Three youthful aspects in musical form: A stately dance for a little princess, a poignant contemporary requiem by a "wildly imaginative" (Philadelphia Inquirer) young composer, and the very first published work by Dohnányi, a beautifully inventive quintet written during his student years.
Mon-Fri, 9am-4pm For Assistance
Join Leah Weinberg of the University of Denver for a pre-concert lecture about the evening's performance. Free for Concert Ticket Holders.
ANNE-MARIE MCDERMOTT, PIANO
DOVER QUARTET, STRINGS
ROOMFUL OF TEETH, VOCAL ENSEMBLE
RAVEL: Pavane for a Dead Princess for Solo Piano
GABRIELLA SMITH: Requiem (World Premiere of a Bravo! Vail Commission)
DOHNÁNYI: Piano Quintet No. 1 in C minor
RAVEL: PAVANE FOR A DEAD PRINCESS FOR SOLO PIANO
Pavane pour une infante défunte (“Pavane for a Dead Princess”) for Piano (1899)
MAURICE RAVEL (1875-1937)
The pavan was a dance of slow tempo and refined gesture that originated in Italy during the late Renaissance, and spread throughout Europe, becoming especially popular in Spain and England. Thomas Morley, in his guide of 1579 for the dedicated musical amateur of the Elizabethan age, Plaine and Easie Introduction to Practical Musicke, described the pavan as “a kind of staide musicke, ordained for graue [grave] dauncing.” In Spain, the pavan often accompanied the weddings of young girls of the nobility, the solemn activities of feast days and certain religious ceremonies. The provenance of its name became obscured in the wondrous, frustrating etymological thicket that is 16th-century language. It may refer to Padua as the place of its origin (“pavana” meaning “of Padua”) or to the supposed resemblance between the majestic movements of the dance and the spreading of a peacock’s tail (“pavón” in Spanish).
Ravel recreated the dignified, processional character of the pavan in his Pavane pour une infante défunte, but admitted devising the title just because he was pleased by the sound of the words. The music’s elegant simplicity recalls not only a stately Spanish Renaissance court, but also the pastoral serenity of classical civilization. It was Ravel’s first popular success, and has become one of his best-known works.
GABRIELLA SMITH: WORLD PREMIERE OF A BRAVO! VAIL COMMISSIONED WORK
Requiem for Vocal Octet and String Quartet (2018)
Commissioned by Bravo! Vail as part of the NEW WORKS PROJECT
GABRIELLA SMITH (B. 1991)
Gabriella Smith, born in Berkeley in 1991, studied composition with Arkadi Serper, Yiorgos Vassiladonakis and Pulitzer Prize-winner John Adams before she entered the Curtis Institute in Philadelphia as a student of David Ludwig, Jennifer Higdon and Richard Danielpour. After graduating, Smith returned to Curtis as an ArtistYear Fellow for 2015-2016, dedicating a year of public service in the Philadelphia region as a “Citizen-Artist.” She is currently a doctoral candidate at Princeton University. In 2016-2017, she was the Nashville Symphony’s inaugural Composer Lab & Workshop Fellow; her other residencies include the Instituto Sacatar (Brazil), Monadnock Music Festival (New Hampshire) and Copland House (Cortlandt Manor, New York).
Smith wrote that her one-movement Requiem, a 2018 Bravo! Vail commission for Roomful of Teeth and the Dover Quartet, was “inspired by several of the great Requiems but expanded in scope to address not just death in a human sense but the deaths of entire species (many of which humans have directly or indirectly caused over the last couple hundred years). The piece is intended to offer us the chance to consider our impact on the environment as well as our place in earth’s history on a larger, geological/environmental scale. The text is a list of the Latin names of all the species that have gone extinct over the last century in approximate chronological order of their disappearance. I chose the Latin names to give the text a similar sound to the language of the traditional Requiem (despite its drastically different content) and also to relate it to the sacred and secular texts of the Medieval and Renaissance vocal music I love so much. The music itself drifts back and forth between these older types of sounds and more textural, percussive and less traditional techniques.
