MAHLER I , . rf / . j!

Robert Olson, Music Director

January 12-14, 1990 lmig Music Building 18th and Euclid Boulder, Colorado ROBERT OLSON, DIRECTOR 1281 Linden Drive, Boulder, Colorado 80304

December 8, 1989

Dear Mahler lover;

As Director of the Colorado MahlerFest, I would like to update you as to the progress the festival has undergone this year. As you may know, I began the MahlerFest two years ago as a one man operation operating on a budget of $345.00, all from my own contributions. This year, with promises of a spectacular festival, it is stiU basically a one man operation, but now with a budget of almost $5,000. The Colorado MahlerFest is now incorporated, awaiting non-profit tax exempt status from the IRS, and has rec-eived three out of three grant requests. I believe the timing is right to take the final step towards solidifying the future of the Colorado MahlerFest and create a governing board. Since you expressed interest after last year's festival, or are a recognized supporter of the arts in the Front Range, I would like to invite your consideration of serving on this board. I believe the goals of the festival are relatively modesl. and as with most such boards, the Festival needs people willing to offer guidance, hard work, financial assistance, or combinations of the above. If you would be willing to serve on such a board, or know of others who might be so inclined, please take a minute and drop me a line at the above address. If you have not attended a previous Festival, I would invite you to attend at least a portion of MahlerFest lIt f hop<, to hold an initial meeting o f a potential board shortly after the Festival concludes. Whether your interest extends to Board panicipation or not, I do hope the enclosed flyer regarding MahlerFest III will bring you and your friends into the Festival. Thank you for your continuing support.

Sincerely,

Robert~ Olson Director, Colorado MahlerFest

.' ROBERT OLSON, DIRECTOR

"MahlerFest fully deserved the standing 0 vation that the packed music hall gave it." read the Boulder Daily Camera's review of the Symphony #2 last year. "A lot of people here thought I was putting them on when I said th at Olson & Co. offered a more satisfactory performance (then Zubin Mehta and the Chicago Symphony)." Wes BLomster, for the Daily Camera.

CYNTHIA ANDERSON: mezzo Soprano, has performed with th e symphonies of Chicago, Milwaukee, St. Louis, Jacksonville, Bach Aria Festival in New York, and appears regularly with Chicago's Music of ihe Baroque. "Hers is (j voice oj unusual fJuwer and loiul hreadth." In addition to the solo part in the Third Symphony, Ms. Anderson will sing the incomparably beautiful Kindertotenlieder on Saturday evenings' concert. ROBERT SPILLMAN, pianist, is one of the nation's most sought after accompanisLs for Art song, particularly Mahler. COLORADO SPRINGS CHILDREN'S CHO RALE: one of Colorado's finest young choirs, Director Robert Crowder brings 46 of his finest voices for the Third Symphony. MAHLERFEST WOMEN'S CHORALE: last year's 80 voice choir, under the direction of Thomas Morgan, electrified audiences with their performance of the Second Symphony. MAHLER FEST ORCHESTRA, the 96 piece ensemble, under the dircctor of Roben Olson, is now one of the top orchestras in the State. FIVE OUTSTANDING LECTURERS: In addition to returning lecturers Wes BlomsLcr, Steven Bruns, and Karl Kroeger, the Festival welcomes Bri gham Young University scholar Steve Johnson and University of Colorado's Joseph Lukasik. TWO FILMS: A rerun of Ken Russell's Mahler and new this year, Visconti's Dealh in Venice. Friday, January 12, 1990 8:00 p.m. Film: Mahler by Ken Russell

Saturday, January 13, 1990 2:00 p.m. Lecture: Mahler's Influence on the Music of Alban Berg by Joseph Lukasik 3:00 p.m. Film: Death in Venice by Luchino Visconti 5:00 p.m. Discussion of the film: by Wes Blomster 8:00 p.m. Chamber Concert: featuring Cynthia Anderson and Robert Spillman performing Killdertotelllieder; Ars Nova Chamber Sillgers.

Sunday, January 14, 1990 2 :00 p.m. Lecture: Mahler' & Tonal Dialectics: A Structural Overview of Symphony #3 by Steve Johnson 3:00 p.m. Lecture: An Audiophile's Guide to Symphony #3 by Karl Kroeger 4:00 p.m . Lecture: An Introduction to Symphony #3 by Steven Bruns 5 :30 p.m. Concert: Symphony #3 conducted by Rob e r t Olson

All events take place in the Imig Music Building, 18th & Euclid, Boulder, Colorado .

TICKET PRICES: $12.00 for the entire Festival, $8.00 per event

TICKETS ARE A V AILABLE AT: SWALLEY'S in Boulder, MUSIC FOR ALL in Denver, ROCKLEY'S in Denver, or AT THE DOOR. TO ORDER TICKETS BY PHONE, OR FOR MORE INFORMATION, CALL: 938-8162 Colorado MahlerFest III

Mahler was the first composer to shatter the Victorian intellectual tradition of bland rationality and blind optimism. His vision of the world, SO clearly mirrored in his works, reflected the problems of life, of love, of achievement and failure, of happiness and fame from the viewpoint of death. Predictably, Victorian aucliences were utterly perplexed by both the emotional honesty and emotional complexity of this approach. However, today's generation of listeners finds itself increasingly in accord with a composer who does not spare them the trouble of stretching their emotional range. The American critic David Hall eloquently summarized the whole history of public reaction to Mahler: "For the audiences of Mahler's own day, and perhaps even for those between the two world wars, his musical message was too strong a dose of bitter medicine ... Today, what were once Mahler's private anxieties and aspirations .. . now find an echo in the experiences of many hundreds of thousands. They arc those for whom the circumstances of war, of over-developed technology and under­ developed humanity ... have posed the hard-core questions of faith in human destiny that Mahler, as a solitary individual, tried to answer. Now that his problems have, in a sense, become common to all of us, his music has begun to find a home throughout the world." His music may reach contemporary ears, but contemporary budgets do not promote frequent performances of the great symphonies of Mahler, other than the popular First and Fourth symphonies. Complete works for hundred-piece orchestras and choirs, lasting nearly two hours and demanding extraordinary performance skills still only find periodic inclusion in orchestra seasons, and then only with major, professional orchestras. Thus came the idea to create a Festival dedicated to the performance and study of the entire repertoire of Mahler, a Festival where one can program ''Songs of a Wayfarer" and the First Symphony on the same concert because of their similari ties. A Festi val in which dedicated amateur and professional musicians gather from different orchestras around the state to perform what are generally considered the greatest symphonic creations in the repertoire. A Festival which attracts a timpanist to come from New Jersey, a soprano to travel from Chicago, an oboist to come from Oklahoma. "A Symphony is like the world. Itmustembrace everything," Mahler once declared. For three days each year, the Colorado MahlerFest allows its participants and audiences to explore one of history's greatest musical prophets!

