Arnold Schoenberg created this brush and ink self-portrait in 1908, while in the midst of composing his largest composition, Gurre-Lieder. The Aspen Festival Orchestra’s performance of Schoenberg’s work will conclude the 2008 Aspen Music Festival and School Season on August 17.
Week 9 Friday, August 15 | 6 pm | Aspen Chamber Symphony 2
Saturday, August 16 | 4 pm | Chamber Music 5
Saturday, August 16 | 8 pm | A Recital by Marc-André Hamelin, piano 8
Sunday, August 17 | 4 pm | Aspen Festival Orchestra 12 Friday, August 15, 2008 | 6pm | Benedict Music Tent | David Zinman, Music Director | Alan Fletcher, President and CEO
Aspen Chamber Symphony Xian Zhang, conductor Jonathan Biss, piano
Stravinsky Divertimento (1934; 1950) c. 22' (1882–1971) Sinfonia Danses suisses Scherzo Pas de deux
Mozart Piano Concerto No. 21 in C major, K. 467 (1785) c. 29' (1756–1791) Allegro maestoso Andante Allegro vivace Jonathan Biss, piano
Intermission
R. Strauss Le bourgeois gentilhomme Suite, op. 60 (1920) c. 36' (1864–1949) Overture. Jourdain the Bourgeois: Molto allegro Minuet The Fencing Master: Animato assai Entrance and Dance of the Tailor: Vivace Minuet of Lully: Sehr gemächlich Courante: Ziemlich lebhaft Entrance of Cléonte: Feierlich Prelude to Act II (Intermezzo). Dorantes and Dorimène, Count and Marquise: Andante, galante e grazioso The Dinner: Moderato, alla Marcia Bing Wang, solo violin Louise Chan, piano
Sponsored by Richard Edwards, in memory of Harley Baldwin Week 9 Clos du Val is the official wine of the Aspen Music Festival. Fiji Water is the official bottled water of the Aspen Music Festival and School. The Aspen Music Festival and School uses Steinway and Boston pianos, designed by Steinway & Sons; Steinway & Sons is represented in Colorado exclusively by Wells Music. Friday, August 15, 2008 | 6pm | Aspen Chamber Symphony
Igor Stravinsky Amadeo about 1770 and Wolfgang Amadè Divertimento in 1777, was born in Salzburg, Austria, on January 27, 1756, and died in Vienna on Igor Stravinsky was born at Oranienbaum, December 5, 1791. The score of the C major Russia, on June 17, 1882, and died in New Piano Concerto, K. 467, is dated March 9, York on April 6, 1971. He composed his 1785; Mozart first performed it in Vienna ballet Le Baiser de la fée (The Fairy’s Kiss) three days later. The orchestra includes one on a commission from Ida Rubinstein between flute, two oboes, two bassoons, two horns, April and October 1928, and completed the two trumpets, timpani, and strings. work in Nice at midnight on October 30. It is dedicated to the memory of Tchaikovsky (and he entrance of the soloist in Mozart’s reworks ideas from many of his smaller com- Ttwenty-first Piano Concerto is un- positions). The first performance was given by Stravinsky’s Divertimento is based on Hans usual. The orchestra has played an elabo- the Ballets Ida Rubinstein at the Paris Opéra Christian Andersen’s The Ice Maiden. Illustra- rate ritornello providing plenty of material on November 27, 1928. Stravinsky autho- tion by Edmund Dulac, 1915. for discourse; it has ended with a ringing rized concert abridgements and by 1934 set- love for Stravinsky, and in the final score, tutti and a full cadence. Now we are ready tled on the movements to be performed here as it is not always easy to tell which com- for the soloist—but no! The oboe carries a suite entitled Divertimento from Le Baiser poser is responsible for what tune. The on with an extension, and we evidently de la fée; he revised it in 1949. Stravinsky led motivic treatment, the frequent ostinatos, have to wait through a closing section be- the Boston Symphony in the first performance the carefully elaborated irregularities of fore we can hear the piano. Just as we have in a concert at Harvard University on March phrase structure, and the deft but spare reconciled ourselves to further delay, the 14, 1935. The score calls for two flutes and orchestral treatment all bespeak Stravin- soloist sneaks in—just a little comment on piccolo (doubling third flute), two oboes and sky. Yet it would be idle to deny that there the flute’s last phrase, not even a noticeable English horn, two clarinets and bass clarinet is an element of romanticism in this score theme. It is rather like a dramatic scene in (doubling third clarinet), two bassoons, four that is almost never encountered else- which some of the characters have been horns, three trumpets, three trombones and where in the work of Stravinsky, and that talking about the principal figure in the tuba, timpani, bass drum, harp, and strings. must be Tchaikovsky’s doing. plot, unaware that he has quietly entered from the wings and overheard the entire chaikovsky was always one of The music from the ballet that remains in conversation until he draws attention to TStravinsky’s favorite composers; he the suite is arranged as a purely abstract himself with a quiet remark. represented, along with Glinka, all that concert work, with no attempt to offer a was best in Russian music. And in the case précis of the plot to the ballet. The opening Once on stage, the pianist begins his of Tchaikovsky, there were also important Sinfonia contains a great part of the first own discussion of the material already family connections. Tchaikovsky gave scene (the separation of child and mother). presented, offering elaborate decorations an inscribed photograph to Stravinsky’s The Swiss dances of the second movement for variety. Of course Mozart is con- father, a distinguished basso, as a me- contain music from Scene 2, a village festival cerned with concerto structure, one signal mento of his performance as the monk in eighteen years after the first scene; the infant, point of which is the arrival of a new Tchaikovsky’s opera The Sorceress. Young now a young man, dances with his be- key. The pianist boldly charts new terri- Igor actually saw Tchaikovsky in person trothed. The Scherzo comes from the open- tory—though he does so by first offering once, at a performance of Glinka’s Ruslan ing of the third scene, where peasant girls a minor‑key version of the dominant, a and Ludmila at the Maryinski Theater in dance inside a mill next to the bride’s home. tactical feint that leads us astray and once St. Petersburg, two weeks before Tchai- The last part of the suite is drawn from the again establishes the pianist as the leading kovsky’s death. pas de deux that the two lovers perform in personality of this dramatic discourse, the third scene of the play before the bride guiding the course of action where he Le baiser de la fée was commissioned by is taken away to be dressed for the wedding. wants it to go. Ida Rubinstein, who was organizing a Stravinsky chose to end the Divertimento new ballet company. The artist Alexander without any music from the tragic close If the first movement suggests opera buffa, Benois, an old friend and colleague of of the ballet, which, no doubt, would have the slow movement seems to suggest a seri- Stravinsky’s, acting on Rubinstein’s behalf, detracted from the cheerful title that he had ous aria for a pianist rather than a singer. submitted two proposals to the composer; concocted for this concert work. The accompanimental figures (especially one of them he jumped at instantly: a work the repeated triplets) are operatic stereo- inspired by the music of Tchaikovsky. Wolfgang Amadè Mozart types, and the soaring melody, while per- Piano Concerto No. 21 in C major, fectly suited to the piano, has the kind of Stravinsky decided to use a story by Hans K. 467 languishing grace that a prima donna could Christian Andersen, The Ice Maiden, as work wonders with. The melodic lines
the source of his scenario. Working with Johannes Chrysostomus Wolfgang Gottlieb that climb to an early peak then gradually Week 9 the music of Tchaikovsky was a labor of Mozart, who began calling himself Wolfgang descend in graceful arcs call for a bel canto Friday, August 15, 2008 | 6pm | Aspen Chamber Symphony
treatment from the instruments that get to court dance. Strauss has drawn sing this delicate melody. The muted strings upon music composed in 1901 and the passing chromaticisms suffuse the for an abortive ballet based whole with a tinge of melancholy. on Watteau’s painting, The Embarkation for Cythera. In the final rondo we are back in the realm of opera buffa, with the orchestra play- Strauss’s ability to charac- ing straight man to the piano’s jester. The terize the flamboyant en- orchestra presents a perky little tune echoed ergy of The Fencing Master very briefly by the piano. But things seem is wittily evident. about to turn rather more grandiose. An orchestral tutti sets up the cue for the Entrance and Dance of the pianist’s next entrance; the piano starts with Tailor offers a gavotte for the Strauss drew upon music from a ballet inspired by Jean-Antoine what could be the beginning of a heroic ges- Watteau’s The Embarkation for Cythera, 1717. entrance of the tailor, followed ture—a theme rising in slow notes through by a polonaise. the triad—but suddenly it turns again to hal, with limited success. Owing to the cheerful laughter (though the horns quietly multiple versions, the present suite took from The Minuet of Lully is actually a number echo the grand gesture behind the fun). And 1915 to 1919 to reach its final form. Strauss that Lully wrote for the original pro- on it goes, throughout this delicious rondo conducted the first performance in Salz- duction of Molière’s play in 1670, here until, at the final return of the rondo theme, burg on January 31, 1920. The score calls adapted by Strauss. the soloist races off in a burst of high-spir- for two flutes (both doubling piccolo), two ited runs to close the concerto. oboes (second doubling English horn), two The Courante was newly added to the clarinets, two bassoons (second doubling con- score for the revision of 1918. Richard Strauss trabassoon), two horns, trumpet, trombone, Le bourgeois gentilhomme Suite, op. 60 timpani, snare drum, tambourine, triangle, The Entrance of Cléonte draws upon two bass drum and cymbal, cymbals, glocken- passages from Lully: first a sarabande Richard Georg Strauss was born in Munich spiel, harp, piano, and strings (specified as composed for Molière’s George Dandin, on June 11, 1864, and died in Garmisch- six first violins, no seconds, four violas, four then as the contrasting middle section, a Partenkirchen, Bavaria, on September 8, cellos, and two basses). dance featuring the woodwinds (punctu- 1949. Le bourgeois gentilhomme Suite ated by a triangle) drawn from the 1670 is the last of a series of reworkings from the ollowing the extraordinary success score for Le bourgeois gentilhomme. music that he had composed for a theatrical Fof Der Rosenkavalier, Strauss had to evening designed by Hugo von Hofmannst- face the question of what he could write The Prelude to Act II also appeared in next. Strauss and Hofmannsthal (librettist the 1912 work, the original Ariadne auf Saturday, August 16 for Der Rosenkavalier) collaborated on a Naxos opera. German version of Molière’s Le bourgeois Concerts/performances gentilhomme, in which the closing scene The Dinner is filled with musical in-jokes. Aspen Festival Orchestra would be turned into something musical. It begins with an entrance march for the Dress Rehearsal guests, and a series of courses identified Benedict Music Tent • 1 pm • $15, Incidental music is almost never heard musically and followed by the opportunity ticket also good for 8/17 dress rehearsal except when the play is actually performed, for some (musical) conversation: The fish Music on the Mountain and Strauss chose to prepare a concert suite is salmon (a quotation from Wagner’s Ring Aspen Mountain • 1 pm • Free by drawing together nine musical numbers tells us that it must have been caught in from the score composed for the play. the Rhine). The meat is mutton (the sheep Chamber Music from Strauss’s own ). A lovely Harris Hall • 4 pm • $46 Don Quixote The Overture was actually the overture to meditation for cello follows, perhaps for Aspen Opera Theater performs the original Ariadne auf Naxos produc- no better reason than that thinking of Don Massenet’s Cendrillon tion of 1912. It is a modern pastiche of Quixote made Strauss think of the instru- Wheeler Opera House • 7 pm Baroque musical gestures, designed to ment featured in that score. Roasted song- • $80, $25 characterize M. Jourdain, the title char- birds are identified partly by the larks heard A Recital by Marc-André Hamelin, piano acter, a wealthy bourgeois who believes at the beginning of Der Rosenkavalier (and, Harris Hall • 8 pm • $46 his riches can elevate him to the status of for some strange reason, Verdi’s “La donna
Week 9 gentleman—for which he lacks both the é mobile”). Finally an omelette surprise is CLASSES taste and education. marked by the sudden arrival of a kitchen Opera Scenes Master Class: boy who performs a lively, suggestive waltz, Edward Berkeley, director The Minuet accompanies Monsieur though Strauss’s music is filled with simple Wheeler Opera House • 10 am • $35 Jourdain’s attempts to learn this elegant joie de vivre. Saturday, August 16, 2008 | 4pm | Harris Concert Hall | David Zinman, Music Director | Alan Fletcher, President and CEO
Chamber Music
Mahler/Schoenberg Lieder eines fahrenden Gesellen (1860–1911/1874–1951) (Songs of a Wayfarer) (1883–85; ?1891–96/1921) c. 18' Wenn mein Schatz Hochzeit macht Ging heut’ Morgen übers Feld Ich hab’ ein glühend Messer Die zwei blauen Augen von meinem Schatz David Williams, baritone Mark Sparks, flute Bil Jackson, clarinet Ya-Lin Hsu, harmonium Daniel Morphy , percussion Brett Hodgdon, piano Eric Halen, violin Ray Chen, violin Vesselin Todorov, viola Kathryn Austin, cello Bruce Bransby, bass James Feddeck, conductor
Sydney Hodkinson Bricks: Concerto Fantasia for Violin and Chamber Sextet (2004) c. 18' (b. 1934) Aspen Contemporary Ensemble Donovan Seidle, violin solo Shanna Gutierrez, flute Lisa Raschiatore, clarinet Nicholas Jeffery, viola Nicholas Finch, cello David Friend, piano Gina Ryan, percussion Young Ji Kim, celesta Sydney Hodkinson, conductor
Schubert Piano Sonata in B-flat major, D. 960 (1828) c. 40' (1797–1828) Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo Claude Frank, piano
The residency of the Aspen Contemporary Ensemble is made possible by an endowment gift from Susan and Ford Schumann.
Clos du Val is the official wine of the Aspen Music Festival. Fiji Water is the official bottled water of the Aspen Music Festival and School.