DOHNÁNYI: PIANO QUINTET NO. 1 IN C MINOR
Quintet No. 1 for Piano, Two Violins, Viola and Cello in C minor, Op. 1 (1895)
ERNST VON DOH NÁNYI (1877-1960)
Ernst von Dohnányi, one of the 20th-century’s foremost composers, pianists, teachers and music administrators, was born in 1877 in Pozsony, Hungary and studied at the newly established Franz Liszt Academy in Budapest, the first Hungarian of significant talent to do so. He graduated in 1897, and toured extensively as a pianist for the next several years before joining the faculty of the Berlin Hochschule für Musik. He returned to Budapest in 1915, becoming director of the Liszt Academy in 1919 and musical director of Hungarian Radio in 1931. Dohnányi served as conductor of the Budapest Philharmonic for the 25 years after 1919 while continuing to concertize at home and abroad and remaining active as a composer. In 1944 he settled in Tallahassee as pianist and composer-in-residence at Florida State University, appearing regularly on campus and in guest engagements; his last public performance was as conductor of the FSU Symphony just three weeks before his death. He died in New York on February 9, 1960 during a recording session.
Dohnányi composed his Piano Quintet No. 1 in 1895, when he was eighteen and still a student at the Franz Liszt Academy. The sonata-form opening movement, passionate, spacious and almost symphonic in scale and sonority, takes as its main theme a bold, striding melody announced by the piano; the second subject is a lyrical strain given by the strings. The Scherzo, with its fiery cross-rhythms and headlong energy, is reminiscent of the Bohemian furiant. The elegiac Adagio follows a broad three-part form (A–B–A). The finale is a rondo whose reiterations of a folk-influenced, mixed-meter theme are separated by episodes of Schubertian lyricism, Bach-inspired fugue and even a recall of the first movement’s principal theme.
ANNE-MARIE MCDERMOTT, piano
Pianist and Bravo! Vail Artistic Director Anne-Marie McDermott is a consummate artist who balances a versatile career as a soloist and collaborator. She performs over 100 concerts a year in a combination of solo recitals, concerti, and chamber music.
DOVER QUARTET, strings
Recently named the Cleveland Quartet Award winner, and awarded the coveted Avery Fisher Career Grant, the Dover Quartet has become one of the most in-demand ensembles in the world.
ROOMFUL OF TEETH, vocal project
Roomful of Teeth is a GRAMMY-winning vocal project dedicated to reimagining the expressive potential of the human voice.
Gabriella Smith is a composer from the San Francisco Bay Area whose music is described as “high-voltage and wildly imaginative” (Philadelphia Inquirer),
ANNE-MARIE MCDERMOTT, piano
Pianist Anne-Marie McDermott is a consummate artist who balances a versatile career as a soloist and collaborator. She performs over 100 concerts a year in a combination of solo recitals, concerti and chamber music. Her repertoire choices are eclectic, spanning from Bach and Haydn to Prokofiev and Scriabin to Kernis, Hartke, Tower and Wuorinen.
With over 50 concerti in her repertoire, Ms. McDermott has performed with many leading orchestras including the New York Philharmonic, Minnesota Orchestra, Dallas Symphony, Columbus Symphony, Seattle Symphony, National Symphony, Houston Symphony, Colorado Symphony, Pittsburgh Symphony, St. Louis Symphony, Atlanta Symphony, Los Angeles Chamber Orchestra, Moscow Virtuosi, Hong Kong Philharmonic, San Diego Symphony, New Jersey Symphony and Baltimore Symphony among others. Ms. McDermott has toured with the Australian Chamber Orchestra and the Moscow Virtuosi.
