Not one, not two, but three exceptional string quartets share the stage for Steve Reich’s landmark Triple Quartet, the world premiere of a new piece with a similarly epic format, and more intriguing works by 20th and 21st century masters. Don’t miss this unique evening.
Mon-Fri, 9am-4pm For Assistance
AEOLUS QUARTET, CALDER QUARTET & LYRIS QUARTET (STRINGS)
BRAHMS: 3 Intermezzos for Piano, Op. 117
GLASS: String Quartet No. 5
DAVID LUDWIG: New Work Commissioned by Bravo! -Pangaea for Strings and Piano
REICH: Triple Quartet
BRAHMS: 3 INTERMEZZOS FOR SOLO PIANO, OP. 117
Three Intermezzos for Piano, Op. 117 (1892)
JOHANNES BRAHMS (1833-1897)
Brahms described the Op. 117 Intermezzos as “three lullabies to my sorrows,” and associated the somber mood of the first with a poem by Johann Gottfried Herder: Sleep softly my child, sleep softly and well! It fills me with regret to see you cry. Several commentators have proposed that the second Intermezzo also found its inspiration and mood in the Herder poem, though Brahms himself never said they were related in that way. The Herder verse has also been connected with the Intermezzo in C-sharp minor (No. 3), but so has Longfellow’s 1855 poem Victor Galbraith, which recounts the execution by firing squad of a disgraced bugler from Middletown, Ohio during the Mexican War of 1846-1848.
DAVID LUDWIG: WORLD PREMIERE OF PANGAEA FOR STRINGS AND PIANO
Pangaea for Piano and Strings (2017) Commissioned by Bravo! Vail as part of the NEW WORKS PROJECT.
DAVID LUDWIG (B. 1972)
David Ludwig, born in 1972 in Doylestown in Bucks County, Pennsylvania, is the descendant of a distinguished musical family—pianists Rudolf Serkin and Peter Serkin are his grandfather and uncle, and his great-grandfather was the renowned violinist Adolf Busch. Ludwig studied at Oberlin College (B.M.) and Manhattan School of Music (M.M.), and continued his post-graduate work at the Curtis Institute and the Juilliard School before earning a doctorate from the University of Pennsylvania. His teachers include Richard Hoffmann, Richard Danielpour, Jennifer Higdon, Ned Rorem and John Corigliano. In 2002, Ludwig was appointed to the faculty of the Curtis Institute, where he now serves as the Artistic Chair of Performance and Director of the Curtis 20/21 Contemporary Music Ensemble. In addition to important residencies in Europe, Asia and America, Ludwig’s honors include the First Music Award, Independence Foundation Fellowship, Theodore Presser Foundation Career Grant, Fleischer Orchestra Award, and two nominations for the Stoeger Award of the Chamber Music Society of Lincoln Center. He has also received grants from Meet the Composer, American Composers Forum, American Music Center, and National Endowment for the Arts. In 2009 he was honored as a City Cultural Leader by the Choral Arts Society of Philadelphia, and in 2011 NPR Music selected him as one of the “Top 100 Composers Under Forty in the World.”
Pangaea was commissioned by Bravo! Vail in honor of the festival’s 30th season. The composer wrote of it, “‘Pangaea’ was the single huge continent on earth surrounded by one vast ocean over two hundred million years ago—eons before dinosaurs, much less humans. It was an entirely different planet from the one we know today, lush with the life of another world. The music of my Pangaea begins in the ‘Panthalassa’ ocean [from the Greek, ‘all sea’] that encircled the earth, rising up and plunging back into the depths. The second movement continues in this ancient world, inspired by the abundant life of the Pangaea super-continent as a kind of ‘Carnival of the [Prehistoric] Animals.’ In this music, I had in mind some acoustic principles that existed then as they do now, especially the overtone series, resonating through the ages.