The Aspen Music Festival and School uses Steinway and Boston pianos, designed by Week 9 Steinway & Sons; Steinway & Sons is represented in Colorado exclusively by Wells Music. Saturday, August 16 2008 | 4pm | Chamber Music
Gustav Mahler/ regularly accepted as part of the repertory aspect, which is evoked not only by its im- Arnold Schoenberg of the ever-conservative Vienna Philhar- provisatory character, which often seems Lieder eines fahrenden Gesellen monic. Reduction to chamber orchestra to be in a world of its own, but also by the (Songs of a Wayfarer) size was essential to keep costs contained, somewhat unusual formal structure. The but it also furthered Schoenberg’s belief design is devoid of any ‘development’ of n 1883 the twenty-three-year-old that the aesthetic substance of an or- material in the traditional sense; rather, it IMahler was an impatient, occasionally chestral work could often be presented evolves from the constant accretion of five insubordinate second conductor at the more clearly in a transcription for fewer sonic fragments (“Bricks”), each one jux- opera house in Kassel. Not for the last instruments. During the second year of taposed in varying lengths, dynamics, and time in his distinguished career as opera the Society’s existence, one of the works placements during the work’s time span. conductor, he became infatuated with one heard in a chamber transcription was of the sopranos on the company roster, Mahler’s Wayfarer Songs. The manuscript However the final shape of the entire edi- Johanna Emma score and parts fice might be perceived as being mortared Richter. What- of this arrange- together into four ‘rooms’: introductory- ever emotional ment are now to slower-fast-slow. Three contrasting, but relationship be found in the pulse-related tempos are used throughout; existed between Arnold Schoen- placid (very slow), andante (moderato) them, Mahler berg Institute and vivace (very fast) marked Lento, found it opaque at UCLA; the Moderato, and Presto—which constantly and impossible to arranger is not reoccur in shifting blocks. understand. He identified. There wrote to a friend is evidence in the Bricks is scored for a solo violin accompa- about writing six correspondence nied by three duos: flute and clarinet (with songs dedicated of the Society a large role given to the bass clarinet), key- to her, the cycle that arrangements board percussion (primarily vibraphone that would be- were often started and marimba) and piano, and viola and come Songs of a by Schoenberg violoncello. Smaller parts are additionally Wayfarer. Early and completed assigned to celesta and triangle, played by in the 1890s he by an assistant or the ensemble members. completed a ver- else begun by a sion of the songs less experienced The score, completed in November 2004
in full score, but Gustav Mahler, 1885. musician and in Ormond, Florida, was written as a he held onto it in subsequently memorial to the American English horn order to polish and refine the orchestral revised by Schoenberg or one of the player Philip West (1931-2004), a friend colors—and that was exactly what he did, other senior musicians. It is likely, then, of long-standing. The work was commis- probably during 1894 and 1895. that Schoenberg played some role in this sioned jointly by the Hanson Institute of chamber transcription, but its exact extent American Music at the Eastman School of Among cultural undertakings in Austria can probably never be determined. Music, Rochester, New York, and the following the catastrophe of World War Aspen Music Festival and School. It I, the Society for Private Musical Per- Sydney Hodkinson received its first performance on July formances surely ranks high. Organized Bricks: Concerto Fantasia for Violin 14, 2005 by the Aspen Contemporary largely by Arnold Schoenberg and a circle and Chamber Sextet Ensemble with Stephen Myacki, violin of his students and friends with the aim of soloist and the composer conducting. presenting carefully prepared performanc- his composition grew out of the per- es of contemporary music, the Society Tsonal desire to celebrate the life, and —©Sydney Hodkinson only lasted as a regular organization for honor the memory, of a departed friend. three years, though it continued to give The piece is not a customary lamenting me- Franz Schubert occasional concerts for another two years. morial, although I naturally trust that the Piano Sonata in B‑flat major, D. 960 The music was to be performed before an more elegiac moments will be clearly heard. audience of members and their guests; no Instead, I strove to write a work that I felt or a long time, Schubert’s piano journalists were allowed to write reviews my friend would have enjoyed hearing. Fsonatas were belittled by compos- of the concerts. ers and scholars, largely because they
Week 9 The subtitle connotes two facets of the were not Beethoven’s. In recent decades, In addition to premieres of important solo violin part: (a) the concerto aspect, pianists have rediscovered their particular new works, the Society also performed which needs little comment; the demands charms and the special personality that is arrangements for chamber orchestra of on the soloist’s stamina, dexterity and Schubert’s. In particular—and especially recent masterpieces that had not yet been finesse are innumerable; (b) the ‘fantasy’ to be noted throughout the B-flat major Saturday, August 16 2008 | 4pm | Chamber Music
sonata—is Schubert’s magical control of 31 March 1824 mood through harmony, the sometimes Dear Kupelwieser! surprising shifts of major and minor, For a long time I have felt the urge to write to you, but I never knew where to turn. Now, however, whether in closely related keys or very [Johann Carl] Smirsch offers me an opportunity, and fi nally I can once again fully pour out my soul distant ones. to someone. For you are so good and honest, you will be sure to forgive many things which others Th e very beginning of the sonata is might take in very bad part from me. utterly imbued with that wonderful lyri- In a word, I feel myself the most unhappy and wretched creature in the world. Imagine a man whose cism that is Schubert’s great gift, broad health will never be right again, and who in sheer despair over this ever makes things worse and and solemn, yet with a touch of mystery worse, instead of better; imagine a man, I say, whose most brilliant hopes have perished, to whom from a hushed trill in the bass at the end the happiness of love and friendship have nothing to offer but pain, at best, whose enthusiasm (at of the fi rst phrase. And his harmonic palette is as rich as ever, drawing upon least of the stimulating kind) for all things beautiful threatens to disappear, and I ask you, is he not a the tiniest idea (such as a small chro- miserable, unhappy being? matic movement in the bass line near the “My peace is gone, my heart is sore, I shall fi nd it never and nevermore,” I may well sing again every end of the second phrase) and using it for day, and each morning but recalls yesterday’s grief. Thus, joyless and friendless, I should pass my local expression and to fi nd surprisingly days, were it not that [Moritz von] Schwind visits me now and again and shines on me a ray of those natural ways to very distant keys—and sweet days of the past. then back again. Our society (reading society), as you probably know already, has done itself to death owing to a reinforcement of that rough chorus of beer-drinkers and sausage eaters, for its dissolution is due in a couple of days, though I have hardly visited it myself since your departure. [The pianist and music publisher Maximilian] Leidesdorf, with whom I have become quite well acquainted, is in fact a truly thoughtful and good fellow, but so hugely melancholic that I am almost afraid I owe him more than enough in that respect; besides, my affairs and his go badly, so that we never have any money. The opera [Fierabras] by your brother [Josef] (who did not do any too well by leaving the theater) has been declared unusable, and thus no use has been made of my music. Castelli’s opera, Die Verschworenen, has been set in Berlin by a local composer and received with acclamation. In this way I seem once again to have composed two operas for nothing. Of songs I have not written many new ones, but I have tried my hand at several instrumental works, for I wrote two string quartets and an octet, and I want to write another quartet; in fact, I intend to pave the way towards a grand symphony in that manner. The latest in Vienna is that Beethoven is to give a concert at which he is to produce his new symphony, three movements from the new Mass, and a new Overture. God willing, I too am thinking of giving a similar concert next year. I will close now, so as not to use too much paper, and kiss you 1,000 times. If you were to write to me about your present enthusiastic Franz Schubert and company playing charades. mood and about your life in general, nothing could more please, Th e slow movement is one of Schubert’s Your faithful friend, most poignant and profound, with ambivalent harmonic play between major and minor. A theme fi rst heard in C-sharp Frz. Schubert minor is later harmonized in E major, and of outward cheerfulness becomes internal- way to bring us around to the home B-fl at vice versa. What is major? What is minor? ized and private. at the end of the phrase. But it becomes Th e movement closes richly and gracefully embedded elsewhere in the movement in in C-sharp major with a serene tolling of Th e Finale’s catchy rondo theme suggests a ways that shift the harmony, and the mood, bells in the accompaniment. lively, even witty ending; it is, certainly, full quite suddenly beneath the cheerful surface of delightful touches, starting from the hint of the dance rhythm. Th is Joie de vivre It is time for something altogether lighter, at fi rst that it will be in C minor and not in intermingles with wistfulness, twice break- and Schubert provides a scherzo of great the sonata’s home key of B-fl at. Yet at the ing out in a marchlike section that seems delicacy (even indicating that character very beginning Schubert explicitly recalls driven by rage, though gradually the storm in his tempo marking). Yet even here, in the chromatic bass fi gure from the open- passes and the rondo theme reasserts itself. the liveliness of the dance, the harmonies ing movement (a G repeated fi ve times, However cheerful it might seem at some
lead us into surprising places. Th e dance then dropping to G-fl at, and downward to of its appearances, Schubert turns it, in the Week 9 rhythm continues in the Trio, yet all trace F). He uses this fi rst in a straightforward end, into a fi erce Presto coda. Saturday, August 16, 2008 | 8pm | Harris Concert Hall | David Zinman, Music Director | Alan Fletcher, President and CEO
A Recital by Marc-André Hamelin, piano
Haydn Piano Sonata in F major, Hob. XVI/23 (1773) c. 10' (1732–1809) Allegro moderato Adagio Finale: Presto
Piano Sonata in B-flat major, Hob. XVI/41 (before 1784) c. 10' Allegro Allegro di molto
Alexis Weissenberg Sonate en état de jazz (Sonata in a State of Jazz) (1982) c. 30' (b. 1929) Evocation d’un tango Réminiscence d’un Charleston Reflets d’un blues Provocation de samba
Intermission
Chopin Barcarolle in F-sharp major, op. 60 (1845–46) c. 9' (1810–1849) Ballade No. 3 in A-flat major, op. 47 (1841) c. 7'
Marc-André Hamelin Etude No. 8, “Erlkoenig” (after Goethe) (1984–) c. 5' (b. 1961) Etude No. 7 (after Tchaikovsky) (1984–) c. 5'
Godowsky from Three Symphonic Metamorphosen c. 12' (1870–1938) on Themes of Johann Strauss, Jr. (1912) Wine, Women, and Song
Sponsored by Victoria and Ronald Simms Week 9 Clos du Val is the official wine of the Aspen Music Festival. Fiji Water is the official bottled water of the Aspen Music Festival and School. The Aspen Music Festival and School uses Steinway and Boston pianos, designed by Steinway & Sons; Steinway & Sons is represented in Colorado exclusively by Wells Music. Saturday, August 16, 2008 | 8pm | A Recital by Marc-André Hamelin
Franz Joseph Haydn It is altogether likely that the set of three aydn composed keyboard sonatas piano sonatas, his first works dedicated to Hover a span of three decades, from her, were composed as a wedding present the mid‑1760s to the mid‑1790s. His in 1783. All three sonatas contain just earliest keyboard works were composed two movements rather than the more largely under the inspiration of Emmanu- normal three. Each movement is a marvel el Bach, but his own creative drive found of invention and imagination, with its original solutions to artistic problems, full quota of surprises. The B-flat sonata and he used the keyboard sonata as a begins with a movement in sonata form kind of laboratory over the years to work (the only one in the set; the other first through “private” trials of musical issues movements are in variation form). Its em- that might eventually turn up in such phasis on a single rhythmic figure projects “public” works as the symphonies. a marchlike character.
The reasoned argument of the sonata was The last movement is very lively, with a more often presented in private circum- linear texture that sometimes suggests stances, rarely with more than a handful of the character of a contrapuntal invention. listeners. During Haydn’s lifetime, the pub- Franz Joseph Haydn An eighteenth-century player might have lic concert became more and more the place found the biggest challenge in the middle where sonatas and similar works might be ahead. The development section brings in section, which goes to B-flat minor. A key heard, and his own works for solo piano re- some harmonic surprises and then virtu- signature of five flats was all but unknown flect this fact, becoming at times somewhat ally explodes on flashes of brilliant broken at the time. more extrovert and grandiose as compared chords, a degree of virtuosity not often to the more galant works of his youth. The called for by Haydn (who was not himself This work contains elements that were change is also marked by a gradually more a virtuoso keyboard player), though it sug- somewhat daring for the day and dem- consistent reliance on the technical features gests some influence from Scarlatti. onstrate Haydn’s evaluation of Marie of the piano. Hermenegild’s musicianship, including The other two movements are less sur- some rather subtle chromatic inflections Piano Sonata in F major, Hob. prising yet full of delights. The Adagio in the first movement and the lightly XVI/23 sings a richly decorated lyrical song in the polyphonic character of the last, which minor, which encourages some expressive threatens to become “learned” before dis- hen Haydn composed this sonata harmonic turns in the second half as it solving in graceful charm. Win 1773 (one of six keyboard so- comes back to the home key. The Finale natas he wrote that year), he had been in shows Haydn already at his playful best, Alexis Weissenberg the service of Prince Nikolaus Esterházy toying with a concise simple figure that Sonate en état de jazz (Sonata in a for a dozen years, and he had clearly grown exudes wit, then shaping a witty move- State of Jazz) to appreciate his good fortune in finding a ment out of it. position with such an enlightened and mu- sonata in a state of jazz, like someone sical patron. Indeed, he said as much in the Piano Sonata in B‑flat major, Hob. Ain a state of inebriation, hysteria, in- dedication. Of course, dedications to aris- XVI/41 fatuation, or inspiration, is not in a normal tocrats who paid your salary were naturally state. The resulting shock, the consequenc- fulsome in their praise, but Haydn points his sonata was published in 1784, es, palpitations, excessive enthusiasm, and out that one quality he particularly admires Tthe second of three sonatas in a set drunkenness of the soul, force it to operate in the prince is, “a total possession of music, dedicated to Princess Marie Hermene- within a cubist logic, which only appears not only the violin and the baryton, which gild of the house of Liechtenstein, who, to be lucid when placed in the context of a you play exquisitely and at the level of any the year before, had married the grand- certain kind of madness. professional…. ” Haydn had learned that son of Haydn’s patron, Prince Nikolaus his prince could and did recognize quality Esterházy (the grandson would be I have subjected a classically constructed and novelty. Nikolaus II when he assumed the title). composition to what I would call “con- In later years Haydn dedicated three of tamination by jazz.” Four personalities, In the case of the F major sonata, the his greatest piano trios (sent back from indigenous to four specific locales—Bue- Allegro moderato starts out as a chipper London) to the princess. It was for her nos Aires, New York, New Orleans, and little major-key work like so many others, name‑day in six consecutive years that he Rio de Janeiro—are united by a common charming and lively. But a purple patch—a composed the six great Masses that mark language which harks back to 1925 or
sudden brief excursion to the minor— the final sustained effort of his composi- thereabouts, but whose writing is inspired Week 9 warns us that there will be surprises tional career. by the jazz of the 1950s; the tango, the Saturday, August 16, 2008 | 8pm | A Recital by Marc-André Hamelin
Charleston, the blues, and the samba all ous harmonies gives the music a constant unquestionably have their own individual light-headed sensuality. The tunes, in personalities, but more significantly they tandem with the harmonic climate, evoke, all have specific characteristics which both recount, claim, or condemn the memory differentiate and identify them organi- of a recent and distant past—a lost loved cally, beyond concerns of rhythm or style. on or an exotic beach, real or imagined. This feeling has a specific name in Bra- The tango, usually played by a small zil—saudade. More physical than “nostal- group including piano, accordion, drums gia,” and more ambiguous than Sehnsucht and violin, is written in four beats to (the search for something once seen, in the bar. The intentionally mechanistic German), the word has no direct English repetitiveness and implacability of its equivalent, the saudade being a tribal state pulsating chords give the tango a some- of mind, whose verbal, tangible, and aural what fatalistic character. As if seeking to concept remains enigmatic, even when avoid some kind of eventual imprison- expressed through ritual. Thus it retains ment, the melody charts its own way, as its mysterious and attractive qualities if its existence hinged on the freedom of because it can only be felt while in a its own style. The juxtaposition of these hypnotic state. two contradictory elements creates a poignant feeling. The steps of the tango Finally, having placed so much stress on force two bodies entwined and absorbed Alexis Weissenberg the moods of intoxication, contamination, in one another to bend, bow, break, drunkenness, paroxysm, hysteria, palpita- twist, and flip to the sound of a single melodies and harmonies are made to tion, and madness which fuel this work, I particular note, word, or harmony. The function more as background, becom- find myself in a state of urgent obligation result is never very far from melodrama, ing inconsequential. The Charleston is to swear solemnly that I have written this but it still remains dramatic. From this danced individually, both participants sonata in a state of indisputable sobriety! formula, I have retained two elements being apart from one another. Its synco- as basic material: pathos, and a certain pations are characteristically mechanistic —©Alexis Weissenberg: translated from declamatory style. The fact that this and seem to evoke, both visually and au- the French by Marc-André Hamelin. The movement is intentionally written in rally, the accelerated appearance and the original text was taken from the preface to three-quarter time erases the dominating characteristic abruptness of silent films the score, published by Mario Bois, Paris. rhythm. However, if we were to split the from the same era. There is still room for measures into groups of four, we would elegance, but what predominates is thirst Frédéric Chopin naturally recognize the inexorable pulse for fun and appetite for laughter. Barcarolle in F-sharp major, op. 60 of a heart beating in common time; thus Ballade No. 3 in A-flat major, op. 47 this slowing-down effect creates an un- The blues is, above all, a cry of solitude, real kind of distant memory, sentimental, and sometimes a confession of loneliness. barcarolle is literally a “boat song.” but temporally frozen. A voice, a saxophone, a trumpet, or a solo A The genre comes from Venice, clarinet attempt to express this while try- where the gondoliers presumably sang The Charleston, on the other hand, is ing to be heard beyond an enclosed space. them while plying the canals (or so we a dance which is essentially dependent An aura of melancholy is created by the judge from Gilbert and Sullivan’s The upon the geometry of its rhythm. Here, vague quality of the rhythmic contour, Gondoliers). Today the best known and also by underlying harmonies which, examples are operatic—especially the though blurred and troubled, are sophis- famous lilting theme in Offenbach’s Tales Sunday, August 17 ticated by their very nature. The melody of Hoffmann—but Chopin’s only work is like the snake that follows a path as entitled Barcarolle in F-sharp major, op. Concerts/performances it goes to die in the desert. The blues 60 has long been a favorite. He evidently Aspen Festival Orchestra Dress Rehearsal is danced by two people, without strict spent a great deal of effort polishing it Benedict Music Tent • 9:30 am • $15— rhythmic precision, but still with a sense to his satisfaction, since he mentioned in Ticket also good for 8/16 dress rehearsal of continuity. The dancers glide, hesitate, letters dating from 1845 and 1846 that Aspen Festival Orchestra teeter, falter, freeze, and begin again, as if he still wanted to “finish” the piece. The Benedict Music Tent • 4 pm • $72 they were nearing a final separation. The summer of 1846 was the last that he was
Week 9 mood is one of infinite melancholy, and to spend at Nahant with his mistress, Lectures the tonal color is that of the night. the novelist whose pen name was George Prelude: Preconcert Talk: Sand. In her writings, she referred to Asadour Santourian, speaker With the samba, the sun bursts forth. A the steady decline in his health as his Paepcke Auditorium • 3 pm • Free mixture of paroxystic rhythms and luxuri- body slowly succumbed to consumption. 10 11 Saturday, August 16, 2008 | 8pm | A Recital by Marc-André Hamelin
Regardless of Chopin’s evident feeling deployed and developed to build tension that the Barcarolle was “not finished,” at masterfully to the grandiose climax, then least to his supremely high standards, the melting to a reversed restatement (with work has long been a favorite. After an the second theme appearing in its original arresting introduction, the main body of key at the end of a modulation from the the piece gets underway with a melody in climax) and the first theme closing the the style of a popular song over a guitar work again in A-flat. accompaniment. Throughout the piece, though it is in every sense pianistic, it Marc-André Hamelin hints at a vocal quality that is utterly Etude No. 8, “Erlkoenig” (after Goethe) endearing. Etude No. 7 (after Tchaikovsky)
Chopin’s four ballades are among the y Etude no.8 is a setting for solo largest and most grandly conceived of Mpiano of Goethe’s poem Erlkoenig Leopold Godowsky Chopin’s works. Though they differ in (The Erl-King) which conforms so closely many respects from the achievements of to the poem that, in theory at least, it Leopold Godowsky the classical sonata, they are still remark- could be sung. Aside from the fact that from Three Symphonic ably classical in the homage they continue I repeated the first four lines for musical Metamorphosen on Themes of Johann to pay to the patterns of harmonic tension reasons, I have closely followed Goethe’s Strauss, Jr. and release characteristic of Mozart and original text. Beethoven. At the same time, Chopin eopold Godowsky was one of the invented something new with these works, The composition of this etude was a Lgreatest of the virtuoso pianists of since a “ballad” is a narrative poem or fascinating creative act, unlike anything the turn of the century. Born in Poland, song, and the listener can justifi- he was raised in Russia and studied brief- ably expect some kind of unfolding ly in Berlin before making his first tour “story” in a composition that bears of North America at the age of fourteen. the title “ballade.” These are not, In 1890 he accepted a teaching position however, program pieces with a at the New York College of Music and plot or scenario buried in them, settled in the United States. He toured but rather extended compositions all over the world until a stroke in 1930 that seem to be unfolding a series ended his performing career. of moods that might imply an un- stated story. Chopin accomplishes His own music, much of it transcrip- this by novel uses of traditional tions obviously intended for his own use, methods—particularly by draw- reveled in near-superhuman difficulty for ing heavily on the sonata idea, the sheer pleasure of overcoming adver- usually basing the work on two sity. Twice he turned works of the Waltz dramaticly contrasting thematic King, Johann Strauss the younger, into
ideas. The first ballade is in 6/4 The Erlkönig, drawing by Albert Sterner, 1910. ultra-virtuoso showpieces. In 1912 he time, the others in 6/8 time, and published three Strauss waltzes arranged this compound meter has been identified I’d ever done before, and it was interesting into brilliant piano transcriptions that as a “narrative” rhythm. to see that one can do something of this so enriched the textures of the waltzes in kind without being in the least influenced question that he referred to them as “sym- Ballade No. 3 in A-flat major, op. 47 by an overpowering precedent, in this case phonic metamorphoses.” And in 1928 he grows out of two motives contained in the Schubert’s celebrated setting. did the same thing—but compounded the opening bars—a bit of an ascending scale challenge by making it a work for the left and a two-note response. The continua- Etude No. 7 is a relatively straightforward hand only—for the “Treasure Waltzes” tion subtly hints at a contrapuntal layout, arrangement for the left hand alone of from Strauss’s operetta The Gypsy Baron. the melody being placed in the bass. The one of Tchaikovsky’s early songs, his Lul- Unlike the earlier three “metamorphoses,” 6/8 meter gives rise to a consistent iambic laby, op.16 no. 1. It presents difficulties which were published, he kept the left- pattern in the rhythm which dominates mainly in the area of textural control and hand piece his sole property, and it was both the opening material, in A-flat, and intricate pedaling. only published three years after his death. the rocking second theme, in F major. Though Chopin plays rather freely with Both of these pieces belong to a set of Even with two hands, Godowsky’s ar- the form, the single-movement work twelve etudes in all the minor keys. rangements are designed to stun listeners
unfolds with a distinct bow to sonata with the transcendent virtuosity applied to Week 9 form, in which the contrasting themes are —©Marc-André Hamelin this much-loved and very familiar waltz. 10 11 Sunday, August 17, 2008 | 4pm | Benedict Music Tent | David Zinman, Music Director | Alan Fletcher, President and CEO
Aspen Festival Orchestra David Zinman, conductor Pär Lindskog, tenor (Waldemar) Measha Brueggergosman, soprano (Tove) Lilli Paasikivi, mezzo-soprano (Wood-dove) Anthony Dean Griffey, tenor (Klaus the Jester) Gustav Andreassen, bass (Peasant) Thomas Paul, speaker The United States Army Chorus Captain Scott McKenzie, chorus director Colorado Symphony Orchestra Chorus Duain Wolfe, chorus director
Schoenberg Gurre-Lieder (1900–01, 1901–03, 1910–11) c. 107' (1874–1951) Part I Orchestral Prelude Nun dämpft die Dämmrung jeden Ton (Now dusk mutes every sound) O, wenn des Mondes Strahlen milde gleiten (O when the moonbeams softly glide) Ross! Mein Ross! Was schleichst du so träg! (Horse, my horse, why this dragging pace?) Sterne jubeln, das Meer, es leuchtet (The stars rejoice, the shining sea) So tanzen die Engel vor Gottes Thron nicht (Never have angels danced before the throne of God) Nun sag ich dir zum ersten Mal (Now for the first time I say) Es ist Mitternachtszeit (‘Tis midnight) Du sendest mir einen Liebesblick (You send a loving glance at me) Du wunderliche Tove! (Extraordinary Tove!) Orchestral Interlude Tauben von Gurre! (Doves of Gurre!)
