Don’t miss the thunderous cascades and soaring melodies of this all-Tchaikovsky evening, featuring one of the most famous piano concertos of all time paired with the gorgeous plaintiveness and fateful optimism of the Fourth Symphony. This is great music made truly exceptional by Garrick Ohlsson’s larger-than-life artistry, Jaap van Zweden’s masterful pacing, and the powerhouse Dallas sound.
DALLAS SYMPHONY ORCHESTRA: JAAP VAN ZWEDEN, CONDUCTOR
GARRICK OHLSSON, SOLOIST
TCHAIKOVSKY: Piano Concerto No. 1
TCHAIKOVSKY: Symphony No. 4
TCHAIKOVSKY: PIANO CONCERTO NO. 1
Piano Concerto No. 1 in B-flat minor, Op. 23 (1874-1875)
PETER ILYICH TCHAIKOVSKY (1840-1893)
At the end of 1874, Tchaikovsky began a piano concerto with the hope of having a success great enough to allow him to leave his irksome teaching post at the Moscow Conservatory. By late December, he had largely sketched out the work, and he sought the advice of Nikolai Rubinstein, Director of the Moscow Conservatory and an excellent pianist. Tchaikovsky reported the interview in a letter: “On Christmas Eve 1874, Nikolai asked me to play the Concerto. We agreed to it. After I played through the work, there burst forth from Rubinstein’s mouth a mighty torrent of words. It appeared that my Concerto was utterly worthless, absolutely unplayable; the piece as a whole was bad, trivial, vulgar.” Tchaikovsky was furious and made only one change in the score: he obliterated the name of the original dedicatee—Nikolai Rubinstein—and substituted that of the virtuoso pianist Hans von Bülow, who was performing Tchaikovsky’s piano pieces across Europe. Bülow gladly accepted the dedication and asked to program the premiere on his upcoming American tour. The Concerto created such a sensation when it was first heard, in Boston on October 25, 1875, that Bülow played it on 139 of his 172 concerts that season.
The Concerto opens with a sweeping introductory melody. Following a decrescendo and a pause, the piano presents the snapping main theme. (Tchaikovsky said that this curious melody was inspired by a tune he heard sung by a blind beggar at a street fair.) The clarinet announces the lyrical second theme. The outer sections of the second movement’s three-part structure (A–B–A) are based on a languid melody introduced by the flute; the central episode uses a swift, balletic melody. A crisp rhythmic motive presented at the beginning of the finale dominates much of the movement. To balance the vigor of this music, a romantic melody is given by the violins. The two themes contend until the Concerto comes to its rousing close.
C.P.E. BACH: CELLO CONCERTO IN A MAJOR
Cello Concerto in A major, H. 439 (1753)
CARL PHILIPP EMANUEL BACH (1714-1788)
Carl Philipp Emanuel Bach, Johann Sebastian’s fifth child and his third (second surviving) son, gained fame with his contemporaries as a composer in the most advanced style of the time, a keyboard player of unsurpassed ability and the author of an important treatise on contemporary performance style, as well as a man of wit, broad education and winning personality. The Cello Concerto in A major is his 1753 arrangement of a concerto written two years before for harpsichord (H. 438). The opening Allegretto is based on a bold, leaping main theme that is shared, in turn, by orchestra and soloist. The Largo con sordino, mesto (“Slow, muted, sad”), written in Bach’s most expressive manner, is music of profound pathos, something that would not have been out of place in a sorrowful cantata by his father. The finale, an almost startling contrast to the slow movement, counters the bustling excitement of its principal subject with occasional legato phrases of more subdued character.
With a career spanning more than 30 years, chamber musician, recording artist and conductor, Academy of St Martin in the Fields Music Director Joshua Bell is one of the most celebrated violinists of his era.
Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a distinguished career as a soloist, chamber musician, educator, author and broadcaster.
With a career spanning more than 30 years as a soloist, chamber musician, recording artist and conductor, Joshua Bell is one of the most celebrated violinists of his era. An exclusive Sony Classical artist, he has recorded more than 40 CDs garnering Grammy, Mercury, Gramophone and Echo Klassik awards, and is a recipient of the Avery Fisher Prize, as well as the Lumiere Prize for his work in the sphere of Virtual Reality. Named the Music Director of the Academy of St Martin in the Fields in 2011, he is the only person to hold this post since Sir Neville Marriner formed the orchestra in 1958, and recently renewed his contract through 2020. In 2016, Sony released Bell’s album For the Love of Brahms with the Academy of St Martin in the Fields, cellist Steven Isserlis and pianist Jeremy Denk, followed in 2017 by the Joshua Bell Classical Collection, a 14 CD set of Bell’s Sony recording highlights from the past 20 years.
