MAHLER II
Robert Olson, Music Director
January 14 & 15, 1989 Imig Music Building University of Colorado Boulder, Colorado
L Colorado MahlerFest II
Mahler was the fIrst compo er to shatter the Victorian intellectual tradition of bland rationality and blind optimism. His vision of the world, so clearly mirrored in his works, reflected the problems of life, of love, of achievement and failure, of happiness and fame from the viewpoint of death. Predictably, Victorian audiences were utterly perplexed by both the emotional honesty and emotional complexity of this approach. However, today's generation of listeners finds itself increasingly in accord with a composer who does not spare them the trouble of stretching their emotional range. The American critic David Hall eloquently summarized the whole history of public reaction to Mahler: "For the audiences of Mahler's own day, and perhaps even for those between the two world wars, his musical message was too strong a dose ofbitter medicine ... Today, what were once Mahler's private anxieties and aspirations ... now fInd an echo in the experiences of many hundreds of thousands. They are those for whom the circumstances of war, of over-developed technology and under-developed humanity .. . have posed the hard-core questions of faith in human destiny that Mahler, as a solitary individual, tried to answer. Now that his problems have, in a sense, become common to all of us, his music has begun to fInd a home throughout the world." His music may reach contemporary ears, but contemporary budgets do not promote frequent performances of the great symphonies of Mahler, other than the popular First and FOUTch symphonies. Complete works for hundred-pie{:e orches tras and choirs, lasting nearly two hours and demanding extraordinary perfonnance skills still only find periodic inclusion in orchestra seasons, and then only with major, professional orchestras. Thus came the idea to create a Festival dedicated to the perfonnance and study of the entire repertoire of Mahler, a Festival where one can program "Songs of a Wayfarer" and the First Symphony on the same concert because of their similarities. A Festival in which dedicated amateur and professional musicians gather from different orchestras arou'nd the state to perform what are generally considered the greatest symphonic creations in the repertoire. A Festival which attracts a timpanist to come from New Jersey, or a soprano to travel from Chicago. "A Symphony is like the world. It must embrace everything," Mahler once declared. For two days each year, the Colorado MahlerFest allows its participants and audiences to explore one of history's greatest musical prophets! Robert Olson
Music Director and Conductor •
MahlerFest creator and condutor Robert Olson brings a under his leadership. The orchestra has tripled its operating tremendous breadth of Lraining and experience to the five budget, enlarged its season, and has elicited critical acclaim podi ums he now commands. His first conducting post was a from FronL Rangecritics. Since 1979, Olson has conducted the joint appointment as conductor of orchestras and opera at Colorado Gilbert & SulJjvan Festival, but will inaugurate a Nebraska Wesleyan University (Lincoln) and Assistant Con new Festival thjs coming summer with a professional chamber ductor of the Omaha Symphony, a post he held from 1970 orchestra called "Boulder Baroque." 1973. After placing in Ute "TopTen Young American Conduc He has guest conducted numerous orchestras including lOrs" of the Georg Solti Conducting Competition in 1972, he the Cleveland Orchestra, Nebraska Chamber Orchestra, Ar won a competiton in San Francisco to receive the coveted vada Chamber Orchestra. Arapahoe Chamber Orchestra, and Fulbright Award in 1973 to study with the noted conductor/ in late January. the Springfield (Missouri) Symphony Orches teacher, Hans Swarovsky in Mahler's "home" city of Vienna. tra. Other conducting posts include Rocky Ridge Music .. While in Vienna, he was invited to conduct an American Center (12 years) and Boulder Civic Opera His firslrecording chamber orchestra touring Romania, Hungary, Austria, and to will be released in 1989 on CRS records. make a fi lm on contemporary American avant garde music. Olson is also an acclrumed bassoonist, having Loured The Vienna experience afforded him the opportunity to study Japan, Europe three Limes , and throughout half the Uruted with such renown conductors as Zubin Mehta, Leonard Bern States. He has been invited to perform at the 1989 Vienna stein, and Lorin Maazel. Olson was selected in both 1987 and International Music Festival in May. 1988 to be one of four American conductors to work with His long time love affair with the music of Mahler is Andre Previn and Herbert BLomstedt. respectively. coming to fruition, as he will beconducting theFirSI Symphony In 1974 he joined the faculty of the Unjversity of Colo wiLh the Springfield Symphony Orchestra January 29, 1989, rado, where he has directed the prestigious opera program for the Second Symphony with the Colorado MahlerFesLJanuary over a decade, and thls year is Director of Orchestras as well. 15, 1989, and the Fourth Symphony with the Longmont Olson is also enjoying hjs sixth season as Music Director and Symphony AprilS. 1989. Conductor of the Longmont Symphony which has flourished Colorado MahlerFest n Robert Olson, Music Director and Conductor
January 14 & 15, 1989 !mig Music Building
Dedicated to the perfonnance and study of the entire Mahler repertoire
Schedule of Events
Saturday, January 14, 1989
6:00p.m. Opening Reception Conference Room
6: 30p.m. Opening Remarks: Music Director Robert Olson C199
6:45 p.m. Lecture: "The Resurrection SympJwny in America" Cl99 by Karl Kroeger
7:15 p.m. Lecture: "MahlerFest IT: the Music" C199 by Steven Bruns
8:00p.m. Chamber Concert Music Hall
Theresa Brancaccio, soprano Marcia RagonelLi, mezzo-soprano Robert Spillman, pianist MahlerFesl Chamber Orchestra, conducted by Robert Olson
Sunday, January 15, 1989
1:30 p.m. Free showing of the Ken Russell Film Mahler C199
4:00p.m. Discussion and Critique of the Film C199 by Wes Blomster
5:00 p.m. Concert: Symphony #2, "The Resurrection" Music Hall
The MahlerFest Orchestra, Robert Olson, conductor MahlerFest Chorale, Thomas Edward Morgan, director Theresa Brancaccio, soprano Marcia RagoneLti, mezzo-soprano
