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- [Narrator] Funding 
for this program

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has been provided by 
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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(soft classical music)

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The Carol Franc Buck Foundation.

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(soft classical music)

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Additional support 
provided by these funders.

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(upbeat classical music)

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- It absolutely would 
not have been possible

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to take even 40 players and 
distance them for health

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and be able to have 
a full orchestra.

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That was not gonna happen.

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It was really advantageous

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to already take our 
chamber music idea,

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which has always been 
part of the festival,

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and make that the centerpiece.

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- With all of the 
challenges of a pandemic

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and trying to get people 
safely to play together.

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I mean it's the only 
thing this summer

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that is able to do that.

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- Health was first and foremost.

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Of course because 
of Joel's passing

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as a result of COVID,

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everyone had a 
heightened sensitivity

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to how we must keep 
each other safe.

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- I know difficult 
this is right now

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and I know how 
careful we have to be.

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And I know there's 
so much concern

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and I've appreciated 
all the thought

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that's gone into this 
to keep everybody safe.

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- And so we had to make sure

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that the performers can be safe.

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We had to make sure that 
our audience could be safe,

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and outdoors made 
the most sense.

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- I think that I 
could recite to you

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every CDC recommendation 
for events and gatherings,

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everything that was 
needed to do this safely.

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And it brought some anxiety.

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I mean there was no guarantee

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along with everything 
in this year

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that this was the 
right thing to do,

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until we were doing it.

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- When I got the call to come

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and you know I heard 
it's gonna be different.

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It's going to be chamber music.

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It's gonna be a smaller group 
of audiences to be here,

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and we're gonna 
be really careful

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and we're going to try our best

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to minimize all the 
risks and everything.

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I mean, I just thought, wow,

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like these guys are 
thinking out of the box,

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and really pivoting at a 
time when we need it most,

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and really giving a service

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to the community 
here at Lake Tahoe.

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I was so overjoyed that not only

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that classical Tahoe 
was doing this,

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but that I could 
be a part of it.

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- In normal times 
a chamber ensemble

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typically performs the 
best the closer you can

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see the musicians for being 
able to hear each other.

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I know for my own 
string quartet,

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just sometimes 
pushing in six inches

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on the part of each player 
can make a huge difference.

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And right now we have to 
think about am I too close?

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Am I properly distanced 
from that person?

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I'm lucky in 
tonight's performance

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that it's my wife to my left.

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So we're not distancing 
from each other,

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at least unless I do something 
really bad at home (laughs).

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- It's a good example of how,

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if you really spend 
the time figuring out

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how to cross all your 
T's and dot all your I's,

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you can do something 
safely for everyone

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that is important 
for mental health.

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We're all looking out 
for our physical health,

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but there's a lot 
to be said here

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for people who are needing 
some mental health,

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and some place to find 
some relief and hope.

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- Classical Tahoe is 
one of the only places

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that I actually play 
in an orchestra.

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And I feel pretty lucky 
because my colleagues

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are principals of the 
Metropolitan Opera Orchestra,

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the LA Phil, San Francisco 
Symphony all over the place.

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And I just, most of what 
I play is chamber music.

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So this is actually kind of 
my jam (laughs) this summer.

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And it's pretty fun to be 
able to play chamber music

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with these great players in 
ways that have collaborated

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with them before 
in bigger groups,

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but to be in a small group 
together is pretty amazing.

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- One of the pieces 
we're performing tonight

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is a Bach Concerto 
for oboe and violin,

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listening to the two soloists 
trade back and forth,

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it's just amazing.

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Nathaniel and Daniel are 
both excellent musicians,

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and you're really 
in for a treat.

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(upbeat classical music)

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- What's interesting 
about this Bach piece

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is that it is an accompanying 
role that we're playing

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to the two soloists and so 
there's an oboe solo with Nathan

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and a violin solo with Daniel.

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And there were two of us 
playing the sort of baseline

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in the Baroque period that 
would be called a continual.

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So what it means is 
it's a continuous line,

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but the two of us 
are playing it.

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And historically 
probably a harpsichord

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would also be 
playing it with us.

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So it would be 
sort of a triangle

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but when it's only 
the two of us,

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we sort of have to negotiate

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who is gonna play 
a little bit more,

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and who can shadow 
the other one,

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so that we can more 
seamlessly play together.

