in progress, Walter and Andai are grateful to be able to work together on exploring the possibilities for the future of classical music at Killington. As Walter sees it, the inaugural concerts at Rebel’ s Retreat are just the beginning— a prelude to something bigger— and the future of music in Killington is as exciting as the epic swells of a beautifully-phrased chamber music piece.
The Killington. Music Concert Series: Programming with Purpose
Killington. Music’ s inaugural weekend re-established a musical presence at Killington that was at once welcoming and adventurous, juxtaposing familiar classical and contemporary repertoire alongside lesser-known musical gems, inviting listeners into a deeper conversation. On July 12, the“ American Splendor” program drew a line from the contemporary sounds of Gershwin and Barber to the virtuosic elan of later American chamber writing. A chamber reduction of Rhapsody in Blue distilled orchestral spectacle into the vivid give-and-take of piano and strings. Andai muses that he“ thought this would be a fun and captivating way to begin the concert series.” The four-hand work by Barber, Souvenirs, provided a savory transition to the program finale, Paul Schoenfeld’ s Café Music, which sparkled with theatrics, swing, and tightly woven harmonics. The cumulative effect was not merely celebratory; it was curatorial, offering a map of American musical sensibilities that felt both timeless and expansive.
The following afternoon’ s Czech-Mate concert pivoted toward Bohemian grandeur. Fibich’ s rarely heard piano quartet, with its supple melodies and rich harmonies, unfurled with an unhurried, songful grace that rewarded close listening. Janáček’ s Fairy Tale paired tasteful storytelling with the score, leading to the culminating Dumky Trio by Dvořák, which capped a sequence of contrasting musical moods that drew the audience into the music’ s narrative turns.
“ Audiences and artists love contrast,” Andai says of the weekend’ s pairing. Where the first program dazzled with brilliant momentum, the Sunday program leaned toward reflection— where intuitive communication between the musicians truly shined. Andai also commented on the listener’ s experience, complimenting the venue.“ Rebel’ s Retreat really allows audiences to hear the give-and-take of the music as though they’ re sitting inside the ensemble.”
Across both programs, the featured musicians embodied the project’ s ethos: global artistry meeting local commitment at human scale. Lauded pianist Reed Tetzloff’ s impeccable phrasing, along with renowned Tajikistani pianist Anastasia Magamedova’ s artistry, was balanced beautifully by cellist Johannes Gray and Vermont Symphony Orchestra violist Stefanie Taylor. As Artistic Director, Andai’ s violin offered deep knowledge and musical direction that brought everything together.
“ Programming can be as much about the performers’ growth as the audience’ s experience,” he explained.“ I enjoy when artists encounter something they haven’ t performed before.” That edge— the risk of discovery undertaken in public— gave the weekend its particular charge.
The venue itself lent an atmosphere of elevated Vermont prestige in more ways than one. Rebel’ s Retreat Hall, standing on a scenic Killington mountainside, boasts high ceilings that produce marvelous natural acoustics. The space is anchored by a Steinway & Sons Spirio R concert grand, a groundbreaking instrument capable of recording and reproducing live performance through advanced integrative digital technology. The room’ s natural light created a romantic atmosphere, while the forested mountain beyond shaped the mood of the music.“ There’ s a stillness you can only get in this landscape,” Walter reflected.“ Your heart rate slows down, and there’ s a way of connecting with the music that’ s very special.” He adds that his connection to both the music and the Killington community is deeply personal— even spiritual.“ Classical music brings elevation of the soul, so what better place than the mountain?”
Killington. Music: A Bold and Timely Continuation
For nearly half a century, music-making in Killington earned a national reputation for excellence in both education and performance through KMF. Young artists from across the country( and around the world) studied with distinguished faculty whose academic homes included Juilliard, Peabody, New England Conservatory, and Manhattan School of Music, among others, as they rehearsed, performed, and grew in a setting where the mountains themselves became an essential part of the curriculum. Andai’ s connection to Killington began as a young student.“ My time at Killington started when I was 14 years old,” he recalls.“ It was my first music festival, and I received an important education in collaborative skills.” Years later, he returned to teach, and eventually rose to the rank of Artistic Director, broadening community outreach to local schools, building partnerships, and expanding opportunities on and off the mountain.
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