Admission to the entire Festival is $7.00, or $5.00 per concert. Admission to the lectures and mm is free. Colorado MahlerFest II
Saturday, January 14, 1989
8:00 p.m. Music Hall
Program
Selections from Leider und Gesiinge aufder Jungendzeit and De Knaben Wunderhorn Wo die schonen Trompete blasen (Wunderhorn, Vol. n, 1898) Das irdische Leben (Wunderhorn, Vol. J, 1892-93) Starke Einbildung kraft (Lieder, Vol. n, 1893) Des Antonius von Padua Fischpredigt (Wunderhorn, Vol II, 1893) Wer hat dies Liedslein erdacht (Wunderhorn, Vol. I, 1892)
Theresa Brancaccio, soprano Robert Spillman, piano
Songs to Poems by Ruckert composed 1901-1904 Ich Almer' einen Lindenduft Liebst du um SeMnheit Blicke mir nicht in die Lieder fch bin der Welt abhanden gekommen Um Mitternacht
Marcia Ragonetti, mezzo-soprano Robert Spillman,piano
intermission
Suite from BWV 1067 and BWV 1068 1.S. BachIMahler (alT'dJ1gcd and published 1910) Overture Rondo and Badinerie Air Gavotte I & II
MahlerFest Chamber Orchestra Robert Olson, conductor Colorado MahlerFest II
Sunday, J anuary 15, 1989
5:00 p.m. Music Hall
Program
Colorado MahlerFest Orchestra Robert Olson, conductor Theresa Brancaccio, soprano Marcia Ragonetti, mezzo-soprano Colorado MahlerFest Chorale Thomas Edward Morgan, music director Ars Nova Chamber Singers, Thomas Edward Morgan, music di recclor Colorado Morman Chorale, David Hardin, music direclor
Symphony #2 in c minor, "Resurrection"
Allegro Maestoso Andante moderato In ruhig fliessender Bewegung "Urlicht." Sehr feierlich, aber schlicht Im tempo des scherzos. Wild herausfahrend
There will be an intermission after the second movement Spanische Liebeslieder for Chicago's solo Cantata for Alto No. 170, the Mozart WFMTradio. Requiem and Amahl, all with 10 Ann Miss Brancaccio has received first Falletta conducting. place awards from the Bel Canto Founda A Phi Beta Kappa graduate of Cor tion, Louis Sudler Oratorio Competition, nell University, Ms. Ragonetti has been a Italian Cultural Center, Crescendo Club Rocky Moun tain regional finalist in the and Northwestern University Honor's National Federation of Music C;ub's Competi tion. You can hear her as a Young Artist Competition and a winner featured soloist on a recently released in the Denver Lyric Opera Guild' Com recording ofThe Music ofMax Janowski, petition for Colorado Singers. An active by the renowned composer of Jewish recitalist, she is co-founder of the Vocal music. Arts Ensemble of Denver, member of Industrial Strength, a musical quint.e t specializing in corporate trade shows, and alto soloist at Church of the Good Shepherd.
Theresa Brancaccio, soprarw Theresa Brancaccio's blossoming career encompasses opera, oratorio, song reci tal and operetta. Sbe "combined beauty, the right amount of naivete and a ravishing voice ... " said Patricia Birken slock, the Wheaton Daily JoumaJ of her Mimi for DuPage Opera Theater's La Boheme. Other roles she has protrayed include Adina in Elixerfo Love. Zerlina in Don Giovanni, Susanna in The Mar riage of Figaro and Yum Yum in The Mikado . Miss Brancaccio has sung with Opera Thcater of SL Louis, Ohio's Blossom Festival, and Chicago's Music Marcia Ragonetti, mezzo-soprano of the Baroque. She has also been fea Ms. Ragonetti, whose repertoire lured in concert with the Elgin Sym spans a wide range ofopera, oratorio and phony, New Oratorio Singers, Nebraska popular music, has been associated with Choral Arts Society, New Philharmonic, Opera Colorado since its inception in and North Shore Choral Society. Chi 1982, appearing two consecuti ve seasons Robert Spillman, piano cago audiences have heard Miss Bran as the Mother in Amahl and the Night Mr. Spillman came to the University caccio at Orchestra Hallwith the Apollo Visitors, Inez in /l Trovatore and Ciesca of Colorado in 1987 as Chainnan of the Chorus in Menelssohn's Elijah and in Gianni Schicchi. In Opera Colorado's Keyboard department, having comefrom Bach's Mass in B minor. She will return 1989 production of Verdi's Falstaff, she thirteen years on the faculty of the East to Colorado April, 1990 to sing Richard will be featured as Meg Page. man School of Music. He bas toured Strauss' Fo ur Last Songs with the Her extensive performances extensively as a soloist and accompanisl Longmont Symphony. throughout the Rocky Mountain region with Rita Streich, Barry McDaniel, At Northwestern University, where include guest appearances with the Den Donald Grobe, James Galway, and Jan Miss Brancaccio received both Bachelor ver Symphony Orchestra, the Academy DeGaetani, and most recently completed of Music and Master of Music degrees, in the Wilderness, Greeley Philharmonic an extensive tour orChina. Mr. Spillman she was invited to return twice for the and Longmont Symphony in such major has also made appearances with the BBC, BOsendorfer Series, on which she per works as Bach's The Passion According Swiss Radio, RIAF and numerous radio formed Schumann'S Frauenliebe und le to St. Matthew , Verdi's Requiem, organizations in West Germany. He has ben and Brahms' Liebeslieder Waltzes. Monteverdi's Or/eo and Handel's recorded as soloist and accompanist on Other chamber music engagements in Messiah. A frequent soloist with the Desmar, Golden Crest, Musical Heritage clude lieder recitals for the Music in the Denver Chamber Orchestra, she recently and Vox labels. During the summers, Mountains guest artist series in Estes performed Mozart' Great Mass in C Spillman is co-director of the Opera Park, and a Jive broadcast of Schumann's minor and has also been heard in Bach's Center at the Aspen Music Festival. Organized in 1985, the Ars Nova Wes Blomster Chamber Singers has since become rec Mr. Blomster is professor of German ognized as one of the finest choral or at the University of Colorado and classi ganizations in the region. The ensemble cal music critic for the Boulder Dai ly is noted for its innovative programming, Camera. His long love affair with music, ranging from the U. S. premiere of the coupled with extensive research grants in complete cycle of Carlo Gesualdo's Europe from Fulbright and lREX have Responses/or Holy Week to an extensive made Blomster's opinions and writings repertoire of20th century works. In 1987 on music much sought af1er throughoUl the ensemble appeared in both the Boul the region; he has been invited to speak al der Bach Festival's production of Bach's such events as the Colorado Music Festi· Mass in B Minor and three perfonnances val, American