Funding for the MahlerFest III has been provided in part by grants from the Boulder Arts CommiSSion, an agency of the Boulder aty Coudl; the Cultural Facilities Tax; and the Neodata Endowment tor the Arts and Humanities. Robert Olson

Music Director and Conductor

MahlerFest creator and conductor Robert Olson Orchestras. Olson is also enjoying his seventh season as brings a tremendous breadth of training and experience Music Director and Conductor of the Longmont Sym­ to the five podiums he now commands. His fi rst con­ phony which has flourished under his leadership, quad­ ducting post was a joint appointment as conductor of rupling its operating budget, enlarging its season, and orchestras and opera at Nebraska Wesleyan University eliciting acclaim from Front Range critics. Last summer, (Lincoln) and Assistant Conductor of the Omaha Sym­ Olson began yet another Festival orchestra -"Boulder phony, a post he held from 197G-1973. After placing in Baroque"- a professional chamber orchestra specializing the "Top Ten Young American Conductors" of the Georg in music of the Baroque and early Classical periods. Solti Conducting Competition in 1972, he won a compe­ He has guest conducted numerous orchestras in­ titon in San Francisco to receive the coveted Fulbright cluding the Cleveland Orchestra, Nebraska Chamber Award in 1973 to study with the noted conductor/ Orchestra, Arvada Chamber Orchestra, Arapahoe teacher Hans Swarovsky in Mahler's "home" city of Vi­ Chamber Orchestra, the Springfield (Missouri) Sym­ enna. While in Vienna, he was invited to conduct an phony Orchestra, Johnson City (Tennessee) Symphony American chamber orchestra touring Romania, Hun­ Orchestra, and is scheduled to conduct the Pilsen Radio gary, Austria, and to make a film on contemporary Symphony Orchestra (Czechoslovakia) in 1990 and 1992 American avant garde music. The Vienna experience and the North Bay Festival Orchestra in 1991. Othercon­ afforded him the opportunity to study with such re­ ducting posts include Rocky Ridge Music Center (12 nowned conductorsasZubin Mehta, Leonard Bernstein, years), Colorado Gilbert and Sullivan Festival (8 years), and Lorin Maazel, while in recent years, Olson was se­ and Bo ulder Civic Opera. He is recorded on CRS rec­ lected in both 1987 and 1988 to be one of four American ords. conductors to work with Andre Previn and Herbert Olson is also an acclaimed bassoonist, having toured Biomstedt, respectively. Japan, Europe three times, and throughout half the In 1974 he joined the faculty of the University of United States. He performed on the 1989 Vienna Inter­ Colorado, where he has directed the prestigious opera national Music Festival in May. program for over a decade, and is Associate Director of Colorado MahlerFest III Robert Olson, Music Director and Conductor

January 12 - 14, 1990 lmig Music Building

Dedicated to the performance and study of the entire Mahler repertoire

Schedule of f£vents

Friday, January 12

8:00p.m. Film: Ken Russell's Mahler C199

Saturday, January 13

2:00p.m. Lecture: "Mahler's Infl uence on the Music of AJban Berg" C199 by Joseph Lukasik

3:00p.m. Film: Luchino Vi sconti's Death in Venice C199

5:00p.m. Discussion of the film, led by Wes Blomster C199

8:00p.m. Chamber Concert Music Hall Cynthia Anderson, mezzo-soprano Gena Jeffries, soprano Robert Spillman, piano Philip Aaholm, clarinet Ars Nova Chamber Singers

Sunday, January 14

2:00p.m. Lecture: "Mahler and Tonal Dialectics: A Structural Overview C199 of Symphony No.3" by Steven Johnson

3:00 p.m. Lecture: "An Audiophile's Guide to Symphony No.3" C199 by Karl Kroeger

4:00p.m. Lecture: "An Introduction to Symphony No.3" C199 by Steven Bruns

5:30 p.m. Concert: Symphony #3 Music Hall The MahlerFest Orchestra and Chorale The Colorado Springs Children's Chorale Cynthia Anderson, mezzo-soprano Robert Olson, conductor

Admission to the entire Festival is $12.00, or $8.00 per event. Admission to the films is free. Colorado MahlerFest III Saturday, January 13, 1990 8:00 p.m. Music Hall Philip Aaholrn, clarinet Cynthia Anderson, mezzo-soprano Gena Jeffries, soprano Robert Spillman, piano The Ars Nova Chamber Singers

Program

Mahler's influence on the music of Alban Berg (1885-1935)

Vier Stiicke fUr Klarinette und Klavier, Opus 5 (1 913) ...... AJban Berg Massig Sehr langsam Sehr rasch Langsam Mr. Aaholm Mr. Spillman

Three Songs from Seben F r!~he Lieder ...... ' ...... Alban Berg Die Nachtigall ImZimmer Sommer Tagen

Mahler's song material quoted in the Third Symphony Ablosung im Sommer ...... (1887-1890) (from Lieder und Gesiinge aus der JugendzeiO Ms. Jeffries Mr. Spillman