Intermission
Sponsored by Mr. and Mrs. Sid R. Bass Local business support provided by The Silvertree Hotel Week 9 Clos du Val is the official wine of the Aspen Music Festival. Fiji Water is the official bottled water of the Aspen Music Festival and School. The Aspen Music Festival and School uses Steinway and Boston pianos, designed by Steinway & Sons; Steinway & Sons is represented in Colorado exclusively by Wells Music. 12 13
Part II Hergott, wesst du, was du tatest (Lord God, do you know what it was you did)
Part III Erwacht, König Waldemars Mannen wert! (Arise, king Waldemar’s noble men) Deckel des Sarges klappert und klappt (Coffin lids rattle and clatter) Gegrüsst, o König, an Gurresees Strand! (Greetings, King, here on the shore of Gurre!) Mit Toves Stimme flüstert der Wald (with Tove’s voice whispers the wood) Ein seltsamer Vogel ist so’n Aal (A strange bird is the eel) Du strenger Richter droben (You harsh judge above) Der Hahn erhebt den Kopf zur Kraht (The cock, about to crow, raises his head) Des Sommerwindes wilde Jagd (The wild hunt of the summer wind) Orchestral Prelude Herr Gänsefuss, Frau Gänsekraut (Sir Goosefoot, Lady Amaranth) Seht die Sonne (Behold the sun)
Week 9
12 13 Sunday, August 17, 2008 | 4pm | Aspen Festival Orchestra
Arnold Schoenberg Gurre-Lieder (Songs of Gurre)
Arnold Schönberg was born in Vienna on September 13, 1874, and, having changed the spelling of his name to Schoenberg after coming to the United States in 1933, died in Brentwood Park (Los Angeles), Califor- nia, on July 13, 1951. He composed most of Gurre-Lieder in March and April 1900, and completed the piano score by March 1901, after nearly a year’s interruption. The full orchestration had to wait almost a decade, and it was completed on November 7, 1911. By that time, Part I had already been performed (in a piano arrange- ment for eight hands by Anton Webern) on January 14, 1910. The first complete performance was given in Vienna on Febru- ary 23, 1913; Franz Schreker conducted The Musikverein in Vienna where Gurre-Lieder was first performed. the Tonkünstlerorchester (Tonkünstler Orchestra) and the Philharmonic Chorus, become a completely different composer. duce a full score. Of course, an operetta enlarged by the addition of the Mercantile If audiences expected more of the same would be scored for a modest theater Choral Society. The soloists were Hans Na- from him, they were to be very much orchestra of about two dozen players. chod and Martha Winternitz-Dorda (who surprised because of the degree to which But for Gurre-Lieder, Schoenberg called had sung the roles of Waldemar and Tove his musical style had changed over the for one of the largest orchestras ever to in the earlier, partial, performance), Marya decade between the composition and be assembled—with twenty-five instru- Freund (Wood-Dove), Alexander Nosale- performance of Gurre-Lieder. ments in the woodwind section alone, wicz (Peasant), Afred Boruttau (Klaus the to say nothing of another two dozen Jester), and Ferdinant Grigori (Speaker). The gigantic Gurre-Lieder fits well into brasses, a dozen percussion instruments, the series of works scored for huge en- four harps, celesta, and about eighty The score calls for six vocal soloists sembles that made challenging demands stringed instruments. And that listing, (soprano, mezzo or contralto, two tenors, on performers by composers like Strauss of course, fails to take account of the bass, and speaker), three four-part men’s (Elektra) and Mahler (Symphony No. vocal soloists in very challenging parts, choruses, eight-part mixed chorus, and 8, “Symphony of a Thousand”). Both and hundreds of choral singers. Mahler’s an orchestra of eight flutes (four doubling of these were composed and performed so-called “Symphony of a Thousand” is piccolo), five oboes (two doubling English after March 1901, the year Schoenberg normally performed with roughly 250 to horn), seven clarinets (two doubling E-flat completed the draft of his work and then 300 performers; Schoenberg’s Gurre- clarinet and two doubling bass clarinet), dropped it because it seemed unlikely Lieder might well exceed that by a sub- three bassoons and two contrabassoons, that he would ever get a performance. stantial number, depending on the size of ten horns (four doubling Wagner tubas), But it was precisely scores on that grand the choral groups. Little wonder that he six trumpets, bass trumpet, alto trombone, scale that suggested to him that he might despaired of getting a performance—the four tenor trombones, bass trombone, con- attempt a performance to see whether it miracle is that he finally did. trabass trombone, timpani, tenor drum, could be possible. When he led a per- cymbals, triangle, glockenspiel, snare formance in January 1910 of Part I with The inspiration for the “Gurre Songs” drum, bass drum, xylophone, ratchet, iron multiple pianos, and the orchestral part came from the work of a remarkable chains in a bucket, tamtam, four harps, arranged for four pianists, the response Danish writer Jens Peter Jacobsen celesta, and strings. was truly enthusiastic, which encouraged (1847–1885), who in a life cut off by him to proceed with the enormous task tuberculosis at age thirty-eight, wrote rnold Schoenberg enjoyed of orchestrating the whole piece. two influential novels in a naturalist Aone—and only one—unmitigated vein (his novel translated into English success at a world premiere of one of He was well-practiced in the art of as Marie Grubbe has caused him to be
Week 9 his works, and that was with his largest orchestration at this time because he identified as a forerunner of D.H. Law- single work, Gurre-Lieder. Ironically, had earned his living during much of the rence), worked as a scientist and bota- however, by the time the work was preceding decade by orchestrating some nist, and translated of works by Darwin performed, a dozen years after he had 6000 pages of operetta scores on behalf into Danish. His interest in psychology completed its composition, he had of composers who were unable to pro- shows up in many short stories that 14 15 Sunday, August 17, 2008 | 4pm | Aspen Festival Orchestra
influenced Thomas Mann and Henrik and was mistress of an earlier King and each morning…he found Tove in the Ibsen. His poetry influenced Frederick Valdemar. Gurre Castle, Tove’s residence reawakening of the beauty of the world.” Delius in the composition of Fennimore in the poem, was constructed later by and Gerda and inspired Schoenberg’s Valdemar Atterdag. The names and char- Schoenberg admired Wagner and learned huge and colorful score. acters became mixed up in Danish songs a great deal from his most chromatic and legends, which began to be written musical language. Indeed, a notorious Schoenberg encountered Jacobsen’s down a couple of centuries later, and they criticism of his early masterpiece Verk- poetic account of the ecstatic and tragic served as raw material for Jacobsen’s ver- lärte Nacht (Transfigured Night) was that, love of Waldemar and Tove in a transla- sion several centuries later still. “it looked as if the score of Tristan und tion published in 1899 as part of a com- Isolde had been smeared while the ink plete German edition of the works of As the ballads recount the story, Valde- was still wet.” It was a string sextet re- Jacobsen made by Robert Franz Arnold, mar discovers Tove (also called “Tove- counting a passionate love story entirely a professor at the University of Vi- lille,” or “little dove”) on a small castle in an abstract musical form as the inter- enna. Schoenberg’s enthusiasm for this on the Baltic island of Rügen. He wins pretation of a recent scandalous poem by “Danish Tristan” appears clearly Richard Dehmel. At about the time from the scope of the work that he he composed the sextet, Schoenberg planned, selecting passages from also encountered Jacobsen’s account Arnold’s translation. (A small of the “Gurre Songs” about this time. number of words and lines differ The tale has obvious musical pos- slightly from the published ver- sibilities, and an ardent Wagnerian sion, suggesting that Schoenberg like Schoenberg would have instantly might have had access to a draft of recognized the echoes of Tristan und the work before publication.) Isolde (in the lovers’ ecstatic passion) and The Flying Dutchman (in the end- Jacobsen’s original poem (entitled less search for the woman, with the Gurresange in Danish) comes from aid of a ghostly crew). Three months a book entitled En cactus springer after completing Verklärte Nacht, he ud (A Cactus Blooms). It offers a was deeply into Gurre-Lieder. framework in which five would-be suitors of a beautiful young woman His first thought with Gurre-Lieder pass the night telling stories wait- was to write a traditional song cycle, ing for a rare type of cactus to burst for voice (or perhaps voices) with into bloom. During the long hours piano. This was in response to a prize of waiting, each of the young men competition for a song-cycle offered tells a story. One of these is the by the Vienna Tonkünslerverein account of King Waldemar and (Composers’ Alliance). But he had Tove, which Schoenberg took for barely started when he realized that his piece. Jens Peter Jacobsen this material would require far greater scope than the recital stage. There is some historical truth in the tale her love, and after a few days of passion of Waldemar and Tove, but it was told he takes her home with him and builds As always when inspired, he wrote at a and retold so often that new elements of Gurre Castle as her residence. His wife, sizzling pace. When Alban Berg wrote folklore (especially the wild ghostly ride Helvig, seems acquiescent to the mistress, an extensive analysis of Gurre-Lieder in of Waldemar’s men) were added over the but she waits until her husband is away 1913, Schoenberg wrote to explain to centuries. In any case, the real historical- and attains a horrendous vengeance by him the sequence of the composition: political situations are scarcely relevant to inducing her lover to lock Tove in her Jacobsen’s poem or Schoenberg’s music. bath and to force a stream into the room In March 1900 I composed parts I Valdemar IV Atterdag, reigned in Den- causing Tove to die in agony. Valdemar is and II as well as much of Part III. mark from 1340 to 1375. He married so devastated that he rages and presumes Then long pause, filled with scoring Helvig (a fictitious name, but a politically to tell God how to run the universe. operettas. March (in other words opportune union with the sister of the For this blasphemy he is condemned, early) 1901, completed the remainder. Duke of Schleswig), who is treated by with his ghostly riders, to seek her every Then, instrumentation began in Au- the tales as the embodiment of feminine night, galloping wildly over the heavens, gust 1901 (again kept from it by other jealousy and vindictiveness, though this through forests and across the plains, work). I’ve after all always been kept characterization seems to be unsubstanti- spreading terror far and wide. But his busy from composing. Continued in
ated. There was apparently a historical love is so great that it overcomes death, Berlin in the middle of 1902. Then Week 9 Tove, but she lived two centuries earlier in that, “All nature spoke to him of Tove, big interruption because of oper- 14 15 Sunday, August 17, 2008 | 4pm | Aspen Festival Orchestra
etta scores…Thereupon let it be and salvation at the end of the work, it is The orchestra offers a vivid sense of abandoned it altogether! Took it up entirely suitable to begin the score with what is going on as the two meet in again in July 1910. Scored everything a musical depiction of fresh breezes, the their first rapturous embrace, but soon but the final chorus, completed that in coming dusk (the opposite of the sunrise they grow more tranquil. Almost with Zehlendorf [outside Berlin] 1911. at the end of the score), to prepare for the air of folksong Waldemar compares Waldemar’s eager anticipation of seeing the world dancing before him now with It was only natural for Schoenberg to Tove soon. But so far, he simply sets the the angels dancing around God’s throne. complain that his dreary work at scor- scene as darkness gathers. Tove’s reply For her part, Tove confesses her love ing operettas kept him from composing also celebrates the arrival of night and the directly to the king “for the first time” during the decade between the start and shimmering moonbeams. Schoenberg’s and gently teases him if he so much as finish of Gurre-Lieder. Hardly any artist depiction of this quiet moment at the thinks to tell her that she has said this in any field is happy with the amount of end of the day, with the anticipation of before. Again solo instruments—clari- time available for creation. But in fact wonderful things to come, is deliciously net, violin—encircle her gently soaring Schoenberg fails to mention that he delicate with his chamber-like treatment song—one that the orchestra extends composed a substantial number of other of the large woodwind ensemble and shot with sweet passion. pieces—works that completely changed through with flickering solo moments in his approach to music, which made it the strings. A dark turn then, as Waldemar notes impossible for him to continue on the the arrival of midnight, the “witching line of Gurre-Lieder, even after the very hour,” when mysterious and unholy successful premiere. Indeed, he told Berg things circulate in the world, anticipating (in the letter quoted above) that late in the arrival, at some time, of death. Tove the game he had “fixed up” four or five ignores these hints and returns instead to places, a matter of only a few measures, a gentle reminder that the night is their he said. Yet, he insisted, “These correc- day, their time of love. (The significance tions caused me more trouble than, in its of night as opposed to the hateful day, time, the whole composition.” when they are apart, is one of the most striking connections to Wagner’s Tristan, Schoenberg’s compositions, during the one that Schoenberg can scarcely have decade of his operetta scoring in- overlooked—and indeed, it seems from cluded the large tone poem, Pelleas und the music of this scene that he was thor- Melisande, op. 5; the String Quartet No. oughly aware of it.) 1 in D minor, op. 7; the Chamber Sym- phony, op. 9; the String Quartet No. The close of this extended depiction of 2, op. 10; the a cappella chorus Friede the lovers is Waldemar’s “Du wunderli- auf Erden, op. 13; the fifteen songs on che Tove”, which takes us back to the key Stefan George texts entitled The Book of the work’s opening—but since this is of the Hanging Gardens, op. 15, which not yet the end of the story, it does not included his first completely atonal provide confirmation or solidity. The composition; the Three Piano Pieces, Valdemar (Waldemar) IV of Denmark, as shown on a song and the orchestra restate musical fresco in Næstved’s Saint Peter’s Church. op. 11, the Five Pieces for Orchestra, ideas heard before, not only in this song, op. 16; Six Little Pieces of Piano, op. In response, Waldemar mounts his steed but in the continuation that ends Part 19; and Pierrot lunaire, op. 23. Clearly and rides impetuously to her, constantly I, the first appearance of a voice other he exaggerated in implying he could not urging his horse to faster speeds. The than that of the two lovers. An extensive compose at all; but it is also true that passage begins in C-sharp minor and orchestral interlude hints at the tragedy the works between his Opus 5 and his grows more and more urgent until he that has occurred; then we learn explic- Opus 23 took a great deal out of him draws near to Gurre Castle and catches itly what has happened. in terms of coming to grips with an en- sight of his love, whereupon Schoenberg tirely new approach to composition. By brings in a brilliant idea, a swooping Since Tove means “dove,” it is symboli- 1913 Schoenberg was living in a totally glissando in E major (the relative major cally appropriate for the Wood Dove to different musical world. of the opening key) on four harps, a so- recount the tragedy that follows—al- nority virtually never heard in the entire ways by implication, with musical The three Parts of the work differ greatly musical tradition. The same transition references to themes already heard.
