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Donald Runnicles

“You are as good as your last performance.”

Such are the vicissitudes of our profession that, with the potential for success or, indeed, failure, this familiar maxim rings in most performers’ minds as portentously and intensely as ever.

And so it goes with the planning, selection, and execution of every concert at our Grand Teton Music Festival—where our focus remains on each concert, on every new season living up to the promise and excellence of the last. So it all began for me in that heady 2006 summer season.

Much like a traveler, fully engrossed and absorbed in every detail of a gripping novel, who looks up to determine with surprise that the scenery is different, unexpected, the station potentially missed—so, too, I look up. It is summer 2016, and with some incredulity, I try to grasp the reality: This, already, is my 10th year as Music Director.

What an extraordinary decade. With pride and enormous pleasure I reflect on the deep musical and personal bonds forged in these special years between musicians; between our soloists and musicians; between you, our loyal and dedicated audience, and our performers—verily, between our souls and this heavenly landscape. Of course, the most precious bond of all is always forged anew—that between the music and ourselves. In that spirit, may the new 2016 season excite you, inspire you, soothe and elevate you. In our dizzyingly evolving world, may you find comfort in some things never changing! May our long list of the world’s finest musicians who grace the valley every year with their passion and presence thrive and grow. As you browse through the chamber and orchestral repertoire over the next seven weeks, may you be filled with the same eager anticipation in welcoming back our family—Lynn Harrell, Kelley O’Connor, Colin Currie, Jonathan Biss, and Simone Porter—as in welcoming those new to our Festival, all brilliant performers and remarkable ambassadors of our art—Maestri Conlon, Canellakis, and Feddeck, as well as Nicola Benedetti, Johannes Moser, and the Naughton sisters. It simply does not get any better.

Until next season, that is …

As I enter a second decade at the helm of this unique, astonishing Grand Teton Music Festival, I thank you most profoundly for your trust, respect, and support.

And now I return with relish to that figurative book, eager to discover what the future chapters will hold.

Humbly, gratefully,

Donald Runnicles FROM THE BOARD PRESIDENT AND EXECUTIVE DIRECTOR

Sylvia Neil & Andrew Palmer Todd

On behalf of the Grand Teton Music Festival, welcome to our 55th season! Whether you are returning for another summer of glorious music or discovering the Festival for the first time, we can assure you that your experience will be a memorable one. With more than 40 musical events throughout Jackson Hole, this summer truly has something for everyone.

This year marks an important milestone for the Grand Teton Music Festival as we commemorate Donald Runnicles’ 10th anniversary as Music Director. We are fortunate to have in Maestro Runnicles a conductor whose music making and musical relationships span the globe. Whether at the Deutsche Oper in Berlin, the Berlin Philharmonic, the Atlanta Symphony, the Philadelphia Orchestra, or many other internationally acclaimed ensembles, Donald spreads the word about our jewel of a Festival in Jackson Hole, which he fondly refers to as his “American home.” It is his presence in the world’s musical centers that has allowed the Grand Teton Music Festival to recruit and retain the best orchestral players worldwide. Over the past 10 years, you have seen evidence of Donald’s musical reputation throughout the programs in the soloists, many of them dear friends, who have appeared with the Festival Orchestra. In this anniversary season, that tradition continues with the appearances of cellist Lynn Harrell, mezzo-soprano Kelley O’Connor, the National Collegiate Chorale of Scotland, and so many others.

Following last year’s successful Gala Concert with opera star Renée Fleming, we are very excited to present international violin superstar Joshua Bell in a Gala Performance with the Festival Orchestra, conducted by our own Donald Runnicles. In addition to the impressive summer offerings that our audience has grown accustomed to from our chamber music and Festival Orchestra, you will also want to take note of other key events and concerts this summer, including our first-ever “club concert” with Time for Three at the Pink Garter Theatre and a fun evening of Big Band favorites with the Richard Brown Orchestra at the Center for the Arts.

The Festival’s board and staff are passionate about serving Jackson Hole. After all, the Grand Teton Music Festival is something that belongs to the entire community. That is why we present concerts in multiple venues and formats around the town, all with an eye toward increasing accessibility. It is also why you will notice that we have a new Family Series this summer with a concert each week geared toward our future audience and anyone else who is young at heart.

We want to thank the many individuals who tirelessly work to promote and support the Grand Teton Music Festival as we expand our role beyond the summer and into our community—the Board of Directors, the Festival Auxiliary, our many generous donors, and dedicated year-round staff. We especially want to thank the more than 200 orchestral musicians from across North America and around the world who choose to take part in this special and unique Festival.

Sylvia Neil Andrew Palmer Todd PRESIDENT EXECUTIVE DIRECTOR

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7 WEEK 1 TABLE OF CONTENTS TEN YEARS IN THE TETONS DONALD RUNNICLES 8 Summer 2016 at a Glance Calendar

10 Festival Board & Staff

Festival Information WEEK 2 11 CELLIST JOHANNES MOSER 14 About GTMF Concerts & Events

18 Education & Outreach

2016 Season Sponsors WEEK 3 24 VIOLINIST NICOLA BENEDETTI 25 Music Director Donald Runnicles Ten Years in the Tetons with 26 Music Director Donald Runnicles

Week 1: July 4–9 WEEK 4 28 PIANO DUO THE NAUGHTON TWINS 44 Week 2: July 12–16

56 Week 3: July 19–23

Week 4: July 26–30 WEEK 5 67 PERCUSSIONIST COLIN CURRIE 81 Week 5: August 2–6

94 Week 6: August 7–13

Week 7: August 16–20 WEEK 6 107 PIANIST JONATHAN BISS 120 25 Years with GTMF

124 Introducing Your Festival Orchestra

146 Donors & Sponsors WEEK 7 VIOLINIST SIMONE PORTER 156 Advertiser Index

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GTMF.ORG | Season 55 | 9 SUN MON TUES WED THU FRI SAT 3 4 5 6 7 8 9 6:00 PM 7:00 PM 7:00 PM 7:00 PM 10:00 AM 6:00 PM JULY PATRIOTIC POPS TEN YEARS GTMF PRESENTS GTMF PRESENTS OPEN REHEARSAL FESTIVAL ORCHESTRA A JOYOUS OPENING CONCERT IN THE TETONS AN EVENING OF RODGERS & NATIONAL COLLEGIATE CHORALE 8:00 PM 3-9 HAMMERSTEIN OF SCOTLAND FESTIVAL ORCHESTRA A JOYOUS OPENING 10 11 12 13 14 15 16 7:00 PM 7:00 PM 8:00 PM 10:00 AM 11:30 AM JULY INSIDE THE MUSIC GALA CONCERT CHAMBER MUSIC OPEN REHEARSAL FREE FAMILY CONCERT BOHEMIAN BROTHERHOOD WITH VIOLINIST JOSHUA BELL MENDELSSOHN’S OCTET CELLIST JOHANNES MOSER 10-16 8:00 PM FESTIVAL ORCHESTRA 6:00 PM CLASSICAL LEGENDS FESTIVAL ORCHESTRA CLASSICAL LEGENDS 17 18 19 20 21 22 23 7:00 PM 8:00 PM 10:30 AM 10:00 AM 6:00 PM INSIDE THE MUSIC GTMF PRESENTS FREE FAMILY CONCERT OPEN REHEARSAL FESTIVAL ORCHESTRA JULY CUE CHAMBER MUSIC, TIME FOR THREE AT TIME FOR THREE AT CINEMATIC LANDSCAPES AND … ACTION! PINK GARTER THEATRE TETON COUNTY LIBRARY 8:00 PM 17-23 FESTIVAL ORCHESTRA 8:00 PM CINEMATIC LANDSCAPES CHAMBER MUSIC BEETHOVEN & SCHUBERT 24 25 26 27 28 29 30 7:00 PM 6:00 PM 8:00 PM 10:00 AM 6:00 PM JULY INSIDE THE MUSIC FAMILY FUN WITH THE CHAMBER MUSIC OPEN REHEARSAL FESTIVAL ORCHESTRA FRIENDS OF BRAHMS FESTIVAL ORCHESTRA BRASS, PIANOS, AND STRINGS A THOUSAND AND ONE NIGHTS 24-30 8:00 PM FESTIVAL ORCHESTRA A THOUSAND AND ONE NIGHTS 31 AUGUST 1 2 3 4 5 6 7:00 PM 7:00 PM 10:30 AM 10:00 AM 6:00 PM INSIDE THE MUSIC GTMF PRESENTS FREE FAMILY CONCERT OPEN REHEARSAL FESTIVAL ORCHESTRA JULY 31- SIMPLY CLASSICAL TRUMPETER JENS LINDEMANN TRUMPETER JENS LINDEMANN DANCES AND DAYDREAMS AT TETON COUNTY LIBRARY 8:00 PM AUGUST 6 FESTIVAL ORCHESTRA 8:00 PM DANCES AND DAYDREAMS CHAMBER MUSIC MODERN MASTERPIECES 7 8 9 10 11 12 13 7:00 PM 7:00 PM 7:00 PM 8:00 PM 10:00 AM 11:30 AM AUGUST GTMF PRESENTS INSIDE THE MUSIC GTMF PRESENTS CHAMBER MUSIC OPEN REHEARSAL FREE FAMILY CONCERT BIG BAND CLASSICS WITH THE FROM TIN PAN ALLEY AN EVENING OF BEETHOVEN MOZART & BRAHMS JERRY HOU & FRIENDS 7-13 RICHARD BROWN ORCHESTRA TO THE TETONS WITH PIANIST JONATHAN BISS 8:00 PM AT CENTER FOR THE ARTS FESTIVAL ORCHESTRA 6:00 PM SHOSTAKOVICH’S TRIUMPH FESTIVAL ORCHESTRA SHOSTAKOVICH’S TRIUMPH 14 15 16 17 18 19 20 7:00 PM 5:30 PM 3:00 PM 10:00 AM 6:00 PM INSIDE THE MUSIC GALLERY CONCERT FREE FAMILY CONCERT OPEN REHEARSAL FESTIVAL ORCHESTRA AUGUST SONGS WITHOUT WORDS HOSTED BY HEATHER JAMES FINE JAREN ATHERHOLT & FRIENDS ROUSING FINISH ART AND FEATURING VIOLINIST AT TETON COUNTY LIBRARY 8:00 PM 14-20 SIMONE PORTER FESTIVAL ORCHESTRA 8:00 PM ROUSING FINISH CHAMBER MUSIC AN EVENING WITH PERFORMANCE TODAY

10 | Grand Teton Music Festival | SUMMER 2016 Festival Orchestra GTMF Presents PLEASE NOTE Gala Chamber Music ALL CONCERTS TAKE PLACE AT WALK FESTIVAL Special Events Inside the Music HALL UNLESS SPECIFIED OTHERWISE

SUN MON TUES WED THU FRI SAT 3 4 5 6 7 8 9 6:00 PM 7:00 PM 7:00 PM 7:00 PM 10:00 AM 6:00 PM JULY PATRIOTIC POPS TEN YEARS GTMF PRESENTS GTMF PRESENTS OPEN REHEARSAL FESTIVAL ORCHESTRA A JOYOUS OPENING CONCERT IN THE TETONS AN EVENING OF RODGERS & NATIONAL COLLEGIATE CHORALE 8:00 PM 3-9 HAMMERSTEIN OF SCOTLAND FESTIVAL ORCHESTRA A JOYOUS OPENING 10 11 12 13 14 15 16 7:00 PM 7:00 PM 8:00 PM 10:00 AM 11:30 AM JULY INSIDE THE MUSIC GALA CONCERT CHAMBER MUSIC OPEN REHEARSAL FREE FAMILY CONCERT BOHEMIAN BROTHERHOOD WITH VIOLINIST JOSHUA BELL MENDELSSOHN’S OCTET CELLIST JOHANNES MOSER 10-16 8:00 PM FESTIVAL ORCHESTRA 6:00 PM CLASSICAL LEGENDS FESTIVAL ORCHESTRA CLASSICAL LEGENDS 17 18 19 20 21 22 23 7:00 PM 8:00 PM 10:30 AM 10:00 AM 6:00 PM INSIDE THE MUSIC GTMF PRESENTS FREE FAMILY CONCERT OPEN REHEARSAL FESTIVAL ORCHESTRA JULY CUE CHAMBER MUSIC, TIME FOR THREE AT TIME FOR THREE AT CINEMATIC LANDSCAPES AND … ACTION! PINK GARTER THEATRE TETON COUNTY LIBRARY 8:00 PM 17-23 FESTIVAL ORCHESTRA 8:00 PM CINEMATIC LANDSCAPES CHAMBER MUSIC BEETHOVEN & SCHUBERT 24 25 26 27 28 29 30 7:00 PM 6:00 PM 8:00 PM 10:00 AM 6:00 PM JULY INSIDE THE MUSIC FAMILY FUN WITH THE CHAMBER MUSIC OPEN REHEARSAL FESTIVAL ORCHESTRA FRIENDS OF BRAHMS FESTIVAL ORCHESTRA BRASS, PIANOS, AND STRINGS A THOUSAND AND ONE NIGHTS 24-30 8:00 PM FESTIVAL ORCHESTRA A THOUSAND AND ONE NIGHTS 31 AUGUST 1 2 3 4 5 6 7:00 PM 7:00 PM 10:30 AM 10:00 AM 6:00 PM INSIDE THE MUSIC GTMF PRESENTS FREE FAMILY CONCERT OPEN REHEARSAL FESTIVAL ORCHESTRA JULY 31- SIMPLY CLASSICAL TRUMPETER JENS LINDEMANN TRUMPETER JENS LINDEMANN DANCES AND DAYDREAMS AT TETON COUNTY LIBRARY 8:00 PM AUGUST 6 FESTIVAL ORCHESTRA 8:00 PM DANCES AND DAYDREAMS CHAMBER MUSIC MODERN MASTERPIECES 7 8 9 10 11 12 13 7:00 PM 7:00 PM 7:00 PM 8:00 PM 10:00 AM 11:30 AM AUGUST GTMF PRESENTS INSIDE THE MUSIC GTMF PRESENTS CHAMBER MUSIC OPEN REHEARSAL FREE FAMILY CONCERT BIG BAND CLASSICS WITH THE FROM TIN PAN ALLEY AN EVENING OF BEETHOVEN MOZART & BRAHMS JERRY HOU & FRIENDS 7-13 RICHARD BROWN ORCHESTRA TO THE TETONS WITH PIANIST JONATHAN BISS 8:00 PM AT CENTER FOR THE ARTS FESTIVAL ORCHESTRA 6:00 PM SHOSTAKOVICH’S TRIUMPH FESTIVAL ORCHESTRA SHOSTAKOVICH’S TRIUMPH 14 15 16 17 18 19 20 7:00 PM 5:30 PM 3:00 PM 10:00 AM 6:00 PM INSIDE THE MUSIC GALLERY CONCERT FREE FAMILY CONCERT OPEN REHEARSAL FESTIVAL ORCHESTRA AUGUST SONGS WITHOUT WORDS HOSTED BY HEATHER JAMES FINE JAREN ATHERHOLT & FRIENDS ROUSING FINISH ART AND FEATURING VIOLINIST AT TETON COUNTY LIBRARY 8:00 PM 14-20 SIMONE PORTER FESTIVAL ORCHESTRA 8:00 PM ROUSING FINISH CHAMBER MUSIC AN EVENING WITH PERFORMANCE TODAY

GTMF.ORG | Season 55 | 11 FESTIVAL BOARD & STAFF

MUSIC STAFF Susannah Woodruff Elinor Miller+ DIRECTOR Andrew Palmer Todd Box Office Manager Abigail Moore Donald Runnicles Executive Director Zane Romanek Pam Niner Ani Van Genderen Amdor Box Office Staff Ann O’Leary+ Housing Associate Julian Kirgan Susan Ordway BOARD OF Box Office Staff DIRECTORS Richard Brown Robin Paulson+ Artistic Advisor & Orchestra Ellen Raisbeck Sylvia Neil Personnel Manager President 2016 FESTIVAL Lucy Rankin Marty Camino AUXILIARY Carol Schwender+ Barbara McCelvey Artistic Operations Manager Vice-President Barbara Sedlin Courtnee Cohen The Auxiliary is a group of Dick Jaquith Office Manager ambassadors that supports the Priscilla Sibson Treasurer Grand Teton Music Festival. Megan Gallagher Dee Stearns+ Members volunteer their time Bob Whitmire Special Events Manager Charlotte Stifel Secretary to assist with projects and Joyce Sullivan Doug Henderson events throughout the year. We Emily Arbegust Facilities Manager Joan Thulin+ Dave Augé are grateful to the following Lindsay Kissel people for their commitment to Shirley Timmerman Kenneth M. Begelman, M.D. Artistic Associate our Festival: LaFon Ward* Christian Erdman Steffan Larson Cammie Watson+ Joni Mack Julie Faupel Finance Manager President Mary Kay Werner+ Ralph Haberfeld Brittany Laughlin Emily Ambler Janet Whitmire Christine Hartley Marketing Manager * Honorary Nannette Beckley Patty Jaquith Andy Mahoney + Sustaining Members Gainor Bennett+ Joni Mack Development Associate Martha Birkett Sandra Masur Anna Mattson Jaclyn Braddy BRAVO Ralph Matson Director of Development Joyce Caddell+ Bravo is an enthusiastic group John Nyheim Haynes Poe Nancy Carey of young professionals who David Raisbeck Development Associate Jackie Childress+ share a passion for classical Ari Rifkin music. In addition to hosting Reade Dornan Jennifer Ross musical events, the group SEASONAL STAFF Nancy Eaton-van Ee Jon W. Rotenstreich provides support to the Festival Jerry Hou Nancy Faems through audience development Gary Silberberg Assistant Conductor Jean Ferguson and outreach. The following Arnold Silverman Adelle Eslinger Runnicles Lynn Fleisher people lead this group as the Allan Tessler Chamber Music Coordinator Petria Fossel Bravo Committee: Barbara Manfrey Vogelstein Roni Jules Lou Furrer+ Emily Arbegust William Wecker Recording Engineer Susan Gardner chair Victor Muenzer Recording Engineer Joan Goldfarb+ Kristen Broeder LIFETIME Alex Segal Natalie Goss+ Katie Colbert DIRECTORS Associate Recording Engineer Patricia Gradek Alexandra Jajonie Charles C. Baker # Aris Fetterling-Hood Carter Gray Reanna New Joseph Bennett Associate Recording Engineer Joy Greene Doug Schultz Peter A. Benoliel Jonathan Edwards Louise Haberfeld Christie Watts Schutt Lynne V. Cheney Piano Technician Chris Hartley+ Sen. Roy Goodman # Tarin Noonan Julia Heileson Marketing Intern Jayne Hilde Barbara Herz Gregory Hix Al Hilde, Jr. Leslie Hill Stage Manager Earl Sams Lightner Chris Hruza-Iams Lindsey Cavanaugh Gilman Ordway Associate Stage Manager Patty Jaquith W. Richard Scarlett, III Daniel Kirgan Nancy Jarrell Mary Seidler Associate Stage Manager Alison Jones Sen. Alan K. Simpson Shelby Nugent Diana Kitchen William D. Weiss Associate Stage Manager Beedee Ladd # Deceased Sean Campbell Roseanne Magid+ Front of House Manager Barbara Mallory+

12 | Grand Teton Music Festival | SUMMER 2016 SPECIAL GENERAL OFFERS G T M F FREE STUDENT TICKETS INFORMATION Available for most performances

FREE CONCERTS WEEKLY Including Patriotic Pops, Inside the Music, and Family Concerts BOX OFFICE Fritz Box Office at Walk Festival Hall DAY-OF RUSH TICKETS Open June 22–August 20, 2016 $15 Day-Of Rush tickets are available for most GTMF concerts. Monday 10AM–5PM Purchase tickets at GTMF.ORG, by phone, or in person starting at 10AM Tuesday–Saturday, 10AM through intermission the morning of the performance. Closed Sundays TICKETS ARE ALSO AVAILABLE GROUP DISCOUNTS ONLINE AT GTMF.ORG For parties of 10 or more, please contact Brittany Laughlin, OR BY CALLING 307.733.1128 Marketing Manager, for details: [email protected] or 307.732.9952 VENUES GTMF CONCERTS TAKE PLACE IN THE FOLLOWING VENUES SERVICES THROUGHOUT JACKSON HOLE ADA NEEDS Walk Festival Hall All venues are ADA-compliant. To arrange ADA-accessible parking, early 3330 West Cody Lane, Teton Village | 307.733.1128 seating, lift assistance, or other services, please call 307.733.1128 to Lot parking available speak with a member of the box office staff. Teton County Library, Ordway Auditorium 125 Virginian Lane, Jackson | 307.733.2164 HEARING LOOP Street and lot parking available Walk Festival Hall is equipped with an assistive listening system that allows audience members with Center for the Arts, Center Theater hearing aids to receive a direct audio feed from the 265 South Cache Street, Jackson | 307.733.4900 sound system by activating the built-in T-coil setting in Street and lot parking available their devices. For assistance with activating a hearing loop, please speak with an usher. Pink Garter Theatre 50 West Broadway Avenue, Jackson | 307.733.1500 THIS SERVICE WAS GENEROUSLY DONATED BY BARBARA & JOHN VOGELSTEIN. Street parking available

VALET PARKING AT Heather James Fine Art WALK FESTIVAL HALL 172 Center Street, Suite 101, Jackson | 307.200.6090 Valet parking is available in the Cody Circle 30 minutes before and Street parking available after Friday and Saturday performances. Donors at the Guarantor Project Sponsor level and above and vehicles with ADA permits receive complimentary valet parking. The cost is $10 for all other vehicles. ADMINISTRATIVE OFFICES CONCESSIONS An hour prior to performances and during intermission on Wednesday, Located in the Aspens center above the Aspens Market Thursday, and Festival Orchestra concert nights, visit the Hartley 4015 N. Lake Creek Drive #100, Wilson, WY 83014 Pavilion for light food and beverages provided by Dining In Catering.

GTMF.ORG | Season 55 | 13 14 | Grand Teton Music Festival | SUMMER 2016 “Zions Bank was there for “Zions Bank has become a us when we needed them.” tremendous partner.” John Resor Jerry Blann President & Co-Founder, Shooting Star President, Jackson Hole Mountain Resort

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GTMF.ORG | Season 55 | 15 ABOUT GTMF CONCERTS & EVENTS

The Grand Teton Music Festival presents seven weeks of exhilarating GALLERY CONCERTS classical music events. Lectures, family events, chamber music, Enjoy chamber music while immersed in art. In these one-hour concerts, classical crossover concerts, and orchestral performances are offered visiting artists and Festival Musicians play in one of Jackson Hole’s each and every week, lending an exciting element of diversity to the exquisite fine art galleries. Tickets are limited, providing a unique Festival schedule. Learn more about our Festival events below. setting in which to enjoy world-class music. | TICKETS $30

FESTIVAL ORCHESTRA ONSTAGE SPECIAL EVENTS Festival Orchestra concerts (Fridays at 8PM and Saturdays at 6PM) are The Grand Teton Music Festival often features concerts with stage the crown jewel of the Grand Teton Music Festival. Featuring the Festival seating. Within these events, Walk Festival Hall is transformed into a Musicians led by internationally renowned Music Director Donald smaller venue, inviting the audience to enjoy the performance from only Runnicles, these concerts present the very best of symphonic music. a few feet away. | TICKETS $30 World-class visiting artists and conductors are featured weekly. TICKETS $15–$55 PATRIOTIC POPS Celebrate July 4th in Walk Festival Hall with patriotic favorites ANNUAL GALA CONCERT such as The Armed Forces Salute and America the Beautiful. Maestro Each season, GTMF is proud to present a truly exquisite performance Donald Runnicles leads the Festival Orchestra in this free concert featuring classical music’s pre-eminent stars. For one evening only, packed with fun for the whole family. For families who choose to the visiting artist performs with the Festival Orchestra under the baton enjoy the holiday outdoors, GTMF and the Teton Village Association of Maestro Donald Runnicles. These Gala performances are a rare collaborate to share the audio throughout the Teton Village Commons. opportunity to hear the biggest names in classical music in our FREE, BUT TICKETED intimate venue. | TICKETS $100

FREE FAMILY CONCERTS GTMF PRESENTS Passionate about sharing music education and appreciation, GTMF The GTMF Presents series features popular musicians who expand proudly presents Free Family Concerts weekly. In these one-hour casual the boundaries of classical music. Musicians in this series apply their events, families with children of all ages are invited to enjoy traditional classical training to create exciting contemporary works, kid-friendly music performed by world-class musicians. challenging perceptions of what classical music can mean. Often called FREE, BUT TICKETED “crossover,” many musicians are now calling it “indie classical music” after the indie rock movement. | TICKETS $30 OPEN REHEARSALS CHAMBER MUSIC Chamber Music is an intimate concert performed by a small ensemble of two or more players, but rarely more than 10. Soloists who appear Each Friday at 10AM, enjoy a behind-the-scenes performance as the with the Festival Orchestra often make guest appearances in this series. conductor and orchestra rehearse for the weekend Festival Orchestra These curated concerts (Thursdays at 8PM) feature much of the core concerts. During the break, enjoy a complimentary Dunkin’ Donuts classical repertoire, with a surprise here and there, performed expertly coffee and baked goods provided by MorningStar Senior Living of by members of the Festival Orchestra. | TICKETS $25 Jackson Hole on the Hartley Pavilion. | TICKETS $10

INSIDE THE MUSIC PRECONCERT TALKS Engaging hosts share intriguing stories that provide context and insight Before each Friday and Saturday Festival Orchestra concert, into works performed around a theme. The evenings are moderated and Festival Musicians present educational introductions to the evening’s performed by various musicians each week. Listen and learn about the performance. Learn before you listen, with lectures beginning at 7PM background of classical music’s most influential pieces and players. on Fridays and 5PM on Saturdays in the Barbara Furrer Goodman These free one-hour concerts (Tuesdays at a new time of 7PM) are fun, Memorial Garden near Walk Festival Hall’s north entrance. informal, and perfect for all ages. | FREE, BUT TICKETED FREE & NOT TICKETED

16 | Grand Teton Music Festival | SUMMER 2016 GTMF.ORG | Season 55 | 17 THE CENTER PRESENTS SUMMER / FALL 2016

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Music education and outreach is at the heart of the Festival’s mission. GTMF proudly partners with CHRISTINE & ROSS HARTLEY local organizations and schools to expose Teton JACKSON HOLE WINE AUCTION County’s youth to the importance and beauty of music. Through various yearlong programs, GTMF CENTER OF WONDER promotes awareness and appreciation of the performing arts to the next generation of musicians CAROL & PETER COXHEAD AND and concertgoers. THE NICHOLS FOUNDATION The Grand Teton Music Festival’s educational JACQUELINE & CHRISTIAN ERDMAN and outreach endeavors are powered by a very generous set of sponsors. To them, we extend our MARY & STAN SEIDLER heartfelt gratitude.

20 | Grand Teton Music Festival | SUMMER 2016 WINTER MUSIC SCHOLARSHIPS GTMF will present its 2nd annual Winter Music festival in 2017. The GTMF provides scholarships to students who have developed a lifelong series includes concerts, lectures, school visits, and other educational appreciation and practice of music. Though students need not pursue programs. Winter Music takes place at a variety of locations in the town music as a career in college, they must study the performing arts within of Jackson and is part of the Festival’s commitment to the community. high school and demonstrate an interest in continuing their love of In 2016, Winter Music reached nearly 1,000 audience members and 500 music. This year, GTMF selected Nicole Collins and Jesse Foster of students through school visits. Jackson Hole High School as recipients. They each received $1,000 to apply toward their higher education.

TUNEUP GTMF’s flagship music education program augments the standard OPEN THE HALL music curriculum in Jackson Hole band and orchestra classrooms. Each spring, GTMF opens the doors of Walk Festival Hall to the Jackson TuneUp teachers are practicing musicians with expertise in a wide Hole Middle and High School’s band, orchestra, and choir students, variety of instruments. They provide individualized instruction, private providing an opportunity for these students to perform onstage in an lessons where they work with students on particular techniques, and acoustically acclaimed concert hall. facilitate small group rehearsals. This year, nearly 400 students received supplementary instruction through GTMF's $35,000 SCHOOL VISITS investment in the TuneUp program. GTMF arranges school visits as part of Winter Music with many of its visiting artists and artists in residence. These musicians perform STRINGFEST concerts at schools, engaging and inspiring youth of all ages. Visiting This intense three-day clinic, which coincides with the Winter Music artists often conduct clinics, helping the musicians of tomorrow hone festival, unites the eighth-grade orchestra students of Jackson Hole their skills. and Star Valley Middle Schools. The clinic, led by Festival Musician and Music Director of the Utah Youth Symphony Barbara Scowcroft, concludes with a concert to showcase the students’ newly refined skills.

GTMF.ORG | Season 55 | 21 Simon PaulySimon

Donald Runnicles © Runnicles Donald

Donald Runnicles at Deutsche Oper Berlin 16 / 17

Premieres Repertoire Concerts Wolfgang Amadeus Mozart Engelbert Humperdinck Special Concert as part COSI FAN TUTTE HANSEL & GRETEL of the Musikfest Berlin 2016 September 25, 2016 works by Langgaard and Wagner Giacomo Puccini September 7, 2016 at Berlin Philharmonie Benjamin Britten TOSCA DEATH IN VENICE Symphony Concert March 19, 2017 Giuseppe Verdi works by Shostakovich and Mahler A MASKED BALL September 30, 2016 Richard Wagner THE FLYING DUTCHMAN Richard Wagner Concert with BigBand May 7, 2017 LOHENGRIN works by Bernstein, Ellington, Honetschläger PARSIFAL October 18, 2016 THE RING OF THE NIBELUNG Tickets and Information: TANNHÄUSER Symphony Concert +49 [30]-343 84 343 works by Strauss www.deutscheoperberlin.de June 28, 2017

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GTMF.ORG | Season 55 | 23 HELPING OUR COMMUNITY RUN Jackson Hole Classical Academy

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24 | Grand Teton Music Festival | SUMMER 2016 Free Family Concert Series THIS YEAR, GTMF IS PROUD TO PRESENT WEEKLY FREE FAMILY CONCERTS

Families with children of all ages are welcome to attend these casual hour-long performances. Featuring visiting artists, Festival Musicians, and even the full Festival Orchestra, these concerts invite kids to clap, dance, and interact with performers.

On Wednesday, July 27, the Family Fun with the Festival Orchestra concert begins with an instrument petting zoo on the Hartley Pavilion, giving children the opportunity to explore and make a little music of their own.

Join GTMF for an hour of free music and fun each week this summer.

Join Us!

SATURDAY, JULY 16 | 11:30AM THURSDAY, JULY 21 | 10:30AM WEDNESDAY, JULY 27 | 6:00PM Cellist Johannes Moser Time For Three Family Fun with the Festival Orchestra Walk Festival Hall Teton County Library Walk Festival Hall

THURSDAY, AUGUST 4 | 10:30AM SATURDAY, AUGUST 13 | 11:30AM THURSDAY, AUGUST 18 | 3:00PM Trumpeter Jens Lindemann Jerry Hou & Festival Friends Jaren Atherholt & Woodwind Friends Teton County Library Walk Festival Hall Teton County Library

THIS SERIES IS GENEROUSLY SPONSORED BY CHRISTINE & ROSS HARTLEY AND IS IN PARTNERSHIP WITH THE TETON COUNTY LIBRARY

GTMF.ORG | Season 55 | 25 2 0 1 6 SEASON SPONSORS

We are very humbled to have donors who choose to sponsor significant artistic initiatives. They lead this cherished organization by providing support that enables the Grand Teton Music Festival to fulfill its mission. Together, we create exhilarating musical experiences in Jackson Hole.

MAESTRO DONALD RUNNICLES SPONSORED BY Sylvia Neil & Dan Fischel

GRAND TETON MUSIC FESTIVAL ORCHESTRA SPONSORED BY Marge & Gil Ordway

SEASON 55 IN HONOR OF MAESTRO RUNNICLES’ TEN YEARS IN THE TETONS SPONSORED BY Ellen & Dave Raisbeck Ari Rifkin, in memory of Leonard Rifkin Frances & Allan Tessler Barbara & John Vogelstein

FAMILY CONCERT SERIES SPONSORED BY Christine & Ross Hartley

26 | Grand Teton Music Festival | SUMMER 2016 MUSIC DIRECTOR

Donald Runnicles

Donald Runnicles is concurrently the Music Director of the Grand Teton For 17 seasons, Maestro Runnicles was Music Director of the San Music Festival, General Music Director of the Deutsche Oper Berlin, Francisco Opera, having unexpectedly won the job after conducting Chief Conductor Emeritus of the BBC Scottish Symphony Orchestra, two Wagner Ring cycles. Maestro Runnicles and the SFO made several and Principal Guest Conductor of the Atlanta Symphony Orchestra. His commercial CD and DVD recordings that are regularly televised musical identity is defined by the quality of his performances, which are nationally and internationally. At the close of his tenure, he was given strongly centered in grand romantic opera and symphonic repertory of the San Francisco Opera Medal, the company’s highest honor. In the late-19th and 20th centuries. June 2015, he made a triumphant and memorable return to the SFO to Maestro Runnicles has been Music Director of the Grand Teton Music conduct Berlioz’s Les Troyens. Festival since 2006. In his 10th anniversary season, he conducts eight Born and raised in Edinburgh, Maestro Runnicles returned home to of the 14 Festival Orchestra concerts, including a world premiere from take up the post as Chief Conductor of the BBC Scottish Symphony pre-eminent American composer Aaron Jay Kernis. Commissioned by Orchestra. Through the orchestra’s BBC Radio 3 broadcasts, the Festival, Kernis wrote the piece, For Love of the Mountains, in honor commercially released recordings on the Hyperion label, and acclaimed of Maestro Runnicles’ illustrious tenure. In addition, Maestro Runnicles concerts at home and on tour, this partnership has become one of the leads performances of Beethoven’s Ninth Symphony with the National best known and most successful in the United Kingdom. Collegiate Chorale of Scotland, performances of Mahler’s Symphony No. 1, as well as the Festival’s Gala concert with violinist Joshua Bell. The Atlanta Symphony Orchestra conferred the title Principal Guest Throughout the season, Maestro Runnicles also appears as a pianist in Conductor on Maestro Runnicles in 2001. Since then, he spends two several chamber music performances. to three weeks each season with the ASO and, well after a decade of making music together, has explored all corners of symphonic and As General Music Director of the Deutsche Oper Berlin, Maestro choral repertoire with this celebrated orchestra. Runnicles has primary responsibility for the musical forces of the historic company, which produces, on average, 25 productions and more In addition to his appointments with the Grand Teton Music Festival than 200 performances per season. During the course of the 2016–2017 and the Atlanta and Scottish Symphony Orchestras, Maestro Runnicles season, Maestro Runnicles leads over 40 of these performances spread frequently appears as a guest conductor with other ensembles. During over 11 productions and concerts, including new stagings of Wagner’s Der the 2016–2017 season, he will lead programs with the National Symphony Fliegende Holländer, Britten’s Death in Venice, and Mozart’s Così fan tutte, Orchestra in Washington, DC, the Chicago Symphony Orchestra, the as well as revivals of Wagner’s Der Ring des Nibelungen and Tannhäuser. Staatskapelle Dresden, and the Tonhalle Orchester Zürich.

27 DONALD RUNNICLES had already fallen in love with the Grand Teton Music Festival before being appointed Music Director in 2006. The natural beauty of the area, the community of Jackson Hole, and the amazing collection of musicians that gather here each summer spoke to his soul so much that he declared Grand Teton Music Festival the best-kept secret in classical music. It was a destination worthy of music enthusiasts around the world, and it has since been his aspiration to ensure that the Festival receives the level of acclaim and prominence it has rightfully earned. As we celebrate the past 10 years with Maestro Runnicles, there are several hallmarks of his tenure that have brought us to where we are today. The most important are his relationships with artists and orchestras around the globe. Whether here in the Tetons, in Berlin as General Music Director of the Deutsche Oper, or as Principal Guest Conductor of the Atlanta Symphony, Donald’s work as a musician has been defined by long-lasting artistic relationships and friendships. As our Music Director, he brings his world-class colleagues to

Clockwise from top: a program from Donald's inaugural season; conducting in 2008; hiking with Adelle; an official photo of the 2012 Festival Orchestra; a program from Donald's second season; with percussionist Richard Brown at the 2015 Jackson Hole Wine Auction; with GTMF Board President Sylvia Neil and Executive Director Andrew Palmer Todd at 2016's Chicago board meeting

28 | Grand Teton Music Festival | SUMMER 2016 ANGELA JONES-REUS, FLUTE Happy 10th anniversary, Maestro! When you invited me to play at GTMF nine years ago, I had no idea what an extraordinary experience it would be. I am so grateful to be a part of this magnificent orchestra, surrounded by wonderful colleagues and in such a breath- taking setting. Thank you for your tireless leadership and profound inspiration year after year—you are an absolute treasure to this Festival. Cheers to you and many more years Donald with wife Adelle Eslinger Runnicles to come!

DANIEL LAUFER, Jackson Hole—friends like Yefim Bronfman, concert renditions of Wagner, including CELLO James Ehnes, Simone Porter, Alisa an all-Wagner concert in 2007 and Act III Donald’s masterful Weilerstein, and Lynn Harrell, of Die Walküre. Donald has led exciting musical leadership as well as the leading singers of our time. performances of Orff’s Carmina Burana, has been and Donald also makes it a point to invite Mahler’s Second Symphony and Verdi’s continues to be a huge inspiration to me as a musician both at acclaimed guest conductors to join the Requiem. Large works for chorus and GTMF and in Atlanta. He is blessed in being Festival Orchestra. The leaders of the Seattle orchestra like these are an exciting element able to translate musical stories written by Symphony, Minnesota Orchestra, Lucerne that only a conductor like Maestro Runnicles many of the great composers into a soul- Symphony, Oregon Symphony, Los Angeles could bring to the Tetons. inspiring and moving musical journey. Donald’s collaborative music making with his orchestra Opera, Philadelphia Orchestra, and Cleveland Donald’s passion for new works by America’s brings out the best in all of us, and it is pure joy Symphony have all graced the podium at greatest living composers has led to to make music with him. Here’s to many more Walk Festival Hall. several important commissions with GTMF great years of musical collaborations, as well as being thankful for our friendship. Happy His commitment to the repertoire of at the fore. He has championed Pulitzer 10th anniversary—now, let’s go flying! Beethoven, Mahler, and Wagner, as well Prize-winning composers John Adams, as English composers Elgar and Vaughan Aaron Jay Kernis, and Jennifer Higdon. SUSAN GULKIS Williams, has been a trademark of his years In a 2011 interview, he explained that “it is ASSADI, VIOLA in the Tetons. At the outset, Donald and the important and exciting for the Grand Teton My first professional Festival Orchestra embarked on a Beethoven Music Festival to not only bring to life the job began in 1990 masterworks of our tradition, but also to with the San cycle presenting one of the composer’s Francisco Opera, symphonies each summer. Now in the play a role in the creation of new music for coincidentally the second cycle, the Festival is again presenting future audiences.” With that in mind, the same time Donald Runnicles was making his debut with the company. I was nervous the much-beloved Ninth Symphony during Festival has had notable world premieres and excited to start my career. At our first under Donald’s direction, including All Things the opening-week celebration. And no rehearsal, Donald introduced himself to the summer at the Festival would be complete Majestic by Jennifer Higdon, which was musicians. When he got to me, he smiled and without a symphony by Mahler, a composer written in commemoration of the Festival’s shook my hand so tightly that I was afraid that 50th anniversary, and Stephen Paulus’ Cello I would never play the viola again. We laughed that, as Donald frequently points out, was together and that was the beginning of our Concerto, which premiered with Lynn Harrell at home in the mountains. Over the course wonderful 26-year musical relationship. That of his 10 years, Maestro Runnicles has and the Festival Orchestra. rehearsal changed my life. I fell in love with led the Festival Orchestra in memorable We are so lucky to have an esteemed opera under Donald’s exquisite conducting. Five years later, I began playing at GTMF and performances of six of Mahler’s nine conductor like Donald Runnicles at the helm was drawn to the beauty of Jackson Hole. I numbered symphonies and one of his of our symphony. A world-renowned can’t describe my excitement when, in 2006, greatest works, Das Lied von der Erde. As conductor leading a world-class orchestra in Donald was named the Music Director. His conducting continues to inspire me, and every a leading Wagnerian conductor, it is only the shadow of the Tetons is truly a gift that concert with him reminds me of how lucky I am natural that many of Donald’s musical we all have the privilege of enjoying all to make music with this fantastic conductor highlights of the past 10 years have been summer long and for years to come. and wonderful person.