An arrangement of Mahler Ich bin der Welt abhanden gekommen ...... arr. Clyrus Gottwald (from Ruckert Songs, 1901-1904 ) (983) Ars Nova Chamber Singer Thomas Edward Morgan, condu ctor

Intermission

Kindertotenlieder ...... (1900-1904) Nun will die Sonn' so hell aufgeh'n Nun seh' ich wahl, warum so dunkle Flammen Wenn dein Mutterlein tritt zur Tilr herein Oft denk' ich, sie sind nur ausgeganen! In diesem Wetter, in diesem Braus Ms. Anderson Mr. Spillman

.' Colorado MahlerFest III Sunday, January 14, 1990

5:30 p.m. Music Hall

Colorado MahlerFest Orchestra and Chorale Robert Olson, conductor Cynthia Anderson, mezzo-soprano Thomas Edward Morgan, chorus director Colorado Springs Children's Chorale Bob Crowder, director

Program

Symphony #3 in d minor

Part I Kraftig. Entschieden Part II Tempo di Menuetto. Sehr Massig Comodo. Scherzando. Ohne Hast. Sehr langsam. Misterioso k.:f +l N~t;I..J' T -t (/ S M { Lustig im Tempo und keck im Ausdruck LJ k--t~ Prvt~ elj I!.. f, J1. e Langsam. Ruhevoll. Emfunden

There will be a ten-minute intermission after the first movement. The performance will conclude at about 7:25 p.m. rrhe Ylrtists

Cynthia Anderson, mezzo-soprano Gena Je £fries, soprano Philip Aaholm, clarinet Mezzo-soprano Cynthia Ander­ Gena Jeffries is well known to Dr. Philip Aaholm is a frequent son was born in Tokyo, Japan. Rap­ Colorado audiences, having ap­ recitalist throughout the West and idly becoming familiar to opera as peared in concert with the Denver has appeared as soloist with the well as oratorio audiences, Ms. An­ Symphony O rchestra, Colorad o Denver Symphony Orchestra and on derson made her Chicago Symphony Springs Symphony, and the orches­ the Ed Sullivan Show. He recently debut in Schoenberg's Moses und tras of Lakewood and the University appeared as a featured soloist at the Aron under the direction of Sir Georg of Colorado. She has performed the International Clarinet Congress in Solti which was recorded on the role of the Countess in Le Nozze di London, England; Aaholm is past London label. Figaro, Rosalinda in Fledermaus, the Vice President, and current State Incl uded among her concert title role in Princess Ida, Fiordiligi in Chairman for the Congress. A profes­ appearances are performances with Cosi Fan Tutti, and Inez in II Trovatore sor of clarinet at the University of the St. Louis Symphony, the Jackson­ for Opera Colorado. Colorado at Boulder College of Mu­ ville Symphony, the Grant Park The recipient of many awards, sic, Aaholm also plays with the Colo­ Symphony, and frequent guest en­ including first place in the Denver rado Wind Quintet. gagements wi th the Milwau kee Lyric Opera Guild competition and Aaholm received bachelor's and Symphony. In opera, Ms. And rson second place in the Metropolitan master's degrees from the University has sung in productions of LeNozzedi Regional competition, Ms. Jeffries isa of Wisconsin-Madison, and a Doctor Figaro, Gianni Schicchi, Suor Angelica, student of Dr. Barbara Doscher at the of Musical Arts from the University La Cambiale diMatrimonio, Die Zauber­ University of Colorado and will re­ of Arizona. He has had faculty ap­ fieite, The Old Maid and the Thief, and cei ve her Master of Music degree this pointmen ts at the Universi ty of Ari­ The Medium, with future engage­ spring. zona, the University of Wisconsin, ments including Amahl and the Night the Navy School of Music in Wash­ Visitors and Pelleas et Melisande. ington, D.C. and Lamar University. In performances with Chicago's Music of the Baroque ensemble, she has been heard in Bach's St. Matthew Passion, the recently released Mon­ teverdi's Vespers of 1610, and Cantata No. 133. Other early music credits include performances in the Bach Aria Festival in New York and the Kalamawo Bach Festival. A recipient of numerous awards including the American Opera Soci­ ety Award and the Emma Roe Schol­ arship, Ms. Anderson has also been a Metropolitan Opera Regional Semifi­ nalist, a Bel Canto Finalist, and a Na­ tional Association for the Teachers of Singing Finalist. Thomas Edward Morgan, conductor Founding Music Director of the Ars Nova Chamber Singers, Thomas Edward Morgan received his Bache­ lor of Arts degree in Music fro m Macalester College in St. Paul, Min­ nesota and the Master of Music de­ gree in composition from the Univer­ sity of Colorado. He curren Uy serves as music director of St. John's Episco­ pal Church in Boulder. Mr. Morgan has studied con­ ducting with Dale Warland, Helmut Rilling, Giora Bernstein, and has taken master classes with Eric Eri c­ son. In addition to directing the cho­ ruses for Colorado MahlerFest II and Ill, Mr. Morgan has prepared cho­ Robert Spillman, piano Bob Crowder, conductor ruses for Boulder Bach Festival's per­ Mr. Spillman came to the Univer­ The Colorado Springs Children's formance of the B Minor Mass, con­ sity of Colorado in 1987 as Chairman Chorale is under the superb direction ducted by Margaret Hillis, and the of the Keyboard deparbnent, having of Mr. Bob Crowder. Mr. Crowder Colorado Music Festival's produc­ come from thirteen years on the fac­ received his M.M. in Choral Music tions of the Mozart Requiem and ulty of the Eastman School of Music. Education from Arizona State Uni­ Debussey's Nocturnes. He has toured extensively as a soloist versity where he studied with Doug and accompanist with Rita Streich, McEwen, former Assistant Director The Ars Nova Chamber Singers Barry McDaniel, Donald Grobe, of the Roger Wagner Chorale and Organized in the fall of 1985, the James Galway, and Jan DeGaetani, Harvey Smith, Director of the Phoe­ Ars Nova Chamber Singers held and most recently completed an ex­ nix Boys Choir. their first rehearsal in January of tensive tour of China. Mr. Spillman 1986. The ensemble has since become has also made appearances with the The Colorado Springs Children's recognized as one of the finest chora I BBC, Swiss Radio, RIAF and numer­ ChoraJe is an auditioned dvic chil­ organizations in the region. ous radio organizations in West Ger­ dren's choir for singers from ages Membership in Ars Nova is many. He has recorded as soloist and eight to fourteen and is nowin its 12th achieved through a two stage · accompanist on Desmar, Golden season. The Chorale has a reputation audition process conSisting of both Crest, Musical Heritage and Vox for excellence and its repertoire individual and sectional auditions. labels. During the summers, Spill­ ranges from choral masterworks to The entire ensemble is re-auditioned man is co-director of the Opera Cen­ musical comedy and specialty num­ every season. ter at the Aspen Music Festival. bers with choreography. In the past three seasons the Each singer who is accepted into ensemble appeared in the Bould er the Children's Chorale has the oppor­ Bach Festival, the Colorado Music tunity to move up from the Sunrise Festival, the Colorado MahlerFest H, Singers (the training choir in which the Colorado New Music Series, and The MahlerFest Chorale all singers begin) to the Springs Sing­ in concert with the Denver Bach This season's MahlerFest Cho­ ers (the concert choir) and finally to Ensemble. The ensemble has been rale, assembled and prepared by the Pikes Peak Singers, the most heard in radio broadcasts in Denver Thomas Edward Morgan, consists of advanced choir in the Children's and recently in Buenos Aires, 54 women from the Boulder-Denver Chorale program. Argentina. area, representing many of the cho­ The Chorale has performed ex­ Ars Nova is noted for its ruses in our region, including the Ars tensively lhroughout the Pikes Peak innovative programming, ranging Nova Chamber Singers, the Gallery region. Performances have been from the U.S. premiere of the Singers, the Denver Symphony Or­ given fo r the Colorado Music Educa­ complete cycle of Carlo Gesualdo's chestra Chorus, the Columbine Cho­ tors Association, the Colorado Opera Responses fo r Holy We ek to an rale, the St. Cecilia Singers, and the Festival, the Colorado Springs Fine extensive repertoire of 20th century Rocky Mountain Chorale. Arts Center, and Pikes Peak Commu­ works. As the name of the ensemble nity College, to namea few . TheChil­ ("New Art") implies, Ars Nova is dren's Chorale also recorded the committed to the artistic theme song for a television pilot, performance of choral music of the "Kids, Places, and Things." present day.