Week 9 in length and character. Part I convinces from a minor key, tense and restless and We learn soon that Tove is dead, and us, in alternating monologues, of the eagerly watching, takes place in Tove’s that the king’s heart beats wildly. The overwhelming passion of Waldermar next song until Waldemar surges up the Wood Dove reports seeing the face and Tove. Since Nature is to be, in a staircase to her waiting arms in a joyous of the queen filled with “thoughts of sense, the representative of a kind of major-key outburst. vengeance” and holding a burning torch 16 17 Sunday, August 17, 2008 | 4pm | Aspen Festival Orchestra
on the battlements Waldemar makes a final as Waldemar reproof to God, threaten- returns bear- ing even to barge right ing the coffin of into heaven with his wild Tove. The Wood huntsmen. They, for their Dove describes part, hear the crowing of the king’s continu- the cock and know that ing torment, and it is time to slip back into the burial of Tove their graves until next (with the sound of they are called forth on the Angelus bell their wild ride. “O could in the orchestra), we but sleep in peace!” and finally the they conclude. chilling accusation that ends Part I of Another orchestral pas- the score: “It was sage, with high wood- Helvig’s falcon winds breathing over that slaughtered the deepest notes of the Gurre’s dove.” orchestra, bring the noise of the ghostly hunt to a Part II (the short- rest and evoke a mysteri- est section of the ous, though essentially work) restates tranquil, scene—the some of the music Wild Hunt of the Sum- at the end of Part mer Wind. And now, I as Waldemar against all expectation, berates God for after more than an hour allowing such a of singing, Schoenberg thing to happen. brings in a speaking voice And, as a king who for an extended passage, knows the value of original in its conception, having a jester in with the orchestra vividly the court to make reflecting the words of the king see things the text. (Schoenberg as they really are, actually wrote pitches Waldemar offers Piece of Gurre-Lieder manuscript. Arnold Schoenberg Center, Vienna (Nachlass Arnold Schoenberg, in the score, though he to play the role of MS 60). Holograph, sketches and fragment texts in German. insisted that they were to Jester for God. be approximated, to get whose death Waldemar has been unable the phrasing and accentuation; he was Part III takes place after Waldemar to reconcile. adamant, however, that the rhythms himself has died. We begin with a were to be followed precisely.) The reworking of music from his earlier Now comes one of the most surprising spoken monologue asks “What does expression of the possibility of tragedy moments of the score. Waldemar had the wind want?” and replies that it is when he noted (with Tove) that it was claimed that God needed a Jester to explain to bring in the sunshine of life—and midnight. He summons his vassals—all how things really were. Now Waldemar’s as if to describe more vividly what life ghostly apparitions like himself—to ride own Jester makes lively fun of all the deeply entails, the Viennese composer hints at forth to Gurre. A Peasant (baritone) emotional experiences that have been fragments of Viennese waltzes behind describes—with wonderfully effective presented to us up to now. He is sardonic, the speaker’s closing words. All of this orchestral expression—the haunting of witty, and down to earth, and his music is is designed to bring us to the funda- the nocturnal world by these restless scored in an anti-romantic way that cannot mental harmony of music, a brilliant C spirits. Waldemar’s men (a large and help sounding like the most “modern” mu- major (which has not been part of the aggressive male chorus probably inspired sic in the score, with chattering woodwinds, score before now)—a chord that, with by Hagen’s men in Wagner’s Götterdäm- sudden and striking opposition of different the added sixth, as at the opening of the merung) greet the king and hunt again kinds of sonority and hints of dancing or work, appears with a choral outburst in “night after night.” As they ride, and celebration (in a kind of “oom-pah” accom- the full brilliance of new day, laying to
around Waldemar’s vocal line, the orches- paniment, for example, that drains away rest the terrifying spirits of the night, Week 9 tra presents reminiscences of Tove, with any potential emotional depth). and bringing reconciliation to all. 16 17 Artist Biographies
David Zinman’s biography and photo ap- Robert Levin, Daniel Stepner, and Robert pear on page 6 of the outside pages. Merfeld, and has played in master classes for Matt Haimovitz and Daniel Barenboim. In Gustav Andreassen, Norwegian-Ameri- 2003, she performed at Alice Tully Hall with can bass, has performed with major opera members of the Chamber Music Society of companies and orchestras throughout North Lincoln Center in the Society’s 20th Annual American and Europe, to great acclaim. In the Young Artists Concert. As an orchestral 2007-08 season musician, she has held principal positions Gustav Andreas- in Harvard’s Bach Society Orchestra, the sen performs the Harvard-Radcliffe Orchestra, and the World role of Daland in Youth Symphony Orchestra at Interlochen. TheFlying Dutch- This is her first summer at Aspen, where she man for Utah is a fellowship student of Richard Aaron. Opera, Com- mendatore in Don performance needs of composers of contem- Jonathan Biss, piano, made his New York Giovanni with porary repertoire. Members of the Ensemble Philharmonic debut in 2001 at the age of Orlando Opera (Shanna Gutierrez, flutes; Lisa Raschiatore, twenty-one. Since then, his international ca- and with Utah Opera, Sarastro in The Magic clarinet; Donovan Seidle, violin; Nicholas reer has flourished Flute with Arizona Opera, Ferrando in Il Jeffery, viola; Nicholas Finch, cello; David with orchestral, re- trovatore with Nashville Opera Association, Friend, piano; Gina Ryan, percussion; Sydney cital, and chamber and Gremin in Eugene Onegin with National Hodkinson, conductor) are selected by music perfor- Symphony Orchestra. He also sings Haydn’s audition for flute, clarinet, violin, viola, cello, mances in North Lord Nelson Mass with Atlanta Symphony piano, and percussion. This basic ensemble America, Europe, Orchestra, Robert Spano conducting, and became the standard instrumentation for and Asia. Mr. Biss appears as guest soloist in Verdi’s Requiem at hundreds of compositions in the twentieth is a former student Northwestern University. In summer of 2007 century, inspired by the scoring of Schoen- of Leon Fleisher he performed King in Aida for Cincinnati berg’s Pierrot lunaire. The group appears at The Curtis Opera, and as soloist in Beethoven’s Sym- regularly throughout the summer playing the Institute of Music and the third generation phony No. 9 at the Chautauqua Institution. energetic and challenging new chamber music in a family of musicians that includes his In summer of 2008 he sings in concert as of the world’s leading artists. The Ensemble grandmother cellist Raya Garbousova, as well Prince Gremin in Eugene Onegin with the also provides concert performances of new as his parents, violinist Miriam Fried and vio- National Symphony Orchestra, and the works composed in Aspen by students in list/violinist Paul Biss. His diverse repertoire roles of Mercury and Ghost in Berlioz’s Les the Master Class and Individual Studies ranges from Mozart and Beethoven, through Troyens with the Boston Symphony Orches- Programs of the Susan and Ford Schumann the romantics to Janáček and Schoenberg, as tra at Tanglewood under James Levine. His Center for Composition Studies. These well as works by contemporary composers, 2008-09 season currently includes the role of performances are an essential element in the including commissions from Leon Kirchner Osmin in Die Entfuhrung aus dem Serail with training of composers, who must experi- and Lewis Spratlan. With a well-deserved Opera Atelier (Toronto). Highlights from ence their compositions firsthand with a live reputation for artistic maturity and musical recent seasons include reengagements with ensemble to complete the act of creation. eloquence, Mr. Biss has been recognized with both Arizona Opera and Orlando Opera numerous awards, including the 2005 Leon- as Blitch in Susannah, with New York City Kathryn Austin, cello, a native of Brooklyn, ard Bernstein Award, an Avery Fisher Career Opera as Don Profondo in Il viaggio a Reims, New York, is an undergraduate studying Grant, a Gilmore Young Artist Award, Utah Opera as Truffaldino in Ariadne auf Classics and Philosophy at Harvard College the Borletti-Buitoni Trust Award, and a Naxos and Orlando Opera as Old Hebrew and a cello student of Michael Reynolds. At Diapason d’Or for his 2007 all-Schumann in Samson et Dalila. In the United States, Mr. Harvard, she is a member of the Brattle recording. His most recent recording for Andreassen has sung the roles of Gremin in Street Chamber Players, a conductorless EMI—comprising Beethoven Sonatas opus’s Eugene Onegin and Sourin in Pique Dame string ensemble dedicated to the performance 13, 28, 90, and 109—was just nominated for with San Francisco Opera, and Osmin in Die of newly composed and rarely performed an Edison Award. Mr. Biss records exclusively Entfuhrung aus dem Serail with Boston Lyric works alongside for EMI Classics. Opera and Glimmerglass Opera. Also with more standard Glimmerglass, he has sung the Police Officer, repertoire, and Bruce Bransby has been professor of bass Third Psychiatrist and Colonel Krues von teaches cello at Indiana University since 1986. He has per-
Week 9 Zellergut in The Good Soldier Schweik, and through the out- formed throughout the world as soloist and the Commendatore in Don Giovanni. reach program chamber player and has premiered a number HARMONY. of works for solo bass, including the Ameri- The Aspen Contemporary Ensemble She studies cham- can premiere of the Frantisek Hertl Bass was formed to address the training and ber music with Concerto. Previously Mr. Bransby served as 18 19 Artist Biographies
principal bass of Brueggergosman lends her voice, passion, and at the request of the Los Angeles energy to social and environmental causes as Gaetano Delogu, Philharmonic and a Canadian goodwill ambassador for three then the Music the Kansas City international organizations: African Medical Director of the Symphony. In Los and Research Foundation, Learning Through Symphony, the Angeles he played the Arts, and the World Wildlife Fund. Her chorus has over in Philharmonic commitments to these organizations have the past two chamber groups taken her on a broad spectrum of missions, decades grown and with their from primary schools in New Brunswick, into a nationally New Music En- Canada to internally displaced persons camps respected ensem- semble, worked frequently as principal bass in in northern Uganda. Ms. Brueggergosman’s ble. This outstanding ensemble of over 200 major motion picture studios, and performed jewelry is by Myles Mindham. volunteers, including some thirty-one charter and recorded as both jazz bassist and pianist. members, joins the Colorado Symphony for Mr. Bransby was recently a featured recitalist Ray Chen, born in 1989, began violin stud- numerous performances (more than twenty- at the convention of the International Society ies at the age of four under the guidance of five this year alone), and radio and television of Bassists. Before his appointment to Indi- Suzuki Music Education in Australia. Having broadcasts, to repeated critical acclaim. The ana University, Mr. Bransby served on the fac- just won first prize Chorus has performed at noted music festi- ulties of California State University in North- in the 2008 Inter- vals in the Rocky Mountain region, including ridge, the University of Missouri at Kansas national Yehudi the Colorado Music Festival, the Bravo! Vail City, the California Music Center, and the Menuhin Violin Valley Music Festival, and the Grand Teton Los Angeles Philharmonic Institute. A native Competition held Music Festival, where it performed Mahler’s of Los Angeles, Mr. Bransby studied there in Wales, he is Symphony No. 3 under the direction of with Nat Gangursky and Peter Mercurio. He now becoming Zubin Mehta. For the past sixteen summers, spent several summers in Aspen as a student one of Australia’s the Chorus has been featured at the world- of Stuart Sankey and served as principal bass rising stars, giving renowned Aspen Music Festival, perform- of the Aspen Chamber Symphony. In 1987 performances ing such diverse repertoire as the Bernstein Mr. Bransby became an artist-faculty member worldwide including his latest debut in St. MASS, Mahler’s gigantic Symphony No. 8, of the Aspen Music Festival and School. Petersburg, Russia playing the Tchaikovsky Honeger’s unique Jeanne d’Arc au bûcher (Joan Violin Concerto with the Mariinsky Kirov of Arc at the Stake), and the Berlioz Requiem, Measha Brueggergosman, soprano, per- Orchestra under the baton of famous violinist, under the baton of notable conductors Law- forms with many of the world’s finest orches- Maxim Vengerov. In addition to his most rence Foster, Murry Sidlin, David Zinman, tras and conductors. During the 2007–08 sea- recent prize at the Menuhin Competition, and James Levine. The Colorado Symphony son, her performances included Beethoven’s Chen has won prizes at many other interna- Chorus has appeared at select public and Symphony No. tional and national competitions including the special events, and has collaborated with 9 with Leonard Australian National Youth Concerto Com- many renowned Colorado arts ensembles, Slatkin and the petition and the Kendall Violin Competition. including the Colorado Children’s Chorale, National Sym- He was chosen as 4MBS Classics Radio Central City Opera, Opera Colorado and the phony Orchestra, Station’s Young Space Musician of the Year Cleo Parker Robinson Dance Ensemble. The Janáček’s Glagolitic in 1999, and he was also awarded the Sydney chorus sang at the 1991 opening gala for the Mass with Michael May Memorial Scholarship for being the Temple Hoyne Buell Theater, provided choral Tilson Thomas in youngest and most talented musician. At the support for international opera star José Car- the London Sym- age of fifteen, he auditioned and was accepted reras, and participated in the 1993 Papal Vigil phony Orchestra into the prestigious Curtis Institute of Music when Pope John Paul II visited Denver. It has debut, Messiaen’s Poèmes pour Mi with David in Philadelphia where he has since studied performed the works of a number of Colo- Robertson and the Royal Concertgebouw Or- with Aaron Rosand. He has also studied with rado composers, including Samuel Lancaster chestra, and Berg’s “Fragmente” from Wozzeck many notable artists and teachers including and John Kuzma, and has had works written with Manfred Höneck and the Verbier Festi- David Cerone, Pamela Frank, Midori Goto, especially for it by CSO composers-in-resi- val Orchestra. Ms. Brueggergosman records Joseph Silverstein, Maxim Vengerov, and An- dence Jon Deak and Libby Larsen. The CSO exclusively with Deutsche Grammophon, and tje Weithaas. This is his first summer at the Chorus is featured on a recent NAXOS her first recording, Surprise, was released in Aspen Music Festival, where he is a Fellow- release of Roy Harris’ Symphony No. 4. The autumn 2007. Ms. Brueggergosman’s recital ship recipient, taking lessons with Cho-liang Colorado Symphony Orchestra continues to program this season, inspired by her Deutsche Lin, Paul Kantor, and Robert Lipsett. be grateful for the excellence and dedication Grammophon recording, featured songs by, of this remarkable all-volunteer ensemble! among others, Bolcom, Satie, and Schoenberg. The Colorado Symphony Chorus cel- She gave recitals in many of North America’s ebrates its twenty-fifth anniversary during James Feddeck is currently Assistant
major cultural centers as well as in numerous the 2008–2009 Colorado Symphony concert Conductor of the Memphis Symphony Week 9 cities in Brazil, Great Britain, and Spain. Ms. season. Founded in 1984 by Duain Wolfe Orchestra. A native of New York, his musical 18 19 Artist Biographies
training is unusu- given joint recitals with his daughter, violinist Florestan in Fidelio with the Florentine Op- ally diverse having Pamela Frank, in San Francisco, Pittsburgh, era. Concert highlights include performances been admitted Fairfax, and Toronto, as well as numerous per- with the San Francisco Symphony, New York to the Oberlin formances abroad. Mr. Frank has repeatedly Philharmonic, Toronto Symphony, Vancou- Conservatory of been a soloist with the great orchestras of five ver Symphony, Oslo Philharmonic, Royal Music in sev- continents, including the New York Philhar- Scottish National Orchestra, Melbourne eral performance monic, Chicago Symphony, Boston Symphony, Symphony, London Symphony Orchestra, disciplines: oboe, San Francisco Symphony, National Symphony, Müncher Symphoniker, Orchestre de Paris, organ, piano, and Pittsburgh Symphony, Royal Philharmonic Montreal Symphony, and the Aspen Music conducting. As a Orchestra, Cleveland Orchestra, Philadelphia Festival and School. Pi Kappa Lambda graduate of Oberlin, he Orchestra, Detroit Symphony, Royal Concert- continued his studies in conducting at the gebouw Orchestra of Amsterdam, Jerusalem Eric Halen joined the Houston Symphony as University of Michigan, and for the past two Symphony Orchestra, and the orchestras assistant concertmaster in 1987, and in 1997 summers at Aspen. As a conductor, Fed- of New Orleans, Toronto, Zurich, Brussels, assumed the position of associate concert- deck has received several honors. He won Hamburg, and Frankfurt. He has been heard master. He was Grand Prize of the Sixth Vakhtang Jordania in performances with the Berlin Philharmonic, raised in a family International Conducting Competition, Orchestre de la Suisse Romande, Berlin Radio of violinists: both was nominated for the Glimmerglass Opera Symphony Orchestra, the Seattle Symphony, parents were Conducting Prize in 2006 from Aspen, and the Grant Park Symphony in Chicago, the professionals and received the Robert J. Harth Conductor Prize Oregon Symphony in Portland, the Baltimore his brother David from Aspen in 2007—which carries with it Symphony, the Kansas City Symphony, the is concertmaster of David Zinman’s invitation to conduct The Minnesota Symphony, St. Luke’s Orchestra, the St. Louis Sym- Cleveland Orchestra. Feddeck has recently and the Denver Symphony, among others. phony. Mr. Halen been promoted to Resident Conductor of has performed in the Memphis Symphony Orchestra while the Anthony Dean Griffey, tenor, performed solo and chamber music programs in the U.S. orchestra conducts its search for a new Music at the Metropolitan Opera in the 2007–08 and abroad, including solo appearances with Director. In this capacity, he will assume season in the title role of a new produc- the St. Louis and Houston Symphonies. He increased responsibilities with the orchestra tion of Britten’s Peter Grimes, which will be has performed at summer music festivals, in- artistically, and in their community engage- simulcast in movie theaters, broadcast on cluding the Pacific Music Festival in Sapporo, ment initiatives. He is the winner of the 2008 PBS, and recorded Japan, and Cascade Head Festival in Oregon. Robert J. Harth Conductor Prize from the for future release This is Mr. Halen’s second summer at the As- Aspen Music Festival and School. on DVD. Mr. pen Music Festival and School. As a member Griffey also joins of the Houston Symphony Chamber Players Claude Frank, piano, has continuously ap- the Fort Worth with Christoph Eschenbach, he has toured the peared with the world’s foremost orchestras, at Opera as Lennie U.S., Japan, and Europe and made recordings its most prestigious universities, and at major Small in Floyd’s for KOCH International. In 2006 Mr. Halen festivals since Of Mice and was invited by the Nashville Symphony and his debut with Men. His concert Leonard Slatkin to join them as guest concert- Leonard Bernstein calendar includes master to open their new symphony hall in and the New York performances with the Los Angeles Philhar- a performance broadcast nationally on PBS. Philharmonic in monic, New York Philharmonic, Orques- Recently, he has been hired part time at the 1959. Mr. Frank tra Sinfônica do Estado de São Paulo, the Shepherd School of Music at Rice University is an internation- Detroit Symphony, Baltimore Symphony, to teach orchestral repertoire. ally acclaimed and the City of Birmingham Symphony interpreter of the Orchestra for performances at Royal Albert Marc-André Hamelin’s began the summer piano literature of Hall for the BBC Proms. Operatic highlights of 2008 in Norway at the Risør Chamber Beethoven. The Music and Arts Programs of of Mr. Griffey’s illustrious career include Music Festival, where he performed a duo re- America, Inc. label has re-released Mr. Frank’s Sam Polk in Susannah at the Metropolitan cital with pianist Leif Ove Andsnes, Schubert recording of the sonatas from his original 1971 Opera, Jim McIntyre in Rise and Fall of the Lieder with bass-baritone Thomas Quasthoff, RCA recording. During recent seasons, he City of Mahogany (PBS broadcast and com- and music of Antheil with violinist Christian was Artist-in-Residence of the first Laguna mercially released DVD), Guido Bardi in Tetzlaff, in addition to solo performances of Beach Chamber Music Festival (April 2003) Eine florentinische Tragödie, both at the Los works by Ornstein, Antheil, Ives, and Ligeti.