“Writing the end of the piece brought me to thinking about the end of this world. Global climate change and warming started a chain of events that would lead to the disappearance of nearly all life on earth in a relative eye-blink of geological time: the ‘Permian/Triassic Extinction Event’ (called colloquially ‘The Great Dying’). It’s an unavoidable connection for me to our own man-made era of environmental desolation, which is the second greatest extinction event in earth’s history—and it is happening right now.
“When I think about Pangaea—that another earth existed an inconceivable amount of time ago—I am both overwhelmed and comforted. That we are so small only reinforces how precious our lives are and how fragile this world is, and I am left with renewed appreciation that we have music to inspire us to thought and action.”
GLASS: STRING QUARTET NO. 5
String Quartet No. 5 (1991)
PHILIP GLASS (B. 1937)
Glass’ Quartet No. 5 comprises five movements: a poignant introduction; a pulsing quick essay; a scherzo; a circling movement framed by a thoughtful music; and a swift finale that slows for recalls the poignant introduction.
REICH: TRIPLE QUARTET
Triple Quartet for Three String Quartets (1999)
STEVE REICH (B. 1936)
Reich wrote of his Triple Quartet, composed in 1999 for the Kronos Quartet, “The initial inspiration for the piece comes from the last movement of Bartók’s Fourth Quartet. While no musical material is taken from the Bartók, its energy was my starting point. While working on Triple Quartet, two other composers found their way into my consciousness. As I was beginning the piece, my friend Betty Freeman sent me a CD of the complete string quartets of [Russian composer] Alfred Schnittke [1934- 1998]. I had never heard a note of his music. In listening to his quartets, I was struck by his virtuosity and moved by the incredible Mesto of his Second Quartet. Listening to the ‘density’ of his music goaded me to thicken my own plot harmonically and melodically. Rhythmically in the Triple Quartet, the second and third quartets play in conflicting values partly inspired by Michael Gordon’s Yo Shakespeare. The result, all in all, is a piece considerably more dissonant and expressionistic than expected. The Triple Quartet is in three movements (fast–slow–fast).”
AEOLUS QUARTET, strings
Praised by the Baltimore Sun for combining "smoothly meshed technique with a sense of spontaneity and discovery," the Aeolus Quartet is committed to presenting time-seasoned masterworks and new cutting-edge works.
CALDER QUARTET, strings
Winners of the prestigious 2014 Avery Fisher Career Grant, the Calder Quartet is widely known for the discovery, commissioning, recording and mentoring of some of today’s best emerging composers (over 25 commissioned works to date).
LYRIS QUARTET, strings
The Lyris Quartet has been described by the LA Times as "radiant...exquisite...and powerfully engaged."
AEOLUS QUARTET, strings
Praised by the Baltimore Sun for combining "smoothly meshed technique with a sense of spontaneity and discovery," the Aeolus Quartet is committed to presenting time-seasoned masterworks and new cutting-edge works to widely diverse audiences with equal freshness, dedication, and fervor. Violinists Nicholas Tavani and Rachel Shapiro, violist Gregory Luce, and cellist Alan Richardson formed the Aeolus Quartet in 2008 at the Cleveland Institute of Music. Since its inception, the all-American quartet has been awarded prizes at nearly every major competition in the United States and performed across the globe with showings "worthy of a major-league quartet" (Scott Cantrell, Dallas Morning News). Mark Satola of the Cleveland Plain Dealer writes, DzA rich and warm tone combined with precise ensemble playing (that managed also to come across as fluid and natural), and an impressive musical intelligence guided every technical and dramatic turn.dz They were the 2013-2015 Graduate Resident String Quartet at the Juilliard School, and they currently make their home in New York City.
