaborate with such renowned artists as Nai-Yuan Hu, Dmitri Berlinsky, Suren Bagratuni, Richard Sherman, Mingzhe Wang, Tao-Chang Yu. Team Player Productions Inc. Chair

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Maggie Niekamp VIOLIN

Maggie, from Akron, Ohio began playing the violin at the age of four. She recently graduated from the Cleveland Institute of Music, where she earned a Bachelor of Music degree in violin performance. Her primary instructors at CIM included Stephen Rose, principal second violinist of the Cleveland Orchestra, and Brian Lewis. In addition to music, Maggie enjoys running and practicing yoga in her free time. Connie and John Stafford Chair

Harold Reeves

Harold Reeves is from San Diego, CA, and is pursuing his Master of Music at the Cleveland Institute of Music. He received his Bachelor of Music at the Eastman School of Music in 2018. His primary teachers include Philip Setzer, Mikhail Kopelman, Ilya & Olga Kaler, Michael Tseitlin, and Jeff Thayer. Harold is also very passionate about basketball, powerlifting, and snowboarding.

VIOLIN

Bravo! Vail Music Festival Chair

Luis Angel Salazar Avila

Mexican violinist, Luis Salazar earned his Bachelor of Music in violin performance at Wichita State University. He is a former member of the Grammynominee St. Petersburg String Quartet as their second violin, with whom he toured in Europe, Canada and USA. In 2016, he completed his Master of Music degree at DePaul University. Luis is currently a professional studies student at Cleveland State University. His primary teachers include Omar Hernandez, Evgeny Zvonnikov and Peter Otto.

VIOLIN

Breckenridge Creative Arts Chair

Luke Santonastaso VIOLIN

Luke Santonastaso, born and raised in Los Angeles, currently resides in Oakland, CA working as a freelance musician, educator, and mentor. Through the years he has worked with artists such as Midori Goto, Maxim Vengerov, Osmo Vänskä, Lynn Harrell, Gilbert Kalish, and The Borromeo String Quartet. Luke holds degrees from UCLA’s Herb Alpert School of Music where he studied with Movses Pogossian and Guillaume Sutre. Luke enjoys new adventures, nature, and food the most. Climax Molybdenum Chair

Leina Sheehy VIOLIN

Violinist Leina Sheehy, from Manhattan, is currently pursuing her bachelor’s degree at the New England Conservatory. She studied at the Mannes Preparatory Division during high school, and in previous summers has attended the Bowdoin International Music Festival and the Chautauqua Institution’s School of Music. Equally passionate about contemporary classical music, she has collaborated with the Kronos and JACK Quartets. Aside from music, she enjoys reading fantasy novels, watching Jeopardy, and petting her cats. Fatty’s Pizzeria Chair N ATI O N A L R EP ER TO RY O R CH E S T R A

MUSICIANS VIOLIN | VIOLA

Yeonji Shim VIOLIN

Marissa Weston VIOLIN

Violinist Yeonji, from Seoul, South Korea, received her degrees in violin performance from Indiana University(Master of Music) and Yonsei University (South Korean, Bachelor of Music). She is pursuing a performance degree at Mannes with violinist Todd Phillips, where she served faithfully in a principal position. Yeonji has participated in One Month Festival in Korea, Spain’s Forum Musikae Festival and Academie Internationale in France. She recently made her solo debut at Seoul Arts Center with Anima Chamber Orchestra.

Holly Spangenberg VIOLIN

Holly holds a Bachelor of Music in violin performance from the Eastman School of music, where she is currently a Master of Music student with Juliana Athayde. Holly made her solo debut with the Milwaukee Symphony Orchestra in 2013 and has performed in such places as Rochester, NY, Seattle, and France. A diverse musician, Holly has also performed with many of Eastman’s ensembles, including Philharmonia, Musica Nova, and Collegium Musicum. Notable teachers include Federico Agostini and Samantha George.

The Helen M. Harrison Foundation Chair

Mary and George Sissel Chair

Marissa Weston is currently pursuing her master’s degree at Carnegie Mellon University studying under Christopher Wu, first violinist in the Pittsburgh Symphony Orchestra. Marissa received her Bachelor of Music in violin performance from Indiana University Jacobs School of Music, where she studied with Grigory Kalinovsky. She loves orchestral playing, is an active chamber musician, and has been featured on two singer-songwriter albums. Marissa also loves Jesus, hiking, and all things active.

Diane Yang, 23, is pursuing her master’s degree at Northwestern University, studying with Blair Milton. In the past year, Diane has sat concertmistress of the Northwestern University Symphony Orchestra and the Texas Music Festival Orchestra. Notable musical moments include playing under Sir Simon Rattle and working with Augusta Read Thomas. Diane is actively involved in arts administration and has interned for the Baltimore Symphony Orchestra, University Musical Society, and Napa Valley Music Festival.

Diane Yang VIOLIN

Vail Resorts EpicPromise Chair Ski Village Resorts Chair

Hannah Martineau principal

VIOLA

A Dallas-based freelance violist and a musical omnivore, Hannah performs regularly with the Fort Worth Symphony Orchestra and the Dallas Symphony as a substitute. She enjoys many diverse playing engagements ranging from chamber music recitals to rock shows. She holds degrees from Indiana University and Rice University and has attended many music festivals including Tanglewood, Music Academy of the West, and Schleswig Holstein Music Festival. Born and raised in Salt Lake City, Utah, Hannah enjoys hiking and misses the mountains.

Cordelia Brand VIOLA

Cordelia Brand completed her master’s degree in viola performance at the Cleveland Institute of Music, where she most recently studied with Lynne Ramsey. This was her sixth year at the Cleveland Institute of Music, as she completed a bachelor’s degree in viola performance with Jeffrey Irvine in 2017. During her time in Cleveland, Cordelia was an active orchestral and chamber musician. She hopes to join a professional orchestra soon. This is her second summer at NRO. Anne Mead Chair

John and Florence Fortune Family Foundation Chair

Silvana Ferrarin VIOLA

Violist Silvana Ferrarin is an avid orchestral and chamber musician. She received her Master of Music in viola performance from the Cleveland Institute of Music and has attended various music festivals such as the Heifetz International Music Institute and Aspen Music Festival. She is the principal violist of the Denver Philharmonic and founder of the Con Brio Project - an effort to engage underserved communities through classical music. In her free time, Silvana enjoys hiking and horseback riding.

David Kang VIOLA

David Kang began his undergraduate career at CSU Long Beach in 2015 as a violinist. Under the guidance of Moni Simeonov, he made the switch to viola and mentored by Ms. Midori Goto, sought admission to the University of Southern California. Currently, David is a sophomore in the studio of the critically acclaimed violist Che Yen Chen at USC. He briefly studied with Toby Appel and Philip Ying at the Colorado College Summer Music Festival. The Lake Dillon Theatre Company Chair

Pam and Sonny Wiegand Chair

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Daniel Moore VIOLA

A native of Houston, Texas, Daniel began playing viola in his middle school orchestra program. His affinity for the instrument led him to attend Houston’s High School for the Performing and Visual Arts studying with Lawrence Wheeler. He then earned his bachelor’s and master’s degrees in viola performance at Vanderbilt University and Louisiana State University under Kathryn Plummer, and Elias Goldstein, and is currently pursuing a Professional Performance Certificate at Lynn University under Ralph Fielding. KCME 88.7FM Chair

Erin Napier VIOLA

Napier is pursuing a Master of Music degree in viola performance and pedagogy, studying under Erika Eckert and Geraldine Walther at University of Colorado, Boulder. She obtained her Bachelor of Music in performance and music education from the University of Michigan. Notable accomplishments include selection as a finalist in the 2019 CU Honors Competition and a semifinalist in the 2018 Ekstrand Competition. Additionally, she has attended the Round Top Festival Institute, Bowdoin International Music Festival, and Brevard Music Center. Blue River Bistro Chair

Benjamin Pochily VIOLA

A native of upstate New York, Ben Pochily earned a Bachelor of Music degree from the Eastman School of Music with George Taylor and recently completed a master’s degree with Yizhak Schotten at the University of Michigan. His previous orchestral appearances include the National Orchestral Institute, Southwest Michigan Symphony, and Traverse Symphony. In addition to his musical activities, he has intermittently pursued a career as a software engineer, most recently working for Pivotal Labs Chicago. Bill and Yvonne McCallum Chair

Samantha Wilson VIOLA

A native of Southern California, Samantha received her Bachelor of Arts in music at Westmont College, her Performance Certificate at University of Denver, and recently her Master of Music degree at the Cleveland Institute of Music. Her primary teachers include Helen Callus, Basil Vendryes, and Mark Jackobs. In addition to music, Samantha loves hiking, biking, running, her church, and coffee. The Summit Foundation Chair

N ATI O N A L R EP ER TO RY O R CH E S T R A

MUSICIANS VIOLA | CELLO | DOUBLE BASS

Thomas Wong VIOLA

Thomas Wong, from Dallas TX, has a Bachelor of Music in viola performance from the University of Texas at Austin. He is currently getting his Master of Music from Lynn University in Boca Raton, Florida. His teachers include Ralph Fielding, Roger Myers, and Andrew Kohji Taylor. Thomas has also participated in the National Orchestral Institute and the Roundtop Music Festival. Colorado Creative Industries Chair

Isabel Dimoff co-principal

CELLO

Isabel Dimoff has primarily studied with Anthony Elliott, Ilya Finkelshteyn, and Mark Kosower. She is a current graduate student at the University of Michigan and holds a bachelor’s degree from the University of Cincinnati College-Conservatory of Music. Dimoff has received the Cleveland Cello Society’s Agnew Prize for Bach, and the Cincinnati Three Arts’ Women’s Scholarship. She aspires to play in a great orchestra and teach cello. Dimoff performs on a John Betts cello from 1790. Michael Altenberg and Libby Bortz Chair

Samuel Viguerie co-principal

CELLO

MaryGrace Bender CELLO

Sam recently received his Master of Music from New England Conservatory, studying with Paul Katz, and will begin a graduate diploma at NEC this fall. Sam received 1st prize in the MTNA Young Artist, Schubert Club, and Thursday Musical competitions. As an undergraduate, he appeared twice as a soloist with the St. Olaf Orchestra, performing the Schumann and Dvorak concertos in California, Oregon, Washington, and Minnesota. Sam plays a Carl Becker Sr. cello and is from Atlanta.

Mario BasteaForte CELLO

Cellist Mario Bastea-Forte recently received his Bachelor of Music with highest distinction from the Eastman School of Music under the tutelage of Alan Harris. As a chamber musician, he particularly enjoys playing in string quartets. After participating in Madeline Island’s fellowship quartet program, Mario was invited to play at the Landmark Center in St. Paul, MN and present a program of Haydn and Britten quartets. In his free time he enjoys cooking curry and baking.

Karen and Don White Chair

Cordelle Rierson Chair

MaryGrace, from Nashville, TN, is pursuing a graduate degree in performance and Suzuki pedagogy at The Cleveland Institute of Music in the studio of Dr. Melissa Kraut. Her studies include an undergraduate degree from Mercer University and summers at Meadowmount School of Music, Rome Chamber Music Festival, Brevard Music Festival, Chautauqua Institute, and the Aspen Music Festival as a New Horizon’s fellow. Bender enjoys teaching English through her own company, Talk2Crew, and loves the outdoors.

Derek, a Michigan native, has completed a bachelor’s degree in cello performance from Bob Jones University in Greenville, South Carolina, studying with Yuriy Leonovich. He has been a substitute cellist with the Greenville Symphony Orchestra since 2016. In past summers, Derek has served as principal cellist at the MasterWorks Festival. In his free time, he loves spending time in nature and closely following his favorite sports teams.

Derek Eilert CELLO

Mark and Polly Addison Chair

Building Hope Summit County Chair

Kyle Johnson CELLO

Kyle Johnson, 21, is a native of Pittsburgh, PA and studies cello performance at Carnegie Mellon University with David Premo. He is currently 3rd chair in the Carnegie Mellon Philharmonic and was one of the winners of the school’s 2018 Baroque Ensemble Concerto Competition. Recently, he has been the recipient of generous scholarships from the Tuesday Musical Club and Keynotes Society. In previous summers, he has attended the Credo and Green Mountain chamber music festivals. Sharon Magness Blake and Ernie Blake Chair

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Alana Shannon CELLO

Alana, a San Francisco native, graduated from The Orchestra Now at Bard College this past spring. She earned a Bachelor of Music and Performer Diploma from Indiana University’s Jacobs School of Music and a Master of Music from Purchase College, SUNY. Her primary teachers include Peter Stumpf, Julia Lichten, and Lawrence Granger, among many other inspiring musicians. Previous festival appearances include Bard Music Festival, National Orchestral Institute, and Round Top Music Festival. Patrice and Ron Lara Chair

CELLO

Lindsey Sharpe

Lindsey is a 22-year-old cellist from Atlanta. She recently received her Bachelor of Music from the University of Michigan, where she studied with Anthony Elliott. In the fall, Lindsey will begin her graduate studies at Rice University studying with Norman Fischer. Lindsey has spent past summers at the National Orchestral Institute, Bowdoin Music Festival, Boston University Tanglewood Institute, Meadowmount School of Music, and Interlochen Arts Camp. She is very excited to be spending the summer in Breckenridge with the NRO!

