- SOLD OUT -
In a rare occasion, superstar pianist Yefim Bronfman, long a Bravo! Vail favorite as concerto soloist and collaborator, makes his recital debut in the Chamber Music Series with an exploration of Beethoven's piano sonatas—one of the most important in all of classical music.
$60
Donovan Pavilion
Monday
06:00 PM
- SOLD OUT -
YEFIM BRONFMAN, PIANO
BEETHOVEN: 32 Variations in C minor, WoO 80
BEETHOVEN: Piano Sonata No. 6, Op. 10, No. 2
BEETHOVEN: Piano Sonata No. 7, Op. 10, No. 3
BEETHOVEN: Piano Sonata No. 23, Appassionata
BEETHOVEN: Piano Sonata No. 5, Op. 10, No. 1
BEETHOVEN: Piano Sonata No. 6, Op. 10, No. 2
BEETHOVEN: Piano Sonata No. 7, Op. 10, No. 3
BEETHOVEN: Piano Sonata No. 23, Appassionata
BEETHOVEN: Piano Sonata No. 5, Op. 10, No. 1
Sonata No. 5 in C minor, Op. 10, No. 1 (1798)
LUDWIG VAN BEETHOVEN (1770-1827)
Among the nobles who served as Beethoven’s patrons after his arrival in Vienna in 1792 was one Count Johann Georg von Browne-Camus, a descendent of an old Irish family who was at that time fulfilling some ill-defined function in the Habsburg Imperial city on behalf of the Empress Catherine II of Russia. In the mid- 1790s, Beethoven received enough generous support from Browne that he dedicated several works to him and his wife, Anne Margarete, including the three Op. 10 Piano Sonatas.
The Sonatas of Op. 10 were begun during the summer of 1796 and completed by July 1798, when the Viennese publisher Joseph Eder issued them as a set. The first Sonata of Op. 10, in the tragic-heroic key of C minor, opens with a craggy motive immediately countered by a smooth, soothing idea of closely packed chords. The tension inherent between these sharply contrasted thematic cells is little exploited, however: most of the movement deals with the smooth shape and steady rhythms of the second motive, with the craggy opening phrase reiterated only to mark the arrivals at the development and the recapitulation. The Adagio is a slow rondo, with the two returns of the tender main theme separated by highly decorated episodes. The finale is a compact sonata form built around an agitated main subject and a perky, scale-step second theme.
BEETHOVEN: Piano Sonata No. 6, Op. 10, No. 2
Sonata No. 6 in F major, Op. 10, No. 2 (1798)
LUDWIG VAN BEETHOVEN (1770-1827)
The Sonata in F major, Op. 10, No. 2 is one of Beethoven’s most compact such works and one of his sunniest. The scampering melodic fragments tossed off at the outset not only provide thematic material for the ensuing movement but also establish its playful mood. Though the second movement is titled Allegretto, it is really a scherzo, more reserved than Beethoven’s later examples of the form but nevertheless sharing their rhythmic energy and romantic nature. If the reports are true that Beethoven loved rough practical jokes, then that aspect of his personality finds its musical analogue in the finale. A little ditty of opera buffa jocularity is proposed as the subject for learned fugal treatment, but proves that it can support nothing more than some flying scales and clangorously repeated chords. The ditty, having shown itself impervious to fugue in the exposition, gets toured through a variety of keys in the development section before the pretense of erudition is abandoned in the recapitulation in favor of a simple, boisterous romp to the end.
BEETHOVEN: Piano Sonata No. 7, Op. 10, No. 3
Sonata No. 7 in D major, Op. 10, No. 3 (1798)
LUDWIG VAN BEETHOVEN (1770-1827)
The largest in scale and most prophetic in expression of Op. 10 is the D major Sonata No. 3. The sonata-form first movement opens with a unison gesture forged from equal parts mystery, promise and forceful energy, whose dynamic eruptions are balanced by a quiet, pathetic melody in a minor key. A dainty second theme is proposed for formal contrast, but the complex emotional state of the opening resumes before the end of the exposition. The development section expounds upon the mutability of the main theme’s materials before a full recapitulation rounds out the movement. The lamenting second movement, Largo e mesto (“sad”), is one of Beethoven’s most profound statements from his early years, “his first essay in tragedy” according to Sir Donald Tovey. The Menuetto provides a sunny foil to the preceding movement. The jolly rondo-finale is based on a humorous theme of off-beat motives and bemused silences.
BEETHOVEN: Piano Sonata No. 23, Appassionata
Sonata No. 23 in F minor, Op. 57, “Appassionata” (1804-1806)
LUDWIG VAN BEETHOVEN (1770-1827)
Beethoven spent the summer of 1804 in Döbling, an elegant suburb of Vienna nestled in the foothills of the Wienerwald north of the central city. He wrote to his brother Johann, a prosperous apothecary in Vienna, “Not on my life would I have believed that I could be so lazy as I am here. If it is followed by an outburst of industry, something worthwhile may be accomplished.” The country air and fizzy Heurigen wine of Döbling must have been inspiration to Beethoven, because during the following three years he had a remarkable burst of creativity that included the “Appassionata” Sonata (Op. 57). Its sobriquet was applied not by the composer but by the Hamburg publisher Cranz when he issued a two-piano version of the work in 1838.
