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Free pick up and delivery . Open Monday to FridaY from 8:00 a.m. to 5: j0 p.m. Meeting your deadlines for twenty years! Look for the bright blue awnings on Pearl Parkway just west of Foothills Highway The Colorado MahlerFest

ahler was the first composer to shatter the Victorian intellectual tradition of bland rationality and blind optimism. His vision of the world, so clearly mirrored in his works, reflected the problems of life, of love, of achievement and failure, of happiness and fame from the viewpoint of death. Periodically, Victorian audiences rvere utterly perplexed by both the emotional honesty and emotional complexity of this approach. However, today's generation of listeners finds itself increasingly in accord rvith 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 audience of Mahler's own day, and perhaps even for those between the two world wars, his musical message was too strong a dose of bitter medicine. ...Today, rvhat 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 overdeveloped technology and underdeveloped humanity, a solitary individual tried to answer. Now that his problems have, in a sense, become common to all of us, his music has begun to find a home throughout the world." His music may reach contemporary ears, but contemporary budgets do not promote frequent performances of the great symphonies of Mahler, other than the popular First and Fourth Symphonies. Complete works of hundred-piece and choirs, lasting nearly two hours and demanding extraordinary performance skrlls, still find only periodic inclusion in seasons, and then only with major, professional orchestras. Thus came the idea, eight years ago, to create a Festival dedicated first to the performance and study of the entire repertoire and life of Mahler, and second to the devoted musicians and scholars who creatively share Mahler's vision of the rvorld, ol life, and of music; a Festival where one may program "Songs of a Wayfarer" and the First Symphony on the same concert becattse of their similarities; a Festival in which dedicated amateur and professional musicians gather from different orchestras across the State-and, as it has turned out, across the Continents-to perform what are generally considered the greatest symphonic creations in the repertoire. Perhaps most gratifying is the fact that the Colorado MahlerFest has become an event propelled and driven by the artistic spirit which dwells in all its creative participants to be a part of this unique, "once-in- a-lifetime experience". "A Symphony is like the world; it must embrace everything..." Mahler once declared. Every January, the Colorado MahlerFest allows its participants and audiences to explore one of history's greatest musical prophets.

Funding for MahlerFest Vill has been provided in part by grants from:

The Scientific and Cultural Facilities District, administered by the Boulder County Commissioners The Colorado Commissionfor the Arts and Humanities The Boulder Library Foundation The Boulder Arts Commission The Dietrich Foundation Professional Musicians of Boulder County Exabyte Corporation Colorado MahlerF est BOARD OF DIRECTORS Stan Ruttenberg, President Dr. Daaid Hummer, Past President Dr. Ieflrey Barish, Vice-President Charles Demarest, Treasurer Pat Ruttenberg, Secretary Dr. lennifer Motycka, Legal Consultant

r! z, i r. of Marke e ann a We lo.b.e fre-ryt -D ting I aring, P ub li c Relations lulie Birschbach Dr. Steoen Bruns Bob Collins L. Daoid Lezuis Dr. Claude McMillan Sara Sheldon

ARTISTIC STAFF

Anrtsrtc Dmncron AND CoNDUCToR Robert Olson DrnrcroR oF CoLLoeurA Steuen Bruns CoNcnRrvasrrR Annamarie Knracsony

Musrc Drnrcron, Colonaoo MaHLsRFEsT CsoBus Mrry Louise Burke Musrc DrnEcron, Colonapo MonuoN CsonalE l, C. Cook Mustc Drnrcron, CoroRaoo CHILDRET.T's Cuonale DwinWolfe

ADMINISTRATTVE AND PRODUCTION STAFF Srace MeNRcuR Robert Arentz Opr-srecu exo AssrstaNr CououcroRs Christwher Cook Brian'St.lohn Musrcal AovrsoR noR Telnvrsron DrRrcroR Brian St.lohn Rrconoruc ENctr.tsuRs Tbm Mead Tbm Petantre Glenn Shennood Steaen Sarper lary Brubk Gnapurc Anrs Bob Collins GnNnnel Assrsmur ro rHE ComoucroR Christopher Cook Brian'St.lohn LrsRARteN lennifer Longstaff