Symphony Orchestra of the Colorado Music Festival, includ League, and th e inaugural year of the ing an acclaimed production of Mozart's Colorado MahlerFest. Requiem. Ars Nova performs regularly in Denver and Boulder emphasizing, as the name implies, music of the 20th century. Thomas Edwar d M organ. conduClor Founding Music Director of the Ars Nova Chamber Singers, Thomas Edward The Colorado Mormon Chorale Steven Bruns Morgan received his Bachelor of Am was founded in 1983, and is one of a degree in Music from Macalester College Mr. Bruns is an Assistant Professor handful ofsuch "Mormon" choral groups in SL Paul. Minnesota and the Master of of Music at the University of Colorado, in the world. Among its noteworthy Music degree in composition from the heading the music theory program. He credits during the past year, the Choral University of Colorado. He currently bolds BME magna cum lauda from for the 1988 U.S. Congressional serves as music d.i:rector of Sl. John's sang Northern State College and his MM and Awards for Youth ceremonies at the State Episcopal Church in Boulder. Mr. Mor PhD in music theory from the University Capitol, and produced its third recording he gan has studied conducting with Dale of Wisconsin, Madison, where also Warland, Helmut Rilling, Giora Bern entitled "Away in a Manger." Operating minored in computer science and psy primarily throughout the Front Range stein, and has taken master classes with chology. A long time admirer of the area, the Chorale has been invited to Eric Ericson. For the preparation of the music ofMaWer, he contributed valuable perform a Memorial Day concert at the chorus for the Boulder Bach Festival's in insights into the Tenth Symphony of Mount Rushmore National Memorial in performance of the B Minor Mass, Mor Mahler for his PhD dissertation. This is gan worked closely with Margaret Hillis, South Dakota. Dr. Bruns' second appearance for the conductor of the Chicago Symphony MahlerFest Orchestra Chorus. As acomposer, he bas received the prestigious BMI award (1987) for his composition Psalm 88 for Conductor David Hardin is a Karl Kroeger orchestra and mixed chorus. His 1984 graduate of the University of Maryland Mr. Kroeger is a musicologist spe choral work Four Poems 0/ e.e. and the Johns Hopkins University, and cializing in the hjstory of music in cummings was presented in May of 1986 has served as a Baptist Minister ofMusic, America. He is the music librarian at the on the opening program of the eighth directed the Greenbeh (Maryland) Cho University of Colorado in Boulder, and Intemacional Musica Nueva festival in rale Arts Society, the Mormon Choir of an active, published composer. Mex.ico City. Washington D.C., and served the Church of Jesus Christ of Latter-day Saints as Music Chairman and Choir Director. Annually, he conducts in the National The MahlerFest Chorale Choral Council's "Messiah Sing-In" at The MahlerFest Chorale is really the Boettcher Hall in Denver. merging of two ofthe Front Range's pre miere choral ensembles. the Ars Nova Chamber Singers. directed by Thomas Edward Morgan, and The Colorado Mormon Chorale, directed by David Hardin. Program Notes Starke Einbildungskraft is extracted whose wodes were still ofmore interest LO from Mahler's first attempt at a song students of composition rather than gen cycle, Lieder und Gesange auf der eral audiences? For one, we have to Selections from Lieder und Jugendzeil , a work of three volumes remember thatBach's orchestral works in and which spans almost an entire decade in Mahler's day were by no means the staple Gesiinge auf der Jugenzeit his compositional chronology. It was diet of concert programs, and were cer Des Knabell Wunderhorn written only for piano and voice, unlike tainly not the familiar pieces that they are the other cycles, which have orchestral for us today. More importanlly,l:beSuite, More than a hundred and fifty years versions as well. Its blatant humor gives the last published work by Mahler, before it became popular to collect folk us the "youthful spirits" Mahler also probably served as a "musical of] ring" songs, Clemens Brentano and Achim von sought in his earlier songs. to the composer whose infl uence on Arnim published in Lhree volumes be Mahler is undeniable, particularly from tween 1805 and 1809 Des Knaben Robert Olson the Fourth Symphony on. Wunderhorn. Using as source material The first two mov ments of the Suite old manuscripts and the people them are taken from BWV )067 in B minor, selves - shepherds, peasants, soldiers while the fmal two dances are from BWV the two gathered together hundreds of Ruckert Songs 1068 in D major, thus preserving a unify songs, poems, and sayings, some of ing tonal relationship. It is unrealistic to which had been handed from generation The five Ruckert songs do oot fonn look [or revelations of Bach in Mahler's to generation for centuries. The Wunder a connected cycJe and show nothing of Suite; it is rather what the Suile tell us horn anthology attained widespread the folk: influence that Mahler had ab about Mahler that must be our interest. popularity, especially in the poetry that sorbed from his childhood in a small Mahler was one of history's most articu appealed so greatly to the songwriters of Moravian town and had subliminated in late orchestrators; no other composer the nineteeth century. his earlier songs. Their lyricism and ever took the pains of careful scoring to Mahler was extremely attracted to grace inhabit a totally different world his heights, and his scores are liuered these songs. Bruno Walter has suggested from the desperate stonn and stress of the with specific instructions to the conduc that in the Wunderhorn, Mahler found symphonies of this period. They contain tor regarding interpretation of musical "everything that agitated his soul, and no autObiographical elements, apart (rom symbols. What we discover placing found il presented in the same manner in Liebst du urn SchOnheit - his only love Bach's manuscript side by side with which he felt it; nature, piety, yearning, song - dedicated to his wife Alma, though MahJer's is the latter's manic detail of love, farewell, night, death, ghostly the introspective!eh bin der Welt abhan articulation imposed upon Bach. Bach's doings, soldiers' tales, youthful spirits, den gekommen, which turns its back on "clean" notation of quarter, half, and nursery jokes, crisp humor - they all the world