The Aeolus Quartet are Grand Prizewinners of the 2011 Plowman Chamber Music Competition and 2011 Chamber Music Yellow Springs Competition. They were awarded First Prize at the 2009 Coleman International Chamber Ensemble Competition, a Silver Medal at the 2011 Fischoff International Chamber Music Competition, and a Bronze Medal at the 2010 International Chamber Music Ensemble Competition in New England. The 16th Annual Austin Critics’ Table named the Aeolus Quartet their 2010-2011 DzBest Ensemble.dz The Aeolus Quartet has released two critically acclaimed albums of classical and contemporary works through the Longhorn/Naxos label which are available on iTunes, Amazon, and major retailers worldwide.The Quartet has performed across North America, Europe, and Asia in venues such as Weill Recital Hall at Carnegie Hall, Reinberger Recital Hall at Severance Hall, Merkin Hall, The Library of Congress, Renwick Gallery, St. Martin-in-the-Fields, and the Shanghai Oriental Arts Center.
Dedicated to bringing music into the community, the Aeolus Quartet has been widely recognized for their highly innovative and engaging outreach programs. For the 2015-2016 season, the Quartet is the recipient of a CMA Residency Partnership Grant. Named the 2015-2016 Guarneri Quartet Residency in recognition of Aeolus’ artistic achievement, the project will involve extensive outreach and performance at Duke Ellington School for the Arts, the Sitar Arts Center, and George Washington University. The Fischoff National Chamber Music Association awarded the Aeolus their 2013 Educator Award in acknowledgment of the positive impact their educational efforts have had in diverse communities. Additionally, they were awarded the 2012 Lad Prize which culminated in large-scale community engagement work, performing in the Stanford area, and a masterclass residency at Stanford University. The Aeolus Quartet has also served as teaching faculty at Stanford University’s Education Program for Gifted Youth (EPGY), the Austin Chamber Music Workshop, and Da Camera of Houston’s Music Encounters Program. Working in collaboration with the University of Texas through the Rural Chamber Music Outreach Initiative, the Quartet has presented educational programs and performances in communities throughout the state of Texas.
The Aeolus Quartet has studied extensively with the Juilliard, Guarneri, St. Lawrence, and Miró Quartets. Other mentors include artists such as William Preucil, Peter Salaff, Donald Weilerstein, Itzhak Perlman, Gerhard Schulz, and Mark Steinberg. Members of the Quartet hold degrees from the Juilliard School, Peabody Conservatory, the Cleveland Institute of Music, the University of Maryland, and the University of Texas at Austin. They served as Graduate String Quartet-in-Residence at Juilliard, the University of Maryland, and the University of Texas.The Quartet’s 2015-2016 season includes multiple performances in New York– including Merkin Hall, a Bargemusic residency, and the Morgan Library –residencies at BYU Idaho, University of Iowa, and Southern Oregon University, and extensive touring throughout the United States. In addition, the Quartet is partnering with the Detroit Chamber Music Society and NYU’s MUSED Lab to create an entirely new app-based educational music residency experience for schools. Aeolus is the recipient of the 2015-2016 CMA Residency Partnership Grant for residency work with George Washington University, the Duke Ellington School, and the Corcoran Gallery of Art, and their project was named the Guarneri Quartet Residency in recognition of their artistic excellence. The Quartet is named for the Greek god Aeolus, who governed the four winds. This idea of a single spirit uniting four individual forces serves as an inspiration to the members of the Aeolus Quartet as they pursue their art.
Photo: Nathan Russel
CALDER QUARTET, strings
The Calder Quartet performs a broad range of repertoire at an exceptional level, always striving to channel and fulfill the composer’s vision. Already the choice of many leading composers to perform their works, the group’s distinctive approach is exemplified by a musical curiosity brought to everything they perform.
Winners of the prestigious 2014 Avery Fisher Career Grant, they are widely known for the discovery, commissioning, recording and mentoring of some of today’s best emerging composers (over 25 commissioned works to date). The group continues to work and collaborate with artists across musical genres, spanning the ranges of the classical and contemporary music world, as well as rock and film/tv soundtracks, and in venues ranging from museums to Carnegie and the Hollywood Bowl.