Week 9 and performed Mozart’s Concerto for Three Angeles Opera, Mitch in the World Premiere Other recitals include the Tivoli Concert Hall Pianos with Leon Fleisher and Menahem of Andre Previn’s A Streetcar Named Desire in Copenhagen, Baroniet Rosendal in Norway, Pressler at the Ravinia Festival (July 2002). with the San Francisco Opera, the title role the Ruhr Piano Festival in Bonn, Festival Mr. Frank has performed in recital through- in Peter Grimes with the Santa Fe Opera, Chopin à Paris, the Cheltenham Festival, the out the United States and Europe, and has Paris Opera, and Glyndebourne Festival, and Husum Piano Rarities Festival, and the Busoni 20 21 Artist Biographies
International music coach for the NEC Undergraduate laborated with Piano Competi- Opera Company, as well as the Opera Semi- singers, soloists, tion. He also nar for graduate students. He is also a pianist and performing joins the Ton- for Emmanuel Music (Boston), where he was groups. She has halle Orchestra recently named a Lorraine Hunt Lieberson been invited to in Zurich for the Fellow for the 2008–09 season. A doctoral perform with Tai- Busoni Piano Con- candidate at New England Conservatory, pei Philharmonic certo led by Marek Hodgdon has studied collaborative piano Chamber Choir Janowski. In North with Irma Vallecillo and Cameron Stowe. in Taiwan, as well America Hame- This is his first summer at the Aspen Music as art festivals in lin gives recitals at the Aspen Music Festival, Festival and School, where he studies with Spain, France, Turkey, Israel, Germany, Italy, the Minnesota Beethoven Festival, Festival Rita Sloan. China, and the U.S. In September 2007 Hsu International de Lanaudiere, Festival Interna- began working toward a Master’s Degree in tional Domaine Forget, and the International Sydney Hodkinson, conductor, a native of collaborative piano with Irma Vallecillo at the Keyboard Festival at Mannes. Mr. Hamelin’s Winnipeg, Manitoba, received his Bachelor New England Conservatory of Music. This is 2008–09 season includes a return to Wigmore and Master of Music degrees from the East- her first summer at the Aspen Music Festival Hall for the London Pianoforte Series and man School of and School, where she participates in the recitals in Belgium, Switzerland, Germany, Music, studying collaborative artists program and studies with Italy, Spain, and Turkey. His North American with Bernard Rog- Rita Sloan and Cameron Stowe. recitals include the opening of the 126th sea- ers, and at Princ- son of the Schubert Club in St. Paul, followed eton University Bil Jackson, principal clarinet of the Colorado by the Columbus Chamber Music Society, with Elliott Carter, and Aspen Chamber symphonies, has served Texas Tech, Cornell Concert Series, Music Roger Sessions, as principal clarinet of the Pittsburgh, Min- Toronto, Wheaton College, Harvard Musical and Milton Bab- nesota, Cincinnati, St. Louis, and Honolulu Association, the Savannah Music Festival, and bitt. He earned his orchestras. He has the Metropolitan Museum of Art. Doctor of Musical appeared as soloist Arts degree from the University of Michigan, with numerous Brett Hodgdon, pianist, is a versatile collab- studying with Ross Lee Finney. Mr. Hodkin- other orchestras. orative artist, vocal coach, and teacher living son has taught at the universities of Virginia, An artist-faculty in the Boston area. He has performed both Ohio, Michigan, Southern Methodist, West- member of the As- song and instru- ern Ontario, and Rochester (Eastman School pen Music Festival mental recitals at of Music), where he conducted the Eastman and School since venues throughout Musica Nova Ensemble and the Kilbourn 1982, he teaches the United States, Orchestra while chairing the conducting- at the University including The ensemble department. He has also taught at of Northern Colorado. He has taught at the John F. Ken- Indiana and Duke universities. Since 2004 University of Colorado, University of Texas, nedy Center for he has held the Almand Chair of Composi- Austin, and Duquesne University. The only the Performing tion at Stetson University’s School of Music, clarinetist to win the International Clarinet Arts and Jordan Deland, Florida. Recent compositions include Competition twice, he was also a finalist in the Hall at the New Piano Concerto No. 1, commissioned by Prague International Clarinet Competition. England Conservatory (NEC). Most recently, the Hanson Institute for American Music Mr. Jackson commissioned, premiered, and he has appeared with NEC’s Contemporary for pianist Barry Snyder; three instrumental recorded Dan Welcher’s Pulitzer Prize–nomi- Ensemble for the Boston premiere of John trios, Short Cuts, Shredded Postcards, and nated Clarinet Concerto for the Marco Polo Harbison’s Milosz Songs for soprano and Rogatio gravis; and the Fourth and Fifth label. In 2007–08 he will appear as soloist in piano. An avid performer of new music, Quartets for the Amion and Corigliano quar- a new clarinet concerto to be written by Kevin Hodgdon will make his New York City tets, respectively. Mr. Hodkinson’s awards Puts and premiered by the Colorado Sym- debut this fall with the Mimesis Ensemble in include those from the National Institute of phony under Jeffrey Kahane. With pianist Bill its opening season at Merkin Concert Hall Arts and Letters, Guggenheim Foundation, Douglas he presents concerts that synthesize at the Kaufmann Center. Away from the Canada Council, and National Endowment jazz, classical, and contemporary formats, and recital stage, Hodgdon is the vocal direc- for the Arts. His recordings are available on they record for the Hearts of Space label. Mr. tor and music advisor for Guerilla Opera, a the Albany, Centaur, CRI, Louisville, Innova, Jackson appears with numerous artists and Boston-based contemporary chamber opera Mark, Novisse, and New World labels. He festivals, including the Chamber Music Society company. In April 2008, he participated in has been a member of the Aspen Music Festi- of Lincoln Center, Music from Angel Fire, the company’s world premiere performance val and School artist-faculty since 1998. Chamber Music Northwest, Bravo! Vail Val- of Andy Vores’ No Exit, and will coach the ley, Sunflower Music Festival, and Camerata
world premieres of two operas for the group’s Ya-Lin Hsu, pianist, began playing piano Pacifica. He designs and manufactures single Week 9 upcoming season. Currently, he serves as a at the age of five. Since 2002, she has col- reed-making equipment. 20 21 Artist Biographies
Young Ji Kim, born and raised in Seoul, Hamburg as Max Freischütz, Albert Gregor middle school level for four years. His awards South Korea, is currently a DMA candidate The Makropulos Caseand Hans Schwalb and decorations include three Army Com- in piano performance at the University of in Hindemith’s Matis der Maler, at Théâtre mendation Medals, three Army Achievement Maryland, where de La Monnaie in Brussels as Khovansky Medals, the Good Conduct Medal, the Non- she is studying Khovanschina and Guido Eine florentinische commissioned Officer Professional Develop- with Bradford Tragoedie, at Opera Australia as Alwa Lulu, ment Ribbon, Parachutist Badge, and the Gowen. She began at the Deutsche Oper Berlin as Steva Jenufa German Bronze Parachutist Badge. her piano studies and Albert Gregor The Makropulus Case,at at the age of five. the Grand Théâtre de Genève in Braunfels Daniel Morphy, percussion, hails from In Korea, she was Die Vögel and at the Gran Teatre del Liceu in Canada where he received his BM from the a prize winner at Barcelona as Grigory Boris Godunov, Steva University of Toronto studying with percus- the Samick Piano Jenufa and Armand des Grieux in Henze’s sionist Russell Competition and Boulevard Solitude. Other roles include the ti- Hartenberger and Music ChunChu Competition. She received tle role in Parsifal, Erik Der fliegende Holländer Robin Engleman her Bachelor’s of Music (Summa Cum Laude) and Florestan Fidelio at the Deutsche Oper (NEXUS), John at Ewha Women’s University in Korea. During am Rhein. Pär Lindskog has made sung with Rudolph (Prin- the summer, she has attended the Geras Piano Welsh National Opera, singing Florestan Le- cipal Percussion, Festival in Austria and the Lazar Berman onore, with the Royal Opera, Covent Garden Toronto Sympho- Piano Class in Lübeck, Germany. She has also as Armand des Grieux in Henze’s Boulevard ny), and Beverly performed at a Lazar Berman Master Class Solitude. He also appeared at Glyndebourne Johnston (soloist). (1998), Andre Watts Master Class (2003), Festival in Niklaus Lehnhoff ’s Janácek cycle He is currently and Rising Stars concert series sponsored by singing Albert Gregor The Makropulos Case, completing an Artist Diploma at the Glenn the Fairfax county Library in McLean, VA Boris Katya Kabanova and Steva Jenufa and Gould School at the Royal Conservatory of (2005). Ms. Kim was the official pianist at the made his New York debut as Albert Gregor Music where he continues his studies with Mr. 37th Annual Feder String Competition (2008) in the Glyndebourne production. Rudolph and David Kent (Principal Timpani, by the Washington Performing Arts Society TSO). Morphy is a founding member of the in Washington, D.C. This is her first summer Captain Scott McKenzie serves as the TorQ percussion Quartet, which competed in attending Aspen Music Festival, where she is Director of the U.S. Army Chorus, Wash- the 2005 International Percussion Competi- studying with Gabriel Chodos. ington, DC. His previous assignments tion in Luxembourg, being the only Canadian include service as Executive Officer, United representatives. They continue to break ground Pär Lindskog, Swedish tenor, studied at States Army on the Canadian scene with performances the opera studios in Gothenburg and Berlin Europe Band & at the Yamaha Music Festival in Vancouver, before becoming a member of the company Chorus, Heidel- BC and the Open Ears Festival in Kitchener at the Staatsoper Unter den Linden. In Berlin berg, Germany; Waterloo. They are commissioning new works his many roles Executive Officer, for percussion quartet by established and included Max Student Com- up-and-coming composers and will be Art- Freischütz, Steva pany, US Army ist-in-Residence at the University of Toronto Jenufa, Narraboth School of Music, in their 2008–2009 season working with Salome, and Wal- Norfolk, Virginia; student composers and Canadian composer, ter Tannhäuser, and Saxophonist Christos Hatzis. Morphy recently spent a with conduc- and Staff Arranger, 82nd Airborne Division summer at the Boston University Tanglewood tors including Band, Fort Bragg, North Carolina. An active Institute studying with members of the Boston Daniel Barenboim, composer and arranger, Captain McKenzie Symphony and has had lessons with such Michael Gielen, has written several original pieces for bands respected and diverse percussionists as Bob Simone Young and Donald Runnicles. A ma- from the middle school to professional level. Becker, Glen Velez, Ray Dillard, and Don jor recent highlight was the addition of a new His Fanfare for Enduring Freedom for Brass Liuzzi (Philadelphia). He plays frequently as staged role, his first Siegfried in the Royal Choir and Bass Drum was a 2007 winner a professional musician around Toronto and Swedish Opera Ring Cycle starting with Sieg- of the Dallas Wind Symphony Call for performs regularly in the percussion section fried in 2006/07 and continuing with Göt- Fanfares competition and was performed by of the Toronto Symphony Orchestra. This is terdämmerung the following season. Other the combined brasses of the DWS and the Morphy’s first summer in Aspen, where he current and future plans include his debut U. S. Army Field Band. Captain McKenzie studies with MarkYancich, Paul Yancich, Doug at the Teatro Real in Madrid with Albert holds a Bachelor of Arts degree in Music Howard, and Thomas Stubbs.
Week 9 Gregor The Makropulos Case; the title role in from Virginia Tech, and has continued stud- Siegfried with Washington National Op- ies in music education and conducting at Old Lilli Paasikivi, mezzo-soprano, is in demand era; his first Lohengrin in Gera and his first Dominion University and the Peabody Con- for concerts at the highest level. Notable Hermann Pique Dame in St Gallen. In recent servatory. Prior to enlisting in the Army, he performances have included Des Knaben seasons he has appeared at the Staatsoper taught band, chorus, and general music at the Wunderhorn with the Los Angeles Philhar- 22 23 Artist Biographies
monic and Esa- Boris Godounov, Hunding, Oroveso, Pimen, world; he twice attended the Lucerne Festival, Pekka Salonen, Ramfis, Rocco, Sparafucile, and Sarastro focusing on contemporary music and working the world premiere with the New York City Opera Co., the San under the Ensemble Intercontemporain of of Shchedrin’s Francisco Opera and many other U.S. opera Paris. This is his first year with the Aspen The Enchanted companies. Festival appearances have in- Music Festival, and he performs with the Wanderer with cluded: Aspen, Blossom, Cabrillo, Caramoor, Aspen Contemporary Ensemble and studies the New York Chautauqua, Kennedy Center, Marlboro, violin with Alexander Kerr, Sylvia Rosenberg, Philharmonic and Meadowbrook, Mostly Mozart, Saratoga, and David Halen. Lorin Maazel, The Tanglewood, and Wolf Trap. International Dream of Gerontius engagements led him to Beijing, Frankfurt, Mark Sparks is principal flute of the St. Louis with Accademia Nazionale di Santa Cecilia Mannheim, Helsinki, Kiev, Prague, Stuttgart, Symphony Orchestra. An alumnus of the under Vladimir Ashkenazy, Mahler’s Second and Zurich in a variety of symphonic works. Aspen Music Festival and School and an art- Symphony with the London Symphony Or- Professor of Voice at the Eastman School ist-faculty member chestra under Paavo Järvi, and Das Rheingold of Music from 1971 to 1998, he was a vocal since 1993, he with the Berlin Philharmonic under Sir Simon faculty artist a the Aspen Music Festival shares principal Rattle. As principal soloist at Finnish National and School from 1971 to 1990. Today’s flute duties in both Opera, her roles include Carmen, Angelina performance of Schoenberg’s Gurre-Lieder the Aspen Festival (La Cenerentola), Marguerite (La damnation de marks a new step in his developing career as Orchestra and Faust), Marchesa Melibea (Il viaggio a Reims), narrator in works such as: Peter and the Wolf, Aspen Chamber Varvara (Katya Kabanova), and Octavian (Der A Lincoln Portrait, Lelio, L’histoire du Soldat, Symphony. Mr. Rosenkavalier). Ms. Paasikivi has also sung the Oedipus Rex, Egmont, A Midsummer Night’s Sparks has per- Pilgrim in Saariaho’s L’amour de loin at Théâtre Dream, The Flood, and Walton’s Henry V. formed in Europe, du Chatelet, Jitsuko Honda in the world pre- Asia, South America, Japan, and in major U.S. miere of Toshio Hosokawa’s Hanjo at the Aix Donovan Seidle joins the festival from venues, including solo appearances at Carnegie, Festival, The Composer (Ariadne auf Naxos) at Calgary, Canada where he is the Assistant CAMI, and Weill halls. He has performed Opéra de Lyon, Fricka (Das Rheingold and Die Concertmaster of the Calgary Philharmonic with the New York Philharmonic and the Walküre) in Aix and Salzburg, and Brangäne Orchestra. In Detroit, Houston, and Baltimore symphony (Tristan und Isolde) at La Monnaie. Her re- addition to being orchestras and has held principal appoint- cordings include Sibelius’ Kullervo Symphony Music Director ments with the San Antonio Symphony and with Osmo Vänskä and Lahti Symphony and Concertmas- other orchestras. A frequent guest with music Orchestra, Sibelius’ Maiden in the Tower; ter of Calgary’s festivals, universities, and training programs, Mahler’s Third Symphony, and Alma Mahler’s Kensington Mr. Sparks regularly coaches at the National complete songs. Future highlights include Sinfonia, he is also Repertory Orchestra, National Orchestral Elgar’s Sea Pictures and The Dream of Gerontius the first violinist Institute, and New World Symphony. He is a with the Sydney Symphony Orchestra under of the Bell’Arte former full-time faculty member of Baltimore’s Vladimir Ashkenazy, Beethoven’s Ninth Sym- String Quartet Peabody Institute and has recorded a solo CD phony with the Leipzig Gewandhausorchester and a regular performer with the Players for Summit Records. He has published articles under Riccardo Chailly, and Die Walküre at Chamber Ensemble. Under the tutelage of in Flute Talk magazine and appears in the re- Hamburg State Opera. For more details please Edmond Agopian at the University of Cal- cently published book, 101 Inspirational Stories visit www.lillipaasikivi.com. gary he earned his Bachelor’s of Music, then from the World’s Best Flute Players. He earned attended Northwestern University where he his degree from the Oberlin Conservatory as a Thomas Paul, bass, has been acknowledged earned an Master’s in the studio of Roland student of Robert Willoughby. as one of the most musically versatile singers and Almita Vamos while performing with the of his generation since his Carnegie Hall Civic Orchestra of Chicago. He has appeared Vesselin Todorov, a native of Bulgaria, start- debut in 1961. as a soloist several times with the Calgary ed playing violin at age six. He attended the Over the past Philharmonic. He is also a composer-arranger National School of Music “Dobrin Petkov” in forty-five years, he who is involved in all manners of freelance Plovdiv, where he has sung regularly writing. He has produced soundtracks for studied with Elena with symphony television and film, animation, live theatre, Koynova, and orchestras in and orchestra shows. He recently completed viola with Georgy North America, a commission from the Calgary Youth Or- Naidenov. In 1999 including the Bos- chestra to produce arrangements of Western he was accepted to ton Symphony, the movie-scores, which were released on CD, the National Con- Chicago Sympho- and have been performed by the Calgary Phil, servatory in Sofia ny, the Cleveland Orchestra, the New York and the National Arts Centre Orchestra of where he studied
