PLEASE NOTE THE PROGRAM CHANGE: Anne-Sophie Mutter is unable to perform on this evening’s concert due to a minor accident.
This all-Mozart evening is a high-spirited showcase for the undisputed master of the Classical era, whose talents still astound and delight to this day. Performed with affection and exquisite artistry, this program shows off the smooth Viennese elegance when principal players take on solo roles.
$44 - $109
$5 - $29
Gerald R. Ford Amphitheater
Saturday
06:00 PM
CHAMBER ORCHESTRA VIENNA – BERLIN
PAUL HUANG, VIOLIN (Anne-Sophie Mutter cancelation)
MOZART: Symphony No. 1
MOZART: Violin Concerto No. 4
MOZART: Concertone for Two Violins, Oboe, Cello, and Orchestra
MOZART: Symphony No. 29
Pre-Concert Talk presented by Wall Street Insurance in partnership with Cincinnati Insurance held one hour prior to concert.
MOZART: Symphony No. 1
MOZART: Violin Concerto No. 4
MOZART: Concertone for Two Violins, Oboe, Cello, and Orchestra
MOZART: Symphony No. 29
MOZART: Symphony No. 1
Symphony No. 1 in E-flat major, K. 16 (1764)
WOLFGANG AMADEUS MOZART (1756-1791)
On April 23, 1764, Leopold Mozart of Salzburg descended upon London for the purpose of displaying the astounding musical gifts of his precocious daughter, Maria Anna (“Nannerl,” age twelve), and son, “the miracle that God permitted to be born in Salzburg,” Wolfgang Amadeus (eight, though Leopold claimed him to be a year younger for publicity purposes). Just four days later, the Mozarts appeared before the German-speaking King George III and Queen Charlotte at court, where they won the enthusiastic advocacy of Johann Christian Bach, youngest son of Johann Sebastian, one of London’s most successful composers and impresarios and Master of the Queen’s Music.
On August 5th, Leopold got sick. London was too promising for them to abandon just then, however, so as Nannerl explained, “we rented a country house in Chelsea, outside the city of London, so that father could recover from his dangerous throat ailment, which brought him almost to death’s door.... Since our father lay dangerously ill, we were forbidden to touch the keyboard and therefore, in order to occupy himself, Wolfgang composed his first symphony.... At last, after two months, when father had completely recovered, we returned to London.” On February 21, 1765, Leopold produced a concert at the Haymarket Theatre that probably included the Chelsea symphony, and perhaps movements from four others Wolfgang is thought to have written during the intervening months (K. 16a, K. 19, K. 19a and K. 19b; K. 16a and 19b are lost); another orchestral concert followed on May 13th. By the end of July, Leopold was ready to return to the Continent, and, as a memento of their residency in London, he deposited in the British Museum the manuscript of God Is Our Refuge (K. 20), Mozart’s only English-language composition.
It is uncertain whether the Chelsea symphony is actually the Symphony No. 1 in E-flat major, K. 16 (placed first in Breitkopf und Härtel’s complete edition of Mozart’s works, begun in the 1870s). Even if the E-flat Symphony and the Chelsea symphony are not the same work, the E-flat Symphony certainly dates from the months in London, and cogently represents the musical personality of the eight-year-old Mozart. The work consists of a pleasant opening movement in sonata form, a somber Andante in two-part structure, and a dashing sonata-rondo for the finale.
MOZART: Violin Concerto No. 4
Violin Concerto No. 4 in D major, K. 218 (1775)
WOLFGANG AMADEUS MOZART (1756-1791)
The D major Concerto opens with a mock-military fanfare, answered immediately by a balancing phrase of characteristic Mozartian suavity. The orchestral introduction continues with a lyrical contrasting theme presented by oboe and violins before the soloist enters. The movement’s central section is less a true development of earlier motives than a free fantasia of pearly scales and flashing arpeggios. The recapitulation begins without fuss as the soloist tosses off an altered version of the main theme. The remaining themes are recalled before the soloist is allowed a cadenza. The second movement is sonatina in form (sonata without development section) and moonlight-tender in mood. In contrast, the finale is dance-like and outgoing, an ingenious international blend of open-faced Italian melody, French elegance and German structural sophistication in its blend of rondo and sonata forms.
