This fascinating evening of “musical moments” opens with the exciting young Aeolus Quartet in works by two contemporary masters and a glorious unfinished single-movement work. The Calder Quartet takes over the second half with a set of miniature musical homages and Schubert’s poetic, anguished masterwork.
Mon-Fri, 9am-4pm For Assistance
AEOLUS QUARTET & CALDER QUARTET (STRINGS)
GLASS: String Quartet No. 3
PERSICHETTI: String Quartet No. 2, Op. 24
KURTÁG: Six Moments Musicaux
SCHUBERT: String Quartet No. 14 in D minor, Death and the Maiden
String Quartet No. 3, “Mishima” (1985)
PHILIP GLASS (B. 1937)
Mishima: A Life in Four Chapters is director Paul Schrader’s 1985 movie about Yukio Mishima, one of Japan’s most prominent 20th-century authors, poets, playwrights, actors and film directors. The film recounts episodes from Mishima’s life and dramatizes scenes from some of his novels, and ends with his ritual suicide following his failed attempt at a coup d’état in 1970 to reinstate the Emperor as the nation’s sovereign. In his music for Mishima, Glass variously used large orchestra, string orchestra and string quartet to suit the dramatic intent of each scene. He extracted his String Quartet No. 3 from the score.
String Quartet No. 2, Op. 24 (1944)
VINCENT PERSICHETTI (1915-1987)
American composer, educator, author, pianist and conductor Vincent Persichetti wrote his String Quartet No. 2 in 1944 and arranged for its premiere by the Roth String Quartet at the Colorado Spring Arts Festival on August 16, 1945. Just as they were beginning to rehearse the piece ten days before the performance, Persichetti recalled, “Someone came in breathlessly with the news of an atom bomb dropped on Japan. The quartet lit fresh cigarettes and went on with the rehearsal.” Something of the country’s anxious/somber/ hopeful mood during those last days of World War II filtered into the Second Quartet. The opening movement, with its serious tone, modal themes and contrapuntal texture, is something of a 20th-century string quartet analogue to a Renaissance sacred motet, though its modern harmony and intense climaxes reflect the time of its creation. The second movement is a tenacious scherzo. The finale is prefaced by a slow, brooding introduction that serves as a foil for the music that follows—a muscular, intricately worked fantasia based on the craggy theme of Beethoven’s Grosse Fuge.
Quartettsatz (“Quartet Movement”) in C minor, D. 703 (1820)
FRANZ SCHUBERT (1797-1828)
The Quartettsatz, which marks the beginning of Schubert’s creative maturity, follows a sonata form modified to reverse the repetitions of the themes in the recapitulation.
Six Moments Musicaux, Op. 44 (1999-2005)
GYÖRGY KURTÁG ( B . 1 9 2 6 )
Hungarian composer György Kurtág wrote the Moments Musicaux for the 2005 Concours International de Quatuor à Cordes in Bordeaux, France, incorporating into it ideas he had been collecting since 1999. The Invocatio surrounds a mysterious, firefly episode with aggressive framing music. The title of Footfalls recalls the 1975 play by Samuel Beckett in which the main character paces metronomically throughout. The movement’s subtitle, however—… mintha valaki jönne—is borrowed from the poem No One Comes by the Hungarian poet Endre Ady (1877-1919): Kipp-kopp, as if a woman were coming [… mintha valaki jönne]/On a dark stairway, trembling, running/My heart stops, I await something wonderful/In the autumn dusk, confident…. Kipp-kopp, now a funeral twilight,/A misty, hollow melody sounds/The autumn evening./Today no one came to me./Today no one will come to me, no one. Kurtág said that the Capriccio is “full of cunning pitfalls” for both performers and listeners. In memoriam György Sebők is a musical eulogy to the celebrated Hungarian-American pianist and teacher, whose death in 1999 inspired the earliest ideas for this work. The title of the fifth movement refers both to Rameau’s descriptive Le Rappel des Oiseaux (1724, “The Roll Call of the Birds”) and to German violist Tabea Zimmermann, for whom Kurtág wrote Eine Blume [A Flower] für Tabea in 2000, after her husband, Israeli conductor David Shallon, had succumbed to an asthma attack while on tour in Japan. Twice the music breaks off for the cello’s eerie, veiled quotation of a phrase from the Dies Irae (“Day of Wrath”) from the Requiem Mass for the Dead, which Kurtág labeled in the score “Mors, mors stupebit” (“Death itself will be struck dumb”). Les Adieux (in Janačék’s Manier) is a tribute to Beethoven’s eponymous Piano Sonata (Op. 81a), written in 1809 when Napoleon’s advance on Vienna sent the city’s nobles fleeing, as well as the Moravian composer Leoš Janáček.
String Quartet No. 14 in D minor, “Death and the Maiden,” D. 810 (1824)
FRANZ SCHUBERT (1797-1828)
When Wilhelmine von Chezy’s play Rosamunde, with extensive incidental music by Franz Schubert, was hooted off the stage at its premiere in Vienna on December 20, 1823, the 27-year-old composer decided to turn his efforts away from the theater, where he had found only frustration, and devote more attention to his purely instrumental music. The major works of 1823—the operas Fierrabras and Der häusliche Krieg, the song cycle Die schöne Müllerin and Rosamunde—gave way to the String Quartets in D minor (“Death and the Maiden”) and A minor, the A minor Cello Sonata (“Arpeggione”), several sets of variations and German Dances, and the Octet.
The D minor Quartet opens with a dramatic gesture founded upon a triplet-rhythm motive; the subsidiary subject is a lilting violin duet. The development is a compact and closely worked contrapuntal elaboration of the second theme. The Quartet’s sobriquet—“Death and the Maiden”—is derived from the theme of its second movement, a song Schubert composed in 1817. The text contrasts the terror of a young girl (“Pass by, horrible skeleton!”) with the mock-soothing words of death (“I am your friend. Be of good cheer! You shall sleep softly in my arms!”). Schubert worked a set of five variations on the theme. The Scherzo, with its unsettling rhythmic syncopations and restless expression, reinstates the defiant mood of the first movement. The finale, a feverish tarantella, combines formal elements of rondo and sonata.
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).
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
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Where are the Classically Uncorked performances held?
Bravo! Vail Classically Uncorked 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 7:30PM. 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 Classically Uncorked 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
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. 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.
Does Bravo! Vail offer group pricing for Classically Uncorked?
Group discounts are not available for Classically Uncorked.
What if I buy tickets and cannot attend?
Tickets are non-refundable. You may exchange 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 from the Box Office at the venue.
What is the seating plan?
Seating for Classically Uncorked concerts is reserved seating at designated tables (4 guests per table) and is ADA (American Disability Act) accessible.
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. Non-alcoholic beverages may be substituted for wine.
What should I wear?
There is no dress code for concerts.
What are some general rules of Classically Uncorked 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. Parental supervision is required for all children attending Bravo! Vail concerts.
What is the Donovan Pavilion Child Policy?
Classically Uncorked 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. Although non-alcoholic beverages will be substituted for wine, there is no child price for Classically Uncorked tickets.
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).