Ravinia 2021 - Issue 2

PAMELA SPRINGSTEEN (NELSON) I and orchestra. Four timpani strokes (on the pitch D) introduce the woodwinds’ first phrase. Again, before the second phrase, Beethoven repeats four percussive pitches (A). The sequence repeats with timpani and strings, but the pitches are altered to D-sharp and A. This unusually prominent timpani gesture—criticized by contemporary review- ers who mockingly referred to this work as the “Concerto for Timpani”—lends an oft-overlooked cohesion to the Allegro ma non troppo . A second theme wavers between major (woodwinds) and minor (strings), but always combined with the repeated pitches. Beethoven delays the solo entrance as long as possible—the violin joins with a variation of the first theme. In course, the lyrical con- trasting melody returns, but the violin plays only one phrase, spending the rest of its time weaving a countermelody. Development be- gins almost imperceptibly. Themes retain their complete identities, but the violin still circumvents the second theme. Before restat- ing his main melodies, Beethoven introduces a ravishing new G-minor theme in the violin. Recapitulation heightens dialogue between soloist and orchestra. Only after the unac- companied cadenza does the principal violin render the complete second theme over en- semble pizzicatos. The Larghetto adopts a modified variation form. Muted orchestral strings state the tran- quil theme. The solo violin remains an indi- rect participant in the first two variations, layering virtuosic decorations above the wind melody (horns and clarinet, then bassoon). The third variation belongs to the orchestral strings and winds alone. The violin returns with a new, embellished melody. This idea alternates with another variation of the first theme. An ad libitum violin cadenza connects to the final movement. Beethoven begins his rondo with a catchy, folkish melody that re- appears almost without alteration between contrasting themes. After its cadenza, the violin remains an active musical participant until the final chordal outburst of the elab- orate coda. –Program notes © 2021 Todd E. Sullivan MICHAEL STERN, conductor For Michael Stern’s biography, see page 64. JOSHUA BELL, violin For Joshua Bell’s biography, see page 65. 7:30 PM SATURDAY, AUGUST 14, 2021 NATE SMITH † –Intermission– WILLIE NELSON & FAMILY † Ravinia debut PAVILION NATE SMITH Born and raised in Paradise, CA, Nate Smith found his love for music at a very young age. From elementary school musicals to high school garage bands, he spent his adolescent years developing his craft. Among influenc- es such as Elvis Presley, Garth Brooks, Bob Seger, Tom Petty, and Fleetwood Mac, Smith credits his time spent as a worship leader as his biggest musical inspiration. At 23, he made his way to Nashville, signing a devel- opment deal with Word Records and a pub- lishing deal with Centricity. After a series of personal trials, Smith made the gut-wrench- ing decision to move back to California to be with his family. He worked as a nurse’s assis- tance, drove for ride-shares, and led worship at his brother’s church. When a devastating fire struck the town of Paradise and destroyed everything he owned, Smith moved back in with his father. It was during this time that he discovered country music, or as Smith says, “country music discovered me.” This realization inspired him to move back to Nashville to pursue his dream of becoming a country music star. Smith lived out of his car for over a month, writing music and playing dive bars as he drove across the country. After arriving in Music City, Smith released his biggest single to date, “Wildfire.” The song symbolizes love and hope in the midst of tribulation and went viral on TikTok. Smith followed up the track with breakout hits “Under My Skin,” “Un- der My Skin Stripped,” and “Sleeve,” earning him a place on Spotify’s first Hot Country Artists to Watch list. He has since signed a new publishing deal with Sony ATV. Nate Smith is making his Ravinia debut. WILLIE NELSON & FAMILY Music has been a constant pull for native Tex- an Willie Nelson, who began writing songs in elementary school and played in bands throughout his teenage years. During the late 1950s he was working as a country DJ in Fort Worth while recording independently and playing nightclubs, eventually selling some of his songs, including the 1960 Claude Gray hit “Family Bible.” On the heels of that suc- cess, Nelson moved to Nashville to pursue a recording career but found his songwriting talents to be his in-demand asset, with “Hel- lo Walls” becoming a hit for Faron Young, as well as “Crazy” for Patsy Cline. Returning to Texas, Nelson recorded his breakthrough Red Headed Stranger in 1975, becoming a fixture on the country singles charts beginning with “Blue Eyes Crying in the Rain.” Further hits included “On the Road Again” (1981); “Always OnMyMind” (1982), a crossover hit duet with Latin pop star Julio Iglesias; and “To All the Girls I’ve Loved Before” (1984). In 1985 Nelson joined with Waylon Jennings, Kris Kristoffer- son, and Johnny Cash to record Highwaymen as a supergroup of the same name, and that year also established the annual Farm Aid concert to benefit and champion the cause of family farmers. After being inducted into the Country Music Hall of Fame in 1993, he began receiving numerous career honors: the Kennedy Center Honors (1998), Grammy Lifetime Achievement Award (1999), Acad- emy of Country Music Special Achievement Award (2004), BMI Icon award (2007), the Country Music Association’s inaugural Willie Nelson Lifetime Achievement Award in 2012, and most recently the Gershwin Prize from the Library of Congress in 2015. The following year, Nelson released an album of Gershwin songs and a tribute to Ray Price, whose band Cherokee Cowboys he was a member of ear- ly in his career. A longtime friend of Frank Sinatra’s, Nelson released the tribute album My Way in 2018 and added a second, That’s Life , earlier this year. Tonight Willie Nelson returns for his ninth season at Ravinia, where he first performed in 1996. RAVINIA.ORG • RAVINIA MAGAZINE 67