Program Notes

BEETHOVEN: Piano Concerto No. 4 in G major, Op. 58

MOZART: Symphony No. 40 in G minor, K. 550

BEETHOVEN: Piano Concerto No. 4 in G major, Op. 58

Piano Concerto No. 4 in G major, Op. 58 (1806)
LUDWIG VAN BEETHOVEN (1770-1827)

Ludwig van Beethoven unveiled his Fourth Piano Concerto at a private concert in the mansion of his patron Prince Lobkowitz in March 1807. Then he put it away for nearly two years and performed it only one more time—in his last public appearance as a concerto soloist, at a concert at Vienna’s Theater an der Wien on December 22, 1808. That all-Beethoven marathon was one of the most extraordinary events in all of music history. In addition to this concerto, it included the world premieres of the Symphonies No. 5 and No. 6 as well as of the Choral Fantasy, the Vienna premieres of three movements from the C-major Mass and the concert scena “Ah Perfido!,” and a solo keyboard improvisation by the composer. To encounter all of these revolutionary pieces at one sitting must have been overwhelming, and to many listeners the Fourth Piano Concerto must have sounded like just more of the same madness. His pupil Carl Czerny termed Beethoven’s performance on that occasion to be “playful,” an odd enough descriptive that it invites one to wonder what really went on.

Informed members of that audience would have expected a concerto to begin with a long introduction during which the orchestra presented some of the first movement’s principal themes. But this concerto fades into existence with unexpected gentleness, played softly by the solo piano, after which the featured instrument withdraws, not to be heard again for another 69 measures. Suspense mounts during that span. You might say that the silent piano is unusually “present” during those 69 measures precisely because it made its mark so indelibly at the outset.

The second movement is also extraordinary, even apart from its uncharacteristic brevity (lasting as it does only about five minutes). In his 1859 biography of Beethoven, the music theorist Adolf Bernhard Marx suggested that this Andante con moto bore some relationship to Gluck’s opera Orfeo ed Euridice—specifically, to how Orpheus used music to tame wild beasts. In 1985, the musicologist Owen Jander pointed out that Beethoven’s music—indeed, in the whole concerto, not just the slow movement—seems to follow point by point a popular version of the Orpheus legend that was presented as street theatre in Beethoven’s Vienna. Opinions are divided about whether Beethoven would have interpreted text into tones so literally; yet Jander put forth a strong argument, and the idea does capture the imagination.

The finale brings this essentially lyric concerto to an ebullient end, with trumpets and timpani added for the first time. But even here Beethoven seems less interested in impressing audiences with stentorian sounds than in exploring harmonic subtleties and seducing his listeners with captivating melodies and appealing touches of orchestration.

MOZART: Symphony No. 40 in G minor, K. 550

Symphony No. 40 in G minor, K.550 (1788)
WOLFGANG AMADEUS MOZART (1756-91)

Even music-lovers accustomed to thinking of Wolfgang Amadeus Mozart as an unstoppable vessel of creativity have to be impressed by how fast he produced his final three symphonies—Nos. 39, 40, and 41. He composed these three works, 12 movements in all, in about nine weeks during the summer of 1788—an average of five days and a few hours for each movement. He was also writing other pieces at the same time, giving piano lessons, tending a sick wife, enduring the death of a six-month-old daughter, entertaining friends, moving to a new apartment, and begging his fellow freemason Michael Puchberg for a cash-flow loan. In one of his letters to Puchberg, Mozart mentioned that he anticipated income from two upcoming concerts at the Vienna Casino. Probably they would have included these symphonies, but it appears that the concerts were cancelled. It was long assumed that the G-minor Symphony was never performed in Mozart’s lifetime, but in 2011 the musicologist Milada Jonášová unveiled a newly discovered period document revealing that it was played in a concert under the patronage of Mozart’s friend Baron Gottfried van Swieten. It also figured on a program given twice in Vienna, on April 16-17, 1791. This helps explain why the score exists in two distinctly orchestrated versions. Mozart originally scored it for flute, two oboes, two bassoons, two horns, and strings—likely the setting used for the van Swieten concert. Before the 1791 performances, he added a pair of clarinets and revised the oboe parts to interlace with them. The warm-timbred version with clarinets is standard in modern performances, though the one without clarinets is occasionally revived.

The work’s four movements are poised in exquisite balance: the urgency of the opening Molto allegro, which in some interpretations can verge on panic; the mysterious, potentially woozy grace of the Andante; the grim counterpoint of the Menuetto, with its blunt cross-rhythms (Brahms, who owned the work’s manuscript for a while, must have loved them); the almost unbearable tension of the finale. Perhaps the most shocking of the symphony’s many astonishments falls at the beginning of the development section in the last movement. Here Mozart’s woodwinds and strings play loudly and in unison (or at the octave, to accommodate the different ranges of instruments) a passage in which 11 of the 12 notes of the chromatic scale are sounded. The only note missing is G, which, being the tonic key of the entire symphony, might be said to hover in the background anyway. Mozart’s Symphony No. 40 is certainly not a piece of 12-tone music, but these eight measures do qualify as a passage of 12-tone music. Imagine what Mozart might have accomplished if he had lived longer!