BUILDING HOPE Care & Support for EVERYONE

Anne and Bill Mills Chair

CELLO

Hanxiao Deng DOUBLE BASS

Building Hope Summit County is a community-wide mental health initiative that promotes:

Schwier Charitable Fund Chair

• • • • •

A native of Xiamen, China, double bassist Hanxiao Deng has performed with orchestras and chamber ensembles throughout the U.S. and China. Hanxiao earned her Bachelor of Music degree in double bass performance from Manhattan School of Music in 2018, where she studied with David Grossman. Hanxiao is also a dedicated pianist and has taught at Musipire Professional Music Education in NYC. In addition to music, Hanxiao enjoys cooking and swimming.

• • •

emotional health reducing stigma around mental health improving access to care and support for everyone in Summit County

BuildingHopeSummit.org

Mental Health Screenings Resources to help friends or yourself Resources for finding therapists Monthly event calendar Ways to get involved

330 Feidler Avenue P.O. Box 4056 Dillon, CO 80435 www.summitFIRC.org

Henry Stubbs

Henry Stubbs recently graduated from the Cleveland Institute of Music with a Master of Music in cello performance and Suzuki pedagogy. In April 2017, Henry graduated Summa Cum Laude with a Bachelor of Music in cello performance from the University of Cincinnati College-Conservatory of Music. His primary teachers have been Alan Rafferty and Richard Weiss. Other influential teachers include Stephen Geber, Avi Friedlander, and Jared Ballance. Outside of music, Henry’s interests include running, chess, meditation, and fantasy football.

Beaver Run Resort Chair

DOUBLE BASS

Town of Dillon Chair

Family & Intercultural Resource Center

Gabriel Harris

A native of Easton, Pennsylvania, double bassist Gabriel Harris holds a Master of Music degree in orchestral performance from the Manhattan School of Music and Bachelor of Music degree from SUNY Purchase College. Both degrees were completed as a student of Timothy Cobb. Prior to pursuing music, he studied jazz and neuroscience at the University of Pittsburgh. Previous summer engagements include Aspen Music Festival and the Round Top Festival Institute. Gabriel is an avid whistler.

www.buildinghopesummit.org 701 Granite St. #270, Frisco, CO 80443 970-485-6271 Name:_________________________________ Email:__________________________________ N ATI O N A L R EP ER TO RY O R CH E S T R A

MUSICIANS DOUBLE BASS | FLUTE | OBOE | CLARINET

Wesley Jones DOUBLE BASS

Wesley Jones is a double bassist from Bowling Green, Kentucky. He began playing the instrument at ten years old as a member of Western Kentucky University’s Pre-College String Program. In college, he studied with Professor Sidney King and earned his Bachelor of Music at the University of Louisville. Currently, Wes is pursuing his Master of Music degree at DePaul University as the graduate assistant to principal bassist of the Chicago Symphony, Alex Hanna.

Fox Myers DOUBLE BASS

Fox Myers is pursuing a bachelor’s degree in double bass performance at The Juilliard School. He currently studies with Dr. Eugene Levinson. He is also a recent graduate of the Juilliard Pre-College program. Fox began studying music on the violin at age three and then switched to bass with Dr. Dan Swaim at the age of twelve. He is also an accomplished piano player. In addition to music, Fox enjoys hiking and rollerblading. Nancy Gooding Chair

Breckenridge Associates Real Eastate Chair

Caroline Samuels DOUBLE BASS

Caroline earned her Bachelor of Music in bass performance with an Arts Leadership Certificate from the Eastman School of Music. This year, she completed University of Rochester’s Take Five Program, a tuition-free year to pursue studies in German. Caroline plays with the Binghamton Philharmonic and substitutes with the Rochester Philharmonic and Symphoria. She has also performed with the International Chamber Orchestra of Puerto Rico. Prior summer engagements include AIMS in Graz, Austria, and the Chautauqua Music Festival.

Sam Shreves DOUBLE BASS

Sam, a New Orleans, LA native (go Saints!), holds a Bachelor of Music from Peabody Institute of the Johns Hopkins University and a Master of Music from McGill University in Montréal, Québec. His principal teachers include the National Symphony Orchestra’s Ira Gold and Orchestre Symphonique de Montréal’s Eric Chappell. Sam hopes to join a major orchestra in the near future! Sam enjoys weightlifting and learning about aviation in his spare time. Breckenridge Grand Vacations Chair

Joan Houlton Manley Chair

Melissa Aleles FLUTE

Lauren Scanio FLUTE

A native of Tappan, New York, flutist Melissa Aleles completed her Master of Music degree at Manhattan School of Music under Michael Parloff. During her time at the Manhattan School of Music, Melissa participated in the New York String Orchestra’s 50th season, as well as the National Orchestral Institute. Melissa received her Bachelor of Music degree with Tara Helen O’Connor at SUNY Purchase College. Her primary teachers include Bart Feller and Wendy Stern.

Brendan Dooley FLUTE

Brendan is studying with Ransom Wilson at Yale University and holds degrees from the Curtis Institute of Music and University of Southern California. He has performed in such venues as New York’s Carnegie Hall and Boston’s Symphony Hall. Brendan was the winner of the Redlands Bowl Concerto Competition, a finalist in the NFA’s High School Soloist Competition, and in 2017 won an audition for co-principal flute of the US Coast Guard Band.

Steve Corneillier Chair

Peter Anwyl Chair

Lauren, a native of Buffalo, NY, recently completed her bachelor’s degree at Manhattan School of Music studying with Michael Parloff. Her recent orchestral experiences include serving as a substitute player in the Montclair and Buffalo Philharmonic Orchestras and as a member of the New York Youth Symphony. She performs regularly as a member of “Third Rail Duo”, a flute and guitar duo that performs frequently at Sunday Afternoon Classical at the Morgan Library and Museum.

A native of Charlotte, North Carolina, Zach began playing the flute when he was eight years old. Zach recently completed a master’s degree at the University of Texas Butler School of Music, where he studied with the celebrated flutist and pedagogue Marianne Gedigian, who was acting principal flute of the Boston Symphony Orchestra for many seasons. In his spare time, Zach loves reading, cooking, and spending time outdoors.

Zach Warren FLUTE

Peak Property Management Chair John D. Crossman Chair

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Virginia McDowell OBOE

Virginia is currently pursuing a master’s degree from Rice University, studying with Robert Atherholt. Previously, she studied with Richard Woodhams at the Curtis Institute of Music and Robert Walters at the Oberlin Conservatory of Music. She has performed as guest principal oboe with the Florida Orchestra, the Houston Symphony, and the Winnipeg Symphony Orchestra. Additionally, Virginia has appeared with the Fort Worth Symphony Orchestra, the San Antonio Symphony, and the Louisiana Philharmonic Orchestra. Barbara and David Weaver Chair

Justine Myers OBOE

Born and raised in Alaska, Justine now lives in Cleveland. She received degrees from Baldwin Wallace, the Cleveland Institute of Music, and Oberlin Conservatory. Justine has performed with the Cleveland Orchestra, both at home and on European tour, the New World Symphony, and is a member of several regional orchestras. While a graduate student, Justine was the Artist-in-Residence at Judson Manor retirement community where she lived in an intergenerational environment while programming recitals.

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Nancy and Tom French Chair

Laurel Wellman OBOE

Laurel, originally from Rochester, New York, recently graduated from the University of Michigan where she studied with Dr. Nancy Ambrose King. She received degrees in both oboe performance and ecology and evolutionary biology. This past summer, Laurel performed throughout Denmark at the Thy Chamber Music Festival with her quintet, The Cobalt Winds. Ms. Wellman also performs with the Dearborn Symphony Orchestra. Laurel will continue her studies at the Yale School of Music in the fall. Rockridge Building Company Chair

Lauren White OBOE

A Southeast Missouri native, Lauren recently completed a master’s degree in Oboe Performance at the Yale School of Music and earned her Bachelor of Music at Southern Methodist University. Her primary teachers include Stephen Taylor, Erin Hannigan, David Matthews, Dan Ross, Cally Banham, and Laura Guyer-Ross. Lauren is a member of the Tulsa Symphony, has performed with the Dallas Symphony and the New Haven Symphony, and enjoys ballet and playing the piano. Robert and Cynthia Benson Chair N ATI O N A L R EP ER TO RY O R CH E S T R A

MUSICIANS CLARINET | BASSOON | HORN

Justin Best CLARINET

Justin Best is a rising senior clarinet performance major at The Shepherd School of Music at Rice University, where he is a student of Richie Hawley. In 2016, Justin graduated with honors and the Fine Arts Award from Interlochen Arts Academy. He has previously spent his summers at Texas Music Festival, the Contemporary Performance Institute at the Composers Conference, Brevard Music Center, and Interlochen Arts Camp. Justin’s previous teachers include Emil Khudyev and Michael Forte.

Hank Landrum CLARINET

Hank Landrum just received his Bachelor of Music in clarinet performance from Florida State University, studying with Deborah Bish and Jonathan Holden. Prior to the NRO, he has performed at festivals including the National Symphony Orchestra’s Summer Music Institute and the Eastern Music Festival. He gave his solo debut performing Crusell’s Third Clarinet Concerto with the Northwest Florida Symphony Orchestra. Recently, he has debuted abroad in Ostende, Belgium, as part of the International Clarinet Association’s Young Artist Competition.

Jean DePeters Chair Hon. Samuel L. Bufford and Julia Metzger Chair

Juan Esteban Martinez CLARINET

Juan received his bachelor’s from Peabody Conservatory, and currently pursues a master’s at the Yale School of Music. Juan was first prize winner of the Texas Music Festival and the Coeur d’Alene concerto competitions. After making his solo debut at the age of 15, Juan appeared as a soloist numerous times with the National Symphony Orchestra of Dominican Republic. Juan also participated in the NY String Orchestra, and the Orchestra of the Americas. His primary teachers include Anthony McGill and David Shifrin.

Gerbrich Francine Meijer CLARINET

Gerbrich Meijer is currently pursuing her master’s degree at The Colburn School in LA with professor Yehuda Gilad. She has been a recipient of the Lionel Bryer Memorial Fund Award and in 2018 received the Talent Prize from the Prince Bernhard Culture Foundation. She has been a prizewinner at major competitions such as the Princes Christina Competition. As principal clarinet of EUYO, she toured Europe under names such as Noseda, Petrenko and Honeck. Harriett Bobo Chair

Carolyn Harner Chair

Edin Agamenoni BASSOON

Edin Agamenoni is a bassoonist from Great Fall, MT. He is currently a senior at Northwestern University studying with David McGill. Edin was the winner of the 2015 Montana Association Symphony of Orchestra’s concerto competition and performed the Weber bassoon concerto with the Great Falls Symphony and the Billings Symphony. Edin has attended the Kent/Blossom Music Festival and the Music Academy of the West.

Marisa Esposito BASSOON

Bassoonist Marisa Esposito, winner of the 2019 Meg Quigley Vivaldi Competition, is a recent graduate of the Cleveland Institute of Music as a student of Barrick Stees, holding both a master’s degree and an artist diploma. She also holds a bachelor’s degree in music education from the State University of New York at Fredonia where she now serves as adjunct bassoon faculty. Marisa frequently performs with the Erie Philharmonic and CityMusic Cleveland Chamber Orchestra.

Pat and Steve Larson Chair Pam Piper Yeung and Dr. Kai Yiu Yeung Chair

Zachary Feingold BASSOON

A New Jersey native, Zachary is principal bassoon at the Capital Philharmonic of NJ and the Berkshire Opera Festival in Pittsfield, MA. Additionally, he has performed with the Chamber Orchestra of Philadelphia, Grand Rapids Symphony, The Philly Pops, and others. Zachary holds Bachelor of Music and Master of Music degrees from Temple University and is working towards his Doctor of Musical Arts at Rutgers University. His teachers include Roger Nye, Michelle Rosen, and Angela Anderson Smith. He also has a one-eyed cat named Sammy. Elizabeth Hainen and Dave DePeters Chair

38 N ATI O N A L R EP ER TO RY O R CH E S T R A

Qun Ren BASSOON

Jimmy Qun Ren received a Bachelor of Music in bassoon performance at the Oberlin Conservatory, under George Sakakeeny. He is currently a Master of Music student with the graduate chamber music fellowship at the University of Maryland, studying with Joseph Grimmer. Jimmy was the winner of 2018 concerto competition at the UMD. He was also the semifinalist with the Florida Orchestra, finalist with Grand Rapids Symphony, Roanoke Symphony and a current substitute musician for Minnesota Orchestra. Stanley Black & Decker Chair

Melia Badalian HORN

A Los Angeles native, Melia is an active freelancer in her home state, holding positions with Symphony Silicon Valley and the Stockton Symphony. She earned degrees from the San Francisco Conservatory of Music and the University of Southern California, where she studied with Robert Ward and Dr. Kristy Morrell, respectively. Melia attended the Aspen Music Festival as an AACA fellow in 2017, and has performed with the New World Symphony. Benson Family Foundation Chair

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Jessica Elder HORN

Jessica, from Mobile, Alabama, is currently pursuing a master’s degree at The Juilliard School. She received a bachelor’s degree with a psychology minor and a Performer’s Certificate from the Eastman School of Music in 2018. Jessica has held fellowships at Music Academy of the West, Texas Music Festival, and Pacific Music Festival. She was the winner of the 2016 Northeast Horn Solo Competition and was a semifinalist in the 2015 International Horn Competition of America.