and longs for a private world of eighth notes becomes decorated with li ved in him as in the poems." Mahler's art and love, well expresses the inoermost slurs, dots, dynamic changes and even preoccupation with death gave rise to Wo feelings ofthe overworked director ofthe rhythmic changes. Mahler's realization die schOnen Trompele blasen ("Where Vienna Imperial Opera. of the continuo also was not one of a the Fine Trumpets Sound"), which, with purely supportive or decorative role, but its macabre opening evoking memories LiOMi Saller rather develops into a substantial key of a deserted baUieground, achieves its board part with a forceful. independent effect with utmost economy of means. life of its own. Das jrdische Leben ("Life on Earth") One may question the notational presents an almost Schubertian intensity fuss and the imposition of so vivid an as the dialogue between mother and child Suite/rom BWV 1067 & 1068 interpretative personali ty on the shape of unfolds. Des Antonius yon Padua Fis themusic, butonecannothelpbutadmire ehpredigl ("SL Anthony of Padua "The master of polyphony, and of the practical and public means of declar Pre..'lches to the Fish "), which was used as polyphony alone, is Bach," commented ing his devotion to Bach. And it is par u1e thematic material in the scherzo ofthe Mahler in 1898. Mahler's admiration for ticularly curious to think: of him working Second Symphony, tells of the hapless Bach was certainly wide and deep, and as at his continuo realization and preparing saim who, finding his pews empty, goes Mahler grew older. came to mean more the Suite for publication whHe at the same to the ri ver to preach to the fishes instead. and more La him. Sources lell us !.hat "you time working on the Tenth Symphony They listen auentively, butreturn to their always fmd him busy with the Bach and at revisions of the Ninth and Das vices upon the conclusion of the sermon. Collected Edition when you go to his Lied. which were already completed but Wer hal dies Liedslein erdacht ("Who room," and according to Alma Mahler, never reacbed pubLication. Made UpThese Songs?") is a playful and the only music that he had on his shelves charming song revealing the innennost was Bach. But what would possess Robut Olson simplicity of both Mahler and Des Mahler, in the closing days of his life, to Knaben Wunderhorn. "re-arrange" a work by a composer Symphony No.2 in C Minor "Resurrection"
"One score lies always on my piano -- that of Mahler's Second Symphony, and I never cease to learn from it."- Richard Strauss
Of all Mahler's symphonies, it is the (after aU, one should never begin "at the first four movements. Then. in February Second which presents us with the most end!" - whatcan possibly foUow it?), and ofl894, rus friend von Billow died. Atthe eccentric chronological history. The in Mahler'S words, "it is the Hero of my fun eral service in Hamburg, the church imposing fLfSt movement was completed First Symphony whom I bear to the choir sang a setting of Auj ersleh'n in its first orchestral draft less than six grave. Immediately arise the great ques (''Resurrection'') by the Gennan poet months after the completion of the First tions: Why have you lived? Why have Friedrich Klopstock (1724·1803), Here Symphony, in September of 1888. Not you suffered? Has it all been a huge, was exactly what Mahler had been look until the summer of 1893, a four year frightful joke?" All Lhe turmoil oflife and ing for! By adding some words ofhis own interlude, were the second, third. and death is immediately set fonh in the to Klopstock's. he was able to assemble fourth movements composed. Yet. it was opening of Lhe first movement, as the the text he needed for Lhe fmale of this not until the very end of1894 that Mahler violins tremolo f ortissimo while the great symphony. " ... a colossal fresco of managed to bring Lhe work to comple· lower strings anxiously cry out in an the Day of Judgement." as Mahler de tion. guish. The movement is dominated by scribed it. twoofthe mostconsistently used musical Throughout his career, Mahler led a mood employed by Mahler: Lhe slow "It starts with the cry of the dying, double life, dividing his energies be funeral march and military music. What and nowcomes the solution ofthe terrible tween conducting and composing. Con could possibly follow a movement so full problem oflife , at first as failhandchurch ducting occupied him during the winter. of turmoil, death. and struggle? The shaped it in the beyond. A trembling but during Lhe summer monLhs he was movement alone is longer than moslclas moves over the earLh. Listen to the roll of usually free for creative work. He began skal period symphonies! Indeed, anx the drums and your hairwill stand on end! his Second Symphony while he was ious that the length and stress of Lhe flrst The Great Summons sounds. The graves working at the Hamburg Opera House, movement might overwhelm audiences. open and all creatures emerge from the where. in 1891, he struck up a close Mahler instructs the conductor 10 pause soil, shrieking and chattering teeth. Now friendship wiLh the great conductor Hans at least five minutes before the beginning they all come a-marchlog; beggars and von BUlow. Though neiLher man could of the second movement wealthy men. common men and kings, know it al Lhe time. von Billow was ulti !he church militant, the popes.With all of
mately to be responsible for providing The flfStsolution was to offer two or them the same dread, shouting and qujv o Mahler wiLh the inspiration for the finale chestral movements ofalmost intermezzi ering wiLh fear, because none is just be of his Second Symphony. character: the Andante (composed in one fore God. Between it again and again -as week in 1893!) which is a light, graceful if from the other world - fTom beyond Around Lhe lime he f!Dished rusFirsl movement the composer declared to be a the Great Summons. Finaily, after all had Symphony, in 1888. Mahler had become nostalgic backward glance at life's cried out in the worst turmoil, only the attracted to Des Knaben Wunderhorn brighter moments, and Lhe Lhird move long-lasting voice of the death-bird from ("The Youth's Magic Hom"), a large ment, a flowing, dance-like scherzo, Lhe last grave. It also becomes silent at collection ofold German folk poetry that punctuated with demonic outcries and last" • had been published in 1805 and 1808. grotesque interruptions