This concert offers an unusual piece: a concerto for violin, cello, and piano, performed by Festival Orchestra musicians. Few composers have tried this format, but of course Beethoven succeeded. The themes are fairly simple for Beethoven, but–then again–so is the first movement of his Moonlight Sonata, and no one complains about that. Throughout the piece, Beethoven finds elegant ways to give each instrument solo turns with the various melodies, including throughout the sunny finale. The program opens with Jessie Montgomery’s Strum, a piece that, in the composer’s words, “draws on American folk idioms and the spirit of dance and movement.”

James Ehnes, “A violinist in a class of his own” – The Times, brings Brahms’s gorgeous violin concerto (and his 1715 Stradivarius violin) to Sun Valley for this concert that previously was to feature Leonidas Kavakos, who unfortunately had to withdraw for medical reasons. Written for the greatest violinist alive in Brahms’s day, this concerto tests the soloist’s technique and musicianship, but the virtuosity remains in service of the music at all times. And it’s delightful music, from the turbulent first movement to the foot-stomping, Hungarian-inspired finale. The program opens with A Joyous Trilogy, by American composer Quinn Mason. In Mason’s words, he intended his piece to be “the very embodiment of happiness, an accessible work that would put any listener in a good mood.”

George Lucas, Steven Spielberg, and Harrison Ford might get most of the credit for what many consider “the greatest adventure film ever made,” but the score by John Williams also ranks as one of cinema’s most amazing achievements. At every moment, the music immerses the audience in the adventure, from the instantly recognizable main theme, to specific music for nearly every scene, including “Marion’s Theme,” “The Map Room: Dawn,” “Bad Dates,” “The Well of the Souls,” and “Desert Chase.” Enjoy this classic film from the Pavilion–where a screen will be hung above the orchestra–or on the lawn with the new Big Screen and upgraded sound system.

Benjamin Britten wrote some gorgeous music to cover the set changes in his popular opera Peter Grimes, and the resulting Four Sea Interludes open this program. They reflect not only physical changes in scene (from land to sea, for example) but also the drama taking place among the opera’s characters. The organ makes an incredibly dramatic entrance in the final movement of Camille Saint-Saёns’s Symphony No. 3, and it’s well worth the wait. The catchy theme that follows might sound familiar, especially if you’ve seen the movie Babe, wherein it supports the little pig’s triumph.