-Funding for this program has been provided by... the FS Foundation... ♪♪♪ ...Reno Tahoe... ♪♪♪ ...the University of Nevada, Reno at Lake Tahoe... Laurie Harden and Silvio Ricardi... Alvaro and Linda Pascotto... Madylon and Dean Meiling.

[ Classical music playing ] -Welcome to "Classical Tahoe."

My name is Jake Heggie, and I'm delighted to share some concerts we performed recently in one of the most spectacular settings in America.

Today's program features music by Haydn, Beethoven and Elgar.

-"Classical Tahoe" is a magical combination of wonderful music and fantastic people in a ridiculously beautiful location.

-Since the first time here, like, I fell in love with the space, obviously, with its people and with the whole mood of the festival, which is really relaxed but also very serious in the music making.

-There's a lot of camaraderie between the musicians.

It's a good combination of high-level music making and enjoyment of the outdoors.

-I have had the most wonderful time, the entirety of Lake Tahoe, both in Nevada and in California, the surrounding mountains, this ocean in the mountains.

It's just unbelievable.

-What we're trying to do is keep our intimate experience but be able to broadcast it so that people can have a front-row seat to both this beautiful place and this kind of quality musical experience.

-The pavilion is all lit up like a fairyland.

-It's magical.

It's one of a kind.

-It's like a block party.

Everybody knows each other in the audience.

And over the course of time, they've gotten to know us.

-After every performance, somebody always comes to me and introduces themselves.

-They're so personal and enthusiastic.

-We've made this community together, so that makes it like family here.

-This is "Symphony No.

103, The Drumroll."

It's pretty obvious once we start because it starts with a big timpani fanfare, kind of a cadenza for our timpanist.

-Haydn wrote a million symphonies.

Many of them are very quirky.

Most music goes in four-bar phrases.

This one starts in six-bar phrases.

So it starts with this drumroll.

And then you have these six-bar phrases and it's like off-kilter.

-Always with Haydn, there are so many surprises, so much wit, so much fun.

I don't believe that that had been ever written before, before Haydn did that, to start a symphony with just the timpani.

[ Applause ] ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ [ Applause ] ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ [ Cheers and applause ] -"Elgar Cello Concerto" is the last important work that Elgar wrote.

Johannes Moser is our cellist, our soloist.

Johannes and I actually met about 20 years ago at a festival in Italy when I was still a pianist.

So we've known each other for about 20 years, but this was the first time we got to collaborate together as a soloist and conductor with an orchestra.

♪♪♪ -"Elgar Concerto" is probably one of the concertos that I play the most.

In order for it not to become stale and not to become, you know, boring, I need to find a real connection to the moment, listening to what is actually going on in the orchestra, what kind of temperature, what kind of mood, what kind of attitude the players have that night.

That really informs my playing as well.

-He just knew the interactive moments, and I felt his body language actually helped to sort of draw me in.

And it was a -- it was a chamber-music gesture.

♪♪♪ -Well, Elgar is interesting because he did not have formal training, which means that he was able to create a shape and form that is very unusual and very particular to what he wanted to say.

-So, Elgar starts with the cello doing this sort of like stream of consciousness, and then the violas, the whole viola section comes in with the theme of the piece that the cello takes on later.

And that's also really unusual, like that a concerto should start with the soloist playing by himself, and then the theme is being introduced only by one section.

♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ [ Cheers and applause ] ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ -Funding for this program has been provided by... the FS Foundation... ♪♪♪ ...Reno Tahoe... ♪♪♪ ...the University of Nevada, Reno at Lake Tahoe... Laurie Harden and Silvio Ricardi... Alvaro and Linda Pascotto... Madylon and Dean Meiling.