MOZART: Concertone for Two Violins, Oboe, Cello, and Orchestra
Concertone for Two Violins, Oboe, Cello and Orchestra in C major, K. 190 (K. 166b) (1773)
WOLFGANG AMADEUS MOZART (1756-1791)
The Concertone, written when he was seventeen, is Mozart’s first original concerto, his earlier works in the form having been arrangements of music by other composers. He seems to have intended the unusual title to mean “grand concerto,” and it is indeed large both in its group of soloists led by the two violins and in its temporal length. It is his only so-named work; there is evidence of a few other concertones by his contemporaries (the Salzburg Kapellmeister, for example, placed an order for such pieces with Joseph Mysliveczek in November 1777; two were delivered in January), though none of that music is known to exist. As with many of Mozart’s early works, the Concertone quarries several stylistic mines: French, in its instrumental layout, forceful opening coup d’archet or “first stroke of the bow,” and general galanterie; Italian, in its lyricism and a certain formal prolixity then characteristic of Milanese instrumental works; Mannheim, in some of its melodic gestures and exploitation of orchestral resources; and Viennese, in its harmonic daring and thematic development. Mozart’s melodic fecundity, everywhere evident in the Concertone’s three movements, here leads to a looseness of form that he was not fully able to remedy until the last three Violin Concertos of 1775. Much of the interest in the Concertone therefore lies in his handling of the concertante group, which at times extends even beyond the four designated soloists to include a second oboe, a double bass and a pair of violas. While it only hints at the sublime concerted works that he would later write, the C major Concertone is filled with true Mozartian charm, grace and beauty.
MOZART: Symphony No. 29
The Vienna and Berlin Philharmonic Orchestras stand as two fundamental pillars of orchestral excellence. Despite sharing decade-long collaborations with esteemed conductors Wilhelm Furtwängler, Herbert von Karajan, and Claudio Abbado, audiences and critics alike acknowledge their contrasting identities.
Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is celebrated for his eloquent music making, distinctive sound, and effortless virtuosity. The Washington Post proclaimed Mr. Huang as "an artist with the goods for a significant career" following his recital debut at the Kennedy Center.
The Vienna and Berlin Philharmonic Orchestras stand as two fundamental pillars of orchestral excellence. Despite sharing decade-long collaborations with esteemed conductors Wilhelm Furtwängler, Herbert von Karajan, and Claudio Abbado, audiences and critics alike acknowledge their contrasting identities. The noble Viennese are defined by smooth elegance and velvety strings; whereas, the captivating, passionate Berliners speak to the virtue of brilliant wind soloists. The sensation that is ‘Chamber Orchestra Vienna-Berlin’ emerged from Sir Simon Rattle’s dream for his 50th Birthday Celebration: to unite both orchestras on one stage for the first time. This concert of epic proportions uncovered a mutual ambition and ability to combine chamber-music-like delicacy with symphonic force. The ensemble, which represents the essence of both orchestras by putting forth their most renowned musicians, looks to create a unique creative exchange where refinement of technique, enormous flexibility, and specific beauty of sound result in exciting experiences for musicians and audiences alike. Since the formation of the ‘Chamber Orchestra Vienna –Berlin’ in 2012, the ensemble has toured across Europe and Asia with featured soloists Yefim Bronfman, Anne-Sophie Mutter, Jonas Kaufmann, Antoine Tamestit, Gautier Capucon, Gabor Boldoczki, Denis Matsuev, Yuja Wang, and Daniel Müller-Schott. Rainer Honeck (concert master of the Orchestra of the Vienna State Opera since 1984 and concert master of the Vienna Philharmonic Orchestra since 1992) acts as primarius and Artistic Director of the Orchestra.
Photo: Philipp Horak
Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is celebrated for his eloquent music making, distinctive sound, and effortless virtuosity. The Washington Post proclaimed Mr. Huang as "an artist with the goods for a significant career" following his recital debut at the Kennedy Center.