GTMF.ORG | Season 55 | 29 This evening’s performance will FESTIVAL ORCHESTRA: be broadcast live on Wyoming Public Radio. PATRIOTIC POPS

WEEK 1

Monday, July 4 | 6PM

JENN GAMBATESE, vocalist DONALD RUNNICLES, conductor

J.S. Smith The Star-Spangled Banner (1778; 1814) 2’ (1750–1836)

Bernstein Overture from Candide (1956) 4’ (1918–1990)

James A. Beckel Jr. The American Dream (1992) 4’ (b. 1948)

Sousa The Thunderer (1889) 3’ (1854–1932)

Gershwin Overture from Strike Up the Band (1927) 4’ (1898–1937)

John Kander/Ebb Overture and All That Jazz from Chicago (1975) 6’ (b. 1927)/(1928–2004)

Arlen Over the Rainbow from Wizard of Oz (1939) 3’ (1905–1986)

Rodgers/Hammerstein Medley from The Sound of Music (1959) 4’ (1902–1979)/(1895–1960)

Copland Hoe-Down from Rodeo (1942) 4’ (1900–1990)

Jacobs This is My Country (1940) 3’ (1903–1985)

Traditional Armed Forces Salute 5’ (arr. Kessler)

Berlin God Bless America (1918; 1938) 4’ (1888–1989)

Ward America the Beautiful (1882; 1910) 4’ (1847–1903) (arr. Kessler)

Performance sponsored by Mary Linn & Bill Wecker Guest Artist Jenn Gambatese sponsored by Caroline & Ken Taylor

30 | Grand Teton Music Festival | SUMMER 2016 JENN GAMBATESE, vocalist WEEK 1

… Pure verve from the get-go. – THE DALLAS MORNING NEWS

“Jenn Gambatese is an actor,” singer, teacher, and writer whose work has garnered worldwide attention and includes collaborations with many of the great contemporary performance artists. Highly acclaimed for her Broadway performances, Ms. Gambatese has appeared in the musical Footloose; in the original company of Hairspray as Penny Pingleton; in the enchanting A Year with Frog and Toad as Mouse; and in All Shook Up as Natalie Haller and her alter ego, Ed—a portrayal that earned her an Outer Critics Circle nomination. Subsequently, Ms. Gambatese starred as Jane in Disney’s Tarzan before playing opposite Norbert Leo Butz in Is He Dead?—the David Ives adaptation of Mark Twain’s hilarious farce. Ms. Gambatese has performed extensively in Connecticut, upon the stages of the Westport Country Playhouse, the Goodspeed Opera House, and the Yale Repertoire Theatre, in the roles of Chloe Haddock in Terrence McNally’s Lips Together Teeth Apart, Annie Oakley in Annie Get Your Gun, and as Constance Blackwood in We Have Always Lived in the Castle. In 2013, Ms. Gambatese starred as Glinda in the first national tour of Wicked. As a concert performer, Ms. Gambatese appears in various venues throughout the country. She also teaches masterclasses to young performers in both high school and university settings.

GTMF.ORG | Season 55 | 31 TEN YEARS IN THE TETONS

WEEK 1 Tuesday, July 5 | 7PM | Onstage

KELLEY O’CONNOR, mezzo-soprano LYNN HARRELL, cello DONALD RUNNICLES, piano

J.S. Bach Cello Suite No. 1 in G major, BWV 1007 (c. 1720) 18’ (1685–1750) Prélude Allemande Courante Sarabande Menuett I & II Gigue

Lynn Harrell, cello

Brahms Five Songs, op. 106 (1885–1888) 10’ (1833–1897) Ständchen Auf dem See Es hing der Reif Meine Lieder Ein Wanderer

Kelley O’Connor, mezzo-soprano Donald Runnicles, piano

Fauré Elegy, op. 24 (1880) 7’ (1845–1924) Lynn Harrell, cello Donald Runnicles, piano

Bernstein Somewhere from West Side Story (1957) 12’ (1918–1990) What a Movie from Trouble in Tahiti (1951) A Simple Song from Mass (1971)

Kelley O’Connor, mezzo-soprano Donald Runnicles, piano

Performance sponsored by the Grand Teton Music Festival Board of Directors

32 | Grand Teton Music Festival | SUMMER 2016 WEEK 1 33

| Season 55 | GTMF.ORG mezzo-soprano – LA WEEKLY

cello ” – THE WASHINGTON POST – THE WASHINGTON

” Harrell’s artistry marries elegant restraint, a sensitive musical imagination, and commanding a sensitive musical imagination, and artistry restraint, marries elegant Harrell’s technique. [O’Connor] brings alternating alarm, urgency, confusion, and love to the role … a musical and love to the role confusion, urgency, brings alternating alarm, [O’Connor] triumph. and dramatic LYNN HARRELL, LYNN “ soloist, A consummate the musical world. is felt throughout presence Harrell’s Lynn has placed work his international and teacher, conductor, recitalist, chamber musician, including such noted conductor- performing artists, of today’s him in the highest echelon André Zubin Mehta, Kurt Masur, Sir Neville Marriner, collaborators as James Levine, Thomas. Tilson and Michael Temirkanov, Yuri Leonard Slatkin, Sir Simon Rattle, Previn, Boston, Sydney, performed Harrell with the symphonies of Atlanta, Mr. seasons, In recent Opera Orchestra and the Metropolitan to the China and Seoul Philharmonics, Detroit, and Competition Tchaikovsky He served at the 2015 as a juror season. close Carnegie Hall’s Gergiev. Valery the latter concert under performed and concerto at the Mariinsky, in recital Eastern La Jolla, Chamber, International Kong Hong He recently performedVerbier, in the and Aspen festivals. Scotia, Music, trio following with the Mutter-Bronfman-Harrell Europe recently toured Harrell Mr. Recent which included Carnegie Hall and Montreal. North American tour, last season’s the National includedSymphony, orchestral engagements those with the Mexico National and the Hangzhou Philharmonic. Symphony, Taiwan than 30 recordings of more discography Harrell’s Mr. artist, recording accomplished An includes and Cello Bach Suites the complete Grammy and two wins with Itzhak Perlman Ashkenazy. Vladimir plays Harrell a 2008 Dungey cello. Mr. “ mezzo-soprano Kelley the GrammyAward-winning allure, of uncommon a voice Possessing compelling performers of the most as one has emerged O’Connor of her generation. Second performances past-season include impressive Mahler’s O’Connor’s Highlights of Ms. Tilson as Michael as well and the Colorado Symphony, Symphony Litton with Andrew with Robert Neruda Songs Spano and Francisco Lieberson’s Symphony; and the Thomas San with Leonard Slatkin Roméo et Juliette Saint and the and Berlioz’s the Minnesota Orchestra; Louis Symphony Orchestra. Recent concert included seasons performances with the Los Philharmonic Angeles at the tour with soprano Jessica a US recital pianist Robert and Rivera Spano, Hollywood Bowl; Welser-Möst including tour with Franz an international a performance at Carnegie Hall; and performances Runniclesand the Cleveland with Maestro Orchestra; the conducting Berliner Philharmoniker. O’Connor, to the Other Mary According of The Gospel for the title role wrote Ms. Adams John Sellarsand she has performed internationally the work both in concert and in the Peter With Christoph and Gustavo Dudamel. of the composer the batons under production the world gave O’Connor premiere Ms. Symphony Orchestra, Eschenbach and the National her For writtenof a vocal work the legendary for her by Zakir Indian musician Hussain. she joined Robert Spano Ainadamar Symphonydebut with the Atlanta , in Osvaldo Golijov’s recording. DeutscheGrammophon for a Grammy Award-winning KELLEY O’CONNOR, KELLEY GTMF PRESENTS: AN EVENING OF RODGERS & HAMMERSTEIN

WEEK 1 WEEK 1 Wednesday, July 6 | 7PM | Onstage

JENN GAMBATESE, vocalist PAM DREWS PHILLIPS, piano AARON MILLER, bass RICHARD BROWN, drums

Rodgers/Hammerstein I’m in Love with a Wonderful Guy from South Pacific (1949) 4’ (1902–1979)/(1895–1960)

Rodgers/Hammerstein My Favorite Things from The Sound of Music (1959) 3’

Jim Steinman/Dean Pitchford Holding Out for a Hero from Footloose (1984) 3’ (b. 1947)/(b. 1951)

Rodgers/Hammerstein I Can’t Say No from Oklahoma (1943) 3’

Rodgers/Hammerstein Mr. Snow from Carousel (1945) 4’

Stephen Schwartz Popular from Wicked (2003) 3’ (b. 1948)

Presley from All Shook Up (2004) 6’ (1935–1977) Fools Fall in Love A Little Less Conversation

Rodgers/Hammerstein Do–Re–Mi from The Sound of Music (1959) 5’

Read about vocalist Jenn Gambatese on page 29.

Performance sponsored by The Kessler Fund

34 | Grand Teton Music Festival | SUMMER 2016 GTMF PRESENTS: NATIONAL COLLEGIATE CHORALE OF SCOTLAND WEEK 1

Thursday, July 7 | 7PM

CHRISTOPHER BELL, director KIMI KAWASHIMA, piano

James MacMillan from Strathclyde Motets (2007) 4’ (b. 1959) Data est mihi omnis potestas

Jussi Chydenius I am the great sun (2010) 5’ (b. 1972)

Eric Whitacre Leonardo Dreams of his Flying Machine (2001) 9’ (b. 1970)

Biebl Ave Maria (1964) 4’ (1906–2001)

Vytautas Miškinis Dum medium silentium (2008) 5’ (b. 1954)

Copland from Old American Songs (1950; 1952) 6’ (1900–1990) Long Time Ago (arr. Fine) Simple Gifts (arr. Brunner) Ching-A-Ring-Chaw (arr. Fine)

Traditional Scottish Songs 9’ arr. Johnston Air Falalalo Kennedy-Fraser/arr. Mansfield Eriskay Love Lilt arr. Johnston Westering Home arr. Roger Emerson Irving Berlin’s America (2000) 7’ (b. 1950)

Steven Sametz I Have Had Singing (1993) 2’ (b. 1954)

Performance sponsored by Susan & John Jackson, The Liana Foundation

GTMF.ORG | Season 55 | 35 NATIONAL COLLEGIATE CHORALE OF SCOTLAND

Even in a festival in which we are so spoilt for the sound of a large chorus in glorious full cry, there was still WEEK 1 “something special about hearing … the National Collegiate Chorale of Scotland. – THE GUARDIAN The National Youth Choir of Scotland is better known in North America” as the National Collegiate Chorale of Scotland (NCCoS). Formed in 1996 by its Artistic Director and Conductor, Christopher Bell, NCCoS is an outstanding choir for young people ages 16 to 25. Membership is granted by yearly auditions to singers born, residing, or studying in Scotland. NCCoS has performed at events all over the UK, including the Edinburgh International Festival, MTV Europe Music Awards, and the BBC Proms, and has toured internationally to Austria, Czech Republic, Germany, Hungary, Ireland, Slovakia, Sweden, and the USA. In 2012, NCCoS became the first youth arts organization to win a Royal Philharmonic Society Music Award in the Ensemble category, which was given in celebration of outstanding achievement over the previous year, including a critically acclaimed performance at the Edinburgh International Festival of Duruflé’s Requiem with the Scottish Chamber Orchestra and Robin Ticciati, and a five-star Gala Concert performance of Walton’s Belshazzar’s Feast with the Royal Scottish National Orchestra. The year 2014 saw a celebrated performance of Mozart’s Requiem at the BBC Proms with Donald Runnicles and the BBC Scottish Symphony Orchestra, and the premiere of Eric Whitacre’s specially arranged What If to a global audience of 1.5 billion at the Glasgow 2014 Commonwealth Games Opening Ceremony. In 2015, NCCoS was personally invited by Sir John Eliot Gardiner to perform Berlioz’s Lelio at the Edinburgh International Festival and Festival Berlioz in France with his Orchestre Révolutionnaire et Romantique. As well as performances at the Grand Teton Music Festival, 2016 sees a return to the BBC Proms and Festival Berlioz under Sir John Eliot Gardiner, and performances at the Grant Park Music Festival in Chicago.

36 | Grand Teton Music Festival | SUMMER 2016 CHRISTOPHER BELL, director WEEK 1

[Founder] Christopher Bell … has created a magical template for the future of top-drawer singing across “the generations and the genders in Scotland. – HERALD SCOTLAND Christopher Bell is the Artistic Director of” the National Youth Choir of Scotland, better known in North America as the National Collegiate Chorale of Scotland (NCCoS). In addition, Mr. Bell holds posts as Chorus Director of the Grant Park Chorus in Chicago and as Chorusmaster of both the Royal Scottish National Orchestra Junior Chorus and the Edinburgh Festival Chorus. In 2009, Mr. Bell became Associate Conductor of Ulster Orchestra. Since Mr. Bell’s first appointment as Associate Conductor of the BBC Scottish Symphony Orchestra, he has worked with many of the major orchestras in the UK and Eire, including the Royal Philharmonic, Royal Scottish National, Ulster, London Concert, and the Raidió Teilifís Éireann National Symphony Orchestra. Mr. Bell previously directed the Aberdeen Youth Choir for six years, undertaking touring and recordings with them. He also was the first Artistic Director of the Ulster Youth Choir. It was his work with these two groups that led Mr. Bell to form the NCCoS in 1996 as a way to encourage young singers to develop their skills. Since then, the organization has grown, not only as a choral group with four national choirs and 14 area choirs across Scotland, but as a provider of educational training and resources for teachers and choir directors.

KIMI KAWASHIMA, piano

[Ms. Kawashima] had an obvious and impressive command of the instrument, and harnessed the sounds to create phrase after phrase of precisely crafted music that was spellbinding to listen to. “– REICHEL RECOMMENDS ” Pianist Kimi Kawashima enjoys a committed career as a teacher, performer, and arts administrator. Ms. Kawashima has performed in such notable chamber music series such as Music in Context, Aperio, Intermezzo, and NOVA, and has performed orchestral keyboard in the Utah Symphony and River Oaks Chamber Orchestra. She has curated and performed in critically acclaimed programs featured on KUHF’s Front Row radio program, Houston’s Zilkha Hall, the Cy Twombly Gallery, and the Rothko Chapel. A dedicated proponent of contemporary music, Ms. Kawashima has worked with composers Tristan Murail, Anthony Brandt, Frederic Rzewski, and Chen Yi. A recipient of the Dean’s Talent Award Scholarship at Oberlin Conservatory, Ms. Kawashima received a 2008 Presser Foundation Award to study various keyboard instruments in France, the Netherlands, and at the University of Michigan. Ms. Kawashima completed her doctorate in piano performance at Rice University, as a student of Brian Connelly. She was selected to perform at the Terrace Theater at the Kennedy Center in Washington, DC as part of the Conservatory Project. She was the winner of the Shepherd School Concerto Competition, performing the Concerto for Piano and Strings by Alfred Schnittke with the Shepherd School Symphony Orchestra and conductor James Gaffigan. Kimi Kawashima is currently Assistant Director of Music and Artist Piano faculty at Westminster College, where she teaches piano and oversees the music department’s scholarships and recruiting efforts.

GTMF.ORG | Season 55 | 37 FESTIVAL ORCHESTRA: A JOYOUS OPENING

WEEK 1 Friday, July 8 | 8PM & Saturday, July 9 | 6PM

TAMARA WILSON, soprano ELIZABETH BISHOP, mezzo-soprano DIMITRI PITTAS, tenor NATHAN BERG, bass-baritone NATIONAL COLLEGIATE CHORALE OF SCOTLAND CHRISTOPHER BELL, director DONALD RUNNICLES, conductor

Aaron Jay Kernis For Love of the Mountains (2016)* 5’ (b. 1960)

Vaughan Williams Fantasia on a Theme of Thomas Tallis (1910; 1919) 16’ (1872–1958)

INTERMISSION

Beethoven Symphony No. 9 in D minor, op. 125 “Choral” (1822–1824) 66’ (1770–1827) Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Presto—Allegro ma non troppo—Vivace—Adagio cantabile

Tamara Wilson, soprano Elizabeth Bishop, mezzo-soprano Dimitri Pittas, tenor Nathan Berg, bass-baritone National Collegiate Chorale of Scotland Christopher Bell, director

* This work was commissioned by the Grand Teton Music Festival in honor of Maestro Donald Runnicles’ 10th anniversary as Music Director. These performances mark the world premiere.

Join us for a Preconcert Talk hosted by Festival Musician Roger Oyster prior to these performances. See page 14 for details.

Maestro Donald Runnicles sponsored by Sylvia Neil & Dan Fischel Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Season 55 sponsored by Ellen & Dave Raisbeck, Ari Rifkin, in memory of Leonard Rifkin, Frances & Allan Tessler, and Barbara & John Vogelstein Guest Artists sponsored by Cammie & Andy Watson Performances sponsored by Diane & Don Siegel and Jayne & Al Hilde Corporate Support provided by Monay Olson and Premier Cleaning

38 | Grand Teton Music Festival | SUMMER 2016 TAMARA WILSON, soprano WEEK 1

[Tamara Wilson] has a solid technique, a big, warm, womanly sound, and a clear, uncomplicated sense of “herself as an artist. – OPERA NEWS Tamara Wilson is recognized” nationwide as an exciting soprano on the rise. Most recently, she was named winner of the 2016 Richard Tucker Award, an annual prize conferred by the Richard Tucker Music Foundation that is given to a rising American opera singer on the “threshold of a major international career.” Other recent honors include a 2016 Olivier Award nomination and receipt of the Revelation Prize by the Argentine Musical Critics Association. Ms. Wilson is also a Grand Prize Winner of the Annual Francisco Viñas Competition held in Barcelona, Spain. Recent highlights of Ms. Wilson’s career include her debuts with the Cleveland Orchestra, English National Opera, and the National Symphony; a return to Cincinnati as part of the May Festival under the baton of James Conlon; and her much-anticipated Metropolitan Opera debut singing the title role in Aida. Ms. Wilson has performed at venues worldwide, including the Théâtre du Capitole in Toulouse, Teatro de la Maestranza in Seville, and Carnegie Hall with the American Symphony Orchestra and the Baltimore Symphony Orchestra. She recently toured Japan with Helmuth Rilling and Internationale Bachakademie Stuttgart. In addition to her operatic and orchestral performances, Ms. Wilson is an avid lecturer of vocal technique. She has been a Guest Masterclass Lecturer for the National Pastoral Musicians in the Chicago area.

ELIZABETH BISHOP, mezzo-soprano

Bishop’s vast professional experience was evident throughout. [Her] robust yet crisp chest tones from her “lower register added vigor and diversion to many of the scenes. – DC METRO American mezzo-soprano Elizabeth Bishop, founder and” head of the Potomac Vocal Institute, is acclaimed for her powerful, nuanced portrayals and lustrous voice. Ms. Bishop is a frequent guest of major opera companies and orchestras throughout the United States and overseas. Having won the Metropolitan Opera National Council Auditions in 1993, Ms. Bishop made her Met debut the following year and has since become a company regular, singing such roles as Mère Marie in Les dialogues des Carmelites; Venus in Tannhäuser; and, most recently, Enrichetta in I Puritani. In 2013, she made Met history when she sang both Mère Marie and Fricka in Das Rheingold in a single day—one of only a few Met artists ever to perform two major roles within 24 hours. Ms. Bishop also enjoys an especially close association with her home company, Washington National Opera. Her roles for the company reflect her exceptional versatility, ranging from Suzuki in Puccini’s Madama Butterfly to Emilia in Verdi’s Otello. A member of San Francisco’s Merola program and subsequently an Adler Fellow, Ms. Bishop has sung a variety of roles for the San Francisco Opera and the San Francisco Opera Ring Festivals. Ms. Bishop is increasingly in demand as a vocal educator, both for individual tuition and in a masterclass setting.

GTMF.ORG | Season 55 | 39 DIMITRI PITTAS, tenor

Dimitri Pittas makes a bold and remarkably plausible bid to take his place among the great tenors. WEEK 1 “– FINANCIAL TIMES ” Dimitri Pittas has appeared on leading opera stages throughout North America and Europe, including debuts with the Bavarian State Opera, the Vienna State Opera, the Royal Opera House Covent Garden, and the Canadian Opera Company. He is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and has been heard on the Met stage as Rodolfo in La Bohème, Macduff in Macbeth, Tamino in Die Zauberflöte, and Cassio in Otello. Recently, Mr. Pittas performed the role of Alfred in Die Fledermaus at the Met conducted by James Levine, and in Japan under the baton of Seiji Ozawa. Past opera highlights include Rodolfo in La Bohème with Opera de Paris, Opera Frankfurt, and Oper Leipzig; Nemorino in L’Elisir d’Amore with Deutsche Oper Berlin and the Metropolitan Opera; Michele in the world premiere of La Ciociara (Two Women) by Marco Tutino with the San Francisco Opera; Oronte in Verdi’s rarity, I Lombardi, with the Hamburg State Opera; and the title role of Don Carlo at the Théâtre du Capitole in Toulouse and Bolshoi Opera of Moscow. On the concert stage, Mr. Pittas has performed with such groups as the BBC Scottish Symphony Orchestra, Cincinnati Symphony, Colorado Symphony Orchestra, and the Lincoln Center Mostly Mozart Festival Orchestra. He also performed on an annual recital of the Marilyn Horne Foundation at Carnegie Hall.

NATHAN BERG, bass-baritone

For smooth beauty and tone, the Canadian Nathan Berg … has no rival … in voice, looks, and presence, “he has every advantage. – THE TELEGRAPH Acclaimed with indisputable” stage presence and impeccable technique, Canadian bass- baritone Nathan Berg has had a wide-ranging career alternating from his love of song to concert and opera in a vast range of styles. In 2015, he made his debut at La Scala in Milan in the world premiere of Giorgio Battistelli’s CO2. As a recitalist, he has appeared at the Wigmore Hall in London, Lincoln Center in New York, and many other prestigious venues around the world. Considered by many to be one of the leading concert and oratorio basses of our time, Mr. Berg performs regularly with many of the world’s top symphony orchestras, including New York, Berlin, Cleveland, Concertgebouw, Budapest Festival, and San Francisco. He’s also performed under the batons of many distinguished conductors, including Abbado, Ashkenazy, Boulez, Christie, Dutoit, Eschenbach, Maazel, Slatkin, and Tilson-Thomas. An in-demand and versatile bass-baritone, Mr. Berg has appeared operatically in roles ranging from Mozart’s Figaro and Don Giovanni to Wagner’s Dutchman and Rossini’s Alidoro in such places as the Bolshoi in Moscow, Teatro alla Scala, Paris National Opera, La Monnaie, New York City Opera, and English National Opera. A three-time Grammy-nominated and Juno Award-winning musician, Mr. Berg is an established recording artist with over 30 CD and DVD recordings to his name.

40 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA ROSTER WEEK 1

Monday, July 4, Friday, July 8 & Saturday, July 9

VIOLIN I VIOLA OBOE BASS TROMBONE Ralph Matson Susan Gulkis Assadi Mingjia Liu Steve Norrell Gregory Ewer Philippe C. Chao Barbara Bishop Eva Cappelletti Chao Rita Porfiris Barbara Scowcroft Chiara Kingsley Dieguez TUBA Robert Davidovici Suzanne LeFevre CLARINET Russell Hershow Rachel Swerdlow JáTtik Clark John Bruce Yeh Simon Shiao Lucina Horner Stephanie Key Holly Mulcahy George Ohlson Mary Corbett Claudine Bigelow TIMPANI Linda Hurwitz Michael Crusoe Tracy Dunlop BASSOON Joan Christenson CELLO Sue Heineman Dorris Dai Janssen Kristen Sonneborn Igor Gefter PERCUSSION Patrick Neal Karen Freer Richard Brown David Mollenauer* Riely Francis Steven Laven CONTRABASSOON Craig Hauschildt VIOLIN II Amy Leung Juan de Gomar Jennifer Ross Deborah Nitka Hicks Katherine Palyga David Schepps KEYBOARD Julie Coleman Gregory Clinton HORN Anne-Marie Terranova Ilse-Mari Lee Pam Drews Phillips* Gail Williams Joan Cataldo Gabrielle Webster Tomoko Iguchi Matthew Annin Anna Genest LIBRARIAN BASS Josh Phillips Ikuko Takahashi Paul Ellison Crozet Duplantier Helen Nightengale Deborah Dunham Kana Kimura Charles DeRamus Gina Davis TRUMPET Wilbur “Skip” Edwards NAMES IN Lois Finkel Charles Geyer Patrick Bilanchone BOLD INDICATE Barbara Butler Erik Gronfor PRINCIPAL CHAIR. Charles Daval ALL ROSTERS Matthew Sonneborn ARE SUBJECT TO CHANGE. FLUTE Angela Jones-Reus TROMBONE Melissa Suhr Roger Oyster *Patriotic Pops Jay Evans Concert only

PICCOLO Caitlyn Valovick-Moore

GTMF.ORG | Season 55 | 41 FESTIVAL ORCHESTRA PROGRAM NOTES

WEEK 1 Friday, July 8 & Saturday, July 9 | A Joyous Opening

AARON JAY KERNIS Tallis set to music was an English verse translation by For Love of the Mountains the Archbishop of Canterbury. The first edition described it as a tune that “doth rage [and] roughly brayeth,” which, For Love of the Mountains is a brief fanfare for winds, in its present form, it no longer does. The melody can brass, and percussion that announces and celebrates the still be found in the English Hymnal, and in the Hymnal occasion of the 10th anniversary of Maestro Donald of the Protestant Church in the United States it appears Runnicles’ directorship of the Grand Teton Music with the words, “I heard the voice of Jesus sing.” Festival. I couldn’t help but visualize the sense of space Vaughan Williams composed Fantasia on a Theme of and height of the Tetons while writing it, and tried Thomas Tallis for the Three Choirs Festival of 1910, to create a sense of grandeur and openness that the which was held in Gloucester that year. It is richly mountains evoke in my memory. written for the strings, subdivided into a solo quartet, a A confection such as this piece is but a token of a much small string orchestra, and a large one. “The three bodies larger affection and esteem that this orchestra, its players, of strings,” the composer said, “are used in various ways, board, staff, and I hold for Donald. He is a truly inspiring sometimes playing as one, sometimes antiphonally, musician and leader, and an extraordinary human being, sometimes accompanying one another.” and the notes and inspiration behind it are offered from The music is an inspired re-creation of the rich the heart, with the generous support of so many who polyphonic style of Tallis’ time. “With the Norman have been touched by his presence and music-making grandeur of Gloucester Cathedral in mind and the over the last 10 years. — AARON JAY KERNIS strange quality of the resonance of stone,” the composer’s wife later wrote, “the echo idea of three different groups This piece was commissioned by the Grand Teton Music of instruments was well judged. It seemed that his early Festival in honor of Maestro Donald Runnicles’ 10th love for architecture and his historical knowledge were anniversary as Music Director. These performances mark the so deeply assimilated that they were transferred and world premiere. absorbed into the texture and the line of the music.” This piece was last performed at the Grand Teton RALPH VAUGHAN WILLIAMS Music Festival on July 11 and 12, 2008, with Donald Fantasia on a Theme of Thomas Tallis Runnicles, conductor.

After a long and undistinguished period in the history of music in England, a new school of distinctive nationalist LUDWIG VAN BEETHOVEN composers appeared there in the early years of the 20th Symphony No. 9 in D minor, op. 125 “Choral” century. They systematically collected and studied their country’s folk music, and they revived the great works Beethoven’s Ninth Symphony, a paean to the brotherhood that their countrymen had written from the 15th to the of man and a work of great optimism, is one of the 18th centuries. They were activist-composers who also cornerstones of European music. In it, Beethoven wrote, taught, played, and conducted in concert hall, celebrates the potential of mankind. Historically, this church, theater, or even in school. They created a new symphony—Beethoven’s last—allowed him to look back place for traditional and historical English music. at Napoleon’s demise and ahead with prophetic vision Ralph Vaughan Williams was the greatest of these and sanguinity to a time of peace when, metaphorically, composers. He had a rigorous classical and musical all men would be brothers. education, studied in Berlin with Max Bruch, and even Beethoven began his last and longest symphony around after he had earned his doctorate from Cambridge 1817, but did most of the writing in 1822 and 1823, University, went to Paris to polish his technique under finishing it in 1824. A well-known but perennially the tutelage of Ravel. touching anecdote about the premiere recalls how TheFantasia is a free treatment of a melody that Thomas Beethoven sat among the performers with a score and, Tallis (c. 1505–1585), a member of Queen Elizabeth’s at the beginning of each movement, signaled the tempo Chapel Royal, published in 1567. It was originally a to the conductor. The symphony was a tremendous setting of the Second Psalm, which begins, in the King success. When the timpani beat out the rhythmic theme James version, “Why do the heathen rage?” The text that pattern at the beginning of the second movement, the

42 | Grand Teton Music Festival | SUMMER 2016 WEEK 1

applause almost overpowered the music that followed. three movements each reappear fleetingly before the At the symphony’s triumphant conclusion, the audience main theme—on which the finale is based—appears as a stood up and cheered, enthusiastically waving their hats recitative in the cellos and basses. Beethoven has created and handkerchiefs, but Beethoven was totally unaware a mammoth set of variations on what is actually a simple of the reaction because he was still seated facing the theme. First it is articulated without words. After the performers, with his back to the theater. His complete orchestra creates a fierce and unsettling clamor, the low deafness had prevented him from hearing either his strings intone this noble main theme of the movement, music or the ovation that followed it. With tears in her and it repeats several times, each time with more eyes, the contralto soloist took his arm and turned him instruments added, until the entire orchestra joins in toward the audience. with its majesty. The opening returns yet again, and this Beethoven’s innovation at the beginning of the first time the baritone recitative follows. His words are not movement, the enigmatic open fifths that grow Friedrich Schiller’s, but Beethoven’s own as he sets the imperceptibly out of stillness, have been likened to stage with a rebuke: “O, friends, not these sounds! Let the “darkness and void before creation.” After the us sing something more pleasant, more full of gladness!” initial growth from nothingness, an agitated, dramatic, What come next as the chorus enters are the words of often mysterious or questioning mood predominates. Schiller’s Ode to Joy, which Beethoven adopts to express Fragments of themes slowly metamorphose into the his ideas of human brotherhood and the joy it releases. main theme, followed by a concentrated development When the second theme would naturally appear, the and coda. The second movement, Molto vivace, is a theme transforms into a Turkish march, a style popular scherzo in sonata form, the only scherzo in Beethoven’s since Mozart’s time, with a distinctive “Turkish” sound symphonies that precedes, rather than follows, the slow produced by the triangle, cymbals, and bass drum. movement. It has a fugal exposition, but no ordinary one. Each of the themes and counterthemes shares almost the Then the chorus and orchestra add another variation to same rhythm. The main section of this unusually dark the Ode theme before a break, after which comes the scherzo, Molto vivace, is based principally on an arresting fugue, whose themes then combine before the ending rhythmic pattern that is driven home with striking effect section commences. when it is heard as a solo on the timpani and then is With great emotional depth and tremendous intensity, treated in a five-voice fugue. The contrasting trio section, the symphony concludes with a double fugue for the Presto, is more frolicsome and lighter in temperament. chorus and a jubilant and triumphant operatic finale of It recurs twice, and then in abbreviated form brings the joy and praise. movement to a close. The third movement is a model of serenity. It presents two themes, a slow Adagio molto e Schiller’s To Joy, or Ode to Joy, is a poem of five 12-line cantabile, a very melodic subject alternating with a stanzas, each stanza having a 12-line and an eight-line moving and romantic theme, Andante moderato, and section, written when Schiller was only 25 years old. In then variations on each. This movement has a quiet the opening chorus, in accordance with his own poetic lyricism that contrasts with the other movements. vision, Beethoven runs the 12-line sections of the first three stanzas together. The text of the tenor solo, which In the fourth movement, the symphony’s message follows, is the six-line section from the fourth stanza. finally emerges, as Beethoven’s biographer, Maynard Solomon, put it, “from powerful opposing forces—from The symphony is scored for piccolo, two flutes, two the tragic, frenzied, and probing modalities of its earlier oboes, two clarinets, two bassoons, contrabassoons, movements—and by grafting the cantata form into four horns, two trumpets, three trombones, kettledrums, the sonata cycle.” It reaches its climax and “succeeds, bass drum, cymbals, triangle, and strings. At the first primarily, because of the rich ambiguity of a message performance, the orchestra included 24 violins, 10 that manages to transcend the particularities of its violas, and 12 cellos and basses, and the wind origin and to arrive at a set of universal paradigms.” This instruments were doubled. memorable movement makes the dramatic transition This piece was last performed at the Grand Teton from instrumental to choral work. Music Festival on July 17 and 18, 2009, with Donald The final movement’s long introduction links the first Runnicles, conductor; soloists Twyla Robinson, Michelle three movements and the concluding one. After an DeYoung, Frank Lopardo, and Kyle Ketelsen; and the San initial dissonant fanfare, the principal themes of the first Francisco Festival Chorale directed by Ian Robertson.

GTMF.ORG | Season 55 | 43 Teton hospitality at its finest for over 20 years FRESH, LOCAL, PROFESSIONAL

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44 | Grand Teton Music Festival | SUMMER 2016 GTMF.ORG | Season 55 | 45 INSIDE THE MUSIC: BOHEMIAN BROTHERHOOD

Tuesday, July 12 | 7PM

KARINA CANELLAKIS, host

WEEK 2 Dvořák from Piano Trio No. 4 in E minor, op. 90 “Dumky” (1891) 12’ (1841–1904) I. Lento maestoso—Allegro vivace—Allegro molto— II. Poco adagio—Vivace

Barbara Scowcroft, violin Steven Laven, cello Kimi Kawashima, piano

Janáček from Violin Sonata (1915–1916) 5’ (1854–1928) I. Con moto

Robert Davidovici, violin Kimi Kawashima, piano

Bartók from Contrasts for Violin, Clarinet, and Piano (1942) 6’ (1881–1945) I. Verbunkos

Anne-Marie Terranova, violin Gregory Raden, clarinet Kimi Kawashima, piano

Smetana from String Quartet No. 1 in E minor “From My Life” (1876) 7’ (1824–1884) I. Allegro vivo appassionato

Robert Davidovici, violin Anton Miller, violin Rita Porfiris, viola David Schepps, cello

Kodály from Serenade, op. 12 (1919–1920) 10’ (1882–1967) III. Vivo

Robert Davidovici, violin Anton Miller, violin Rita Porfiris, viola

46 | Grand Teton Music Festival | SUMMER 2016 WEDNESDAY, JULY 13 | 7PM

Joshua Bell will be the one remembered in 50 years’ time. – THE STRAD

As one of the world’s pre-eminent musicians, virtuoso violinist Joshua Bell makes his GTMF debut in the annual Gala Concert with the Festival Orchestra and Maestro Donald Runnicles. In this must-see event, Mr. Bell performs Saint-Saëns’ Violin Concerto No. 3, Piazzolla’s “Buenos Aires Summer” from The Four Seasons of Buenos Aires, and one of the most beloved classical works ever—“Summer” from Vivaldi’s Four Seasons. A violinist for the ages, Joshua Bell’s gala performance will certainly be one of the season’s best.

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GTMF.ORG | Season 55 | 47 BESSEMER TRUST IS PROUD TO SUPPORT THE GRAND TETON MUSIC FESTIVAL

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48 | Grand Teton Music Festival | SUMMER 2016 CHAMBER MUSIC: MENDELSSOHN’S OCTET

Thursday, July 14 | 8PM

Françaix Woodwind Quintet No. 1 (1948) 21’ WEEK 2 (1912–1997) Andante tranquillo—Allegro assai Presto Tema con variazioni Tempo di marcia francese

Angela Jones-Reus, flute Mingjia Liu, oboe Stephanie Key, clarinet Sue Heineman, bassoon Gail Williams, horn

Brahms Violin Sonata No. 2 in A major, op. 100 (1886) 20’ (1833–1897) Allegro amabile Andante tranquillo Allegretto grazioso (quasi andante)

Jeff Thayer, violin Jason Hardink, piano

INTERMISSION

Mendelssohn Octet in E-flat major, op. 20 (1825) 33’ (1809–1847) Allegro moderato, ma con fuoco Andante Scherzo: Allegro leggierissimo Presto

Karina Canellakis, violin Ralph Matson, violin Jennifer Ross, violin Gregory Ewer, violin Susan Gulkis Assadi, viola Suzanne LeFevre, viola Johannes Moser, cello Igor Gefter, cello

Sponsored by Chris & John Nyheim

GTMF.ORG | Season 55 | 49 FESTIVAL ORCHESTRA: CLASSICAL LEGENDS

Friday, July 15 | 8PM & Saturday, July 16 | 6PM

JOHANNES MOSER, cello KARINA CANELLAKIS, conductor WEEK 2 Beethoven Overture to Coriolan, op. 62 (1807) 9’ (1770–1827)

Tchaikovsky Variations on a Rococo Theme, op. 33 (1876) 19’ (1840–1893) Johannes Moser, cello

INTERMISSION

Dvořák Symphony No. 8 in G major, op. 88 (1889) 36’ (1841–1904) Allegro con brio Adagio Allegretto grazioso—Molto vivace Allegro ma non troppo

Join us for a Preconcert Talk hosted by Festival Musician Roger Oyster prior to these performances. See page 14 for details.

Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Season 55 sponsored by Ellen & Dave Raisbeck, Ari Rifkin, in memory of Leonard Rifkin, Frances & Allan Tessler, and Barbara & John Vogelstein Guest Conductor Karina Canellakis sponsored by Mrs. Charlotte Stifel Guest Artist Johannes Moser sponsored by Sandra Masur & Scott Spector Performances sponsored by Bonnie & Mert Bell, Penny & Doug Yarrow, and Polly & Dick Vaughan Corporate Support provided by Jackson Hole Mountain Resort

50 | Grand Teton Music Festival | SUMMER 2016 JOHANNES MOSER, cello

His tone was big and warm where needed, and he proved himself capable of some Rostropovich-like wild “abandon … he was consistently eloquent. – THE TELEGRAPH Hailed by Gramophone magazine ”as “one of the finest among the astonishing gallery of young virtuoso cellists,” German-Canadian cellist Johannes Moser has performed with

the world’s leading orchestras such as the Berlin Philharmonic, New York Philharmonic, WEEK 2 Los Angeles Philharmonic, Hong Kong Philharmonic, Munich Philharmonic, and Israel Philharmonic, as well as the Chicago Symphony, London Symphony, Royal Concertgebouw, Tokyo Symphony, and Cleveland Orchestra. Mr. Moser works regularly with conductors of the highest level, including Riccardo Muti, Lorin Maazel, Valery Gergiev, Zubin Mehta, Franz Welser-Möst, Manfred Honeck, Christian Thielemann, Pierre Boulez, Paavo Järvi, and Gustavo Dudamel. Mr. Moser is gaining increasing recognition for his efforts to expand the reach of the classical genre and, over the next season, looks forward to working on new works with Julia Wolfe and Andrew Norman. He has premiered Magnetar, a concerto for electric cello by Enrico Chapela, and Michel van der Aa’s cello concerto, Up-close, both with the Los Angeles Philharmonic conducted by Gustavo Dudamel. A dedicated chamber musician, Mr. Moser has performed with Joshua Bell, Emanuel Ax, Leonidas Kavakos, Menahem Pressler, James Ehnes, Midori, and Jonathan Biss. He is also a regular at festivals including the Verbier, Schleswig-Holstein, Gstaad and Kissinger festivals; the Mehta Chamber Music Festival; and the Colorado, Seattle, and Brevard music festivals. Mr. Moser is committed to reaching out to young audiences, from kindergarten to college, with outreach activities on campuses and performances in alternative venues. Johannes Moser’s recordings have earned him two ECHO Klassik awards and the Preis der Deutschen Schallplattenkritik. His concerto debut disc, which features the complete works of Saint-Saëns for cello and orchestra with the Stuttgart Radio Symphony Orchestra, was honored as one of ClassicsToday’s Top 10 CDs of 2008. Following an album of works by Britten, Bridge, and Bax, his disc of Martinů, Hindemith, and Honegger concerti received great acclaim and was listed for the illustrious Preis der Deutschen Schallplattenkritik. Born into a musical family in 1979 as a dual citizen of Germany and Canada, Mr. Moser began studying the cello at the age of eight and became a student of Professor David Geringas. He was the top prize-winner at the 2002 International Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations, and was a recipient of the prestigious 2014 Brahms prize.

