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Aspen Music Festival and School Announces 2014 Season

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Aspen Music Festival and School Announces 2014 Season News Release FEBRUARY 3, 2014 PRESS CONTACTS Laura Smith, Director of Marketing and PR, 970-205-5070, [email protected] Janice Szabo, PR Manager, 970-205-5071, [email protected] ASPEN MUSIC FESTIVAL AND SCHOOL ANNOUNCES 2014 SEASON 65th anniversary season runs eight weeks: June 26 to August 17; comprises more than 300 events Music Director Robert Spano leads season themed “The New Romantics,” exploring Romanticism in music over the centuries Operas presented will be fully staged productions of Tchaikovsky’s Eugene Onegin, Liebermann’s The Picture of Dorian Gray and Bizet’s Carmen The season opens with Spano and violinist Robert McDuffie in a recital featuring Aspen alumnus Philip Glass’ The American Four Seasons Legendary singer Tony Bennett appears in concert with his daughter Antonia Bennett (June 28) Violinist and Aspen alumna Midori returns to Aspen after a hiatus, performing Tchaikovsky’s Violin Concerto in D major (July 20) Jazz guitarist Bill Frisell brings his acclaimed multimedia collaboration with filmmaker Bill Morrison about the Mississippi River flood of 1927 (The Great Flood, July 21) Spano also appears on piano in a rare performance of Frank Martin’s Der Cornet with mezzo-soprano Monica Groop (July 22) Singer-songwriter-composer Rufus Wainwright performs an evening of his own eclectic musical favorites (July 23) Early music specialist Harry Bicket presents an all-Bach evening with pianist Inon Barnatan and violinist Stefan Jackiw (August 9) Aspen alumnus Conrad Tao gives final recital of season (August 16) The season closes with Beethoven’s ecstatic Symphony No. 9, conducted by Spano with soprano Jessica Rivera, mezzo-soprano to be announced, tenor Vinson Cole, bass-baritone Eric Owens and the Colorado Symphony Orchestra Chorus (August 17) Season includes seven world premiere works by composers including Mason Bates, Dejan Lazić, and Matthias Pintscher Composition students gain rare opportunity to study with six highly distinguished composers: Brett Dean, Sydney Hodkinson, Esa-Pekka Salonen, Steven Stucky, Christopher Theofanidis and George Tsontakis National radio shows Performance Today and From the Top tape live shows at Harris Concert Hall Conductors include AMFS Music Director Robert Spano, Christian Arming, Josep Caballé- Domenech, Michael Christie, Federico Cortese, James Feddeck, Thierry Fischer, James Gaffigan, Jane Glover, Miguel Harth-Bedoya, Hannu Lintu, Jun Märkl, Nicholas McGegan, Steven Mercurio, Nikolas Nägele, Larry Rachleff, Leonard Slatkin, Thomas Søndergård, Osmo Vänskä and Hugh Wolff. Soloists and ensembles include: pianists Behzod Abduraimov, Inon Barnatan, Yefim Bronfman, Jeremy Denk, Misha Dichter, Cipa Dichter, Vladimir Feltsman, Andreas Haefliger, Steven Hough, Dejan Lazić, Jan Lisiecki, Nikolai Lugansky, Anton Nel, Garrick Ohlsson, Steven Osborne, Juho Pohjonen, Conrad Tao, Simon Trpceski, Joyce Yang and Wu Han; violinists Joshua Bell, Sarah Chang, William Hagen, Augustin Hadelich, Daniel Hope, Stefan Jackiw, Fabiola Kim, Anne Akiko Meyers, Midori, Robert McDuffie, Simone Porter and Gil Shaham; guitarist Sharon Isbin; cellists David Finckel, Lynn Harrell and Alisa Weilerstein; vocalists Vinson Cole, Sasha Cooke, Monica Groop, Isabel Leonard, Susanna Phillips, Jessica Rivera and Eric Owens; and ensembles the American Brass Quintet, the American String Quartet, the Emerson String Quartet, the Pacifica String Quartet and the Takács Quartet ASPEN, Colo. — From the Byronic flourishes of Schumann and Tchaikovsky’s lovers-gone-wrong, to the dark beauty of Thomas Adès and Nico Muhly, composers have always held strong views on Romanticism in music. Whether that be the novelistic sweep of Romantic ideas in the nineteenth century’s great composers, or the utter rejection of Romanticism by Pierre Boulez, Stockhausen and their contemporaries, engaging with it as an idea seems to be an addiction. The Aspen Music Festival and School’s 65th anniversary season, entitled “The New Romantics,” acknowledges the return to Romanticism of many of today’s composers and, in addition, looks at the full complement of compositions through that lens of Romanticism. To be a Romantic, or not, or even a Romantic in one work and not in others, that is a choice. It makes a statement and invites audiences to react to it—so that from our own reactions to our music-makers, we also learn something about our own world view. The music chronicles our own philosophy. AMFS Music Director Robert Spano, right, says, “Romanticism is a way of viewing the world. It’s a lens through which to peer at life’s great arcs. You can look through that lens, or you can shun it, but just as humanity repeats itself, so our musical obsession with Romanticism is a soundwave that ebbs and flows. Yet it is always there, a refrain that, perhaps, marks our humanity.” “The 2014 season represents Aspen at its best,” says President and CEO Alan Fletcher. “Combining the vibrancy of young emerging talent with the seasoned voices of the masters has always defined the experience in