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Susan and King Pouw Chair

Vincent Kiray HORN

Vincent Kiray is a native of northern New Jersey and began taking horn lessons at the age of 16 with Kyle Hoyt. He has freelanced with numerous opera companies in New York such as the Dell’Arte Opera Ensemble, New Amsterdam Opera and Regina Opera. In the past, he spent summers at the Texas Music Festival and Brevard Music Center. Vincent is currently pursuing his bachelor’s degree at the Juilliard School, studying with Erik Ralske. Janice Ward Parrish Chair

Kyle Ko HORN

Kyle Ko holds a degree in music from the University of California at Berkeley, under the tutelage of Alicia Telford. He has participated in masterclasses with esteemed artists such as Laurens Woudenberg and Stefan Dohr, and is an alumnus of the Eastern Music Festival and the PRISMA Festival. Kyle actively performs with numerous bay area ensembles such as the Island City Opera, the Fremont Symphony, and the Covenant Brass Quintet. Welk Resorts Chair

N ATI O N A L R EP ER TO RY O R CH E S T R A

MUSICIANS HORN | TRUMPET | TROMBONE | BASS TROMBONE

Michael Stevens HORN

Changhyun Cha TRUMPET

Michael Stevens is currently a sophomore at the Bienen School of Music at Northwestern University, studying horn performance under the guidance of Gail Williams. His horn development began by studying with Barbara Currie and Javier Gandara. In recent years, Michael has earned a spot with the National Youth Orchestra from 2015-2017 and studied at the Aspen Summer Music Festival. Aside from music, Michael enjoys soccer, hiking and various other outdoor activities.

William Berue TRUMPET

William is going into his senior year for his Bachelor of Music degree in trumpet performance at Arizona State University. He has enjoyed playing with groups and orchestras such as the MusicaNova Orchestra, Temecula Valley Symphony, Salt River Brass, and the Phoenix Brass Collective which has just finished their inaugural season. William is currently studying with David Hickman and has had the pleasure of having additional studies with Benny Ngyuen, Barry Perkins, and Miles McAllister.

Downstairs at Eric’s Chair

Jack Thomas Chair

Changhyun, from Seoul, Korea, received a Bachelor of Music in trumpet performance at Korean National University of Arts under Dmitri Lokalenkov. He is currently an Master of Music student in the orchestral performance program at the Manhattan School of Music, under Thomas Smith. As an orchestral musician, he has served with Seoul Phil, KBS Symphony and Buchoen Phil as a tutti trumpet player. This is his first year studying in the USA for Mr. Cha and the NRO is his first official festival in the United States.

An Atlanta, GA native, Mr. McLendon began his musical career on the violin at age nine before switching to trumpet at age 11. He is currently pursuing a master’s in trumpet performance at the Juilliard School, studying with Raymond Mase and Chris Martin. In his free time, he enjoys fishing, golfing and video games. Mr. McLendon subs with the New York City Ballet, Atlanta Symphony, Chattanooga Symphony, Savannah Philharmonic, New World Symphony, and Atlanta Master Chorale.

Clint McLendon TRUMPET

Sandra Mortensen Chair Carboy Winery Chair

David Nakazono TRUMPET

David Nakazono completed his Master of Music in orchestral studies at the Chicago College of Performing Arts at Roosevelt University under Mark Ridenour (CSO) and Neal Berntsen (PSO) and he received his Bachelor of Music in trumpet and BA in physics from the University of California- Santa Barbara. Currently, he’s building his freelance career in Chicago, but is always on the lookout for orchestral auditions! Beyond music, David enjoys staying active with outdoor activities and a variety of sports.

Nate Doucette TROMBONE

Nate Doucette, a Buffalo NY native, is currently 2nd trombone with the Milwaukee Ballet Orchestra. He earned his bachelor’s degree in trombone performance from the Cleveland Institute of Music and recently earned his master’s degree from the DePaul University School of Music. His major teachers include Mark Fisher, Charlie Vernon, Massimo La Rosa and Carl Mazzio. He has won the American trombone workshop and fellowships with the Air Force Band and National Symphony Orchestra Institute.

Carole Johnson Chair Jim and Kay Ross Chair Guangwei, from Guangzhou, GD, China, began playing the trombone when he was 10 years old. He earned his Bachelor of Music in trombone performance at the Curtis Institute of Music. His primary teachers include Nitzan Haroz, Matt Vaughn, Craig Knox and Blair Bollinger.

Guangwei Fan

Michael Molloy Chair

TROMBONE

Robyn Smith TROMBONE

Robyn Smith has recently earned a Bachelor of Music in trombone performance at the New England Conservatory studying under Toby Oft. Robyn has performed in the pit orchestra of the American Repertory Theater’s “Black Clown” and performed on tour with the Rodney Marsalis Big Brass in 2018. She was also just recently announced the winner of the 2018 ITA Robert Marsteller Solo Competition. She is passionate about musical outreach and works with outreach programs throughout Boston. Susan and Don Reynolds Chair

40 N ATI O N A L R EP ER TO RY O R CH E S T R A

TUBA | TIMPANI | PERCUSSION

Taylor Fong BASS TROMBONE

A California native, Taylor is currently bass trombonist of the Sacramento Choral Society Orchestra. After completing his Master of Music degree at Carnegie Mellon University, Taylor is now an active freelancer living in Pittsburgh, PA, where his diverse performance schedule ranges from the River City Brass Band, the Pittsburgh Symphony Brass, Johntstown Symphony, to rock & roll legends The Who and the band Evanescence. His primary teachers include Joel Elias, Jeff Dee, and Murray Crewe. ISU Insurance Services of Colorado Chair

Riley Lindsey TUBA

Riley has been a Chicago-based tubist and teacher since moving there from his native California to pursue a Master of Music at DePaul University. He continues to study with Floyd Cooley at DePaul working toward a Performer’s Certificate. Riley is an associate member of the Civic Orchestra of Chicago and performed with the Stockton Symphony Orchestra while studying at the University of the Pacific in Stockton, California where he received his Bachelor of Music. Kathie and Michael Massey Chair

Matthew Kibort TIMPANI

Matthew is currently the principal timpanist with the Civic Orchestra of Chicago and is a regular substitute timpanist with the Lyric Opera of Chicago. This fall, he will begin a position as principal timpanist with the New World Symphony. Matthew has also performed with the Milwaukee Symphony and Grand Rapids Symphony. He holds his bachelor’s from Roosevelt University, studying with Edward Harrison and Vadim Karpinos. He has also studied with David Herbert and Eric Millstein. M.A. Deen Chair

Soo Jin Kang PERCUSSION

Hailing from Incheon, South Korea, Soo Jin earned a bachelor degree in percussion performance and a minor in piano from Seoul National University. She is currently a graduate student at the University of Southern California, Thornton School of Music. In 2016, she was a finalist in the Bucheon Philharmonic Orchestra – Percussion and a semifinalist in the Jeju International Brass/Percussion Competition. She has also played with the KBS Orchestra (Korean Broadcasting System). Sally and Bruce Queen Chair

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MUSICIANS PERCUSSION | HARP | PIANO

Hanna Kim PERCUSSION

Hanna Kim, from Pittsburgh, Pennsylvania is currently pursuing her artist diploma at The Curtis Institute of Music. Prior to attending the NRO, she has been a fellow at the Music Academy of the West in Santa Barbara, the Verbier Festival and the Aspen Music Festival. She has been a substitute for the New World Symphony in Miami Beach. When she is not playing music, Hanna enjoys discovering new coffee places, spending quality time with family and friends, and petting cats.

Miles Kim PERCUSSION

Miles is currently pursuing his Bachelor of Music degree at the Eastman School of Music where he will be a junior this fall. He studies with Michael Burritt and Charles Ross. Previously, he studied with Will James and Erin Elstner in his hometown of St. Louis, Missouri. Miles has spent previous summers at the Aspen Music Festival and the Chautauqua Music Festival. Outside of percussion, Miles enjoys reading and spending time with his 10-year-old sister. Jane King Chair

Denise and James Eliopulos Chair

Sean Van Winkle PERCUSSION

Sean is a recent performance diploma graduate from Boston University studying under Boston Symphony members Tim Genis and Kyle Brightwell. He previously received a Bachelor of Music and a Master of Music degree from New England Conservatory under Frank Epstein and Dan Bauch respectively. As a freelancer, Sean has performed with The New World Symphony, Boston Philharmonic, Symphony New Hampshire, Callithumpian Consort, and is a substitute percussionist with the Houston Symphony. He previously spent two summers at the Schleswig-Holstein Musik Festival. Helen and Lester Lemay Chair

Ina McCormack HARP

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Thomas Steigerwald PIANO/ KEYBOARD

As an active orchestral musician, Ina has performed with multiple ensembles nationwide, including the New World Symphony, Oberlin Contemporary Music Ensemble, Westmoreland Symphony, Interlochen Arts Academy Orchestra, and Round Top Festival Institute Orchestra, among others. Invested in both musical and academic pursuits, she completed her undergraduate degree in harp performance and musicology at the Oberlin Conservatory of Music. Ina is currently pursuing a Master of Music degree with Yolanda Kondonassis at the Cleveland Institute of Music. Bob Follett and Tony and Barbara Flitcraft Chair Medal winner in numerous international solo piano competitions, Thomas Steigerwald made his orchestral debut at age 18 with the San Antonio Symphony, performing Prokofiev’s Piano Concerto No. 3 in C major. Master of Music Julliard alumnus and native Texan, Mr. Steigerwald recently premiered Cosme McMoon’s concerto “Rondo Espagnol” with the Philharmonic Youth Orchestra of San Antonio and also in Miami with the New World Symphony, where he regularly performs both chamber and orchestral works. Annette and Ken Hallock Chair

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NATIONAL REPERTORY ORCHESTRA

Women in the Arts Series I T ' S

A B O U T

A R T P A N E L

T I M E .

T A L K S D I S C U S S I O N

In collaboration with Breckenridge Creative Arts

Thursday, June 20, 4:00pm - 5:00pm South Branch Library, Breckenridge FREE

L U N C H E O N Includes invitation to NRO rehearsal featuring Tania Miller from 9:30am - 12:00pm

Monday, July 8, 12:30pm - 2:30pm Copper Top III at Beaver Run Resort, Breckenridge

Women in the Arts $25 per person

Tickets at nromusic.org or call (970) 453-5825

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CHANGING LIVES THROUGH MUSIC!

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National Repertory Orchestra

Winter Series Changing Lives Through Music!

While we audition the next generation of musicians, our winter fundraising and community engagement opportunities continue with special events and concerts starring NRO Alumni!

Keep connected to our winter events lineup.

970.453.5825

nromusic.org N ATI O N A L R EP ER TO RY O R CH E S T R Aâ€‚â€ƒ

2019 SEASON AT A GLANCE JUNE

OPENING NIGHT “A NEW NRO!”

SATURDAY, JUNE 8 AT 7:30PM Riverwalk Center, Breckenridge CARL TOPILOW, conductor SPONSORS: Laurie and William Bolthouse, Mary and George Sissel and Welk Resorts TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Beethoven’s “Symphony No. 5”

1001 SUMMIT NIGHTS

WEDNESDAY, JUNE 12 AT 7:30 PM Riverwalk Center, Breckenridge CARL TOPILOW, conductor SPONSORS: Beaver Run Resort, Blue River Bistro, and Cordelle Rierson TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Rimsky-Korsakov’s “Scheherazade”

ROMANCE – ROMEO AND JULIET… AND BOLERO

SATURDAY, JUNE 15 AT 7:30 PM Riverwalk Center, Breckenridge CARL TOPILOW, conductor SPONSORS: Michael Altenberg and Libby Bortz, Carolyn Harner, Sam and Barbara McCleneghan, Sally and Bruce Queen, and Ski Village Resorts TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Prokofiev’s “Selections from Romeo and Juliet”

AMERICAN SPLENDOR WITH BRAMWELL TOVEY

WEDNESDAY, JUNE 19 AT 7:30 PM Riverwalk Center, Breckenridge BRAMWELL TOVEY, conductor / pianist A benefit concert for Friends of the Dillon Ranger District. In memory of Harriett Bobo. SPONSORS: Beaver Run Resort, Blue River Bistro, Vail Resorts EpicPromise, Karen and Don White TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Gershwin’s “Rhapsody in Blue”

THE PLANETS

SATURDAY, JUNE 22 AT 7:30 PM Riverwalk Center, Breckenridge ANU TALI, conductor Celebrating the 50th anniversary of the moon landing. A benefit concert for Summit County’s First Responders. SPONSORS: Robert and Cynthia Benson, John D. Crossman, Pat and Steve Larson, Peak Property Management, Susan and Don Reynolds TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Holst’s “The Planets”

50 N ATI O N A L R EP ER TO RY O R CH E S T R A

FREE FAMILY FESTIVAL

A collaborative presentation by the National Repertory Orchestra and the Bravo!Vail Music Festival. FREE Family Concerts & Instrument Petting Zoos. JASON SEBER, conductor FREE, No Tickets Required, General Admission TUESDAY, JUNE 25 AT 6:00 PM Lundgren Amphitheater, Gypsum SPONSORS: Bravo!Vail Music Festival WEDNESDAY, JUNE 26 AT 11:00 AM Riverwalk Center, Breckenridge SPONSORS: Alpine Bank, Breckenridge Grand Vacations, Pediatric Dental Group of Summit County, Summit Association of Realtors, and The Summit Foundation WEDNESDAY, JUNE 26 AT 6:00 PM Gerald R. Ford Amphitheater, Vail SPONSORS: Bravo!Vail Music Festival and Town of Vail

TOPILOW POPS!