.' rrfie Speaf(g.rs ROSS P. COONEY Steven Bruns Joseph A. Lukasik & ASSOCIATE S ARCH ITECTS Dr. Bruns is an assistant profes­ Mr. Lukasik, a member of the sorofmusicat the University ofColo-­ theory / composition faculty and Di­ rado, where he teaches both under­ rector of Music Technology at C.U. graduate and graduate theory Boulder, received his Bachelor of courses. He holds the B.M.E. degree Music in Composition from the East­ from Northern State University man School of Music, his Master of (S.D.) and the M.M. and Ph.D. in Music in Composition from the Uni­ music theory from the University of versity of Michigan at Ann Arbor, Wisconsin-Madison. Dr. Bruns spe­ and is currently finishing his Doctor cializes in 19th-century music of Musical Arts degree, also in Com­ (Schubert, Brahms, and Mahler). His position, at the University of Michi­ Ph.D. dissertation is a detailed study gan. Mr. Lukasik has maintained an of the Adagio movement of Mahler's active interest in the music of Gustav unfinished Tenth Symphony. This is Mahler and Alban Berg over several his third appearance at the Mahler­ years, and considers the music of Fest. both composers a constant source of knowledge and inspiration for his own work. Steven Johnson Steven Johnson is Assistant Pro­ fessor of Music at Brigham Young Wes Blomster University, where he teaches fonn Mr. Blomster is professor of Ger­ analysis and music history. He was man at the University of Colorado raised and educated in California, and classical music critic for the Boul­ receiving a Ph.D. in musicology from der Daily Camera. His long love af­ UCLA. His dissertation involves a fair with music, coupled with exten­ study of tonal and motivic processes sive research grants in Europe from in Mahler's Th ird Symphony. Cur­ Fulbright and IREX havemadeBlom­ rently,Steve is preparing hisdisserta­ ster's opinions and writingson music tion for publication, writing a mono-­ much sought after throughout the graph with his colleague Michael region; he has been invited to speak Hicks on the early experi mental at events sponsored by such organi­ music of Henry Cowell, and writing zations as the Colorado Music Festi­ an analysis of Max Steiner'S music for val and the American Symphony Or­ the movie King Kong. chestra League.

Karl Kroeger Mr. Kroeger is a musicologist specializing in the history of music in America. He is the music librarian at the University of Colorado in Boul­ Distinctive der, and an active, publi shed com­ poser. Custom Residential Architecture M AHLERFEST IV Member of the America n Institute of Archi tec ts. January 11 -13, 1991 13 75 Walnut Streel . Su ite 101 Boulder. Colorado 80)02 )03 44 9-0500