Inspired by innovative American artist Alexander Calder, the Calder Quartet’s desire to bring immediacy and context to the works they perform creates an artfully crafted musical experience. Recent and upcoming highlights include Lincoln Center, Metropolitan Museum of Art, multiple performances at Wigmore Hall, Barbican, Salzburg Festival, Donaueschingen Festival, Frankfurt Alte Oper, Tonhalle Zurich, IRCAM Paris, Hamburg’s Elbphilharmonie, Centro Nacional de Difusión Musical Madrid, a residency at the Perth International Arts Festival and returns to Los Angeles’ Disney Hall and the Ojai Music Festival on a program curated by Peter Sellars. Their long list of collaborators include the Cleveland Orchestra, LA Philharmonic, Thomas Adès, Peter Eötvös, Barbara Hannigan, Audrey Luna, Johannes Moser, Joshua Bell, Edgar Meyer and Danielle DeNiese.
The quartet has been featured in extremely popular TV shows such as the Late Show with David Letterman, the Tonight Show with Jay Leno, KCRW’s Morning Becomes Eclectic, the Tonight Show with Conan O’Brien, Late Night with Jimmy Kimmel, and the Late Late Show with Craig Ferguson. In 2011 the Calder Quartet launched a non-profit dedicated to furthering its efforts in commissioning, presenting, recording, and education, collaborating with the Getty Museum, Segerstrom Center for the Arts, and the Barbican Centre in London.
The Calder Quartet formed at the University of Southern California’s Thornton School of Music and continued studies at the Colburn Conservatory of Music with Ronald Leonard, and at the Juilliard School, receiving the Artist Diploma in Chamber Music Studies as the Juilliard Graduate Resident String Quartet. The quartet regularly conducts master classes and has taught at the Colburn School, the Juilliard School, Cleveland Institute of Music, University of Cincinnati College Conservatory and USC Thornton School of Music. The Calder Quartet is represented exclusively worldwide by Intermusica.
Photo: Autumn de Wilde
LYRIS QUARTET, strings
The Lyris Quartet, described as "radiant…exquisite... and powerfully engaged" by Mark Swed of the LA Times, was founded in 2008. Members of the quartet have won top prizes at the Tchaikovsky International Competition and Aspen Music Festival and have collaborated with renowned artists Natalia Gutman, David Geringas, Martha Argerich, Alban Gerhardt, Boris Pergamenschikov, Guillame Sutre, Myung-Whun Chung, and Richard Stoltzman.
Lyris has collaborated closely with composers Krystof Penderecki, Andrew Norman, Oliver Knussen, Steven Mackey, John Adams, Bruce Broughton, Peter Knell, Kurt Rohde, Paquito D'Rivera, Wadada Leo Smith, and Gerard Schurmann. They appeared alongside composer/pianist Billy Childs as part of the LA Phil’s Jazz and World music series at Disney Hall and with Steve Reich at LACMA’s Bing Hall.
The quartet has appeared throughout North America, Europe, and Asia in a diverse range of ensembles including Grammy nominated groups Absolute Ensemble, Southwest Chamber Music, and Orchestra Ensemble Kanazawa as well as solo and chamber appearances in various festivals such as Ravinia, Brahms Festival in Madrid, Music Academy of the West, Banff Centre for the Arts, Czech SommerFest, and Oregon Festival of American Music among others. This season, Lyris was invited by the LA Philharmonic to perform on their Green Umbrella series and on their tribute concert to composer Steven Stucky. New projects include innovative multimedia concerts with artists Andrew Burke and Ana Prvacki as well as opening for Kraftwerk and Ben Harper. They also gave the west coast premiere of David Lang's "The Difficulty of Crossing a Field". This year will mark their fifth season as the resident ensemble for the critically acclaimed series Jacaranda: Music at the Edge.