SATURDAY, JUNE 29 AT 7:30 PM Riverwalk Center, Breckenridge Carl Topilow, conductor Connor O’Brien, vocal In Honor of Kathleen Corneillier SPONSORS: Barbara and Jim Calvin, Steve Corneillier and daughters Brittony and Nicole, Epic Mountain Express, Jane King, Kathie and Michael Massey, and Welk Resorts TICKETS: Gold $45, Silver $40, Bronze $30, Youth (18 and under) $10

JULY

4TH OF JULY CONCERT “AMERICA’S BIRTHDAY SPECTACULAR”

THURSDAY, JULY 4 AT 10:00 AM Rainbow Park, Silverthorne CARL TOPILOW, conductor In Honor of Kathleen Corneillier SPONSORS: Steve Corneillier and daughters Brittony and Nicole, The Lake Dillon Theatre Company, and Welk Resorts FREE, No Tickets Required, General Admission, Includes an Instrument Petting Zoo for the kids THURSDAY, JULY 4 AT 8:00 PM Riverwalk Center, Breckenridge CARL TOPILOW, conductor In Honor of Kathleen Corneillier SPONSORS: Steve Corneillier and daughters Brittony and Nicole, Robert Follett, Tony and Barbara Flitcraft, Sharon Magness Blake and Ernie Blake, Sandra Mortensen, Town of Breckenridge, and Welk Resorts TICKETS: Gold $30, Silver $25, Bronze $20, Youth (18 and under) $10

“E.T. THE EXTRA-TERRESTRIAL” FILM WITH LIVE ORCHESTRA

SATURDAY, JULY 6 AT 2:00 PM Riverwalk Center, Breckenridge CARL TOPILOW, conductor SPONSORS: Town of Breckenridge and Welk Resorts TICKETS: Gold $30, Silver $25, Bronze $20, Youth (18 and under) $10 SATURDAY, JULY 6 AT 7:30 PM Riverwalk Center, Breckenridge CARL TOPILOW, conductor SPONSORS: Annette and Ken Hallock, Michael Molloy, Town of Breckenridge, and Welk Resorts TICKETS: Gold $45, Silver $40, Bronze $30, Youth (18 and under) $10

WAR AND PEACE

WEDNESDAY, JULY 10 AT 7:30 PM Riverwalk Center, Breckenridge TANIA MILLER, conductor PINK CONCERT: Wear pink in support of Shaw Breast Center & Cancer Clinic in Frisco SPONSORS: Mark and Polly Addison, Beaver Run Resort, Blue River Bistro, Robin Hadley, Susan and King Pouw, Shaw Breast Center & Cancer Clinic in Frisco, Pam and Sonny Wiegand TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Shostakovich’s “Symphony No. 9”

BOHEMIAN RHAPSODY

FRIDAY, JULY 12 AT 7:30 PM Riverwalk Center, Breckenridge ALEX AMSEL, conductor A benefit concert for Mountain Top Children’s Museum. SPONSORS: Kathleen and Thomas Fingleton, Barbara Strauss and Paul A. Finkel, Reggie and Pamela Gray Family, Joan Manley Houlton, Bonnie Kirschenbaum, Hon. Samuel L. Bufford and Julia Metzger, Barbara and David Weaver TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Dvořák’s “Symphony No. 8”

BRAHMS AND MORE

WEDNESDAY, JULY 17 AT 7:30 PM Riverwalk Center, Breckenridge ALEX AMSEL, conductor SPONSORS: Beaver Run Resort, Blue River Bistro, Helen and Lester Lemay, Schmitt Music, Connie and John Stafford, and Wyndham Vacation Rentals TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Brahms’ “Symphony No. 2”

NRO ON THE LAKE “BEST OF THE NRO SEASON”

FRIDAY, JULY 19 AT 6:00 PM Dillon Amphitheater, Dillon CARL TOPILOW, conductor SPONSORS: Breckenridge Grand Vacations, Elizabeth Hainen and Dave DePeters, Patrice and Ron Lara, the Town of Dillon, Pam Piper Yeung and Dr. Kai Yiu Yeung FREE, No Tickets Required, General Admission

TALL TALES

SATURDAY, JULY 20 AT 7:30 PM Riverwalk Center, Breckenridge CARL TOPILOW, conductor A benefit concert for Building Hope In Memory of Patti Casey SPONSORS: Building Hope/Tim Casey, Nancy Gooding, Carole Johnson, Bill and Yvonne McCallum, and Jack Thomas TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Kodály’s “Háry János Suite”

MAHLER SYMPHONY NO. 5

WEDNESDAY, JULY 24 AT 7:30 PM Riverwalk Center, Breckenridge KARINA CANELLAKIS, conductor In Memory of Steven Russell SPONSORS: Beaver Run Resort, Blue River Bistro, M.A. Deen, Denise and James Eliopulos, Elizabeth Hainen and Dave DePeters, Anne Mead TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Mahler’s, “Symphony No. 9”

SEASON FINALE “PICTURES AT AN EXHIBITION”

FRIDAY, JULY 26 AT 7:30 PM Riverwalk Center, Breckenridge CARL TOPILOW, conductor SPONSORS: KCME 88.7FM, Carolee and John Hayes, Anne and Bill Mills, Janice Ward Parrish, Jana Edwards and Rick Poppe, and Welk Resorts TICKETS: Gold $40, Silver $35, Bronze $25, Youth (18 and under) $10 Program Includes Mussorgsky’s, “Pictures at an Exhibition” CLASSICAL SERIES POPULAR SERIES W WOMEN IN THE ARTS SERIES

TICKETS CALL 970-547-3100 OR VISIT NROMUSIC.ORG

Helping to bring music to the mountains for 10 years.

Call for a free rental projection for your vacation property! 970.453.7370 SummitRentals.com

N ATI O N A L R EP ER TO RY O R CH E S T R A

EVENTS

HAPPY HOUR

ART

SPECIALS

ACTIVITIES

LOCAL

MUSIC

ALL THE LIVE MUSIC EVERY HAPPY HOUR FUN THINGS TO DO LOCAL ARTS & THEATRE RESTAURANT RESERVATIONS FOR YOUR GROUP

BRECKINSIDER.cOM

Photo: Paul Rosenbeck

OPENING NIGHT, “A NEW NRO!” Saturday, June 8, 2019 at 7:30 PM

SPONSORS: Laurie and William Bolthouse, Mary and George Sissel, and Welk Resorts Carl Topilow, CONDUCTOR

Samuel Viguerie, CELLO

ANNA CLYNE (b. 1980) Masquerade RICHARD STRAUSS (1864 - 1949) Don Juan, TrV 156, Op. 20 ERNEST BLOCH (1880 - 1959) Schelomo, Hebraic Rhapsody for Cello & Orchestra Samuel Viguerie, cello INTERMISSION LUDWIG VAN BEETHOVEN (1770 - 1827) Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro

CLASSICAL SERIES W WOMEN IN THE ARTS SERIES

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. Thank you for recycling your concession items.

54 N ATI O N A L R EP ER TO RY O R CH E S T R A

nna Clyne is simply one of the most sought-after composers of her generation, and Masquerade is a perfect start to NRO’s summer 2019 season. The eight-week daily summer concert series at Royal Albert Hall in London, known as The Proms, commissioned this celebratory and upbeat work in 2013. Clyne envisions the eighteenth-century pleasure gardens where the proms were originally held—a place where people of every social class came together to enjoy not only music but acrobatics, dance, fireworks and all manner of ribaldry. After a spray of opening orchestral color, an instrumental chorale welcomes you to this imaginary world. Clyne also weaves in the tune of a raucous seventeenth-century drinking song, Juice of Barley. A stock character from Baroque popular fiction, Don Juan is an incorrigible skirt-chaser. In our #MeToo-era, this morality fable wrapped in farce may not have exactly the same entertainment value, but as a source of inspiration for the young composer Richard Strausee, it did a terrific job. At the age of twenty-four, it landed him on concert programs all over Europe.

An ardent prayer

that one day, men will know their

brotherhood, and

In sixteen actionpacked minutes, our anti-hero searches for the “ideal woman,” leaving a wake of destruction and self-loathing. He’s initially depicted by an upward-thrusting motive in the violins, then by an unmistakably swaggering tune given by the four horns in unison. A passionate scene initiated by solo violin is the first of several amorous episodes; a later one, dreamy and calm, is evoked by an oboe with harp accompaniment. Indulge yourself in a little schadenfreude when a dissonant note from the trumpets signals Don Juan’s comeuppance.

live in harmony and peace

Schelomo, which brought Ernest Bloch to prominence after its 1917 Carnegie Hall premiere, comes from a fifteen-year phase when the composer was preoccupied with writing music of a distinct Jewish character. Initially it was conceived for voice and orchestra, but as he struggled to decide on the choice of language (French? German? He knew his Hebrew was not up to snuff...) he heard the great Russian cellist Alexander Barjansky play, and resolved to write instead for “an infinitely grander and more profound

voice that could speak all languages”—the cello. The work is divided into three sections, linked by extended soliloquies from the cello, playing the role of wise King Solomon, mulling the grand questions; the orchestra are the world in which he strived. Bloch later wrote that his subject demanded a dark ending, but there is one ray of light. He later described this unmistakable moment as “an ardent prayer that one day, men will know their brotherhood, and live in harmony and peace.” In December 1808, when Beethoven premiered his fifth and sixth symphonies, his fourth piano concerto, his Choral Fantasy (a precursor to the Ode to Joy), and the concert aria Ah! Perfido in one marathon concert, the theater’s heat was on the fritz. This meaningless historical fact is only meant to distract you, though—because what makes “Beethoven Five” immortal and profound is not something this note can begin to convey in even the scantest measure. Notice, for instance, the familiar four-note pattern at the outset. Over the course of the first movement, it is almost never absent from the stage—even if only as subtle accompaniment to rare moments of calm. Audiences at the time were sure Beethoven was reaching out of the music to shake them by their lapels. Some reassurance comes with the gentle tune that opens the slow second movement, but in short order we find ourselves again battered by too-sudden shifts; variations of this theme veer abruptly from the intimate to the exalted, from depressive to manic. The first bars of the third movement cast us again into the gloom of C minor, when suddenly that four-note motto from the first movement reappears as a kind of jovial dungeon master. Taking a trick from his own third symphony, Beethoven leaves this scherzo essentially unfinished. Instead of concluding, it segues directly into the finale—and the segue itself is the point. The sense of breaking through an immense barrier achieved by this device has not been lost on the directors of a thousand superhero movies. Until this moment, the trombones have waited patiently to lift their formidable bells into the air, and in fact this was their first appearance in a symphony by Beethoven or anyone else. Beethoven chose their special power and tone color wisely; until now their sound was associated mainly with religious services, or in opera scenes depicting the underworld. Here they are called on to signal the victory over adversity with which so much of Beethoven’s music is concerned. © Jamey Lamar 2019

N ATI O N A L R EP ER TO RY O R CH E S T R A

1001 SUMMIT NIGHTS

Wednesday, June 12, 2019 at 7:30 PM SPONSORS: Beaver Run Resort, Blue River Bistro, and Cordelle Rierson

Carl Topilow, CONDUCTOR Brendan Dooley, FLUTE Ina McCormack, HARP

LOWELL LIEBERMANN (b. 1961) Revelry WOLFGANG AMADEUS MOZART (1756 - 1791) Concerto in C major for Flute & Harp, K.299 (297c) I. Allegro II. Andantino III. Rondo: Allegro Brendan Dooley, flute Ina McCormack, harp INTERMISSION NIKOLAI RIMSKY-KORSAKOV (1844 - 1908) Scheherazade, Op. 35 1. The Sea and Sindbad’s Ship (Largo e maestoso - Allegro non troppo) 2. The Tale of Prince Kalendar (Lento - Allegro molto) 3. The Young Prince and the Princess (Andantino quasi allegretto) 4. The Festival at Bagdad (Allegro molto); The Sea; The Ship Goes to Pieces on a Rock

CLASSICAL SERIES 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. Thank you for recycling your concession items.

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owell Liebermann made his Carnegie Hall debut at the age of sixteen, playing his own piano sonata, Op. 1. Today he is one of America’s most frequently performed and recorded living composers. Revelry, composed in 1995 for the Westchester Symphony, juxtaposes a tuneful sensibility with a strict, even severe, structural framework. Liebermann himself pokes fun at this in his program note for the work, which reads like a math textbook: “The piece is actually a series of variations on a twelve-note row, each variation transposed to the pitch-level of the successive pitches of the row itself. A dichotomy exists however in the set/form axis, as the horizontal material is triadically disposed on its vertical plane and, in addition, a secondary, bipartite form is imposed upon the primary variation form.” While these processes play out at the structural level, what we find on the surface is a quick fanfare that gives way to a pulsating and often raucous dance. In the middle there’s a long lyrical passage (listen especially for the poignant oboe and bassoon duets), but the circus-like atmosphere returns at the end.