in which. accord Des Knaben W14nderhorn was to exen a ing to Mahler. "the spirit ofnegation" has This apocalyptic vision is musically powerful influence on his music for the taken bold. projected by a stunning orchestral dis next fifteen years. He used several of the play that employs such dramatic devices songs as a basis ofinstrumental and vocal In the fourth movement, Urlichl. the as backstage fanfares and instruments movements in his Second, Third, and symphony widens its spiritual stance. No played in registers beyond their nonnal Fourth Symphonies. In the case of the longer is it concerned merely with one range. The prevailing mood .is indeed, Second Symphony, the third movement individual life but with the total human one of chaos, despair, and inexpressible the Scherzo - is an instrumental rework condition. In transfigured tranquility, the anguish. Yet, as nearly always in Mahler. ing of his Wunderhorn song Des An soaring melody sung by the alto voice at the moment of deepest abjection, a tonius von Padua Fischpredigt ("St speaks of Lhe passionate quest and the mystic transformation takes place. In the Anthony ofPadua's Sennon to the Fish"). faith of the God-seeker. final hymnlike melody of grandeur, the The fourth movement is a setting for alto organ and deep bells augmenting the voice and orchestra ofU rlicht ("Primeval Mahler's major difficulty with the soprano and alto soloists, chorus. and Light") from the same collection. Second Symphony lie in how to end ill It orchestra in a veritable sunburst ofsonor was a problem that lOOk almost six years ity ,the music strides up, reaching for Ihe Upon completion of the first move to solve. He wanted it to be for chorus and heavens in a sublime vision of Lhe even ment, Mahler immediately found him orchestra, but was unable to fmd the tual salvation of mankind. self in difficulty, for it is a Funeral Rite appropriate text to follow the imposing Robert Olson Colorado MahlerFest Orchestra
Robert Olson, Music Director and Conductor
Bassoon! contrabassoon Violin Cello Susan Davis, principal Dan Grove, concertmaster Barth Story, principal Gabe Hanselman Annamaria Karacsony, Ludina Delbruck Sallam Matt Harvell concertmaster, chamber orchestra Steve Buckley Bruce Orr Paul Warren, principal Second Nada Fisher Anthony Annore Kevin Johnson Horn Arlette Aslanian Gregory Marget Gillian Bailey, principal Mary Bellone Margaret Noble Terrel Baker Jessie BfWldage Dina Sassone Betsy Collins Martha Dicks Jim Warwick Ed Collins Ruth Duerr Jim Emerson Kim Elmore Bass John Limon Emily Fenwick Dale Day. principal Dain Shuler Lisa Fisher Kathy Stabolepszy, Dan Sniffen Deborah Fuller principal, chamber orchestra Ruth Galloway David Crowe Trumpet Mark Gundennan Mike Fitzmaurice Marc Fulgham, principal Susan Hall Andrea Hennessy David Fulker, Leslia Korytko Andy Martin principal. chamber orchestra AdwynLim Jennifer Motyc1ca Kevin Bollinger Kathryn Marget Glenn Sherwood Leonard Fahrni Nola Melcher Greg Harring Shaw Mathews Harp Bobby Klein Barbara Merrill Linda Nash Micki Morris Trombone Gyongyver Petheo Flute! piccolo Bill SlaDley. principal Kathy Rinehart Jeffrey Slaugh, principal Gary Dicks Rebecca Ruttenberg Carol Humphrey MikcRoper Cyndy Sliker Kati Kaupas Rick Slames Dean Smith Sarah Tomasek Elaine Taylor Tuba Oboe/Englisb Hom Tom Stein Viola Lisa IoUini-Wagner, principal Juliet Berzenyi, principal Jack Bartow Timpani Christine Arden Jennifer Longstaff Allan Yost Merry Dooley Sandy Ludwick Dana Axelson Daniel Flick Eve Gelunan Clarinet Percussion Campbell Harrison Mary Jungennan. principal John Burgardl Mary Harrison Marianne Can uel Joe Diamo Denise Horton Tom Hess Bill Ferguson Eileen Saiki Bob QuaJls Todd Moore Cindy Slory Beverley Siebert Organ R. Anthony Lee
Harpsicbord Rick Thomas Colorado MabJerFest Chorale
Members of the Ars Nova Chamber Singers and the Colorado Mormon Chorale
Soprano AJto Tenor Bass Susan Avery Marilyn Baird Barry Anderson Terry Andersen Kristie Bemen Janet Bischoff Gregory Bement Ramon Baird Jennifer Brown Laura Butler Scou Besselievre Jeffrey Clark Jan Danielson Lilly Cawood Ron Gale J.C. Cook Cheryl Dodd Lois Collins Ken Haynie Brant Foote Janet Klemperer Yvonne Dallas Tom Morgan Roger Gall up Sherida Layton Nisargo Eck David Nesbitt Skip Ham iIton Vanda Lewis Amy French David Northrup David Hardi n .. Yolanda McAllister Vern Gale Scott Pexton Jeff Harris Brenda Perkes Janel Hannan Marti n Price Philip Judge Carol Rasmussen Lisa Harston Robert Reeder Chip McCanhy Kathy Sankey Jan Logan Randall Reese Larry Matarrese Christine Searle Maggie MacKenzie Jack Rook Charley Noecker Kathleen Sears Melinda Mattingly Tony Sanders Richard Pexton Marjorie Tweeddale Cindy Messer Chuck Smythe Wendell Toman Sherri Underwood Karen Miller Louis Warshawsky K.J. Troy Lucy Warner Lois Palmer Jay Whiling Bud Uilis Kilty Warshawsky Caroline VanPelt Donald M. Wilson Christy Wessley Peggy Weir Steve Winograd
Colorado MahlerFest II
Co-hosted by the University of Colorado College of Music, Dr. Robert Fink, Dean, and the Colorado MahlerFest.
MUSICAL STAFF
MUSIC DIRECTOR AND CONDUCTOR ASSISTANT CONDUCTOR Robert Olson RlckThomas
MAHLERFEST CHORALE DIRECTOR OFF-STAGE CONDUCTORS .. Thomas Edward Morgan Rick Thomas Felicity Meunch
ADMINISTRATIVE STAFF
EXECUTIVE DIRECTOR DIRECTOR OF OPERATIONS Robert Olson Elisabeth Earnest
ADMINISTRATIVE AS SISTANT GENERAL ASSISTANT Anthony Armon~ Susan Davis
PROGRAMS/PUBLlCITY STAGE MANAGER Robert Olson Anthony Armon~
POSTER DESIGN RECORDING TECHNICIAN Bill Anthes Glenn Sherwood MahlerFest III
January 13 & 14, 1990
Assembling the fo rces for the Festival each year is a "Mahlerian" labor of love. If you would l.ike to learn more about the Festival and how you might help, or simply be put on our mailing list so you can follow the progressi n through Mahler's works, fill out the section below and either drop it offat the table after the concert or mail it to: ROBERT OLSON, 1281 LINDEN DRIVE, BOULDER, COLORADO,80304.
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More Mahler %e Longmont Sympfwny Orcliestra
Robert Olson. Music Director
Apri l 8, 1989 Mahler: Symphony NO. 4 Mozart: Sinfonie Concertante with violinist Gabor Takacs-Nagy and violist Gabor Ormai
OTHER CONCERTS:
February 11, 1989 Carl Ortf: Carmina Burana
May 13 &14.1989 Maynard Ferguson and the LSO
Discover one of Colorado's best community orchestras in one of Colorado's finest auditoriums!