GTMF.ORG | Season 55 | 51 KARINA CANELLAKIS, conductor

With gestures clear yet expressive, Canellakis realized every emotional import, managing every transition with assurance, building climaxes with inevitability. She knew what the music was about, “where it was going and why. – DALLAS MORNING NEWS Internationally praised for” both her technical and lyrical command of the music, Karina Canellakis is the winner of the 2016 Sir Georg Solti Conducting Award and has received glowing critical endorsements of her performances since first making headlines in 2014, when she filled in for Jaap van Zweden with the Dallas Symphony

WEEK 2 Orchestra in Shostakovich’s Eighth Symphony. With the conclusion of the past season, Ms. Canellakis completed her two-year tenure as Assistant Conductor of the Dallas Symphony. Highlights of the upcoming season feature Ms. Canellakis’ European debuts with the City of Birmingham Symphony Orchestra and Royal Scottish National Orchestra, as well as North American debuts including the Toronto and Milwaukee Symphony Orchestras and the Louisiana Philharmonic, where she also appears as guest soloist. She is also set to conduct opera projects, including the world premiere of David Lang’s new opera, The Loser, at the Brooklyn Academy of Music (BAM) and Verdi’s Requiem at the Zurich Opera. This past season, Ms. Canellakis made debuts with the Danish National Orchestra, Hong Kong Philharmonic, Cincinnati Symphony, and conducted a fully staged production of Mozart’s Le nozze di Figaro with the Curtis Opera Theatre and Curtis Symphony Orchestra. This summer, she debuts with the Detroit Symphony, Mostly Mozart Festival in New York leading the International Contemporary Ensemble (ICE), and Festival della Valle d’Itria in Italy. Already known to many in the classical music world for her virtuoso violin playing, Ms. Canellakis was initially encouraged to pursue conducting by her mentor, Sir Simon Rattle, while she was playing in the Berlin Philharmonic as a member of their Orchester-Akademie. In addition to appearing frequently as soloist with various North American orchestras, she played regularly in the Chicago Symphony for over three years, and appeared on several occasions as Guest Concertmaster of the Bergen Philharmonic. Ms. Canellakis plays a 1782 Mantegazza violin on generous loan to her from a private patron. Ms. Canellakis is a recipient of a 2015 Solti Foundation U.S. Career Assistance Award and was a conducting fellow at the Boston Symphony’s Tanglewood Music Center for the summer of 2014. She attended the Curtis Institute of Music and the Juilliard School, where she was the recipient of the Charles Schiff Award for Excellence in Orchestral Conducting, the American Conductors Award, and the Bruno Walter Memorial Scholarship. In addition to Rattle and van Zweden, her most prominent mentors are Alan Gilbert and Fabio Luisi.

52 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA ROSTER

Friday, July 15 & Saturday, July 16 WEEK 2 VIOLIN I VIOLA PICCOLO TROMBONE Ralph Matson Susan Gulkis Assadi Melissa Suhr Roger Oyster Jeff Thayer Chiara Kingsley Dieguez Jay Evans Gregory Ewer Suzanne LeFevre Holly Mulcahy Philippe C. Chao OBOE Robert Davidovici Rita Porfiris Mingjia Liu BASS TROMBONE Russell Hershow Rachel Swerdlow Barbara Bishop Steve Norrell Joan Cataldo George Ohlson Ikuko Takahashi Lucina Horner Anna Genest Claudine Bigelow Patrick Neal ENGLISH HORN TUBA Katherine Palyga Barbara Bishop JáTtik Clark Julie Coleman CELLO Anne-Marie Terranova Igor Gefter Gina Davis Jennifer Humphreys CLARINET TIMPANI David Mollenauer Gregory Raden Michael Crusoe Karen Freer Stephanie Key VIOLIN II David Schepps Amy Leung Jennifer Ross LIBRARIAN Helen Nightengale Deborah Nitka Hicks BASSOON Crozet Duplantier Tomoko Iguchi Steven Laven Sue Heineman Simon Shiao Gregory Clinton Kristen Sonneborn Mary Corbett Tracy Dunlop NAMES IN BOLD INDICATE Joan Christenson BASS HORN PRINCIPAL CHAIR. Linda Hurwitz Paul Ellison ALL ROSTERS Barbara Scowcroft Charles DeRamus Gail Williams Rebekah Johnson Gabrielle Webster ARE SUBJECT Deborah Dunham TO CHANGE. Lois Finkel Wilbur “Skip” Edwards Michael Gast Dorris Dai Janssen Patrick Bilanchone Josh Phillips Erik Gronfor

TRUMPET FLUTE Barbara Butler Angela Jones-Reus Charles Geyer Melissa Suhr

GTMF.ORG | Season 55 | 53 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, July 15 & Saturday, July 16 | Classical Legends

LUDWIG VAN BEETHOVEN This piece was last performed at the Grand Teton Overture to Coriolan, op. 62 Music Festival on July 21 and 22, 1995, with Ling Tung, conductor.

WEEK 2 Although Coriolanus is often identified with Shakespeare, Plutarch first told the story of the legendary Roman general Gaius Marcus Coriolanus, who in around PYOTR IL’YICH TCHAIKOVSKY 500 BC vanquished the Volscian tribe, captured their Variations on a Rococo Theme, op. 33 capital city of Corioli, and took its name as his. When Coriolanus came home from battle to find that the Among Tchaikovsky’s colleagues on the faculty of the privileges of his patrician class had been diminished, he Moscow Conservatory was the German-born cellist was enraged, defected to the enemy, and led the Volscian Wilhelm Fitzenhagen (1848–1890), for whom, in troops against his own people. Nothing could persuade December 1876, Tchaikovsky wrote the Variations on a him not to destroy Rome, until his wife and mother Rococo Theme. It was first performed November 30, 1877. pleaded with him. His mother succeeded where no one With its graceful main theme and resourceful invention, else could, wearing down his pride and determination. it remains one of Tchaikovsky’s most popular pieces. He then yielded and withdrew, abandoning his conquest Tchaikovsky probably did not intend the adjective and, in the end, committed suicide. “rococo” to signify specifically the mid-18th century style It was Beethoven’s contemporary, the popular Austrian of art, architecture, and music. In his time, this term dramatist Heinrich Joseph von Collin (1772–1811), was often loosely applied to almost anything ornately who inspired him to write his Overture to Coriolan, decorated and old-fashioned. In fact, these variations although Beethoven did know the traditional versions are Tchaikovsky’s homage to the spirit of Mozart, his by Plutarch and Shakespeare. The story of Coriolanus favorite composer of the past, and the “rococo theme” is appealed to Beethoven because of its themes of freedom an example of how Tchaikovsky saw or heard the past for the individual, as well as daring, pride, and the power filtered through his Russian and Romantic sensibilities. of female persuasion. The predominant themes of love Tchaikovsky composed the theme as a variation and patriotism were qualities for which Beethoven had subject; its stability and symmetry predominate all much respect. The play, Coriolan (in German), was first through the work. To avoid the composition being performed in 1802 and was very popular for several static, which can be the great danger in writing seasons, but when Beethoven wrote the overture in 1807, variations, Tchaikovsky worked out an original formal it was no longer frequently performed. Nevertheless, the scheme. He began conventionally enough with a short composition quickly became a popular concert piece. It introduction for orchestra and the soloist’s statement was first performed at a subscription concert in Vienna of the theme, and then separated and spaced the during the month of March 1807, at the palace of variations with orchestral interludes. Beethoven’s patron, Prince Lobkowitz. Perhaps, as contemporary accounts have hinted, Beethoven intended this dark, dramatic overture to Fitzenhagen was not quite up to the demands of the present a musical portrait of the play’s hero. The first new Tchaikovsky work. A composer himself, Fitzenhagen theme outlines the impulsive mood of Coriolanus’ decided to alter the work by adding repeats to the complex emotions, and the more lyrical second theme easier opening solo passages, rewriting several passages, may depict the pleading of the general’s wife and mother. rearranging the sequence of variations, and eliminating The work’s quiet ending mirrors Coriolanus’ despair and the final and most difficult variation. Fitzenhagen did not resignation to death. feel Tchaikovsky created enough variety in the work, and The score calls for two flutes, two oboes, two clarinets, two without consulting him, further altered it substantially. bassoons, two horns, two trumpets, timpani, and strings. Surprisingly, although Tchaikovsky was not content with

54 | Grand Teton Music Festival | SUMMER 2016 these alterations, he allowed Fitzenhagen’s version to about two months. It debuted on February 2, 1890, with WEEK 2 be published. the Prague National Theatre Orchestra. The work contains contrasting sections, heard without Symphony No. 8 gained international recognition more pauses between them. First comes a gentle Moderato rapidly than any of Dvořák’s other symphonies. After assai quasi andante, an orchestral introduction, the only its well-received Prague premiere, it was performed place in the work where an extended passage without in England. Only a few months later, Hans Richter the cello—the solo instrument—exists; it is followed conducted a performance in Vienna. Writing to by the Thema—Moderato semplice. The first variation, Dvořák after this concert, Richter said: “You would Tempo del tema, gives the soloist some busy rococo-style certainly have been pleased with this performance. All figurations, and while this variation seems far from the of us felt that it is a magnificent work, and we were all theme, the second Tempo del tema more closely matches enthusiastic. Brahms dined with us after the concert the original. Variation III, Andante sostenuto, the and we drank to the health of the absent father of longest variation, is a waltz. Variation IV begins Andante [Symphony No. 8]. Vivat sequens!” On March 11, 1892, grazioso, and includes much quick, solo passagework. In the New York Philharmonic Society premiered it at the Variation V, Allegro moderato, the flute joins the cello Metropolitan Opera House. The following year, Dvořák both in the first half and then again, near the conclusion. conducted it at the Columbian Exposition in Chicago. A cello cadenza follows this variation, and then Variation When Dvořák was honored with a Doctor of Music VI, a minor-key lament, Andante, with a melodic cello degree at the prestigious Cambridge University in theme against pizzicato strings with clarinet and flute England in 1892, he submitted Symphony No. 8 as his interjections, follows. With the last variation, VII, Allegro “obligatory exercise,” another reason why it may have vivo, Tchaikovsky builds momentum for the coda. been given the moniker “English,” even though in tone The score calls for flutes, oboes, clarinets, bassoons and and feel it was quite Czech. horns in pairs, and strings. Historians have always remarked on Symphony No. 8’s carefree and spontaneous nature, asserting that its idyllic, This piece was last performed at the Grand Teton Music bucolic, and folk-like character reflects its roots in the Festival on August 1 and 2, 2003, with Peter Oundjian, music of the Bohemian countryside. Here, Dvořák allows conductor, and Alban Gerhardt, cello. his Bohemian personality to assert itself in his own individual rhythmic and melodic style. His biographer, Karel Hoffmeister, speaks of Dvořák’s thoughts “breaking ANTONIN DVOŘÁK into flower, not like little blossoms lodged in the stony Symphony No. 8 in G major, op. 88 crevices of an architectural structure, but as the Czech meadows flower, in luxuriant garlands of varied charm Dvořák was almost completely unknown until 1875, and color.” At this point, Dvořák was putting Brahms’ when his talent came to the attention of Johannes imposing influence behind him and finding his own Brahms, who helped him launch his career by securing personal and natural means of expression. Dvořák wrote for him a generous grant from the Austrian Imperial that he aimed in this work to compose a symphony government in Vienna, as well as recommending him to “ … different than the other symphonies, with individual his own music publisher. thoughts worked out in a new way.” Here and in the New World Symphony (Symphony No. 9), he took a novel Dvořák wrote his Symphony No. 8 in 1889, an unusually approach to form and thematic development. productive year during which, he confided to a friend, he felt so overwhelmed with musical ideas that he did not The first movement, Allegro con brio, starts with an have time to put them all down on paper. He composed ascending three-note motif that Dvořák uses to unite all this symphony swiftly in his country home at Vysoká, in the movements.

GTMF.ORG | Season 55 | 55 Join us for a preconcert meal at Westbank Grill.

DINNER NIGHTLY 6-10PM

OPEN EARLY ON TUESDAYS AT 5PM

(307) 732 5000 COMPLIMENTARY VALET

56 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, July 15 & Saturday, July 16 | Classical Legends

DVOŘÁK | Symphony No. 8, continued WEEK 2

Out of it grows the main theme of the first movement as roots have been traced to the folk music of Bohemia. The well as that of the finale. The movement begins seriously trio’s melody, which is like a folk dance, Dvořák took from and pensively, but the principal theme soon dispels that his own (now never-performed) comic opera, The Stubborn solemn mood with a kind of birdsong for the flute. The Lovers. The movement ends with a lively coda, Molto movement contains many memorable melodies that have vivace, in the style of one of Dvořák’s Slavonic Dances. the character of Czech folk songs, cheerful and robust. A trumpet fanfare begins the finale, Allegro ma non Some are reminiscent of the Slavonic Dances. Dvořák troppo, with a stately processional announcement that does not give the themes the development usually found becomes developed in the form of theme and variations. in the first movement of symphonies; he hesitates to The cellos proclaim the theme, a short and simple melody develop any of this string of melodies, simply letting that Dvořák worked very hard to perfect, forcing it to go their profusion and their contrasting character carry the through many drafts before he felt content with it. What movement forward. Brahms once said, when responding follows is diverse and inventive: The variations go from to a critic of Dvořák’s music, “I would be happy if one of a gutsy and rough Bohemian folk dance to a ruminating, his passing thoughts occurred to me as a main idea.” quiet, and philosophical woodwind and string statement. The second movement, Adagio, begins with a short The end of the movement introduces another Bohemian opening motif that serves as the foundation for dance-like figure resembling the furiant, a popular Slavonic variations, as somber mood alternates with serenity. Here dance. There are also echoes of the main subject of the again, Dvořák’s music contains straightforward folk-like opening movement, bringing the symphony to a crashing melodies written in an alternating ABAB structure. The conclusion. movement begins seriously with clarinets articulating Dvořák scored this symphony for piccolo and two flutes, minor themes. Then the oboe, flute, and, after that, the solo violin outline melodic figures above a gentle two oboes and English horn, two clarinets, two bassoons, dance-like accompaniment. Dvořák uses a waltz-like four horns, two trumpets, two trombones, bass trombone, Allegretto grazioso, instead of a scherzo, for the third tuba, kettledrums, and strings. He dedicated it: “To the movement, including a contrasting central section that Bohemian Academy of Emperor Franz Joseph for the feels Schubertian in character. Some critics were shocked Encouragement of Art and Literature.” that Dvořák wrote a waltz movement, but it is clearly Slavic in character and, perhaps, its main theme could be This piece was last performed at the Grand Teton Music Festival called the most haunting melody he ever composed; its on July 2 and 3, 2009, with Thomas Wilkins, conductor.

GTMF.ORG | Season 55 | 57 INSIDE THE MUSIC: CUE CHAMBER MUSIC, AND…ACTION!

Tuesday, July 19 | 7PM

ROGER OYSTER, host

J.S. Bach Viola da Gamba and Keyboard Sonata No. 3 in G minor, BWV 1029 (c. 1741) 15’ (1685–1750) Vivace Adagio Allegro

Jennifer Humphreys, cello Jason Hardink, harpsichord WEEK 3

W.A. Mozart from String Quartet No. 23 in F major, K. 590 “Prussian” (1790) 18’ (1756–1791) II. Andante III. Menuetto: Allegretto IV. Allegro

Rebekah Johnson, violin Tomoko Iguchi, violin Abhijit Sengupta, viola David Schepps, cello

Ravel from Piano Trio in A minor (1914) 12’ (1875–1937) III. Passacaille: Tres large IV. Finale: Anime

Tomoko Iguchi, violin Gregory Clinton, cello Jason Hardink, piano

Sponsored by Andrew Palmer Todd

58 | Grand Teton Music Festival | SUMMER 2016 GTMF PRESENTS: TIME FOR THREE

Wednesday, July 20 | 8PM | Pink Garter Theatre

TIME FOR THREE NICOLAS KENDALL, violin NIKKI CHOOI, violin RANAAN MEYER, bass

This program will be announced from stage and will include works from artists such as J.S. Bach, WEEK 3 Katy Perry, Imogen Heap, Johannes Brahms, and Mumford & Sons, as well as original compositions and arrangements by Time for Three.

GTMF.ORG | Season 55 | 59 TIME FOR THREE

Simply put, they’re a knockout! Three benevolent monsters—monsters of ability and technique surely. But also conveyers of an infectious joy that I find both touching and moving. I would recommend them not only “for entertainment value, but also for anyone looking to see how all types of American music can develop, when life and passion such as this are breathed into it. – SIR SIMON RATTLE

Time for Three (Tf3)—violinist Nicolas (Nick)” Kendall, violinist Nikki Chooi, and double bassist Ranaan Meyer—is a group that defies any traditional genre classification. Since they were fellow students at Philadelphia’s Curtis Institute of Music, they have wowed media and fellow artists alike with their charismatic musicianship. With an uncommon mix of virtuosity and showmanship, the American trio has given world premieres by Pulitzer Prize winners William Bolcom and Jennifer Higdon, as well as played their own original compositions and arrangements of everything from bluegrass and folk tunes to mash-ups of hits by the Beatles, Kanye West, Katy Perry, Justin Timberlake, and more. Tf3 has given more than a thousand concerts as diverse as the music they play—from WEEK 3 featured soloists on the Philadelphia Orchestra’s subscription series, Carnegie Hall, and Christoph Eschenbach’s birthday concert at Germany’s Schleswig-Holstein Festival to the famed San Francisco jazz club Yoshi’s, NFL games, the Indy 500, and a private concert on the aircraft carrier Intrepid. Tf3 independently released its first album, Three Fervent Travelers, in 2010, which debuted in the top 10 on the charts of Billboard, Amazon, and iTunes. In 2011, Tf3 produced their YouTube bullying-prevention video, “Stronger,” which has inspired students across the globe, eliciting features on CNN and the Huffington Post. The latest milestone for Tf3 was the release of their debut on UMC, Time for Three, which showcases uncommon collaborations with pop singer-songwriter Joshua Radin, jazz saxophone icon Branford Marsalis, cello star Alisa Weilerstein, folk-pop sister duo Lily & Madeleine, and ukulele ace Jake Shimabukuro, among others. Tf3 has been seen and heard via various TV and radio broadcasts throughout the country, including numerous times on Public Television, NPR, and CNN. The trio was featured in a documentary film about Philadelphia’s Rittenhouse Square directed by Robert Downey Sr., and the group recorded the soundtrack to the History Channel’s The Spanish-American War. In 2016, founding member Zach De Pue stepped down from his position in the group to focus on his work as Concertmaster of the Indianapolis Symphony Orchestra and was replaced by Curtis graduate Nikki Chooi. Tf3 remains committed to reaching younger audiences by participating in educational residencies and outreach concerts, including annual visits to Paul Newman’s Hole In The Wall Gang Camp for children with terminal illnesses; weeklong residencies at the Kennedy Center; Carnegie Hall’s series of Family Concerts; and countless jam sessions and instances of impromptu music making with students, from university classes to coffeehouses.

60 | Grand Teton Music Festival | SUMMER 2016 CHAMBER MUSIC: BEETHOVEN & SCHUBERT

Thursday, July 21 | 8PM

Schubert String Trio in B-flat major, D. 581 (1817) 21’ (1797–1828) Allegro moderato Andante Menuetto: Allegretto Rondo: Allegretto

Patrick Neal, violin Meng Wang, viola WEEK 3 Charae Krueger, cello

John D. Stevens Kleinhammer Sonata for Bass Trombone and Piano (2014) 18’ (b. 1951) Allegro Adagio Vivace agitato

Steve Norrell, bass trombone Jason Hardink, piano

INTERMISSION

Beethoven Violin Sonata No. 10 in G major, op. 96 (1812) 28’ (1770–1827) Allegro moderato Adagio espressivo Scherzo: Allegro Poco allegretto

Nicola Benedetti, violin Donald Runnicles, piano

GTMF.ORG | Season 55 | 61 FESTIVAL ORCHESTRA: CINEMATIC LANDSCAPES

Friday, July 22 | 8PM & Saturday, July 23 | 6PM

NICOLA BENEDETTI, violin DONALD RUNNICLES, conductor

Korngold Violin Concerto in D major, op. 35 (1937; 1945) 25’ (1897–1957) Moderato nobile Romanze: Andante Finale: Allegro assai vivace

Nicola Benedetti, violin WEEK 3

INTERMISSION

Mahler Symphony No. 1 in D major “Titan” (1884–1888; 1893–1896; 1906) 54’ (1860–1911) Langsam, schleppend Kräftig bewegt, doch nicht zu schnell Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

Join us for a Preconcert Talk hosted by Festival Musician Barbara Scowcroft prior to these performances. See page 14 for details.

Maestro Donald Runnicles sponsored by Sylvia Neil & Dan Fischel Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Season 55 sponsored by Ellen & Dave Raisbeck, Ari Rifkin, in memory of Leonard Rifkin, Frances & Allan Tessler, and Barbara & John Vogelstein Performances sponsored by Barbara & Pat McCelvey and Susan & Jon Rotenstreich Corporate Support provided by South Dakota Trust Company

62 | Grand Teton Music Festival | SUMMER 2016 NICOLA BENEDETTI, violin

Ms. Benedetti’s sound in the stratosphere of her register is almost improbably pure and gleaming; at times “it resembled the supernatural song of a theremin. – THE NEW YORK TIMES Nicola Benedetti is one of the most sought ”after violinists of her generation. With concerto performances at the heart of her career, Ms. Benedetti is in high demand with major orchestras and conductors across the globe. Ms. Benedetti began the past season by embarking on a tour of the UK and Dublin’s leading concert halls performing a personally curated program. The program featured the world premiere of a work by Mark-Anthony Turnage, written for Ms. Benedetti and cellist Leonard Elschenbroich. Most recently, Ms. Benedetti performed the world premiere of Wynton Marsalis’ Violin Concerto with the London Symphony Orchestra, written especially for her. Fiercely committed to music education, in 2010 Ms. Benedetti became Sistema Scotland’s official musical “Big Sis” for the Big Noise project, a music initiative WEEK 3 partnered with Venezuela’s El Sistema (Fundación Musical Simón Bolívar). In addition, Ms. Benedetti recently developed her own education initiative titled “The Benedetti Sessions.” Established in 2013 at Glasgow’s City Halls, these sessions give hundreds of aspiring young string players the opportunity to rehearse and observe masterclasses culminating in a performance alongside Ms. Benedetti. She has also presented The Benedetti Sessions at the Royal Albert Hall and has plans to develop the initiative on an international scale. Winner of Best Female Artist at both the 2012 and 2013 Classical BRIT Awards, Ms. Benedetti records exclusively for Decca. The enormous success of Ms. Benedetti’s most recent recording, Homecoming: A Scottish Fantasy, made her the first solo British violinist since the 1990s to enter the top 20 of the Official UK Albums Chart. Ms. Benedetti’s international television appearances have been wide and varied, including performing at the opening ceremony of the 2014 Commonwealth Games to a live audience of approximately 40,000 and a TV viewing audience of 9.4 million people. Ms. Benedetti was appointed as a Member of the Most Excellent Order of the British Empire (MBE) in recognition of her international music career and work with musical charities. In addition, she has received eight honorary degrees. Born in Scotland of Italian heritage, Ms. Benedetti began violin lessons at the age of five. In 1997, she entered the Yehudi Menuhin School, where she studied with Natasha Boyarskaya. Upon leaving, she continued her studies with Maciej Rakowski and then Pavel Vernikov. Ms. Benedetti plays the Gariel Stradivarius (1717), courtesy of Jonathan Moulds.

GTMF.ORG | Season 55 | 63 FESTIVAL ORCHESTRA ROSTER

Friday, July 22 & Saturday, July 23

VIOLIN I CELLO CLARINET BASS TROMBONE Jeff Thayer Daniel Laufer Gregory Raden Steve Norrell Raymond Leung Jennifer Humphreys Stephanie Key Simon Shiao Barrett Sills Shannon Orme Olga Shpitko Charae Krueger Victoria Luperi TUBA Robert Davidovici Deborah Nitka Hicks JáTtik Clark Louise Morrison Gregory Clinton Mary Corbett Amy Leung E-FLAT CLARINET Eva Cappelletti Chao Julia Sengupta Victoria Luperi Barbara Scowcroft David Schepps TIMPANI Holly Mulcahy David Mollenauer Kenneth Every WEEK 3 Rebekah Johnson Richard Brown Tracy Dunlop BASS CLARINET Joan Christenson Shannon Orme BASS Anne-Marie Terranova Joseph Lescher PERCUSSION Christopher Brown Richard Brown Charles DeRamus BASSOON John Kinzie VIOLIN II Patrick Bilanchone Sue Heineman Riely Francis Jennifer Ross Deborah Dunham Kristen Sonneborn Craig Hauschildt Judith Cox Erik Gronfor Patrick Neal Wilbur “Skip” Edwards Susanne Park CONTRABASSOON HARP Karen Kinzie Juan de Gomar Louise Vickerman Ikuko Takahashi FLUTE Anna Genest Tomoko Iguchi Christina Smith Jennifer Gordon Levin Alice Kogan Weinreb HORN KEYBOARD Lois Finkel Caitlyn Valovick-Moore Gail Williams Jason Hardink Julie Coleman Haley Hoops Gina Davis Nancy Goodearl PICCOLO Josh Phillips LIBRARIAN Gabrielle Webster Stephanie Mortimore Crozet Duplantier VIOLA Michael Lewellen Michael Gast Susan Gulkis Assadi Gavin Reed Paul Murphy OBOE NAMES IN Joan DerHovsepian Mingjia Liu BOLD INDICATE PRINCIPAL CHAIR. Rachel Swerdlow Barbara Bishop TRUMPET Philippe C. Chao Linda Gilbert ALL ROSTERS Lucina Horner Charles Geyer ARE SUBJECT Chiara Kingsley Dieguez Barbara Butler TO CHANGE. Abhijit Sengupta Charles Daval Suzanne LeFevre ENGLISH HORN Jennifer Marotta Meng Wang Martin Schuring

TROMBONE Craig Mulcahy Jay Evans

64 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, July 22 & Saturday, July 23 | Cinematic Landscapes

ERICH KORNGOLD GUSTAV MAHLER Violin Concerto in D major, op. 35 Symphony No. 1 in D major “Titan”

Before World War I, Erich Korngold became one of Around 1884, Gustav Mahler, by then already a well- the most popular and successful composers of his time known conductor, started to work on the composition in Europe. He composed for the concert and dramatic that became his Symphony No. 1. The composer stages, and was appointed to Vienna’s most distinguished carried it with him when he was second conductor in

professorship. When Nazi Germany invaded Austria various provincial opera houses. He was a young man WEEK 3 in 1938, Korngold was working on a movie score in full of ambition to achieve ideal artistic standards of California and decided to remain there. Over 20 years, he performance that were almost impossible to reach in the wrote 21 film scores of extraordinary quality and won two theaters of that era. Mahler steeped himself in German Academy Awards for them. In his later years, he returned Romantic literature and folklore, in the philosophers to concert music: After World War II, he composed a who reformed the intellectual life of Central Europe, string quartet, a symphony, and a violin concerto. and, above all, in the music of Richard Wagner. With his This concerto marked his transition away from his appointment as Director of the prestigious Royal Opera exclusive concentration on film music. Korngold in Budapest in 1888, Mahler at last held a degree of composed it in 1945 at the urging of Polish violinist artistic authority that was exhilarating for a 28-year-old Bronislaw Huberman, drawing on material from his film conductor. When Johannes Brahms, who was notoriously scores for Anthony Adverse and Another Dawn, written difficult to please, heard Mahler conduct Mozart’s Don in 1939. On February 15, 1947, Jascha Heifetz and the Giovanni in Budapest in 1890, he expressed his vigorous St. Louis Symphony gave the premiere of the Violin enthusiasm in German slang and the two became friends. Concerto, dedicated to Alma Mahler-Werfel. Korngold A year earlier, at a concert in Budapest, on November wrote a tribute to Heifetz: “In spite of the demand for 20, 1889, Mahler conducted the first performance of a virtuosity in the finale, the work with its many melodic new, lengthy five-movement composition, listed in the and lyric episodes was contemplated rather for a Caruso program simply as a Symphonic Poem in Two Sections. than for a Paganini. It is needless to say how delighted It was an early version of Symphony No. 1. One friendly I am to have my concerto performed by Caruso and critic found a modest degree of merit in the work: Paganini in one person: Jascha Heifetz.” It was technically satisfactory, he thought, but rough The first eloquent theme comes from the film score and not poetic. In some places he found it beautiful, to Another Dawn. The second theme borrows from in others bizarre. Mahler had hoped that this work Korngold’s music for the film Juarez, which was partially would have the kind of success that would allow him sourced from a novel by Franz Werfel, the late husband to become a full-time composer, but it did not. Mahler of the concerto’s dedicatee. The second movement, titled was devastated by the negative reception of the first Romanze, takes material Korngold had used in Anthony version of this symphony. Years later, he remembered it: Adverse, for which he received an Oscar. After the gigue- “My friends bashfully avoided me afterward. Nobody like beginning of the last capricious movement, a rondo, dared talk to me about the performance and my work, the title music for The Prince and the Pauper, another film and I went around like a sick person or an outcast.” A score, makes up the second theme. Prague performance almost a decade later in 1898 was the first successful one. The audience applauded between This is the first performance of this piece at the Grand Teton movements, and Mahler was presented with a laurel Music Festival. wreath after the concert, but this set no precedent. Part of the problem that Mahler had with the symphony was one that was to plague him throughout his career as a musician.

GTMF.ORG | Season 55 | 65 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, July 22 & Saturday, July 23 | Cinematic Landscapes

MAHLER | Symphony No. 1, continued This symphony was very different from what listeners had been accustomed to hearing: Filled with unusual An important element in his surpassing greatness as an emotional contrasts and using musical quotations in artist was dissatisfaction, his pursuit of the elusive ideal unlikely ways, it took its audience off-guard. The first of perfection in writing and in performance. Just as he movement is complex in structure, but for today’s “retouched” Beethoven’s symphonies and “improved” listener, it is entirely accessible in meaning and mood. Schumann’s, Mahler rewrote and rewrote his own Marked Langsam, schleppend (Slowly, drawn out), symphonies again and again. In addition, he created the introduction offers the listener cuckoo sounds and confusion by changing titles, descriptions, and stories other sounds evocative of the natural world. After the associated with Symphony No. 1. When first performed mysterious, slow introduction, the movement is based

WEEK 3 as a “symphonic poem,” the work carried no specific title almost entirely on a beautiful song that Mahler wrote or information on what the “poem” was about. Yet in the in 1884, “Ging’ heut’ Morgen übers Feld” (“Crossing the newspaper the previous day, there had been an article Field This Morning”). The following movement, Kräftig that Mahler had written (without appending his name bewegt, doch nicht zu schnell (Busily agitated, not too as author) in which he had outlined the programmatic fast), is a scherzo based on a theme like a ländler, the aspects of the work. In the first section, later to become Austrian peasant dance that is the waltz’s ancestor. the first two movements but at that point separated by The music that Mahler wrote in the place of a a movement called Blumine (Bouquet of Flowers), he described music meant to depict happy spring daydreams conventional slow movement is still original enough and a wedding. The second section, made up of what sounding to puzzle the first-time listener. The third were to become the symphony’s last two movements, he movement, Feierlich und gemessen, ohne zu schleppen identified as representing a funeral march accompanying (Solemn and measured, without dragging), is based on the burial of a poet’s illusions and progress toward a a song that Mahler learned in childhood (and many spiritual victory. children still do), the French round Frère Jacques. Mahler makes a lugubrious presentation of this little After the initial negative reception, Mahler neglected the tune in a minor key, at a slow tempo and in the rarely work altogether for three years, returning to it in 1893 heard voice of a muted solo double bass. The surprising when he revised it, changing the orchestration in major combinations of instruments he uses to play the ways. He was then happier with his work and wrote to repetitions of the tune serve to highlight the unique Richard Strauss that it had become “more slender and orchestration. A formative incident that occurred when transparent.” By then Mahler was in Hamburg and he Mahler was a child may explain his use of startling conducted it there in October 1893 with much more juxtapositions in this movement: He heard a violent success. The piece was billed then as Titan, A Tone argument between his parents and became scared and Poem in the Form of a Symphony. Later performances he accompanied with subtitles and fanciful outlines ran out of the house. At that moment a hurdy-gurdy that varied, sometimes quite radically, from concert to player was passing by playing the well-known song concert. Much later, the mature Mahler regretted ever Ach du lieber Augustin. According to Freud’s analysis having allowed himself to be persuaded by well-meaning of this incident after only one meeting with Mahler, friends, who told him that the descriptive programs this disturbing event triggered an indelible response could be helpful to audiences who would otherwise not in Mahler that joined “deep tragedy with superficial comprehend his difficult, new music. Finally he discarded entertainment” in his mind forever. Thus, Mahler all of the titles and left only the words “Like the Sound juxtaposes extraordinary music of parody in this of Nature” at the top of the score. At the time that he movement with something equally outlandish. Mahler eliminated the Titan designation, he also excised the found exactly the contrast in a couple of tunes in the complete Blumine movement, which was not published manner of street-band or beer-hall songs, and yet he for 70 more years. includes his own Die zwei blauen Augen (Your Sweet

66 | Grand Teton Music Festival | SUMMER 2016 Blue Eyes) from the Songs of a Wayfarer as he makes the fortissimo orchestral sound in, as Mahler put it, “a macabre give way to the tender. A jaunty klezmer band is chorale of salvation from paradise after the waves also heard not far from the funeral procession music. of hell.” The finale, Stürmisch bewegt (Stormily agitated), The score requires two piccolos and four flutes, four which follows without pause, opens with a crash oboes and English horn, four clarinets including of cymbals and smashing fortissimo from the entire one doubling clarinet in E-flat and one doubling orchestra that Mahler called a “bolt of lightning.” The on bass clarinet, three bassoons and contrabassoon, last is a movement of great force, a tempestuous drama, seven horns, five trumpets, four trombones and tuba, WEEK 3 repeating themes from the first movement as well as a timpani, bass drum, cymbals, tam-tam, triangle, harp, very long and very beautiful contrasting, lyrical second and strings. theme. Toward the end, themes from the beginning of the symphony indicating the sounds of nature, the This piece was last performed at the Grand Teton bird calls, and the hunting horns all make another Music Festival on July 13 and 14, 2007, with Donald appearance. At the end, seven French horns pierce the Runnicles, conductor.

Tony Abeyta As He Saw It , Oil,, 42″ x 48″

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GTMF.ORG | Season 55 | 67 ATTORNEYS & COUNSELORS AT LAW

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68 | Grand Teton Music Festival | SUMMER 2016 INSIDE THE MUSIC: FRIENDS OF BRAHMS

Tuesday, July 26 | 7PM

JAMES FEDDECK, host

Brahms from Clarinet Quintet in B minor, op. 115 (1891) 12’ (1833–1897) I. Allegro

Gregory Raden, clarinet Jennifer Ross, violin Susanne Park, violin Susan Gulkis Assadi, viola Daniel Laufer, cello

Brahms from Violin Sonata in A minor “F-A-E” (1853) 5’

III. Scherzo WEEK 4

Robert Davidovici, violin Kori Bond, piano

Brahms from Cello Sonata No. 2 in F major, op. 99 (1886) 13’ I. Allegro vivace IV. Allegro molto

Barrett Sills, cello Kori Bond, piano

Brahms from Piano Quartet No. 1 in G minor, op. 25 (1861) 13’ I. Allegro

Louise Morrison, violin Chiara Kingsley Dieguez, viola Barrett Sills, cello Kori Bond, piano

GTMF.ORG | Season 55 | 69 FAMILY FUN WITH THE FESTIVAL ORCHESTRA

Wednesday, July 27 | 6PM

CHRISTINA NAUGHTON, piano MICHELLE NAUGHTON, piano MARK “FISH” FISHMAN, narrator JERRY HOU, conductor

Berlioz Roman Carnival Overture, op. 9 (1844) 9’ (1803–1869)

Saint-Saëns Carnival of the Animals (1886–1887) 25’ (1835–1921) Introduction and Royal March of the Lion Hens and Roosters Wild Donkeys, Swift Animals Tortoises The Elephant

WEEK 4 Kangaroos Aquarium Characters with Long Ears The Cuckoo in the Deep Woods Aviary Pianists Fossils The Swan Finale

Christina Naughton, piano Michelle Naughton, piano Mark “Fish” Fishman, narrator

Sponsored by The Jerry S. Handler Family, in memoriam The Family Concert Series is generously sponsored by Christine & Ross Hartley Refreshments generously provided by the Festival Auxiliary Instrument Petting Zoo generously provided by Jackson Hole Community Band, Jackson Hole Symphony Orchestra, and the GTMF TuneUp Instructors

70 | Grand Teton Music Festival | SUMMER 2016 JERRY HOU, conductor

An Associate Conductor for the Shepherd School of Music at Rice University, Jerry Hou is quickly gaining recognition as a versatile and exciting young conductor. In his work at Rice, he regularly conducts the symphony and chamber orchestras in concert and is Music Director for the new music ensemble Hear & Now. For the past four seasons, he has worked closely with the St. Louis Symphony and their music director David Robertson, assisting the orchestra and an all-star cast of singers in an acclaimed concert performance of Benjamin Britten’s Peter Grimes at Carnegie Hall. Mr. Hou recently made his Lincoln Center debut, leading Ensemble Signal in performance for American Songbook: Steve Reich and Stephen Sondheim in Conversation. Previously, Mr. Hou served as an Assistant and Cover Conductor with the Rochester Philharmonic Orchestra for two seasons. In this capacity, he worked closely with guest conductors and lead the orchestra in family and educational concerts. In the summer of 2013, Mr. Hou served as an assistant conductor for the Lincoln Center Festival, working with conductor Brad Lubman, Ensemble Signal, and director Chen Shi-Zheng in the festival production of the opera Monkey: Journey to the West. He has also worked as Assistant Conductor of the National Repertory Orchestra in Breckenridge, Colorado. A passionate advocate of contemporary music, Mr. Hou has collaborated with composers such as Steve Reich, Luca Francesconi, Helmut Lachenmann, Bernard

Rands, Mark-Anthony Turnage, Peter Eötvös, and Ricardo Zohn-Muldoon. WEEK 4 Mr. Hou has conducted orchestras such as the St. Louis Symphony, Houston Symphony, Orchestra of St. Luke’s, Rochester Philharmonic, BBC Scottish Symphony Orchestra, National Arts Centre Orchestra, Luxembourg Philharmonic Orchestra, Ensemble Modern, and the Royal Stockholm Philharmonic Orchestra. This season, he will return to work with the St. Louis Symphony as well as assist with Luca Francesconi’s opera, Quartett in the South American premiere at the Teatro Colón.