What we find

on the surface

is a quick fanfare that gives way to a pulsating

At the age of twenty one, Wolfgang Amadeus Mozart was frustrated. Despite being the darling of the nobility and even royalty in every part of Europe as a child prodigy, he had failed to secure a permanent position at any of the more prestigious courts. Instead, he found himself laboring for the archbishop Colloredo in provincial Salzburg, where he was treated poorly. So in 1777 he set out in search of more interesting prospects. After an unsuccessful few months in Mannheim (where the best orchestra in Europe was situated), he made his way to Paris. This was to be one of the darkest experiences of his life, for not only did he find French orchestras and audiences boorish, his mother took ill and passed away that summer. Happily for us, though, he did obtain a commission from a certain Duke of Guînes: a concerto for flute and harp (the Duke was an accomplished amateur flutist and his daughter played the harp “magnificently,” according to Mozart). The harp was still very much in development, and was not yet associated with the standard orchestra; Mozart couldn’t have had much prior expe-

and often

raucous dance

rience with the instrument, and he wrote nothing more for it afterwards. The pairing of the two instruments in a concerto setting was altogether novel, but proved to be more than a flash in the pan; composers have gravitated to this pairing ever since. Like all of Mozart’s concerti, it is in three movements, and Mozart calls for an orchestra just lean enough not to overwhelm the soloists: one oboe, two horns, and strings. To enrich the string sound, Mozart calls often for the violas to be divided into two sections. The whole concerto is a testament to the composer’s imagination and keen ability to draw out the character of each of the solo instruments, and the slow movement in particular is one of his most inspired and ravishing creations. A Thousand and One Nights is a compendium of folktales from the Middle East collected over many centuries. Among the many editions in dozens of languages, one trait is universal, and that is the frame story about a king, Shahryar, who has each of his wives executed after the first nuptial night. His next intended victim, Sheherazade, distracts the bloodthirsty groom with a tale so engrossing that he postopones her death for another day. The following night she concludes the story but immediately begins another, and so on, until after a thousand and one nights he cancels his horrible plan. For Nicolai RimskyKorsakov, who penned his own textbook on the art of orchestration, these tales were a perfect device to explore the myriad tone colors of the orchestra in the service of a dramatic narrative. After the brassy, commanding voice of the sultan demanding his evening entertainment (the opening fanfare of the first movement), the role of the storyteller herself is given to the concertmaster in a series of recurring solos. The first story is The Sea and Sinbad’s Ship, one of two naval scenes which will appear (RimskyKorsakov spent years as an officer in the Russian navy). In the second movement, a nobleman disguises himself as a kalendar, or mendicant entertainer; Rimsky-Korsakov gives the woodwinds exotically-tinged solo lines. A passionate love scene occupies the third movement, and the culmination of the nights tales of wonder comes with the following description: “The Festival at Baghdad; The Sea; The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior.” The climax is one of the orchestral repertoire’s most sumptuous storm scenes. In the aftermath, as the concertmaster climbs to the highest register of the violin, the voice of the sultan reappears, transformed. © Jamey Lamar 2019

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ROMANCE-ROMEO & JULIET... AND BOLERO Saturday, June 15, 2019 at 7:30 PM

SPONSORS: Michael Altenberg and Libby Bortz, Carolyn Harner, Sam and Barbara McCleneghan, Sally and Bruce Queen, and Ski Village Resorts Carl Topilow, CONDUCTOR Ella Loman, VIOLIN Isabel Dimoff, CELLO

SERGEI PROKOFIEV (1891 - 1953) Selections from Romeo & Juliet Suites Montagues & Capulets The Child Juliet Friar Laurence Masks Romeo & Juliet Death of Tybalt Romeo at the Grave of Juliet

oviet Russia in the first decades of the twentieth century was a hard place to be a composer. Some, like Rachmaninoff and Stravinsky, escaped early and thrived abroad. Some, like Shostakovich, never left. Prokofiev tried to establish himself in the U.S. or Paris, but decided in 1936 to cast his lot in Moscow for good. The risks were huge: the political situation was unpredictable, and if Stalin found something objectionable in a new ballet or opera, the composer could face the gulag or worse. Romeo and Juliet was composed in just this fraught atmosphere; the Kirov commissioned it in 1935, but the premiere was shelved after controversies with the Committee on Arts Affairs. One problem was Prokofiev’s choice to switch up Shakespeare’s original ending. “Living people can dance,” he said. “The dead cannot.” (He was forced to back down on this before the Soviet premiere.) So it was that the music from the ballet became known outside of Russia before it was ever produced in its home country, through suites which Prokofiev excerpted from the score. Today it is common for conductors to pick and choose movements from the three suites, and such is the case on tonight’s program. The selections are: the first three movements from the second suite, followed by the last three movements of the first suite, and finally the last movement of the second suite. This order mainly preserves the action of the ballet in sequence. We start with the Duke of Verona chastening the Montagues and Capulets for their feud, followed by Dance of the Knights—some of the most familiar music of the ballet. We are introduced to the innocent maiden Juliet in the second movement, and in the third, (and here we are skipping ahead in the play) Friar Laurence. The fourth movement is set at the party where Juliet meets Romeo (who is in disguise); the tender balcony scene is next, and then a sword fight between Tybalt and Mercutio. The last, glamorously gothic movement, is the scene in the tomb.

This is some of

the most polished

INTERMISSION

and affective

JOHANNES BRAHMS (1833 - 1897) Concerto in A minor for Violin, Violoncello, & Orchestra, Op. 102, Double Concerto I. Allegro II. Andante III. Vivace non troppo Ella Loman, violin Isabel Dimoff, cello

music written…

MAURICE RAVEL (1875 - 1937) Boléro

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The “Brahms Double,” as musicians call it, is Brahms’ last work for orchestra. He had in mind two of the most uncompromising and esteemed instrumentalists of the day—the international superstar violinist Joseph Joachim, and the cellist of Joachim’s eponymous string quartet, Robert Hausmann. In part, the concerto was an olive branch to Joachim; their friendship had suffered collateral damage over Joachim’s divorce. But as with anything Brahms composed, he did so with an ear for the ages. This

PLAY HARD. REST EASY. is some of the most polished and affective music written, certainly for the somewhat unusual combination of instruments. Inherent imbalances among certain registers of each instrument mean that Brahms had to calibrate precisely what figures could fit where, in order to hold the foreground. (Spoiler: he nailed it.) From the first moments of the concerto, you might get the impression that it’s really a cello concerto with violin, as the cello is given a lengthy and dramatic solo after only a scant four bar introduction from the orchestra. Certainly many cellists would not mind that description! But there is more than enough spotlight to go around in this formidable concerto. Of the three movements, the weight is balanced in favor of the first, which is almost equal in duration to the following two combined. One of Brahms’ most memorable, ethereal passages can be heard in the concluding moments of the second movement. Everywhere in this concerto Brahms, in his most advanced phase of artistic refinement, integrates the harmonic expressiveness of high Romanticism with the structures and symmetries of Classicism. The Bolero is a Spanish ballroom dance which inspired a whole raft of tributes from French composers including Chopin, Saint-Saëns, Bizet, and Debussy. But none of them compares in popularity to the one by Maurice Ravel. It has become familiar in every realm of pop culture, but the composer himself almost instantly regretted writing it, for a couple of reasons. First of all, it is disturbingly monomaniacal from a formal standpoint. Take pity, for instance, on the snare drum, who must repeat the same two bars of music for sixteen minutes straight. On top of this figure (ostinato is the technical term), Ravel’s sinuous and evocative tune, a darn good one to be sure, is repeated—verbatim. Seventeen times. Legend has it that at the premiere, one woman cried out that Ravel had lost his mind. His response was that the woman had understood his piece perfectly. Secondly, it became incredibly popular. For Ravel, it stung to have this one, absurd work—a kind of musical experiment, and something he claimed was not even really music—become the one he was asked about everywhere he went. © Jamey Lamar 2019

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AMERICAN SPLENDOR with Bramwell Tovey Wednesday, June 19, 2019 at 7:30 PM

SPONSORS: Beaver Run Resort, Blue River Bistro, Vail Resorts EpicPromise, Karen and Don White

Bramwell Tovey, CONDUCTOR/PIANIST

A benefit concert for Friends of the Dillon Ranger District In memory of Harriett Bobo AARON COPLAND (1900 - 1990) Suite from Appalachian Spring WILLIAM GRANT STILL (1895 - 1978) In memoriam: The Colored Soldiers Who Died for Democracy INTERMISSION GEORGE GERSHWIN (1898 - 1937) Rhapsody in Blue Bramwell Tovey, piano An American in Paris

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ppalachian Spring was the only collaboration between choreographer Martha Graham and composer Aaron Copland, but it has left an indelible mark on both dance and music. Copland collected a Pulitzer for the 1944 score, which typifies what he called his “vernacular” style. He set out to coin an American “sound” in classical music, and he succeeded. Martha Graham wrote the following synopsis of the ballet: Spring was celebrated by a man and woman building a house with joy and love and prayer; by a revivalist and his followers in their shouts of exaltation; by a pioneering woman with her dreams of the Promised Land. 1. Very slowly. Introduction of the characters, one by one, in a suffused light. 2. Fast. Sudden burst of action. A sentiment both elated and religious is the keynote to this scene. 3. Moderate. Duo for the Bride and her Intended— scene of tenderness and passion. 4. Quite fast. The Revivalist and his flock. Folksy feelings—suggestions of square dances and country fiddlers. 5. Still faster. Solo dance of the Bride—presentiment of motherhood. Extremes of joy and fear. 6. Very slowly (as at first). Transition scene to music reminiscent of the introduction. 7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer-Husband. There are five variations on a Shaker theme with the title ‘Simple Gifts’. It has this text: ‘Tis the gift to be simple, ‘Tis the gift to be free, ‘Tis the gift to come down Where we ought to be. 8. Moderate. Coda. The Bride takes her place among her neighbors. At the end, the couple are left quiet and strong in their new house. Muted strings intone a hushed, prayer-like passage. As Aaron Copland came to be known as the “dean” of American composers, William Grant Still has been dubbed the dean of African-American composers. Born in 1895 in Woodville, Mississippi, Still grew up in Little Rock before attending Oberlin College and then moving to New York City to work with blues legend and music publisher W.C. Handy. In 1931 he became the first African-American to have a symphony premiered in the US, by the Rochester Symphony; he later followed suit with an opera. Soon he was getting commissions from orchestras across the country. In Memoriam: The Colored Soldiers Who Died for Democracy was commissioned by the League of Composers in 1943, and Still’s choice of title for this wartime piece judiciously highlights the struggles of African-Americans at home, even as they were making

important contributions to the war effort abroad. An English horn carries much of the lyrical heart of this work, before the stirring climax. George Gershwin had been virtually saturated with jazz his whole career, and so readily agreed when the popular bandleader Paul Whiteman approached him to write a “serious” composition for orchestra infused with the language of jazz. As he wrote later, Gershwin was eager to prove skeptics wrong about the viability of such a piece: “There had been so much talk about the limitations of jazz. Jazz, they said, had to be in strict time. It had to cling to dance rhythms. I resolved, if possible, to kill that misconception... The Rhaps ody, you see, began as a purpose, not a plan.” The plan, it is safe to say, worked: Rhapsody in Blue has become an iconic piece of American music, embodying the Jazz Age in a noble and uplifting expression of optimism. Gershwin performed the piano part himself in the 1924 premiere, working from memory since he had not gone to the trouble to write out anything but the band’s parts. The piece was later scored for a more standard orchestra, and this is the version most often heard today. The upwardly sliding clarinet note that opens the piece is a famous vestige of the original, however; Paul Whiteman’s clarinetist had mastered this virtuoso technique long before his “legit” colleagues in symphony orchestras could produce it. Gershwin’s 1928 jazz-influenced concert piece An American in Paris, a landmark work in the development of 20th-century American orchestral music, is many a conservatory-trained percussionist’s first opportunity to master the finer points of playing taxicab horns. (Gershwin and his friend Mabel Schermer actually went in search of the exact horns in the auto showrooms along the Avenue de la Grande Armée in Paris.) But it’s also full of bluesy tunes for woodwinds, sometimes strings, and most prominently, muted trumpet. There are masterful touches everywhere—dizzying piccolo and flute accompanimental figurations, brash trombone interjections, and even a duet between violin and tuba. While in Paris, Gershwin approached both Maurice Ravel and Igor Stravinsky for composition lessons. They both turned him down—who could teach anything to the composer of Rhapsody in Blue?

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THE PLANETS

Saturday, June 22, 2019 at 7:30 PM

SPONSORS: Robert and Cynthia Benson, John D. Crossman, Pat and Steve Larson, Peak Property Management, Susan and Don Reynolds Anu Tali, CONDUCTOR Hannah Martineau, VIOLA

Celebrating the 50th anniversary of the moon landing. A benefit concert for Summit County’s First Responders. JOAN TOWER (b. 1938) Made in America

oan Tower hails from the Hudson Valley, and spent part of her childhood in La Paz, Bolivia. While still working on graduate studies at Columbia University, she formed Da Capo, a contemporary music chamber ensemble in New York. The group became a valuable channel for her own music and won the coveted Naumburg Award in its fourth season (1973). Conservatory students of today are exhorted to adopt just this kind of entrepreneurial approach. Tower holds a place in the highest tier of American composers, with every accolade imaginable. (Just a couple of weeks ago, on June 5th, she was awarded the Gold Baton, the highest honor given by the League of American Orchestras.) Made In America is the result of a groundbreaking project which began in 2001 with a collection of mid-sized American orchestras searching for innovative means to commission new music from composers otherwise outside their smaller budgets. Partnering with the League of American Orchestras, Meet The Composer, The Ford Motor Company Fund, the National Endowment for the Arts, the Aaron Copland Fund for Music, JPMorgan Chase, Argosy Foundation Contemporary Music Fund, and the Amphion Foundation, the consortium eventually grew to include 65 orchestras, including at least one from each of the 50 states. The result is this fifteen-minute orchestral masterpiece, the recording for which won three Grammys in 2008. The work begins with soft rumblings in the low strings and timpani, before a lone clarinet draws the ear into an introductory passage based on snippets of “America the Beautiful”. Once this introduction reaches its crest, a darker marchlike motive intervenes. As Tower later wrote: “A musical struggle is heard throughout the work. Perhaps it was my unconscious reacting to the challenge of, ‘how do we keep America beautiful?’”

A musical

ALAN SHULMAN (1915 - 2002) Theme & Variations for Viola, Harp & Strings (1954) Hannah Martineau, viola

struggle is heard

INTERMISSION

the work.

