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the FS Foundation,

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PBS Reno,

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RenoTahoe,

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The University of Nevada, Reno 
at Lake Tahoe,

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The Carol Frank Buck Foundation,

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Linda and Alvaro Pascotto,

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Dick and Charlotte McConnell, 
Ian Weiss.

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♪♪♪

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Classical Tahoe is a festival 
in Incline Village, Nevada

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that happens every year 
for three weeks.

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We're all from 
different orchestras

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with different styles, 
and we come together.

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There are musicians here 
from San Francisco, LA,

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Saint Louis, Pittsburgh, 
all over the country.

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It's like an all star team.

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This is an inspirational place 
to be.

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And, getting to wor 
with this incredible orchestra.

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So, so enjoyable.

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♪♪♪

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The feeling is so friendly, 
so open and so relaxed.

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Its a beautiful place 
to play music.

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And I think the interaction 
between the audience members

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and the musicians 
really makes it what it is,

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makes it very special.

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We can seat a little bit 
short of 400 people

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in our outdoor venue here.

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It's a small, intimate space, 
it almost feels like

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the audience members 
are on stage with you.

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The people that 
come to support us and listen

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to our concerts are intensely, 
addicted to what we do.

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And they show us that love 
all the time.

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I've made friends 
in the audience

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and it's sort of 
like my summer family now.

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Thanks to our relationship 
with PBS, we've been able

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to bring these concerts 
to all over the United States

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The increased visibility 
that that brings and the reach

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that we have as an organization, 
really, expands

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what we're able to do.

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And it's very inspiring to 
those of us on stage

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Making music anywhere 
is spectacular.

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Here in Tahoe, 
getting to wake up.

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Smell the pine trees.

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When Vivaldi 
is writing in his score.

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You know 
the summer and his Four Seasons.

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Wonderful, unique situation 
where you can bring

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so many great musicians together

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and have these 
fantastic concerts,

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working with great conductors, 
and soloists.

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Every year the orchestra gets 
stronger

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and the music making 
gets more beautiful.

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♪♪♪

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[Applause]

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Today's program features music 
by Ravel, Brahms,

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Guido López-Gavilán, 
and César Franck

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[Applause]

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♪♪♪

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Ravel's Le Tombeau de Couperin 
it is a showcase for the oboe.

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Something that every 
oboe player knows.

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Everybody looks forward to.

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Everybody fears 
in a certain way.

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And I count myself among, 
those people.

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The piece was originally written 
as a suite for solo piano

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and then orchestrated 
by the composer later on,

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♪♪♪

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The oboe is a French instrument, 
and so there's a long

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tradition of fine oboe 
playing coming out of France.

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I have to think he was inspire 
by the fine players and teachers

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And maybe there's also something 
about the fact that the oboe

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can be a very vocal instrument.

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And that is, something 
that a lot of composers really

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really capitalize on.

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♪♪♪

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There are passages that are 
fluid and fluent

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and virtuosic, and they're als 
singing long lyrical passages.

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You get to do a little bit 
of everything in this piece.

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♪♪♪

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[Applause]

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♪♪♪

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My father did write this piece 
for me.

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It's a wonderful thin 
to collaborate with a composer.

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Any composer.

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But if he's your dad, 
even better.

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It goes into the last movement

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with a 6/8 
typical Afro-Cuban pattern,

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that usually is played 
by batá instruments.

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After that, 
it ends in a full out conga.

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Phenomenal.

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Just like a street conga.

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So it ends really optimistic.

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And, it really kind of sums up 
the entire Cuban culture,

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and its beautiful 
for the violin.

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♪♪♪

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[Applause]

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♪♪♪

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We're performing the

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César Franck 
Symphony in D minor.

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In France at that time,

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there were sort of two schools 
of composition,

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and in a sense, 
one was fighting the other.

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And César Franck was 
a very insecure person

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as far as his 
composition was concerned.

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The previous work 
was slammed by the critics.

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So he was in a situation 
where he was having to

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prove himself again, 
you know?

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♪♪♪

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This symphony combines

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a very French way of looking 
at the world

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combined with a very German way.

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It is very brassy.

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It's very serious, 
very dramatic.

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There's a lot of outpouring 
of the soul in this music.

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It's written 
so big for the brass

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that it's a little bit 
too much sometimes.

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So we have to 
sort of adjust for that.

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The size of the orchestra and 
the acoustics of the tent too.

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You feel this tension 
in the music

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between France and Germany, 
as it were.

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And getting the balance 
between those two

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is really interesting.

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It's a fascinating sound world 
that you go into.

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♪♪♪

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[Applause]

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♪♪♪

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Funding for this program 
has been provided by

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the FS Foundation,

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PBS Reno,

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RenoTahoe,

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The University of Nevada, Reno 
at Lake Tahoe,

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The Carol Frank Buck Foundation,

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Linda and Alvaro Pascotto,

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Dick and Charlotte McConnell, 
Ian Weiss.