MARK “FISH” FISHMAN, narrator

Mark “Fish” Fishman was born in Atlanta and attended the University of Georgia in Athens, where he grew his love for music with the likes of R.E.M, the B-52’s, and Widespread Panic. After graduating, Fish moved to Jackson for “a ski season” and hasn’t looked back since. Fish became the Music and Program Director of local radio station KMTN in 1996. He has hosted the morning show, including Trash-n-Treasure, on 96.9 The Mountain for the last 18 years. Fish married his wife, Joanna, in 2014 and has three children—Mia (12), Cooper (2), and a newborn daughter Izzy.

GTMF.ORG | Season 55 | 71 CHAMBER MUSIC: BRASS, PIANOS, AND STRINGS

Thursday, July 28 | 8PM

Poulenc Sonata for Horn, Trumpet, and Trombone (1922; 1945) 9’ (1899–1963) Allegro moderato Andante Rondeau

Haley Hoops, horn Barbara Butler, trumpet Jay Evans, trombone

Rachmaninoff Suite No. 2 for Two Pianos, op. 17 (1900–1901) 23’ (1873–1943) Introduction: Alla marcia Waltz: Presto Romance: Andantino Tarantella: Presto

Christina Naughton, piano

WEEK 4 Michelle Naughton, piano

INTERMISSION

Beethoven String Quartet No. 11 in F minor, op. 95 “Serioso” (1810–1811) 21’ (1770–1827) Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Larghetto espressivo—Allegretto agitato

Jeff Thayer, violin Jennifer Ross, violin Joan DerHovsepian, viola Daniel Laufer, cello

Sponsored by Louise & Ralph Haberfeld

72 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA: A THOUSAND AND ONE NIGHTS

Friday, July 29 | 8PM & Saturday, July 30 | 6PM

CHRISTINA NAUGHTON, piano MICHELLE NAUGHTON, piano JAMES FEDDECK, conductor

Berlioz Roman Carnival Overture, op. 9 (1844) 9’ (1803–1869)

Poulenc Concerto for Two Pianos in D minor (1932) 19’ (1899–1963) Allegro ma non troppo Larghetto Allegro molto

Christina Naughton, piano WEEK 4 Michelle Naughton, piano

INTERMISSION

Rimsky-Korsakov Scheherazade, op. 35 (1888) 44’ (1844–1908) The Sea and Sinbad’s Ship The Tale of the Kalendar Prince The Young Prince and The Young Princess The Festival at Baghdad—The Sea—The Shipwreck—Conclusion

Join us for a Preconcert Talk hosted by Festival Musician Holly Mulcahy prior to these performances. See page 14 for details.

Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Season 55 sponsored by Ellen & Dave Raisbeck, Ari Rifkin, in memory of Leonard Rifkin, Frances & Allan Tessler, and Barbara & John Vogelstein Performances sponsored by Janet & John Costello, Carol & Dean Spatz, and Mary & Don Shockey Corporate Support provided by WRJ Design

GTMF.ORG | Season 55 | 73 CHRISTINA AND MICHELLE NAUGHTON, piano

An identical-twin duo-piano team sounds suspiciously like a gimmick assuring fast fame for the mediocre, but the Naughton sisters proved that they are worthy of every ounce of success which comes their way. “Their recital displayed stellar musicianship, technical mastery, and awe-inspiring artistry. – SAN FRANCISCO EXAMINER ” Christina and Michelle Naughton have captivated audiences with their mystical musical communication. In describing their impeccable unity, the twins have commented, “There are times we forget we are two people playing together.” The sisters recently signed an exclusive recording contract with Warner Classics, which released their second album, Visions, in March 2016. Highlights from the Naughtons’ past season include performances presented by the New World Symphony, Los Angeles Philharmonic at Walt Disney Hall, and the Concertgebouw in Amsterdam. In addition to recital tours of Latin America and China, the sisters have also appeared with the St. Petersburg Philharmonic, the Netherlands Philharmonic, and the Oper Frankfurter and Museumsorchester. Orchestral highlights for the sisters have included appearances with the Philadelphia Orchestra; Houston, Milwaukee, and Toledo Symphonies; and the Buffalo Philharmonic, as well as with ensembles such as the Mahler Chamber Orchestra and Hong Kong Philharmonic. Past and future seasons feature collaborations under the batons of conductors such as Edo de Waart, Charles Dutoit, JoAnn Falletta, and Andrés Orozco-Estrada.

WEEK 4 The Naughtons’ recital appearances in America have included the Kennedy Center’s Terrace Theater, New York City’s Historic Naumberg Bandshell, and Le Poisson Rouge, as well as the Fortas Chamber Music Festival, Harriman-Jewell Series, and Chamber Music San Francisco Series. In Europe, the Naughtons have performed at La Roque d’Antheron Festival in France, the Sociedad de Conciertos de Valencia in Spain, Zurich’s Tonhalle, Prague’s Strings of Autumn Festival, and Berlin’s Kammermusiksaal. The Naughtons recorded their first album in Germany, and it was released worldwide in the fall of 2012. ClassicsToday has praised the album as a “dynamic duo debut.” Their performances have been broadcast on American Public Media’s Performance Today, Sirius XM Satellite Radio, New York’s WQXR, Chicago’s WFMT, Hong Kong’s RTHK, and Netherland’s Radio 4 Concerthuis, among others. Born in Princeton, New Jersey, to parents of European and Chinese descent, Christina and Michelle are graduates of the Juilliard School and the Curtis Institute of Music, where they were each awarded the Festorazzi Prize. They are Steinway Artists and currently reside in New York City.

74 | Grand Teton Music Festival | SUMMER 2016 JAMES FEDDECK, conductor

[Feddeck] worked up a real heat, inhabiting every bar … as if it were a second skin. The first movement hurtled through like the Feddeck express, and he handled the jack-in-the box dynamics of the scherzo “with such composure that the forte explosions had the force of genuine surprise. – THE GUARDIAN ” James Feddeck is rapidly becoming one of the most interesting and remarkable conductors of today, impressing orchestras with his innate talent and outstanding musicianship on both sides of the Atlantic. Last season, Mr. Feddeck stepped in to make a sensational debut with the San Francisco Symphony, conducting Bruckner’s Symphony No. 8: “The result could not have been more impressive,” noted the San Francisco Examiner. Over the past two seasons, Mr. Feddeck has made a number of significant North American and European debuts, including the Chicago, Toronto, Houston, RTÉ National, and BBC Symphony Orchestras; the Hallé and Royal Scottish National Orchestras; the Deutsche Oper Berlin in a collaboration with the Bejart Ballet and the Royal Flemich and Helsinki Philharmonic Orchestras. He also recently conducted the Cleveland Orchestra at the Blossom Festival and subscription concerts with the Chicago Symphony Orchestra.

Winner of the prestigious Solti Conducting Award in 2013, Mr. Feddeck is a former WEEK 4 Assistant in Cleveland, where he conducted subscription concerts and stepped in for Franz Welser-Möst in a fully staged production of Don Giovanni and in performances of Carmina Burana—both to critical acclaim. Prior to that, he studied with David Zinman at the Aspen Music Festival and School, where he received the Aspen Conducting Prize in 2008. In addition to his conducting, Mr. Feddeck is an accomplished organist and has performed recitals throughout Europe and North America. He studied oboe, piano, organ, and conducting at the Oberlin Conservatory of Music, and in 2010 received the first Outstanding Young Alumni Award there.

GTMF.ORG | Season 55 | 75 吀栀攀 嘀愀氀氀攀礀ᤠ猀 倀爀攀洀椀攀爀 䌀栀漀椀挀攀 昀漀爀 䘀椀渀攀 眀椀渀攀Ⰰ 猀瀀椀爀椀琀猀 ☀ 戀攀攀爀

䌀漀渀挀椀攀爀最攀 匀攀爀瘀椀挀攀 嘀愀氀氀攀礀ⴀ眀椀搀攀 䐀攀氀椀瘀攀爀礀 䐀漀洀攀猀琀椀挀 匀栀椀瀀瀀椀渀最Ⰰ 圀栀攀爀攀 倀攀爀洀椀琀琀攀搀 䰀漀挀愀氀氀礀 漀眀渀攀搀 昀漀爀 漀瘀攀爀 ㌀ 礀攀愀爀猀⸀ 䄀氀戀攀爀琀猀漀渀✀猀 椀猀 一攀砀琀 琀漀 唀猀℀ 伀瀀攀渀 搀愀椀氀礀 ㌀ 㜀ⴀ㜀㌀㌀ⴀ㐀㐀㘀㘀 ㄀㄀㔀 䈀甀昀昀愀氀漀 圀愀礀Ⰰ 䨀愀挀欀猀漀渀

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76 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA ROSTER

Friday, July 29 & Saturday, July 30

VIOLIN I CELLO ENGLISH HORN BASS TROMBONE Jeff Thayer Daniel Laufer Martin Schuring Steve Norrell Dennis O’Boyle Barrett Sills Susanne Park Charae Krueger Judith Cox Marcia Peck CLARINET TUBA Robert Davidovici Julia Sengupta Gregory Raden JáTtik Clark Tomoko Iguchi Gregory Clinton Shannon Orme Eva Cappelletti Chao Amy Leung Jennifer Gordon Levin David Mollenauer Anna Genest Deborah Nitka Hicks TIMPANI Ikuko Takahashi BASSOON Kenneth Every Julie Coleman Sue Heineman Karen Kinzie BASS Sharon Kuster Louise Morrison Joseph Lescher PERCUSSION Edward Wu Christopher Brown Richard Brown

Fred Bretschger HORN John Kinzie WEEK 4 David Williamson Gail Williams Richard Weiner VIOLIN II Corbin Johnston Haley Hoops Brian Prechtl Patrick Neal Deborah Dunham Nancy Goodearl Wiley Arnold Sykes Raymond Leung Gabrielle Webster Anne-Marie Terranova Michael Lewellen Barbara Scowcroft FLUTE HARP Rebekah Johnson Christina Smith Elisabeth Remy Johnson Simon Shiao Alice Kogan Weinreb TRUMPET Sarah Schwartz Barbara Butler Olga Shpitko Charles Geyer Mary Corbett LIBRARIAN Charles Daval Holly Mulcahy PICCOLO Gary Corrin Jennifer Marotta Dimitri Lazarescu Stephanie Mortimore Lois Finkel Alice Kogan Weinreb NAMES IN TROMBONE BOLD INDICATE VIOLA OBOE Craig Mulcahy PRINCIPAL CHAIR. Jay Evans Susan Gulkis Assadi Elizabeth Koch Tiscione ALL ROSTERS Paul Murphy Martin Schuring ARE SUBJECT TO CHANGE. Joan DerHovsepian Meng Wang Philippe C. Chao Chiara Kingsley Dieguez Abhijit Sengupta Kristen Linfante Lucina Horner

GTMF.ORG | Season 55 | 77 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, July 29 & Saturday, July 30 | A Thousand and One Nights

HECTOR BERLIOZ Cellini’s aria. Much of the rest of the work is taken Roman Carnival Overture, op. 9 up with the whirling saltarello and fragments of the aria. The entire score has the daring and the brilliant Hector Berlioz’s originality and new conception of orchestration that listeners associate with Berlioz. musical expression led the way directly to many of the The score requires two piccolos and two flutes, two oboes innovations Liszt and Wagner were to make. When and English horn, two clarinets, two or four bassoons, Berlioz won the Prix de Rome in 1830, he journeyed four horns, two trumpets, two cornets, three trombones, to Italy for an 18-month stay that eventually inspired timpani, cymbal, triangle, two tambourines, and strings. many of his finest works. Among them was the opera Benvenuto Cellini, whose first performances were failures. This piece was last performed at the Grand Teton Music (The composition was given new life when Liszt revived Festival on July 2, 2011, with Donald Runnicles, conductor. it years later.) Seeking to salvage some of the music, in 1843 Berlioz wrote an orchestral piece based principally on two themes he extracted from the opera, a long aria, FRANCIS POULENC “O Teresa, vous que j’aime,” and a wild Italian dance, the Concerto for Two Pianos in D minor saltarello. The new work, a concert overture, he called The Roman Carnival. Some historians speculate that he Francis Poulenc was the youngest of the French WEEK 4 wanted it to be used as an overture to the second act of composers who, in 1920, were called Les Six (The Six). the opera. This group was pivotal in turning French music away Written while Berlioz was completing his Treatise on from formality and pomp. Poulenc, Milhaud, and Orchestration, the overture is remarkable for its startling Honegger, of this gifted sextet, went on to significant and novel ideas that give it a marvelous sonority and careers, but the other three are now mostly remembered vivacity. In his treatise, Berlioz suggested rescuing only for their association with them. Poulenc composed little-used orchestral instruments from neglect and songs, chamber music, concertos, and short pieces in giving them new roles. In this work, he follows his own which he combined buffoonery and banality to greatly prescription, giving a leading theme to the violas in the amusing effect. He wrote a Mass, motets, litanies, a introduction, having the other strings, as well as horns, religious opera, Stabat Mater, and his Gloria. clarinets, flutes, and bassoons, accompany them, reversing Poulenc used to describe himself as “half monk and their two traditional roles. In the main body he chooses half bounder.” When he died, one critic eulogized him the English horn, another instrument rarely featured in by writing the following: “The ‘monk’ was dismayed by orchestral literature, to feature in a predominant role. the ‘bounder’s’ excesses, but the ‘bounder’ would not be Later, the bassoon, another instrument rarely used at that tamed. And so they struggled through the years, the man time to articulate thematic lines, echoes the aria theme and the boy, the sacred and the profane, the bourgeois against the saltarello in the second violins. and the rebel. And it was out of their struggle came When Berlioz conducted this overture’s first inimitable music—some of it good, some of it bad, all of performance at a concert in Paris on February 3, 1844, it Poulenc.” the wind instruments had not rehearsed, but the overture, Princess Edmond de Polignac, an American whose nevertheless, was well received, so much so that it was maiden name was Singer (of the Singer Sewing Machine immediately encored and even won over some of the family), commissioned this Concerto for Two Pianos. composer’s enemies. With the success of Roman Carnival She was the benefactress of many composers of the early Overture, Berlioz suddenly became a popular composer 20th century, including Satie, Weill, Milhaud, de Falla, whose works were heard throughout Paris. and Stravinsky. Poulenc composed his two solo piano The music opens with a brief English horn quotation concertos earlier in the same year that he completed from the saltarello that serves as an introduction to the score. On September 5, 1932, the Concerto for Two

78 | Grand Teton Music Festival | SUMMER 2016 Pianos was premiered at the International Music Festival Music remained an important part of his life during his in Venice, with the composer and his lifelong friend and Navy years, even when he went off on a 30-month cruise keyboard colleague, Jacques Fevrier, as the piano soloists, that took him to the Mediterranean and the Americas. and Desiré Defauw conducting the Orchestra of La (In the course of a six-month stay in New York during Scala, Milan. the winter of 1863–1864, he went to the opera, visited Niagara Falls, and took the side of the North against The exotic and elegant Concerto for Two Pianos is in slave ownership in the South.) three movements. The first, Allegro ma non troppo, with its angular rhythms and concise thematic phrases, is On his return to St. Petersburg, he joined in an informal rich in quotations from what Poulenc called “Parisian alliance with four other gifted young composers, most of folklore,” music from forgotten popular songs, street whom had professions other than music. They were soon tunes, and cafeconcerts. The melody, when it appears to create a great new repertoire of Russian music. This accompanied by castanets, is very evocative of French “Mighty Handful,” as they came to be called, thought music halls. Poulenc said that he also put gamelan effects that the music of Tchaikovsky and his colleagues in in the coda as a result of being influenced by Balinese Moscow was too Europeanized and not Russian enough, music he heard at the Colonial Exposition. The pensive but eventually the two schools reached a state of détente. WEEK 4 second movement, Larghetto, has as its principal subject Early in 1888, Rimsky-Korsakov first considered writing a classical melody to which the composer adds a touch of an orchestral work based on incidents selected from the 20th-century piquancy. Critics have mentioned that this book that is known in English-speaking countries as movement has similarities to Mozart piano concerti. The The Arabian Nights and elsewhere as The Thousand and concerto closes with an extroverted and exuberant finale, One Nights. This anthology of tales from Asia, India, and Allegro molto, that recalls the high spirits of the first the Arab lands seems to have been collected for the first movement. In this movement, as in the whole concerto, time around 1500 in Cairo and to have made its way to Poulenc has written for the soloist very pianistically, and Europe in the 18th century. for the orchestra with wit and imagination. As Rimsky-Korsakov described the book’s framework, The score calls for piccolo, flute, two oboes, English horn, the Sultan Schahriar, convinced of the falseness and two clarinets, two bassoons, two horns, two trumpets, unfaithfulness of women, vows to put each one of his two trombones, percussion, and strings. many wives to death after their first night together. The Sultana Scheherazade saves her life by arousing so This piece was last performed at the Grand Teton Music much interest in the story she tells him at night that, in anticipation of another, he postpones her execution Festival on August 9, 1980, with Ling Tung, conductor, and again and again. Scheherazade tells Schahriar of many pianists Monique Duphil and Zeyda Suzuki. wonders, blending the words of poetry and of folk song into marvelous tales of adventure, love, and war. This continues from night to night until 1,001 nights have NIKOLAI RIMSKY-KORSAKOV passed, at which time the Sultan finally abandons his Scheherazade, op. 35 murderous plan. The symphonic suite, Scheherazade, soon turned out to Nikolai Rimsky-Korsakov was born into a music-loving be Rimsky-Korsakov’s most widely played work, and family of the Russian upper classes, and as an adult could years later, he felt the need to explain the ideas behind it. still remember the songs his mother had sung to him Although the stories from The Thousand and One Nights when he was only 2 years old. At 6, he began to play the provided the direct inspiration for the music, there are piano and at 9 to compose, but music was not considered few specific ties between them. He therefore intended, he a proper profession for the wellborn, and when he was said, to give the movements vague headings like Prelude, 12, he was enrolled as a cadet at the Naval College. Ballade, Adagio, and Finale.

GTMF.ORG | Season 55 | 79 SEPTEMBER 7 – 18, 2016

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80 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, July 29 & Saturday, July 30 | A Thousand and One Nights

RIMSKY-KORSAKOV | Scheherazade, continued

All he hoped for was that audiences would enjoy world disguised as kalendars. Faithful to his principle his work as a purely symphonic composition in four of giving the reader hints but not explanations, Rimsky- movements that share certain themes. However, his Korsakov does not tell just which Kalendar Prince story friends persuaded him that listeners deserved to he had in mind, but lets the idea roam freely through know more of the music’s background, and he agreed the listener’s fancy. somewhat reluctantly, he said, “to direct the hearer’s In the third movement, the orchestra sings the lovely fancy along the path that mine had traveled, yet leaving songs of The Young Prince and The Young Princess. details to the imagination.” The broad, low-register theme first heard in the opening The finale is a grand summing up of what we have heard, movement is generally, but not always, used to represent with a parade of pictures, new and old, projected across the stern Sultan Schahriar. The passages for solo violin it. The series of musical images begins with The Festival at Baghdad and continues with The Sea. Then, in a great

represent the voice of the Sultana Scheherazade as she WEEK 4 tells him her wondrous tales. Both of these themes are tempest, The Shipwreck, and in the Conclusion we hear the carried forward into later movements. Having given this voice of Sultana Scheherazade fade into the distance for much guidance to his overall plan, the composer yielded the last time. to giving a specific title to each of his four movements, Scheherazade is, among other things, a masterpiece of but then left it to the listener to imagine the actual orchestration in which the composer finds an almost events that the music depicts. unlimited palette of sound-colors in an orchestra that In the first movement, The Sea and Sinbad’s Ship, we hear is only moderately large in size: piccolo and two flutes, the music to which a ship at sea rocks on the billowing two oboes, English horn, two clarinets, two bassoons, waves, as Sinbad the Sailor tells of the wonders that he four horns, two trumpets, three trombones and tuba, has seen on his great voyages to distant lands. timpani, snare drum, bass drum and cymbals, tam-tam, Next the voice of Scheherazade introduces The Tale tambourine, triangle, harp, and strings. of the Kalendar Prince. A “kalendar” was an itinerant beggar priest or monk, and at least three of the 1,001 This piece was last performed at the Grand Teton Music Festival tales tell of the princes who go wandering around the on July 30 and 31, 2010, with Mei-Ann Chen, conductor.

GTMF.ORG | Season 55 | 81 I NDEPENDENT & A SSISTED L IVING

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82 | Grand Teton Music Festival | SUMMER 2016 INSIDE THE MUSIC: SIMPLY CLASSICAL

Tuesday, August 2 | 7PM

BARBARA SCOWCROFT, host

J.S. Bach from Partita No. 3 in E major, BWV 1006 (1720) 4’ (1685–1750) I. Preludio

Barbara Scowcroft, violin

Cage Solo for Sliding Trombone (1957–1958) 4’ (1912–1992) Larry Zalkind, trombone

Bloch from From Jewish Life (1924) 4’ (1880–1959) I. Prayer (arr. Cherry) Larry Zalkind, trombone Adelle Eslinger Runnicles, piano

J.S. Bach Prelude and Fugue in C major, BWV 846 WEEK 5 from The Well-Tempered Clavier (1722) 5’

Andrew Palmer Todd, piano

Bill Douglas from Trio for Oboe, Bassoon, and Piano (2006) 4’ (b. 1944) III. Rondo con brio

Jaren Atherholt, oboe Sharon Kuster, bassoon Andrew Palmer Todd, piano

Dvořák from String Quartet No. 12 in F major, op. 96 “American” (1893) 6’ (1841–1904) IV. Finale: Vivace, ma non troppo

Ralph Matson, violin Barbara Scowcroft, violin Anna Kruger, viola Deborah Nitka Hicks, cello

GTMF.ORG | Season 55 | 83 GTMF PRESENTS: TRUMPETER JENS LINDEMANN

Wednesday, August 3 | 7PM

JENS LINDEMANN, trumpet CHRISTOPHER MARTIN, trumpet KRISTIAN ALEXANDROV, keyboards

Vivaldi Concerto for Two Trumpets in C major, RV 537 8’ (1678–1741) Allegro Largo Allegro

W.A. Mozart from Eine kleine Nachtmusik, K. 525 (1787) 6’ (1756–1791) I. Allegro

Haydn Trumpet Concerto in E-flat major, Hob. VIIe/1 (1796) 14’ (1732–1809) Allegro Andante Allegro

Greg McLean May I Quote You (1994) 3’ (b. 1956)

Ellington Echoes of Harlem (1936) 3’ (1899–1974) (arr. Lindemann) WEEK 5 INTERMISSION

J.S. Bach from Brandenburg Concerto No. 2 in F major, BWV 1047 (1718) 3’ (1685–1750) III. Allegro assai

Lennon/Paul McCartney Penny Lane (1966) 3’ (1940–1980)/(b. 1942)

Piazzolla Oblivion (1982) 5’ (1921–1992)

Allan Gilliland Dreaming of the Masters III (2010) 12’ (b. 1965) 101 Damnations Prayer Lower Neighbours

Sponsored by Bessemer Trust

84 | Grand Teton Music Festival | SUMMER 2016 JENS LINDEMANN, trumpet

[Lindemann played with] seductive, golden timbre and virtuosic flair [at Carnegie Hall]. “– THE NEW YORK TIMES ” Jens Lindemann is hailed as one of the most celebrated soloists in trumpet history and was recently named “International Brass Personality of the Year” by The Brass Herald. Mr. Lindemann has played in every major concert venue in the world, from the Philharmonics of New York, Los Angeles, London, and Berlin to Tokyo’s Suntory Hall and even the Great Wall of China.

His career has ranged from appearing internationally as an orchestral soloist, performing at London’s “Last Night of the Proms,” recording with the Mormon Tabernacle Choir, to playing lead trumpet with the renowned Canadian Brass and a solo Command Performance for the Queen of England. Mr. Lindemann has also won major awards ranging from Grammy and Juno nominations to winning the prestigious ECHO Klassik in Germany, as well as receiving an honorary doctorate. Classically trained at the renowned Juilliard School in New York, Mr. Lindemann’s proven ability to perform as a diverse artist places him at the front of a new generation of musicians. He has performed as soloist and recording artist with classical stars such as Sir Neville Marriner, Sir Angel Romero, Doc Severinsen, Charles Dutoit, Gerard Schwarz, Eiji Oue, Bramwell Tovey, and Jukka-Pekka Saraste. Having recorded for BMG, EMI, CBC, and the BBC, Mr. Lindemann is helping to redefine the idea of the concert artist by transcending stylistic genres and performing with “impeccable attacks, agility, and amazing smoothness” (The Clarín, Buenos Aires). Mr. Lindemann performed as a soloist with orchestras and won accolades at numerous festivals while still in his teens. A prizewinner at numerous competitions, including the prestigious ARD in Munich, Mr. Lindemann also placed first at both the Prague WEEK 5 and Ellsworth Smith (Florida) International Trumpet Competitions. Since then, he has performed solos with orchestras including the London Symphony, Philadelphia, Beijing, Buenos Aires Chamber, Detroit, Montreal, Warsaw, and Mostly Mozart at Lincoln Center. Based in Los Angeles, Mr. Lindemann is internationally endorsed by the Yamaha Corporation and performs exclusively on 24K gold-plated trumpets.

GTMF.ORG | Season 55 | 85 CHRISTOPHER MARTIN, trumpet

Playing his own stylish cadenza, Martin finessed the rapid runs and military-horn flourishes with a bright, “even tone and flawless technical command. – CHICAGO TRIBUNE Christopher Martin has enjoyed a ”distinctive career of nearly 20 years in many of America’s finest orchestras. Prior to his Chicago Symphony Orchestra (CSO) appointment by Daniel Barenboim, Mr. Martin served as Principal Trumpet of the Atlanta Symphony Orchestra and Associate Principal of The Philadelphia Orchestra. He will join the New York Philharmonic in the 2016–2017 season. Praised as a musician of “effortless understated virtuosity” by the Chicago Tribune, Christopher Martin has appeared as soloist multiple times domestically and internationally with the CSO and Music Director Riccardo Muti. Highlights of Mr. Martin’s solo appearances include the 2012 world premiere of Christopher Rouse’s concerto Heimdall’s Trumpet, Panufnik’s Concerto in modo antico with Riccardo Muti, a program of 20th-century French concerti by André Jolivet and Henri Tomasi, as well as over a dozen performances of Bach’s Brandenburg Concerto No. 2. Other solo appearances have featured Mr. Martin with the Australian Chamber Orchestra, Seiji Ozawa’s Saito Kinen Festival, the Atlanta Symphony, the Alabama Symphony, and the National Symphony Orchestra of Mexico. Christopher Martin’s discography includes a solo trumpet performance on the 2012 John Williams score to Stephen Spielberg’s Lincoln, the National Brass Ensemble’s Gabrieli album, as well as Chicago Symphony “Resound” label recordings including the widely-acclaimed 2011 release of CSO Brass Live.

KRISTIAN ALEXANDROV, keyboards

Kristian Alexandrov’s music was free and expressive and the mood spread into the crowd … cheers and whistles were heard all night. – LETHBRIDGE INSIDER WEEK 5 “ An accomplished Bulgarian” pianist, Kristian Alexandrov is a 2008 winner of the Canadian Smooth Jazz Award for Best Pianist. Since moving to Canada in 1995, Mr. Alexandrov has firmly entrenched himself in the Canadian music scene as an active composer, performer, record producer, musical director, and clinician. Onstage, Mr. Alexandrov has worked alongside many tremendous international artists, including Randy Brecker, KD Lang, Eric Marienthal, Kenny G, Allen Vizzutti, Alain Caron, Bob Mintzer, Wycliffe Gordon, The Canadian Tenors, Tommy Banks, and All Star Brass. Mr. Alexandrov is also a long-standing musical director for Jens Lindemann’s “BrassFire”, Decidedly Jazz Danceworks, Youth Singers of Calgary and R&B/Soul recording artist Shannon Gaye. Mr. Alexandrov grew up in a family of musicians in Sofia, Bulgaria. At six years of age, he was accepted into the prestigious L. Pipkov School of Music where he completed twelve years of intense training as a pianist and percussionist. Kristian’s natural ability, extensive training and passion for performance enabled him to tour across much of Europe by the age of nineteen.

86 | Grand Teton Music Festival | SUMMER 2016 CHAMBER MUSIC: MODERN MASTERPIECES

Thursday, August 4 | 8PM

Dutilleux Les Citations (1985; 1991; 2010) 14’ (1916–2013) For Aldeburgh— From Janequin to Jehan Alain

Martin Schuring, oboe Fred Bretschger, bass Adelle Eslinger Runnicles, harpsichord Brian Prechtl, percussion

Bowen Horn Quintet in C minor, op. 85 (1927) 26’ (1884–1961) Moderato serioso Andante espressivo Finale: Allegro molto e ritmico

Gail Williams, horn Ralph Matson, violin Barbara Scowcroft, violin Susan Gulkis Assadi, viola Daniel Laufer, cello

INTERMISSION WEEK 5

Bowen Fantasia for Four Violas, op. 41 no. 1 (1907) 10’ Chiara Kingsley Dieguez, viola Allyson Goodman, viola Philippe C. Chao, viola Kristen Linfante, viola

Bartók String Quartet No. 4 (1928) 22’ (1881–1945) Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

Dennis O’Boyle, violin Susanne Park, violin Meng Wang, viola Thalia Moore, cello

GTMF.ORG | Season 55 | 87 FESTIVAL ORCHESTRA: DANCES AND DAYDREAMS

Friday, August 5 | 8PM & Saturday, August 6 | 6PM

COLIN CURRIE, percussion DONALD RUNNICLES, conductor

Tchaikovsky Slavonic March, op. 31 (1876) 10’ (1840–1893)

Christopher Rouse Der gerettete Alberich (1997) 26’ (b. 1949) Colin Currie, percussion

INTERMISSION

Respighi Fountains of Rome (1915–1916) 15’ (1879–1936) The Fountain of Valle Giulia at dawn The Triton Fountain The Trevi Fountain The Villa Medici Fountain at sunset

Stravinsky Suite from The Firebird (1909–1910; 1919) 23’ WEEK 5 (1882–1971) Introduction The Firebird and her Dance Round Dance of the Princesses King Kashchei’s Infernal Dance Lullaby Finale

Join us for a Preconcert Talk hosted by Festival Musician Holly Mulcahy prior to these performances. See page 14 for details.

Maestro Donald Runnicles sponsored by Sylvia Neil & Dan Fischel Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Season 55 sponsored by Ellen & Dave Raisbeck, Ari Rifkin, in memory of Leonard Rifkin, Frances & Allan Tessler, and Barbara & John Vogelstein Performances sponsored by Janet & Bob Whitmire, Marilyn Nelson, in memory of Dr. Glen D. Nelson, and George Beller & Kakie Brooks Corporate Support provided by Karen Terra & Bob Graham, Julie & Matt Faupel, Mack Mendenhall, and Jackson Hole Real Estate Associates

88 | Grand Teton Music Festival | SUMMER 2016 COLIN CURRIE, percussion

A joy to watch as well as to hear. – THE GUARDIAN

“Hailed as “the world’s finest ”and most daring percussionist” (Spectator), Colin Currie is a solo and chamber artist at the peak of his powers. Championing new music at the highest level, Mr. Currie is the soloist of choice for many of today’s foremost composers, and he performs regularly with leading orchestras and conductors. A dynamic and adventurous soloist, Mr. Currie’s unrivaled commitment to commissioning and creating new music was recognized in 2015 by the Royal Philharmonic Society, who awarded him the Instrumentalist of the Year Award. From his earliest years, Mr. Currie forged a pioneering path in creating new music for percussion, winning the Royal Philharmonic Society Young Artist Award in 2000 and receiving a Borletti-Buitoni Trust Award in 2005. Mr. Currie has premiered works by composers such as Steve Reich, Elliott Carter, Louis Andriessen, HK Gruber, James MacMillan, Anna Clyne, Einojuhani Rautavaara, Jennifer Higdon, Kalevi Aho, Rolf Wallin, Kurt Schwertsik, Simon Holt, Alexander Goehr, Dave Maric, Julia Wolfe, and Nico Muhly. Looking ahead, in the coming seasons Mr. Currie will premiere new works by Brett Dean, Ross Edwards, and Mark-Anthony Turnage. Highlights of the past season included the world premiere of HK Gruber’s Into the Open… at the BBC Proms with the BBC Philharmonic, followed by the Austrian premiere at Wien Modern with the Vienna Symphony. Mr. Currie also performed the US premiere of MacMillan’s Percussion Concerto No. 2 at Cabrillo Festival with Marin Alsop conducting. Last season marked his first as Artist in Residence with the Oregon Symphony, and Mr. Currie premiered a new concerto by Andrew Norman at Carnegie Hall, followed by the European premiere with the BBC Symphony and Sakari Oramo. Chamber music performances have included a project with Cedric Tiberghien at

Wigmore Hall and Muziekgebouw Amsterdam, and a US tour with the Miro Quartet. WEEK 5 Mr. Currie’s dynamic percussion ensemble, the Colin Currie Group, was formed in 2006 to celebrate the music of Steve Reich and made its five-star debut at the BBC Proms. Since then, Reich has personally endorsed Mr. Currie, and his ensemble has taken on the role of ambassadors of “Drumming,” which they have performed at many venues and festivals internationally. In November 2013, the group gave its first performance of Reich’s “Music for 18 Musicians” in a sold-out Royal Festival Hall in the presence of the composer. The performance was lauded as “technically impeccable and musically overwhelming” (The Guardian). Mr. Currie has recorded many concerto, recital, and chamber works including most recently Alexander Goehr’s Since Brass, nor Stone released on NMC. His recording of Rautavaara’s Incantations with the Helsinki Philharmonic/Storgårds (Ondine) was released to critical acclaim and won a 2012 Gramophone Award. Other releases by Mr. Currie include Jennifer Higdon’s Percussion Concerto with the London Philharmonic/Alsop, which won a 2010 Grammy Award, and a recently recorded album including Simon Holt’s concerto, A Table of Noises, with The Hallé to be released by NMC in 2016.

GTMF.ORG | Season 55 | 89 When Trust Matters LRWB provides a broad range of premium legal services to regional, national, and international clients in matters related to estate planning, tax, business planning, probate and trust administration, real estate and land use, oil and gas and natural resources, elder law, family law, health law, international law, and asset protection.

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2016 SEASON In Focus Series July 24, 26 and 28

Summer Music Workshops July 26 – August 5

Orchestra Festival August 1 – 18

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90 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA ROSTER

Friday, August 5 & Saturday, August 6

VIOLIN I CELLO CLARINET BASS TROMBONE Angela Fuller Heyde Daniel Laufer Gregory Raden Jared Rodin Karen Kinzie Thalia Moore Victoria Luperi Dennis O’Boyle Barrett Sills Thomas LeGrand Patrick Neal Marcia Peck TUBA Robert Davidovici Sofia Zappi JáTtik Clark Tomoko Iguchi Judith McIntyre Galecki BASS CLARINET Sarah Schwartz Deborah Nitka Hicks Thomas LeGrand Lorien Benet Hart Amy Leung Olga Shpitko Julia Sengupta TIMPANI Rebekah Johnson Elizabeth Browne Robinson Edward Stephan Dimitri Lazarescu BASSOON Dan Rizner Sue Heineman Heather Kurzbauer BASS Sharon Kuster PERCUSSION Holly Mulcahy Steven Braunstein Robert Barney John Kinzie Richard Barber Brian Prechtl Andrew Raciti Wiley Arnold Sykes VIOLIN II Sidney King CONTRABASSOON Jennifer Ross Fred Bretschger Steven Braunstein Barbara Scowcroft Gordon Hill HARP Susanne Park David Williamson Elisabeth Remy Johnson Simon Shiao HORN Anne Preucil Lewellen Edward Wu Gail Williams

Sha WEEK 5 FLUTE Robert Lauver Mary Corbett Julia Bogorad-Kogan Nancy Goodearl Anna Genest KEYBOARD Alice Kogan Weinreb Gabrielle Webster Jennifer Gordon Levin Scott Holshouser Karl Pituch Anne-Marie Terranova Adelle Eslinger Runnicles Michael Lewellen Lois Finkel Eva Cappelletti Chao PICCOLO Carole Bean LIBRARIAN TRUMPET Gary Corrin VIOLA Christopher Martin Charles Daval Susan Gulkis Assadi OBOE Jennifer Marotta Brant Bayless Jaren Atherholt NAMES IN Roberta Zalkind Elizabeth Priestly Siffert BOLD INDICATE Allyson Goodman Martin Schuring PRINCIPAL CHAIR. TROMBONE Anna Kruger ALL ROSTERS Lucina Horner Michael Mulcahy ARE SUBJECT Kristen Linfante ENGLISH HORN Larry Zalkind TO CHANGE. Chiara Kingsley Dieguez Martin Schuring Meng Wang Philippe C. Chao

GTMF.ORG | Season 55 | 91 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, August 5 & Saturday, August 6 | Dances and Daydreams

PYOTR IL’YICH TCHAIKOVSKY CHRISTOPHER ROUSE Slavonic March, op. 31 Der gerettete Alberich

Russia and Turkey (the Ottoman Empire) were at war Christopher Rouse is one of America’s most prominent sporadically from 1696 to 1878, a period of almost 200 composers of orchestral music. His works have won a years during which the Czarist Empire slowly drove Pulitzer Prize and a Grammy Award; he has also been the Ottoman Turks back from its southern borders. In elected to the American Academy of Arts and Letters. 1876, Serbia independently declared war on Turkey, Rouse’s work is distinctive for its emotional intensity. acting as a surrogate for Russia, which did not join the The New York Times has called it “some of the most fight until 1877. anguished, most memorable music around.” The Baltimore Sun praised him: “When the music history of the late A concert for the benefit of the Red Cross and the 20th century is written, I suspect the explosive and Serbian wounded was planned for November 17, 1876, in passionate music of Rouse will loom large.” Moscow, and the Russian Musical Society commissioned Tchaikovsky to write something for the occasion, Rouse is currently a member of the composition honoring the Russians and Serbians who were fighting faculty at The Juilliard School. From 2012 to 2014, the Turks. When he completed the inspirational work, he he was Composer-in-Residence with the New York first called it Serbo Russian March. Now known as Slavonic Philharmonic. Every major orchestra in the US and March, even though it is not a march at all but an elaborate numerous ensembles overseas have performed his music. concert piece, it is a symphonic tone poem on the subject Rouse’s concerto Der gerettete Alberich (“Alberich Saved”), of the military alliance between the Russians and the a “fantasy for percussion and orchestra on themes of Serbs, expressed in its principal melodies. Wagner,” was commissioned for soloist Evelyn Glennie Programmatic in intent, it begins with the strings by a consortium of four leading orchestras: the Cleveland intoning the theme, which is derived from one of a Orchestra, the London Symphony Orchestra, the Philadelphia Orchestra, and the Baltimore Symphony WEEK 5 group of Serbian folk songs that Tchaikovsky uses in this work. It describes the Serbs’ oppression using the song Orchestra. Christoph von Dohnányi premiered the “Sunce jarko, ne sijas jednako” (“Bright sun, you do not work with the Cleveland Orchestra in January 1998; the shine equally”) and “Rado ide Srbin u vojnike” (“Gladly Cleveland Plain Dealer described Rouse’s transformation does the Serb become a soldier”). Tchaikovsky makes of Wagner’s narrative as “a fresh burst of creative use of other folk tunes in the middle section, in which imagination … [a] brilliant melding of romantic and he depicts the Russians helping the Serb cause, also contemporary idioms.” incorporating a rustic dance, and at the climax introduces Der gerettete Alberich is a result of imagining what the Czarist national hymn, “God save the Czar.” The happens at the end of Götterdämmerung, the last opera of prophecy of the victory of the Slavs over the Turks Wagner’s Ring cycle. The cycle plot is set in motion by appears musically in the return of the march theme at Alberich’s theft of the Rhine Gold. Rouse imagines what the end and a repeat of the national hymn. The work was evil Alberich, the king of the dwarfish Nibelung, might successful and aroused a storm of patriotic enthusiasm. do in a world without gods and with only the power of Slavonic March is scored for a large orchestra of pairs of love to redeem it. piccolos, flutes, oboes, clarinets, and bassoons, four horns, The form of this work loosely corresponds to the fast- two trumpets, two cornets, three trombones and tuba, slow-fast structure of the traditional concerto. Der timpani, percussion, and strings. gerettete Alberich begins with the last gloriously uplifting measures of Wagner’s Götterdämmerung before letting This is the first performance of this piece at the Grand Teton the percussionist, the musical personification of Alberich, Music Festival. free to wreak her “mischief ” with her percussion, participating in what is a whole new series of adventures.