Philharmonic, and the Philadelphia Orches- Canada. Mr. Seidle’s participation in music with Dora Ivanova Week 9 tra. In opera, he has sung Bluebeard, Figaro, festivals has taken him around much of the for one year. Mr. Todorov has successfully 22 23 Artist Biographies
completed his Bachelor Degree at Louisiana David Williams, baritone, is a graduate stu- Symphony Chorus, America’s largest profes- State University in violin and viola where he dent at the Juilliard School and a student of sional chorus. He has collaborated with Daniel studied with Kevork Mardirossian (violin) and W. Stephen Smith. At Juilliard, Mr. Williams Barenboim, Pierre Boulez, and the late Sir Matthew Daline (viola). He has performed in has performed the George Solti on numerous recordings with the master classes for Kevork Mardirossian, Ifrah roles of Papageno Chicago Symphony, among them Wagner’s Neeman, Camilla Wicks, and Paul Kantor. in Die Zauberflöte, Die Meistersinger von Nürnberg, which won Todorov was for several years a member of the Patrocle in Gluck’s the 1998 Grammy Award for Best Opera violin section of the Baton Rouge Symphony Iphigenie en Aulide, Recording. In 2002, Mr. Wolfe founded the Orchestra and a principal violist for seasons and Testo in Mon- Chicago Symphony Singers, a vocal ensemble 2005–06 and 2006–07, as well as a member teverdi’s Il Combat- of twenty-four soloists that specializes in the of the Acadiana Symphony Orchestra in timento di Tancredi presentation of staged concert repertoire. He Lafayette, Louisiana. Mr. Todorov is currently e Clorinda. He was was also founder-director of the Colorado a graduate student at the Yale School of Music, also the baritone Children’s Chorale, from which he retired in studying viola with Jesse Levine. He is the soloist in Bohuslav Martinu’s Field Mass with 1999 after twenty-five years. newest member of the viola section of the New the Juilliard dance department and a featured Haven Symphony Orchestra, Connecticut. soloist in concert with the Juilliard Choral Xian Zhang has been associate conductor of This is his first year at the Aspen, where he Union in Alice Tully Hall. Mr. Williams has the New York Philharmonic since 2005, hav- studies violin with John Graham. performed the roles of Peter in Hansel and ing served as assistant conductor the preced- Gretel, Morales in Carmen, and Prince Yama- ing year. As a guest conductor, Ms. Zhang’s dori in Madama Butterfly as a member of the future North American engagements include Aspen Opera Theater Center. He received the Los Angeles his bachelor’s degree from the University of Philharmonic, California, Los Angeles, where he studied National Sym- with Michael Dean and Timothy Mussard. phony Orchestra, While in residence at UCLA he performed the Detroit, To- the roles of Don Profundo in Il Viaggio a ronto, Atlanta, St. Reims, Guglielmo in Così fan tutte, and the Louis, and Hous- Bridegroom in Ian Krouse’s Lorca, Child of the ton symphony The United States Army Chorus was Moon. In 2005, Mr. Williams was a winner of orchestras, and established in 1956 as the vocal counterpart of the Palms Springs Opera Guild annual vocal the Orchestra of the U.S. Army Band, “Pershing’s Own,” and is competition, and was a Western Regional St. Luke’s, with whom she has just appeared one of the nation’s only professional, all-male finalist in the Metropolitan Opera National in Carnegie Hall with Hélène Grimaud. Ms. choruses. From its inception, the U.S. Army Council Auditions the following year. He was Zhang will make her debut with the Chicago Chorus has established and maintained a also artist-in-residence at the Music Academy Symphony Orchestra in 2009. In Europe, reputation of excellence in the performance of of the West in Santa Barbara in 2005, and she now appears with the London Sympho- male choral literature. Beyond the traditional the Aspen Opera Theater Center since 2007 ny Orchestra each season, and in the U.K. military music and patriotic standards, the rep- where he studies with W. Stephen Smith. she also works with the City of Birmingham ertoire of the Chorus covers a broad spectrum Symphony and BBC Scottish Symphony. that includes pop, Broadway, folk, and classical Duain Wolfe, conductor, is founder and Across Europe Ms. Zhang visits Bamberg, music. The Army Chorus performs regularly at director of the Colorado Symphony Chorus Berlin Sinfonie, the orchestras of Basel, the White House and in support of functions and music director of the Chicago Symphony Rotterdam, Tivoli, and Gothenburg, the Or- hosted by the State Department and Depart- Chorus. In 2003 chestre Philharmonique de Radio France, the ment of Defense. The Chorus participated in he was elected Netherlands Radio Philharmonic, and the the dedication of the Gerald R. Ford, Ronald chair of Chorus Vienna Symphony at the Bregenz Festival. Reagan, and George W. Bush presidential America. This year She will be making her debut with the Royal libraries. The Chorus is a standard feature at marks Mr. Wolfe’s Concertgebouw Orchestra in 2010. At the events for each presidential inaugural, and has twenty-fourth Staatskapelle Dresden Ms. Zhang recently been featured in official ceremonies and special season heading the conducted a special New Year’s concert. This events at the U.S. Capitol. The men of the Colorado Sympho- season sees her debuts with the Tokyo Sym- Army Chorus, most of whom hold advanced ny Chorus. The phony and Orquestra Sinfônica do Estado de degrees in music, are selected from among the Chorus provides São Paulo. An enthusiastic opera conductor, nation’s finest musicians. In 2006 the group vital support for numerous performances and Ms. Zhang made a sensational debut with
Week 9 celebrated its fiftieth Anniversary with concerts radio broadcasts with the Colorado Symphony La bohème for the English National Opera that included a reunion of past members, many Orchestra each season, and has been featured in spring 2007. In Cincinnati she conducted of whom have gone on to successful careers in at the Aspen Music Festival and School every La Traviata and Don Giovanni. Future plans music education and as soloists on Broadway summer for more than a decade. Mr. Wolfe include performances of Tosca with Frank- and opera stages around the world. is in his fourteenth season with Chicago furt Opera in September 2008. 24 25 Index of Articles, Notes, and Texts
Index of Articles, Notes, and Texts Berlioz, Hector Overture from Benvenuto Cellini, op. 23 ...... vol. 2 All notes are by Steven Ledbetter unless otherwise noted. Symphonie fantastique, op. 14 ...... vol. 2 (C) = note by the composer Boccadoro, Carlo Op = Opera book Keep Cool ...... 4-5:7 vol.‑ 2 = 2nd bound volume Brahms, Johannes LvB = Beethoven program Andante, un poco adagio from Piano Quintet in * Indicates a feature article in the outside pages F minor, op. 34 ...... vol. 2 Concerto, piano, No. 1, op. 15, D minor ...... 7-8:3 *An Interview with Sydney Hodkinson Quartet, piano, No. 3, op. 60, C minor ...... 2-3:9 Joan Gordon ...... 47 Quartet, strings, No. 1, op. 51, C minor ...... 2-3:13 Arensky, Anton Stepanovich Quartet, strings, No. 2, op. 51, no. 2, A minor ...... 1-2:42 Suite, No. 1, 2 pianos, op. 15 ...... 3-4:29 Quartet, strings, No. 3, op. 67, B-flat major ...... 2-3:12 Bach, J.S. Quintet, piano, op. 34, F minor ...... 5-6:33 Aria with 30 Variations, BWV 988, Quintet, piano, op. 34, F minor, from ...... vol. 2 “Goldberg Variations” ...... 5-6:19 Quintet, strings, No. 1, op. 88, F major ...... 2-3:22 Concerto, piano, BWV 1058, G minor ...... 7-8:27 Quintet, strings, No. 2, op. 111, Gmajor ...... 2-3:22 Sonata, unaccompanied violin, No. 1, G minor ...... 2-3:30 Sonata, piano, No. 2, op. 2, F-sharp minor ...... 5-6:31 Balakirev, Mily Symphony, No. 1, op. 68, C minor ...... vol. 2 Overture on the Themes of Three Russian Songs ...... 5-6:4 Symphony No. 3, op. 55, E-flat major, “Eroica” . . . . . 7-8:3 Barber, Samuel Symphony, No. 3, op. 90, F major ...... 2-3:5 Summer Music, op. 31 ...... 2-3:19 Three Chorale Preludes, op. 122 (Chris Gekker) . . . 5-6:28 Bartók, Béla Trio, horn, op. 40, E-flat major.4-5:8 Concerto for Orchestra, BB 123 ...... vol. 2 Trio, piano, No. 2, op. 87, C major ...... 4-5:18 Concerto, viola, BB 128 ...... vol. 2 Trio, piano, No. 3, op. 101, C minor ...... 6-7:8 Concerto, violin, No. 2, BB 117 ...... 8-9:3 Variations on a Theme by Haydn, op. 56a ...... 8-9:14 15 Hungarian Peasant Songs, BB 79 ...... 8-9:27 Variations on a Theme by Haydn, op. 56b ...... 3-4:29 Quartet, strings, No. 2, BB 75 ...... 3-4:26 Britten, Benjamin Romanian Folk Dances, BB 76 ...... vol. 2 Gretchen’s Prayer, D. 164 (arr.) ...... see Schubert Sonata, violin, No. 2, BB 85 ...... 1-2:13 The Young Person’s Guide to the Orchestra (Variations and Beeferman, Gordon Fugue on a Theme of Henry Purcell), op. 34 . . . . . 1-2:31 Brass Quintet (C) ...... 5-6:29 Bruch, Max Beethoven, Ludwig van Octet, string, B-flat major ...... 2-3:31 Concerto, piano, No. 1, op. 15, C major ...... 1-2:6 Bruckner, Anton Concerto, piano, No. 2, op. 19, B-flat major ...... 6-7:3 Quintet, string, F major ...... 8-9:11 Concerto, piano, No. 4, op. 58, G major ...... 1-2:19 Changing Proportions in Beethoven’s Piano Sonatas Concerto, piano, No. 5, op. 73, E-flat major, “Emperor” . . . . 4-5:4 Steven Ledbetter ...... LvB:16 Grosse Fuge, op. 133, B-flat major ...... vol. 2 Chausson, Ernest Overture to The Creatures of Prometheus, op. 43 . . . . vol. 2 Concert in D major, op. 21 ...... 6-7:32 Quartet, strings, op. 59, no. 3, C major, “Razumovsky” . . 1-2:3 Poéme, op. 25 ...... 1-2:8 Quartet, strings, op. 130, B-flat major ...... 7-8:25 Chopin, Frédéric Rondo a capriccio, op. 129, G major, “Rage over the Lost Ballad No. 3, op. 47, A-flat major ...... 9:11 Penny” ...... LvB:6 Barcarolle in F-sharp minor, op. 60 ...... 9:10 Sonata, piano, No. 28, op. 101, A major ...... LvB:8 Mazurka, op. 33, no. 2, D major ...... 3-4:9 Sonata, piano, No. 29, op. 106, B-flat major, Mazurka, op. 33, no. 4, B minor ...... 3-4:9 “Hammerklavier” ...... LvB:3, 3-4:19 Polonaise-Fantasy, op. 61, A-flat minor ...... 4-5:28 Sonata, piano, No. 30, op. 109, E major ...... LvB:9 Sonata, piano, op. 35, B-flat minor ...... 4-5:29 Sonata, piano, No. 31, op. 110, A-flat major . . . . . LvB:13 Copland, Aaron Sonata, piano, No. 32, op. 111, C minor ...... LvB:10 Appalachian Spring ...... 6-7:4 Symphony, No. 3, op. 55, E-flat major, “Eroica” ...... 7-8:3 Billy the Kid Suite ...... 5-6:16 Symphony, No. 5, op. 67, C minor ...... 4-5:25 Copland, Aaron Trio, strings, op. 9, no. 3, C minor ...... 5-6:10 El Salón México ...... 8-9:28 15 Variations and Fugue in E-flat major, op. 25 Cowell, Henry “Eroica” ...... LvB:12 Set of Five ...... 2-3:8 32 Variations on an Original Theme in C minor, Dalbavie, Marc-André Wo0 80 ...... LvB:7 Trio, piano (Paul Griffiths) ...... 4-5:22 6 Variations on an Original Theme, op. 34, F major . . . . . LvB:5 Daugherty, Michael 33 Variations on a Waltz by Diabelli in C major, Metropolis Symphony (C) ...... 5-6:24 op. 120 ...... LvB:14 Debussy, Claude The Beethoven Piano Sonatas in Cycle Chansons de Bilitis ...... 7-8:15 Asadour Santourian ...... LvB:1 Texts and Translations ...... vol. 2 Berio, Luciano Children’s Corner ...... 2-3:26 O King ...... 4-5:7 La mer ...... 8-9:15
Bernstein, Leonard Prélude à l’après-midi d’un faune ...... 8-9:4 Week 9 El Salón México (arr.) ...... see Copland Quartet, strings, op. 10, G minor ...... 7-8:24 24 25 Index of Articles, Notes, and Texts
Desyatnikov, Leonid Gordon, Joan Cuatro estaciones portenas (The Four Seasons of *An Interview with Sydney Hodkinson, . . . . . see An Interview Buenos Aires) (arr.) ...... see Piazzola Grieg, Edvard Doniger, Wendy Sonata, cello, op. 36, A minor ...... 1-2:33 *Myth and Music ...... see Myth Gould, Morton Doppler, Franz American Salute ...... vol. 2 L’oiseau des bois, op. 21 ...... 8-9:7 Gubaidulina, Sofia Dukas, Paul Quasi hoquetus ...... 7-8:8 The Sorcerer’s Apprentice ...... vol. 2 *Gurre-Lieder: Schoenberg’s Collosus Comes to Aspen Dvořák, Antonín Walter Frisch ...... 34 Quintet, piano, B. 155, op. 81, A major, from . . . . . vol. 2 Harbison, John Concerto, violin, B. 96/108, op. 53, A minor . . . . . 3-4:12 The Great Gatsby Suite ...... 1-2:21 Legends, B. 117, op. 59, from ...... 8-9:27 Haydn, Joseph Legends, B. 122, op. 59, from ...... 4-5:10 Quartet, strings, Hob. III/74, op. 74, no. 3, G minor, Polednice (The Noon Witch), B. 196, op. 108 ...... 6-7:16 “The Rider ...... 1-2:14 Quartet, piano, B. 53, op. 23, D major ...... 1-2:26 Quartet, strings, Hob. III/67, op. 76 no. 2, Quartet, piano, B. 162, op. 87, E-flat major ...... 3-4:4 D minor, “Fifths” ...... 7-8:24 Quartet, strings, B. 179, op. 96, F major, “American” . . . . 3-4:26 Quartet, strings, Hob. III/81, op. 77, no. 1, G major . . 5-6:12 Trio, piano, B. 166, op. 90, E minor, “Dumky” ...... 6-7:21 Sonata, piano, Hob XVI/23, F major ...... 9:9 Dzubay, David Sonata, piano, Hob. XVI/32, B minor ...... 3-4:9 all water has a perfect memory (C) ...... 3-4:3 Sonata, piano, Hob. XVI/41, B-flat major ...... 9: 9 Elgar, Edward Sonata, piano, Hob. XVI/50, C major ...... 3-4:9 The Wand of Youth Suite, No. 2, op. 16 ...... 1-2:30 Hamelin, Marc-André Hamelin Enescu, George Etude No. 7 (after Tchaikovsky) ...... 9:11 Romanian Rhapsody, No. 1, op. 11, A major . . . . . 3-4:22 Etude No. 8, “Erlkönig” (after Goethe) ...... 9:11 Eötvös, Peter Hérold, Ferdinand Snatches of a Conversation (C) ...... 2-3:8 Overture to Zampa ...... vol. 2 Ewazen, Eric Heuberger, Richard Symphony in Brass (C) ...... 5-6:28 Rondo, from Serenade, K. 248 b (K. 250), Falla, Manuel De G major, “Haffner” ...... 6-7:32 Nights in the Gardens of Spain ...... 3-4:22 Hillborg, Anders Falla, Manuel De Brass Quintet ...... 3-4:16 Suite populaire espagnole ...... 2-3:19 Eleven Gates ...... 3-4:12 Fauré, Gabriel Hindemith, Paul Quartet, piano, No. 1, op. 15, C minor ...... 8-9:8 Des Todes Tod, op. 23a ...... 3-4:4 Quartet, piano, No. 2, op. 45, G minor ...... 4-5:19 Texts and Translations ...... vol. 2 Fennelly, Brian Hodkinson, Sydney Three Choral Preludes, op. 122 (arr.) ...... see Brahms Bricks: Concerto Fantasia for Violin and Franck, César Chamber Sextet (C) ...... 9:6 Quintet, piano, M. 7, F minor ...... 1-2:4 Concerto, piano, No. 1, “…’a shifting trek’…” (C) . . . . 6-7:25 Symphonic Variations, M. 46 ...... 3-4:22 Humperdinck, Engelbert Frisch, Walter Hansel and Gretel (Paul Thomason) ...... Op:14 *Gurre-Lieder: Schoenberg’s Colossus Sidebar, Richard Strauss and the Premeiere Comes to Aspen, ...... see Gurre-Lieder (Paul Thomason) ...... Op:16, 17 Fučík, Julius Sidebar, Humperdinck and Wagner’s Parsifal . . . . . Op:16 Entrance of the Gladiators ...... vol. 2 Synopsis (Paul Thomason) ...... Op:14 Fung, Vivian Infante, Manuel Quartet, string, from ...... 5-6:13 Three Andalusian Dances ...... 8-9:29 Gabrieli, Giovanni Ippolitov-Ivanov, Mikhail Venetian Canzoni (arr. Mase)(Raymond Mase) . . . . 5-6:29 Caucasian Sketches, Suite No. 1, op. 10 ...... vol. 2 Gibbs, Christopher H. Jalbert, Pierre *Schubert: Striving for the Highest in Art, ...... see Schubert Sonata, cello ...... 1-2:33 Ginastera, Alberto Janáček, Leos Estancia Suite, op. 8a ...... 5-6:3 Concertino ...... 2-3:28 Glanert, Detlev Pohádka (Fairy Tale) ...... 1-2:33 Mahler/Skizze, op. 20 ...... 1-2:11 Quartet, strings, No. 1, after L. N. Tolstoy, Glinka, Mikhail “Kreutzer Sonata” ...... 2-3:12 Overture to Ruslan and Ludmila ...... 6-7:25 Quartet, strings, No. 2, “Intimate Letters” ...... 1-2:16 *Glossary of Musical Terms Kabalevsky, Dmitri Jane Vial Jaffe ...... 152 Overture to Colas Breugnon, op. 24 ...... 2-3:15 Week 9 Godowsky, Leopold Kellogg, Daniel from Three Symphonic Metamorphosen on Quintet, piano (C) ...... 8-9:18 Themes of Johann Strauss, Jr ...... 9:11 Khachaturian, Aram Golijov, Osvaldo Concerto, violin ...... 6-7:16 Azul ...... 3-4:6 26 27 Index of Articles, Notes, and Texts