GUSTAV HOLST (1874 - 1934) The Planets, Op. 32 1. Mars, the Bringer of War 2. Venus, the Bringer of Peace 3. Mercury, the Winged Messenger 4. Jupiter, the Bringer of Jollity 5. Saturn, the Bringer of Old Age 6. Uranus, the Magician 7. Neptune, the Mystic

CLASSICAL SERIES W WOMEN IN THE ARTS SERIES

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throughout

Alan Shulman was an American composer, cellist, and arranger born in Baltimore. He composed from the age of ten, and as a cellist was a member of several noteworthy ensembles, including the New Friends of Rhythm, for which he made several comic arrangements such as “Shoot the Schubert to me Hub ert”. His 1940 Theme and Variations, considered among his most successful compositions, is among a half dozen works in which Shulman expanded the repertoire for viola in a solo role. The inaugural broadcast of the full orchestra version was presented by the NBC Radio Symphony on March 11,

1941. Shulman was approached in 1954 by the principal violist of the Boston Symphony, Joseph de Pasquale, to reduce it for a smaller group of strings and harp only; this is the version we hear tonight. After the initial presentation of the lyrical, somewhat wistful theme, seven virtuosic variations follow, and the piece concludes with a serene postlude. The English composer Gustav Holst’s family included professional musicians going back to his great-grandfather, who served as composer and harp teacher in the Imperial Russian court in St Petersburg; Gustav’s father was an organist and choirmaster in Gloucestershire, and his mother was a talented singer and pianist. As young man, Gustav learned violin and piano from his parents, and was even taught to play the trombone in the hopes that it would improve his asthma. Holst got caught up in a revival of astrology in Britain, especially among the adherents of the esoteric religious movement known as Theosophy. One of the lodestones of that revival was the 1912 book The Art of Synthesis by British astrologer and lecturer Alan Leo, sometimes called the father of modern astrology. In The Planets, Holst’s most popular and enduring work, Host takes inspiration and even some movement titles directly from this book. It was completed in 1916 but the outbreak of war kept it out of the public eye until 1920 (a private premiere had taken place in September 1918). Its success brought Holst international fame, but he did not enjoy the limelight. In 1932 he accepted a six-month lectureship at Harvard, but was dismayed to be hounded by journalists and photographers here and returned to London as soon as he could. The seven movements of The Planets form a set of large, essentially independent works. Holst called them “a series of mood pictures.” Mars, a tormented and dissonant battle march, is answered by gentle horn calls and flute meanderings in Venus. Mercury takes the form of an fleet-footed scherzo. Jupiter opens with cinematic shimmer and pomp, before a grand tune is presented. (Later Holst reworked this melody as a patriotic hymn.) A slow processional character pervades Saturn, the climax to which is some of the suite’s most powerfully evocative music - and Holst’s avowed favorite part of the piece. After a brassy fanfare, Uranus takes the shape of a playful dance, leading to another truly titanic climax. Mysterious and cloaked, Neptune is cast in a swaying irregular meter and colored by celeste and harp, before fading into darkness.

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FREE FAMILY FESTIVAL June 25 & 26

Lundgren Amphitheater, Gypsum 6:00 PM Instrument Petting Zoo 7:00 PM Concert SPONSORS: Bravo!Vail Music Festival

Riverwalk Center, Breckenridge 10:00 AM Instrument Petting Zoo 11:00 AM Concert Start SPONSORS: Alpine Bank, Breckenridge Grand Vacations, Pediatric Dental Group of Summit County, Summit Association of Realtors, and The Summit Foundation

Gerald R. Ford Amphitheater, Vail 6:00 PM Instrument Petting Zoo 7:00 PM Concert Start SPONSORS: Bravo!Vail Music Festival and Town of Vail A collaborative presentation by the National Repertory Orchestra and the Bravo!Vail Music Festival

MADE IN AMERICA

his summer, for the first time in their long-standing partnership, Bravo! Vail and the National Repertory Orchestra are working together to create a new kind of concert for family audiences. You won’t see any mimes, or actors dressed like composers from a bygone era on stage. Instead you will be sharing the amphitheater with over 100 of the finest musicians in the country between the ages of 18 and 29. Through a demanding audition process, these young people have been chosen to spend their summer in Breckenridge, CO, honing their skills as orchestral musicians. Their passion for playing their instruments has led them to pursue a professional career in music and the NRO is their elite summer training program. Operating since 1960, alumni of the NRO today hold leadership positions in virtually every major American Orchestra including the Dallas Symphony, the Philadelphia Orchestra and the New York Philharmonic.

Alumni of the NRO today

hold leadership positions in

virtually every Jason Seber, CONDUCTOR

This concert is specially designed by the players themselves with the help of a team of devoted educators, music administrators and the exciting young conductor, Jason Seber. Embarking on his fourth season as Associate Conductor with the Kansas City Symphony, Jason has made an indelible mark in the Symphony’s musical offerings, having led the orchestra in more than 75 concerts each season.

major American Orchestra

The musicians have chosen the theme “Made in America.” Their mission is to musically demonstrate the amazing breadth of what is “American” music today — from the classic sounds of Aaron Copland, to the South Americaninfluenced style of Joan Tower, to vibrant rhythms of composers influenced by Central America and beyond. POPULAR SERIES 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. Thank you for recycling your concession items.

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The evening opens at 6 pm with an instrument petting zoo in the lobby of the Gerald R. Ford Amphitheater, followed by an interactive concert in which each section of the orchestra is featured. And with the help of the players, the audience will compose its very own Fanfare for Vail! Meet tomorrow’s leading orchestra players today. The future is here with the National Repertory Orchestra.

LEONARD BERNSTEIN (1918 - 1990) Adapted by Maurice Peress Overture to West Side Story EDW. KENNEDY “DUKE” ELLINGTON (1899 - 1974) arr. Calvin Custer Duke Ellington! AARON COPLAND (1900 - 1990) Fanfare for the Common Man JOAN TOWER (b. 1938) Fanfare for the Uncommon Woman ANTONIN DVORÁK (1841 - 1904) Symphony No. 9, Op. 95, B.178, E minor (From the New World) III. Scherzo: Molto vivace AARON COPLAND (1900 - 1990) Variations on a Shaker Melody

Peak at Breckenridge 970.453.1724 800.458.7998 www.peakproperty.com Proud Supporter of the NRO for 15 years Vacation Rental Management Helping Owners and Guests since 1986

GABRIELA LENA FRANK (b. 1972) Three Latin American Dances III. The Mestizo Waltz

Photo: Gary Soles N ATI O N A L R EP ER TO RY O R CH E S T R A

TOPILOW POPS!

Saturday, June 29, 2019 at 7:30 PM SPONSORS: Barbara and Jim Calvin, Steve Corneillier and daughters Brittony and Nicole, Epic Mountain Express, Jane King, Kathie and Michael Massey, and Welk Resorts Carl Topilow, CONDUCTOR

Connor Bogart O’Brien, VOCAL

In honor of Kathleen Corneillier Program to be announced from the stage. Music by Elvis Presley, Billy Joel, The Beatles, Barry Manilow, neil Diamond, and more.

POPULAR SERIES 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. Thank you for recycling your concession items.

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4TH OF JULY CONCERT! Thursday, July 4, 2019

Summer 2019 Connection...

“AMERICA’S BIRTHDAY SPECTACULAR” Dedicated to all the men and women serving in uniform with thanks from a grateful nation.

Carl Topilow, CONDUCTOR

10:00 AM Rainbow Park in Silverthorne

In honor of Kathleen Corneillier SPONSORS: Steve Corneillier and daughters Brittony and Nicole, The Lake Dillon Theatre Company, and Welk Resorts FREE, No Tickets Required, General Admission includes an Instrument Petting Zoo for kids at 9:00 AM.

8:00 PM Riverwalk Center in Breckenridge

In honor of Kathleen Corneillier SPONSORS: Steve Corneillier and daughters Brittony and Nicole, Robert Follett, Tony and Barbara Flitcraft, Sharon Magness Blake and Ernie Blake, Sandra Mortensen, Town of Breckenridge, and Welk Resorts

Join us for our 25th Anniversary Season To Be Connected... Tell Me On A Sunday June 1 - 23 Mamma Mia! June 28 - Aug. 11 Every Brilliant Thing Aug. 15 - Sept. 16 Barefoot in the Park Aug. 30 - Sept. 22 POPULAR SERIES 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. Thank you for recycling your concession items.

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LakeDillonTheatre.org Box OOce: 970.513.9386 460 Blue River Pkwy Silverthorne Co.

“E.T. THE EXTRA-TERRESTRIAL” Film With Live Orchestra

Saturday, July 6, 2019 at 2:00 PM

SPONSORS: Town of Breckenridge and Welk Resorts

Saturday, July 6, 2019 at 7:30 PM SPONSORS: Annette and Ken Hallock, Michael Molloy, Town of Breckenridge, and Welk Resorts

Riverwalk Center, Breckenridge

Carl Topilow, CONDUCTOR

A STEVEN SPIELBERG Film DEE WALLACE PETER COYOTE HENRY THOMAS as ELLIOTT Music by JOHN WILLIAMS Written by MELISSA MATHISON Produced by STEVEN SPIELBERG & KATHLEEN KENNEDY Directed by STEVEN SPIELBERG A UNIVERSAL PICTURE www.filmconcertslive.com

onight’s program is a presentation of the complete film E.T. The Extra-Terrestrial with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All Rights Reserved. Available on Blu-ray and DVD from Universal Pictures Home Entertainment. Relive the magic of E.T. The Extra Terrestrial on the big screen accompanied by a magnificent, live performance of the National Repertory Orchestra. Director Steven Spielberg’s heartwarming masterpiece is one of the brightest stars in motion picture history. Filled with unparalleled magic and imagination, E.T. The ExtraTerrestrial follows the moving story of a lost little alien who befriends a 10-year-old boy named Elliott. Experience all the mystery and fun of their unforgettable adventure in the beloved movie that captivated audiences around the world, complete with John Williams’ Academy Award®-winning score performed live by a full symphony orchestra in sync to the film proje cted on a huge HD screen. ©A.M.P.A.S.®

PRODUCTION CREDITS E.T. The Extra-Terrestrial In Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for E.T. The Extra-Terrestrial has been adapted for live concert performance.

With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Kristin Stark, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Mark Graham and the musicians and staff of the National Repertory Orchestra. N ATI O N A L R EP ER TO RY O R CH E S T R A

WAR AND PEACE

Wednesday, July 10, 2019 at 7:30 PM

SPONSORS: Mark and Polly Addison, Beaver Run Resort, Blue River Bistro, Robin Hadley, Susan and King Pouw, Shaw Breast Center & Cancer Clinic in Frisco, Pam and Sonny Wiegand Tania Miller, CONDUCTOR

Katelyn Lyons Peaden, VIOLIN

VICTORIA BORISOVA-OLLAS The Kingdom of Silence FELIX MENDELSSOHN (1809 - 1847) Concerto in E minor for Violin & Orchestra, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo - Allegro molto vivace Katelyn Lyons Peaden, violin INTERMISSION CINDY MCTEE (b. 1953) Circuits DMITRI SHOSTAKOVICH (1906 - 1975) Symphony No. 9 in E-flat major, Op. 70 I. Allegro II. Moderato III. Presto IV. Largo V. Allegretto

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ictoria Borisova-Ollas was born in 1969 in Vladivostok, in the far eastern corner of Russia, and has lived in Sweden since 1992. Kingdom of Silence was commissioned in 2003 by the Gothenburg Art Sounds Festival 2003 and Concerts Sweden. She says the title refers to “the world to which all of us must go after we die.” It is dedicated to the memory of her orchestration teacher, Nikolai Korndorf. She continues: The composition starts as a lullaby where glockenspiel and celesta play a rather simple melody, wrapped in the “echo” of string instruments. Gradually we are sinking into a dream. Different scenes are appearing in a succession, sometimes linked to each other by the same tempi or divided by the sudden change of mood. With the return of the “lullaby,” a long chain of events is finished. But the dream itself - does it ever end? The Mendelssohn Violin Concerto (he wrote two, actually, though the one in D Minor is virtually unheard-of) is the product of a set of circumstances of which most composers could only dream. Since becoming its music director in 1835, Mendelssohn had at his disposal the Leipzig Gewandhaus Orchestra, one of Europe’s finest (then and now). And since 1843, when he founded it, he also had at his disposal the faculty of the Leipzig Conservatory. The great violinist Ferdinand David, who had been Mendelssohn’s close friend since they were boys of fifteen, was among the faculty there. Mendelssohn and David collaborated on the composition to an unusual degree. The result is one of the most treasured violin concertos. The great Joseph Joachim (David and Mendelssohn’s mentor, and muse to Schumann and Brahms) said, of all the great German violin concertos, “it is the most inward, the heart’s jewel.” It is in the usual three movements, though the first is joined to the second by (don’t miss it!) a single, sustained note from the bassoon. Mendelssohn wisely chooses to put the ravishing love-song melody of the second movement on a simple backdrop of black velvet. The finale is preceded by a curious introduction, something seemingly cut from an impassioned dialogue scene in an opera. In one culminat-

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A native of Tacoma, Washington, Cindy McTee was attending Pacific Lutheran University there when she met the eminent polish composer Krzyzstof Penderecki. He offered to give her composition lessons if she would teach his children English, and so she spent the following year living with the Penderecki family and studying at Krakow University. In 2011 she retired after 26 years teaching at the University of North Texas in Denton, where she was commissioned in 1990 by the Denton Chamber Orchestra to compose Circuits. This brilliant work is built around short, recurring motives (especially a jazzy bass line) and set in a dizzyingly fast tempo of 152 beats per minute. The syncopated, Rube Goldberg-esque opening bars will give you a very clear sense of what to expect from the next five minutes. In 1945, when he composed his Ninth Symphony, Dmitri Shostakovich was in a bind. Russia had been “victorious” in World War Two (despite losing twenty million of its own citizens) and now their most prominent composer was expected to produce nothing less than a symphony of triumph and a paean to Stalin. Shostakovich knew the consequences of disappointing the regime, but couldn’t bring himself to write any such thing. He told friends and colleagues that he was writing a huge work for orchestra with full chorus and multiple soloists, but what he produced instead was an abstract work on an almost classical scale. Stalin hated it, and it was banned until the dictator’s death in 1953. In the opening bars of the first movement, Shostakovich presents a theme so sprightly and light that any idea of monumentality is forgotten. When the trombone enters, we find a marchlike second subject of even greater frivolity (though this theme returns again mid-movement in a belligerent mood). A solo clarinet, which occupies the spotlight in much of the spidery second movement, is also the center of attention in the opening of the lightning-fast and menacing dance of the third movement. Solo trumpet and snare drum add brilliance midway thorough. A low brass fanfare followed by a mournful bassoon solo bookend the lyrical fourth movement, the least ironic but not uncynical heart of the symphony. The solo bassoon also leads us, winking, into the finale. These are the opening steps of an insouciant jig which gathers steam and speed as it hurtles into a bitterly sarcastic climax.