92 | Grand Teton Music Festival | SUMMER 2016 The second movement is very lyrical, and the last to Georg Kaiser’s expressionist play Der gerettete movement, which begins with what has been called an Alkibiades. Rather than a concerto, Der gerettete “over-the-top rock drumming sequence,” demonstrates Alberich is more of a fantasy for solo percussionist how a classical symphony orchestra can play in a popular and orchestra on themes of Wagner, with the soloist style with a sense of humor. Bits and pieces of Alberich- taking on the role of Alberich. Much of the musical related themes from Wagner’s operas are inventively material in the work is derived from a number of woven throughout. motives associated with Alberich in the Ring, among them the motives for the curse, the power of gold, Rouse has written his own very informative note for the renunciation of love, annihilation, the Nibelungs, the work: and, of course, the ring itself. Only Wagner’s “One of Richard Wagner’s most interesting Redemption through Love motive stands beyond the decisions as creator of Der Ring des Nibelungen ken of the other, Alberich-related motives I have was to leave unclear the fate of Alberich, the used, though I have rather maliciously distorted it to villainous dwarf who has set in motion the suit the purposes of my ‘hero.’ inexorable machinery of destiny, leading in the Notwithstanding the discernible tripartite structure end to the apocalyptic cataclysm which concludes of Der gerettete Alberich, this work is somewhat Götterdämmerung. As is so often the case in looser architecturally than other scores of mine to Wagner’s operas, Alberich is more than a cardboard which I have appended the title concerto—hence villain in the Italian mode—as memorable as my decision to refer to it as a ‘fantasy.’ Having said he is, a Scarpia, for example, is thoroughly and all of the above, it would now be absurd of me to irredeemably maleficent. Alberich, on the other aver that this work is not programmatic; however, hand—like Frederick of Telramund, or Klingsor, it is fair to say that it is not a narrative piece in the WEEK 5 or even Fafner—is not entirely unsympathetic; manner of, say, Strauss’ Don Quixote. Beyond a brief however cruel his actions, they are often the result passage in which Alberich serves a stint as a rock of mistreatment at the hands of others. It is the drummer (probably inspired, at least in part, by the Rhinemaidens’ heartless mockery of him that leads wonderfully over-the-edge ‘Wagner Reincarnated’ Alberich to the theft of the gold, and it is Wotan’s scenes in Ken Russell’s film Lisztomania), I was not treachery that goads Alberich into placing his attempting to paint specific pictures in this score. mighty curse on the ring he has fashioned from the However, the listener is free to provide whatever gold. (Indeed, Wotan is something of a mirror image images he or she likes to the sonic goings-on.” to Alberich, an essentially sympathetic character whose actions are often devious, even ignoble.) Thus, The soloist plays four wood blocks, four log drums, four it is possible with Alberich—and with many other tom-toms, two bongos, two timbales, a snare drum, a Wagnerian villains—to recognize the inherent evil marimba, two guiros, a pedal-operated bass drum, and a of his nature and deeds and yet still discern some drum set. The orchestration calls for piccolo, two flutes, measure of humanity in him and, in the process, to three oboes, three clarinets, three bassoons, six horns, feel compassion for his plight. three trumpets, three trombones, tuba, harp, timpani, percussion, and strings. The percussion section makes use As Alberich’s whereabouts are unknown at the of chimes, antique cymbals, xylophone, castanets, tam- end of the Ring, it occurred to me that it might be tam, bass drum, suspended cymbal, four tom-toms, anvil, engaging to return him to the stage, so to speak, so and thunder sheet. that he might wreak further havoc in what is quite literally the godless world in which Wagner has This is the first performance of this piece at the Grand Teton left us in the final pages of Götterdämmerung. The Music Festival. result was Der gerettete Alberich, whose title might best be translated as Alberich Saved, itself a reference

GTMF.ORG | Season 55 | 93 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, August 5 & Saturday, August 6 | Dances and Daydreams | continued

OTTORINO RESPIGHI radiant surface of the water there passes Neptune’s Fountains of Rome chariot, drawn by sea horses and followed by a train of sirens and tritons. The procession then vanishes, Little of Ottorino Respighi’s music is left in the active while faint trumpet blasts resound in the distance. concert repertoire today except his symphonic poems The fourth part, The Villa Medici Fountain at sunset, about the pines, the fountains, and the festivals of is announced by a sad theme, which rises above a Rome, and several suites of arrangements of older music. subdued warbling. It is the nostalgic hour of sunset. He was much more highly regarded as a composer in The air is full of the sound of tolling bells, birds his time than he is today. After studying with the best twittering, leaves rustling. Then all dies peacefully into Italian musicians, then with Rimsky-Korsakov in St. the silence of the night.” Petersburg and with Max Bruch in Berlin, he led a varied life as a musician: He was a violinist, a conductor, Visitors to Rome can easily find the Respighi fountains an educator, and a composer who wrote chamber music in the center of the city. The Triton Fountain is in the and lieder like a German, colorful orchestra music like a Piazza Barberini at the foot of the Via Veneto. The Trevi Russian, and operas like an Italian. Fountain is a few short blocks from the Via del Corso. The Fountain of the Villa Medici is across from the Villa The four sections of the perennially popular tone poem Medici, on the Viale Trinità dei Monti, near the top of Fountains of Rome are titled The Fountain of Valle Giulia the Spanish Steps. at dawn, The Triton Fountain, The Trevi Fountain, and The Villa Medici Fountain at sunset. The following The score calls for an orchestra of piccolo, two flutes, description of the music is published in the score: two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, “In this symphonic poem the composer has tuba, timpani, cymbals, triangle, glockenspiel, bell, celesta, endeavored to give expression to the sentiments piano, two harps, and strings. There is also an optional and visions suggested to him by four of Rome’s part for organ. WEEK 5 fountains, contemplated at the hour in which their character is most in harmony with the surrounding This piece was last performed at the Grand Teton landscape, or in which their beauty appears most Music Festival on August 11 and 12, 1995, with impressive to the observer. Alessandro Siciliani, conductor. The first part of the poem, inspired by the Fountain of Valle Giulia, depicts a pastoral landscape; droves of cattle pass and disappear in IGOR STRAVINSKY the fresh, damp mists of a Roman dawn. Suite from The Firebird (1919) A sudden loud and insistent blast of horns above the trills of the whole orchestra introduces the When the impresario Sergei Diaghilev was planning a second part, The Triton Fountain. It is like a joyous ballet on the Russian legend of The Firebird for his 1910 call, summoning troops of naiads and tritons, Paris season, he commissioned a score from Anatoly who come running up, pursuing each other and Liadov (1855–1914). Three months later, when he asked mingling in a frenzied dance between the jets Liadov how the work was progressing, Liadov replied, of water. “Marvelously! I’ve already bought the music paper.” Next there appears a solemn theme, borne on the Impatient, Diaghilev withdrew the commission and gave undulations of the orchestra. It is the Fountain it instead to Igor Stravinsky, who was then still in his 20s of Trevi at midday. The solemn theme, passing and relatively unknown. Diaghilev was quite certain that from the wood to the brass instruments, assumes Stravinsky could handle the responsibility of writing an a triumphal character. Trumpets peal; across the original score for a ballet.

94 | Grand Teton Music Festival | SUMMER 2016 Stravinsky was nervous about the commission because [Debussy] what he really thought of The Firebird. He the music had to be ready quickly, but he set to work and said, ‘What difference does it make? You had to begin completed the score in time for the premiere at the Paris with something.’ Honest but not flattering. The Parisian Opera on June 25, 1910. Thus began the Stravinsky- audience wanted a taste of avantgarde, Ravel said, and Diaghilev association that led later to the creation of he felt that The Firebird was, according to Ravel, just Petrushka, The Rite of Spring, Le Rossignol, and Pulcinella. that. To this I would add that while it is more vigorous The Firebird, by Fokine, tells the story of the intervention than most of the ‘composed’ folk music of the period, it of the title character, a beautiful rare bird who, with is also not too original—good conditions for a success. I Prince Ivan’s help, struggles against the immortal, evil was more proud of some of the orchestration than of the magician Kashchei. The Firebird gained her designation music itself. The Firebird has been a mainstay in my life on account of her beautiful feathers, which glitter and as a conductor. I made my debut with it in 1915 in Paris, flicker like the flames of fire. The music ofThe Firebird and since then I have performed it nearly a thousand melds the orchestral finesse Stravinsky had learned as times, though ten thousand would not erase the memory Rimsky-Korsakov’s student with Russian folk music to of the terror I suffered that first time.” yield a dazzling, evocative score. Many consider the work In 1911, Stravinsky created a suite of excerpts from the musically so interesting that it has been acknowledged ballet; years later, fearing that the expense of engaging it can be better appreciated in concert performance, so many musicians was preventing the piece from being without the distraction of the complicated events that performed, he prepared a shorter suite, using less than take place on the stage when the work is danced. The half of the original ballet score, for a smaller orchestra. scenes of the suite are: The shorter version is the popular 1919 suite. 1. Introduction The score calls for two flutes, two oboes, two clarinets, 2. The Firebird and her Dance two bassoons, four horns, two trumpets, three trombones, WEEK 5 3. Round Dance of the Princesses tuba, timpani, percussion, harp, piano, and strings. 4. King Kashchei’s Infernal Dance 5. Lullaby This piece was last performed at the Grand Teton 6. Finale Music Festival on August 4 and 5, 2006, with Andrey In the first movement, the strings suddenly tremble, Boreyko, conductor. announcing the arrival of the Firebird. Her dance is orchestrated lavishly and punctuated by the high woodwinds. In a calm, pastoral section, the Firebird casts a spell over Kashchei and his followers. To the accompanying frenetic rhythms, they are forced to dance themselves into exhaustion in a savage “Infernal Dance.” When their spasms subside, with a serene lullaby, the Berceuse, the Firebird lulls the hypnotized Kashchei and the monsters to sleep to the sound of the bassoon and the soft, diminishing string tremolos. Finally, a solo horn playing the score’s most famous folk tune is followed by a harp glissando; then the brass join the orchestra in a song of deliverance after Kashchei’s demise, which concludes this brilliantly orchestrated fantasy. In the 1960s, Stravinsky recollected: “Like all ‘story’ ballets, [The Firebird] demanded ‘descriptive’ music of a kind I did not want to write. Some years later, I asked

GTMF.ORG | Season 55 | 95 WEEK 6 96 |Grand Teton MusicFestival | Sunday, 7|7PMCenter theArts August for ORCHESTRA BROWN RICHARD THE WITH CLASSICS BIG BAND Erskine Hawkins/Johnson/Dash Joseph Winner Gray Jerry Cole Porter Kahal Fain/Irving Sammy George Gershwin/Ira Gershwin Cahn Jule Styne/Sammy Ellington Duke Strayhorn Billy Prima Louis Garland Joe Warren/MackHarry Gordon Cole Porter Ted B. Smith Snyder/Harry McHugh/Dorothy Jimmy Fields Stept/Brown/Tobias Frank Loesser Cole Porter Meacham Frank White Gray Jerry Glenn Miller PRESENTS: GTMF SUMMER 2016

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THE RICHARD BROWN ORCHESTRA “The Richard Brown Orchestra hit all of the right notes.” – HOUSTON CHRONICLE ORCHESTRA PERSONNEL REBECCA BOWMAN, vocalist GARY WELDON, trumpet BOB LUNA, vocalist KEITH DAVIS, trumpet KELLEY PETERS, vocalist CHARLES DAVAL, trumpet GIGI WELLING, vocalist DICK MCGEE, trombone JOHNNY GONZALES, alto sax KEVIN STOUT, trombone DAVE HALL, alto sax JARED RODIN, trombone BRIAN BOOTH, tenor sax TOMMY PETERS, guitar LEMOYNE TAYLOR, tenor sax PAM DREWS PHILLIPS, piano DAVID ASMAN, baritone sax RANKIN PETERS, bass REED LECHEMINANT, trumpet RICHARD BROWN, drums

Percussionist Richard Brown founded the Richard Brown Orchestra (RBO) in 1996. Since then, the RBO has been regarded as Houston’s premier gala orchestra. Featuring the region’s finest musicians and soloists, the orchestra performs an incomparable library of arrangements with enormous flexibility. Mr. Brown enjoys a multifaceted career as an educator, professional musician, and businessman. He is Professor of Percussion at Rice University’s Shepherd School of Music, as well as Principal Percussionist of both the Houston Grand Opera and the Grand Teton Music Festival Orchestras. Mr. Brown began his musical career at the age of 18 playing with the Chamber Symphony of Philadelphia and Philadelphia Lyric Opera. After his stint with the United States Army Band in Washington, DC, he joined the Houston Symphony, a position he held for eight years. To pursue other facets of his musical interests, Mr. Brown became a freelance percussionist in New York City, working on Broadway and playing such shows as West Side Story, Showboat, and Shirley MacLaine, as well as working in the recording studios and with the Metropolitan Opera and the New York WEEK 6 Philharmonic. During that time, he also began working for Ann-Margret, performing with her for 15 years in her live shows both in Las Vegas and on tour. In 1985, Mr. Brown was appointed Professor of Percussion by the Shepherd School of Music and began to play regularly with the Houston Symphony under the baton of Christoph Eschenbach. He became the personnel manager for the Grand Teton Music Festival and, subsequently, for the Houston Grand Opera Orchestra. This led him to an interest in the business of music and eventually the creation of Richard Brown Music, a company that hires freelance musicians for Houston’s concerts and prominent churches. Mr. Brown is proud to say that he offers over 2,000 employment opportunities to Houston’s professional musicians annually.

GTMF.ORG | Season 55 | 97 INSIDE THE MUSIC: FROM TIN PAN ALLEY TO THE TETONS

Tuesday, August 9 | 7PM

JERRY HOU, host

Joplin Maple Leaf Rag (1900) 4’ (c. 1867–1917) Scott Holshouser, piano

Copland Sextet (1937) 15’ (1900–1990) Allegro vivace Lento Finale

Victoria Luperi, clarinet Lucina Horner, viola Angela Fuller Heyde, violin Judith McIntyre Galecki, cello Karen Kinzie, violin Scott Holshouser, piano

Barber from String Quartet in B minor, op. 11 (1936) 7’ (1910–1981) II. Molto adagio

Angela Fuller Heyde, violin Lucina Horner, viola Karen Kinzie, violin Judith McIntyre Galecki, cello

Steve Reich Clapping Music (1972) 5’ (b. 1936) Jerry Hou, performer I Marty Camino, performer II

WEEK 6 John Adams China Gates (1976) 6’ (b. 1947) Andrew Palmer Todd, piano

Pierre Jalbert from Street Antiphons (2015) 5’ (b. 1967) I. Driving, in a groove

Victoria Luperi, clarinet Judith McIntyre Galecki, cello Angela Fuller Heyde, violin Scott Holshouser, piano

98 | Grand Teton Music Festival | SUMMER 2016 GTMF PRESENTS: AN EVENING OF BEETHOVEN WITH PIANIST JONATHAN BISS

Wednesday, August 10 | 7PM

JONATHAN BISS, piano

Beethoven Piano Sonata No. 4 in E-flat major, op. 7 (1796–1797) 27’ (1770–1827) Allegro molto e con brio Largo, con gran espressione Allegro Rondo: Poco allegretto e grazioso

Beethoven Piano Sonata No. 17 in D minor, op. 31 no. 2 “Tempest” (1802) 22’ Largo—Allegro Adagio Allegretto

INTERMISSION

Beethoven Piano Sonata No. 24 in F-sharp major, op. 78 (1809) 11’ Adagio cantabile—Allegro ma non troppo Allegro vivace

Beethoven Piano Sonata No. 30 in E major, op. 109 (1820) 19’ Vivace ma non troppo—Adagio espressivo Prestissimo Gesangvoll, mit innigster Empfindung: Andante, WEEK 6 molto cantabile ed espressivo

Sponsored by Paul von Gontard

GTMF.ORG | Season 55 | 99 JONATHAN BISS, piano

The American pianist Jonathan Biss is the most consistently interesting Beethovenist of his thirtysomething generation; nobody else interrogates the score with such intensity, or infuses it with “such electricity in performance. He’s carved out a parallel career as a tutor, creating a video course on Beethoven’s sonatas which has, so Wikipedia tells us, reached 100,000 students in 160 countries. – INDEPENDENT ” Jonathan Biss is a world-renowned pianist who shares his deep musical and intellectual curiosity with classical music lovers in the concert hall and beyond. In addition to performing a full schedule of concerts, the 35-year-old American has spent nine summers at the Marlboro Music Festival. A member of the faculty of his alma mater, the Curtis Institute of Music, since 2010, Mr. Biss led the first massive open online course (MOOC) offered by a classical music conservatory, “Exploring Beethoven’s Piano Sonatas,” which has reached more than 100,000 people in over 160 countries. This past season Mr. Biss performed an exciting combination of orchestral works, solo pieces, and chamber music. He appeared with the Konzerthausorchester Berlin, the Sydney Symphony, the Philadelphia Orchestra, the BBC Scottish Symphony Orchestra, the Swedish Radio Symphony Orchestra, and the Calgary Philharmonic Orchestra, among others. In addition to solo recitals across the United States and Europe, he toured with the Doric Quartet in the US, performed at Wigmore Hall and the Concertgebouw, and played recitals with his mother, violinist Miriam Fried. This past season, Mr. Biss launched his latest Beethoven project, “Beethoven/5,” for which the Saint Paul Chamber Orchestra is commissioning five composers to write new piano concertos, each inspired by one of Beethoven’s five piano concertos. The five-year plan began last year, where Mr. Biss played Beethoven’s Piano Concerto No. 2 and the new concerto by Timo Andres that it inspired. In the next four years, Mr. Biss will premiere new concertos by Sally Beamish, Salvatore Sciarrino, Caroline Shaw, and Brett Dean, each paired with a Beethoven concerto. Mr. Biss has also embarked on a nine- year, nine-disc recording cycle of Beethoven’s complete piano sonatas, and he reached the halfway point in early 2016. His bestselling eBook, Beethoven’s Shadow, published by RosettaBooks in 2011, was the first Kindle Single written by a classical musician. Mr. Biss represents the third generation in a family of professional musicians that includes his grandmother, Raya Garbousova, one of the first well-known female cellists (for whom Samuel Barber composed his Cello Concerto), and his parents, violinist Miriam Fried and violist/violinist Paul Biss. Jonathan Biss began his piano studies at age 6. He studied at Indiana University WEEK 6 with Evelyne Brancart and at the Curtis Institute of Music in Philadelphia with Leon Fleisher. Mr. Biss has been recognized with numerous honors, including the Leonard Bernstein Award presented at the 2005 Schleswig-Holstein Festival, Lincoln Center’s Martin E. Segal Award, and an Avery Fisher Career Grant. His recent albums for EMI won Diapason d’Or de l’année and Edison Awards. He was an artist-in-residence on American Public Media’s Performance Today and was the first American chosen to participate in the BBC’s New Generation Artist program.

100 | Grand Teton Music Festival | SUMMER 2016 CHAMBER MUSIC: MOZART & BRAHMS

Thursday, August 11 | 8PM

Brian Prechtl Grand is the Seen (2015) 14’ (b. 1962) Tad Peel, narrator Brian Prechtl, percussion Edward Stephan, percussion John Kinzie, percussion

Gaubert Three Watercolors (1921) 15’ (1879–1941) On a clear morning Autumn evening Serenade

Carole Bean, flute Krisanthy Desby, cello Andrew Palmer Todd, piano

W.A. Mozart Violin and Viola Duo in G major, K. 423 (1783) 15’ (1756–1791) Allegro Adagio Rondeau: Allegro

Marta Krechkovsky, violin Allyson Goodman, viola

INTERMISSION WEEK 6

Brahms Clarinet Trio in A minor, op. 114 (1891) 26’ (1833–1897) Allegro Adagio Andantino grazioso Allegro

Gregory Raden, clarinet Joel Noyes, cello Scott Holshouser, piano

Sponsored by Mariam Diehl and Diehl Gallery

GTMF.ORG | Season 55 | 101 FESTIVAL ORCHESTRA: SHOSTAKOVICH’S TRIUMPH

Friday, August 12 | 8PM & Saturday, August 13 | 6PM

JONATHAN BISS, piano JAMES CONLON, conductor

Weber Overture from Oberon (1825–1826) 9’ (1786–1826)

Beethoven Piano Concerto No. 2 in B-flat major, op. 19 (1788; 1794–1795; 1798) 29’ (1770–1827) Allegro con brio Adagio Rondo: Molto allegro

Jonathan Biss, piano

INTERMISSION

Shostakovich Symphony No. 5 in D minor, op. 47 (1937) 44’ (1906–1975) Moderato Allegretto Largo Allegro non troppo WEEK 6

Join us for a Preconcert Talk hosted by Festival Musician Heather Kurzbauer prior to these performances. See page 14 for details.

Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Season 55 sponsored by Ellen & Dave Raisbeck, Ari Rifkin, in memory of Leonard Rifkin, Frances & Allan Tessler, and Barbara & John Vogelstein Guest Conductor James Conlon sponsored by Ed & Marlies Artzt Guest Artist Jonathan Biss sponsored by Barbara & Arnold Silverman Performances sponsored by Suzanne & John Whitmore and Anne & Joel Ehrenkranz Corporate Support provided by Private Jet Services

102 | Grand Teton Music Festival | SUMMER 2016 JONATHAN BISS, piano Read about pianist Jonathan Biss on page 98.

JAMES CONLON, conductor

He is a miracle of equilibrium: His dramatic intuition never fails, nor betrays the transparency of the music … In full command of his skills, Conlon exudes maturity to his fingertips. “– LE MONDE DE LA MUSIQUE ” James Conlon, one of today’s most versatile and respected conductors, has cultivated a vast symphonic, operatic, and choral repertoire. Since his 1974 debut with the New York Philharmonic, he has conducted virtually every major American and European symphony orchestra. Through worldwide touring, an extensive discography and videography, numerous essays and commentaries, frequent television appearances and guest speaking engagements, Mr. Conlon is one of classical music’s most recognized interpreters. Mr. Conlon is Music Director of the Los Angeles Opera and the Cincinnati May Festival, America’s oldest choral festival. Last season, he brought to a close a 37-year tenure of the May Festival, one of the longest tenures of any American classical music institution, and became Conductor Laureate. He also takes the post of Principal Conductor of the RAI National Symphony Orchestra in Torino, Italy, in 2016. Mr. Conlon has served as Music Director of the Ravinia Festival, summer home of the Chicago Symphony; Principal Conductor of the Paris National Opera; General Music Director of the City of Cologne, Germany; and Music Director of the Rotterdam Philharmonic. Mr. Conlon has conducted more than 270 performances at the Metropolitan Opera since his debut there in 1976. At the Los Angeles Opera, where he has been Music Director since 2006, Mr. Conlon has conducted 48 different operas, including 23 company premieres, two US premieres, and one world premiere. In an effort to raise awareness of the significance of the lesser-known works of composers silenced by the Nazi regime, Conlon has devoted himself to extensive programming of this music throughout Europe and North America. In 2013, he was awarded the Roger E. Joseph Prize at Hebrew Union College-Jewish Institute of Religion for his efforts to eradicate racial and religious prejudice, and in 2007, he

received the Crystal Globe Award from the Anti-Defamation League. His work WEEK 6 on behalf of suppressed composers led to the creation of the OREL Foundation, an invaluable resource on the topic for music lovers, musicians, and scholars, and the Ziering-Conlon Initiative for Recovered Voices at the Colburn School. Mr. Conlon’s extensive discography and videography can be found on the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. He has won two Grammy Awards for Best Classical Album and Best Opera Recording for the Los Angeles Opera recording of Weill’s Rise and Fall of the City of Mahagonny. Mr. Conlon was among the five initial recipients of the Opera News awards. His other honors include a Lifetime Achievement Award from the Istituto Italiano di Cultura in Los Angeles (2010), the Medal of the American Liszt Society (2008), and Italy’s Premio Galileo 2000 Award for his significant contribution to music, art, and peace in Florence (2008). Mr. Conlon was named Commandeur de L’Ordre des Arts et des Lettres by the French Minister of Culture and, in 2002, he received the Légion d’Honneur, France’s highest distinction, from then-President of the French Republic, Jacques Chirac.

GTMF.ORG | Season 55 | 103 FESTIVAL ORCHESTRA ROSTER

Friday, August 12 & Saturday, August 13

VIOLIN I CELLO CLARINET BASS TROMBONE Ralph Matson Joel Noyes Gregory Raden Jared Rodin David Taylor Christopher Adkins Victoria Luperi Angela Fuller Heyde David Garrett Bruno Eicher Kari Jane Docter TUBA Dennis O’Boyle Marcia Peck E-FLAT CLARINET Craig Knox Lorien Benet Hart Judith McIntyre Galecki Thomas LeGrand Karen Kinzie Thalia Moore Patrick Neal Krisanthy Desby Susanne Park Janet Steinberg TIMPANI Marta Krechkovsky Amy Leung BASSOON Edward Stephan Eva Cappelletti Chao Christopher Millard Jay Christy Sharon Kuster Anne-Marie Terranova BASS PERCUSSION Carolyn Kessler Robert Barney Richard Brown Andrew Raciti CONTRABASSOON Brian Prechtl Richard Barber Steven Braunstein John Kinzie VIOLIN II Gordon Hill Wiley Arnold Sykes Jennifer Ross Sidney King Scott Mozlin Fred Bretschger HORN Jennifer Thompson William Ritchie Gail Williams HARP Barbara Scowcroft Robert Lauver Rachel Van Voorhees Kirschman Heather Kurzbauer Nancy Goodearl Dimitri Lazarescu FLUTE Gabrielle Webster Holly Mulcahy Julia Bogorad-Kogan Karl Pituch Sarah Schwartz KEYBOARD Camille Churchfield Sha Adelle Eslinger Runnicles Rebekah Johnson Marina Brubaker TRUMPET PICCOLO Dan Rizner Thomas Hooten LIBRARIAN Carole Bean Charles Daval Robert Stiles Peter Margulies VIOLA OBOE Reid Harris NAMES IN Susan Gulkis Assadi Jaren Atherholt TROMBONE WEEK 6 BOLD INDICATE Brant Bayless Elizabeth Priestly Siffert Michael Mulcahy PRINCIPAL CHAIR. Valerie Heywood Larry Zalkind ALL ROSTERS Allyson Goodman ARE SUBJECT Anna Kruger TO CHANGE. Philippe C. Chao Roberta Zalkind Mary Hammann Martin Andersen

104 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, August 12 & Saturday, August 13 | Shostakovich’s Triumph

CARL MARIA VON WEBER LUDWIG VAN BEETHOVEN Overture from Oberon Piano Concerto No. 2 in B-flat major, op. 19

Carl Maria von Weber’s solid musical roots in Early in his career, when Beethoven took Mozart’s 18th-century Classicism and his seven operas earned piano concertos as his models, he adapted their form him the title “Father of German (Romantic) Opera,” and idiom to his own style of execution and to the although generally now only the overtures of those newly improved instrument that the piano of his time seven operas are performed. In Oberon, or The Elf King’s had become. Carl Czerny (1791–1857), Beethoven’s Oath (1825–1826), Weber incorporated pageantry and pupil and Liszt’s teacher, who is remembered now a supernatural, exotic location with damsels in distress, only as the composer of a great quantity of piano study knights in shining armor, and marauding pirates. material, wrote: “Beethoven’s playing was notable for The work has an ineffable sweetness, as it depicts the its tremendous power, unheard of bravura and facility. mysteries of the country of the elves and the life of the He had practiced day and night during his youth and spirits of the air, earth, and water. worked so hard that his health suffered. Beethoven’s The overture joins many themes from the opera in a playing of slow and sustained music made an almost sonata form structure with lyricism, warm coloration, magical impression on the listener and, so far as I know, and vibrant rhythmic figures. Music historian Donald has never been surpassed.” Beethoven viewed himself as Tovey regarded the overture as “a gorgeous masterpiece Mozart had, as both pianist and as composer. Mozart of operatic orchestration.” It begins with a slow had been the greatest pianist of his generation, but his introduction placing it in fairyland, a mysterious forest playing had been weakened, Beethoven told Czerny, by where horn calls, linked with Oberon’s call to the fairies, the time he spent playing on the harpsichord as a child and atmospheric muted strings, skittering flutes, and before pianos were widely available. clarinets abound. The energetic brass theme, indicating Today, listeners and scholars can understand the world of the knights, is linked to the clarinet’s lyrical Beethoven’s first three piano concerti as amplifications prayer theme by a brief reprise of the introduction; also and modernizations of Mozart’s concerti. When introduced are Rezia’s grand aria, “Ocean! Thou mighty young Beethoven made his first public appearance in monster!” and a stamping rhythm identified with the Vienna, on March 29, 1795, at a concert for the benefit elves, Puck and Droll. The overture’s brilliant conclusion of the Widows and Orphans Fund of the Society of WEEK 6 is majestic yet tumultuous. Musicians, he played this concerto in its first version. The overture is scored for two flutes, two clarinets, two He had probably begun to work on it in 1793 or earlier, oboes, two bassoons, four horns, two trumpets, three but two days before the concert, according to a friend’s trombones (alto, tenor, and bass), timpani, and strings. account, he had not written out all the musical revisions. He finished the last movement “while suffering from a This is the first performance of this piece at the Grand Teton severe colic. … I relieved him with simple remedies as Music Festival. best I could, while in the next room sat four copyists to whom we handed page after page of music” from which they prepared the parts for the accompanying orchestra. After the hurried preparation of this premiere, Beethoven revised the concerto and finalized its form into its present version for his visit to Prague in 1798. It actually came first in order of composition, but it is called Piano Concerto No. 2 because it was second in order of publication. It was not published until 1801.

GTMF.ORG | Season 55 | 105 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, August 12 & Saturday, August 13 | Shostakovich’s Triumph

BEETHOVEN | Piano Concerto No. 2, continued DMITRI SHOSTAKOVICH Symphony No. 5 in D minor, op. 47 Beethoven often played it in later years, too, and around 1809, he wrote out a long first-movement solo cadenza, Shostakovich’s family was originally Polish but settled which until then he had usually improvised at each in Russia after his grandfather’s exile in Siberia. As a performance. Beethoven undervalued this charming boy, Shostakovich had his first piano lessons from his concerto, which may have been why he held it back until mother, and, at the age of 13, entered the Leningrad after his later concerto had a public hearing. He told his Conservatory. In 1925, when he was 19, he completed publisher, “I don’t consider it one of my best works.” his Symphony No. 1 as a Conservatory graduation piece. The three movements of this more or less traditional This period after the Russian Revolution was an era when Classical form concerto are a long and thoroughly the rulers of the Soviet Union felt that their new kind developed Allegro con brio, in which the piano does of society should support new kinds of art, and Russian not enter until after the orchestral exposition. There is composers, poets, novelists, and painters formed a true traditional virtuoso display opportunity for the piano, avant-garde. Before long, however, their ideas changed. and an interesting dialogue ensues between piano and Shostakovich, one of the most formidable Russian orchestra in which they interact with exchanges of composers of the 20th century, had a difficult time fragments of themes. In the usual place, just before practicing the art of musical composition due to the end of the first movement, there is a large and official Soviet disfavor for a lengthy part of his career. demanding cadenza for the piano, which Beethoven Although his early music met with approval not only wrote out completely. In the second movement, a in Russia but internationally, as soon as Shostakovich serious and expressive Adagio, the soloist and orchestra composed his opera Lady Macbeth of Mtsensk and his share a pensive dialogue on a single subject. The last next symphonies, Pravda, the official Soviet news agency, movement, a highly rhythmic final Rondo, Molto allegro, began its condemnation of his work for its “bourgeois is dominated by a syncopated refrain that is repeated decadence.” They described his symphonies as un- several times. Soviet, unwholesome, cheap, eccentric, and lacking in The concerto is dedicated to Carl Nicolas von Nickelsberg, “songfulness.” Authorities suggested he should attempt an Austrian Imperial Commerce Department official to compose music that would have greater appeal for whose connection to Beethoven is not clear. the masses, music that was simpler, more melodic, more optimistic, and more heroic in character. Ultimately The accompanying orchestra includes flute, two oboes, Shostakovich was rehabilitated, but not until after a two bassoons, two horns, and strings. difficult period of soul-searching. Success finally returned WEEK 6 to him with this, his Fifth Symphony. It was more This piece was last performed at the Grand Teton Music expansive and heroic than those that had preceded it, and Festival on July 29 and 30, 2005, with Michael Stern, it even had what was noted to be “catchy rhythm” and a conductor, and Shai Wosner, piano. “heroic opening.” The authorities quoted Shostakovich as describing this work as “a Soviet artist’s practical, creative reply to just criticism,” and he was allowed to re-enter the mainstream of Russian musical life. Shostakovich’s troubles, however, were not over. He continued intermittently to have difficulties of one kind or another with the authorities all the way up to the time of his Symphony No. 13 (1962), which he dedicated to the memory of the victims of the Nazis’ wartime mass murders at Babi Yar. Even then, his acknowledged

106 | Grand Teton Music Festival | SUMMER 2016 position as one of the world’s greatest living composers composed with the sure hand of a mature creator who did not protect him from public indignity, nor did is artistically and ideologically confident. Its subjects are it inhibit his creativity and innovation. His last long melodies used in new but simple ways. two symphonies were works of great originality, of Throughout its four movements, the symphony abounds unconventional structure and content. in easily recognizable themes and in sustained passages During the 45 years between 1925 and 1970, of lyrical beauty, yet it also has a constant, pressing Shostakovich wrote 15 works in the symphonic form. intensity. The opening movement, Moderato, is rich in This group of works is enormously varied in character dramatic contrasts and begins with a daring theme that and size, but all of them embody the essential idea of critic Edward Downes found reminiscent of Beethoven’s being an extended, highly developed work based on a Great Fugue, op. 130. The theme passes from violins to large number of contrasting themes. No other composer horns and then trumpets, and after that, back to the of the 20th century has made so extensive, so important, violins. As the rhythm becomes more propulsive, the so durable a contribution to symphonic literature. tempo increases and more brass enters to intone the Shostakovich’s symphonies combine somber tragedy, thematic statements. The tempo slows again for the mordant wit, expressive melody, dramatic development, recapitulation when the whole orchestra joins together and profound emotion, all under a brilliantly to repeat the opening theme. The second movement, orchestrated surface. Allegretto, is a waltz-like scherzo with a contrasting Music historians see Shostakovich’s works as a historic middle trio section that features a solo violin. The extension of the great symphonic tradition of the last two symphony reaches its climax in the third movement, centuries. From Haydn and Mozart through Beethoven, Largo, which is one of the composer’s most original and Schubert, Mendelssohn, Schumann, and Brahms, the deeply felt movements. It begins calmly, builds with symphony seemed to move in a straight line, but then momentous intensity to the climax, and then returns it branched out. In the German-speaking countries, to the mood of the beginning. The finale, Allegro non Bruckner and Mahler took off in another direction; troppo, is an extended rondo, militant and march-like, French composers like Chausson and Franck conceived with a theme introduced by the brass instruments. of their symphonies in yet another way. In Russia, Grandeur and power are delivered in many musical ideas Tchaikovsky and Borodin, too, had other lines to follow. that erupt one after the other in fiery succession. The The mature symphonies of Shostakovich show him to be mood then softens in a slower section, but returns to the WEEK 6 a composer who combines qualities from Tchaikovsky and spirit and tempo of the opening and then goes on to a Mahler into a new kind of modern Russian symphony. triumphal conclusion. Shostakovich’s Symphony No. 5 has remained his most Shostakovich scored the symphony for piccolo, two popular work. Describing his work programmatically, flutes, two oboes, two clarinets, clarinet in E-flat, two perhaps because he felt compelled to do so, he said: bassoons, four horns, two trumpets, three trombones, “The theme of my Symphony is the stabilization of a tuba, timpani, percussion, piano, harp, and strings. personality. In the center of this composition—conceived lyrically from beginning to end—I saw a man with all This piece was last performed at the Grand Teton Music his experiences. The finale resolves the tragically tense Festival on June 27 and 28, 2003, with Eiji Oue, conductor. impulses of the earlier movements into optimism and joy of living.” It was written to celebrate the 20th anniversary of the Russian Soviet Socialist Republic and had its first performance in Leningrad on November 21, 1937. The symphony was praised at its first hearing in Russia, as well as several months later in its first performance in the United States. An original and inventive work, it was

GTMF.ORG | Season 55 | 107 307-733-5038 | AT THE ASPENS ON TETON VILLAGE ROAD [email protected] | WESTSIDEWINEJH.COM

108 | Grand Teton Music Festival | SUMMER 2016 INSIDE THE MUSIC: SONGS WITHOUT WORDS

Tuesday, August 16 | 7PM

ANDREW PALMER TODD, host

Rachmaninoff Vocalise, op. 34 no. 14 (1912; 1915) 6’ (1873–1943) Thalia Moore, cello Adelle Eslinger Runnicles, piano

Schubert Fantasy in F minor, D. 940 (1828) 19’ (1797–1828) Adelle Eslinger Runnicles, piano Andrew Palmer Todd, piano

Mendelssohn from Piano Trio No. 1 in D minor, op. 49 (1839) 6’ (1809–1847) II. Andante con moto tranquillo

Sarah Schwartz, violin Thalia Moore, cello Scott Holshouser, piano

Falla Suite Populaire Espagnole (1914) 14’ (1876–1946) El Paño Moruno Nana Canción Polo Asturiana Jota

Jennifer Ross, violin Andrew Palmer Todd, piano WEEK 7

Sponsored by Sylvia Neil & Dan Fischel

GTMF.ORG | Season 55 | 109 AN EVENING WITH PERFORMANCE TODAY

Thursday, August 18 | 8PM

FRED CHILD, host

Schumann Fairy Tales, op. 132 (1853) 16’ (1810–1856) Lebhaft, nicht zu schnell Lebhaft und sehr markiert Ruhiges tempo, mit zartem ausdruck Lebhaft, sehr markiert

Gregory Raden, clarinet Brant Bayless, viola Scott Holshouser, piano

Arvo Pärt Fratres (1977) 10’ (b. 1935) Simone Porter, violin Donald Runnicles, piano

INTERMISSION

Jongen Two Pieces for Four Cellos, op. 89 (1929) 12’ (1873–1953) Légende Danses

David Garrett, cello Janet Steinberg, cello Thalia Moore, cello Amy Leung, cello

Martinů Nonet No. 2, H. 374 (1959) 17’ (1890–1959) Poco allegro Andante Allegretto

Julia Bogorad-Kogan, flute Gail Williams, horn Elizabeth Priestly Siffert, oboe Anna Kruger, viola WEEK 7 Thomas LeGrand, clarinet Amy Leung, cello Christopher Millard, bassoon William Ritchie, bass

Sponsored by Peter A. Benoliel & Willo Carey

110 | Grand Teton Music Festival | SUMMER 2016 FRED CHILD, host

Fred Child is the host of American Public Media’s Performance Today, the most- listened-to classical music radio show in America. Mr. Child is also the commentator and announcer for Live from Lincoln Center, the only live performing arts series on television, and serves as co-host of Carnegie Hall Live, an annual series of a dozen live national radio broadcasts from America’s premier musical venue.