Kreisler, Fritz *Myth and Music Dancing Doll (arr.) see Poldini Wendy Doniger ...... 21 Praeludium and Allegro ...... 6-7:31 Needham, Clint Rondo, from Serenade, K. 248b (K. 250), G major, Earth and Green (C) ...... 8-9:22 “Haffner” (arr.), see Heuberger Nielsen, Carl Schön Rosemarin ...... 6-7:31 At the Bier of a Young Artist ...... 2-3:13 Lachner, Franz Norman, Andrew Frauenliebe und–leben, op. 82, Lyrisches intermezzo . . 1-2:12 Gran Turismo ...... 6-7:22 Texts and Translations ...... vol. 2 Piazzolla, Astor Lehár, Franz Cuatro estaciones portenas (The Four Seasons of Franz Vergissmein-nicht, concert polka ...... 6-7:31 Buenos Aires) ...... 5-6:16 Liang, Lei Poldini, Ede Gobi Gloria ...... 5-6:13 Dancing Doll ...... 6-7:31 Liebermann, Lowell Poulenc, Francis Gargoyles, op. 29 ...... 4-5:32 Rapsodie nègre ...... 7-8:15 Lieberson, Peter Sextet...... 1-2:13 Neruda Songs ...... 5-6:3 Sonata, flute ...... 8-9:7 Texts and Translations ...... vol. 2 Sonata, violin ...... 2-3:19 López, Jimmy Trio, oboe, bassoon, piano ...... 3-4:3 Fiesta! ...... 4-5:25 Prokofiev, Sergei Lutosławski, Witold Concerto, piano, No.1, op. 10, D-flat major ...... vol. 2 Concerto for orchestra ...... 3-4:23 Concerto, piano, No. 3, op. 26, C major ...... 5-6:5 Mahler, Gustav Concerto, violin, No. 1, op. 19, D major ...... vol. 2 Lieder eines fahrenden Gesellen (Songs of a Wayfarer) . . . . 9:6 Concerto, violin, No. 2, op. 63, G minor ...... 2-3:3 Texts and Translations ...... vol. 2 Overture on Hebrew Themes, op. 34 ...... 2-3:27 Maréchal, Maurice Romeo and Juliet Suite, op. 64bis and 64ter ...... 6-7:26 Suite populaire espagnole (arr.) see Falla Sonata, 2 violins, op. 56, C major ...... 6-7:31 Mase, Raymond Cinderella, Suite from op. 87 ...... 2-3:17 Elizabethan Ayres (arr.) ...... see Morley Symphony, No. 1, op. 25, D major, “Classical” . . . . . 1-2:8 Venetian Canzoni (arr.) ...... see Gabrieli Purcell, Henry Massenet, Jules Abdelazer Suite ...... 1-2:29 Cendrillon (Paul Thomason) ...... Op:23 Rachmaninoff, Sergei Sidebar, Cendrillon’s Father (Paul Thomason) . . . Op:25 Concerto, piano, No. 2, op. 18, C minor ...... 8-9:22 Synopsis (Paul Thomason) ...... Op:22 Concerto, piano, No. 3, op. 30, D minor ...... 2-3:15 Matiegka, Wenzel Thomas Suite, No. 2, op. 17 ...... 4-5:7 Quartet, flute, viola, cello, guitar, D. 96 ...... 6-7:7 Symphony, No. 3, op. 44, A minor ...... 6-7:17 Mendelssohn, Felix Ravel, Maurice The Hebrides Overture, op. 26 “Fingal’s Cave” ...... 1-2:36 Alborada del gracioso ...... 3-4:13 Overture to Ruy Blas, op. 95 ...... vol. 2 Daphnis et Chloé, Suite No. 2...... 3-4:14 Quintet, strings, No. 2, op. 87, B-flat major ...... 5-6:14 Gaspard de la nuit ...... 3-4:10 Trio, piano, No. 1, op. 49, D minor ...... 4-5:33 Tzigane, rapsodie de concert ...... 1-2:7 Mennin, Peter La valse ...... 8-9:23 Concertato for Orchestra, “Moby Dick” ...... 6-7:3 Reimann, Aribert Messiaen, Olivier Mignon (arr.) ...... see Schubert La nativité du Seigneur ...... 7-8:6 Respighi, Ottorino Les offrandes oubliées (The Forgotten Offerings), Sonata, violin, B minor ...... 8-9:7 meditation symphonique ...... 8-9:13 Rodrigo, Joaquin Oiseaux exotiques ...... 7-8:17 Concierto de Aranjuez ...... 7-8:11 Quartet for the End of Time ...... 8-9:19 Rossini, Gioachino Thème et variations ...... 7-8:8 La Cenerentola (Paul Thomason) ...... Op:5 Vingt regards sur l’Enfant Jésus ...... 7-8:19 Sidebar, Why Cinderella (Paul Thomason) . . . . . Op:7 Morley, Thomas Synopsis (Paul Thomason) ...... Op:4 Elizabethan Ayres (Raymond Mase) ...... 5-6:28 Overture to Semiramide ...... vol. 2 Mozart, Wolfgang Amadè Overture to William Tell ...... 8-9:3 Concerto, bassoon, K. 191, B-flat major ...... vol. 2 Rouse, Christopher Concerto, piano, No. 21, K. 467, C major ...... 9:2 Frandises ...... 2-3:3 Concerto, piano, No. 21, K. 467, C major, from . . . . 7-8:21 Roussel, Albert Concerto, piano, No. 22, K. 482, E-flat major ...... 4-5:10 Duo, bass, bassoon ...... 5-6:9 Concert, piano, No. 22, K. 482, E-flat major, from . . . 7-8:21 Santourian, Asadour Concerto, piano, No. 25, K. 503, C major ...... 1-2:29 The Beethoven Piano Sonatas in Cycle ...... LvB:1 Overture to Don Giovanni, K. 527 ...... vol. 2 Schoenberg, Arnold Symphony, No. 25, K. 173dB (K. 183), G minor, from . . 7-8:21 Gurre-Lieder ...... 9:14 L’ameró saró costante from Il re pastore, K. 208 ...... 1-2:26 Texts and Translations ...... vol. 2
Symphony, No. 40, K. 550, G minor ...... 7-8:28 Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (arr.) . . Week 9 Trio, piano, K. 548, C major ...... 4-5:22 see Mahler 26 27 Index of Articles, Notes, and Texts
Schubert, Franz Siegrist, Theodore Adagio and Rondo concertante, D. 487, F major . . . 3-4:16 Romanze ...... 5-6:9 Auf den Strom, D. 943 ...... 6-7:20 Skryabin, Alexander Texts and Translations ...... vol. 2 Ten Mazurkas, op. 3, from ...... 3-4:10 Fantasiestücke, op. 12 ...... 2-3:27 Sonata, piano, No.2, op. 19, G-sharp minor, Fantasy in C major, D. 760, op. 15, “Wanderer Fantasy” . . 4-5:29 “Sonata Fantasy” ...... 2-3:27 Four Impromptus, D. 935, op. posth 142 ...... 3-4:19 Smetana, Bedrich Four Impromptus, D. 899, op. 90 ...... 6-7:28 Má vlast (My Fatherland), from ...... 4-5:3 Four Impromptus, D. 899, op. 90, from ...... 4-5:28 Strauss, Johann, Jr. Gesänge des Harfners, D. 478–80, op. 12 ...... 5-6:32 Thunder and Lightening Polka, op. 324 ...... vol. 2 Texts and Translations ...... vol. 2 Strauss, Richard Gretchen am Spinnrade, D. 118, op. 2 ...... 7-8:16 Burleske, D minor ...... 4-5:11 Texts and Translations ...... vol. 2 Four Last Songs ...... 8-9:13 Gretchen’s Prayer, D. 164 ...... 7-8:16 Le bourgeois gentilhomme Suite, op. 60 ...... 9:4 Texts and Translations ...... vol. 2 Till Eulenspiegel’s Merry Pranks, op. 28 ...... 1-2:22 Mignon ...... 5-6:9 Stravinsky, Igor Texts and Translations ...... vol. 2 Divertimento ...... 9:3 Quartet, flute, viola, cello, guitar, D. 96 (arr.) see Matiegka The Rite of Spring, from, piano for four hands . . . . . 3-4:30 Quartet, string, D. 887, op. posth. 161 ...... 8-9:10 Szymanowski, Karol Quintet, piano, D. 667, op. posth. 114, “Trout” ...... 6-7:29 Myths, op. 30, from ...... 1-2:11 Romance from Die Verschworenen, D. 787, no. 2 ...... 1-2:12 Taneyev, Sergei Scene from Goethe’s Faust, D. 126 ...... 7-8:16 Quintet, piano, op. 30, G minor ...... 3-4:17 Texts and Translations ...... vol. 2 Tchaikovsky, Pyotr Ilych Sonata, piano, D. 664, op. 120, A major ...... 6-7:28 The Nutcracker, Act II, op. 71, from ...... 1-2:37 Sonata, piano, D. 960, B-flat major ...... 9: 6 Francesca da Rimini, op. 32 ...... 8-9:5 Sonatina, No. 2, D. 385, A minor ...... 6-7:7 Polonaise from Eugene Onegin, op. 24 ...... vol. 2 Symphony, No. 9, D. 944, C Major, “The Great” ...... 3-4:7 Symphony No. 1, op. 13, G minor “Winter Dreams” . . 5-6:17 Trio, piano, D. 897, E-flat major, “Notturno” . . . . . 5-6:31 Swan Lake Suite, op. 20a ...... vol. 2 Trio, piano, D. 898, op. posth. 99, B-flat major . . . . . 7-8:9 Tower, Joan Trio, string, D. 581, B-flat major ...... 1-2:25 Copperwave (C) ...... 5-6:28 *Schubert: Striving for the Highest in Art Turina, Joaquin Christopher Gibbs ...... 61 Scène Andalouse, op. 7 ...... 8-9:18 Schuman, William Verdi, Giuseppe American Festival Overture ...... 7-8:11 Triumphal march from Aida ...... vol. 2 Schumann, Robert Villa-Lobos, Heitor Carnaval, scenes mignonnes sur quatre notes, op. 9 . . 4-5:32 Bachianas brasileiras No. 1, A. 246 ...... 6-7:20 Der arme peter from Romanzen und Balladen iii, op. 53 . . . . 6-7:12 Wagner, Richard Dichterliebe, op. 48 ...... 6-7:11 Overture to The Flying Dutchman ...... 1-2:18 Five Songs, op. 40 ...... 6-7:12 Overture to Tannhäuser ...... 5-6:23 Myrthen, op. 25, from ...... 6-7:11 Ride of the Valkyries from Die Walküre ...... vol. 2 Songs of Wilhelm Meister, op. 98a, from ...... 6-7:13 Walton, William Spanisches Liebeslieder, op. 138, from ...... 6-7:14 Concerto, violin ...... 1-2:37 Spanisches Liederspiel, op. 74, from ...... 6-7:14 Webern, Anton Three Songs, op. 83 from ...... 6-7:14 Five Pieces, op. 5 ...... 8-9:10 Lieder ...... 6-7:11 Weinberg, Mieczyslaw Märchenerzählungen (Fairy Tales), op. 132 ...... 1-2:15 Sonata, clarinet, op. 28 ...... 4-5:18 Overture, Scherzo, and Finale, op.52 ...... vol. 2 Weissenberg, Alexis Quartet, piano, op. 47, E-flat major ...... 2-3:20 Sonate en état de jazz (Sonata in a State of Jazz) . . . . . 9:9 Quintet, piano, op. 44, E-flat major ...... 3-4:26 Wen-chung, Chou Serly, Tibor String Quartet No. 1, “Clouds,” from ...... 5-6:13 Concerto, viola, BB 128 (arr.), ...... see Bartók Wernick, Richard Sheng, Bright A Song for Phil ...... 1-2:25 Quartet, string, No. 5, “The Miraculous” (C) . . . . . 1-2:41 White, Barbara Shostakovich, Dmitri My barn having burned to the ground, I can now Concertino for Two Pianos, op. 94 ...... 8-9:28 see the moon ...... 7-8:8 Concerto, piano, No. 1, op. 35, C minor ...... 7-8:27 Wieniawski, Henri Quartet, string, No.4, op. 83, D major ...... 1-2:41 Concerto, violin, No. 2, op. 22, D minor ...... 5-6:23 Symphony, No. 5, D minor, op. 47 ...... vol. 2 Zemlinsky, Alexander Two Pieces for String Octet, op. 11 ...... 2-3:30 Die Seejungfrau (The Mermaid), Symphonic Fantasy Two Pieces for String Quartet ...... 1-2:3 after Hans Christian Andersen ...... 4-5:15 Week 9 Trio, piano, No. 2, op. 67, E minor ...... 4-5:22 Sibelius, Jean Concerto, violin, op. 47, D minor ...... 4-5:14, 7-8:22 Humoresques, op. 89 ...... 1-2:25 Symphony, No. 1, op. 39, E minor ...... 7-8:12 28 29 A Tribute to Gordon Hardy, in honor of his ninetieth birthday Dean and President of the Aspen Music Festival and School from 1962 to 1989
Gordon Hardy Hardy at the back of the Saarinen Music Tent, Charles Abbott, photo Everyone who was part of music in Aspen during Gordon Hardy’s historic leadership remembers him stand- ing, ramrod straight but wholly attentive, in the back of ev- ery concert. His presence embodied a combination of gentle encouragement and a challenge to excellence—qualities that Hardy and Edward Berkeley he brought to every aspect of his work. His love of music and Charles Abbott, photo for musicians combined to bring Aspen to a world standard. In his ninetieth year, he and Lillian, the devoted and indis- pensable partner in all his accomplishments, continue to be a beloved presence in the tent—a reminder of our brilliant past and a wonderful support for our future. —Alan Fletcher, President and CEO Dorothy Delay and Hardy Charles Abbott, photo
Lillian and Gordon Hardy Robert Biddlecome, photo
Hardy and Aaron Copland Gil Shaham and Hardy Week 9 Charles Abbott, photo Charles Abbott, photo
28 29 Annual Fund
his week’s performances, along with the more than 300 Tother events of the 2008 season, are made possible through the wonderful generosity of donors to the Annual Fund. Annual contributions ensure that the Festival and School can continue its pursuit of excellence in performance and education.
We hope you will consider a gift to the Annual Fund to assist in our endeavors. A donor envelope is attached on page 81 of the program book—it may be mailed or handed in at the Harris For specific questions on contributions, please call Donor Hall lobby ticket counter. Records Manager, Kat Berg, at 970-205-5061, or email: gifts@ aspenmusic.org. Thank you! Brochures describing giving opportunities are available at the Harris Hall Box Office and you may also access donor informa- Aspen Music Festival and School wishes to thank the following tion at www.aspenmusicfestival.com. additional donors for their generous contributions.
Premier Associates Local Business Dr. Frank C. Marino In Honor of the 55th In Honor of Marilyn and Charles ($30,000 and above) Aspen Self Storage Warehouses Foundation, Inc. Anniversaries of Judy and Jordan Rivkin Individuals Chateau Blanc Will Polite Bittel and Dottie and Buddy Jean and Allen Parelman Jane and Michael Eisner Jo Anne and Richard Rubinoff Jacobs In Honor of Cecily Silberman’s Victoria and Ronald Simms Affiliates Esther Schreiber Marilyn and Mel Gallant Birthday ($700 and above) J. Gail and Merlin Schulze Linda B. and Eugene Kalnitsky Marilyn and Mel Gallant Silver Associates Individuals Lydie Shufro Jean and Allen Parelman In Honor of Marilyn and Charles ($17,000 and above) Dr. and Mrs. Richard Conant Vivian and Tom Waldeck Rivkin Individuals Suzanne Farver Subscribers In Honor of Melva Bucksbaum Roz Harkavy Barbara Allen Christine Grad, MD ($100 and above) and Ray Learsy In Honor of the Anniversary of Shannon and Richard Fairbanks Elizabeth Guenzel Individuals Charlotte Elmets Andrea and Lubert Stryer Shana Johnstone Deborah and Joseph Amato In Honor of Tex Fagadau’s Marion and Don Weiss Associates Carolyn J. Grant and Robert J. Marilyn and Jules Amer Birthday In Honor Linda Vitti’s Birthday ($11,000 and above) Krenz Eileen E. Bradley Marja Engler Linda B. and Eugene Kalnitsky Individuals Cathy and Walter Isaacson Wendy and Dale Brott In Honor of Fran and Fred Felser In Honor of Dick Wyman’s Susan and Richard Braddock Trevor Mountjoy Campia Family Foundation Roz Harkavy Birthday Leslie and Mac McQuown Harold and Robin Quinn Michele Crawford Jean and Allen Parelman Lois Siegel Fund of Triangle Community Charles A. Dinarello In Honor of Marty Flug In Honor of Bersabella Gallegos Benefactors Foundation Marjorie Dolstra Ellen and Ed Monarch and Bert Gallegos ($7,000 and above) Iris and Phillip Rosenberg Kathy and John Eckrich In Honor of Fred Kucker’s In Honor of Pam Hatcher Individuals Mary Hugh Scott Joseph Farago Birthday In Honor of Margo and Paul Catto Charitable Foundation Selim K. Zilkha Dr. Jacqueline Frischknecht Inez Allen Hields Sylvie and Gary Crum Roz Harkavy Elaine and Bob Blatt In Honor of Jonathan Leichliter Nanette and Jerry Finger Friends Constance Harvey Sylvia and George Falk In Honor of Maria and Craig Sylvia and Dick Kaufman ($350 and above) Denise and Erv Jindrich Dolores and Leonard Farber Morris Lowell H. Lebermann, Jr. Individuals Jeffrey W. Johns Fran and Fred Felser In Honor of Lillian and Nic Merbie and Tom Payne Sherri and John Bergstrom Renate and Karl Kahn Marilyn and Mel Gallant Nuemann Margaret and Philip Verleger Ruth H. Brown Linda and John Keleher Marcy and Howard Gross In Honor of John Olson Kay and Ken Whiting Delia Duson Jennifer and Greg Long Roz Harkavy In Honor of Todd Reese Local Business Karen and Marc Friedberg Mr. and Mrs. H. Montgomery Chris Harman In Honor of Randy Wedum Chateau Roaring Fork Lulie and Gordon Gund Loud Eveline and Allen Hoffman In Honor of Luica Woltin Lift One Condominium Owners Virginia Weckstrom Kantor and Fern and Mark Mazo Arlene Katz David Dorin Paul Kantor Nancy and Charles Mitchell Goldie and Werner Knurr In Memory of Ellie Brickham Patrons Dr. and Mrs. R. Joseph Marilley, Jr. Frances Norris Janet Margolis Barbara Allen ($3,500 and above) Debbie and Bill Montgomery Joan Siegel Jean and Allen Parelman Zinette Moore Individuals Susan Sheridan Heather Sinclair Marilyn and Charles Rivkin Susan and Ford Schumann Gina Berko and David Fleisher Pat Spitzmiller Helene Slansky Joyce and Charles Shenk In Memory of Joan Fitzpatrick Jeffrey Kenner Judy and Leo Zickler Berkley Tague Norma Jean and Arthur Shufro Barbara Allen Anne and Austin Marquis Phyllis W. Tate Shelley and Jerry Warshofsky In Memory of Marge Stein Jean Pokress Contributors Margaret F. Walker Frankie and Skip Welfeld Barbara Allen Page Shuck ($175 and above) Mary Wilson Susan and Richard Wellek In Memory of Goodrich Taylor Individuals Local Business In Honor of Dr. Jack Resneck Barbara Allen Sustainer Cathy and Truman Anderson Darnauer Group Marketing/ PR Jim Weiss ($1,750 and above) Andrew D. Black Individuals Chateau Eau Claire Partnership Honorary Gifts Week 9 LesLianne and Richard Braunstein Pamela M. Cunningham In Honor of the 55th Anniversary John B. Cooley Sally and Alan Gass of Judy and Jordon Bittel Glossary of Terms Ann C. Levy Walter L. Gerash Lotta and Stuart Brafman Judith and M. Richard Wyman Mr. and Mrs. Albert Fay Hill In Honor of the 55th Anniversary A glossary of musical terms by Jane Vial Jaffe ap- Carlton J. Hunke of Dottie and Buddy Jacobs pears on pages 152 to 154 of the outside pages. Joan and Melvin Levinson Kathryn and Richard Rabinow 30 31 2008 Aspen Music Festival Volunteers