The Lyris Quartet is the founding resident ensemble of the Hear Now Music Festival which focuses on the music of living Los Angeles composers. As part of this series, they have collaborated with and premiered works by Stephen Hartke, Don Davis, Arturo Cardélus, and Veronika Krausas, among others. The Lyris Quartet has recorded for Toccata Classics, ARS and Naxos.
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Where are the performances held?
Bravo! Vail Classically Uncorked concerts at held at Donovan Pavilion, located on the South Frontage Road near West Vail: 1600 S Frontage Rd W, Vail, CO 81657
What time do performances begin?
Concerts start punctually at 7:30pm. Doors open 30 minutes prior. Late seating will be at the completion of the first movement or after the first piece, as directed by the Bravo! Vail Guild volunteers.
How long do concerts last?
Concerts generally last 90 minutes to 2 hours with a scheduled intermission.
How do I buy tickets?
Tickets and gift certificates may be ordered in the following ways:
• Phone: 877.812.5700 or Fax 970.827.5707
• Mail or in-person: Bravo! Vail 2271 N Frontage Rd W Suite C, Vail, CO 81657
• Email: firstname.lastname@example.org
Ticket delivery methods are Mail, Print at Home, and Will Call. Bravo! Vail accepts all major credit cards: Amex, Visa, MasterCard and Discover; cash, and checks with proper identification. There is a $2 order fee per ticket.
What are the Box Office hours?
Bravo! Vail Box Office hours are Monday through Friday from 9am to 4pm. Starting June 17, hours include Saturday and Sunday from 10am to 4pm. The Bravo! Vail Box Office can be reached at 877.812.5700.
Tickets are also sold onsite at the Donovan Pavilion on concert days, one hour prior to concert.
Where is the Will Call window?
Will Call tickets may be picked up at the Box Office located to the right of the main entrance lobby. The Box Office is open 11am to concert start time beginning mid-June. Will Call tickets may also be picked up during concert intermissions.
Does Bravo! Vail offer group pricing?
Group sales discounts of up to 15% for groups of 15 or more are available to select concerts. Please call 970.827.4316 for more information, or view the Group Sales page.
What if I buy tickets and cannot attend?
All sales are final. If you are unable to attend your concert, please call the Box Office at 877.812.5700 at least two hours prior to the concert to donate the tickets for resale or drop them off at the venue so seats can be filled by another music lover. You will receive a ticket release receipt in the mail. If you wish to give tickets to a friend, you may call the Box Office to leave them in your friend's name at Will Call.
What food and beverages are available at the concert?
Gourmet hors d’oeuvres and two glasses of wine are included with each Classically Uncorked concert ticket.
What is the seating plan?
Seating for Classically Uncorked concerts is reserved seating at designated tables. ADA (American Disability Act) accessible seating is available, please contact the box office for assistance to ensure your comfort and ease of access.
What should I wear?
There is no dress code for concerts — wear what makes you most comfortable! You can dress formally, or opt for jeans and a t-shirt, or anything in between.
What if I misplace or forget to bring my tickets?
The Box Office can reprint your tickets if needed.
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 are some general rules of concert etiquette?
Please arrive before the concert begins to allow time for parking and seating. Please limit conversation so others may enjoy the music. Please turn off phones. Parental supervision is required for all children attending Bravo! Vail concerts.
What is the Classically Uncorked Child Policy?
The Classically Uncorked concert experience is very intimate. There are no places at the Donovan Pavilion with areas for children to relocate to and take a break. While there is really no “right” age for bringing your child to a chamber concert, Bravo! Vail strongly recommends children are six or older, and caution that a chamber music concert might not be the best introductory experience to classical music for a child. However, you know your child best and can judge their readiness for experiencing a chamber music concert and if they will be able to sit quietly through the performance.
What if I still have questions?
Please don’t hesitate to contact the Box Office at 877.812.5700 Monday–Friday 9am–4pm MST with any questions you have.