For information, call 499 -7707. M A HL E R I I
SATURDAY 6:00 Opening reception Conference Room
6:30 Opening remarks, by Robert Olson C199
6:45 Lecture: "Mahler II in America" C199 by Karl Kroeger
7:15 Lec ture: "MahlerI!, the Music" C199 by Steve Bruns
I 8:00 Concert Music Hall
Songs from "Des Knaben Wunderhorn" Theresea Brancaccio, soprano Robert Spillman, piano
Ruckert Songs Marcia Ragore tti, mezzo-soprano Robert Spillman, piano
Orchestral Suite arranged by Mahler from Bach's BWV 1067 and BWV 1068
SUNDAY 1:30 film, Ken Russell's IIMahlerll C199
4:00 Critique on the film by Wes Blomster C199
5:00 Concert: Symphony #2 liThe Resurrection"
Cost: $7.00 for the entire Festival, or $5.00 per concert. Lectures ace free.
Tickets are available at Swalleys, or at the door (but are going fast).
For more information, call 449-0771 Lleder und Gesange auf ( /Das irdische Leben Life on Earth ,j~n JUg~nd7p. i t- 'Muttcr, aeh Mutte l' , es hun~ e l't mich. 'Mother. oh m o the r , I am so hun)!;ry, Gib mir Brot, sonst s t (' \'be ich! ' (;i vc me br ea d 0 1' I will d ie: ' \Varte n ul', wal' te nur, m ein li ebes Kind, ' Wa it, 0l\ 1~' wait,my helO\-ed eh ild. MO I'g"en w oll e n wir e\" nte n g-esc hwind!' Soon we'l l g' U \'caping' in t hL' morni ng-: WO DIE SCH(JNEN U nd a ls das Ko\'n g-ee \"l \ te t war, But w h('1l t he co r n \\:as g'a tlll'\'cd in TROMPEI'EN BLASEN R ief rlas K ind noeh i mme l'dal': Still the l' hild kept (,n c r ying', 'Mutter, a ch Mutter, es hung"e l't mich. '[',I oth('J' . oh I\\o t he r, I a m sO hUl\I:,T v. G ib m ir BI'O t , sonst s tc r bc ieh!' G ive Ill C llrl'ad o r I will d ie: . ' \Varte nu l' , warte n ul', mein li cbes K ind, '\Va it, only wai t, 1\\ \- helD",," chi ld, Mo rgen wolle n w i r d resche n g-esch wind!' Soon we'll g'() thre,; hin g' in t he m o rn ing: W n' isl d#nn draussen uruJ wn- klo/JleI an U nd als d as K OI'n g-e dr o~c h e n w ar, And wh,'n t he ef) rn \Vm; a ll thres hed . Dn' mi,h so leise, so leise we,ken k~'J1Jl Rid d as Kind noch imme r dar: S ti ll t he ch ild kept on cryin g', Das isl dn' Herz.JIn-liebsle dein, ' Mut ter, ac h Mu t te r, ('s hun J<~ rt mich. 'l\l r> tlw r, oh I\\ oth e> r, [ a m oil hun"ry. Sleh' aul uruJ lass muh zu dir ein! Gib mi l' Bro t "ons t sterbe icri !' G ive 1\\ (, ht'l'ad or I will d ie: '\Varte n u l' , warte nU\',l\\ein liebl'S Kind ! ' Wa it, on ly wa it . I\\~' heloved 'h ild , Was soU j,h hjn- nun liing". sleh'nl l\I org'cn wollen w i r backe n gc>'ch wind : Soon we 'lIj.!'o hak ing in t he lllurning-: r,h seh' di Morgenrolh' aulgeh'n, U nd ab \'l'l'j.!°esse n f C} I' J.!"( ' t th I ';-;L'nnon Di l' I' I'l'dig't hat g" f:d len, ,ic h k ihen w ie T he ~'liked h ' Sl't-I\\Il 1l a n d t h('y remain allton , lik,' ('\ ' el'~' O tll .' I'I. - (' , " FiinfLil' Ieh allllC.'r (' j, lllii tlkn I>ufl I brealhed. fr.graner ",fl and ",'l"C1 1111 Zinlill\', I. .,,,,... A hvuEh (\rlirnl' 5nZ\\(J~ l '" I !I !. SIOOJ in Ih e room, 5n A nl!l'Iw ... ~ A I:!irt rc:cclvl'J Von lie ber 11 ,,,,,1 Fr~m Iovine h~I J H..I. \Vic lil..'hI Jlr..h , ~ . J! I!.::- l J :l k :h.! UII )Yerhat dies Liedlein erdacht ' HI 1\\1 lov,. .'I )"WJ\ (he Jirnc·llowcr ) (cnl~ WU.'!i L'hhd ll'\ d L' I lIh ~L ' l h !111 Dort oben am Berg in dem hohen Haus H {l"~ 10,,1..'1), i~ I~h: Iiml'·nOwcr 5(,Crll, DJ5 LindcOi\'1 ThL' lime, lrcl.' [wic' Da gucket ein fein'~ lieb' ~ Miidel aus. Bnli..-h" <.Ill L: ll Ilr t YOll gcnlly rlue,~! Es ist nicht dort d;lheimC'! Ich Jl ml' k' L~ I ,ofll: br ~ ,,'hc E is t de, \\"irt:; :;l'in Tochterlein. Dur, I , ,.1.. Inl Je, Thl..' fr,lgranl liml.:, E, \\" ohnd auf gTun r Il e id~! D~r Lil'h1.. hilt! '-\ : ) 11(1 Thc frJ,g,ran t ~ L'TlII)fl(l vc . Ml'i n l e rzll' i ~t \,·un d. Komm: Schiitzl€', mach', J!'sund: 11111 \I n il ill lI1idl ~I du ~ i. · h " 1 tla ~ il. lidl(.'~ IrtlHlu lo\(~r bcaUI)~ du nollmt..' mc~ Dei n ;.ch ,\"arz},nlllll c .