he Aspen Music Festival and School is truly blessed with areas: development and fund raising, marketing and public Tmore than 500 volunteers who donate their valuable time relations, accounting, student services, music education, Fred and energy each year in countless ways. The vital services they pro- O. Lane Lemonade Stand, gift kiosk, Aspen Opera Theater vide are essential to our success and enable us to offer many special Center, student registration, special events including Encore activities that would not happen without them. They are a visible receptions and benefits, tours of the Aspen Music School presence in the day-to-day workings of the organization, and their Matthew and Kay Bucksbaum Campus, walking tours to the many hours of hard work are deeply appreciated. Benedict Music Tent and Harris Concert Hall, student and artist-faculty dinners, music ambassadors/concierges, student Warmest thanks to the cherished volunteers who so gener- bicycle shop, and ushers. ously contribute to the Festival and School in the following
Marcella W. Ach Jan Cochran Al Grossblatt Jocelyn Kochenour Hermine Nessen Sandy Simpson Barbara Adams Ned Cochran Sunny Grossblatt Bunny Krausch Wendy Nevins Alvin Siwak Bob Albright Sydney Cohen Margo Gubser Paul Krausch Judy Nordhagen Nancy Siwak Jane Alby Bob Cook Gardner Flicka Kuen Cherie Oates Helene Slansky Tom Alby Marsha Cook Don Gunther Carol Kurtz Denise O’Kelly Kathy Smalls Mariann Altfeld Valerie Cooper Jo-Ann Hall Tom Kurtz Susan O’Neal Garland Smith Jo Anderson Jan Crowley Dusty Hamrick Wendy Larson Lisbeth Odén Tina Smith Carey Anglemeyer Chuck Curry Cheryl Hannah Bill Latta Nancy Odén Jerry Southard Jessica Anzalone Jeanette Darnauer Andy Hanson Helen Latta Zackary Odén Dianne St. George Sam Bacon Don Davidson Georgia Hanson Jeff Lava Carol Opeka Barbara Stanford Helen Badt Nancy Davidson Debbie Harder Joan Lava Hanni Orton Tom Stanford Joe Badt Roy Davidson Ann Harris Joan Leatherbury Allen Parelman LeeLee Taylor Stege George Baker Richard de Campo Bunny Harrison Jay Leavitt Jean Lee Parelman Freda Gail Stern Marilyn Baker Sue de Campo John Harrison Karen Leavitt Vicki Patterson Rita Stern Marcy Balderson Carmen De Tata Jennifer Hearn Sonia Lederer Merbie Payne Austine Stitt Buddy Bates Nancy Dederer Richard Heinz Bruce Lee Tom Payne J.D. Sturgill Connie Bates Paula Derevensky Nancy B. Heldman Danielle Leffler Deb Pease Miwa Sugiyama Karen Beard Al Dietsch Scott Hemmen Rye Lemons Carla Peltonen Akasha Sullivan Lee Beck Germain Dietsch Sonya Hemmen Allen Levantin Paul Penn Ko Taniguchi Lynne Billac Susan Dodington Kristen Henry Ethel Levantin Susan Penn Jackie Thompson Hattie Billings Sal Drago Tom Hext Bertel Lewis Paulette Perkins Harriette Line Jordon Bittel Sandra Dukas Geraldine Heyman Denise Lock Doris Peterson Thompson Judy Bittel Linda Dysart Dot Heywood Laurie Loeb Gina Pogliano Dave Tolen Nancy Blakeslee Terry End Marli Hinckley Janette Logan Susan Proctor Bobbye Tucker Ann Bliss Sally Enderlin Dutch Hodges Pete Louras Betsy Ratcliff Barbara Ulrich Eliot Bliss Caroline Fain Bianca Hooker Sam Louras Dave Ratcliff Rodney Ulrich Sandy Bolton Charlotte Farr Carol Hooper Nancy Lowe Donn Resnick Sabra VanDolsen Bruce Bowen Deborah Felder Jennine Hough Laura P. Maggos Edith Resnick Barbara Vetri Lynn Bowen Richard Felder Marjon Huebers Cathy Mann Suzann Resnick Karoline von Tink Boyer Nora Feller Rose Irvine Diane Manown Gwen Richter Guenderrode Patricia Brayman Pam Finkelman Jeanne Jacobi Bryce Maple Dewey Robbiano Julie Wagner Walter Brayman Helene Freeman Linda Johnson Susan Mauntel Jere Rood Ruth Waldman Karen Bristol Owen Freeman Lisa Kane Jung Natalie Mayer Dianne Rosenthal Susie Wall Renee Brook Barbara Fretz Denise Jurgens Estelle McArthur Polly Ross Harriet Washton Sol Brook Bruce Fretz Arthur Kafrissen William McArthur Jeanne Roth Joe Waters Brigitte Bunevich Vivian Friedlander Carole Kafrissen Sharon McBay Mark Rothman Leslie Waters Peter Bunevich Margery Fridstein Eugene Kalnitsky Betty McCarthy Sandy Rothman Wendy Weaver Helen Burnett Bob Fridstein Linda B. Kalnitsky Jessica McCurry Mary Russell Frankie Welfeld Phil Burnett Ginni Galicinao Judy Kava Peg McGavock Bobsy Sachs Skip Welfeld Marie Butler Paul Gannon George Kaye Rob Merritt Jim Schorsch Gayle Wells Markey Butler Muriel Ganz Karen Keeney Mary Millard Marlene Schroeder Susan Fleet Welsch Bev Campbell Keith Gardner Linda Keleher Joyce Miller Jill Seager Sylvia Wendrow Pat Carey Catherine Garland Diana Kellner Roger Miller Lewis Seager Marilyn Hodges Bill Carr Linda Gerdenich Jane Kendall Ed Monarch Maryellen Secrist Wilmerding Marilyn Carroll Heather Gibson Charles Kennedy Ellen Monarch Nancy Shalen Dottie Wolcott Lee Cassin Marcia Gilner Diane Kennedy Caroline Moore Philip Shalen Edie Wombwell Susan Cater Will Goddard Samuel Kenner John Moore Tom Sharkey George Wombwell Amy Cecil Dennis Grant Jane Kessler Jim Moran Betty Ann Shenk Natsuko Yanagawa Karen Chamberlin Joanna Green Mary Jo Kimbrough Mary Moran Richard Shenk Barbara Young Linda Chaney Kelly Green Diane Kinsman Connie Morrell Caroline Shohet Andre Zaharko Candice Christensen Blanche Greenberg Marie Kiyone Joe Myers Dick Shohet Babe Zats Linda Clark Jean Greiner Carolyn Kleban Lois Naft Cari Shurman Betty Zats Tom Clark Janet Grenda Stan Kleban Katie Neal Eva Shurman Week 9 Jane Click Ted Grenda Ellen Knous Mahlon Neal John Shurman 30 31 Orchestra Musicians
Aspen Horns Laura Mirahver English Horns Thomas Stubbs,principal Eric Israelson, chorus Altos I Randy Verble Concert David Wakefield, Jonathan Miron Pedro Diaz Rich Chwastiak manager Priscilla P. Adams* John T. Vonachen Orchestra principal* Megan Moran Nicholas Arbolino Justin Doute Barbara Porter, assistant Helen C. Alfaro Donald S. Willian* Violins I Matthew Eckenhoff Preetha Narayanan Nicholas Gleason chorus manager Myrna G. Berlin Donald G. Wood Bing Wang, concertmaster Shona Goldberg- Derek Powell Clarinets Simon Gomez Gallego Laurie Kahler, principal Sara E. Blake Daniel L. Wyatt Ray Chen, assistant Leopold Mayuka Sawamoto Joaquin Valdepeñas, Seth Nicoletti accompanist Kay A. Boothe Kenneth Zimmerman* concertmaster Joshua Paulus Robin Su principal* Christian Slagle Jayne M. Conrad Antoaneta Anguelova Elizabeth Upton Andrew Brown Tyler Stell Sopranos I Jane Costain Tenors II So Young Bae Violas Erika Cikraji Ian Sullivan Nadine M. Alldridge* Lisa B. Den Braber Keith Arnold Robyn Bollinger Trumpets Gilad Karni, principal Erin Fung Sheliah Andrews* Aubri K. Dunkin Marsh Barnette Stefani Collins Raymond Mase, Whitney Reid Bullock, Juan Olivares Harps René M. Atchison Susan Easter Brad Bolton Caroline Goulding principal* assistant principal David Perry* Nancy Allen, principal* Mary J. Belyea* Kirsten D. Franz Mac Bradley Heejung Kim Kibum Park David Beytas Dennis Smylie Juliana Beckel Claire E. Benson* Sharon R. Gayley David Burrows Arthur Moeller Christopher Shiley Lydia Bunn Richard Stone Caroline Bembia Susie Bolton Daniela Golden Henry Claman Danielle Belen Matthew Carrington Socrates Villegas Colleen Potter Lois F. Brady Elijia C. Gonzales Dusty Davies Nesmith Trombones Aaron Conitz Maria Rindenello- Jamie Brown Gabriella D. Groom Stephen C. Dixon Ilana Setapen Benjamin Zilber, Justin Eichler Bass Clarinets Parker Lindsay R. Campbell* Pat Guittar Richard B. Eslick* Tracy Wu principal Allison George Dennis Smylie Lara Somogyi Athanasia Christus Shirley D. Hamilton Ted Fiorino Ian Fitzwater Ying Ying Ho Richard Stone Sarah Stern Jessica Dowdey Bobbe Harms* Russ Freeman Violins II Graham Gibson Mitsuru Kubo Sydney B. Fisher Melissa J. Holst Roger A. Fuehrer Kathryn Eberle, Addi Liu E-flat Clarinets Keyboard Lisa A. Fultz Kaia M. Hoopes Robert W. Gage principal Tuba Lauren Magnus Andrew Brown Daniel Pesca Karen Gasser* Carol E. Horle* John H. Gale Karla Donehew, Andrew Nowry Hana Morford Socrates Villegas Rebecca B. Gauss Annette Jackson Bill Goodwin assistant principal Hannah Rose Nicholas Orchestra Jenifer D. Gile Annie Kolstad Christopher E. Hassell Jason Issokson Timpani Molly O’Brien Bassoons Librarian Lori Gill Cynthia K. Langan Tom P. Kampman* Caitlin Kelley Jonathan Haas, Eliza Thomason Per Hannevold, Sara Baguyos Susan Graber Nancy L. Malone* Jeff Koehler Justyna Lutow principal* Chieh-Fan Yiu principal* Ellen D. Graves Crystal Marie Christian J. Martinez Boson Mo Race Feldcamp Orchestra Wendi Sue Grover Helen F. Matthews Brandt J. Mason Milena Rusanova Percussion Cellos Alex Munkacsy Manager Jennifer Harpel Evelyn McCoy Tom A. Milligan Zhangtong Song Seth Bagwell Andrew Shulman, Victoria Olson Rachel Sepulveda Connie Hilgefort Lauri Olsen Richard A. Moraskie Ko Taniguchi Ethan Pani principal Chris Sales Lynnae C. Hinkley Ginny Passoth Timothy W. Nicholas Peter Vickery Nate Sankary Marta Bagratuni, * alumni of the AMFS Stephanie Hood Georgina L. Pierce* James L. Pettigrew Stephanie Yu Andre Sonner assistant principal Contrabassoons Ellen Janasko* Jennifer Ridout Ken Quarles Tyler Stell Claire Allen-Solomon Patrick Johnson-Whitty The United Marina Kushnir Lois Rzasa Jerry E. Sims Violas Emily Burton Scott Switzer States Army Lisa D.Long Susan Shapiro Lloyd F. Slevc Catharine Carroll, Harp Elaine Fitz Gibbon Chorus Stacey L.Mahlum Patricia K. Slevc Stephen A. Vaughn principal* Colleen Potter Jason Jehoon Kim Horns Captain Scott Wendy L.Moraskie Cheryl A. Stavis Lydia Bunn, assistant Suah Kim John Zirbel, principal McKenzie, director Katharina B.Moulton Pat Virtue Basses I principal Piano Yeonjin Kim Sivan Adato Cathy A.Pennak Virginia D. Warner* John G. Adams Thomas Bandar Louise Chan Alina Lim Megan Evans Tenors I Barbara A. Porter* Judith M. Wyatt Stephen Banks Rebecca Barnes Brian Magnus Madison Roberts SGM Robert M. Petillo Lori A.Ropa, Doris E. Yeingst Frank Bontrager Isabella Mensz Orchestra Thomas Mesa Jessica Santiago SGM Andrew J. Nancy C. Saddler George Cowen* David Moss Librarian Leah Metzler Andrew Swinney Patterson Kirsten Sharer Altos II Robert Drickey Jonathan Mueller Megan Moran Gabriel Panny Patrick Thomas MSG Michael J. Ford Lynne M. Snyer Marilyn B. Adkins L. Richard Freese Davis Perez Kyra Saltman Sarah Todd SFC Michael D. Bicoy Judy Tate Carol A. Bosco Douglas D. Hesse Sheldon Person Orchestra Myo ah Seo Pierre-Antoine Tremblay SFC Antonio S. Thelma L. Trimble Maryanne Brush* Thomas J. Jirak Vesselin Todorov Manager Kirsten Sullivan Catherine Turner Giuliano Stephanie Wallace Gwen P. Cavanaugh Robert Larson Naimah R. Bilal Sarina Zhang Monika Warchol SFC Patrick J. Sobolik Linda K. Wood Martha E. Cox John F. Ludwig Cellos SFC Colin D. Eaton Ruth A. Zimmerman Sheri L. Daniel Elliott B. Magalnick Michael Mermagen, Aspen Festival Basses Wagner Tuben Barbara R. Deck* Justin C. Mavity principal* Orchestra Eugene Levinson, Sivan Adato Tenors II Sopranos II Carol A. Eslick Nalin J. Mehta Valentina Takova, Violins I principal Madison Roberts SFC Nathan A. Carol C. Albright Christa W. Geyer Scott P. Naden assistant principal David Halen, Joseph McFadden, Pierre-Antoine Tremblay Sommers Lizabeth Barnett Carole Herold Jack G. O’Nan Kathryn Austin concertmaster assistant principal Monika Warchol SFC Henry L. Fiske, Jr. Jude Blum M. Elaine Holcomb Frank Y. Parce Gabriel Cabezas Marc Daniel van Justin Kujawski SFC Pablo Talamante Mary K. Boomer* Brandy H. Jackson Benjamin M. Williams Ross Gasworth Biemen, assistant Gabrielle Marx Trumpets SFC Stephen P. Cramer Alexandra S. Bowen Ruth A. Krauss* Keith A. Williamson Yeonjin Kim concertmaster Rani Na Louis Ranger, principal SSG Ian A. Lane Margot L. Brauchli Nancy I. Levitt Brian W. Wood* Joanne Lee Eleanor Bartsch Wen-Ling Shih Michael Brest SSG Jason M. Gottshall Denelda Causey Carole A. London Aleisha Verner Katarzyna Bryla Corey Schutzer Dylan Girard SSG Matthew P. Heil Alana Chartier Joanna K. Maltzahn Basses II Maia Cabeza Elizabeth Soukup Brian Hess Ruth A. Coberly* Beverly D. Mendicello Harry Adair Basses Catherine Cosbey Maurice Todd Caleb Hudson Baritones Lou T. Dafoe Marge A. Mieger* John B. Adams Bruce Bransby, principal* Ken Hamao Max Vaclavik Wesley Miller SFC Bob McDonald Lisa I. Delaney Kelly T. Millar Roger G. Bagwell Brian Johnson, assistant Juliette Javaheri William Wasson SFC Clifton D. Ogea Alexandra Florimonte Deborah R. Norris Dennis N. Bangtson principal Laura Keller Paul Wehle Bass Trumpet SFC Alex Helsabeck Esther J. Gross Sally W. Ochsner* Perry W. Bell Jeffrey Kail Ji Min Lee Richard Weir Benjamin Zilber SFC Neil F. Ewachiw Kerry E. Harrold Dolores G. Odell Jeffrey E. Boe Ellen Stewart Lauren Rausch Derek Zadinsky SSG Robert P. Burner Janice Hoffman Carol L. Rust* John A. Gallagher Erin Schreiber Alto Trombone SSG Jesse S. Neace Jeanne Iske Elsa Schroeder Christoph M. Goss Flutes Brightin Schlumpf Flutes Chris Dudley SSG Matthew R. Nall Lisa D. Kraft Pamela R. Scooros Stephen Hooper Mark Sparks, principal* Rachel Shepard Nadine Asin, principal Colleen Krause Barb Smith Robert L. Ireland Pamela Daniels Clayton Tillotson Jacqueline Arrington Tenor Basses Cathy Look Lil P. Smith Eric W. Israelson Sonora Slocum Sarah Titterington Alaina Bercilla Trombones SGM David D. Heidi S. Lynch Mary B. Thayer Terry L. Jackson Daniel Stein Esther Visser Levin Chan James Anderson Helveston Diane L. Maria Caroline Van Pelt Roy A. Kent* Mason Yu Douglas DeVries Kevin Fairbairn MSG Jonathan J. Jeri D. McCue Mike A. Kraft Oboes Tina Zhang Emma Gerstein Alex Glen Deutsch Barbara P. McLean Tenors I Robert F. Millar Jr. Jeannette Bittar, principal Nancy Zhou Erin McKibben Geoffrey Seelen MSG Gregory S. Jennifer Murphy Donald E. Bossart Greg A. Morrison Nicholas Arbolino Elise Shope Lowery Jeannette R. O’Nan Philip W. Choquette* Paul Munsch A. David Barford Violins II Bass Trombone MSG Alec T. Maly Bonnie C. Pritchett Stephen M. Foster Chuck Nelson William Wollett Carole Cowan, principal* Piccolos Todd Weinman SFC Kerry Wilkerson Donneve S. Rae Joel C. Gewecke Eugene J. Nuccio Alicia Hui, assistant Jacqueline Arrington SFC Alvy R. Powell Shirley J. Rider Frank Gordon, Jr. John R. Phillips Clarinets principal Alaina Bercilla Contrabass SSG Kristopher C. Janet Rhodes* Forrest E Guittar, Jr. John Schaak Bil Jackson, principal* Alexander Boissonnault Douglas DeVries Trombone Armstrong Roberta A. Sladovnik David K. Hodel Russell R. Skillings Eric Anderson Gregory Cardi Erin McKibben John D. Rojak Nicole J. Stegink Geri Jensen Wil W. Swanson David Halperin Michelle J. Choo Colorado Erica Thoreson Curt Jordan Chin K. Tan Richard Stone Elizabeth Derham Oboes Tuba and Symphony Leslie D. Ufford Kenneth E. Kolm Dave F. Ufford Week 9 Mark C. Ericksen Elaine Douvas, principal Contrabass Tuba Orchestra Susan K. Von Roedern Alex C. Morrison Tom G. Virtue Bassoons Jennifer Estrin Nicholas Arbolino Seth Horner Chorus Marcia L. Walker William J. O’Donnell Miles D. Williams Steven Dibner, principal* Joy Fabos Pedro Diaz Duain Wolfe, chorus Michelle L. Watson Bryan Reed Ingrid Hagan Alexander Knecht Jeffrey Stephenson Timpani founder and director Sherry L. Weinstein Ronald L. Ruth* * Charter Members Patrick Johnson-Whitty Sarah Koenig-Plonskier Camille White David Herbert, principal Mary Louise Burke, Marcia Whitcomb David Snook David Threatte Ken Lam Michael Van Wirt associate chorus director Sandra M. Woodrow Hannis W. Thompson Justyna Lutow Percussion John P. Van Milligan 32