Mr. Child also appears at classical music festivals and events around the country, from Performance Today’s annual residency at the Aspen Music Festival and School, to special events at the Savannah Music Festival, Marlboro Music, the Spoleto Festival USA, Summerfest La Jolla, and many more. Mr. Child hosted NPR’s innovative “Creators at Carnegie,” a program of wide-ranging performers in concert, including Brian Wilson, David Byrne, Dawn Upshaw, Youssou N’Dour, Caetano Veloso, Emmylou Harris, and others. Before going to NPR, Mr. Child was Music Director and Director of Cultural Programming at WNYC in New York, host of a live daily performance and interview program on WNYC, and for 10 years, a host at Oregon Public Broadcasting. For several years, Mr. Child’s preconcert talks were a popular feature for the Washington Performing Arts Society in Washington, DC, and for the Baltimore Symphony. He has given concert talks for Lincoln Center, the Aspen Festival, Summerfest La Jolla, and many other venues across the country. In recent years, Mr. Child has hosted a series of unique live national concert broadcasts, including the Los Angeles Philharmonic from Walt Disney Hall, the Last Night of the Proms from the Royal Albert Hall in London, New Year’s concerts by the New York Philharmonic, the Boston Symphony at their summer home of Tanglewood, the ground-breaking “Spring for Music” concerts from Carnegie Hall, and the “Americana” series for the BBC National Orchestra of Wales from Hoddinott Hall in Cardiff. Mr. Child’s music reviews have appeared on NPR’s All Things Considered, and his music reports have appeared on NPR’s Morning Edition and Weekend Edition. He’s been a contributor to Billboard magazine, and a concert host and commentator for BBC Radio 3. While growing up in Portland, Oregon, Mr. Child studied classical piano. He also dabbles in guitar, percussion, and bagpipes. His percussion band opened for the Grateful Dead at the Oakland Coliseum. He appears as an actor in a video commissioned for the Partita for Solo Violin by Philip Glass. Mr. Child loves baseball and soccer, and is an avid hiker, climber, skier, and cyclist, as well as a licensed private pilot and certified scuba diver. WEEK 7

GTMF.ORG | Season 55 | 111 FESTIVAL ORCHESTRA: ROUSING FINISH

Friday, August 19 | 8PM & Saturday, August 20 | 6PM

SIMONE PORTER, violin DONALD RUNNICLES, conductor

Kareem Roustom Ramal (2014) 13’ (b. 1971)

Tchaikovsky Violin Concerto in D major, op. 35 (1878) 36’ (1840–1893) Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo

Simone Porter, violin

INTERMISSION

Rachmaninoff Symphony No. 2 in E minor, op. 27 (1906–1907) 60’ (1873–1943) Largo—Allegro moderato Allegro molto Adagio Allegro vivace

Join us for a Preconcert Talk hosted by Festival Musician Heather Kurzbauer prior to these performances. See page 14 for details.

WEEK 7 Maestro Donald Runnicles sponsored by Sylvia Neil & Dan Fischel Grand Teton Music Festival Orchestra sponsored by Marge & Gil Ordway Season 55 sponsored by Ellen & Dave Raisbeck, Ari Rifkin, in memory of Leonard Rifkin, Frances & Allan Tessler, and Barbara & John Vogelstein Guest Artist Simone Porter sponsored by Ari Rifkin, in memory of Leonard Rifkin Performances sponsored by Joyce & John Caddell and the Caddell Foundation and Lou & John Furrer Corporate Support provided by Lani & Nick Orsillo and Wyoming Landscaping Companies Closing Night Stage Party sponsored by Fine Dining Restaurant Group

112 | Grand Teton Music Festival | SUMMER 2016 SIMONE PORTER, violin

Her assured, lovingly lyrical, occasionally frisky playing only confirmed what is becoming common knowledge “in the musical world: She is on the cusp of a major career. – LA TIMES Violinist Simone Porter has been recognized as an” emerging artist of impassioned energy, musical integrity, and vibrant sound. At 19 years of age, she has already appeared with the New York Philharmonic, the Philadelphia Orchestra, the Los Angeles Philharmonic, and with many renowned conductors, including Gustavo Dudamel, Yannick Nézet-Séguin, Nicholas McGegan, Ludovic Morlot, David Robertson, and Donald Runnicles. Ms. Porter made her professional solo debut at age 10 with the Seattle Symphony and her international debut with the Royal Philharmonic Orchestra at age 13. In March 2015, Simone Porter was named a recipient of an Avery Fisher Career Grant. Ms. Porter’s past season was marked by her Walt Disney Concert Hall debut with Gustavo Dudamel and the Los Angeles Philharmonic. Ms. Porter was also a featured Young Artist in Residence with APM’s Performance Today. In 2011, she had the honor of performing for the Dalai Lama at the opening ceremony of a symposium on compassion in Seattle, Washington. Internationally, Ms. Porter has performed with the Simón Bolívar Symphony Orchestra in Bogota, Colombia, with conductor Gustavo Dudamel, the Orquestra Sinfônica Brasileira in Rio de Janeiro, and the City Chamber Orchestra of Hong Kong, among others. Ms. Porter is an avid chamber musician, having most recently collaborated with violinist James Ehnes at a benefit concert in Zipper Hall in Los Angeles. Additionally, she has appeared on the Colburn Chamber Music Society Series with violinists Arnold Steinhardt and Scott St. John, and on the South Bay Chamber Music Society Series with violist Paul Coletti. Ms. Porter has been heard on the renowned syndicated NPR radio program From the Top, with her first appearance at the age of 11. Ms. Porter made her Carnegie Hall debut on the Emmy Award-winning TV show From the Top: Live from Carnegie Hall. Other TV appearances include the BBC documentary The World’s Greatest Musical Prodigies. The recipient of numerous honors and awards, Ms. Porter is a 2011 Davidson Fellow Laureate, an award that carries a $50,000 scholarship to further her musical education. Raised in Seattle, Ms. Porter studied with Margaret Pressley as a recipient of the Dorothy Richard Starling Scholarship. She currently studies with Jascha Heifetz Distinguished Chair Robert Lipsett at the Colburn Conservatory of Music in Los Angeles. Simone Porter plays on a 1745 J.B. Guadagnini violin on generous loan from the Mandell Collection of Southern California. WEEK 7

GTMF.ORG | Season 55 | 113 HOTEL AMENITIES, VILLA PRIVACY. why settle for only one room, when you could have the entire estate?

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114 | Grand Teton Music Festival | SUMMER 2016 FESTIVAL ORCHESTRA ROSTER

Friday, August 19 & Saturday, August 20

VIOLIN I CELLO ENGLISH HORN BASS TROMBONE Ralph Matson Joel Noyes Emily Brebach Jared Rodin Bruno Eicher Christopher Adkins David Taylor Kari Jane Docter Marina Brubaker David Garrett CLARINET TUBA Susanne Park Thalia Moore Gregory Raden Craig Knox Barbara Scowcroft Amy Leung Lee Livengood Heather Kurzbauer Janet Steinberg Jennifer Thompson Sofia Zappi Sarah Schwartz Krisanthy Desby TIMPANI Rebekah Johnson Judith McIntyre Galecki BASS CLARINET Edward Stephan Sha Thomas LeGrand Dimitri Lazarescu Mary Corbett BASS PERCUSSION Dan Rizner Paul Ellison BASSOON Richard Brown Robert Barney Christopher Millard Brian Prechtl Andrew Raciti Sharon Kuster John Kinzie VIOLIN II Corbin Johnston Jennifer Ross Richard Barber Jay Christy William Ritchie CONTRABASSOON HARP Patrick Neal Robert Stiles Steven Braunstein Rachel Van Voorhees Kirschman Holly Mulcahy Scott Mozlin Anne-Marie Terranova FLUTE Carolyn Kessler HORN KEYBOARD Julia Bogorad-Kogan Marta Krechkovsky Gail Williams Adelle Eslinger Runnicles Camille Churchfield Karen Kinzie Gabrielle Webster Carole Bean Hasse Borup Robert Lauver Eva Cappelletti Chao Karl Pituch LIBRARIAN Alexander Martin PICCOLO Robert Stiles Carole Bean TRUMPET VIOLA Thomas Hooten NAMES IN Susan Gulkis Assadi Charles Daval BOLD INDICATE Reid Harris OBOE Jennifer Marotta PRINCIPAL CHAIR. Brant Bayless Jaren Atherholt ALL ROSTERS Valerie Heywood Elizabeth Priestly Siffert ARE SUBJECT Philippe C. Chao TROMBONE TO CHANGE. Anna Kruger Michael Mulcahy

Roberta Zalkind WEEK 7 Larry Zalkind Mary Hammann Lucina Horner Martin Andersen

GTMF.ORG | Season 55 | 115 FESTIVAL ORCHESTRA PROGRAM NOTES

Friday, August 19 & Saturday, August 20 | Rousing Finish

KAREEM ROUSTOM PYOTR IL’YICH TCHAIKOVSKY Ramal Violin Concerto in D major, op. 35

Ramal is one of 16 pre-Islamic Arabic poetic meters used There are two violin concertos that in our time seem in classical Arabic poetry. Each of these poetic meters to have eclipsed all others in their popularity with listeners: the Mendelssohn Violin Concerto and this لعف is comprised of multiple variations of the verb (fa’al), which means “to do.” These variants of fa’al are concerto by Tchaikovsky. It comes as a surprise to constructed by combining a series of unaccented [o] and contemporary listeners that Tchaikovsky’s concerto did accented [/] syllables. The variation of the ramal poetic not have an easy start in the violin repertoire. Its early meter used in this work follows this pattern: history was so fraught with problems that Tchaikovsky (wrote about it in his diary (long before its premiere ناتالعاف نتالعاف نلعاف نتالعاف as symbol (read left to right): after showing it to a virtuoso violinist, Leopold Auer, /o//o/o - /o//o - /o//o/o - /o//o/oo to whom he had planned to dedicate the work. Auer declared it unplayable, and Tchaikovsky decided that as musical meter: Auer’s judgment would cast “this unfortunate child of 7/8 5/8 7/8 8/8 my imagination for many years to come into the limbo of This poetic meter is used as a structural framework hopelessly forgotten things.” throughout the work. The opening section expands the Nevertheless, another violinist, Adolf Brodsky, to whom metric cycle by gradually adding rests to each measure, the concerto was finally dedicated, was willing to study while the closing section contracts by gradually removing the work for almost two years, during which time the added rests. The middle, and largest, section of Tchaikovsky abandoned the original slow movement the piece develops the rhythmic and melodic motifs and composed an entirely new one. Then Brodsky, with with contrasting moods that range from intimate and reflective to declamatory and strident. Although the difficulty, persuaded Hans Richter to schedule it for work is not programmatic in its design, its emotional performance with the Vienna Philharmonic Orchestra drive and changing meters reflect the unsettled state of on December 4, 1881. According to Brodsky, there was the world, specifically the devastating current situation only one rehearsal of the extraordinarily difficult music, in Syria. Despite all this, there is a tone of defiance in and the orchestral parts still contained many errors at the Ramal. Dedicated to the memory of Edward Said, Ramal eleventh hour. Since there was no time to correct them is inspired by his steadfast determination to speak truth by concert time, the musicians of the orchestra played the to power. — KAREEM ROUSTOM entire concerto pianissimo, hoping their obviously wrong notes would not be heard; nevertheless, at the end of the Ramal was commissioned by Daniel Barenboim for the concerto, the hisses drowned out the applause. Eduard West-Eastern Divan Orchestra and had its premiere in Hanslick, the famous conservative Viennese critic, wrote Buenos Aires on August 11, 2014. In this propulsive, such a scathing review of the new work that his words colorful, and accessible piece, Roustom incorporates the were said to have haunted Tchaikovsky so much that he meter of pre-Islamic poetry with the concrete intention knew them by heart till his death. reflecting the ongoing violence in his native land of Syria. Hanslick wrote: The jagged rhythms and sense of discomfort the music WEEK 7 projects are aided by the mutterings of the brass and the “For a while, the concerto has proportion, is musical, storms provided by the percussion. Stephen Pritchard and is not without genius, but soon savagery gains in The Guardian described Ramal as “arrestingly quirky the upper hand. … The violin is no longer played, it and postmodern … music with lots of personality.” is yanked about, it is torn asunder, it is beaten black and blue. I do not know whether it is possible for This is the first performance of this piece at the Grand Teton anyone to conquer these hair-raising difficulties, Music Festival. but I do know that Mr. Brodsky martyrized his

116 | Grand Teton Music Festival | SUMMER 2016 hearers as well as himself. The adagio, with its unsuccessful performance in St. Petersburg in 1897, tender national melody, almost conciliates, almost and was not performed again for another 50 years. Both wins us. But it breaks off abruptly to make way for Rachmaninoff ’s friends and enemies joined in expressing a finale that places us in the midst of the brutal their dissatisfaction with the work, and the composer- and wretched jollity of a Russian carnival. We see critic César Cui expressed the opinion, “If there were a weird and vulgar faces, we hear curses, we smell bad conservatory in Hell, Rachmaninoff would get the first brandy. Friedrich Fischer once asserted in reference prize for his symphony.” Rachmaninoff was dissatisfied, to lascivious paintings that there are pictures which too, but even more, he was extremely discouraged and ‘stink in the eye.’ Tchaikovsky’s Violin Concerto depressed by this experience. Although Tchaikovsky had brings us for the first time to the horrid idea that praised his opera Aleko in 1893, Rachmaninoff resolved there may be music that stinks in the ear.” to give up composition completely after the experience Happily for Tchaikovsky, this negative impression did not he had with his first symphony. However, although he last. Auer, after helping to make the necessary changes did have a period of serious depression, his friend in the solo part (and after the orchestral parts were Count Tolstoy persuaded him not to forsake music, corrected), played the concerto frequently in concert. and after hypnosis and lessons in self-assertion, Rachmaninoff returned to musical life with renewed The concerto’s brilliant Allegro moderato first movement contains melodious themes that do not contrast as confidence and vigor. thematic statements usually had in earlier classical In 1901, his new Second Piano Concerto was a success, concertos. The soloist has much opportunity for and by 1906, when he was 33, Rachmaninoff ’s career acrobatic demonstrations of virtuosity, including an had become solid and successful. He had become effective cadenza just before the final recapitulation of conductor of the Imperial Grand Opera in Moscow, was themes. Then a lyrical and elegiac Canzonetta: Andante, also a greatly admired pianist, and much sought after reminiscent of the Lalo Symphonie Espagnole that socially. These achievements gave him the confidence presumably inspired Tchaikovsky’s writing of the violin to resign from his position at the opera and devote concerto, follows. In this short movement, first the muted himself to composing. For the next two years, he and his violin softly murmurs the main theme, and later the family lived in Dresden, where he wrote several pieces, soloist introduces another lithe theme. A brief cadenza among them Symphony No. 2. He then returned to St. leads into the Finale: Allegro vivacissimo, a dashing, Petersburg, where he conducted the first performance dazzling rondo. The theme and rhythm are distinctly of the symphony on February 8, 1908. Dedicated to his Russian in character. During this movement the violin teacher, Sergei Taneieff, it was an immediate success; continues its agile tour de force, using the melody of the in fact, it was exactly as much a success as his first theme as a take-off point for more pyrotechnics. symphony had been a failure. It was first performed in The score calls for two flutes, two oboes, two clarinets, two the United States, with the composer conducting, in bassoons, four horns, two trumpets, timpani, and strings. Philadelphia on November 26, 1909.

This piece was last performed at the Grand Teton Music In this symphony, Rachmaninoff creates an unending WEEK 7 Festival on July 13 and 14, 2001, with Eiji Oue, conductor, flow of melody. Although often in the background, and Elmar Oliveira, violin. dominating the entire work is a melodic motto that is first articulated in the cellos and basses in the opening bars of the slow, somber introduction, Largo. Then SERGEI RACHMANINOFF the violins articulate this idea in a smoothly flowing Symphony No. 2 in E minor, op. 27 theme. The main section of the first movement is a fluid, melodic Allegro moderato. The second movement, a Rachmaninoff composed four symphonies during his scherzo, Allegro molto, has three lengthy sections. The lifetime. Symphony No. 1, written in 1895, had a single, opening has two subjects.

GTMF.ORG | Season 55 | 117

FESTIVAL ORCHESTRA PROGRAM NOTES

August 19 & 20 | Rousing Finish

RACHMANINOFF | Symphony No. 2, continued SUSAN HALPERN Program Notes Author The horns play the first, a melody based on the motto of the first movement and hinting at the Dies irae (Day Susan Halpern studied music and literature at Sarah of Wrath) from the Gregorian Mass for the Dead, which Lawrence College, where she performed chamber is repeated again in a more direct way in the coda of music, was principal flute in the orchestra, and sang in this movement. The midsection is a contrasting trio the college chorus. She also played principal flute in the that starts off as a little, agitated fugue. Rachmaninoff Philharmonic Orchestra of Westchester and studied combines this part with a brass chorale-style subject. with Samuel Baron. After graduation, she played in When the music of the opening section returns, chant- various orchestras as a freelance flutist and sang in the like passages in the wind instruments interrupt it; the New York Choral Society. After finishing a doctorate carefree feeling becomes dispersed, and the movement in English, she taught on the college level and has been ends quietly. active in local and professional arts organizations for many years. Ms. Halpern has been writing program The third movement, Adagio, is slow and serene and notes for twenty years and currently writes notes for very romantic. The strings have a luxuriant subject that many summer festivals, orchestras, and chamber music is one of the most recognizable of all of Rachmaninoff ’s venues across the US and in England. mellifluous themes. The middle section is built around the motto from the first movement in the strings, © Susan Halpern 2016 while the oboe and English horn introduce a new theme around it. In the last part of the movement, the opening theme recurs. The finale, Allegro vivace, is restless, energetic, and vivacious. In sonata form, it opens with a boisterous theme for full orchestra that eventually subsides into a little march-like passage for woodwinds. A second subject, sung by the strings, is one of the most beautiful melodies Rachmaninoff ever wrote. In the middle section, the first-movement motto reappears, the boisterous main theme returns, and it is followed by an extended coda that brings together the melodic fragments from the earlier part of the piece. The symphony closes with a grand rendition for full orchestra of the lyrical second theme. The score calls for three flutes, piccolo, three oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, WEEK 7 timpani, bass and snare drums, cymbals, tambourine, glockenspiel, and strings.

This piece was last performed at the Grand Teton Music Festival on August 15 and 16, 2008, with Donald Runnicles, conductor.

GTMF.ORG | Season 55 | 119 CELEBRATING ARTART OFOF THETHE PARKSPARKS

Painting Yellowstone YOSEMITE 1938 the Park National Park On the Trail with The Tetons in Art Through the Lens of Time Ansel Adams and Photography by Bradly J. Boner Georgia O’Keeffe and William Henry Jackson

120 | Grand Teton Music Festival | SUMMER 2016 ANNOUNCING THE METROPOLITAN OPERA LIVE IN HD 2016– 2017 SEASON

Mozart Verdi DON GIOVANNI NABUCCO Thursday | November 10 | 2016 January 2017

Gounod Dvořák ROMEO & JULIET RUSALKA Wednesday | February 1 | 2017 Wednesday | March 8 | 2017

Verdi Mozart LA TRAVIATA IDOMENEO Thursday | March 23 | 2017 Thursday | April 13 | 2017

Strauss DER ROSENKAVALIER Wednesday | July 5 | 2017

THE MET: LIVE IN HD IS SPONSORED BY DICK & PATTY JAQUITH TICKETS & INFORMATION AVAILABLE SUMMER 2016 | GTMF.ORG Co-presented with the Center of Wonder at the Center for the Arts

Please note that all dates are subject to change 121 THESE DEDICATED FESTIVAL MUSICIANS celebrate 25 seasons at the Grand Teton Music Festival in 2016.

special. They, too, can go on previous. It has been a rare season with new adventures about their lives imbued with and unique reward not only to in this dramatic landscape the geographical and musical participate onstage with my and with this spectacular beauty of Jackson Hole and magnificent colleagues, but community of musicians. the Festival. to share in the glorious My experience has been landscape of the Tetons. It is incredibly fulfilling both no secret that GTMF has musically and socially, and I hands-down the best look forward to my next 25 combination of musicians ROBERT DAVIDOVICI, years at GTMF. and outdoor enthusiasts violin anywhere. My most memora- ble performances with the Having been invited by Ling orchestra include Berlioz’s Tung to join the Festival Requiem (with Ling Tung), Orchestra as concertmaster, I Stravinsky’s Rite of Spring immediately realized the very (with Eiji Oue), and Verdi’s unique and magical paradise GREGORY CLINTON, Requiem (with Donald cello that is here in Jackson Hole. Runnicles). Equally as In the musical sense, playing special have been my Upon reflection, the 25th anniversary of most anything with some of the greatest collaborations with Festival instrumentalists in the world chamber musicians, is significant and noteworthy, through countless chamber numerous conductors, and but for me and many of my music and orchestral LINDA HURWITZ, soloists such as Julia Fisher, colleagues, this milestone performances has been a violin James Ehnes, Mark Elder, means that we have now lived dream come true. Getting to Since 1992, I have had the Peter Oundjian, Jamie and performed for close to know the community both opportunity to join hundreds Laredo, and Christine Brewer. 100 weeks all told, perhaps within and outside the of the most talented I feel very fortunate to return more, in this glorious place! orchestra has also been a musicians from around the each summer for such The pairing of the Grand very enriching experience. country and the world who awe-inspiring programs with Teton Music Festival with one Many of the musicians have venture to Jackson Hole to world-class artists, and I of the earth’s most beautiful become my very best friends, participate in the Grand Teton cherish my enriching settings is a catalyst for a and the fact that I have been Music Festival. Performing friendships and collabora- magical synthesis of work, able to introduce my children with this orchestra has been tions here. This summer, I am play, and restoration. The and grandchildren to this magical, and each season is looking forward to celebrating reason, therefore, for wanting extraordinary place is very more thrilling than the Maestro Runnicles’ 10th to return here again and

122 | Grand Teton Music Festival | SUMMER 2016 astonished to discover a world-class international music festival at GTMF, and was very blessed to be invited to join as principal trombone and share GTMF with my wife, Gabrielle Webster, who is a member of the horn section. My early days at the Festival MICHAEL MULCAHY, were very intimate and trombone precious. Our children were 7 Our 25 years at the Grand and 5. We could not possibly Teton Music Festival have found a more whole- represent a pilgrimage of some and exciting environ- passion and renewal that ment for our kids to explore. has sustained and nour- Equally replenishing were the ished our family in infinite new musical relationships ways. It is a beautiful thing that allowed us some respite to witness flocks of and relief from the rigors of Above: cellist Gregory Clinton on musicians from all over the major orchestra life. The Jenny Lake; Above left: violinist atmosphere was very family Linda Hurwirtz enjoying the scenery CHARLES DAVAL, country who are drawn back trumpet to each other to celebrate a oriented and very aspiration- joyous artistic collaboration al, and friendships with our After 25 years with the Grand and ever-deepening audience members were again is simple: One can Teton Music Festival, I reflect unfailingly count on, and personal connections. For 15 enduring. Straightaway we on the fact that the one realized what amazing enjoy, the renewed connec- constant in my life, and the consecutive years, our tions with great friends and young children, Patrick and musical opportunities existed life of my family for all those here to mount extravagant colleagues, the exalted music years, has been our summers Lauren, grew up in the making, and the compelling Tetons, exploring the infinite chamber music programs in Wyoming. My wife, and interesting repertoire, power of the Teton Range. Jennifer, and I have changed mystery of the mountains, as well as the magic of and perform works by Personally, this is an jobs and residences during resident composers. The important—in some ways that time, but our anchor summer friendships that will endure for a lifetime. brass concerts, which I therapeutic—pilgrimage for remains here in Jackson. plan and conduct very grate- me (and my wife, Susanna). Our two children know only a The magic of GTMF can be fully, became an annual In addition to rehearsing and Wyoming summer, and each found in the people who tradition that developed a performing, socializing while year I reunite with my closest choose to be here (usually at marvelous following. hiking, kayaking, or just out personal and musical friends. some considerable expense for coffee is an integral part As we look forward to making and effort) and to be with The orchestra at GTMF has of the mix. We find ourselves our permanent home here in each other, sharing a musical grown magnificently over 25 already looking forward to the near future, I have come idealism, a veneration of years. Musicians all over the country hope for an opening the next trip here as the to know that this magical wilderness, and a longing for to play in it and everyone who mountains grow smaller in place is transcendent. an endless western summer. comes is here passionately. the rearview mirror at the end However, the combination of Our family discovered the of every summer. the mountains, the people, genius of the National Park Our projects in the mountains I will always remain grateful and great music is rare indeed. Service when we moved to have been no less adventur- to Ling Tung for that initial I am fortunate to have been a the United States from ous, and have included daily invitation to join this part of something so unique. Australia in 1990, when I was pre-rehearsal walks up Rock “all-star” orchestra back in This summer, as with most appointed to the Chicago Springs Canyon to the yurt, 1990, and feel fortunate to be summers, I most look forward Symphony Orchestra. We three-and-a-half-hour Teton counted as a regular as we to playing Mahler, especially spent our first unforgettable Crest Trail treks with the celebrate Maestro Runnicles’ with Maestro Donald summer at Glacier, Yellow- family and very close friends, 10th anniversary! Runnicles conducting. stone, and in the Tetons. Two and numerous one-day summers later, I was traverses of the range from

GTMF.ORG | Season 55 | 123 WITH SPECIAL THANKS TO OUR NEW AFFILIATION WITH ROCKY MOUNTAIN BANK, SOUTH DAKOTA TRUST COMPANY (”SDTC”) IS PLEASED TO ANNOUNCE A NEW OFFERING OF COMPREHENSIVE SERVICES TO FAMILIES LOOKING TO SET UP A PRIVATE FAMILY TRUST COMPANY IN WYOMING. WITH THIS EXCITING NEW OFFERING, SDTC CAN NOW WORK WITH FAMILIES WHETHER THEY CHOOSE TO PURSUE A REGULATED PRIVATE FAMILY TRUST COMPANY IN SOUTH DAKOTA, OR AN UNREGULATED OR REGULATED PRIVATE FAMILY TRUST COMPANY IN WYOMING. AS ALWAYS, SDTC CONTINUES TO PROVIDE SUPERIOR TRUST ADMINISTRATION SERVICES FOR FAMILIES WITHOUT ANY INVESTMENT PRODUCTS, WORKING WITH WHOMEVER THE CLIENT WISHES REGARDING INVESTMENTS, INSURANCE AND CUSTODY. DISCOVER THE MANY BENEFITS OF ADDING SDTC TO YOUR TEAM OF EXPERTS. CONTACT US TODAY! WWW.SDTRUSTCO.COM 605.338.9170 SDTC SERVICES SIOUX FALLS, SD JACKSON HOLE, WY Idaho into Wyoming, as well American orchestra. I joined and me: Tad Peel will join the I will always think of Jackson as the Cascade and Paint- the Baltimore Symphony percussion section as narrator Hole as my home away from brush loops. Orchestra in 2003 and in our August 11 Wyoming home and the Grand Teton Magical days and nights, remain a member of that fine premiere of my newest work, Music Festival as my both onstage and off. institution still. Grand is the Seen. extended family. Thank you for letting me share my My children are now 24, 22, Since I began my first season musical gifts with all of you in and 16. We have spent in 1992, I have become a the valley and in this countless hours hiking the composer and can claim a beautiful concert hall. trails and fording the streams vibrant and growing list of here in the valley. We spend commissions and premiere our weekends camping on the performances of my Clockwise from left: violinist Robert shores of Jackson Lake. I see compositions—many of them Davidovici with Festival Musicians this place in all of their hearts from and with my colleagues at Open Rehearsal; trombonist and how they value beauty in and friends who are fellow Michael Mulcahy hiking with Festival the world around us because Festival Orchestra members. Musicians and family; trumpeter of the time we have been Their outstanding musician- Charles Daval fishing in Grand Teton BRIAN PRECHTL, lucky enough to spend here. ship and our shared love for National Park; percussionist Brian Prechtl hiking with his children percussion We are all excellent campers the mountains of Jackson and outdoor enthusiasts. We The 25 years I have spent Hole have inspired me have learned from our many at the Grand Teton Music thoroughly. GTMF draws a friends in the Festival where Festival have shaped me as a particular brand of musician the best camping spots are, musician and as a person in to it, and once in the grip of the best hikes to take on our so many ways that it’s hard to the magnificence of the days off, and where that imagine who I would be with- Tetons, it leaves an indelible elusive trout might be hiding. out this glorious place. When mark of beauty on our souls. My youngest is well on his I started playing here, I had We are bonded by this place, way to becoming an Eagle no children. I was a young, and our passion for the same Scout, and I credit a inexperienced percussionist kind of power and transcen- childhood rooted in the in a regional orchestra and dent qualities that character- Tetons for this gift. had never written a note of ize the music making we do music. Since I began with I even found a wonderful new here at the Grand Teton GTMF, I have developed as a partner who has embraced Music Festival are evident in player and a composer, and the beauty of this magical the spectacular peaks from was appointed to a major place along with my children which the music rings out.

GTMF.ORG | Season 55 | 125 INTRODUCING YOUR FESTIVAL ORCHESTRA

CONCERTMASTERS

ANGELA FULLER HEYDE JOAN CATALDO Dallas Symphony Orchestra, Principal Kennedy Center Opera House Orchestra Second Violin GTMF 22 years GTMF 11 years

RALPH MATSON EVA CAPPELLETTI CHAO Utah Symphony, Concertmaster Baltimore Symphony Orchestra; GTMF 21 years Kennedy Center Opera House Orchestra; National Symphony Orchestra, Substitute; QuinTango GTMF 14 years

JEFF THAYER JOAN CHRISTENSON San Diego Symphony Orchestra, San Antonio Symphony; Concertmaster; Camera Lucida Chamber Musical Offerings, Artistic Director Music, UC San Diego GTMF 18 years GTMF 4 years

JAY CHRISTY Atlanta Symphony Orchestra, Assistant Principal Second; Emory University VIOLINS GTMF 14 years

HASSE BORUP JULIE COLEMAN University of Utah, Head of Oregon Symphony Strings & Chamber Music Studies GTMF 14 years GTMF 13 years

MARINA BRUBAKER MARY CORBETT Houston Symphony The Florida Orchestra GTMF 18 years GTMF 17 years

126 | Grand Teton Music Festival | SUMMER 2016 VIOLINS,continued

JUDITH COX LOIS FINKEL Atlanta Symphony Orchestra; Brown University Lyra String Quartet GTMF 30 years GTMF 24 years

ROBERT DAVIDOVICI ANNA GENEST Osaka Philharmonic Orchestra, Jacksonville Symphony Concertmaster (retired); Vancouver GTMF 15 years Symphony Orchestra, Concertmaster (retired); Florida International University GTMF 25 years

GINA DAVIS LORIEN BENET HART Tulsa Opera Orchestra, Co- Pittsburgh Symphony Orchestra Concertmaster; Tulsa Symphony GTMF 16 years Orchestra, Assistant Concertmaster GTMF 21 years

TRACY DUNLOP RUSSELL HERSHOW University of Michigan; Michigan Chicago Symphony Orchestra Freelance Musician GTMF 19 years GTMF 16 years

BRUNO EICHER LINDA HURWITZ Metropolitan Opera Orchestra, Virginia Symphony Orchestra; Assistant Concertmaster Virginia Opera GTMF 8 years GTMF 25 years

GREGORY EWER TOMOKO IGUCHI Oregon Symphony; Lewis & Clark Kansas City Symphony College; Reed College GTMF 14 years GTMF 11 years

GTMF.ORG | Season 55 | 127 YOUR FESTIVAL ORCHESTRA, CONTINUED

VIOLINS,continued

DORRIS DAI JANSSEN DIMITRI LAZARESCU Kansas City Symphony Phoenix Symphony, GTMF 15 years Acting Associate Principal Second GTMF 26 years

REBEKAH JOHNSON RAYMOND LEUNG New Jersey Symphony Orchestra; Atlanta Symphony Orchestra Leonore Trio GTMF 23 years GTMF 22 years

CAROLYN KESSLER JENNIFER GORDON LEVIN Baltimore Opera Orchestra Los Angeles Chamber Orchestra, GTMF 17 years Substitute; Los Angeles Studio Musician GTMF 17 years

KANA KIMURA ALEXANDER MARTIN Houston Grand Opera Orchestra Utah Symphony, GTMF 7 years Acting Assistant Concertmaster GTMF 5 years

KAREN KINZIE LOUISE MORRISON Colorado Symphony Nashville Symphony GTMF 17 years GTMF 4 years

HEATHER KURZBAUER SCOTT MOZLIN Netherlands Radio Chamber Cincinnati Symphony Orchestra Philharmonic; University of Amsterdam; GTMF 8 years Sinfonia Rotterdam GTMF 31 years

128 | Grand Teton Music Festival | SUMMER 2016 VIOLINS,continued

HOLLY MULCAHY DAN RIZNER Chattanooga Symphony & Opera, Butler University; DePauw University Concertmaster GTMF 36 years GTMF 14 years

PATRICK NEAL JENNIFER ROSS Naples Philharmonic, Assistant Principal; Pittsburgh Symphony Orchestra, Florida Gulf Coast University Principal Second GTMF 11 years GTMF 35 years

HELEN NIGHTENGALE SARAH SCHWARTZ HEARTbeats Foundation San Diego Symphony Orchestra, GTMF 6 years Substitute; Los Angeles Freelance Musician GTMF 14 years

DENNIS O’BOYLE BARBARA SCOWCROFT Pittsburgh Symphony Orchestra, Utah Symphony; Utah Youth Orchestra, Assistant Principal Second Violin Music Director; University of Utah GTMF 11 years GTMF 20 years

KATHERINE PALYGA SHA Montreal Symphony Orchestra Shanghai City Symphony, Concertmaster; GTMF 18 years Shanghai University School of Music GTMF 12 years

SUSANNE PARK SIMON SHIAO Pittsburgh Symphony Orchestra University of North Florida GTMF 18 years GTMF 18 years

GTMF.ORG | Season 55 | 129 YOUR FESTIVAL ORCHESTRA, CONTINUED

VIOLINS,continued VIOLAS Principal Viola sponsored by Carole & Jack Nunn

OLGA SHPITKO MARTIN ANDERSEN Atlanta Symphony Orchestra New Jersey Symphony Orchestra; GTMF 10 years Stevens Institute of Technology GTMF 24 years

IKUKO TAKAHASHI SUSAN GULKIS ASSADI Danish National Radio Symphony Seattle Symphony, Principal Orchestra GTMF 18 years GTMF 13 years

DAVID TAYLOR BRANT BAYLESS Chicago Symphony Orchestra, Assistant Utah Symphony, Principal Concertmaster GTMF 15 years GTMF 2 years

ANNE-MARIE TERRANOVA CLAUDINE BIGELOW Naples Philharmonic Brigham Young University GTMF 19 years GTMF 17 years

JENNIFER THOMPSON PHILIPPE C. CHAO Toronto Symphony Orchestra Kennedy Center Opera House Orchestra; GTMF 15 years George Mason University GTMF 16 years

EDWARD WU JOAN DERHOVSEPIAN Boston Freelance Musician Houston Symphony, Associate GTMF 15 years Principal; Rice University, Shepherd School of Music GTMF 18 years

130 | Grand Teton Music Festival | SUMMER 2016 VIOLAS,continued

CHIARA KINGSLEY DIEGUEZ ANNA KRUGER Baltimore Chamber Orchestra, Principal; San Francisco Ballet Orchestra, McLean Orchestra, Principal; National Acting Principal; New Century Chamber Symphony Orchestra; Baltimore Orchestra, Principal; Sacramento State Symphony Orchestra, Substitute University GTMF 13 years GTMF 19 years

ALLYSON GOODMAN SUZANNE LEFEVRE Kennedy Center Opera House Orchestra, Houston Grand Opera Orchestra; Principal River Oaks Chamber Orchestra; GTMF 2 years University of Houston GTMF 12 years

MARY HAMMANN KRISTEN LINFANTE Metropolitan Opera Orchestra; Apollo’s Fire Baroque Orchestra, Aureole Trio; Marlboro Music Co-Principal; Chamber Music Pittsburgh, GTMF 1 year Executive Director GTMF 19 years

REID HARRIS PAUL MURPHY Atlanta Symphony Orchestra, Principal Atlanta Symphony Orchestra, Associate GTMF 13 years Principal; Mercer University McDuffie Center for Strings GTMF 8 years

VALERIE HEYWOOD GEORGE OHLSON Buffalo Philharmonic Orchestra, Washington Conservatory of Music Principal; Niagara International Chamber GTMF 24 years Music Festival GTMF 17 years

LUCINA HORNER RITA PORFIRIS Alabama Symphony Orchestra University of Hartford, GTMF 26 years Hartt School of Music; Miller-Porfiris Duo; Hartt Quartet GTMF 12 years

GTMF.ORG | Season 55 | 131 YOUR FESTIVAL ORCHESTRA, CONTINUED

VIOLAS,continued

ABHIJIT SENGUPTA GREGORY CLINTON Da Camera of Houston, Omaha Symphony, Associate Principal General Manager GTMF 25 years GTMF 16 years

RACHEL SWERDLOW KRISANTHY DESBY Seattle Symphony, Viola & Bay Area Freelance Musician; Assistant Librarian Strobe Music GTMF 15 years GTMF 23 years

MENG WANG KARI JANE DOCTER Pittsburgh Symphony Orchestra; Metropolitan Opera Orchestra Pittsburgh Youth Symphony; Carnegie GTMF 11 years Mellon University; Duquesne University GTMF 2 years

ROBERTA ZALKIND KAREN FREER Utah Symphony, Associate Principal; Atlanta Symphony Orchestra, University of Utah Assistant Principal GTMF 34 years GTMF 11 years

JUDITH MCINTYRE GALECKI Colorado Symphony GTMF 5 years CELLOS

CHRISTOPHER ADKINS DAVID GARRETT Dallas Symphony Orchestra, Principal Los Angeles Philharmonic GTMF 2 years GTMF 3 years

132 | Grand Teton Music Festival | SUMMER 2016 CELLOS,continued

IGOR GEFTER ILSE-MARI LEE Toronto Symphony Orchestra Montana State University GTMF 12 years GTMF 19 years

DEBORAH NITKA HICKS AMY LEUNG Fort Wayne Philharmonic, Bay Area Freelance Musician Assistant Principal GTMF 14 years GTMF 24 years

JENNIFER HUMPHREYS DAVID MOLLENAUER Dallas Symphony Orchestra San Antonio Symphony, Assistant GTMF 3 years Principal; SOLI Chamber Ensemble; Trinity University GTMF 12 years

CHARAE KRUEGER THALIA MOORE Atlanta Opera Orchestra, Principal; San Francisco Opera Orchestra, Atlanta Ballet Orchestra, Principal; Associate Principal; San Francisco Kennesaw State University Ballet Orchestra GTMF 4 years GTMF 17 years

DANIEL LAUFER JOEL NOYES Atlanta Symphony Orchestra, Metropolitan Opera Orchestra, Associate Principal Assistant Principal GTMF 5 years GTMF 3 years