In the recent seasons, Ms. McDermott performed with the Philadelphia Orchestra, Buffalo Philharmonic, North Carolina Symphony, Charlotte Symphony, Huntsville Symphony, Alabama Symphony, San Diego Symphony, the Oregon Mozart Players, and the New Century Chamber Orchestra.
Recital engagements have included the 92nd Street Y, Alice Tully Hall, Town Hall, The Schubert Club, Kennedy Center, as well as universities across the country. Anne-Marie McDermott has curated and performed in a number of intense projects including: the Complete Prokofiev Piano Sonatas and Chamber Music, a Three Concert Series of Shostakovich Chamber Music, as well as a recital series of Haydn and Beethoven Piano Sonatas. Most recently, she commissioned works of Charles Wuorinen and Clarice Assad which were premiered in May 2009 at Town Hall, in conjunction with Bach’s Goldberg Variations.
As a soloist, Ms. McDermott has recorded the complete Prokofiev Piano Sonatas, Bach English Suites and Partitas (which was named Gramophone Magazine’s Editor’s Choice), and most recently, Gershwin Complete Works for Piano and Orchestra with the Dallas Symphony and Justin Brown.
In addition to her many achievements and association with Bravo! Vail, McDermott is also Artistic Director of two other festivals; The Ocean Reef Chamber Music Festival in the Florida Keys and The Avila Chamber Music Celebration in Curaçao, off the coast of Venezuela.
As a chamber music performer, Anne-Marie McDermott was named an artist member of the Chamber Music Society of Lincoln Center in 1995 and performs and tours extensively with them each season. She also continues a long standing collaboration with the highly acclaimed violinist, Nadja Salerno Sonnenberg. As a duo, they have released a CD titled “Live” on the NSS label and plan to release the Complete Brahms Violin and Piano Sonatas in the future. Ms. McDermott is also a member of the renowned piano quartet, Opus One, with colleagues Ida Kavafian, Steven Tenenbom and Peter Wiley.
She continues to perform each season with her sisters, Maureen McDermott and Kerry McDermott in the McDermott Trio. Ms. McDermott has also released an all Schumann CD with violist, Paul Neubauer, as well as the Complete Chamber Music of Debussy with the Chamber Music Society of Lincoln Center.
Ms. McDermott studied at the Manhattan School of Music with Dalmo Carra, Constance Keene and John Browning. She was a winner of the Young Concert Artists auditions and was awarded an Avery Fisher Career Grant.
In addition to her duties at Bravo! Vail, Anne-Marie McDermott regularly performs at Festivals across the United States including Spoleto, Mainly Mozart, Sante Fe, La Jolla Summerfest, Mostly Mozart, Newport, Caramoor, Chamber Music Northwest, Aspen, Music from Angelfire, and the Festival Casals in Puerto Rico, among others.
Photo: Zach Mahone
DOVER QUARTET, strings
The phenomenal Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff Competition. Recently named the Cleveland Quartet Award winner, and awarded the coveted Avery Fisher Career Grant, the Dover has become one of the most in-demand ensembles in the world. The Quartet’s rise from up-and-coming young ensemble to occupying a spot at the top of their field has been “practically meteoric” (Strings). With its burnished warmth, incisive rhythms, and natural phrasing, the Quartet’s distinctive sound has helped confirm its status as “the young American string quartet of the moment” (New Yorker). The Quartet serves as the quartet-in-residence for the Bienen School of Music at Northwestern University.
In 2017-18 the Dover Quartet performs more than a hundred concerts around North America and Europe. The Quartet opens the season with performances for Texas Performing Arts, Chamber Music Houston, and Performance Santa Fe before appearing for the Kennedy Center, Philadelphia Chamber Music Society, Library of Congress, Detroit Chamber Music Society, the La Jolla Music Society, and throughout North America and Europe. The Quartet will perform together with the superstar violinist Janine Jansen and pianist Jean-Yves Thibaudet in Carnegie Hall’s Stern Auditorium, and will also continue multi-year residencies for the Walton Arts Center’s Artosphere, Peoples’ Symphony, and the Amelia Island Chamber Music Festival.