Aspen, as it does this year. I am proud to welcome to our stages some of our own brilliant recent students at the moment of their emergence into their professional careers; I am delighted to present revered professional players, both Aspen alumni and others; I look forward to basking in the familiar glory of masterworks by Beethoven, Brahms, Rachmaninoff, Strauss, and more, while at the same time, I feel the thrill of anticipation for the new works woven throughout the summer programs.” The 2014 festival presents the span of Romanticism with some fascinating juxtapositions of works. So Tchaikovsky’s Eugene Onegin, a quintessential Romantic operatic masterpiece, is presented alongside Lowell Liebermann’s operatic version of another classic tale, this time a romance warped into something horrific, The Picture of Dorian Gray (recently named by the New York Times as one of the contemporary operas most likely to last). Other composers featured in the festival whose works are often viewed as Romantic include John Adams, whose Short Ride in a Fast Machine will be played on August 6, to Brahms, whose First Symphony will be featured in the same concert (conducted by James Feddeck), or from Steven Stucky (an AMFS composer-in-residence) whose Rhapsodies will be conducted by Osmo Vänskä on July 18, to Grieg, whose Piano Concerto in A minor will be played in that concert by Aspen alumna Joyce Yang. Or indeed from Roberto Sierra’s Fandangos—to be conducted by Leonard Slatkin (also an Aspen alumnus) on August 3—to, again in the same concert, Richard Strauss’s Alpine Symphony. Then there are works, like Philip Glass’ (Aspen alumnus) violin concerto The American Four Seasons which, though Glass is hardly known as a Romantic composer, borrow the dark, moody hues of Romanticism for an excursion through those feelings. There are those, like Skryabin (The Poem of Ecstasy, August 10) for whom Romanticism was a kind of tortured quest, and others like Schnittke (Sonata No. 1 for Violin, Strings and Harpsichord, July 11, conducted by Nicholas McGegan, Daniel Hope, violin) and Augusta Read Thomas (Cello Concerto No. 3, “Legend of the Phoenix” with cellist Lynn Harrell, July 25, conducted by Christian Arming) for whom it is refracted by the fragmented shards of modernism. And there are the anchors, such as works by Beethoven, arguably the father of musical Romanticism, whose music unsurprisingly appears several times during the season, culminating in his colossal Symphony No. 9 on closing night, August 17, conducted by music director Robert Spano with Jessica Rivera, soprano, mezzo-soprano to be announced, tenor Vinson Cole and Eric Owens, bass-baritone, as soloists. Other works inspired by the season theme are Bill Frisell’s The Great Flood (July 21); Brett Dean’s Three Memorials (July 20); Christopher Theofanidis’ Rainbow Body (July 13) and Frank Martin’s Der Cornet (July 22), performed by Spano on piano with Monica Groop, mezzo-soprano. If this season offers audiences a chance to view all kinds of music through the lens of Romanticism, it also invites them to look through the eyes of some of today’s great interpreters. Other season highlights include, variously, Steven Osborne playing the Ravel Piano Concerto, fast-rising conductor Hannu Lintu with Prokofiev’s Fifth Symphony, Jane Glover conducting Haydn’s Cello Concerto (with Aspen alumna Alisa Weilerstein, pictured right) on a program with works by Strauss and Beethoven, Aspen alumnus Gil Shaham’s return with Bartók’s Second Violin Concerto and Simon Trpceski’s return to play Rachmaninoff’s Piano Concerto No. 2. Violin masters include Aspen alumnus Joshua Bell with the Bruch Violin Concerto No.1 (July 6), Midori with the Tchaikovsky Violin Concerto (July 20) and Sarah Chang with the Dvorák Violin Concerto (August 1). Yefim Bronfman, Lynn Harrell (whose father helped found the Aspen festival in the 1950s) and Eric Owens (an alumnus of the American Academy of Conducting at Aspen program) are among other great talents this season who are well-known to Aspen audiences. Spano will conduct three of the festival’s resident ensembles—the Aspen Philharmonic, the Aspen Chamber Symphony and the Aspen Festival Orchestra. Among his programs, the Bartók Concerto for Orchestra, Beethoven’s Fifth Symphony, Berlioz’s Symphonie fantastique, Mahler’s Third Symphony and of course that Beethoven Nine (set against vocal music by Musorgsky). He will also play a recital with violinist Robert McDuffie (June 26), perform on piano Frank Martin’s moving Der Cornet with mezzo-soprano Groop (July 22), and present a recital along with vocalists Rivera and Owens (August 13). Much-anticipated Aspen artist debuts will include those of Lintu, singer-songwriter Rufus Wainwright (certainly a “New Romantic”); pianists Dejan Lazić (playing his own piano concerto), Behzod Abduraimov, Nikolai Lugansky and Jan Lisiecki; sopranos Isabel Leonard (an Aspen alumna) and Jessica Rivera, the Pacifica Quartet and Spain’s leading guitarist, Pablo Sainz Villegas. The AMFS offers young composers an unparalleled opportunity for an exchange of ideas with some of the world's foremost composers and performers of contemporary music in 2014.
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