STEVEN LAVEN MARCIA PECK Rhode Island Philharmonic Orchestra; Minnesota Orchestra Rhode Island College; Boston Pops GTMF 46 years Esplanade Orchestra GTMF 24 years

GTMF.ORG | Season 55 | 133 YOUR FESTIVAL ORCHESTRA, CONTINUED

CELLOS,continued BASSES Principal Bass sponsored by Beth & Dave Augé and Teton Motors

ELIZABETH BROWNE ROBINSON RICHARD BARBER Wyoming Freelance Musician National Symphony Orchestra, GTMF 2 years Assistant Principal; University of Maryland; Eclipse Chamber Orchestra GTMF 9 years

DAVID SCHEPPS ROBERT BARNEY New Mexico Philharmonic; Baltimore Symphony Orchestra, Principal Opera Southwest, Principal; GTMF 10 years University of New Mexico GTMF 24 years

JULIA SENGUPTA PATRICK BILANCHONE Houston Freelance Musician Jacksonville Symphony; St. Augustine GTMF 8 years Music Festival; Peninsula Music Festival GTMF 21 years

BARRETT SILLS FRED BRETSCHGER Houston Grand Opera Orchestra, Saint Paul Chamber Orchestra, Principal; Houston Ballet Orchestra, Assistant Principal (former) Principal; Camerata Ventapane, GTMF 26 years Artistic Director GTMF 15 years

JANET STEINBERG CHRISTOPHER BROWN Vancouver Symphony Orchestra, Saint Paul Chamber Orchestra, Principal Associate Principal (former); University of Minnesota GTMF 27 years GTMF 24 years

SOFIA ZAPPI CHARLES DERAMUS Charleston Symphony Orchestra; Gothenburg Symphony Orchestra; Wyoming Symphony University of Gothenburg Academy GTMF 18 years of Music and Drama GTMF 4 years

134 | Grand Teton Music Festival | SUMMER 2016 BASSES,continued

DEBORAH DUNHAM SIDNEY KING Boston Baroque, Principal; Mercury University of Louisville; Louisville Baroque, Principal; Ars Lyrica Houston, Orchestra, Assistant Principal (retired) Principal; Houston Early Music, GTMF 24 years Board President GTMF 15 years

WILBUR “SKIP” EDWARDS JOSEPH LESCHER Columbus Symphony Orchestra San Francisco Opera Orchestra, Principal GTMF 27 years GTMF 9 years

PAUL ELLISON ANDREW RACITI Rice University, Shepherd School Milwaukee Symphony Orchestra, of Music, String Department Chair Acting Principal & Assistant Principal; GTMF 30 years Northwestern University GTMF 8 years

ERIK GRONFOR WILLIAM RITCHIE Houston Grand Opera Orchestra, Omaha Symphony, Assistant Principal Assistant Principal GTMF 31 years GTMF 17 years

GORDON HILL DAVID WILLIAMSON Auckland Philharmonia Orchestra Minnesota Orchestra; (New Zealand), Principal Minnesota Bach Ensemble; GTMF 11 years Oregon Bach Festival, Principal GTMF 22 years

CORBIN JOHNSTON Utah Symphony, Associate Principal GTMF 12 years

GTMF.ORG | Season 55 | 135 YOUR FESTIVAL ORCHESTRA, CONTINUED

FLUTES & PICCOLOS Principal Flute sponsored by O’Ann Fredstrom & Stuart Sugarman

CAROLE BEAN MELISSA SUHR National Symphony Orchestra Houston Ballet Orchestra; GTMF 21 years Houston Grand Opera Orchestra; University of Houston GTMF 11 years

JULIA BOGORAD-KOGAN CAITLYN VALOVICK-MOORE Saint Paul Chamber Orchestra, Utah Symphony Principal; University of Minnesota GTMF 5 years GTMF 38 years

CAMILLE CHURCHFIELD ALICE KOGAN WEINREB University of Ottawa; National Arts National Symphony Orchestra; Centre Orchestra (Ottawa) Eclipse Chamber Orchestra GTMF 14 years GTMF 16 years

ANGELA JONES-REUS University of Georgia GTMF 9 years OBOES & ENGLISH HORNS

STEPHANIE MORTIMORE JAREN ATHERHOLT Metropolitan Opera Orchestra, Louisiana Philharmonic Orchestra, Principal Piccolo Principal GTMF 14 years GTMF 9 years

CHRISTINA SMITH BARBARA BISHOP Atlanta Symphony Orchestra, Principal; Kansas City Symphony, Associate Kennesaw State University Principal; University of Missouri-Kansas GTMF 2 years City Conservatory GTMF 16 years

136 | Grand Teton Music Festival | SUMMER 2016 OBOES & ENGLISH HORNS,continued CLARINETS Principal Clarinet sponsored by Barbara & Stan Trachtenberg

EMILY BREBACH STEPHANIE KEY Atlanta Symphony Orchestra San Antonio Symphony, Assistant GTMF 3 years Principal E-flat Clarinet; SOLI Chamber Ensemble GTMF 12 years

LINDA GILBERT THOMAS LEGRAND Houston Freelance Musician Houston Symphony, Acting Principal GTMF 16 years GTMF 31 years

MINGJIA LIU LEE LIVENGOOD San Francisco Opera Orchestra, Principal Utah Symphony GTMF 1 year GTMF 4 years

MARTIN SCHURING VICTORIA LUPERI Arizona State University Fort Worth Symphony Orchestra, GTMF 33 years Principal; Texas Christian University GTMF 3 years

ELIZABETH PRIESTLY SIFFERT SHANNON ORME Houston Grand Opera Orchestra, Detroit Symphony Orchestra; Principal; Houston Ballet Orchestra New Music Detroit; GTMF 1 year Wayne State University GTMF 6 years

ELIZABETH KOCH TISCIONE GREGORY RADEN Atlanta Symphony Orchestra, Principal; Dallas Symphony Orchestra, Principal; Kennesaw State University Southern Methodist University GTMF 8 years GTMF 16 years

GTMF.ORG | Season 55 | 137 YOUR FESTIVAL ORCHESTRA, CONTINUED

CLARINETS,continued

JOHN BRUCE YEH CHRISTOPHER MILLARD Chicago Symphony Orchestra, Assistant National Arts Centre Orchestra Principal & Acting Principal; Chicago (Ottawa), Principal Pro Musica, Director; Roosevelt GTMF 13 years University College for the Performing Arts GTMF 1 year

KRISTEN SONNEBORN Naples Philharmonic, Principal GTMF 23 years BASSOONS & CONTRABASSOONS

STEVEN BRAUNSTEIN San Francisco Symphony GTMF 14 years HORNS Principal Horn sponsored by Gainor & Joe Bennett

JUAN DE GOMAR MATTHEW ANNIN Atlanta Symphony Orchestra Milwaukee Symphony Orchestra, GTMF 16 years Principal GTMF 4 years

SUE HEINEMAN MICHAEL GAST National Symphony Orchestra, Principal Minnesota Orchestra, Principal GTMF 6 years GTMF 7 years

SHARON KUSTER NANCY GOODEARL San Antonio Symphony, Principal; Houston Symphony Olmos Ensemble GTMF 26 years GTMF 26 years

138 | Grand Teton Music Festival | SUMMER 2016 HORNS,continued

HALEY HOOPS GABRIELLE WEBSTER Dallas Symphony Orchestra; Chicago Freelance Musician Southern Methodist University GTMF 23 years GTMF 10 years

ROBERT LAUVER GAIL WILLIAMS Pittsburgh Symphony Orchestra Chicago Chamber Musicians; GTMF 17 years Northwestern University; Chicago Symphony Orchestra, Associate Principal (retired); World Orchestra for Peace GTMF 24 years

MICHAEL LEWELLEN Fort Wayne Philharmonic, Principal; Indiana-Purdue University Fort Wayne GTMF 18 years TRUMPETS

JOSH PHILLIPS BARBARA BUTLER Milwaukee Symphony Orchestra Rice University, Shepherd School of GTMF 5 years Music; Music of the Baroque; Chicago Chamber Musicians; Music Academy of the West GTMF 35 years

KARL PITUCH CHARLES DAVAL Detroit Symphony Orchestra, Principal; Pittsburgh Opera Orchestra, Principal; Wayne State University Pittsburgh Ballet Orchestra, Principal; GTMF 4 years University of Illinois GTMF 25 years

GAVIN REED CHARLES GEYER University of Houston; River Oaks Rice University, Shepherd School of Chamber Orchestra; River Oaks Music; Music of the Baroque; Chamber Orchestra Brass Quintet; Chicago Philharmonic; Cabrillo Festival of Contemporary Music Houston Grand Opera Orchestra GTMF 2 years GTMF 35 years

GTMF.ORG | Season 55 | 139 YOUR FESTIVAL ORCHESTRA, CONTINUED

TRUMPETS,continued TROMBONES

THOMAS HOOTEN JAY EVANS Los Angeles Philharmonic, Principal Alabama Symphony Orchestra, Principal; GTMF 10 years Music of the Baroque, Principal Alto Trombone GTMF 11 years

PETER MARGULIES CRAIG MULCAHY Utah Symphony National Symphony Orchestra, Principal GTMF 15 years GTMF 14 years

JENNIFER MAROTTA MICHAEL MULCAHY Los Angeles Freelance Musician; Chicago Symphony Orchestra; Music of the Baroque Northwestern University; Australian GTMF 10 years World Orchestra, Principal; Australian National Academy of Music GTMF 25 years

CHRISTOPHER MARTIN STEVE NORRELL Chicago Symphony Orchestra, Principal Metropolitan Opera Orchestra; GTMF 11 years Manhattan School of Music GTMF 13 years

MATTHEW SONNEBORN ROGER OYSTER Naples Philharmonic, Principal Kansas City Symphony, Principal GTMF 10 years GTMF 27 years

JARED RODIN Indianapolis Symphony Orchestra; Butler University; Music of the Baroque GTMF 12 years

140 | Grand Teton Music Festival | SUMMER 2016 TROMBONES,continued

LARRY ZALKIND MICHAEL CRUSOE University of Rochester, Eastman School Seattle Symphony, Principal Timpani; of Music; Summit Brass; Symphoria University of Washington GTMF 34 years GTMF 7 years

KENNETH EVERY Jacksonville Symphony, Principal Timpani; IRIS Orchestra TUBAS GTMF 26 years

JÁTTIK CLARK RIELY FRANCIS Oregon Symphony, Principal; San Antonio Symphony, Principal Oregon State University; Percussion & Assistant Principal Timpani Portland State University GTMF 13 years GTMF 16 years

CRAIG KNOX CRAIG HAUSCHILDT Pittsburgh Symphony Orchestra, Da Camera of Houston; Houston Principal; Carnegie Mellon University; Grand Opera Orchestra, Substitute Curtis Institute of Music GTMF 13 years GTMF 22 years

JOHN KINZIE Colorado Symphony, Principal; University of Denver PERCUSSION GTMF 27 years Principal Percussion sponsored by Sue Sullivan

RICHARD BROWN BRIAN PRECHTL Houston Grand Opera Orchestra, Baltimore Symphony Orchestra Principal; Rice University, Shepherd GTMF 25 years School of Music GTMF 38 years

GTMF.ORG | Season 55 | 141 YOUR FESTIVAL ORCHESTRA, CONTINUED

PERCUSSION,continued

EDWARD STEPHAN ANNE PREUCIL LEWELLEN Pittsburgh Symphony Orchestra, Fort Wayne Philharmonic, Principal; Principal Timpani Indiana-Purdue University Fort Wayne GTMF 2 years GTMF 18 years

WILEY ARNOLD SYKES LOUISE VICKERMAN Philidor Percussion Group; Greensboro Utah Symphony, Principal; Utah Opera, Symphony Orchestra, Principal; Guilford Principal; Weber State University; College; Eastern Music Festival Westminster College GTMF 15 years GTMF 9 years

RICHARD WEINER Cleveland Institute of Music; Cleveland Orchestra, Principal (retired) GTMF 4 years KEYBOARDS Principal Keyboard sponsored by Ann & Dick O’Leary

KORI BOND Idaho State University GTMF 1 year HARPS

ELISABETH REMY JOHNSON JASON HARDINK Atlanta Symphony Orchestra, Principal; Utah Symphony, Principal Emory University; Georgia State GTMF 9 years University; Kennesaw State University GTMF 1 year

RACHEL VAN VOORHEES SCOTT HOLSHOUSER KIRSCHMAN Houston Symphony, Principal; Louisiana Philharmonic Orchestra, University of Houston Principal; New Orleans Opera, Principal; GTMF 17 years Loyola University GTMF 37 years

142 | Grand Teton Music Festival | SUMMER 2016 KEYBOARDS,continued

KIMI KAWASHIMA ROBERT STILES Westminster College; NOVA Chamber Detroit Symphony Orchestra, Music, Executive Director Principal Librarian & Substitute Bass GTMF 2 years GTMF 17 years

ADELLE ESLINGER RUNNICLES Deutsche Oper Berlin, Music Staff GTMF 10 years ASSISTANT CONDUCTOR

ANDREW PALMER TODD JERRY HOU Grand Teton Music Festival, Rice University, Shepherd School Executive Director of Music, Assistant Conductor GTMF 3 years GTMF 1 year

LIBRARIANS

GARY CORRIN Toronto Symphony Orchestra, Principal GTMF 15 years

CROZET DUPLANTIER Shreveport Symphony Orchestra; Britt Classical Festival GTMF 12 years

GTMF.ORG | Season 55 | 143 GROCERY STORE & WINE SHOP

SOMMELIER, TAMMY ALBERT is available to help you with your cellar selections.

grocery store and the NY Times. 307-734-0070 www.mangymoose.com

144 | Grand Teton Music Festival | SUMMER 2016 JACKSON HOLE, WYOMING • JHFINEDINING.COM A proud supporter of the Grand Teton Music Festival

DistinctiveDINING EXPERIENCES

IN-TOWN

French-American Bistro Wine & Tapas Bar, Specialty Grocer Modern American Cuisine 380 S. Broadway • Jackson and Bottle Shop 155 N. Glenwood • Downtown Jackson 307-739-1100 • rendezvousbistro.net 200 W. Broadway • Downtown Jackson 307-734-1633 • thekitchenjacksonhole.com 307-739-9463 • bin22jacksonhole.com

WESTBANK & TETON VILLAGE

Eclectic Roadhouse Fare and Craft Beer Rustic Italian Fare Locally-Focused Specialty Grocer, 2550 Moose-Wilson Rd • Wilson 3335 W. Village Dr, Hotel Terra • Teton Village Butcher and Bottle Shop 307-739-0700 • qjacksonhole.com 307-739-4100 • jhosteria.com 3200 W. McCollister Dr • Teton Village 307-200-4666 • bodegajacksonhole.com

Weddings - Rehearsal Dinners - Private & Corporate Events • 307-739-4682 • bistrocatering.net

GTMF.ORG | Season 55 | 145 HELPING OUR COMMUNITY RUN

VOTED BEST OF JH BY THE LOCALS

LUNCH + DINNER + CATERING

…having dined in the more popular places in Jackson this was our favorite….we ate here 3 times in one week!!!!! B. Painter || Trip advisor

…I would put the menu and crew at gather up against any restaurant in Charlston, SC. HE’S NEVER Brad P. || Yelp …we have lots of favorites in Jackson but gather has become our absolute favorite for so many reasons. HEARD OF Try it you’ll love it!! Janet B. || Opentable

OLD BILL MODERN AMERICAN CUISINE But he’s touched his life in many ways. With Old Bill’s funds, LOCATED IN DOWNTOWN JACKSON • 25,000 people experienced visual art • 5,192 people learned the history of Jackson Hole 1 BLOCK FROM TOWN SQUARE + PARKING GARAGE • 10,000 people witnessed live theater 72 S. GLENWOOD YOU DON’T NEED TO KNOW 307. 264. 1820 GATHERJH.COM OLD BILL TO LOVE HIM. SEPTEMBER 10, 2016 • 10:00 AM

Please invest in your favorite nonprofi ts through Old Bill’s.

307-739-1026 WWW.OLDBILLS.ORG COME TO GATHER...... COME TOGETHER

146 | Grand Teton Music Festival | SUMMER 2016 GTMF.ORG | Season 55 | 147 DONORS & SPONSORS

The Grand Teton Music Festival acknowledges the significant contributions of our loyal donors and their support of the Festival. The generosity of our donors allows GTMF to present events throughout the year, including the Summer Festival, the Metropolitan Opera: Live in HD broadcasts, Winter Music, as well as numerous educational programs that reach the young music lovers in our community. Thank you to those who play their part to ensure the Festival’s success. For more information about making a donation, including benefits and sponsorship opportunities, please contact Anna Mattson, Director of Development, at 307.732.9967 or [email protected]. The following donations were made between April 1, 2015, and March 31, 2016.

GUARANTOR PROJECT Bob Graham, Karen Terra, Matt & Dick & Polly Vaughan Robin & Bill Weiss SPONSORS Julie Faupel, Mack Mendenhall, and Paul von Gontard Claudia & Terry Winchell Jackson Hole Real Estate Associates Penny & Doug Yarrow Dr. Glen & Marilyn Nelson Guarantor Project Sponsors Trina & Mike Overlock underwrite important Festival Susan & Jon Rotenstreich initiatives and programming, including FRIENDS South Dakota Trust Company individual concerts, series of GUARANTORS Charlotte Stifel $1,000 + concerts, soloists, conductors, and Kenneth and Caroline Taylor Laura & Robert Ackerman principal orchestra chairs. The $3,500 + Family Foundation The Alpenhof Marcia Kunstel & Joe Albright philanthropic spirit of these Van Cleef & Arpels Hank Becks & Kathy Hindman Emily & Jim Ambler individuals guarantees an exhilarating Whitmire Family Fund of the Becky & Mia Benenate Dan & Mary Armour musical experience for all who attend Community Foundation of Cindy Booth Pat & Dan Baker Festival events. They lead this Jackson Hole Judy & Tom Bowser Deborah & Randolph Barker treasured Festival with gifts that Faye & Bill Campbell Donna & Ken Barrow maintain a stellar vision for $10,000 + Christine Coleman Mary Jane & John D’Arcy Becker generations to come. To you, we Bonnie & Mert Bell The Sage Foundation, Roberta & Nannette Beckley extend our heartfelt gratitude. Katherine Brooks & George Beller Steven Denning Bowen Family Foundation Mary Weber & Robert Duggan Jaclyn & Nelson Braddy $100,000 + Gainor & Joe Bennett John & Joyce Caddell, and The Pauline & William Egan Marion Buchenroth Christine & Ross Hartley Caddell Foundation Jan & Larry Finch Jim Carona & Heather Sacre Sylvia Neil & Dan Fischel Jayne & Al Hilde, Jr. Petria & Scott Fossel Barbara Casey Marge & Gil Ordway Penney & A.C. Hubbard Ann and Gordon Getty Foundation Lynne & Dick Cheney Ellen & David Raisbeck Susan & John Jackson, Joan & David Goldfarb Karen Rockey & Sam Collins Ari Rifkin, in memory of Leonard Rifkin The Liana Foundation Goodman Family Foundation, in Susan & Joe Davenport Frances & Allan Tessler Pam & Dick Niner memory of Roy & Barbara Goodman Jane & Jeff Deming Barbara & John Vogelstein Mrs. Carter Gray Jack and Carole Nunn Donor Advised Dunkin’ Donuts Suzanne & George Harris Fund of the Community Foundation Sarita & Brent Eastman $50,000 + Gary & Melissa Harvey of Jackson Hole Tania & Tom Evans Anonymous Bonnie & Nick Hopkins Anne & Eugene Fife Chris & John Nyheim Dale & Jay Kaplan Private Jet Services Marcia Allen & Gary Finkel $25,000 + Dr. Michael & Ellen Karpf Lisa & Chuck Fleischman Dick & Maggie Scarlett Jay & Karen Kemmerer Aurelia & Cadmus Balkanski Theresa Godchaux Mary & Stanley Seidler Joffa & Bill Kerr Janice H. Barrow Grand Teton Music Festival Auxiliary Diane & Donald Siegel Diana & Gerald Kitchen Center of Wonder Myrna & Stephen Greenberg Dean & Carol Spatz Kathy Kline Jacqueline & Christian Erdman Virginia S. and Michael J. Halloran StoneRiver Foundation Beedee & Ted Ladd Peter Fenton Barbara & Stan Trachtenberg Charitable Fund Louise & Ralph Haberfeld Gretchen Long Andy & Cammie Watson Dee & Fred Lyons Marion Hazlehurst Patty & Dick Jaquith Suzanne & John Whitmore Vicki & Alan Henderson Barbara & Pat McCelvey Laurentius Marais WRJ Design Doyen McIntosh Barbara & Chuck Herz Ann & Dick O’Leary Emma Hill Monay Olson and Premier Cleaning MorningStar Assisted Living of $6,000 + Jackson Hole Maggie & Jim Hunt Arnold & Barbara Silverman Beth & David Augé, and Teton Motors Susan & John Jackson Sandy Masur & Scott Spector Abby & George O’Neill Bessemer Trust Susan & Peter Ordway Gisela Kenyon Bill & Mary Linn Wecker Mariam Diehl and The Diehl Gallery Tayloe Piggott Lee & Roger Kintzel Wyoming Landscape Companies The Jerry S. Handler Family, in Lucy & Toby Rankin Ruth & Gerald Laubach memoriam Robert P. Schuster Pete Lawton $15,000 + Heather James Fine Art Linda & John A. Sherman, Jr. Valerie & George LeFebre Ed Artzt & Marlies The Kessler Fund Jamie & Steve Snyder Remy Levy & Catherine Kehr Hessel Artzt Margery & Edgar Masinter Barbara & Edmund Terry Irene & Alan Lund Peter A. Benoliel & Sally & Rick Mogan Walt & Joan Thulin Adrienne & John Mars Willo Carey Julie & William Obering Amy & Steve Unfried Anna Mattson John & Janet Costello Private Jet Services Group Richard H. and Mary M. Vaughan Richard P. & Claire W. Morse Anne & Joel Ehrenkranz Don & Mary Shockey Donor Advised Fund of the Foundation Lou & John Furrer O’Ann Fredstrom & Stuart Sugarman Community Foundation of Jackson Claudia C. Nettle The Hood-Barrow Foundation Sue Sullivan Hole Melanie & Larry Nussdorf

148 | Grand Teton Music Festival | SUMMER 2016 Frank A. O’Neil Family Foundation The Brooks Foundation Julie Ann Giacobassi & Zach Hall Barbara Ann & Gary Winter Fran & Doug Ober Barbara & Malcolm Clinger Gail & David Conklin Martha McCravey & Alan Wood Carol & Jere Overdyke Jeffrey Cohen Eileen & Douglas Hancey Debby & Robert Wood Kathleen & Jerry Peters Dean & Dietlinde Coleman Molly & James Harris Carmen & Andrew Yung Shirley & Paul Piper Rose-Marie and Michel Crouzillat Arcelia Hawks Darlene Zillmer Nancy Salden Susan Erickson & James Dannenberg Janice Hazlehurst Diane Schafer Robert & Dagmar Deason Rob, Cindy & Austin Hazlehurst $25 + Nancy & Duane Schneider El Abuelito Mexican Restaurant Candy Herda-Scott Judith Ablon Barbara & Richard Silverman Martha Feagin Leslie & David Hill Jurate Kazickas & Roger Altman Janet & Orin Smith Katherine & Frank Forelle Mike & Peggy Hinman Shawn & Andy Ankeny Sarah Billinghurst Solomon & Ilene & Howard Garber Mixie Hockman Anonymous (4) Howard Solomon Julia & Fred Gaston Karen Taves & Stephen Hoff Dr. Grace Arnold Joyce & Bill Sullivan Hub International Insurance Nancy Hoffman Barbara & Jerry Aronowitz Douglas V. Thomas III Sanjay Jain Zita & Joseph Izzo Aleeta Attra Andrew Palmer Todd Gudrun Rice & Charles Kerr Caroline Janda Nancy Augustin Chris Todd & Irene Draesel Warren Levy Marlene & Fred Kayne Beverly & Jack Babcock Sandra & Bruce Tully Andy & Clark MacKenzie Ella Kedan Joyce & Richard Barra Teri & Dan Tyree Linda A. Mars Bob & Pam Kennedy Tom Bird Teresa & William Waterman Carol & Mike Marshall Peggy & Dieter Knecht Helen C. & J. David Blankenship Jean & Chuck Webber Ruth & Bill McClure Anna Kokotovich Rebecca & Ryan Block Gail Williams & Larry Combs Holly McCollister Margaret Kuechle Lea Bonnecaze & Ian Levenson Drs. Richard & Joan McGee Helen & Michael Lehmann Mary Bowker $500 + Elinor & Scott Miller Katherine Swartz & Frank Levy Carol Bradof Anonymous Steven and Sheila Miller Foundation Carole & Ed Liebzeit Wendy Brecher Henry Armour & Natalie Clark Betty & Chuck Mulcahy Dr. Elizabeth Ridgway & Judith & Harold Bregman Charles Berney & Family RMB Capital Management Dr. James Little Katharin Brink Mark Bodenhamer Larry Rockefeller Bernadette & Robert Longfield Kay & James Brooks Elizabeth & Bruce Bowen Mary & Robert Rohr Sherry & John Lyle Diana & James Brown The Brooks Foundation Louisa & Christopher Sandvig Robert Lyon Peter Buch Nancy Bull Patricia & Lawrence Shekell Jane Matthews Eileen Buckley Lora & Dick Childs Ann & Al Simpson Emmett McCarthy Bernard Burst Elizabeth & Frank Christensen Mona Sobieski Julie McCarthy Marty, Hilary & Nieve Camino Trudi Cohen Mary Morgan Springer Annabelle A. McGee Robert Carmichael John & Kathryn Corboy Teton Heritage Landscaping Angela & Michael McGrath Margaret Carpenter Shawn & Mike Daus Mike Thieme Joan & Bruce McNab Rhea Lewis & David Chavez Dunkin’ Donuts John & Jane Valenstein Irene & Moe Mellion Geneva Chong Naomi & Roy Flack William E. Wecker Associates, Inc. Susan Milbrath John Byrne Cooke Virginia Grafton Becker Shelley Mulitz Maryann & Tim Crawford Carol & John Harkness $100 + Regina Mullen Donald Cushman Karen & Richard Hobbins Virginia & Michael Adler Nancy Orgeman Laura & Will Davenport Georgia & Doug Inglis Fraida & Bob Aland Cheryl & Thomas Palfrey Christopher Davis Alison & Dick Jones Amazon Smile Biba & Jon Parker Foundation Kimberly Day & James Kleine Jackson Hole Flower Boutique and Emily & Jim Ambler Persephone Bakery Kirsten Lindahl & Johann Deisenhofer Monica Grimberg Anonymous (2) Beverly & Jay Pieper Kenneth E. Devore & Associates Jackson Hole News&Guide Earle Augé The Pignataros Andrew Dolkart Marlene & Peter Lang Linda & Ben Baranko Cheryl Plush Shirley Drake Diane & Roger Lewis Margaret & Gordon Bare Elise Prayzich Luther Egge Patty & Don MacNaughton Dolores Beightol Carol & Stan Pugmire Roxanne & Tom Factor Joni Mack Cecilia & Frank Bellinghiere Thelma & Orville Quasdorf Steve Feldman June & Michael McCollister Helen & Dave Bishop Patsy & David Raaum Ray Fink Elaine Moehring Cynthia Blankenship & Dan Creighton Nancy N. Resor Jayann Fordon Nancy & Bill Pettus Irene Beardsley & Dan Bloomberg Juanita & Thomas Ringer Janna & Art Frakt Kasey & Len Purkis Ann & James Bonham Elaine Schepps Polly & Steve Friess Dr. Paula Szypko & Dr. Monty Patrick Bradley & Patty A. Dean Scofield Jane Frisch Quadland Carney-Bradley Dr. Shafi & Mary Shafaieh Shinichi Fuse Terry & Bert Romberg Mr. and Mrs. John E. Chapoton Susan Shepard & Leonard Kleiman Anne-Maria Gaddini R. Douglas Ross Amanda Cross Priscilla & Barry Sibson Megan & Kieran Gallagher Mr. & Mrs. David S. Ruder Kathy and Bob Cummings Amy Simon Allyson Gill Ann & Ben Ruehr Christy Cushman Smith’s Community Rewards Bobbye Glidewell Michael Sellett and Mary-Alice Nancy Easterling Lisa Steele John P. Spain and Dr. Leslie I. Gold Huemoeller Ruth & Nyles Ellefson Kevin Stephans Thomas J. Griffin, Jr. Edwin J. Thomas II & Karen Skaggs Arthur Enk Barbara & Richard Szefc Margi & Tim Griffith Nancy Eaton-van Ee & Jeff van Ee Aida Farag Technology Security Associates Jochen Grocke Rich Viola Amanda Flosbach Jennifer & Michael Tennican Amy Grose Jim Waldrop George Ford Betty & Chuck Terrill Charles Gulotta Mary & Kenneth Willis Natalie & Sheldon Frankel Lutitia Tibbetts Sharon Gunberg Joan & Michael Yogg Zaidee & Robbie Fuller Shirley & Wes Timmerman Linda & John Hanlon GE Foundation Matching Gifts Martha & Warren Van Genderen Zoë T. Hardy $250 + Program Karen Van Norman Catherine Hazlehurst Da Cruz Sallie & Duby Ausley Martha & John Gilmore Betty & Jim Walton Pam & Jim Heavner Pilar Bass Donna & George Glass Betty & Stanley Weinberger Doug Henderson Dr. Kenneth & Mrs. Helen Begelman Natalie & Eliot Goss Chad & Wendy Weiss Yvonne Henze Sheila & Bob Berner Marilyn & Edward Gschwind Maryjo & Gary Weissman Victoria Hess Cathy & Jim Bierman Monique Gustin Barbara & William White Phyllis Horwitz Jim Bjorken Pam Jones-Hahn & Ed Hahn Willow Street Group Carrie & Jack Howe

GTMF.ORG | Season 55 | 149 DONORS & SPONSORS, CONTINUED

Joann Hudson Elizabeth Thebaud Claudia C. Nettle, in memory of Council, through funding from the Dawn & John Hummel Rosemarie Thomas Robert Nettle Wyoming State Legislature and the Ghoncheh & Allen Jebsen Kathleen Turaski Frank A. O’Neil Family Foundation, in National Endowment for the Arts Jorgene Jensen Larry & Barbara Van Genderen memory of Frank A. O’Neil Sally & Frank Johnson Matthew Varsha In memory of Alice Barreca. Alice, we Robert Johnson Jill Veber loved you so. We know you will Adrian Johnston Karen & Ashley Wade eternally be spending much time in John Kamprath Fred & Linda Walker, Black Diamond the Tetons. All our love—the Joette & Kurt Katzer Real Estate Pignataros Diana & Robert Kiefer Karen Wesley Cheryl Plush, in memory of Alice Mary Lou & Richard Klene Treva Womble & Robert Williams Hazlehurst Barreca Julie Birrer & Kraig Kobert Frances Wright Ari Rifkin, in memory of Leonard Jennifer Korb Jo Zagar Rifkin Frances Pollak & Ernest LaBelle Nancy & Nick Zawacki David Sciubba, in memory of Sue Jessie & Stuart Lang Darlene Zillmer Gardner & her love of music William Larson Amy Simon, in memory of Susan Peter Law Crecraft Gardner, a loving Ellen Lederman grandmother with a musician’s Lydia Leitch GIFTS IN MEMORIAM heart Leticia Liera Lola & Lyle Spalding, in memory of Marina & Curtis Loosli Aleeta Attra, in memory of Alice Alice Barreca Linda & Kip MacMillan Barreca Vonnie & Roy Spies, in memory of Macy’s Inc. Eileen Buckley, in memory of Alice Alice Barreca Andy Mahoney Barreca Michele & Dennis Steiger, in memory Kathy & Bob Mahoney Amanda Cross, of Alice H. Barreca Susan & James Matheson in memory of Alice Barreca, with Technology Security Associates, in Lew & Billie Jane Maul our heartfelt condolences—Italian memory of Alice Barreca Georgia Mayer Navy AV8-B Joint Program Office Douglas V. Thomas III, in memory of OLD BILL’S FUN RUN Edward McAuslan Gail Williams & Larry Combs, in Judith Ann Koerner Beverly & Edward McIlnay memory of Wilda K. Williams Lutitia Tibbetts, in memory of Alice On a Saturday morning in September, Sally McRobert Wise In memory of Mme. C. Michau & Barreca the Jackson Hole community gathers Ellen Meyers Christian Crouzillat by Rose-Marie for the philanthropic celebration of Christine & David Murdoch & Michel Crouzillat Old Bill’s Fun Run. Over the past 17 Leonard Newblom Shawn & Mike Daus, in loving years, this event has helped local Anne Newman memory of Ellen & Alan Daus GIFTS IN HONOR charities raise over $100 million and James O’Brien Nancy Easterling, in memory of Alice has touched the lives of thousands. Kathleen Heenan & Clarence Barreca, with much love from the Emily & Jim Ambler, in honor of We are grateful for this event and to Olmstead, Jr. St. Andrews Coffee Gals GTMF Orchestra and Staff all who designate their gifts to the Stephan Parker Goodman Family Foundation, in Anonymous, in honor of Klaus Baer Grand Teton Music Festival. Volha Pastukhova memory of Roy & Barbara and Rush Jenkins Pam & Keith Phillips Goodman Cecilia & Frank Bellinghiere, in honor Virginia & Michael Adler Sarah Phocas In memory of John Larson, by the of Claudia & Michael Schrotz Fraida & Bob Aland Kathie & William Phoenix Grand Teton Music Festival Board Susan & John Jackson, in honor of Marcia Kunstel & Joe Albright Cheryl Poe of Directors the marriage of William Rush Emily & Jim Ambler Linda & John Prentice The Jerry S. Handler Family, in Jenkins and Klaus Dieter Baer Anonymous (2) Elta Ratliff memoriam Robert Lyon, in honor of Barbara & Jerry Aronowitz Mary & John Ray Zoë T. Hardy, in memory of Stevens Cynthia Walk and Marty Camino Earle Augé Elizabeth Robinson F. Johnson Shelley Mulitz, in honor of Sallie & Duby Ausley Dale Rubenstein Catherine Hazlehurst Da Cruz, in Tommy Mulitz Margaret & Gordon Bare Mandira Sanyal memory of Alice Barreca Karen Wesley, in honor of Pilar Bass Dickson Schaefer Janice Hazlehurst, in memory of Dick Jaquith’s Birthday Bonnie & Mert Bell Brian Schmidt Alice Barreca Barbara & William White, in honor of Cecilia & Frank Bellinghiere Micki & Peter Schossberger Marion Hazlehurst, in memory of Dick & Patty Jaquith Cathy & Jim Bierman Claudia & Michael Schrotz Alice Hazlehurst Barreca Darlene Zillmer, in honor of Helen & Dave Bishop Carol & Craig Schwender Rob, Cindy & Austin Hazlehurst, in Wounded Warriors Jim Bjorken David Sciubba memory of Alice H. Barreca Rebecca & Ryan Block Ann Seibert Georgia & Doug Inglis, in loving Ann & James Bonham Peter Selkowitz memory of Sue Gardner Elizabeth & Bruce Bowen Colleen Seymour Bernadette & Robert Longfield, in GRANTS Mary Bowker Dr. Frank & Lynda Sharbrough memory of Alice Barreca The Brooks Foundation Bev & Sam Sharp Lew & Billie Jane Maul, in memory of Center of Wonder Diana & James Brown Zachary Singer Susan Crecraft Gardner Grand Teton Music Festival Marion Buchenroth Ann Smith Julie McCarthy, in memory of Alice programs are funded in part by a Lora & Dick Childs Judy Smith Barreca grant from the Community Barbara & Malcolm Clinger Lola & Lyle Spalding Holly McCollister, in memory of Paul Foundation of Jackson Hole Christine Coleman Vonnie & Roy Spies and Esther McCollister Cultural Council of Jackson Hole/ Community Foundation of Jeanie & Fred Staehr Sally McRobert Wise, in memory of Town and County Arts for All Jackson Hole Diana Osuna & Tom Stallings Alice Barreca Grand Teton Music Festival John Byrne Cooke Michele & Dennis Steiger Susan Milbrath, in memory of Alice programs are supported in part by John & Kathryn Corboy John Straker Barreca a grant from the Wyoming Arts Maryann & Tim Crawford