Summer 2017 saw Joshua Bell perform at the BBC Proms with the Royal Philharmonic Orchestra, at the Verbier Festival, as Artist In Residence at the Edinburgh International Festival and – in the US - at Tanglewood, Ravinia, and the Mostly Mozart Festival. In the 2017/18 season in the US, Bell takes part in the New York Philharmonic’s celebration of Leonard Bernstein’s centennial, performing Bernstein’s Serenade led by Alan Gilbert, and also appears with the Philadelphia Orchestra and Los Angeles Chamber Orchestra among others. His North American recital tours take him to Carnegie Hall, Chicago’s Symphony Center and Washington D.C.’s Strathmore Center. Highlights in Europe include appearances as soloist with the Vienna Symphony and Danish National Symphony; as director and soloist with the Orchestre National de Lyon; and recitals in Paris, Zurich, Geneva, Bologna, Milan and London. With the Academy of St Martin in the Fields he will tour widely including in the United Kingdom, United States and Europe, featuring performances in London, New York, San Francisco, Reykjavik and at the Elbphilharmonie in Hamburg.
Convinced of the value of music as a diplomatic and educational tool, Bell participated in President Obama’s Committee on the Arts and Humanities’ first cultural mission to Cuba. He is also involved in Turnaround Arts, another project implemented by the Committee and the John F. Kennedy Center for the Performing Arts which provides arts education to low-performing elementary and middle schools.
Joshua Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th century French bow by François Tourte.
Photo: Lisa-Marie Mazzucco
As a concerto soloist he appears regularly with the world’s leading orchestras and conductors, recent engagements including performances with the Berlin Philharmonic, Budapest Festival, Philharmonia, Cleveland, Minnesota, Zurich Tonhalle and NHK Symphony Orchestras. He gives recitals every season in major musical centres, working with pianists such as Jeremy Denk, Kirill Gerstein, Stephen Hough, Alexander Melnikov, Olli Mustonen, Mikhail Pletnev, Sir Andras Schiff, Connie Shih, Ferenc Rados and Dénes Várjon; and plays with many of the world’s leading chamber orchestras, including period-instrument ensembles. Unusually, he also directs chamber orchestras from the cello, in classical programmes.
Highlights of the 15/16 season include a survey of the complete Bach Cello Suites at the Wigmore Hall and elsewhere; recital programmes with Ian Bostridge, Stephen Hough, Robert Levin and Richard Egarr; a special recital with Sir Andras Schiff at the Beethovenhaus in Bonn performed on fortepiano and Beethoven’s own cello (which was last played in public more than 50 years ago); his appointment as Guest Artistic Leader of the Norwegian Chamber Orchestra; a major European tour with the Academy of St Martin-in-the-Fields and Joshua Bell; and the world premiere of the orchestral version of Thomas Adès’s Lieux retrouvés in Lucerne, with the composer himself conducting.
As a chamber musician he has curated series for many of the world’s most famous festivals and venues, including the Wigmore Hall, the 92nd St Y in New York, and the festivals of Salzburg and Verbier. These specially devised programmes have included ‘In the Shadow of War’, a major four-part series for the Wigmore Hall to mark the centenary of the First World War and the 75th anniversary of the Second World War; explorations of Czech music; the teacher-pupil line of Saint-Saens, Faure and Ravel; the affinity of the cello and the human voice; varied aspects of Robert Schumann’s life and music; and the music of Serge Taneyev (teacher of Steven’s grandfather, Julius Isserlis). For these concerts Steven is joined by a regular group of friends who include the violinists Joshua Bell, Pamela Frank and Isabelle Faust, violist Tabea Zimmermann, and clarinettist Michael Collins.
He takes a strong interest in authentic performance, and in addition to working with many of the foremost period instrument orchestras he frequently gives recitals with harpsichord and fortepiano. Together with Robert Levin, and using original or replica pianos from the early nineteenth century, he has performed and recorded Beethoven’s complete music for cello and piano; and with Richard Egarr he has performed and recorded the viola da gamba sonatas of J.S. Bach as well as sonatas by Handel and Scarlatti.
He is also a keen exponent of contemporary music and has premiered many new works, including John Tavener’s The Protecting Veil (as well as several other pieces by Tavener), Thomas Adès’s Lieux retrouvés, Stephen Hough’s Sonata for Cello and Piano, Left Hand (Les Adieux), Wolfgang Rihm’s Concerto in One Movement, David Matthews’ Concerto in Azzurro, works for cello and piano by Olli Mustonen, and For Steven by György Kurtág.
