2017 Festival

September 13, 2018 | 7pm Melodic Landscapes

MelodicLandscapes
Chamber Concerto in F major, RV 100

ANTONIO VIVALDI
(1678–1741)

Allegro • Largo • Allegro

Bart Feller, flute • Jennifer Ross, violin
Benjamin Greanya, bassoon • Alexander Jacobsen, double bass

Museum Pieces for Clarinet & String Quartet

PHILLIP RHODES (b. 1940)

Equestrian Bronze • The Pierrot Music Box
Landscape • Station of the Cross
Le Bouquet • A Bacchanal

Evan Ross Solomon, clarinet • Alexandra Osborne, violin
Angella Ahn, violin • Angela Pickett, viola • Eugena Chang, cello

String Quartet in F major, Op. 96 (“American”)

ANTONÍN DVORÁK 
(1841–1904)

Allegro ma non troppo • Lento • Molto vivace • Finale: Vivace ma non troppo

Angella Ahn and Jennifer Ross, violins
David Harding, viola • Amir Eldan, cello

 

Post-concert reception generously provided by Bistro Catering

September 15, 2017 | 5pm MUSIC WITH A TWIST

MusicWithATwist

Musically inspired cocktails generously provided by Jackson Hole Still Works Catering generously provided by Bistro Catering

Ciranda Das Sete Notas for Bassoon and Strings, W. 325

HEITOR VILLA-LOBOS (1887–1959)

Benjamin Greanya, bassoon • Angella Ahn, violin • Sarah D’Angelo, violin • David Harding, viola • Eugena Chang, cello • Alexander Jacobsen, double bass

Lullaby and Doina from the film The Man Who Cried

OSVALDO GOLIJOV (b. 1960)

Bart Feller, flute • Evan Ross Solomon, clarinet • Angella Ahn, violin • David Harding, viola • Eugena Chang, cello • Alexander Jacobsen, double bass

Concertino for Flute, Viola and Double Bass

ERWIN SCHULHOFF (1894–1942)

Andante con moto • Furiant: Allegro furioso • Andante • Rondino: Allegro gaio

Bart Feller, flute • David Harding, viola • Alexander Jacobsen, double bass

Fairy Tales

WILLIAM BOLCOM (b. 1938)

Silly March • The Fisherman & His Wife
Jorinda and Joringel • The Frog Prince
The Hare and the Hedgehog – Silly March II

David Harding, viola • Eugena Chang, cello • Alexander Jacobsen, double bass

selections from String Quartet no. 1 “At the Octoroon Balls”

WYNTON MARSALIS (b. 1961)

Creole Contradanzas • Blue Lights on the Bayou
Rampart St. Row House Rag

 

Rags for String Quartet

WILLIAM BOLCOM (b. 1938)

Poltergeist • Incineratorag

 

Songs for String Quartet

GEORGE GERSHWIN (1898–1937)
arr. Silverman (b. 1938)

He Loves and She Loves • Fascinating Rhythm • Sweet and Low Down

Jennifer Ross and Alexandra Osborne, violins
Angela Pickett, viola • Amir Eldan, cello

September 16, 2017 | 3 pm NATURE IN HARMONY

IMG_0336 copy
String Quartet No. 14 in G major, K. 387, (“Spring”)

W. A. MOZART (1756–1791)

Allegro vivace assai • Menuetto Andante cantabile • Molto allegro

Alexandra Osborne, violin • Angella Ahn, violin Angela Pickett, viola • Eugena Chang, cello

The Life of Birds

MASON BATES (b. 1977)

Moving Parts • Parakeet Daydream
The Caged Bird Sings • On a Wire Mating Dance
Old World Flycatcher • Moving Parts

Bart Feller, flute • Evan Ross Solomon, clarinet
Sarah D’Angelo, violin • Amir Eldan, cello

Appalachian Spring: Suite (Original version for 13 instruments)

AARON COPLAND (1900–1990)

Jennifer Ross, Angella Ahn, Alexandra Osborne, Sarah D’Angelo, violins Angela Pickett and David Harding, violas Eugena Chang and Amir Eldan, cellos • Alexander Jacobsen, double bass Bart Feller, flute • Evan Ross Solomon, clarinet Benjamin Greanya, bassoon • Julie Gosswiller, piano Richard Scerbo, conductor

2017 Musicians

2017 Festival Artwork

Peace Through Rumination – APPALACHIAN SPRING

by Todd Kosharek
20 x 28 – Acrylic on Canvas – 2017

Peace Through Rumination – Appalachian Spring was commissioned specifically for the inaugural 2017 season of Jackson Hole Chamber Music. It features the grand view of the Tetons as seen from Antelope Trails Ranch and includes Kosharek’s signature paper cranes. The title comes from a description of the original Martha Graham dance piece set to the music for which Appalachian Spring was composed.  The main couple in the story was said to be “ruminating” on their past and the coming future of their home in the west.  I wanted the feeling of that story coming out – even if only slightly – the old table the cranes sit on – the sharp line of the wooden window frame.  Outside the window – the scenery is painted in a totalistic style and looser brush strokes – more dream-like.  The inside is sharper lines, more direct – the reality in which the music exists but outside the window is the world the music creates.  The cranes are from left to right: piano, flute, violin parts from the score.