Cedille Records releases the Quartet’s sophomore album, entitled Voices of Defiance: 1943, 1944, 1945 in October 2017. The recording takes listeners on a powerful journey through works written during World War II by Viktor Ullmann, Dimitri Shostakovich, and Simon Laks. The 2016-17 season saw the release of its all-Mozart debut recording on the Cedille label, a nod to the 1965 debut album of the Guarneri Quartet, whose founding violist, Michael Tree, joined the Dover Quartet on the recording.
In addition, the group undertook three complete Beethoven quartet cycles, including the University at Buffalo’s famous “Slee Cycle,” which has presented annual Beethoven quartet cycles since 1955 and has featured the likes of the Budapest, Guarneri, and Cleveland Quartets. Rounding out the Quartet’s season were a five-city U.S. tour with bassist-composer Edgar Meyer, a tour of the West Coast with mandolinist Avi Avital, and a European tour. The 2015-16 season included debuts at Carnegie Hall, Yale University, the Lucerne Festival, and as part of the
Lincoln Center “Great Performers” series. Festival appearances have taken the ensemble to the Bard Music Festival, Music at Menlo, La Jolla SummerFest, Artosphere, Chamber Music Northwest, and Caramoor, where the Quartet was named the 2013-14 Ernst Stiefel String Quartet-in-Residence. The group’s world-class collaborators have included pianists Anne-Marie McDermott, Marc-André Hamelin, Peter Serkin, and Jon Kimura Parker; clarinetist David Shifrin; violists Roberto Díaz and Cynthia Phelps; and the Pacifica and Escher Quartets.
In the spring of 2016, the Dover Quartet was recognized with the Hunt Family Award, one of the inaugural Lincoln Center Emerging Artist Awards, and in past years has taken top prizes at the Fischoff Competition and the Wigmore Hall International String Quartet Competition. All four Quartet members are consummate solo artists: first violinist Joel Link took first prize at the Menuhin Competition; violinist Bryan Lee and violist Milena Pajaro-van de Stadt have appeared as soloists with the Philadelphia Orchestra and Tokyo Philharmonic, respectively; and cellist Camden Shaw released a solo album debut on the Unipheye Music label. As Strad magazine observes, “With their exceptional interpretative maturity, tonal refinement, and taut ensemble,” the Dover Quartet is “pulling away from their peers.”
Hailed as “the next Guarneri Quartet” (Chicago Tribune), the Dover Quartet draws from the lineage of that distinguished ensemble, as well that of the Cleveland and Vermeer Quartets; its members studied at the Curtis Institute of Music and Rice University’s Shepherd School of Music, where they were mentored extensively by Shmuel Ashkenasi, James Dunham, Norman Fischer, Kenneth Goldsmith, Joseph Silverstein, Arnold Steinhardt, Michael Tree, and Peter Wiley. It was at Curtis that the Quartet first formed, and its name pays tribute to Dover Beach by fellow Curtis alumnus Samuel Barber. The group has since returned for residencies to Rice in 2011-13, and to Curtis, where it became the conservatory’s first Quartet-in-Residence, in 2013-14. In addition, in 2015 the Dover was appointed the first Resident Ensemble of Peoples’ Symphony Concerts in the 116-year history of New York City’s oldest concert series.
The Dover Quartet is dedicated to sharing its music with under-served communities and is actively involved with Music for Food, an initiative enabling musicians to raise resources and awareness in the fight against hunger.
Photo: Carlin Ma
ROOMFUL OF TEETH, vocal project
Roomful of Teeth is a GRAMMY-winning vocal project dedicated to reimagining the expressive potential of the human voice. Through study with masters from vocal traditions the world over, the eight-voice ensemble continually expands its vocabulary of singing techniques and, through an ongoing commissioning process, forges a new repertoire without borders.