Writing and playing for children is another major interest. Steven Isserlis’ books for children about the lives of the great composers – Why Beethoven Threw the Stew and its sequel, Why Handel Waggled his Wig – are published by Faber and Faber. He has also written the text for three musical stories for children – Little Red Violin, Goldiepegs and the Three Cellos and Cindercella – with music by Oscar-winning composer Anne Dudley; these are published by Universal Edition in Vienna. He has also given many concerts for children, for several years presenting a regular series at the 92nd Street Y in New York. As an educator Steven Isserlis gives frequent masterclasses all around the world, and for the past eighteen years he has been Artistic Director of the International Musicians’ Seminar at Prussia Cove in Cornwall, where his fellow-professors include Sir Andras Schiff, Thomas Adès and Ferenc Rados. As a writer and broadcaster he contributes regularly to publications including Gramophone, The Daily Telegraph and The Guardian, has guest edited The Strad magazine, and makes regular appearances on BBC Radio including on the Today programme, on Soul Music, as guest presenter of two editions of Saturday Classics, and as writer and presenter of a documentary about the life of Robert Schumann.
His diverse interests are reflected in an extensive and award-winning discography. His recording of the complete Solo Cello Suites by J.S. Bach for Hyperion met with the highest critical acclaim, and was Gramophone’s Instrumental Disc of the Year and Critic’s Choice at the Classical Brits. Other recent releases include Prokofiev and Shostakovich concertos with the Frankfurt Radio Symphony and Paavo Järvi; Dvorak Cello Concertos with the Mahler Chamber Orchestra and Daniel Harding; the complete works for cello by Beethoven with Robert Levin on fortepiano, selected for the Deutsche SchallplattenPreis; and recital discs with Richard Egarr, Stephen Hough, Thomas Adès and (for BIS) a Grammy-nominated album of sonatas by Martinů with Olli Mustonen. Future releases for Hyperion include the Elgar and Walton concertos, alongside works by Gustav and Imogen Holst, with the Philharmonia Orchestra and Paavo Järvi.
The recipient of many awards, Steven Isserlis’s honours include a CBE in recognition of his services to music, and the Schumann Prize of the City of Zwickau. He is also one of only two living cellists featured in Gramophone’s Hall of Fame.
He gives most of his concerts on the Marquis de Corberon (Nelsova) Stradivarius of 1726, kindly loaned to him by the Royal Academy of Music.
Photo: Jean Baptiste Millot
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Where are the orchestra concert performances held?
Bravo! Vail orchestral concerts take place at Gerald R. Ford Amphitheater (GRFA) located at 530 S. Frontage Rd E Vail, CO 81657
What time do performances begin?
Concerts start promptly at 6:00PM (except for the movie screening which starts at 7:30PM). The GRFA lobby opens 90 minutes prior and gates open 60 minutes prior to performances. Give yourself plenty of time to park and get into the venue. Latecomers will be escorted by ushers at an appropriate interval.
Where do I park?
FREE concert parking is available at the Vail Parking Structure (241 South Frontage Road East, Vail) and the Lionshead Parking Structure (395 South Frontage Road West, Vail). A Town of Vail Special Event express bus provides continuous service from both parking structures to the GRFA before and after concerts. Limited $10 parking is available at Ford Park by the Tennis Center (500 South Frontage Rd). Additional $10 parking is available at the Vail Athletic/Soccer Field lot.
WALKING DIRECTIONS FROM THE VAIL VILLAGE PARKING STRUCTURE:
Via Gore Creek Trail: 15-minute scenic walk
1. Exit the parking garage by following the Pedestrian Exit signs towards “Vail Village” / “Golden Peak”
2. Turn left out of the parking garage onto East Meadow Drive and head east
3. At the end of the road turn right on Vail Valley Drive and cross the road
4. Turn left on the walking path before the bridge, following the street signs towards "Ford Park"
5. Continuing east, follow the walking path along Gore Creek until reaching the GRFA
Via Frontage Road: 15-minute walk
1. From the top level of the parking garage, exit onto the South Frontage Road
2. Turn right and follow the sidewalk east along the south side of the frontage road
3. Cross East Meadow Drive and continue east along the sidewalk
4. Turn right after passing The Wren at Vail on the right
5. Continue down the path down to the GRFA
How long do concerts last?
