Music on the Mountain

The Killington.Music Concert Series offers a promising prelude to the future potential of musical performances at Killington 

STORY BY BENJAMIN LERNER PHOTOGRAPHY BY NICK BURCHARD 

In the summer of 2025, the Green Mountains resonated once more with the sound of inspirational chamber music. The newly formed Killington.Music Concert Series affirmed the lasting impact of classical music in Killington, welcoming a curated audience of regionally based creative and business leaders to enjoy two world-class concerts.

Killington.Music came into being thanks to the joint efforts of cultural philanthropist and changemaker Luc Walter and concert violinist, conductor, and educator Dr. Daniel Andai. Working together, they presented a pair of performances at Rebel’s Retreat, a private venue in Killington. Through the concerts, it became clear that the undying spirit of music in Killington did not conclude when Killington Music Festival (KMF) completed its final season in 2024. It simply found fresh expression and a new home. 

Their collaboration arrives at a moment of real transformation on the mountain. Killington Resort has undertaken a significant, multi-year capital investment program, and the Canadian development company Great Gulf is continuing to shape and actualize an ambitious village concept at Killington that envisions residences, hospitality amenities, and four-season public spaces. With these plans 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.

The collaboration between Walter and Andai began not through formal introduction, but through a convergence of vision and circumstance—two paths shaped by music that met on the mountain. Andai, already deeply entwined with KMF, was performing with violinist Joseph Silverstein and the KMF Orchestra, conducted by Alondra de la Parra, when Walter attended. It was, as Andai describes it, a serendipitous moment when his and Walter’s interests converged, each drawn to Killington by a shared belief in the transformative power of music.

From that first encounter, a friendship took root that eventually grew into collaboration. “I was immediately drawn to Luc’s love for music and helping others,” Andai recalls. “I saw that he wasn’t simply an observer; he was a builder, a creator, and he wanted to help.” Walter, who became one of KMF’s most steadfast supporters, recognized in Andai a rare blend of artistry and leadership—a well-rounded musician who understood both the technical precision required for chamber music and the community he could (and would) foster.

Their partnership deepened over time. As Andai continued his work as a performer, conductor, educator, and music administrator, Walter became not only a benefactor but a collaborator, helping to sustain the organization through its latest seasons. “Luc was very clear that the transfer of musical knowledge from one generation to the next was an evident passion,” Andai notes. “His support was critical and pivotal for the Festival and its participants.”

When the Festival’s board decided to conclude its operations in 2024, both men felt that the music—and the legacy it represented—deserved to live on. “My wish to be of musical service to the Killington area never waned,” says Andai. “And that’s when Luc and I united and said, ‘Let’s keep it going.’” From that resolve came the idea for Killington.Music.

Their partnership bridges artistry and philanthropy, idealism and pragmatism. Walter brings the logistical acumen and visionary scope drawn from his years as a globally influential corporate executive at Amphenol. Andai brings interpretive insight and artistic mastery as a musician, educator, arts administrator, and conductor across five continents—and as Dean of Music at New World School of the Arts. Together, they have created not only a concert series but a statement of purpose: that the mountains of Vermont, long alive with song, will continue to ring with music for generations to come.

In parallel with the work at Killington, Walter has also embarked on a major philanthropic endeavor in Switzerland, conceived to support artists at the moments when support is most needed—between engagements, between continents, and between projects and tours. “I just created a nonprofit foundation in Switzerland in October 2025,” Walter explains. “We bought a historic Swiss farm built in 1852. Over the next two years, I will convert it into a venue with multiple music studios, a Steinway concert grand piano, and a 200-seat concert hall and recording studio.” The recently acquired site, situated between Montreux and Lausanne, is slated to open by 2027. Artists will be able to work, rehearse, and record; share meals, collaborate, and rest. Walter’s vision for both the concerts at Killington and his new project in Switzerland is both practical and humane—he aims to build spaces where music and creative expression can be nurtured and take flight. “Life has been good to me,” Walter says simply, “and I want to give back.”

The Landscape Ahead: Investment, Imagination, and the Evolving Mountain

On the slopes of Killington, momentum continues to build—both on the mountain and in the community surrounding it. Beyond the music at Rebel’s Retreat, the mountain itself is in the midst of a transformative era. Killington Ski Resort has undertaken a sweeping $60 million, two-year capital investment plan, aimed at reinforcing its position as a premier four-season destination in the East. The latest round of improvements—totaling $22 million in newly approved funding—builds on the $38 million invested over the previous year.

Among the most visible projects is the modernization of the Snowdon area lift system, with $6.5 million allocated to replace the Snowdon Triple with a new fixed-grip, four-person chairlift. This upgrade supports the resort’s long-term strategy to maintain a reliable, weather-resilient network of fixed-grip lifts across its six interconnected peaks. Another $6 million has been earmarked for the construction of a reimagined Jerk Jamaican Mountain Grill, one of the resort’s most beloved ski-in, ski-out dining destinations. The new structure will expand the restaurant’s footprint more than fourfold, with seating for 160 guests indoors and 100 outdoors, alongside a full bar, expanded prep space, and new restrooms for the Northbrook area.

The remaining $9.5 million will support essential maintenance and snowmaking improvements, including $2 million dedicated to new snowcats and $2 million to upgrade major snowmaking pipelines. These pipelines will service the resort’s 1,024 new HKD low-energy snow guns, installed as part of an ongoing environmental and operational initiative to increase efficiency and reduce energy use.

Pianist Reed Tetzloff

Meanwhile, Great Gulf, a Toronto-based developer that acquired 1,095 acres of land at the base of Killington in 2023, continues to refine its vision for Six Peaks Village—a new ski-in/ski-out community that will bring residences, shops, dining, and year-round recreation to the heart of the resort. Designed by Safdie Architects, the master plan envisions a pedestrian-friendly alpine village framed by mountain vistas and trails. The project’s first phase will include approximately 720 residential units—a mix of condominiums, duplexes, and single-family homes—alongside a new base lodge and 110,000 square feet of retail and dining space. Over time, the development may grow to include as many as 2,300 residential units, representing a potential $3 billion total investment and creating thousands of jobs in both construction and hospitality.

Local infrastructure improvements are keeping pace with this growth. The Town of Killington has committed nearly $80 million toward new roads and a municipal water system, laying the foundation for sustainable expansion. Plans are also in progress for 250 to 350 units of workforce housing, ensuring that the community continues to flourish alongside the resort’s rising profile.

As these projects evolve, the synergy between outdoor adventure, hospitality, and the arts is becoming increasingly clear. For artists and patrons alike, a vibrant, four-season Killington Resort presents fertile ground for cultural renewal. Though no formal announcements have been made, both Luc Walter and Daniel Andai have expressed a shared commitment to ensuring that music remains part of the mountain’s identity. “We want the concerts at Rebel’s Retreat to be the beginning of a more durable and stable presence of classical music during these enhancement years,” says Walter.

This sentiment captures a truth larger than any single event. 

As Killington continues to rise through visionary development, sustained investment, and the dedication of those who see its potential, the future of music in the mountains grows ever more promising. “The music never stopped,” said Andai. “It just found a new home.” Indeed, that home is once again alive with sound. And as the mountain’s next chapter unfolds, there is no doubt that performances by Andai and new generations of artists will soon echo once more through the mountain peaks and valleys in and around Killington.

For more information and to sign up for future concert notifications, go to: 

Killington.Music