.' Program 9{ptes

Berg and Mahler The Five RUckert Songs of Mahler, this creati ve process Friedrich Ruckert composed between 1901 and 1904, unlike was engaging in a form of self-therapy ­ It is no great wonder that the recent the Kindertotenlieder, do not form a con­ giving voice to and working through his interest in the music of Alban Berg has nected cycle and shownothing ofthe folk immense grief, his numbing denial, an­ been linked to the widespread popularity influence that Mahler had absorbed from ger, longing, and yeaming to see his chil­ of Mahler's music. Berg's adoration ofthe his childhood in a small Moravian town dren yet again, and finally, his calm ac­ older composer's works is a well-docu­ and had subliminated in his earlier songs. ceptanceofthe reality of their deaths and mented fact, and his frequent "borrow­ Their lyricism and grace inhabit a totally the re~rganization and continuance of ing" from Mahler's aesthetic often pro­ different world from the desperate storm hjs life. His poems for his dead children vides a sense of familiarity to Berg's and stress of the symphonies of this pe­ served as a personal journal in which a works. riod. The introspective Jch bin der Welt reader can witness what is now called The Four Pieces for Clarinet and Piano, abhanden gekommen, which turns its back "the grief process" in all its various stages. Op. 5 of 1913 is considered one of Berg's on the world and longs for a private In 1901, Gustav Mahler - then a fa rthest excursions from the musical tra­ world of art and love, well expresses the bachelor with a reputation for being ditions he was to draw so heavily upon innermost feelings of the overworked something of a roue - chose five o f later in his career. Nevertheless, one can director of the Vien.na Imperial Opera. Ruckert's poems about his dead children still hear several passages reminiscent of The orchestral version of this song and setthree0fthem to music. It might be Mahler. In the first mov ment, there is a was arranged in 1983 for 16-part unac­ asked why such a morbid subject would 1 briefappearanceofa Viennese waltz, and companied chorus by the German con­ be of interest to an unmarried, child less in the Langsam, after the "orchestral" cli­ d uctor Clytus Gottwald. man. It helps to remember that Gustav max, a slightly truncated but recogniz­ Mahler carne from a large fa mily of 14 able quote of the "fate motive" from Lionel Salter children - Mahler was the second child ­ Mahler'S Sixth Symphony can be heard in and many of his siblings died in infancy. the extreme low register of the piano. Mahler was not u nacquainted with the The Seben Frfihe Lieder (Seven Early death of children. However, the more Songs) were composed during Berg's for­ probable explanation was Mahler's at­ mative years while a student of Arnold Kin derloten lieder traction to the poetry and the artistic Schoenberg. Berg's affection for Mahler's challenge it offered the composer. music is especially evident in 1m Zimmer, The very next year, 1902, Mahler where the charming simplicity harkens 'The more things change, the more married one of Vienna's great beauties. back to Mahler's Wunderhorn songs. things remain the same..... Alma Schindler was a raven-haired, Old French proverb Rubenesque young woman of 22 when Jo seph A. Lukilsik she wed Mahler. This marriage produced two children - two little girlS: the first, In our 20th-century wisdom we have Maria Anna, and the second child named a tendency to forget that human nature Anna Justine. In 1904 Mahler, now a hap­ has remained very much the same p ily-married man and an adori ng fa ther, Ich bitl der Welt throughout the passing centuries - that decided to finish his song cycle using emotions like grief, despair, and depres­ Riickert's heart-rending poems about his abhanden gekommen sion haveoverwhelmed men and women dead children. Al ma Mahler was abso­ since Time Immemorial. However, only lutely horrified. As she wrote in her book I have lost track of the world, in recent history has there been an at­ Remembrances and Letters: with which I used to waste so much time. tempt to analyze and treat many of man­ It has heard nothing of me for so long, ki nd's emotional and psychological I fo und this incomprehensible. I could It may well think I am dead. problems. The type of therapy offered is understand setting such frightful words as varied and inclusive as is the number to music if one had no child ren, or had And for me it is of no concern at all of individuals coming to a counselor for lostthose one had ... Riickertdid not write if it treats me as dead, treatment. However, one of the newer these harroWing elegies solely out of his nor can I say anything against it, forms of therapy is "grief counseling" ­ imagination; they were dictated by the for in truth I am dead to the world. how to handle the loss (by death or sepa­ cruelest loss of his whole life. What ) ration) of someone you love. could not u nderstand was bewailing the 1am dead to the nonsense of this world But, it migh t be argued that "there is deathsofchildren who were in thebestof and take my rest in a place of quietness. nothing new under the sun... .. health and spirit ...hardly one hour after I live alCine in my heaven, In 1834, the poet Friedrich Ruckert having kissed and fondled them. I ex­ in my loving, in my song. (born in 1788) lost two of his children in a claimed at the time: "For Heaven's sake, scarlet fever epidemic. Ruckert was in­ don't tempt Providence!" Friedrich Ruckert consolable. In this anguished mental Alma Mahler, state he penned about 400 poems be­ Erinnerungen und Briefe, 1946 moaning the loss of his children; and, in continued Kindertoten/ietier, continued # 3 But the words were of no a vail. Mahler Symphony in d minor continued work on the Kindertotenlieder and added the last two songs to thecycle. The firs t performance of the cycle was "My Symphony will be something the world