The Academy's grand finale is a showcase for strings through the ages, from Bach's Baroque inventiveness through the heights of Classical elegance, topped off with an utterly Romantic musical postcard filled with Florentine flourishes.
Gerald R. Ford Amphitheater
Sunday
06:00 PM
ACADEMY OF ST MARTIN IN THE FIELDS
JOSHUA BELL, DIRECTOR & VIOLIN
BACH, J.S.: Brandenburg Concerto No. 3
BACH, J.S.: Violin Concerto No. 2 in E major
BARBER: Adagio for Strings
TCHAIKOVSKY: Souvenir de Florence
BACH, J.S.: BRANDENBURG CONCERTO NO. 3
BACH, J.S.: VIOLIN CONCERTO NO. 2 IN E MAJOR
BARBER: ADAGIO FOR STRINGS
TCHAIKOVSKY: SOUVENIR DE FLORENCE
BACH, J.S.: BRANDENBURG CONCERTO NO. 3
Brandenburg Concerto No. 3 in G major, BWV 1048 (ca. 1720)
JOHANN SEBASTIAN BACH (1685-1750)
From 1717 to 1723, Bach was “Court Kapellmeister and Director of the Princely Chamber Musicians” at the court of Anhalt-Cöthen, north of Leipzig, where he was responsible for the secular rather than the sacred music. Those years saw the production of much of his instrumental music, including the Brandenburg Concertos, orchestral suites, violin concertos, suites and sonatas for solo instruments and keyboard, sonatas and suites for unaccompanied violin and cello, and much solo keyboard music.
Bach met Christian Ludwig, Margrave of Brandenburg, in 1719, on a visit to Berlin to finalize arrangements for the purchase of a new harpsichord for Anhalt-Cöthen. While in Berlin, he played for Christian Ludwig, who was so taken with his music that he asked him to send some of his compositions for his library. Bach lost an infant son a few months later, however, and in 1720 his wife died and he rejected an offer to become organist at the Jacobkirche in Hamburg, so it was over two years before he fulfilled Brandenburg’s request. The Third Brandenburg Concerto, lacking, as it does, a slow movement, is a virtual dynamo of rhythmic energy. The opening measures not only introduce the first movement, but also serve as a storehouse of motives from which the ensuing music is spun. After a brief respite of a lone Adagio measure, the whirling motion resumes with a breathless gigue.
For his concertos, Bach avidly studied the recent works of the Italian masters, most notably Vivaldi’s L’Estro Armonico (“The Harmonic Whim” or “The Musical Fancy”). His idiomatic writing for strings grew not just from that study, however, but also from his own experience as a violinist. His son Carl wrote, “He played the violin cleanly and penetratingly. He understood to perfection the possibilities of the stringed instruments.” The E major Concerto follows the traditional Italian model of three movements, arranged fast–slow–fast.
BACH, J.S.: VIOLIN CONCERTO NO. 2 IN E MAJOR
Violin Concerto No. 2 in E major, BWV 1042 (ca. 1720)
JOHANN SEBASTIAN BACH (1685-1750)
For his concertos, Bach avidly studied the recent works of the Italian masters, most notably Vivaldi’s L’Estro Armonico (“The Harmonic Whim” or “The Musical Fancy”). His idiomatic writing for strings grew not just from that study, however, but also from his own experience as a violinist. His son Carl wrote, “He played the violin cleanly and penetratingly. He understood to perfection the possibilities of the stringed instruments.” The E major Concerto follows the traditional Italian model of three movements, arranged fast–slow–fast.
BARBER: ADAGIO FOR STRINGS
Adagio for Strings (1936)
SAMUEL BARBER (1910-1981)
In 1936, Artur Rodzinski gave the American premiere of Samuel Barber’s Symphony in One Movement in Cleveland and played it the following year at the Salzburg Festival, making it the first American work heard at that prestigious event. The chief conductor of the Salzburg Festival then was Arturo Toscanini, who was to begin his tenure with the NBC Symphony later that year. Toscanini asked Rodzinski if he could suggest an American composer whose work he might program during the coming season, and Rodzinski advised that his Italian colleague investigate the music of the 27-year-old Samuel Barber. By October, Barber had completed and submitted to Toscanini the Essay No. 1 for Orchestra and an arrangement for string orchestra of the slow movement from the String Quartet he had written in Rome in 1936 — the Adagio for Strings. Toscanini broadcast them on November 5, 1938 with the NBC Symphony, and the Adagio, with its plaintive melody, rich modalism, austere texture and introspective mood, became an instant success and remains among Samuel Barber’s greatest legacies.
TCHAIKOVSKY: SOUVENIR DE FLORENCE
Souvenir de Florence for Strings, Op. 70 (1890)
PETER ILYICH TCHAIKOVSKY (1840-1893)
Tchaikovsky’s soul was seldom at rest in the years following his marital disaster in 1877, and he sought distraction in frequent travel abroad; Paris and Italy were his favorite destinations. In January 1890, he settled in Florence and spent the next three months in that city working on his latest operatic venture, Pique Dame (“The Queen of Spades”). After a brief stay in Rome, he arrived back in Russia on May 1st, noting five days later to a friend that after finishing Pique Dame, “I want to make sketches for a sextet for strings.” The orchestration of the opera was completed by early the next month, and on June 12th he told his brother Modeste that he was “starting the string sextet tomorrow.” The work was sketched within a month and performed privately in November, but Tchaikovsky reported to the composer Mikhail Ippolitov-Ivanov that “it turned out poorly in all respects.” He began a revision early in 1891, but had to put it aside for his tour to the United States in April and May, and then for the composition and production of The Nutcracker and the opera Iolanthe; the new version was not finished until January 1892 in Paris.
In their biography of Tchaikovsky, Lawrence and Elisabeth Hanson wrote, “The Souvenir de Florence is not great music but it is very pleasant and extremely cleverly constructed. It is above all suffused with an atmosphere not often associated with this composer, of a calm geniality.” It is probably this quality that prompted Tchaikovsky, who often wrote in his letters of the “heavenly” Italian climate, to use the sobriquet for the work’s original title. The music itself is decidedly Russian in mood and melody, with only a certain lightness of spirit in the first two movements showing any possible Italianate traits. The opening movement is in the style of a bustling waltz. The following Adagio is disposed in a three-part form whose brief center section is constructed from a fluttering rhythmic figuration. The two closing movements are based on folk-like themes, the first a sad song that is the subject of considerable elaboration, the other a bounding Cossack dance.
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.
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
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DONOR INFORMATION
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 ticketing@bravovail.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?
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