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(elegant music)

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- [Presenter] Funding for this 
program has been provided by

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the FS Foundation,

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bringing together adults of 
all abilities and backgrounds

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as they pursue passion, 
prosperity, and purpose,

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Linda and Alvaro Pascotto,

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the Carol Franc Buck Foundation.

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Additional support 
provided by these funders.

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(dynamic music)

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- An overture is,

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it maybe sounds obvious.

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It's the first thing.

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It's the first,

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the introduction in the concert.

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- This is the appetizer.

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It's to wake the audience 
up, to welcome them,

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to heighten their senses

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so that they're ready 
for the main course.

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So they're usually short,

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and they come in all 
different styles and emotions,

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but it's basically a way 
to bring the audience in,

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to welcome the audience 
to the concert.

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- The piece that we're beginning 
the first concert with,

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which is called "Starburst" 
by Jessie Montgomery.

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She's a living composer,

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and this is a contemporary work.

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- With new works, you're 
trying to not only find out

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what the composer is saying,

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but how they're saying it, 
what their musical language is.

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Whereas Mozart, Haydn, we know 
what their classical music,

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you know, their structures are,

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and so we're trying to figure 
out what they say within it.

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With new composers, 
it's fantastic

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because you try to 
figure out their voice

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as well as what 
they're saying with it.

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- "Starburst" refers to 
a exploding supernova.

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- It has so much 
color and texture.

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It even has jazzy aspects to it.

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And so you can feel this 
contemporary feeling

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of this fantastic string work.

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- I think the audience 
is gonna really

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sit up in their chairs 
and take notice.

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(dynamic music)

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(audience applauding)

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The piece by Marquez, 
"Danzon Number Two,"

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that is a work 
which it has Latin,

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contemporary Latin origins 
with a Mexican composer.

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- He was really inspired 
in the "Danzon."

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It's a type of 
dance, a Cuban dance

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that in Mexico became 
very, very popular.

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And Maestro Marquez makes 
a beautiful rendition

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of the style of the 
piece as a popular dance,

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but doing it in a 
wonderful symphonic piece.

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And for that, what he did 
was to go to the ballrooms.

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So he went to those places at 
night to listen to that music,

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the wonderful bands 
and how people dance.

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Anyway, he assimilated 
these wonderfully,

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and now this piece has 
become really well-known

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and really popular,

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surely as a symphonic piece.

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- And it's very,

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it's a showpiece 
for the orchestra.

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It shows off all the 
colors of the orchestra

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right from the beginning.

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It's a big audience-pleaser.

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I'm sure they're gonna go wild.

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(plaintive music)

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(spirited music)

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(laid-back music)

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(vibrant music)

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(audience applauding)

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- Playing the trumpet 
(laughs) is all about control.

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It's a very physical instrument.

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Your lungs have to 
be in tip-top shape,

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and you have to have 
control over your muscles,

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particularly here in your face,

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and then, of 
course, the fingers.

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"Quiet City" is a 
piece by Aaron Copland.

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When he wrote this 
particular version,

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he asked the trumpet 
player to play through it.

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And the trumpet 
player played it,

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and he was like, "Well, 
it's a little too taxing.

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It's a little too long."

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Copland added the English horn

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and took out some 
of the trumpet parts

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and made it the piece 
that it is today.

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If you go and just 
listen to "Quiet City"

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without knowing anything,

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you might say, oh, it's a 
nice piece with the trumpet.

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But if you know it's supposed 
to be a jazz trumpeter

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looking out of a window,

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starting out a little nervous 
and a little nostalgic

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and all of these 
things together,

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the outlook's a 
little bit different.

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Knowing the history 
of the music,

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knowing what the 
composer was thinking,

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and knowing what type of picture

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that the composer wanted 
to paint for the audience,

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all these things matter.

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(pensive music)

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(audience applauding)

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- I have a soloist that 
is only a 13 year old.

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And she's a wonderful soloist.

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She's a wonderful young artist.

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- I'll be playing

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the Saint-Saens "Violin Concerto 
in B minor, Number Three"

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with the orchestra.

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- It's one of the most 
beautiful violin concertos.

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Has a little bit 
of a Bohemian style

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that requires a lot of passion,

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and she plays it 
absolutely gorgeous.

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- The conductor for my concert 
is Gabriela Diaz-Alatriste,

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and she's amazing.

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She's a lot of fun 
and she's very smart,

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and she likes to interact 
with me in the music,

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which is very helpful 
and a lot of fun to do.

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- Very charming, very 
mature, very poised,

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and she makes the 
most beautiful music.

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- What I like most 
about this concerto is

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there's lots of drama in it.

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And there's so many different 
things you can do with it,

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and you can just 
be really flashy,

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and that is definitely 
my kind of piece.

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(stirring music)

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(mellow music)

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(suspenseful music)

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(stirring music)

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(mellow music)

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(suspenseful music)

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(stirring music)

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(audience applauding)

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I would love to 
come back and play

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with the Classical 
Tahoe Orchestra.

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They're so much fun,

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and everyone's so encouraging,

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and I really enjoy my time here.

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- In 1958, my dad did a 
huge State Department tour

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with Dizzy Gillespie, Duke 
Ellington, Louis Armstrong.

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They were part of this 
musical ambassador program.

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And this tour,

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at one point, they sort of 
snuck in to East Germany.

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They drove around 
the Brandenburg Gate,

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and that really inspired him,

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and my father, he 
wrote this tune.

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So it started as a quartet tune.

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What we're playing at Classical 
Tahoe is an arrangement

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that I asked my youngest 
brother, Matt Brubeck,

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to do specifically 
for Daves Centennial.

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The idea was let's feature

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more of the classical, 
incredible geniuses

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that are playing 
in the orchestra,

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not have it all be jazz guys.

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- I think they 
admire our technique

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'cause we spend many years 
getting really, really good

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at playing all kinds of 
things in tune and everything.

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But we really admire jazz guys.

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Because we don't 
improvise, right?

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We're not trained to do that.

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"Brandenburg Gate," that has 
solos for a solo quartet.

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- So the first 
violin, the cello,

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second violin, viola, bass,

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they all have their 
solos, plus the jazz guys.

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- It's a really good piece.

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Gives us a chance to sort of 
pretend like we can do jazz

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even though we can't. (laughs)

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(audience applauding)

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(melancholy music)

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(easygoing music)

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(melancholy music)

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(relaxed music)

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(audience applauding)

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(vivacious music)

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(jaunty music)

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(laid-back music)

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(audience applauding)

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(lyrical music)

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(lively music)

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(audience applauding)

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(mellow music)

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(audience applauding)

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(carefree music)

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(rollicking music)

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(vibrant music)

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(audience applauding)

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(pensive music)

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(audience applauding)

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(wistful music)

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(audience applauding)