has never heard before! In it given in 1905. Nature herself acquires a voice and tells secrets so profound that they are perhaps glimpsed only in dreams ... But just try to imagine such a major In 1907 Mahler abruptly resigned as work, literally reflecting the entire world , . ." Director of the Vienna Court Opera and M ahler 's words in a leiter to Anna von Mildenburg,18 August, 1896 as cond uctor of the Vienna Philharmonic after elevating both musical entities to heights of artistic excellence never before achieved - and some say, never since! He Mahler's Third Symphony - one he emotions ranged from the tender concern left amid much acrimony and ill-will. termed "a monster" - was begun in the for flowers to untamable ferocity; fro m Seeking rest, he took his fa mily to their summer of 1893. The composer's original shyness and drollery to the primeval summer house in Maiernigg. Three days intention for writing the work was to seek depths of thean imal world, and finally to after their arrival the elder child devel­ some "humorous relief' from the emo­ intuitive yearning of the human spirit to oped symptoms ofscarlet fever and diph­ ti onal and creative strain occasioned by penetrate beyond the bounds of earthly theria. The medical prognosis, from the his Second Symphony in C minor, the transience..." outset, was not hopeful. For two terrible "Resurrection." "It is the wildest thing I have ever weeks "Putzi" - as the little girl was affec­ As was his habit, Mahler usually written," ad mitted Mahler, One suspects tionately called - li ngered on in agony. used the summer months in which to that even he had no idea where his Sym­ Mahler was frantic with worry. He would compose. His career responsibilities at phony was taking him. "It is frightening weep and sob and then fl ee the house so other times of the year prevented him the way this first movement caused me to that he would not hear the little girl's from fi nding ti me to write, and he wasn't grow beyond everything I have ever terrible suffering. In a fi nal a ttempt to able to fi nd the necessary quiet in which composed. I am so literally gripped with save her life a tracheotomy was per­ to work. Above all, Mahler needed to re­ terror when I see where the path or­ formed, but it was to no avail. She lived move himself from all contact with hu­ dained for music leads that it has become but one day more. Mahler and his wife manity when engaged in communion my frightful responsibility to be the walked about in numbed disbelief as the with the Divine Afflatus. bearer of this gigantic work. I have such a li ttle child's body was taken away. The summer months of 1896 found feeling about this movement and the A doctor was called to the house to Mahler in secluded retreat in the Aus­ prospect ofwhat I now will have to suffer treat Alma Mah ler, who in a state of utter trian Alps, living in a cottage, sparsely because of it. .." H umorousrclief, indeed! collapse and exhaustion was confined to furnished with only a table, sofa, an bed. As the doctor examined Alma's armchair, and a piano. His Third Sym­ The Third Symphony is in six move­ heart, Mahler said rather offhandedly: phony was fina lly fin ished. The first per­ ments, eachof which has a title given to it "We\!, come along now, why don't you son, o ther than Mahler, to hear this by Mahler. The first movement Mahler listen to mine, too ..." The phy idan lis­ monumental work was an almost-20­ designated as Part I, and the other five tened and told Mahler that his OWn heart year old man named Bruno Walter. Wal­ movements he grouped in Part II. Here was ina seriously diseased condition and ter was Mahler's assistant at the Ham­ following are the titles of each section that Mahler's future was rather grim. The burg Opera and the young man had been with a few words of explanation about composer should not expect to live out a invited to visit Mahler at his summer each, quoti ng where possible fro m normal lifespan. Mahler, refusing to be­ retreat at Steinbach-am-Attersee. Mahler's own description and analysis: lieve the diagnosis, travelled to Vienna Bruno Walter arrived by lake where heconsultcd an eminent heart spe­ steamer in Juiy. Mahler met the boat and 1. Pan Awakens; Summer marches in ciali st who confirmed the verdict of the carried Walter's luggage - a gesture that According to Mahler: "Summer is fi rst doctor. made th younger man very uneasy. On victorious among the divergent forces of Indeed, Mahler would not live too the way up to Mahler's cottage Bruno nature. Right away I need a regimental band. Naturally summer'sarrival doesn't many years longer. His death occured on Walter was awed by the steep diffsof the May 18, 1911, just four years after the H611engebirge. "No need to gape at happen without a battle against winter, death of his li ttle girl. Mahler's last re­ those," chided Mahler. 'They have all but soon Wi nter is thrown out of the ring; quest was to buried near "Putzi," and been composed by me in my Symphony. and Summer, in his full strength and according to his wishes he was buried in You will soon hear." superiority, soon seizes undisputed lead­ the Grinzing Cemetary next to his daugh­ Indeed!! Bruno Walter would 'hear' a ership. Pan and Bacchus celebrate." te.r. His tombstone, designed by Josef great deal more than just the rocky out­ Hoffm ann, bears only his last name. croppings of H611engebirge described in 2. What the flowers in the meadow tell music. As Walter was later to say: "When me at last the day came to hear the fi nished In this section Mahler uses a charm­ Third, it was a shattering and un­ ing Uindler to achieve an atmosphere of Jeanna Wearing d reamed-of experience. I knew Mahler bucolic grace. This movement achieved was a nature lover; but the music - from immediate popularity and some cond uc­ the depths of his soul - was a description tors began to perform it by itself. Mahler of a Dionysian universe in which the