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ing moment of the finale, two of Mendelssohn’s themes are combined to goosebump-inducing effect.

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BOHEMIAN RHAPSODY Friday, July 12, 2019 at 7:30 PM

SPONSORS: Kathleen and Thomas Fingleton, Barbara Strauss and Paul A. Finkel, Reggie and Pamela Gray Family, Joan Manley Houlton, Bonnie Kirschenbaum, Hon. Samuel L. Bufford and Julia Metzger

Alex Amsel, CONDUCTOR Natsuko Takashima, VIOLIN Michael Romans, VIOLIN A benefit concert for Mountain Top Children’s Museum JENNIFER HIGDON (b. 1962) blue cathedral MORITZ MOSZKOWSKI (1854 - 1925) arr. Carl Topilow Suite for Two Violins and Orchestra Allegro energico Allegro moderato Lento assai Molto vivace Natsuko Takashima, violin Michael Romans, violin INTERMISSION ANTONIN DVORÁK (1841 - 1904) Symphony No. 8 in G major, Op. 88, B.163 I. Allegro con brio II. Adagio III. Allegretto grazioso IV. Allegro ma non troppo

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ennifer Higdon is one of America’s most acclaimed figures in contemporary classical music, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto, a 2010 Grammy for her Percussion Concerto and a 2018 Grammy for her Viola Concerto. Most recently, Higdon received the prestigious Nemmers Prize from Northwestern University which is awarded to contemporary classical composers of exceptional achievement who have significantly influenced the field of composition. Higdon enjoys several hundred performances a year of her works, and blue cathedral is one of today’s most performed contemporary orchestral works, with more than 600 performances worldwide. Her works have been recorded on more than sixty CDs. Higdon’s first opera, Cold Mountain, won the International Opera Award for Best World Premiere and the opera recording was nominated for two Grammy awards. She holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia. Her music is published exclusively by Lawdon Press.

The symphony on the whole

is full of tunes

While still a student at the Stern Conservatory in Berlin, seventeen-year-old Moritz Moszkowski was invited to join the faculty. After more than twenty-five years he moved to Paris, where he amassed a small fortune from the sale of his popular salon and concert works. At the turn of the century, Moszkowski was a household name; as late as 1954, one piano handbook described his Spanish Dances for piano (four hands) as “too well known to require comment.” His Suite for Two Violins and Piano was composed in 1903 and it has been beautifully orchestrated by our very own Carl Topilow. At the opening of the first movement, the two soloists present the predominanting theme, full of yearning and elaborately intertwined among the soloists. The second movement is an elegant waltz, but I think many people’s favorite moment will be the long love duet at the center of the slow third movement. The finale shows a slightly goofy good humor and a playful spirit.

and full of life.

Dvorák always retained a strong sense of national pride, and especially a love of the rustic pleasures of life—the countryside, folkways, and the warm good humor of the Czech people. His eighth symphony was written in a torrent of inspiration over a single month in late summer of 1889; in the same month he also produced his Op. 87, a piano quartet. This breakneck rate of composing was not

uncommon for Dvorák, who even complained that his hand was too slow to write out all the ideas that came to his mind. The symphony on the whole is full of tunes and full of life. Its lyrical introductory theme was an afterthought, but Dvorák took care to have it recur at strategic points in the first movement to act as a frame. Soon the true main theme appears in the solo flute, birdlike at first, but revealing its many possibilities later. The second movement begins with an affecting series of gestures: first, a radiant phrase in the strings that begins more optimistically than it ends; dovetailing into this is a wisp of a funeral march, reminding us of Beethoven’s famous one in his Third Symphony; and soon after, a richly flowing song from the clarinets. Here in the first fifty seconds of the movement it seems we have enough material for many composers to fashion one or two whole symphonies. In fact, they are all imaginative variations of the first few bars of the movement, and many more follow suit. The third movement is more like a swift country waltz than a heady scherzo. Then, heralded by a trumpet fanfare, a timpani echo sets off the stately theme of the Finale given by the cellos. Its processional quality soon turns to pure fun, with salacious tongue-waggling from the horns, virtuoso flute variations, and tumbling brass figurations. When the stately cello theme returns to bring order to this mayhem, the process of saying goodbye begins. Like a happy host genuinely sad to see his guests leave, Dvorák seems to linger, wishing each a fond farewell before one last boisterous jest. © Jamey Lamar 2019

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BRAHMS AND MORE

Wednesday, July 17, 2019 at 7:30 PM

SPONSORS: Beaver Run Resort, Blue River Bistro, Helen and Lester Lemay, Anne Mead, Schmitt Music, Connie and John Stafford, and Wyndham Vacation Rentals Alex Amsel, CONDUCTOR April Zhang, PIANO Audrey Haas, PIANO

JONATHAN LESHNOFF (b. 1973) Rush April Zhang, pia no Audrey Haas, piano WOLFGANG AMADEUS MOZART (1756 - 1791) Concerto No. 19 in F major for Piano & Orchestra, K.459 April Zhang, piano I. Allegro FELIX MENDELSSOHN (1809 - 1847) Concerto No.1 in G minor for Piano & Orchestra Op. 25 Audrey Haas, piano I. Molto allegro con fuoco INTERMISSION JOHANNES BRAHMS (1833 - 1897) Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi andantino) IV. Allegro con spirito

onathan Leshnoff has been called “a leader of American lyricism” by the New York Times. More than 65 orchestras worldwide have performed his music, because critics and audiences alike recognize Leshnoff’s musical language as distinctive and intensely personal. Rush was commissioned in 2008 by Jeremiah German, professor emeritus in the department of Economics at Towson University. It is dedicated to David DePeters, the CEO of NRO; at the time, Executive Director of IRIS. From the composer: The kernel motive of Rush is presented in the opening measure, furiously developed by every instrument group. The frenetic propulsion yields to a haunting clarinet solo over shimmering strings, before the orchestra’s kinetic energy returns, only to be thwarted at its climax by the solo harp. A final burst from the full orchestra ends the work. There were piano concertos before Mozart, but Mozart, who wrote them primarily for himself to perform, elevated the genre to something more important; certainly they were his calling card in the mid-1780s. During that timeframe he produced seventeen concertos—one every few months. Number nineteen comes sometime before December 1784 for performances planned for the following Lent season. Letters from his father, who was visiting in Vienna at the time, tell of an incredible schedule of his son participating in daily and sometimes twice daily concerts over the course of those several weeks; the Emperor himself was at a few, cheering “Bravo!” to the stage. Money, for once, was coming in. Mozart must have considered this concerto particularly worthy, since he performed it at the coronation festivities for Emperor Leopold II in Frankfurt in 1790. Among the twenty-eight examples in his output, this one lies in a little group which are more genial, intimate, and focused on every kind of possible interaction among piano solo and orchestra.

There were piano concertos before Mozart, but

Mozart elevated the genre to

something more important…

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Well-heeled European men in Mendelssohn’s time took an educational Grand Tour of the continent. And so, in

his late teens and early twenties, Mendelssohn toured England, Scotland, Switzerland, France, and Italy. In Rome, he sketched out plans for his first ‘real’ piano concerto (an earlier one, written for himself to perform at age thirteen, was never published). The King of Bavaria himself was in attendance at the Munich premiere in 1831, on a program featuring his first symphony, some piano improvisations, and his overture to A Midsummer Night’s Dream. As well-mannered as Mendelssohn was known to be, this concerto begins impetuously: instead of an orchestral introduction and presentation of the main thematic material that his audience would have expected, Mendelssohn plunges almost immediately into fiery virtuoso passages for the soloist. Enjoy the chance to compare the first movements of these two masterful but completely divergent piano concertos: Mozart No. 19, and, Mendelssohn No. 1, written forty-seven years apart. Each summer, Brahms looked forward to getting out of Vienna to compose in peace. But each mountainside village only inspired for a summer or two before he claimed it had been “used up.” In the summer of 1877 he decided to give the lakeside hamlet of Pörtschach a try. He found that melodies were so abundant there, he had to be careful not to step on them; soon he was at work on his Symphony No. 2. As promised, melodies are as numerous as cracks in the sidewalk throughout the opening movement—but binding them together is a simple recurring device: the alternation of one note with its downstairs neighbor. Three trombones have dramatic statements in the middle of the movement, and are followed much later by a lonely horn call that leads rather surprisingly into a swooping, waltz-like passage. The second movement opens deceptively; what appears to be a tragic melody turns out to be nostalgia— sometimes sweet, and sometimes tinged with angst. Violins, then horn and oboe weave the opening melody into a garland of Olympic beauty, which returns unruffled after a turbulent central episode.

SCHMITT MUSIC YOUTH PIANO COMPETITION WINNERS April Zhang April Zhang was born in April 2011 in Manhattan, and she moved to Colorado at 4. April started piano lessons at 5 with Ms. Jasmine Steadman. April won 1st place awards at various piano competitions e.g. 2018 Rising Stars Festival (lower elementary group) and 2019 Schmitt Music Piano Competition (advanced competitive division I). April has twin brothers, Kevin and Tim; they all study at Thunder Vista, Broomfield. Besides piano, April likes hiking and drawing.

Audrey Haas Audrey Haas (11) has previously performed with the National Repertory Orchestra (2017), the Metropolitan State University of Denver Symphony Orchestra (2018) and is also a member of the Young Musicians Foundation of Colorado (2019-20). Beyond piano, Audrey enjoys ballet, swimming and chess. Her favorite academic subjects are mathematics, Mandarin Chinese, and Latin. Audrey began learning piano at the age of three and currently studies with Crystal Lee.

Instead of the more common scherzo, Brahms prefers a more graceful Andante to occupy the third movement, and writes a happy oboe tune to start it off. He still follows the form of a scherzo, though, and includes the traditional middle section known as a trio. But since he’s in such a good mood, he throws in a whole extra trio for free before the movement closes wistfully. The finale begins with a tightly compressed variant of the introduction to the first movement, played softly by the strings, as if they are quietly stifling a giggle at their little joke. The result is an explosion of mirth from the whole orchestra. © Jamey Lamar 2019 N ATI O N A L R EP ER TO RY O R CH E S T R A

NRO ON THE LAKE - “BEST OF THE NRO SEASON” Friday, July 19, 2019 at 6:00 PM ê Dillon Amphitheater, Dillon SPONSORS: Breckenridge Grand Vacations, Patrice and Ron Lara, the Town of Dillon, Pam Piper Yeung and Dr. Kai Yiu Yeung Carl Topilow, CONDUCTOR Katelyn Lyons Peaden, VIOLIN Natsuko Takashima, VIOLIN Michael Romans, VIOLIN FREE, No Tickets Required, General Admission JOHN WILLIAMS (b. 1932) Adventures on Earth from E.T. LUDWIG VAN BEETHOVEN (1770 - 1827) Symphony No. 5 in C minor, Op. 67 I. Allegro con brio FELIX MENDELSSOHN (1809 - 1847) Con certo in E minor for Violin & Orchestra, Op. 64 III. Allegro molto vivace Katelyn Lyons Peaden, violin GEORGE GERSHWIN (1898 - 1937) An American in Paris INTERMISSION AARON COPLAND (1900 - 1990) El Salón México MORITZ MOSZKOWSKI (1854 - 1925) arr. Carl Topilow Suite for Two Violins and Orchestra Natsuko Takashima, violin Michael Rom ans, violin IV. Molto vivace JOHANNES BRAHMS (1833 - 1897) Symphony No. 2 in D major, Op. 73 IV. Allegro con spirito MAURICE RAVEL (1875 - 1937) Bolero 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. Thank you for recycling your concession items.