150 | Grand Teton Music Festival | SUMMER 2016 Donald Cushman Christine & David Murdoch to the Grand Teton Music Festival. Annette & Ian Cumming Shawn & Mike Daus Pam & Dick Niner Through their thoughtful foresight Judy Dayton Laura & Will Davenport Ann & Dick O’Leary and generosity, members of the Anne & Joel Ehrenkranz Kimberly Day & James Kleine Kathleen Heenan & Clarence Sullivan Society play a key role in Cynthia Fayard & Stephen Trickey Kirsten Lindahl & Johann Olmstead, Jr. long-term growth and continued Peter Fenton Deisenhofer Biba & Jon Parker Foundation success. Those listed below have The Fenton Family Gift Fund Ruth & Nyles Ellefson Persephone Bakery pledged their support of the Grand Jan & Larry Finch Tania & Tom Evans Nancy & William Pettus Teton Music Festival through Sylvia Neil & Dan Fischel Roxanne & Tom Factor Pam & Keith Phillips planned gifts. David B. Ford Aida Farag Shirley & Paul Piper Lynne & Jack Fritz Martha Feagin Carol & Stan Pugmire If you have also included GTMF in Lou & John Furrer Ray Fink Kasey & Len Purkis your estate plans or would like to Susan & Robert Gardner Marcia Allen & Gary Finkel Thelma & Orville Quasdorf discuss planned giving, please Nicholas Goldsborough Naomi & Roy Flack Patsy & David Raaum contact Anna Mattson, Director of Grand Teton Music Festival Auxiliary Lisa & Chuck Fleischman Nancy N. Resor Development, at [email protected] Carter Gray Amanda Flosbach Juanita & Thomas Ringer or 307.732.9967 Louise & Ralph Haberfeld Jayann Fordon RMB Capital Management Suzanne & George Harris Petria & Scott Fossel Terry & Bert Romberg Marlies & Ed Artzt Christine & Ross Hartley Janna & Art Frakt Louisa & Christopher Sandvig Gainor & Joe Bennett Deane & Dick Henderson Natalie & Sheldon Frankel Claudia & Michael Schrotz Joyce & John Caddell and the Jayne & Al Hilde, Jr. Zaidee & Robbie Fuller Carol & Craig Schwender Caddell Construction Company Inc. The Hood-Barrow Foundation Lou & John Furrer Dean Scofield Mary Ann & Harold Feldman Penney & A.C. Hubbard Ilene & Howard Garber Peter Selkowitz Melissa & Mark Grosvenor JWJ Family Foundation Julie & Fred Gaston Michael Sellett & Mary-Alice Carol & John Harkness Dale & Jay Kaplan Theresa Godchaux Huemoeller Christine & Ross Hartley Gisela Kenyon Joan & David Goldfarb Priscilla & Barry Sibson Jayne & Al Hilde, Jr. Emily & Carl Knobloch, Jr. Natalie & Eliot Goss Diane & Donald Siegel Mary & Stanley Seidler Gerry & Doris Laubach Myrna & Stephen Greenberg Jeanie & Fred Staehr Susan & Pike Sullivan Valerie & George LeFebre Margi & Tim Griffith Diana Osuna & Tom Stallings Andrew Palmer Todd Ron Saypol & Florence Lemle Jochen Grocke Jennifer & Michael Tennican The Len-Ari Foundation Sharon Gunberg Betty & Chuck Terrill Diane & Roger Lewis Julie Ann Giacobassi & Zach Hall Frances & Allan Tessler Gretchen Long Carol & John Harkness Elizabeth Thebaud MUSIC DIRECTOR Judy & Patrick Lupo Molly & James Harris Edwin J. Thomas II & Karen Skaggs INITIATIVES Adrienne & John Mars Vicki & Alan Henderson Shirley & Wes Timmerman Margery & Edgar Masinter, in honor Barbara & Chuck Herz Sandra & Bruce Tully Gifts to this fund help fulfill the of Peter Coxhead Leslie & David Hill Teri & Dan Tyree artistic visions of Music Director Margery & Edgar Masinter Karen Taves & Stephen Hoff Nancy Eaton-van Ee & Jeff van Ee Donald Runnicles. These generous Margaret & Cal Mathieu donors provide resources for special Nancy Hoffman Larry & Barbara Van Genderen Barbara & Pat McCelvey initiatives, bringing choral and Carrie & Jack Howe Martha & Warren Van Genderen Kelly McDermott & Mark Daverin operatic works, classical music Dawn & John Hummel Jill Veber Doyen McIntosh superstars, emerging artists, and Maggie & Jim Hunt Betty & Jim Walton Sally & Rick Mogan major orchestral masterpieces to the Georgia & Doug Inglis William E. Wecker Associates, Inc. Richard P. & Claire W. Morse stage of Walk Festival Hall. The Zita & Joseph Izzo Maryjo & Gary Weissman Foundation following represents an Joette & Kurt Katzer Barbara Ann & Gary Winter Claire & Dick Morse accumulation of all gifts made since Elaine & Jim Wolfensohn Mr. & Mrs. Carl Nagel Marlene & Fred Kayne the inception of the Music Director Diana & Robert Kiefer Initiatives Fund in 2006. Marilyn & Glen Nelson Lee & Roger Kintzel Happy & Bob Nettle Mary Lou & Richard Klene William C. & Gloria A. Newton THE SULLIVAN SOCIETY Judith Ablon Peggy & Dieter Knecht Anonymous Pam & Dick Niner Julie Birrer & Kraig Kobert Ann & Chuck Baker Carole & Jack Nunn Frances Pollak & Ernest LaBelle Aurelia & Cadmus Balkanski Chris & John Nyheim Marlene & Peter Lang Auxiliary of the Grand Teton Music Ann & Dick O’Leary Helen & Michael Lehmann Festival Susan & Peter Ordway Lydia Leitch Janice H. Barrow Trina & Mike Overlock Lea Bonnecaze & Ian Levenson Donna & Kenneth Barrow D.A. & Joe Palmer Remy Levy & Catherine Kehr Dr. Kenneth & Mrs. Helen Begelman Robin & Bob Paulson Warren Levy Bonnie & Mert Bell Sally Phinny Diane & Roger Lewis Cecilia & Frank Bellinghiere Ellen & David Raisbeck Carole & Ed Liebzeit Gainor & Joe Bennett Kitty & John Resor Dr. Elizabeth Ridgway & Dr. James Peter A. Benoliel & Willo Carey Gaby & Mercer Reynolds Little The Sullivan Society was created Fran & Bob Biolchini Ari Rifkin Joni Mack to honor the generosity of Mr. and Linda & Tony Brooks Jerry Rose Andy & Clark MacKenzie Mrs. Pike Sullivan. In 2013, the Cheryl Brown Susan & Jon Rotenstreich Linda & Kip MacMillan Grand Teton Music Festival received Marion W. Buchenroth Maestro Donald Runnicles Kathy & Bob Mahoney a bequest from Pike that was added Joyce & John Caddell and The Phyllis & Chuck Savidge Jane Matthews to the Festival’s endowment. Caddell Foundation Jo Ellen & H.L. Saylor Georgia Mayer The Sullivan Society honors those Faye & William Campbell Dick & Maggie Scarlett Ruth & Bill McClure who create bequests, charitable Susan & Dennis Carlyle Diane Schafer Holly McCollister trusts, and other planned gifts to Frederika Carney Carol & Craig Schwender June & Michael McCollister leave lasting legacies for the Grand Carol & Bill Chittenden Mary & Stanley Seidler Angela & Michael McGrath Teton Music Festival. Claire & Rusty Cloud Peter Selkowitz Beverly & Edward McIlnay Christine M. Coleman Susan Shepard & Leonard Kleiman Irene & Moe Mellion Planned gifts, whether large or small, Carol & Peter Coxhead and The Linda & John A. Sherman, Jr. Betty & Chuck Mulcahy demonstrate your deep commitment Nichols Foundation Diane & Donald Siegel

GTMF.ORG | Season 55 | 151 DONORS & SPONSORS, CONTINUED

Barbara & Arnold Silverman Lou & John Furrer PATRIOTIC POPS TEN YEARS Susie & Dave Spackman Joan & David Goldfarb FOURTH OF JULY IN THE TETONS Carol & Dean Spatz Nicholas Goldsborough CONCERT Cordelia & Peter Stearns Goodman Family Foundation These generous supporters gave Charlotte & Henry Stifel Senator Roy Goodman The Festival extends a heartfelt gifts in honor of Music Director Joanne & David Stokes Joy & Tony Greene thank you to donors who support Donald Runnicles’ 10th anniversary Susan & Pike Sullivan Louise & Ralph Haberfeld Patriotic Pops, GTMF’s Fourth of July at the Grand Teton Music Festival. Caroline & Ken Taylor Lyn & Jerry Handler community celebration. Because of Frances & Allan Tessler Lynn Harrell the generosity of these donors, the Ed Artzt & Marlies Hessel Artzt Karla Tessler Christine & Ross Hartley community can enjoy this patriotic Bonnie & Mert Bell Susan & Edwin Thulin Jayne & Al Hilde, Jr. event for free in Walk Festival Hall. Katherine Brooks & George Beller Georgene & John Tozzi Leslie & David Hill Gainor & Joe Bennett Barbara & Stan Trachtenberg Karen & Richard Hobbins Jack & Bev Babcock Peter A. Benoliel & Willo Carey Normie & Paul Voillequé The Hood-Barrow Foundation Mary Jane & John D’Arcy Becker Cindy Booth Margot & Paul von Gontard Tracy & Tim Jacobson Cecilia & Frank Bellinghiere Joyce & John Caddell Margot Walk & Jerry Freeland Jeanine & Peter Karns Peter A. Benoliel & Willo Carey Center of Wonder Maurice Walk Fine Arts Foundation Gisela Kenyon Judy & Tom Bowser John & Janet Costello Kip & William Wallace Helen Laughery Diana & James Brown The Kessler Fund LaFon & Bill Ward Dee & Fred Lyons John & Janet Costello Mary Weber & Robert Duggan Karen & Peter Warshaw Barbara & Downs Mallory Kenneth E. Devore & Associates Pauline & William Egan Cammie & Andy Watson Elizabeth Chachas Masek El Abuelito Mexican Restaurant Anne & Joel Ehrenkranz Robin & Bill Weiss Margery & Edgar Masinter Steve Feldman Jacqueline & Christian Erdman Elaine & Jim Wolfensohn Barbara & Pat McCelvey Jane Frisch Jan & Larry Finch Jo Ann & Ted Wong Doyen McIntosh Lou & John Furrer Sylvia Neil & Dan Fischel Petria & Scott Fossel Dr. Glen & Marilyn Nelson Gail & David Conklin Lou & John Furrer Nichols Foundation Yvonne Henze Joan & David Goldfarb Pam & Dick Niner Emma Hill Mrs. Carter Gray MUSICIAN Carole & Jack Nunn Joann Hudson Louise & Ralph Haberfeld COMPENSATION FUND Chris & John Nyheim Jennifer Korb Christine & Ross Hartley Margaret & Gilman Ordway Margery & Edgar Masinter This fund was established in tribute Jayne & Al Hilde, Jr. Susan & Peter Ordway Barbara & Pat McCelvey to our magnificent Festival Penney & A.C. Hubbard Robin & Bob Paulson Claudia C. Nettle Orchestra. We are grateful to the Patty & Dick Jaquith Ellen & David Raisbeck Frank A. O’Neil Family Foundation generous donors who have stepped Dr. Michael & Ellen Karpf Pam & Jerry Rankin Julie & William Obering forward since 2009 to build this fund Gretchen Long Ari Rifkin Susan & Peter Ordway and keep our musicians returning Margery & Edgar Masinter Elizabeth Robinson Carol & Jere Overdyke year after year. Barbara & Pat McCelvey Jerry Rose Louisa & Christopher Sandvig MorningStar Assisted Living Ann & Ben Ruehr Mandira Sanyal Anonymous of Jackson Hole Maestro Donald Runnicles Dick & Maggie Scarlett Mary & Dan Armour Pam & Dick Niner Patricia Russell Colleen Seymour Beth & David Augé, and Teton Jack & Carole Nunn Phyllis & Chuck Savidge Barbara & Stan Trachtenberg Motors Chris & John Nyheim Maggie & Dick Scarlett Karen & Ashley Wade Auxiliary of the Grand Teton Music Julie & William Obering Carol & Craig Schwender Fred & Linda Walker, Festival Marge & Gil Ordway Black Diamond Real Estate Ann & Chuck Baker Mary & Stanley Seidler Ellen & David Raisbeck Pat & Dan Baker Peter Selkowitz Willow Street Group Ari Rifkin Cadmus Balkanski Linda & John A. Sherman, Jr. Dick & Maggie Scarlett Dr. Kenneth & Mrs. Helen Begelman Barbara Sieg Veronica Ho & Gary Silberberg Bonnie & Mert Bell Diane & Donald Siegel Arnold & Barbara Silverman Cecilia & Frank Bellinghiere Barbara & Richard Silverman THE METROPOLITAN Carol & Dean Spatz Peter A. Benoliel & Willo Carey Ann & Al Simpson OPERA: LIVE IN HD Sandy Masur & Scott Spector Charlotte Stifel Fran & Bob Biolchini Temple St. Clair Carr BROADCASTS Sue Sullivan Marion Buchenroth Cordelia & Peter Stearns The donors who support the Kenneth & Caroline Taylor Faye & Bill Campbell Dr. Michael Stern & Bridget Mullen Metropolitan Opera: Live in HD Frances & Allan Tessler Susan & John Campbell Charlotte & Henry Stifel series bring world-class opera to Dick & Polly Vaughan Claire & Rusty Cloud c/o Cloudburst Kenneth & Caroline Taylor Family the community of Jackson Hole. Barbara & John Vogelstein Productions Foundation Andy & Cammie Watson Christine M. Coleman Barbara & Edmund Terry Gainor & Joe Bennett Bill & Mary Linn Wecker Patty Cook Joan & Walt Thulin Peter A. Benoliel & Willo Carey Janet & Bob Whitmire Janet & John Costello Barbara & Stan Trachtenberg Lou & John Furrer Suzanne & John Whitmore Carol & Peter Coxhead Rilla & John Varley Patty & Dick Jaquith Mary Anne & Richard Cree Dr. Edwin Vodak & Valerie Lee Adrienne & John Mars Kelly McDermott & Mark Daverin Margot Walk & Jerry Freeland Julie & William Obering Nancy & Mike Faems The Maurice Walk Fine Arts Cynthia Fayard & Stephen Trickey Foundation Barbara & Eli Sedlin Jan & Larry Finch Cammie & Andy Watson Barbara & Stan Trachtenberg Sylvia Neil & Dan Fischel Janet & Bob Whitmire Suzanne & John Whitmore O’Ann Fredstrom & Stuart Sugarman Suzanne & John Whitmore Lynne & Jack Fritz Elaine & Jim Wolfensohn

152 | Grand Teton Music Festival | SUMMER 2016 2016 JACKSON HOLE Caren & Fritz Hatton, Arietta Winery Spur Restaurant & Bar MOOSE | WINE AUCTION Houston Grand Opera Stag’s Leap Wine Cellars $100,000–$249,999 DONORS Houston Symphony Orchestra Bernie Sun Christine & Ross Hartley Hotel Terra & Teton Mountain Lodge Taylor Fladgate Sylvia Neil & Dan Fischel We thank everyone who has Penney & A.C. Hubbard Tenuta San Guido Margaret & Gilman Ordway generously contributed time, talent, Il Villaggio Osteria The Liquor Store Maggie & Dick Scarlett Three Sticks Wines services, donations, and auction lots Inglenook Margot Walk & Jerry Freeland Andrew Palmer Todd to make the 2016 Jackson Hole Wine Jackson Hole Real Estate Associates Trefethen Family Vineyards Auction a success. This annual event Jackson Hole Winery BEAR | $50,000–$99,999 Trio, An American Bistro Jamieson Ranch Vineyards Marion Buchenroth raises significant funds to support Underbelly the Grand Teton Music Festival, Patty & Dick Jaquith Joyce & John Caddell and The Tim Kellogg & Meeteetse Chocolatier Union Wine Company music education in Jackson-area Urlari Wines, Mary Kate Buckley, Caddell Foundation schools, and other community Kenefick Ranch Jayne & Al Hilde, Jr. The Kitchen & Roberto Cristoforetti programs. We would like to recognize Vérité Penney & A.C. Hubbard the talents of our featured guests Kathy Kline Adrienne & John Mars Céline Labaune, Gourmet Attitude Barbara & John Vogelstein who made this three-day Wade & Clark Wine Imports Robin & Bob Paulson Laurie Thal Glass extravaganza unforgettable. Bill & Mary Linn Wecker Kenneth & Caroline Taylor Family David LeFevre and MB Post Robin & Bill Weiss Foundation Carol & James Linton A to Z Wineworks Wyoming Whiskey Christy Walton The Liquor Store of Jackson Hole Ackerman Family Vineyards & Janet & Bob Whitmire William E. Weiss Foundation LOCAL Ackerman Heritage House Elaine & Jim Wolfensohn Allegrini Locations Wine Aman Resorts Long Meadow Ranch DEER | $25,000–$49,999 Neil Loomis Amavi Cellars LANDLORDS Beth & David Augé, and Teton Luce Della Vita Anonymous Motors Maison Louis Jadot, Burgundy, Antica Napa Valley One of the largest expenses for the Gainor & Joe Bennett France, through Kobrand Archery Summit Festival is housing our exceptional Peter A. Benoliel & Willo Carey Wine & Spirits Ed Artzt musicians. We are very grateful to Carol & Peter Coxhead Massage Professionals Aspens Market our homeowners, with whom we have Jan & Larry Finch Beaux Frères of Jackson Hole built important relationships over the Anna Mattson Lynne & Jack Fritz Bell Wine Cellars years and who graciously provide Sharon & Dale Hilpert Becky & Mia Benenate Barbara & Pat McCelvey housing during the Festival. Merryvale Family of Wines Shirley & Paul Piper Frank & Cecilia Bellinghiere Barbara & John Vogelstein Bin22 Michele Chiarlo, Piedmont, Italy, To inquire about renting or donating Suzanne & John Whitmore April Bloomfield, The Spotted Pig through Kobrand Wine & Spirits your home, please contact Ani Van Bodega Josh Miller & Digital Applesauce Genderen Amdor at [email protected]. Million Dollar Cowboy Steakhouse ANTELOPE | Boka Restaurant $10,000–$24,999 Jaclyn & Nelson Braddy Moet Hennessy USA Virginia Grafton Becker Marlies Hessel Artzt & Ed Artzt Bronco Wine Company Monteverro Gainor & Joe Bennett Bonnie & Merton Bell Café Genevieve Nani’s Marjean Brillhart Betsy & Pete Forster Cakebread Cellars New West KnifeWorks Peggy & Edward Eifert Susan & John Campbell Drew Nieporent & Myriad Restaurant Louise & Ralph Haberfeld Lou & John Furrer Cardinale Group, Bâtard Jenness Hobart C&N Foundation Carole & Norman Carneros Wine Alliance Drew Nieporent & Myriad Restaurant Martin Horner Hofley Casa Piazza Group, Nobu Edward Kolsky Carole & Bob Hummel Champagne Henriot North Berkeley Imports Michael Kroposki Thomas Mangelsen, Inc. Champagne Taittinger Old Yellowstone Garage Jean & Marshall McBean Claire & Dick Morse Château Blaignan Stephen & Sue Parry, Parry Cellars Jim Outland Pam & Dick Niner Cline Family Cellars Pepper Bridge Winery Trina & Mike Overlock Chris & John Nyheim Conestoga Ranch Persephone Bakery Sindi & Ed Reynolds Jerry Rose Lynne & Harvey Scholfield Connie and Ted’s Peter Michael Winery Linda & John A. Sherman, Jr. Lee & Kirk Shadrick Kathy & Phillip Coosaia Tayloe Piggott Jean & Scott Spangler Walter Shah Coravin Premonition Cellars Joyce & Bill Sullivan Amy & Steve Unfried Cornerstone Cellars Pride Mountain Vineyards Sue & Pike Sullivan Thomas Westbrook Janet & John Costello Proud Mary Couloir Providence COUGAR | $5,000–$9,999 David Arthur Vineyards Q Roadhouse & Brewing Co. Larry Berlin & Berlin Architects Detail Driven Ellen & David Raisbeck HOME ON THE RANGE Joan & Macon Brock Dining In Catering Ramey Wine Cellars Janet & John Costello Domaine Carneros Rendezvous Bistro Anne & Joel Ehrenkranz Stanley Seidler and Margot Walk, Résonance Vineyards Carol & Robin Farkas Domaine Zind-Humbrecht Campaign Co-Chairs Grace & Ken Evenstad, Domaine Riedel, The Wine Glass Company Cynthia Fayard & Stephen Trickey Serene Winery Rocca Family Vineyards In 2010, GTMF embarked on a capital Georgia & Doug Inglis Far Niente ROCO Winery campaign to purchase housing for The Jaquith Family Foundation Figgins Family Wine Estates Rodney Strong Vineyards our musicians. We gratefully Dale & Jay Kaplan Fine Dining Restaurant Group Mimi Robinson & Jerry Rose recognize the loyal and generous Marlene & Peter Lang Sylvia Neil & Dan Fischel Saxum Vineyards donors whose combined gifts topped Margery & Edgar Masinter Frei Brothers Reserve Schramsberg Vineyards $2,000,000. Thank you for Carole & Jack Nunn Alex Gambal Schug Carneros Estate providing our musicians with homes Susan & Peter Ordway Grand Teton Distillery Sequoia Grove on the range! Patricia Russell Gros Ventre Cellars Shafer Vineyards Ann & Al Simpson GT Fish & Oyster Snake River Grill BUFFALO | $250,000 + Mr. & Mrs. Henry G. Stifel Louise & Ralph Haberfeld Pui Somjai Ari Rifkin, in memory of Leonard Rifkin Cammie & Andy Watson Hanzell Vineyards Sandy Masur & Scott Spector Mary & Stanley Seidler Janet & Bob Whitmire Hard Six Cellars Spire Collection Shooting Star James Wunsch Family

GTMF.ORG | Season 55 | 153 DONORS & SPONSORS, CONTINUED

FOX | $2,500–$4,999 Diane & Donald Siegel Lee & Roger Kintzel Melissa & Mark Grosvenor Marcia Allen & Gary Finkel Martha & Warren Van Genderen Hale Knox Berte & Alan Hirschfield Cecilia & Frank Bellinghiere Polly & Dick Vaughan Anna Kruger Penney & A.C. Hubbard & T. Rowe Brent Blue, M.D. In memory of George C. Weldon Sheila McCann Price Associates Foundation Cheryl Brown, Jessica, Chloe & Cindy & Dale Woodling Dr. John & Denise McCarthy The Jackson State Bank and Trust— Gabrielle Alan & Janice Zuckert, in honor of Irene & Moe Mellion Dick & Maggie Scarlett with a grant Christine Coleman Mary & Stanley Seidler Kristin Morrison from the Robert S. & Grayce B. Kerr Helen Farrell Donna Paulsen & Thomas Press, in Foundation O’Ann Fredstrom & Stuart Sugarman SWAN | $500–$999 honor of Mary & Stanley Seidler Diann & Tom Mann Joan & David Goldfarb Emily & Jim Ambler Carolyn Reeve & Andy Ripps Margery & Edgar M. Masinter Gisela Kenyon Anonymous Cary & Michael Rose In memory of Dick Moore by Ann C. Jane & Jim Knox Helen & Dave Bishop Peter Selkowitz Moore Drs. Denny & Ilse-Marie Lee The Brooks Foundation Vicki & Bob Stamp Ann Matthews O’Leary, Chair for Judy Leopold & Alan Orloff Nancy Eaton & Jeff van Ee Cordelia & Peter Stearns Keyboard Instruments Abigail S. Moore & Howard J. Mary Ann & Harold Feldman Mike Swanson Abby & George O’Neill Henderson Arthur Frakt & Janna Rankin Maryjo & Gary Weissman, in honor of Margaret & Gilman Ordway Susan & Stephen Morriss Bob Graham & Karen Terra the wedding of Catherine Tallichet Robin & Bob Paulson Mr. & Mrs. Lester S. Morse, Jr. Carter Gray & Tim Oakley Sally G. Phinny Bridget Mullen & Michael Stern Carolynn & Bruce Hawtin Mary Ann & Jerry Tapp, in memory of Mary & Stanley Seidler Melanie & Larry Nussdorf Kit Hughes Ling Tung John A. Sherman, Jr. Ann & Ben Ruehr Alison & Richard Jones Jennifer & Michael Tennican Alvrone & Ronald Sater Kelly McDermott & Mark Daverin Barbara & Edmund Terry TEEWINOT MT. | Mary & Don Shockey Sue & Lewis Nerman Gail van den Berg $50,000–$99,999 Barbara & Richard Silverman Ann & Dick O’Leary Alice & Michael Weinreb Carol & Peter C. Coxhead, in memory Barbara & Stan Trachtenberg Beverly Parenti Barbara Ann & Gary Winter of Kathleen Nichols Coxhead Herbert & Judith Paul, in honor of Mary Anne & Richard Cree EAGLE | $1,000–$2,499 Carol & Robin Farkas Lou & John Furrer Virginia & Michael Adler Shirley & Michael P. Pearson, in Christine & Ross Hartley Auxiliary of the Grand Teton Music honor of Barbara & Pat McCelvey FOR A SOUND FUTURE Jayne & Dick Johnston * Festival Jim Rosenfield, in honor of Sue & Robin & Sam Lightner, Camille & Pat & Dan Baker Alan Morris Al Hilde, Jr. & Stanley Seidler, 2000 James Brunker, Sam Lightner, Jr., Deborah & Randolph Barker Fallon & Matt Ryan, in honor of Endowment Campaign Co-Chairs & The Lightner Sams Foundation of Barbara Butler & Charles Geyer Margaret & Cal Mathieu WY, Inc. Carole Bean & Ken Leffler Carla & David Satinsky, in honor of We gratefully recognize the donors Margery & Edgar M. Masinter Cathryn Brodie & Doug Lowham Barbara & Pat McCelvey who contributed over $10M in gifts Sally & Rick Mogan * Susan & Richard Brown Katherine Swartz & Frank Levy and bequests—more than Caroline & Ken Taylor Mary Lou & Dennis Brydon quintupling the original Endowment Georgene & John Tozzi Barbara Casey CHICKADEE | UP TO $499 Fund and almost doubling the Barbara & Stan Trachtenberg, in Sophie Echeverria Anonymous campaign goal. memory of Ellen & Alan Daus * In memory of Thelma Conner, from Barbara Aronowitz Roxanne & Tom Factor Dr. Kenneth & Mrs. Helen Begelman GRAND TETON | $500,000 + CLOUDVEIL MT. | Emma Jane Gersack Lea Bonnecaze & Ian Levenson Joyce & John Caddell, Caddell $25,000–$49,999 Natalie & Eliot Goss Lisa & Bain Campbell Construction Company, Inc. The Augé Family & Teton Motors, in Leslie I. Gold & John Spain Jackie & Gary Childress Jan & Larry Finch memory of Anneliese Augé Louise & Ralph Haberfeld Anna & John Dobbins Jayne & Al Hilde, Jr. Ann & Chuck Baker Carol & John Harkness Phyllis Eliot & Earle Kaufman Susan & Pike Sullivan Muriel & Chuck Chidsey Antonia C. Hartley Peter Fenton Frances & Allan Tessler Roberta D. Bowman & Steven A. Hillary Hartley, Anna Gregory & Amanda Flosbach Mrs. Marguerite A. Walk & The Denning Wyatt Hartley Shelly & Art Fuerte Maurice Walk Fine Arts Foundation, Will R. Hartley Joanna Giesek, in loving memory of in honor of Felix Buchenroth and Anne & Joel Ehrenkranz In memory of Mary Helen Harutun friend & colleague Ling Tung the Buchenroth Family to endow Linda & Bob Ewing Barbara & Chuck Herz Susan Gorder the annual appearance of a Mary Ann & Harold Feldman Tracy, Tim, Malayna & Connor Sorel & Kurt Gottfried distinguished guest conductor, and Bob Graham, Karen Terra, & Real Jacobson Sharon Gunberg in honor of Margaret and Grant Estate of Jackson Hole Annabelle & Bob Lerch Sarah & John Gushee Hagen to endow the Principal Flute Carole & Norman Hofley Carole & Ed Liebzeit Laurie & Jim Hagenbarth Chair Dale & Jay Kaplan Ann & John Lyle Caroline & John Hall, in memory of Robin & Bill Weiss Mark Owen Mintel Debbie & Marshall Matz Ling Tung Claire W. & Richard P. Morse Barbara & Pat McCelvey Hawtin Jorgensen Architects MT. OWEN | Ed Opler, in loving memory of Pat Elinor & Scott Miller Lenore & Scott Henninger, in $250,000–$499,999 Opler Betty & Chuck Mulcahy memory of Ling Tung Marlies & Ed Artzt Mary Thom & Ray Osborne Anne & Tom Muller Karen & Richard Hobbins Laurance S. Rockefeller Dorothy Ann & Joe Palmer K.A. & C.E. Hoffmann, DDS MT. MORAN | Ron Saypol & Florence Lemle Lynne Marie & Richard Palmer Christal & Rafe Holmes $100,000–$249,999 Joyce & Bill Sullivan Lucy & Toby Rankin Terri & Bob Holzworth “The Love of My Life and Partner of Evelyn Twigg-Smith Katrina Weiss Ryan Elaine Infanger My Dreams” Muffie Van Camp Polly & Dick Vaughan * Carol & Craig Schwender Judy Ingold Becks—her loving husband, In honor of Mary & Stanley Seidler Jim Joseph Hank Becks NEZ PERCE MT. | Dr. Frank & Lynda Sharbrough Pam & Bob Kennedy Gainor & Joe Bennett * $10,000–$24,999 Susan Shepard & Leonard Kleiman Kristin King Joy & Tony Greene Marion Buchenroth

154 | Grand Teton Music Festival | SUMMER 2016 Peter A. Benoliel & Willo Carey Mary & Stanley Seidler Robin & Bill Weiss Tacie Dejanikus, in honor of Carolyn Mr. John Deuss Caroline & Ken Taylor Dr. & Mrs. Frank D. Werner Scott Dejanikus Margot & Paul von Gontard Margot Walk & Jerry Freeland Wiancko Family Fund Katherine & Frank Forelle Barbara & Roy Goodman O’Ann Fredstrom & Stuart Sugarman Clarene & Creed Law, Elk Country $50,000 + $5,000 + W.H. Baird Garrett Motels Gainor & Joe Bennett Jean Adams Natalie & Eliot Goss, in memory of Gretchen Long Christine Coleman, in loving memory Marieluise Hessel Artzt & Edwin Mrs. Anne Woolsey LaFarge Dinny & Lester Morse of my parents, Ed & Winnie Artzt Carter Gray, in memory of Gordon Diane & Donald Siegel Coleman, who instilled in me a love Bel Air Investment Advisors Gray Margaretha Walk & Jerry Freeland of music Virginia C. Boswell, in loving memory Peggy & Richard D. Greenfield, in Wyoming Arts Council, through Carol & Peter Coxhead of Richard H. Boswell honor of Carol & Robin Farkas funding from the NEA & the WY Lou & John Furrer, in memory of George H. Breed Gigi & Mike Halloran State Legislature Barbara Furrer Goodman Marion W. Buchenroth Carol & John Harkness Senator Roy Goodman, in memory of Muriel & Chuck Chidsey Deane & Dick Henderson BEDROCK | $500–$9,999 Barbara Furrer Goodman Raffaella & Alberto Cribiore Cy & Virginia Holden Jean & Sals Adams * Sally & Rick Mogan Elizabeth & Eben Dorros The Jaquith Family Foundation Larry K. Berlin & Berlin Architects Susan & Jon Rotenstreich Ehrenkranz Family Foundation Jorgensen Associates, P.C. Mrs. Gertrude W. Brennan, in Maggie & Dick Scarlett Carol & Robin Farkas Liz Kintz memory of Maurice Walk Mr. & Mrs. Henry G. Stifel Susan & Robert Gardner Viesia & Jerry Kirk Eliza & Tom Chrystie * Joan & David Goldfarb Senator & Mrs. Grant Larson Anne-Marie & Jimmy Dobbs, III $25,000 + Heidi, Danny, Oliver & August Jost Joan & Charles Lazarus, in honor of Carol & Robin Farkas Beth & David Augé & Teton Motors Clarene & Creed Law Carol & Robin Farkas Nancy & James A. Grim, in honor of Peter A. Benoliel & Willo Carey Peter Lawton Val & George LeFebre LaFon & Bill Ward Berlin Architects Mr. & Mrs. W. Parker Lee Barbara & Downs Mallory Sandy & Ron Harrison Mary Anne & Richard Cree Jodi & Jack Livingood Mr. & Mrs. John F. Mars Tracy & Tim Jacobson Roberta & Steven Denning Margaret & Cal Mathieu Claude W. Martin Rosemarie & Steve Johnson Jay & Dale Kaplan Betty & Hamilton E. McRae, III Patrica Martin Kaki & Bob Knight Kemmerer Family Lenore & David Nichols Robert H. & Robert J. Meier Vikki L. & Robert M. Lane Doris & Gerald Laubach Sally Phinny Elinor & C. Scott Miller Mr. & Mrs. Eugene Lang, in honor of Sylvia Neil & Dan Fischel Gaby & Mercer Reynolds Richard Morgenstern & Devra Lee, Carol & Robin Farkas Carole & Jack Nunn Mary & Don Shockey Davis Charitable Foundation Abby & George O’Neill Snow King Resort Sue & Alan Morris Jeanne Maher Shirley & Paul Piper Susan & Pike Sullivan Louisa Myrin Edna & Norm Mason John A. Sherman, Jr. Happy & Bob Nettle Doyen McIntosh Diane & Donald Siegel $2,500 + Melanie & Larry Nussdorf Elinor & C. Scott Miller Joanne & David Stokes Anonymous, in honor of Margot Walk Lucy & Toby Rankin Devra Davis & Richard Morgenstern Stan & Barbara Trachtenberg Cecilia & Frank Bellinghiere Phyllis & Sidney Reisman, in honor Erika & Julius Muschaweck Carol & Bill Chittenden of Carol & Robin Farkas Squirrel Rork $10,000 + William L. & Lucy C. Conley J. Robert & Anne W. Robertson Mr. & Mrs. James R. Salzmann Gertrude Brennan Tania & Tom Evans Robert J. & Mary C. Rohr, III Mr. & Mrs. Henry G. Stifel Jackie & Gary Childress Mary Ann & Harold Feldman Ann & Ben Ruehr Alice & Frank Werner Mark Daverin & Kelly McDermott George W. & Serena E. Ford David Sankaran & Antonette Hiroshi & Fumiko Yamashita Elizabeth & Charles duPont Barbara & Allan Goodman Ginochio * Donor directed fund of the Community Cynthia Fayard & Stephen Trickey Carole T. & Robert C. Hummel Ron Saypol & Florence Lemle Foundation of Jackson Hole Jan & Larry Finch Georgia & Doug Inglis Dean Scofield David B. Ford KitchenAid Ann W. Seibert Four Seasons Resort Jackson Hole Beedee & Ted Ladd Linda & John Sherman, Jr., in Becky & Carl Goldfischer Jean & Jim Lewis memory of Kip Wallace WALK FESTIVAL HALL Bob Graham & Karen Terra Carole, Ed & Jason Liebzeit Ann V. Shesne PRESERVATION Louise & Ralph Haberfeld Abigail S. Moore, Moore, Myers & Gisela Siwek & Crazy Horse PROJECT Suzanne & George Harris Garland Carol & Dean Spatz Terry Hazen & Honey-Do!, Inc. Chris & John Nyheim Adrea & Jack Sukin Bob Paulson & Margot Walk, 2006 Barker Hickox Julie & William Obering Barbara & Ed Terry Campaign Co-Chairs Sharon & Dale Hilpert Dorothy Ann & Joe Palmer Jean Louise & Mike Thieme Stephen A. Kaplan & Alyce K. Sigler Rachel Ravitz Martha & Warren Van Genderen We gratefully recognize the donors Emily & Carl Knobloch Rotary Club of Jackson Hole Normie & Paul Voillequé whose gifts raised over $5M to Robin & Sam Lightner Barbara & Arnold Silverman Dr. Robert & Ann Volz complete the Walk Festival Hall Gretchen Long Jose Troncoso, MD & Carl Schreier William Wallace, in memory of Kip Preservation Project. Deborah & David MacKenzie The Wunsch Family Wallace Diann & Tom Mann Joni & Rob Weed $250,000 + Margery & Edgar Masinter $1,000 + Janet & Bob Whitmire In honor of Baroness Consuelo von Marilyn & Charles S. Mechem, Jr. Louis J. Appignani & Laurie Pallot Patricia & Gregory Wright Gontard & Felix Buchenroth, Jr. Dinny & Lester Morse Pat & Dan Baker Dava Karen Zucker Maurice Walk Fine Arts Foundation Marilyn & Glen Nelson Alice & Chris Barreca Ann & Dick O’Leary Laura & Ed Opler Louise & Harry Bartley $500 + Pamela & Jerry Rankin Lea Bonnecaze & Ian Levenson Maryann & Stuart Abrahams $100,000 + Phyllis & Chuck Savidge Brooks Foundation Emily & Jim Ambler Lynne & Jack Fritz Margot Snowdon & Yves Desgouttes Mary Lou & Dennis Brydon Dr. & Mrs. B.R. Blackwell Christine & Ross Hartley Susie & Dave Spackman Faye & William Campbell Susan & Richard Brown Jayne & Al Hilde, Jr. Joyce & Bill Sullivan Jackie & Gary Childress, in memory Eliza & Tom Chrystie Penney & A.C. Hubbard Frances & Allan Tessler of Kip Wallace Adelaide & Ted Donnan, in memory Carolyn & Chuck Miller Thanksgiving Foundation Joan & Philip Cory of Benji Podmaniczky Robin & Bob Paulson Joan & Walt Thulin Dan L. Curtis M.D., Patricia Curtis, Cree & Frazer Durrett Maggie & Dick Scarlett and The Polly & Dick Vaughan & Brittany Ruth & Nyles Ellefson Jackson State Bank & Trust Barbara & John Vogelstein Shawn & Michael Daus Anne Fish

GTMF.ORG | Season 55 | 155 DONORS & SPONSORS, CONTINUED

Betty B. Garrett BUSINESS FRIENDS Il Villaggio Osteria Ed Henze Jackson Hole Children’s Museum Janet & Larry Hiler We recognize these local businesses Jackson Hole Cinemas Dee & Ken Hoffmann that generously provide discounts to Jackson Hole Historical Society Tracy, Tim, Malayna, & Connor our musicians throughout the 2016 & Museum Jacobson Summer Festival Season. Jackson Hole Whitewater Jackson Mercantile Caroline & Ron Janney Lee’s Tees Alison & Dick Jones Adventure Sports at Dornan’s Leek’s Pizzeria & Marina Diana & Robert Kiefer Aerial Tram at Jackson Hole Mountain Resort Mangy Moose Dining Room Marlene & Peter Lang Alpenhof Bistro & Mangy Moose Gift Shop Irene & Moe Mellion Alpenrose Restaurant National Museum of Wildlife Art Mr. & Mrs. David Ruder Bar J Chuckwagon Profile Massage Peter Selkowitz Bar T 5 RMO Taqueria & Shop Cordelia & Peter Stearns Barker-Ewing Scenic Float Trips Shirt Off My Back Adrienne Sugarman Blue Spruce Cleaners Signal Mountain Lodge Mary Ann & Jerry Tapp, in memory of Boyer’s Indian Arts & Crafts Snake River Brewery & Restaurant Francie Corbett Brushbuck Guide Services Snake River Grill Byron Tomingas The Bunnery START Bus Erica & George Tremblay Calico Teton Healing Massage & Wellness The Country Woman Teton Motors, Inc. Rilla & Jay Varley DogJax Teton Mountain Bike Tours Shanna Varley & Roy Varley Dornan’s Wine Shoppe Teton Pines Country Club & Resort Adrienne & Peter Ward Exum Mountain Guides Teton Sports Club Douglas Whatmore & Kimmon GaperGuide Westbank Anglers Richards in memory of Julia Modro Happy Tails Pet Resort Wilson Backcountry Sports Dominique & Gerard Yvernault Hertz Wyoming Outfitters

156 | Grand Teton Music Festival | SUMMER 2016 GTMF.ORG | Season 55 | 157 ADVERTISER INDEX Please thank our program advertisers with your patronage. Abode Luxury Rentals ...... 17 Grand Teton Floor and Window Coverings . 12 Shooting Star ...... Inside Front Cover Adamson Geittmann, PC Heather James Fine Art Gallery . . . . . 154 Snake River Grill ...... 66 Wyoming Estate Law ...... 66 Hertz ...... 54 South Dakota Trust Company . . . . . 122 Altamira Fine Art ...... 65 Idaho Falls Symphony ...... 12 Spackmans and Associates ...... 21 Bank of Jackson Hole . . .Inside Back Cover Income Focus ...... Back Cover St. John’s Audiology ...... 54 Belle Cose ...... 3 Jackson Hole Art Auction ...... 74 St. John’s Cognitive Health ...... 7 Berlin Architects ...... 16 Jackson Hole Chamber of Commerce . . .78 St. John’s Peak Joint Replacement . . . 155 Bessemer Trust ...... 46 Jackson Hole Classical Academy . . . . 22 Stiegler’s Restaurant ...... 46 Calico Bar & Restaurant ...... 65 Jackson Hole Community Foundation . . 22, 144 Sun Valley Summer Symphony . . . . . 88 Canvas Unlimited ...... 46 Jackson Hole Resort Lodging ...... 66 Tayloe Piggott Gallery ...... 15 Carney Logan Burke Architects ...... 7 Local Butcher ...... 46 Teton County Library ...... 15 Center for the Arts ...... 16 Long Reimer Winegar Beppler LLP . . . .88 Teton Thai ...... 78 Classical Music Festivals of the West . . .43 Mangy Moose Grocery Store ...... 142 The Alpenhof ...... 106 Daynes Music ...... 66 Mangy Moose Restaurant ...... 78 The Clear Creek Group ...... 112 Dancers' Workshop ...... 145 Mark Nowlin Studio ...... 142 The Liquor Store (TLS) ...... 74 Deutsche Oper Berlin ...... 20 MorningStar ...... 80 The Met: Live in HD ...... 119 Dining In Catering ...... 42 Mullikin, Larson, & Swift, LLC ...... 16 Two Grey Hills ...... 80 Elevated Grounds ...... 54 National Museum of Wildlife Art . . . . .118 Westside Wine & Spirits ...... 106 Fine Dining Restaurant Group . . . . . 143 New West KnifeWorks ...... 142 Winter Music ...... 21 Four Seasons | Westbank Grill ...... 54 Pîste Mountain Bistro ...... 116 WRJ Design ...... 5 Gather in Jackson Hole ...... 144 Premier Cleaning ...... 4 Wyoming Public Media ...... 29 Graham-Faupel-Mendenhall & Associates .7 Rocky Mountain Bank ...... 156 Zions Bank ...... 13

158 | Grand Teton Music Festival | SUMMER 2016 Voted Best Bank Since 2010

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