did not like it, but knew he could not prevent the practice. "I have no choice," S. What the Mom in& Bells tell me 6. What Love tells me he wrote. "If I ever want to be heard, I In this fifth movement Mahler re­ "Contrary to custom," w rote Mahler, cannot be too fussy, and so this mod est turns to a merry tempo as well as return­ "I have ended both my Second and TI' ird litlle piece will doubtless present me to ing to his use of one of the Wunderhorn Symphonies with an Adagio, the higher the public as a 'perfumed singer of na­ poems. In his creative careerMahler used form in which everything is resolv d into ture.'" about two dozen ofthesecollected poems qu iet being, I could almost call theThird's and songs published in three volumes at fi nale 'What God teUsme' in thesense that 3. What the animals in the forest tell me the beginning of the 19th century. Des God can only be understood as love." In this section Mahler treats us to a Knaben Wunderhorn, organized and ed­ Bruno Walter has written about this veritable concert ofaviarial voices. Amid Hed by Achim von Amim and O emens D major finale: "I n the last movement, the glades and glens of the fore t we hear Bren tano, was a treasure chest ofGerman words are stilled - for what la nguage can themes sung by the nightingale a nd the folk songs and poems that expressed the utter heavenly love more powerfully and cuckoo. The main theme is based on an heartbeat of the German people. Mahler forcefully than m usic itself?" ea rlier song by Mahler, AbUisung im Som­ used a melody entitled Es sungen drei mer (Relief in Summer) - an allegory Engel (Three angles were singing). Not until the summer of 1902, wh n abou t the tale of a cuckoo and nightin­ Mahler was nearly 42 years old, was his gale. Interrupting the sylvan scene is the Three angels were singing a sweet Sym phony #3 given its full performance. approach of a stage coach whose immi­ song; It might be imagined that at first the reac­ nent arrival is announced by the post with joy it resounded blissfully in tion of the a udience in Krefeld was one of horn. Mahler was very specific that the heaven; astonishment at the gigantic proportions coach should seem to be coming as "if and they cried out happily of this musical edifice. However, in 1904 from a great distance - ap proaching­ that Peter was free of sin. Mahler wrote to his wife Alma, describ­ receding..." The birds' lovely songs are inga performance in Amsterdam: "It was completely overpowered by the horns And as the Lord Jesus sat at the table magnificent. At first the audience was a (a ll six ofthem playingfortissimo). Mahler and ate the Last Supper with his little puzzled, but with each movement noted that in this movement's coda "there twelve apostles they grew warmer, and when the con­ fall again the heavy shadows of inani­ the Lord Jesus spoke: Why then stan­ tralto came in the entire hall was gripped mate Nature. But this signifies merely a dest thou here? and from then to the end there was the regression in the essentially brutish When I lookat thee, thou weepest be­ familiar rise in temperature. When the fo rms of existence, before the great leap fore me. last note died away, the tu mult of ap­ upward into the more spiritual realm." plause was almost frightening. Everyone From this po int onward, Mahler And should I not weep, thou merci­ said nothing like it could be remem­ requested that his Third Symphony be ful God, bered... .. played without a pause. (No, thou shouldst not weep) As time passed, Mahler seemed ever I have transgressed the Ten Com­ more in awe of his accomplishment. 4. What the Nigh t tells me mandments. "Some parts of it [his Third Symphony] "Whenever I pla n a large musical I go and weep, yea, bitterly. seem so u ncanny to m e that I can hardly structure, I always come to a point where (No, thou shouldst not weep) recognize them as my own work." I have to resort to 'the word' as a vehicle Ah, come and have mercy upon me. After a while Mahler wanted his for my musical idea." Symphony to be regarded as "pure mu­ In this fourth movement Mahler in­ If thou hast truly transgressed the sic" without the use of programmatic troduces music of mystical longing, As a Ten Commandments notes. Again to quote Bruno Walter, text for the singer Mahler selected the then fall on thy knees and pray to whose close association and friendship "M idn ight Song" fro m Friedrich God. with Mahleraffordsa unique resource for Nietzsche's novel Also Sprach Zarathustra: Love only God forever, understanding the man, as well as the and thou shalt attain heavenly joy! composer: "Mahler could do without the O man! O man! titles, which were dropped like scaffold­ Take heed! Take heed! Heavenly joy is a blessed estate, ing when the hou se is ready. It had be­ What says the midnight deep? heavenly joy, that has no end. come pure music..... I sleep! I sleep! Heavenly joy was prepared for Peter From a deep dream I am awakened! by Jesus, and for the beatification of The world is deep! all. 'To write a symphony is, for me, to And deeper than the day had construct a world ..... known! Mahler, ever the perfectionist, gave de­ Gustav Mahler O ma n!Oman! tailed instructions for the performance of Deep! Deep is its woe! this section: 'The tone of the voices is to Deep is its woe! imitate the pealing of a bell; while the Joy - deeper yet than agony! boys' choir sings the chiming of the bells, Woe entreats: Pass on! the women's choir raises the listener from Program notes by Jeanna Wearing But all joy seeks eternity! the darkness and depth of the previous Miss Wearing is the host of "Master of Music" heard Monday-Friday from 12:30 until3:30on Seeks deep, deep eternity. song to the splendorofthe Elysian fields." KPDF·AM (910) . This program was recently It is interesting to note that this move­ voted the "Best Oassical Music Program in ment uses no violins. Denver" by West word Magazine. Co[oraao 'Jv{afi[er~est Orcfiestra