Concerts generally last 2 hours including intermission. Please call the box office 877.812.5700 for exact running times.
How do I buy tickets?
Tickets, passes, and gift certificates may be ordered in the following ways:
1. Online: bravovail.org
2. By phone: 877.812.5700
3. In person: Bravo! Vail 2271 N Frontage Rd W Suite C, Vail, CO 81657
Bravo! Vail accepts American Express, Visa, MasterCard, and Discover credit cards, cash, and checks. There is a $2 fee per ticket. Tickets are delivered by mail or email,or may be picked up at the Box Office.
What are the Box Office hours?
Bravo! Vail Box Office hours are Monday-Friday from 9AM to 4PM. During the Festival, hours include Saturday & Sunday from 10AM to 4PM. The Bravo! Vail Box Office can be reached at 877.812.5700.
The Gerald R. Ford Amphitheater box office is open from 11AM until concert start time (5PM on days with no concerts) during the Festival. Tickets for upcoming performances may be purchased on-site at the GRFA before concerts and during intermission.
Where is the Will Call window?
Will Call tickets may be picked up at the Box Office located to the right of the main GRFA entrance lobby. The Box Office is open 11AM to concert start time during the Festival.
Does Bravo! Vail offer group pricing?
Discounts for groups of 15 or more are available for select concerts. Please call 970.827.4316 for more information.
What if I buy tickets and cannot attend?
Tickets are non-refundable. You may exchange your tickets ($7 fee per ticket) by calling the Box Office at 877.812.5700 up to 2 days before the concert. You may release your tickets or leave them for a friend at Will Call by calling the Box Office.
What if I misplace or forget to bring my tickets?
There is no charge to reprint tickets. Please call 877.812.5700 before 3PM on the day of the performance or allow extra time to request new tickets at the Will Call window.
Where are seating options for people with disabilities?
Per the American Disability Act (ADA), the Gerald R. Ford Amphitheater is accessible to individuals with disabilities. ADA seating is available in Section 1 Row L and Section 4 Row O in all reserved seating zones and prices (Premium Aisle, Premium, Reserved, and Saver). A limited number of ADA General Admission Lawn seats are available for sale behind Section 2. You must have a designated ADA lawn seat ticket to sit in this area. By purchasing an ADA seat, you are stating that you require an ADA seat. If purchased fraudulently, you may be subject to relocation. If you need assistance purchasing ADA seating, please call the Box Office at 877.812.5700.
What if it rains?
Concerts take place rain or shine. The GRFA is an open-air venue. Refunds are not given due to weather unless a concert is canceled in its entirety with no performance rescheduled.
What should I wear?
There is no dress code for concerts. Please be prepared for rain and cooler temperatures.
What should I bring to the concert?
If you will be on the lawn, a blanket, sunglasses, and a hat are recommended. If rain is predicted, please bring appropriate rain gear. Food, commercially sealed non-alcoholic beverages, low-profile lawn chairs, and umbrellas are permitted at concerts. All backpacks, bags, purses, picnic baskets, and coolers will be checked upon entry.
The following articles are not allowed at the venue: cameras, audio/video recording devices, standard-height lawn chairs, baby strollers, alcoholic beverages, firearms, pets, smoking, skateboards, bicycles, scooters, and skates.
What food and beverages are available for purchase at the GRFA?
Concessions are offered for purchase inside the venue. Menu items include snacks, burgers, sandwiches, and salads. A full bar is also available. All major credit cards and cash are accepted for payment. If you have a pavilion seat, please eat prior to the concert or at intermission.
Are lawn chairs available to rent?
Low-profile lawn chairs are available at the GRFA to rent for $10. You may also rent a lawn chair with your lawn ticket purchase online or by calling the Bravo! Vail Box Office at 877.812.5700. To reserve a lawn chair in advance, please email firstname.lastname@example.org
What are some general rules of concert etiquette?
Please allow time for parking and seating. Concert attendees must silence all mobile devices prior to performances to not disrupt musicians and other patrons. Please limit conversations and other noisy activities during the performance. In the pavilion seating, we recommend eating prior to the concert or at intermission. Parental supervision is required for all children attending Bravo! Vail concerts.
What else should I know?
Vail’s high elevation requires adequate hydration and sun protection. Visitors from lower elevations may experience altitude sickness.
What if I lose something at the concert?
Check with the GRFA box office for lost items at intermission or call 970.748.8497.
What if I still have questions?
Please contact the Box Office at 877.812.5700 Mon–Fri 9AM–4PM (and Sat–Sun 10AM-4PM during the Festival).