~lIg-lein, Liche: ..h ' ' I r,I .." L' \ ~ ·n l.: ' 11. 1.lr~ ni ' h:\1,'n mich \"erwund't. L(h I.' rhe sun . \\·hn hJ.~ gl'kkn h<.tlr~ Lil'~1 Ju tln l .l tl ~. · l1 d . • IIh, 1. Hlh II hehe! n ·in rusigcr l\Iund macht Hl'rzell gesund I 1 lfthou Iv\c\! )(Iulh, U{.) nOllo\'~ me ' Liebe- dCIl I rd bhr .. .. !.," 1111 ' . . • ~ ~ · .. k, J: J!lr ~ :'ILl ·h\. Jug'l'ntl Yl'l'stiindig-, un I.: the ~ rrin g. '" ho i;-. ~ (lung C\'CI) } t.:ar~ l\!a .. ht Tote lebendig' L J(:~I UI : .... Ii .: ;:- .. II I .:' :1.1, II liche' uu I flill IU kWI..'\1 ril'hc..'\, Ul) nol len e mc:~ Ma('ht Kranke J!esund. Lll'~ ti lt.." ~ kl': . i." •. " ~ 'l I! \ 1I'-..:rk£1 ~ !.! r~ \\"er hat denn das schone Liedlein Lo\'(: thc mcrm:-lIu, ",jlh ht.:r man: IU ."l lfnU,"l ~u rh ! Lll'h:- 1Ju 1.1 .11 .. ,, 11 1.1 11' , It h_,b ...·~ erda ('h t'! JfllhHllo\ c\l lov('. :.lh YL"s.lhr.: n lo\'t.: mr.:~ Liebl' midi :11 1 1,,'. h. ! h ~ : ' 11. 'I1 I1l L'J d ,lr' Es hauen 's clrei Giins' libel's \Vasser Lovl' mL' ror L'\'L'r. for '-I,}\" t.' thC:L' t:\'crmnrl" gelJracht. Zwei graue unci eine weisse, Blick" rnir nkhl in Oil' Li('(.\l'f~ Do nof fr) 10 rt~d d my sung\; Und \\'cr cI", Liedlein nicht s ingen kann, Meine AU!.! i.: n \,:hl:,!:' iet; Il lt.:Jef. SCI..' . my uwn en.·.... I GI<'\ u Who Made Up This Song? S,cncn, wc.:nll ";1..' Ze:lkll ha lI l..'l BL'I..'\, whL'n lhl..') o)n:"llruL'1 their l'db_ High up on the mountain there is a house, L.i s~e ll auch 111(111 i' ll :-" 1(,:h "-.'h,H.h,:II . Do nol let thei r \\(lrk ht· w'ltchL":J . And f rom it a sweet pretty ml"ud looks out. Sch~uL'n :-.d ~ I . 1 k h 11",: 111111 J'.jcllhl.'flhl the) v.ah.:h I h em~L"hL'~, But th"t is not her home. \\\.:nn J le rl!lc.: hL'n I i () n i ~\\ , t! ~ i1 Onh' \\ hL"1l till..' h n nL' H'(\mh~ Sh is the innkeeper's young daughter Sic: lul Jg gL'I\lrJL'rt h:, hL'n, An.:-'on 1ught to Ih e light l,l\ b y She li" es on \.he' gT' ' n111 00r. Dann \ nr ,lI kn 11 ,1, ( h I..' JIl ~ )\-1 ;IY Ihc.:l f :-. Wl'r.:(ncs.\ yo u CIl.Jll) . ]\'1\" hea rt is 'lllit\L"l1 . Ich bin dt..·r \\ell ~ lhhalld(,11 ~t.'~onlln(·n C~l11e, den rc;;t. n1:> 1; ,· it \\"hok ag·ain. I ha\c ht"Comc a strung....'r 10 Ih(, ,",orld ~ '1il uc.:r i(h ..tlll ,1 \ i.:1c LL'i1 \ ..... rdl~ i · h~:Il : \Vhal..' nnn' l u,~J hi waste.:;j 101 Orllmc: Your coal -hl:ll'J; c ~ "' " Sic hal :-..,) lam.!1.: ni\ II" \ nil m il \ I..Tlh)lllf1h.:n, It ha~ ~l) Itmc now nOlhinc he:..tnJ orrne, Ha\"(~ wounded n1(' "r.r.. . Sic: nl.l~ \\ l)hi'"l! 1. 11I ~·h: n . id, '1..'1 : '-" hlrhL'n ' II m.IY we.:lIl'"hlnk Ihat J hJ.\·e: UI I.' J~ Bu t VOUI' r O:- \'lip, can Illak(' 1H';\n ~ w ell. The<' Il),lke ~'~)ung nH; ll \\11:-:. ...'. E$ ist mir illldt e;H I:idw'lbr lll cclt.:ccn, InJe,'J. I ;1111 nl>llIlu.h conccmcll And dead men live. Obsie mich liJr"!!I.'\llIrhcn h.1 ~ .. ~ Whether " helie,",' mc dC,IJ , And sick men whole. kh kann au.: I~ :..:.71r 11 1t.: h l \ ~:I:.!L' " J, I:'! c~l'n, I canno t e:\"L":n .... Ilntraoif..-t it. Who made up this pretty little Denn \\ Jr~ II •.:h i~ 1I ~ h :.!«.:' IO; 't1 d:'r \VI.·h . For rL'JII). I am Jc.:.1d h ' the v. ork.l. song? Ich hm !!.I.',IO; l,'ll d ... m \\l.'It ~ d llll ll h:1 I have (h e wnrJ h hu~tk Three geese brought it from over the re:noun('r.:u UnJ ru h ' lll l' lI\ :: ll ~ ,, !lien (,ch,,,1 Anu li\' e: 111 pc.:a(c at a 4ui~1 PI,lCt.:, sea kh It.:h' alkin iB m 1O ,' m Il lI1 u ld . Ili\ L' al{lnl.' in 1111\, m~ hl..',I\'l..'n. Two g-rey ones and a white, In mClncm t h," h l..' n In Htl..' I11 I.'1l1 I 'f..'J. In h"L', In And if an \'one cannot sing it, m ~ Ill~ \lll1~ They will'pipe it to him! lJml\littelll "I:1 AI midni~hl Hab' i...h ~ .:\' I 1. 1 11.1 \' :i\\,lkL' Und allf~ c ""h ....t" , m ilmllll'·!. And 1,1 Um~"II l..'( n, .... . \ AI mjd ni~llI I-lab' Il. h t! \: i. ~ , I ~ P I 1 sl: nllH\ t h \.l u l!hl~ Hina u, in d ttn~ I.... ";;hr .l nh l..' ~ 1 O U11 0 thl.