Robert Olson, Music Director and Conductor

Violin Bass TrombonelBass Trombone Annamaria Karacsony, Dale Day, principal Jim Grey, principal concertmaster David Crowe Gary Dicks Paul Warren, principal Second Mike Fitzmaurice Mjke Roper Mary Bellone Andrea Hennessy Rick Starnes Jessie Brundage Andy Holmes Martha Dicks Jennifer Motcka Tuba Ruth Duerr Glenn Sherwood Tom Stein Kim Elmore Emily Fenwick Harp Timpani Lisa Fisher Linda Nash Allan Yost Deborah Fuller Dana Axelson Ruth Galloway Flute/piccolo Mary Grey Jeffrey Slaugh, principal Percussion Dan Grove Carol Humphrey Bruce Moore, principal Susan Hall Kati Kaupas John Burgardt Lesia Korytko Sarah Tomasek Joe Diamo Susan Lambert Bill Ferguson Adwyn Lim OboelEnglish Hom Shaw Mathews Lisa Iottini-Wagner, principal Assistant Conductor Barbara Merrill Jack Bartow Rick Thomas Rhea Parsons Joni Day Gyongyver Petheo Jennifer Longstaff Librarian Kathy Rinehart Susan Hess Paul Rowinski Clarinet Susan Schade Philip Aaholm, principal Cyndy Sliker Marianne Canuel Orchestra Affiliations Dean Smith David Elmhurst of the members of the MahlerFest Elaine Taylor Bronwyn Fraser Orchestra Lorenzo Trujillo Robert Qualls Arapahoe Philharmonic Viola Bassoon!contrabassoon Boulder Baroque Chamber Victoria Hagood, principal Susan Hess, principal Orchestra Kip Mason-Stanley Matt Harvell Boulder Chamber Orchestra Christine Arden Joseph Lukasik Boulder Philharmonic Juliet Berzenyi Bruce Orr Centennial Symphony Orchestra Ann Cardwell Cheyenne Symphony Orchestra Daniel Hick Hom Colorado Ballet Orchestra Eve Geltman Rick Wagner, principal Colorado Springs Symphony Mary Hanson Doug Bailard Colorado Symphony Orchestra CarnpbeU Harrison Gillian Bailey Colorado Music Festival Brian Herde Ed Collins Des Moines Opera Orchestra Kendra Hren Jim Emerson Ft. Collins Symphony Orchestra Cindy Story John Limon Greeley Philharmonic Devon Park Haddenfield Symphony Orchestra Dan Sniffen (New Jersey) Cello Jefferson Symphony Orchestra Barth Story, principal Trumpet Lincoln Symphony (Nebraska) Cherilyn Smith-Bidstrup Marc Fulgham, principal Longmont Symphony Orchestra Ludina Delbruck Sallam Ken Aiken Loveland Chamber Orchestra Nada Fisher David Fulker Mostly Strauss Orchestra Kevin Johnson Rob Wylie Omaha Symphony Orchestra Dina Sassone Springfield Symphony Orchestra Margaret Smith Fluegel Horn (Missouri) Jim Warwick Allan McMurray Tulsa Symphony Orchestra University of Colorado Maliler:Fest CIiora1e Colorado MahlerFest III Soprano Judy Amstutz Ernestine Boss Co-hosted by the University of Colorado College of Music, Betsy Brown Dr. Robert Fink, Dcan, and the Colorado MahlerFest. Ann Cairns Cheryl Dodd Hilda Eichenberger ADMINISTRATIVE STAFF Sue Field Sherry Lichtenwalner EXECUTIVE DIRECTOR DIRECTOR OF OPERATIONS Yolanda McAmster Robert Olson Julie Birschba h Elaine Oppenheim Jan Osburn BOX OFFICE STAGE MANAGER Tonny-Broe Parkin Julie Birschbach Bob Arentz Ka thleen Sears Alicia Stem PROCRAMS/PUBLICITY RECORDI NG TECHNICIAN Peggy Trimble Julie Birschbach Glenn Sherwood Lucy Warner Robert Olson Rach I You ng POSTER DESIGN PROCRAM DESIGN/TYPESEmNG Bill Anthes Mezzo-soprano Thomas Edward Morgan SPEClAL THANKS TO: Janet Bischoff Mary Blanche PROCRAM ADVISORY COMMITTEE Alfalfa' s Market Wes Blomster Pour La France Peggy Dee! Barbara Farhar Steven Bruns Arapahoe Lodge Cathy Fletcher Thomas Ed ward Morgan Ka thy Higbee Robert Spillman FLOWERS DONATED BY: Naomi Iverson Fruehaufs Shirley Anne Johnson Anne Klemperer Janet Klempcrer Nancy Knoll MAHLEIifEST N c.J. Lawrence Rhoda MacCachran Karen Miller January 11 13, 1991 Lois Papedo Carol Rasmussen Katherine Ware Deanna Young mcguckin hardware Alto IN THE VILLAGE Sharyn Baker 2525 ARAPAHOE, BOULDER, COLORADO 80302 Jane Chamberlain (303) 443·1822 Shirley Collings • Automotive Lois Collins • Bolts Barb Goldworm :- : ... ~ . ~ ..... -_ ­ ...i • Electrical Kate Hallberg • Electronics Rachel Hazen • Fi replace Lil Hubert • Furniture Jan Logan • Garden Center Ka thy Lujan • Hobbies Maggie MacKenzie • Housewares Helen Mandelbaum • Pa ints Melinda Mattingly ~"'~""~l~~4Ld21~~~~~L.llllJ . Pet Suppli es Jane Ryland ~-7J.:::;:;;;::::;;;;':::::::~::::::::::::=:=:J;::::=:::::t::::bc::::;:::===~ • PI u m bin g Jacquelyn Schechter ~ • Power Service Bonnie Schwab Center ElIen Sipe • Sporling Goods BOULDER'S MOST UNIQUE SHOPPING EXPERIENCE • Tools Caroline Van Pelt Betty Wilhelms "World's Largest Hardware Selection" Become a Charter Member of the Colorado MahlerFest

THE COLORADO MAHLERFEST IS UNIQUE IN ALL THE WORLD - there is not another like it anywhere! It is successful in part because of the musical environment unique to our area. But the scope of the Festival has grown to a point where additional resources, both human and financial, must be secured in order to guarantee the continued success and quality.

We are awaiting tax exempt status fro m the IRS by the day. In order to insure your donation win be tax-deductible, the Colorado MahlerFest will hold all donated money in escrow until tax exemp t status has been awarded; thus, in the extremely unlikely event that tax exempt status is not given, your money will be returned.

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MUSIC LESSONS and CLASSES offered by the College of Music and Continuing Education Private Lessons in: Band/Orchestral Instruments, Guitar, Banjo, Piano, Voice, Composition, Jazz Studies. Group Lessons and Classes: Beginning and Intermediate Piano classes; Children's Piano Classes; Beginning, Intermediate and Advanced Guitar Classes; Small ensemble coaching. Information and Registration College of Music Laboratory Schools Thomas Stein, Chairman Registration Hours: M-F, 12:00 p.m. to 3:00 p.m. January 17th through 24th and January 29th through February 2nd, 1990 Room Nl12B College of Music 492-5261 .:. ALL COURSES CAN BE TAKEN FOR CREDIT, PASS/FAIL OR NO CREDIT GOOD FOR BOULDER We are proud to be Affili ated with th is year's MahlerFe t. We salute the talented area performers and recognize their sign ificant contributions to Boulder. MahlerFest-Good for Boulder. "liated First National Bank cross-country experts. partofthe Affiliated familyofbanks Broadway & Canyon Broadway & North MOUnTAin SPORTS Broadway & Table Mesa 821 Pearl 443·6770 Member FDIC 442-6770 West of The Downtown Mall "

Ninth Annual

FRIDAY, MARCH, 8 p.m. 8~' CUMusic HaD ~~

SATURDAY, MARCH 10,8 p.m. Macley Auditorium Boulder's".,' SUNDAY, MARCH 11, 3 p.m. Macky Auditorium Premier Seafood Restaurant ~..., Featuring: !'ood **** St' r,'in' **** SI. Matthew Passion Arnhiant'l' **** Brandenburg Concerto #5 Daily CUlll'r;1 'HM Orchestral SuiU #1 In th~ Canyon C~nter Chamber music perfonned by: 9lh & Canyon C hristopher Taylor, piano G abor T akacs-Nagy, violin G abor Ormai, viola Uour" i.unch M-F II: I';,jprn Dinnn M-Sm 'i-Wpm CloSt'J Suntl:lys 44<) ,{,'56'> For information and tickets, call 442-4222 When you 0.0. on traffic,

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