His recent and forthcoming engagements include his recital debut at the Lucerne Festival in Switzerland, Aspen Music Festival, as well as appearances with the Mariinsky Orchestra with Valery Gergiev (St. Petersburg's White Nights Festival), Berliner Symphoniker with Lior Shambadal (Philharmonie Berlin debut), Detroit Symphony with Leonard Slatkin, Houston Symphony with Andres Orozco-Estrada, Orchestra of St. Luke's with Carlos Miguel Prieto, Seoul Philharmonic, Baltimore Symphony and Grant Park Festival Orchestra with Markus Stenz, North Carolina Symphony and Charlotte Symphony with Gemma New, Buffalo Philharmonic with JoAnn Falletta, Pacific Symphony with Carl St. Clair, National Symphony Orchestra of Taiwan with ShaoChia Lu and the Taipei Symphony with Jahja Ling (both in Taipei and on a U.S. tour). 2019-20 season will also see Mr. Huang giving the German premiere of Tan Dun’s Violin Concerto “Fire Ritual” with the Nuremberg Symphony with Kahchun Wong and appearances in the U.S. with the Tucson Symphony, New Mexico Philharmonic, Long Beach Symphony, Brevard Symphony, and Mobile Symphony.
Recital and chamber music performances this season will include Mr. Huang’s recital debut for People’s Symphony Concerts in New York, a recital tour across North America and Taiwan with pianist Helen Huang, as well as his debut at the Wolf Trap in Washington D.C. He will also return to Camerata Pacifica in Santa Barbara and the Chamber Music Society of Lincoln Center for three separate tours in the U.S., Europe, and the Far East.
Mr. Huang's recent recital engagements included Lincoln Center's "Great Performers" series and return engagement at the Kennedy Center where he premiered Conrad Tao's "Threads of Contact" for Violin and Piano during his recital evening with pianist Orion Weiss. He also stepped in for Midori with Leonard Slatkin and the Detroit Symphony to critical acclaim. Mr. Huang has also made debuts at the Wigmore Hall, Seoul Arts Center, and the Louvre in Paris.
His first solo CD, Intimate Inspiration, is a collection of favorite virtuoso and romantic encore pieces released on the CHIMEI label. In association with Camerata Pacifica, he recorded "Four Songs of Solitude" for solo violin on their album of John Harbison works. The album was released on the Harmonia Mundi label in fall 2014.
A frequent guest artist at music festivals worldwide, he has performed at the Seattle, Music@Menlo, Caramoor, Bridgehampton, La Jolla, Santa Fe, Moritzburg, Kissinger Sommer, Sion, Orford Musique, and the PyeongChang Music Festival in Korea. His collaborators have included Gil Shaham, Cho-Liang Lin, Nobuko Imai, Lawrence Power, Maxim Rysanov, Mischa Maisky, Jian Wang, Frans Helmerson, Lynn Harrell, Yefim Bronfman, and Marc-Andre Hamelin.
Winner of the 2011 Young Concert Artists International Auditions, Mr. Huang made critically acclaimed recital debuts in New York and in Washington, D.C. at the Kennedy Center. Other honors include First Prize at the 2009 Tibor Varga International Violin Competition Sion-Valais in Switzerland, the 2009 Chi-Mei Cultural Foundation Arts Award for Taiwan’s Most Promising Young Artists, the 2013 Salon de Virtuosi Career Grant, and the 2014 Classical Recording Foundation Young Artist Award.
Born in Taiwan, Mr. Huang began violin lessons at the age of seven. He is a proud recipient of the inaugural Kovner Fellowship at The Juilliard School, where he earned his Bachelor’s and Master’s degrees under Hyo Kang and I-Hao Lee. He plays on the legendary 1742 “ex-Wieniawski” Guarneri del Gesù on extended loan through the Stradivari Society of Chicago.
Photo credit: Marco Borggreve
Thursday, June 20 | 6:00PM
This historic residency opens with music by two of the most renowned and influential composers of all time. Haydn is a perfect showcase for smooth Viennese elegance and the captivating passion of the Berliners, while Bravo! Vail’s Artistic Director joins in the opening night celebration with a rollicking Piano Concerto by Mozart.
Sunday, June 23 | 6:00PM
World renowned violinist Anne-Sophie Mutter joins her cherished European colleagues to perform Mozart’s beloved Violin Concertos.
Friday, July 12 | 6:00PM
This wonderfully crowd-pleasing program has something for everyone: a colorful high-octane opening, Chopin Competition winner Seong-Jin Cho in his Bravo! Vail debut, and the fiercely flamboyant First Symphony of Rachmaninoff.
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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 and non-exchangeable. 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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