Artist Bios

Jaap van Zweden, conductor

Over the past decade, Jaap van Zweden has been an international presence on three continents. Currently, he is Music Director of the New York Philharmonic, a post he began in 2018, and Music Director of the Hong Kong Philharmonic since 2012.

Daniil Trifonov, piano

Russian pianist Daniil Trifonov has made a spectacular ascent in the world of classical music and is "without question the most astounding young pianist of our age" (London Times).

Jaap van Zweden, conductor

Van Zweden has appeared as guest conductor with many other leading orchestras around the globe, among them the Orchestre de Paris, Amsterdam’s Royal Concertgebouw Orchestra, Leipzig Gewandhausorchester, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, Vienna and Berlin Philharmonics, and the London Symphony Orchestra.

Jaap van Zweden has made numerous acclaimed recordings, the most recent of which are a 2020 release with the New York Philharmonic of the World Premiere of David Lang’s prisoner of the state, and the 2019 release of the World Premiere of Julia Wolfe’s Fire in my mouth, continuing the Philharmonic’s partnership with Decca Gold. In 2018 with the Hong Kong Philharmonic, he completed a four-year project conducting the first-ever performances in Hong Kong of Wagner’s Der Ring des Nibelungen, which have been recorded and released on Naxos Records as individual recordings as well as a complete set. His highly praised performances of Lohengrin, Die Meistersinger and Parsifal, the latter of which earned Jaap van Zweden the prestigious Edison Award for Best Opera Recording in 2012, are available on CD/DVD.

Born in Amsterdam, Jaap van Zweden was appointed at age nineteen as the youngest-ever concertmaster of the Royal Concertgebouw Orchestra. He began his conducting career nearly twenty years later in 1996. He remains Honorary Chief Conductor of the Netherlands Radio Philharmonic where he served as Chief Conductor from 2005-2013, served as Chief Conductor of the Royal Flanders Orchestra from 2008-11, and was Music Director from 2008-2018 of the Dallas Symphony Orchestra where he currently holds the title Conductor Laureate. Van Zweden was named Musical America's 2012 Conductor of the Year and was the subject of an October 2018 CBS 60 Minutes profile. Recently, he was awarded the prestigious 2020 Concertgebouw Prize, and the Hong Kong Philharmonic under Jaap van Zweden’s leadership was named Gramophone’s 2019 Orchestra of the Year.

In 1997, Jaap van Zweden and his wife Aaltje established the Papageno Foundation, the objective being to support families of children with autism. Now, over 20 years later, the Foundation has grown into a multi-faceted organization which, through various initiatives and activities, focuses on the development of children and young adults with autism. The Foundation provides in-home music therapy to children through a national network of qualified music therapists in the Netherlands; opened the Papageno House in August 2015 (with Her Majesty Queen Maxima in attendance) for young adults with autism to live, work and participate in the community; created a research center at the Papageno House for early diagnosis and treatment of autism and for analyzing the effects of music therapy on autism; develops funding opportunities to support autism programs; and launched the app, TEAMPapageno, which allows children with autism to communicate with each other through music composition.

Daniil Trifonov, piano

Russian pianist Daniil Trifonov launched his career by winning First Prize at both the Tchaikovsky and Rubinstein Competitions in 2011 at the age of 20. The 2016–17 season saw the release of Transcendental, a double album that represents Mr. Trifonov’s third title as an exclusive Deutsche Grammophon artist and marks the first time that Liszt’s complete concert études were recorded for the label. The winner of Gramophone’s 2016 Artist of the Year award, he played Tchaikovsky’s First Piano Concerto under Riccardo Muti in the gala finale of the Chicago Symphony’s 125th anniversary celebrations and, having scored his second Grammy nomination with Rachmaninoff Variations, performed Rachmaninoff for his Berlin Philharmonic debut at the orchestra’s New Year’s Eve concerts, aired live in cinemas throughout Europe. He also made debuts with the Melbourne and Sydney Symphony Orchestras, returned to the Los Angeles Philharmonic and Royal Liverpool Philharmonic, and headlined the Munich Philharmonic’s “Rachmaninoff Cycle” tour with Valery Gergiev. He played with the New York Philharmonic, The Cleveland and Philadelphia Orchestras, and Dresden Staatskapelle at home and at the Salzburg Easter Festival and BBC Proms. Other collaborations included Zurich’s Tonhalle, Rotterdam Philharmonic, Mahler Chamber, Houston Symphony, Royal Stockholm Philharmonic, and La Scala orchestras. Also a composer, Mr. Trifonov reprised his own concerto in Kansas City. He made recital debuts at London’s Barbican and Melbourne’s Recital Centre; appeared in Berlin, Vienna, Florence, Madrid, Oslo, and Moscow; and returned to Philadelphia, Baltimore, and New York’s Carnegie Hall. This summer he returns to the Tanglewood, Verbier, Baden-Baden, and Salzburg festivals. Mr. Trifonov began his musical training at age five, and attended Moscow’s Gnessin School of Music and the Cleveland Institute of Music. Other honors include Third Prize in Warsaw’s Chopin Competition, First Prize in Tel Aviv’s Rubinstein Competition, both First Prize and Grand Prix in Moscow’s Tchaikovsky Competition, and the Franco Abbiati Prize for Best Instrumental Soloist. Daniil Trifonov made his New York Philharmonic debut in September–October 2012 performing Prokofiev’s Piano Concerto No. 3, led by Music Director Alan Gilbert; most recently, in November 2016, he performed Mozart’s Piano Concerto No. 25, led by Vladimir Jurowski. He joined the Board of the New York Philharmonic in 2015.