· uark IH)r1/tln . Urn j\I!l1ern .ltt 1 AlllliJn ichl E, h.11 j.....' lu l I dl h · " . t. It \ ~ l·" No , hini,;!! 01 I.·U hIf'\' l\·lir Trl l\1 ( ...·hl ••" ... h:. R rn u ~h l l' ~ln ll (ln lI ;l' UmMilll.'j l1 ,ld·,1. At miJ lllght. Um~l i llL'r ,Idll AI f1lidlli~l lI "ahm Jl:h in .I dn I p\lnJcrL'J I..)n Dil.' S.... hl~ i:.::t: rnnl' l ~ I iL'r/~Jh. The: b~J.IlI\g llr 111.'" liL" an: [in ('in/'!!~r Ptll\ ~ k\ Sdlllh.'r/ l·j" One ~ingl{' pllbL' (l ( an'::lIl.\h \Var i.l 1l ~~(,I \.·hl Rag~J In m.'" 1ie:~ln Um ~1JttL'rr: ,( dli A, miJnlghl. L! 111 M itlL'rn.ldli AI miJnlehl K;(mpf,' il'h J :c Schl."III, II'lug.hl iilL" tighl. o \kn\..:hhl.,i l. (kllll'r I.l.' iUI.'I ~, Oh lIlaJ1" ind , lJf ~ ,lur "' l l rn l v. ~ , :"'il'h! ~ tmn( I...-h 'h..' I.·n!\{,:hl.'IJI.·n Il'l.llllt1 nol UV L'rCI,I IIlC Illl:m ~1illllc.:1nl.'r \1., ...-111 \\'llh 1l1 ~ pour, tr~ngl h L"1ll ~1illL'm.II..:11I . Allll iulllglli . Um Mi:tL'm .ll hl All1l iJn igh( 11;..11) iell UIL' ,\1.11.:111 I Ut!\-('.'IlI\' MlIli In U~inL' 1I.1I1J !!c~ dK'l1. 11",1 111 .\" h:'.HHh~ I\err uhc:r 1'1 ....Il~Il:1 Lc hc.:n, Du ""Ii" JiL \\'.1<:111 Thlfl ~ 1\ Ilk' W;lldl LJ Il1 ,\1i l1 cm.lt..llI ' t\ll1l iJnigh l .' Words for the Second Symphony o Roschen rolh! o rosebud red! Oer Mensch li oS I ill " , ,;ss ler NOlh! Man lies in greatest need! Oer Mensch li t? £t in g rosslt'r F {:-'~ n! Man lies in grealesl woe ! lieber mochl' ic h ill Himmel scin. If only I could to heaven go. Da kam ich au f e inC'nl bn.:itc l\ \'\'cg; Then came I upon a broad road ; Oa kam ein E. s ek:ll und v, e lil' mich There came an a ngel, and he ,,"ould abweisen ; bar my way ; Ach nein! Ich lj(' ~s :11 ich Il i ~- h! Ah no, J would not be abweisen. turned bilck, Ich bin von G oll U:' :! v,i !! ":i, .1 , ~ I am of God and shall relurn IU Gall! 10 God! Der Iiebe Gott \\-i :T ;n:r cin Bel oved God a little lighl lichtehen g -ben will lend me, Wird leuchtell mir t·is ill d.: <" ~· .... ig And onwilrd to elernal blessed life selig Leben: will .:; er...l' me ! Au fer s[c!-.'n, j:l aufcrsteh'n \"jrst- d u, yo:: "'il l ,ise again, yes , 'sc, m ei" Stau b, nac h ku rze :- Ruh! Ol'" d uel, a fter" ShO l' l re st! Unstcrbli ch Leben! Unstc rb Jich lmn;orlill life \\'i il He \\'1'0 called Leben ",ird Ocr d ich rid, dir ge ben. th en gront ; ,Viedcr au fzubluh'n wirsl Th e seed Ihat you have sOl\' n du gcsat I "'ill bl oom again! Ocr Herr d cr Ernie gehl The' Lo rd of harvests g O :'5 forth Und sammell Garben To bind Ihe sheaves Uns ein. elie slarben! Of Ihose who diedl o glaube, mein Herl, 0 glaube: Beljeve, my heart, bcli c\'~; os gehl dir nichls verloren ! y ~u have 10 51 nothing! Dein ist, dcio, ja dein, was du Everything ), ou longed for is yours, gesehnl! yes yours ! Oein, was d u geliebt, was du Eve rYlhing you lo ved, for which geslrilten I )'0\1 str\1ggIed! o glaube: du wardsl nich t umlon, t Bclic\·c: You were not bc'lf:"'! geboren ! in \" .lin ! Hasl nich l umsonst gelebl, Yo u hJ\'C no t lived and suffered gel illen! in Val!)! ,Vas enl slanden ist, W ha l has been das muss verg chen I must pass ! ,Vas vergilngen, aufcrsteh'n I What has gone will rise again I Hor' auf zu be ben I Sl a p Irer.,bli ng I Bereile cii ch zu lebcn! Prep:) re 10 liv e! o Schmerz ! Ou Alidurchdr:nger! o p"in, all-pcnetrilling ene, O ir bin ich enlrungen I I h",,, ncaped you! o Tad: Ou Allbezwinger I o drath, all-con ~u er i n ~ one, N un bisl du bezwungel1! N o\.... you arc co nquered! tv!i t flugeln Ji c ich mir crrungcnJ vVilh wings I h ilv e won ior myself, In Liebesslrcben word' ich In fer vc-nt love c!1tschwC'bcn I sh,dl soor Zum Lic ht zu dem kein Aug' To the Li !;h l no eye gedrungen I has seen ! Stcrben wcrd' ich um zu leben: I shidl di" 10 live ! Auferslch'n, ja a ufcrs leh'n wirsl du, You wi ll risc agilin, y c!: ri s c, mtin Herz, in eincm Nu! m ~.. he.ut, ~n a m oment, \\'as d" gesch"',;en Ar.J be borne up, Zu Galt "ird es dich Ir"genl Tim,"gh siruggle. to Gcd!