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TALL TALES

Saturday, July 20, 2019 at 7:30 PM SPONSORS: Building Hope/ Tim Casey, Nancy Gooding, Carole Johnson, Bill and Yvonne McCallum, and Jack Thomas Carl Topilow, CONDUCTOR Mina Hong, VIOLIN

A benefit concert for Building Hope In memory of Patti Casey AARON COPLAND (1900 - 1990) El Salón México ERICH WOLFGANG KORNGOLD (1897 - 1957) Concerto in D major for Violin & Orchestra, Op. 35 Moderato nobile Romance: Andante Finale: Allegro assai vivace Mina Hong, violin INTERMISSION

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. ZOLTÁN KODÁLY (1882 - 1967) Suite from Háry János I. Prelude; The Fairy Tale Begins II. The Viennese Musical Clock III. Song IV. The Battle and Defeat of Napoleon V. Intermezzo VI. Entrance of the Emperor and his Court

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aron Copland, born in Brooklyn in 1900, worked as a youth in his parent’s department store. His interest in music eventually led him to the American Conservatory in Fontainebleau, outside Paris. Later he studied with the esteemed and incredibly influential pedagogue, Nadia Boulanger. She considered him one of her prize students, and accompanied him back to the US to perform his Symphony for Organ and Orchestra with both the New York and Boston symphony orchestras. But though he was known in Paris as “that talented American composer,” he had not yet forged the style with which most audiences are familiar today, the style he called “vernacular:” the style of Rodeo, Appalachian Spring (and, for better or worse, “Beef, it’s what’s for dinner”). El Salón México is one of the first works in which he finds this style. He was invited to visit Mexico in 1932 by his friend, composer and conductor Carlos Chávez, and made several long visits there over the next several years. The work is named after a nightclub where Copland said he “found a sign on the wall which said: ‘Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.’” The work was premiered by the Mexico Symphony Orchestra, with Chavez on the podium, in 1937. As the nightclub was arranged in a series of rooms, one for customers in evening wear, one for “people dressed in overalls but shod, and one for the barefoot,” according to a contemporary advertisement, so Copland’s one-movement tone poem guides us (after a brief introductory fanfare) seamlessly through several dance episodes: first, the “respectable” dance music of the well-dressed crowd; then more vigorous middle-class dances; and finally the rhythmically rich dances of the peasantry. This pattern repeats in three cycles before the exciting finish.

Energetic,

sometimes zany processional

music concludes the suite

Julius Korngold, Erich’s father, was the music critic for the most important german-language newspaper of the day, a paper so influential it was said the Austrian Empire was not governable without its support. This, at a time when (can you imagine!) his review of a new opera might occupy the not just the front page, but the first three pages. He and Josefine (née Witrowsky) named their first son Hans Robert, after Robert Schumann. Their second son got saddled with the even weightier handle of Erich Wolfgang, after Mozart. Incredibly, the child did prove a prodigy. At

age nine he showed a cantata he had composed to the great Gustav Mahler, who declared the boy a genius. His career took an unexpected turn in 1934, when he was invited to Hollywood to work in film; over the next several years he pioneered the new form of the symphonic film score, collecting a few oscars along the way. His 1945 Violin Concerto, which was premiered by Jascha Heifetz, is loaded with material he originally composed for film, and makes a compelling case for a concert music of seriousness built from materials familiar to audiences of popular cinema. There is one moment in the third movement which will leap out at you for its uncanny resemblance to the theme for Universal Pictures. Zoltan Kodaly’s beloved comic opera Háry János premiered in Budapest in 1926, and the six-movement suite drawn from it came a few months later. It tells the story of a veteran soldier who weaves a series of tall tales about his exploits abroad. This work notably calls for the use of a cimbalom, a Hungarian folk instrument similar to the hammered dulcimer. The Prelude begins with an orchestral depiction of a sneeze, because in Hungarian superstition, according to Kodály, “if a statement is followed by a sneeze of one of the hearers, it is regarded as confirmation of its truth.” Kodaly’s gifts for imaginative musical depiction is on display throughout the suite, but nowhere more so than in the following movement, Viennese Musical Clock, which employs percussion to great effect. Violists study the “song” movement of the suite very closely, as the opening viola solo is one of the most common orchestral experts they’ll need to nail to win their auditions. The Battle and Defeat of Napoleon is some of the most colorful and humorous music in the suite, especially the low brass moment midway through. The cimbalom shines. In the ensuing Intermezzo, a rhapsodic dance episode. Energetic, sometimes zany processional music concludes the suite, in The Entrance of the Emperor and His Court. © Jamey Lamar 2019

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MAHLER SYMPHONY NO. 5 Wednesday, July 24, 2019 at 7:30 PM

SPONSORS: Beaver Run Resort, Blue River Bistro, M.A. Deen, Denise and James Eliopulos, Elizabeth Hainen and Dave DePeters, Anne Mead Karina Canellakis, CONDUCTOR

In memory of Steven Russell 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.

ohemia-born Gustav Mahler worked as a conductor in some of the most prestigious musical institutions in the world, including the Vienna State Opera and the New York Metropolitan Opera. (One of his innovations in Vienna: darken the audience lights during the performance.) His professional duties kept him too busy most of the year to compose, so he squeezed what he could into a few weeks during the summer. His fifth symphony was composed over the summers of 1901 and 1902, a period during which he met and married the love of his life, Alma Schindler. It was the only happy period of his life. But in the months just prior, he had suffered a severe hemorrhage; doctors told him he was within an hour of bleeding to death when they arrived at his bedside. In the wake of that experience, this symphony marks a decisive shift in his compositional output.

A symphony must

INTERMISSION

be like the world.

GUSTAV MAHLER (1860 - 1911) Symphony No. 5 in C-sharp minor, (performed without intermission) PART I 1. Trauermarsch, (funeral march) 2. Stürmisch bewegt, (stormily moving) PART II 3. Scherzo: Kräftig, nicht zu schnell, (powerful, not too fast) PART III 4. Adagietto 5. Rondo-Finale

It must embrace

Mahler once claimed, “A symphony must be like the world. It must embrace everything.” To be sure, his fifth symphony is broad on every scale, including the emotional and even philosophical. His first four symphonies either included voices, or were, in the case of his first, made up largely of material he originally wrote for voice. And of those vocal parts, most of them drew from a single source of inspiration: a book of children’s poems called The Boy’s Magic Horn. Though the fifth contains a few passages drawn from song, it is a work primarily conceived of in instrumental terms. It is also leaner, tenser, and suffused with an altogether denser kind of melodic interweaving or polyphony.

everything.

Mahler cast this symphony in five movements, but there is an overarching organizational scheme which divides it into three larger sections: part one consists of the first and second movements; the middle movement the second; and the last two movements, the third.

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The trumpet fanfare which opens this symphony is one Mahler had used in his fourth as well. It ushers in an expansive funeral march which revolves around two statements of a lyrical lament. According to Mahler, the true opening of the symphony comes next, in the form of a furious and whirling scream from the whole orchestra. This anguish is interrupted by reminders of the plodding tempo of the funeral march and passages of more hopeful lyricism, though these brief moments are never able to hold the stage for very long.

The scherzo which holds the center part of the larger three-movement structure is equal in heft to the outer two sections. In general, this is a symphony that gives everyone in the orchestra a good workout, but listen in here particularly for the horns. They have an Alpine-esque chorale right at the beginning, with a challenging solo part on top; there are two other even more heroic and fearsome solos before the movement is done. This is the symphony’s exuberant heart, and Mahler piles it high with thematic invention and abundance. The slow movement which follows is famous enough to be known simply as “the Mahler Adagietto” (like Barber’s Adagio or Pachelbel’s Canon). This haunting music, full of longing, was a love letter to Alma. Without winds, brass or percussion, so much of the heavy lifting is done here by the harp, in its spare and almost enigmatic accompaniment. There is an unverified story about this movement that is too good not to tell. It has it that Mahler wrote the Adagietto while Alma was abroad, and sent the manuscript to her without a word of explanation; she wrote back simply, “I understand. I am returning straight away.” As the last note of the Adagietto dies away, it is taken up by the first horn. In dialogue with solo bassoon, oboe, and clarinet, it brings the orchestra back en masse, in the key of D Major. The anguish and bereavement of the first part of the symphony are behind us now. The Adagietto’s theme, once longing and unfulfilled, makes a re-appearance, now contented. A chorale tune in the brass is recalled from the end of the second movement, now extended and triumphant. But instead of heading for a pompous and self-satisfied conclusion, Mahler opts for an expression of carefree jubilation. © Jamey Lamar 2019

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SEASON FINALE “PICTURES AT AN EXHIBITION” Friday, July 26, 2019 at 7:30 PM

SPONSORS: KCME 88.7FM, Carolee and John Hayes, Anne and Bill Mills, Janice Ward Parrish, Jana Edwards and Rick Poppe, and Welk Resort Carl Topilow, CONDUCTOR

Thomas Steigerwald, PIANO

GABRIELA LENA FRANK (b. 1972) Three Latin American Dances III. The Mestizo Waltz

abriela Lena Frank is a composer and pianist from California who has been commissioned by the likes of Yo-Yo Ma, the Kronos Quartet, and the symphony orchestras of Chicago, Boston, Philadelphia, Atlanta, and Cleveland. She’s currently composer-in-residence for the Philadelphia Orchestra and visiting artist-in-residence at Vanderbilt University. At the heart of much of her music is identity, as her own roots include Peruvian, Chinese, and Lithuanian elements. Frank’s work has been the subject of several scholarly books and documentary films, and in 2017 she founded the GLF Creative Academy of Music, a non-profit geared towards fostering emerging composers and partnering with underrepresented rural communities. Mestizo Waltz (2003) was originally part of a three-movement suite, Three Latin-American Dances for Orchestra. Frank writes that it is. “A lighthearted tribute to the ‘mestizo’ or mixed-race music of the South American Pacific Coast. In particular, it evokes the ‘romancero’ tradition of popular songs and dances that mix influences from indigenous Indian cultures, African slave cultures, and western brass bands.”

SERGEI RACHMANINOFF (1873 - 1943) Concerto No. 3 in D minor for Piano & Orchestra, Op. 30 I. Allegro ma non tanto II. Intermezzo III. Finale Thomas Steigerwald, piano

One of its most

INTERMISSION

the opening bars

MODEST MUSSORGSKY (1839 - 1881) arr. Maurice Ravel Pictures at an Exhibition Promenade 1. Gnomus Promenade 2. The Old Castle Promenade 3. Tuileries 4. Bydlo Promenade 5. Ballet of the Chicks in Their Shells 6. Samuel Goldenberg and Schmuyle 7. Limoges 8. Catacombs Cum mortuis in lingua mortua 9. The Hut on Fowl’s Legs 10. The Great Gate of Kiev CLASSICAL SERIES 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. Thank you for recycling your concession items.

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striking features

is the simplicity of

Today Rachmaninoff’s third piano concerto is almost as often heard as his second, but for a time it was too difficult to be played by anyone but the composer and Vladimir Horowitz. Written for his first US tour in 1909, one of its most striking features is the simplicity of the opening bars. It’s the dozens of subtle shadings and re-workings of this idea, and equally, those of the accompanimental figurations that Rachmaninoff introduces when the tune is given to the orchestra, that drive the drama of the first movement. But the long, romantic melody that emerges in the middle, partnered by bassoon and horn solos, is what will afford Rachmaninoff that new car he had his eye on. The slow movement that follows begins with another long, sinuous melody. It grows towards an anguished climax only to be completely derailed by the entrance of the soloist, who has a new take on this material. Variations on this idea occupy the remainder of the movement, which segues directly into the glamorously virtuosic finale. In this third concerto, more than ever before, Rachmaninoff expects the soloist to not only sing and thunder through the keyboard, but also react, pivot, and blend in much more subtle and flexible ways.In 1874 an exhibition was mounted of works by the artist Victor Hartmann, a close friend of Modest Mussorgsky’s who had passed away suddenly of an aneurism the year before at age 39. Ten of these

artworks were the inspiration for Mussorgsky’s piano composition, Pictures at an Exhibition, created in three weeks in June 1874. Maurice Ravel masterfully orchestrated it in 1922 at the request of Serge Koussevitsky. The first and most characteristic element of the work is Mussorgsky’s promenade, which he uses as a recurring device, both to transition from one artwork to the next and to clear the aural palette. Gnomus, the first picture, is a tiny nutcracker that Mussorgsky imagines stalking about on clumsy, stunted legs. In the second picture, a troubador is depicted accompanying himself on the lute, standing next to an old Italian castle. Ravel chooses the saxophone to sing Mussorgsky’s archaic-sounding tune. In Hartmann’s next painting, Tuileries, the gardens in Paris near the Louvre are shown; Mussorgsky added a group of children playing and arguing pettily. Bydlo, the title of the following picture, is Polish for cattle; it shows a cart being pulled by an ox along a muddy country road. Ballet of the Unhatched Chicks is Mussorgsky’s imaginative response to Hartmann’s drawings for a children’s ballet. A depiction of two Yiddish figures—one rich, the other poor, comes next (Samuel Goldenberg et Shmuyle). We arrive without a break at Limoges, a bustling French market square. Hartmann’s painting of himself peering into the darkness of the Paris catacombs is the subject of the next movement, which Mussorgsky sets in two parts; he gave the second part the subtitle In the Company of the Dead in a Dead Language. In Slavic fairy tales, Baba Yaga is said to fly through the air in a mortar, using the pestle as a rudder and a broom to cover her tracks—she eats, of course, human bones. Hartmann’s picture shows her home, a small cabin that moves about on two chicken legs. Like much imagery in folk tales, this fantastic-seeming architectural design has plausible historical roots: ancient Siberians built bear-proof food storage sheds eight or nine feet off the ground, using three or four closely spaced, sawed-off tree-trunks as stilts; they sometimes also used these for cremation rites. The grand finale is The Great Gate of Kiev, in which the promenade theme is transformed into an edifice of monumental proportion through a series of variations. Bells ring out; the processional now encompasses not just the gallery visitor, but the teeming masses. © Jamey Lamar 2019

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