Photo: Dario Acosta

Orchestra Concert FAQs

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. Gates open 60 minutes prior to performances. GRFA 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 appropriate intervals.

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. We expect that bus capacity for each bus will be limited to 40 or fewer people. 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 instructions 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?

Packages are available beginning February 10.

Single tickets go on sale to the public on May 15.

Tickets and gift certificates may be ordered in the following ways:
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Bravo! Vail Box Office hours are Monday-Friday from 9:00AM to 4:00PM. During the Festival, hours include Saturday & Sunday from 10:00AM to 4:00PM. The Bravo! Vail Box Office can be reached at 877.812.5700.

The Gerald R. Ford Amphitheater box office is open from 11:00AM until concert start time (5:00PM 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.

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Will Call tickets may be picked up at the GRFA amphitheater box office located to the right of the main entrance lobby. The box office is open 11:00AM to concert start time during the Festival.

What is your vaccination policy?

The health and safety of our patrons, musicians, staff, and community are Bravo! Vail's top priorities. After careful consideration and in compliance with our venue partners, as well as local, state, and federal guidelines, we will not require proof of vaccination to attend Bravo! Vail events for the 2022 summer season. Face coverings at all events will be optional and encouraged for anyone who wishes to wear them. We will continue to stay in close communication with Eagle County Public Health and Environment, and we may change our policy at any time in the interest of the health and safety of our guests, artists, employees, and volunteers.

This policy may be revised or changed at any time.  We thank you for your understanding, cooperation, and flexibility.

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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. 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.

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Find more on the website, Bravo! Vail Music Festival App, or program book!

What should I bring to the concerts?

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 (4-inch legs), and umbrellas are permitted at concerts.

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No oversized bags will be allowed (for example: duffle bags, large backpacking bags, suitcases).

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.

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 by contacting the Bravo! Vail Box Office at 877.812.5700.

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.

Any forms of audio or video recording (mobile phone, camera, video camera, iPad) are prohibited at these events.

Photographing performances (with no flash) is permitted during concerts, only if there is no disruption/distraction to fellow audience members or performers.

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 ticketing@bravovail.org or 877.812.5700 Mon–Fri 9:00AM–4:00PM (and Sat–Sun 10:00AM-4:00PM during the Festival).

Do you charge service fees? 

Bravo! Vail enriches people's lives through the power of music by producing the finest performances by the greatest artists; fostering music education; and promoting a lifelong appreciation of the arts. We strive to provide the best experience for all audiences. As we continue to maintain this high level of service, our in-house box office happily manages the ticketing and seating process for our patrons.  The price of each ticket helps offset production costs, artist fees and housing, and other expenses associated with the performance. However, ticket sales revenue covers less than half of what it costs to present world-class music in Colorado's most beautiful mountain setting. 

Service fees help offset the cost associated with processing, printing, and selling tickets. Costs include: 

Credit card processing fees
Wages and training for our Box Office staff 
Print collateral associated with ticketing: ticket stock, envelopes, and postage for mailed tickets.  
Licensing and fees associated with our ticketing software, servers that host our ticketing platform, and other services to deliver digital ticketing

A five percent service fee is applied to tickets sold through BravoVail.com and an eight percent fee for tickets sold by phone, and in-person through official Bravo! Vail ticketing sources. These fees are proportionate to the ticket's listed price. Additional venue fees may apply. To make our pricing clear to ticket buyers, we do not fold ticketing fees into base ticket prices.  All service fees are non-refundable.

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Program Notes

BEETHOVEN: Piano Concerto No. 4 in G major, Op. 58

MOZART: Symphony No. 40 in G minor, K. 550

Artist Bios

Jaap van Zweden, conductor

Daniil Trifonov, piano

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