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There was a point at 
which we were talking

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about plucking versus bowing,

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and we ultimately 
decided to pluck

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most of the second movement,

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all these tiny little decisions

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that go into making the bigger 
piece of music come alive.

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(soft classical music)

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(crowd cheering)

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- If I had to be on 
the desert Island

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with only one music with me,

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I would choose the piece I'm 
playing tonight actually.

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the Debussy Danses.

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So Claude Debussy in the 
beginning of the 20th century,

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was commissioned by a 
harp maker for a new piece

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for harping string orchestra.

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And so he wrote these two danses

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so first is Sacree Danse 
the Danse Sacree in French.

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Second one is Profane 
Danse, the Danse Profane.

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And so they are very beautiful 
diptyque you can say that,

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like two pieces of music.

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They are very contrasting,

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and it's amazing music.

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Of course, he was very inspired

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at the time in France there 
was a whole fascination

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for Ancient Greece.

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So there is a lot of things

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that are like the modes used 
in this music are Greek modes.

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And I think being brought up

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by a specialist of 
French literature

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and my mother and my father 
taught Greek and Latin

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in high school,

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I add fascination 
for the Greek myth.

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So I guess that's also why 
this music touched me so much.

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(soft classical music)

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(crowd clapping)

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- I get to play music that I 
really love to try to play well

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which is Liszt 
Transcendental Etudes.

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I'm playing one of them 
which is number 10.

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And so this music 
is really virtuoso

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to the point of almost 
verging on histrionic, right?

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It's like, there's 
even a great moment

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in this piece where 
Liszt marks disperato.

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Absence of hope right in this,

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like just like 
operatic intensity,

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and you're almost trying 
to break the piano

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when you play this music.

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It's very fun to play 
if you can play it.

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(dramatic classical music)

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(crowd cheering)

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- The COVID pandemic 
is so front and center

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in all of our minds.

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And I think that this 
week performing in Tahoe,

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at the moment stands out almost 
over anything in my career

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really after having 
not only not performed,

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but not even played or rehearsed

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in front of another human 
being for five months,

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really I honestly 
had some anxiety

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about being in front 
of people again.

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And it's not really a self 
doubt of can I still do it,

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but you kind of lose 
contact with the immediacy

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of what it's like to 
do the work we've been

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so accustomed to 
doing in my case

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for almost a quarter century.

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So being out in front 
of people again,

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it was almost cathartic.

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It really does 
stand out like the,

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you know, cause after this week,

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I think none of us who 
are here right now,

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really know when the 
next time will be.

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(dramatic classical music)

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The difference between 
an audience of 25

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and an audience of 3000,

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is smaller than the 
difference between

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no audience and 
an audience of 25.

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Is if you're in front of people

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and it's live and in real time,

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then music exists the 
way it's meant to be.

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Where it's experienced 
in real time and space.

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Whereas when it's all virtual,

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it doesn't mean that 
the art isn't there.

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It doesn't mean that the 
communication isn't there,

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but it feels just 
completely different.

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The more we can 
feel and understand

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that it's a two 
way sort of giving,

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the more we feel 
that it's vital.

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(somber classical music)

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00:52:29,266 --> 00:52:32,633
(upbeat classical music)

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00:52:37,766 --> 00:52:41,166
(somber classical music)

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00:53:31,766 --> 00:53:35,333
(dramatic classical music)

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00:55:23,800 --> 00:55:26,533
(crowd cheering)

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00:55:41,666 --> 00:55:45,066
(upbeat classical music)

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00:56:12,600 --> 00:56:13,833
- [Narrator] Funding 
for this program

207
00:56:13,833 --> 00:56:18,466
has been provided by 
the FS Foundation,

208
00:56:18,466 --> 00:56:21,433
bringing together adults of 
all abilities and backgrounds,

209
00:56:21,433 --> 00:56:24,566
as they pursue passion, 
prosperity and purpose.

210
00:56:27,500 --> 00:56:29,833
Linda and Alvaro Pascotto.

211
00:56:29,833 --> 00:56:32,600
(soft classical music)

212
00:56:32,600 --> 00:56:35,233
The Carol Franc Buck Foundation.

213
00:56:35,233 --> 00:56:37,833
(soft classical music)

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00:56:37,833 --> 00:56:40,433
Additional support 
provided by these funders.