The F minor Sonata is in three movements: two massive sonata-form essays anchor it at beginning and end, and surround a short, rapt set of variations in which Beethoven tried to make time itself stand still. When Glenn Gould’s recording of the “Appassionata” was issued in 1974, he provided for it a surprisingly curmudgeonly set of liner notes that, nevertheless, penetrate straight to the essence of Beethoven’s creative procedure in the outer movements of this composition: “The ‘Appassionata,’ in common with most of the works Beethoven wrote in the first decade of the 19th century, is a study in thematic tenacity. His conceit at this period was to create mammoth structures from material that, in lesser hands, would scarcely have afforded a good sixteen-bar introduction. The themes, as such, are usually of minimal interest but are often of such primal urgency that one wonders why it took a Beethoven to think them up.” The “Appassionata” Sonata stands upon the highest plateau of Beethoven’s achievement.
Internationally recognized as one of today's most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series.
Internationally recognized as one of today's most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.
In celebration of the 80th birthday of Maestro Temirkanov, Mr. Bronfman’s 2018-19 season begins with a European tour with St. Petersburg Philharmonic. This is followed by a Scandinavian tour with The Royal Concertgebouw and Maestro Gatti with orchestral concerts in Europe during the season including Paris (Orchestre National de France), London (LPO), Cologne (WDR), Rome (Santa Cecilia), Berlin (Philharmonic), and Vienna Philharmonic on tour. In the US he will return to orchestras in Cleveland, New York, Los Angeles, Houston, St. Louis, Cincinnati, San Francisco and Dallas, and in recital can be heard in New York (Carnegie Hall), Berkeley, Stanford, Aspen, Madrid, Geneva, Cologne, Leipzig, Munich, Berlin, Naples, Rome and on tour in the spring with mezzo-soprano Magdalena Kozena.
He has also given numerous solo recitals in the leading halls of North America, Europe and the Far East, including acclaimed debuts at Carnegie Hall in 1989 and Avery Fisher Hall in 1993. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Mr. Bronfman's first public performances there since his emigration to Israel at age 15. That same year he was awarded the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists. In 2010 he was honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University.
Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music, and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. He is a 2015 recipient of an honorary doctorate from the Manhattan School of Music.
Yefim Bronfman became an American citizen in July 1989.
Photo: Dario Acosta
Wednesday, July 24 | 6:00PM
The New York Philharmonic's season finale features music bursting with exquisite beauty and torrential virtuosity: "Rach 3," perfectly suited for Yefim Bronfman's "technical brawn and glittery grace" (LA Times), and Tchaikovsky's thrilling exploration of humanity, happiness, and the inevitable forces of fate.
Wednesday, June 28 | 6:00PM
Beethoven's bold genius takes center stage with brilliant artistry, featuring Bravo's Artistic Director and James Ehnes, whose performance of this Violin Concerto is "a marvel" (Gramophone).
Wednesday, July 31 | 7:30PM
Explore the extraordinary depth and breadth of the world of percussion music, including a Violin Concerto (featuring Yvonne Lam of the acclaimed ensemble Eighth Blackbird) accompanied by a "orchestra" that calls for flowerpots, coffee cans, and washtubs.
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Where are the chamber music series performances held?
Bravo! Vail Chamber Music Series concerts at held at Donovan Pavilion, located at 1600 S Frontage Rd W, Vail, CO 81657.
What time do performances begin?
Concerts start promptly at 6:00PM. Doors open 30 minutes prior. Give yourself plenty of time to park and get to the venue. Latecomers will be escorted to seats by ushers at an appropriate interval.
Where do I park for Chamber Music Series performances?
Free parking is available at Donovan Pavilion.
How long do concerts last?
Concerts generally last 90 minutes to 2 hours including a scheduled intermission.
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
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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. Tickets are also sold at the Donovan Pavilion one hour prior to concert.
Where is the Will Call window?
Will Call tickets may be picked up one hour prior to the concert at the Box Office table located to the right of the entrance of Donovan Pavilion.
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Discounts for groups of 15 or more are available for select concerts. Please call 970.827.4316 for more information.
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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.
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What is the seating plan?
Seating for Chamber Music Series concerts is general admission and is ADA (American Disability Act) accessible.
What food and beverages are available at the concert?
Food and beverages including beer and wine are available for purchase on the back patio prior to the concert and at intermission.
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There is no dress code for concerts.
What are some general rules of Chamber Series 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. We recommend eating prior to the concert or at intermission. Parental supervision is required for all children attending Bravo! Vail concerts.
What is the Donovan Pavilion Child Policy?
Chamber Music Series concerts are very intimate. We strongly recommend that parents bring children aged six or older who are able to sit quietly through the entire performance.
What if I lose something at the concert?
Call the Bravo! Vail Box Office 970.827.5700 or the Donovan Pavilion 970.477.3699.
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).
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