Founded in 2009 by Brad Wells, Roomful of Teeth gathers annually at the Massachusetts Museum of Contemporary Art (MASS MoCA) in North Adams, Massachusetts, where they’ve studied with some of the world’s top performers and teachers in Tuvan throat singing, yodeling, Broadway belting, Inuit throat singing, Korean P’ansori, Georgian singing, Sardinian cantu a tenore, Hindustani music, Persian classical singing and Death Metal singing. Collaborators include Rinde Eckert, Fred Hersch, Glenn Kotche, Merrill Garbus (of tUnE-yArDs), William Brittelle, ACME (American Contemporary Music Ensemble), Nick Zammuto (of The Books), Toby Twining, ICE (International Contemporary Ensemble), Ted Hearne, Silk Road Ensemble and Ambrose Akinmusire, among many others.
Photo: Bonica Ayala
Gabriella Smith is a composer from the San Francisco Bay Area whose music is described as “high-voltage and wildly imaginative” (Philadelphia Inquirer), “bold, original and suggests exciting new directions for American music” (Giancarlo Guerrero), and “You really get the Pacific Ocean, man!” (Cabrillo Festival audience member). Her music has been performed throughout the U.S. and internationally by eighth blackbird, Bang on a Can All-Stars, the Cabrillo Festival Orchestra, the Nashville Symphony, PRISM Quartet, Aizuri Quartet, and yMusic, among others. Upcoming season highlights include the world premiere of a new work for Roomful of Teeth and Dover Quartet at Bravo! Vail Music Festival, and performances of Tumblebird Contrails by the Los Angeles Philharmonic in January 2019, conducted by John Adams.
During the 2016-17 season, Gabriella was the Nashville Symphony’s inaugural Composer Lab & Workshop Fellow. Other recent residencies include two months as an artist fellow at Instituto Sacatar on the island of Itaparica in Bahia, Brazil and a Copland House Residency at Aaron Copland’s home in Cortlandt Manor, New York.
She has received commissions from the Barlow Endowment for Music Composition for a new work for yMusic, the People’s Commissioning Fund for Bang on a Can’s Field Recordings project, the Pacific Harmony Foundation for the 2014 Cabrillo Festival of Contemporary Music, the New York Youth Symphony as part of their First Music Program, Tucson Symphony, yMusic, the Barnes Foundation for the opening of their 2015 exhibition Order of Things, Friction Quartet, One Book One Philadelphia in celebration of their 2012 book selection Create Dangerously by Edwidge Danticat, Lake Champlain Chamber Music Festival for their 2012 season opening concert, Dinosaur Annex Music Ensemble for their 9th Annual Young Composers Concert, the Rock School of Ballet in Philadelphia, and Monadnock Music in collaboration with poet Marcia Falk, among others.
Gabriella is a recipient of the ASCAP Leo Kaplan Award (2014), three ASCAP Morton Gould Young Composer Awards, a winner of the American Modern Ensemble Ninth Annual Composition Competition (2015), the Theodore Presser Foundation Music Award (2012), and the First Place Prize in the 2009 Pacific Musical Society Composition Competition.
She is currently a doctoral candidate at Princeton University, where she has studied with Steve Mackey, Paul Lansky, Dan Trueman, Dmitri Tymoczko, Donnacha Dennehey, and Ju Ri Seo. She received her Bachelors of Music in composition from the Curtis Institute of Music, where she studied with David Ludwig, Jennifer Higdon, and Richard Danielpour. After graduating, she returned to the Curtis Institute of Music as an ArtistYear Fellow for the 2015-16 season, dedicating a citizen-artist year of national service in the Philadelphia region.
When not composing, she can be found backpacking (playing trail songs on her ukulele along the way), birding, playing capoeira, working on small-scale organic farms and environmental projects around the world, and recording underwater soundscapes with her hydrophone.
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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).