The Colorado MahlerFest is co-hosted by the Umversity of Colorado College of Music Dr Daniel Sher, Dean Co[orafo Mafiferfest P.O. Box 1314, Boulder, CO 80306-1314 Telephone: (303) 494-1632

Robert Olson, Artistic Director

Dear f e [[ou Mafr[er Entfiusinst,

'l,le[come to Mafr[erTe*'/ttt.'Ylfizn Bob Okon f,reotned fiis fo{ofiferfest lreont 1oc(n rcas, fre futeu tfiat som-eday fu raoul[ fraile to cope uitfr *oging tfie Eigfitfi. 'y|)frzn tfiz Mofrferfest utas incorporatel in 7990 onl a Boarl of Diectors formef, ute ofso futezu tfi"a.t some[oy ue ntouf[ fraae to fu[p Bob stoge tfris m"ammntfi uorft!{ere ue are at fo{afr[erfest'/III, anf, ue are inorunse[y proul anfgratified to 6e a6[e to offer you tfiis performance of tfris great cfrora[ syrryfrony. qfrz Boar[ itsetf frns utorfuf finrf ot tfiz ffinny, many detoik of tfiis year's Mafr[effest, Bob Okon fias ruorful [ong fiours finling and engaging tfiz eigfit magnificent so[oists anf tfiz tfiree ann[erfu[ [oca[ cfroruses, anl augmentng tfiz orcfizstro to tfiz size co[[e[ for 6y lVtafiter. Ifu City of Boutdzr fins fietpef us immcasurabty 5y granting us one of tfrzir nigfrts at totac(y and sorne fun[s for tfie sofoists, and tfic M*Ky *a[f fiazte 6ent ooer 1arfuoar[s to ruet our neefs, We acfurozafefge utitfrgreat pfeasure tfie grants froffi tfu SCFD, aotef, 6y you, tfie au[iznce for tfic Arts, to continue for anotfrzr ten years, anf, 6y tfu Coforado Counci[ for tfrz Arts. A significant nunber of our 9Vtofr[effe* supporters frnae rnole oery generous [onatinns to fie[p pay tfrz eKlenses of tfu sofoists, and ruany rtore fiaae mafe significant fonatinns to tfiz co*s of stoging tfris uorftule tfian(tfiz [oca[ iusinesses zafio finae pfaud a[aertisemtnts in tfrz lProgrart And tfris yeor, zue acfutow[ef,ge raitfi tfie greote* of p[easure, tfiz futp of tfie E4abyte Corporation in supporting tfie cost of printing tfiz lProgram, an[ a most gelerot$ Braflt from tfu Dietricfi f ounfatbn of Pfritafttpfia. Mafifzr foaers are attenfing tfris eaent not on[y from tfu front Kaflge area, 6ut froru A[as(g, Ca[ifurnia., Connecticut, Infi.ana, fuu /or&. lPennsy[ztanin anl te4as, ltfius Mazstro Okon's fream of a Mafitcffe* frauing uile ottentitn is sure[y 6eing rea[ked rtore powerfutty tfian ue eaer coufi fiazte ittngine[.

I cannot c[ose tfiis fetter uitfrout saying to our orcficstra: Our [eepex tfinnfu anf,gratitude tfint you, eace[[ent truusbinns a[[, [euote your timz and energies ond (especia.ffy to tftose of you ufi-o cone frottt fi*ances) your outn funfs, to mofu tfib annuaf eztent possi6[e. Let tfris great rtusic 6egin. Let its e4pression of tfie frigfrzst fi-opes of peopfe eaeryutfure ring out. Let us tfiaru(Qustaa Mafrfer anf te[[ frim tfrat inleed-

Sincere[y, Colorado MahlerF est VIU

Robert Olsory Artistic Director and Conductor ]anuary 1,0-1,5,1995

Dedicated to the performance and study of the entire Mahler repertoire ScnuoulE oF Evrrurs

Tuesday, ]anuary 10 7:30 p.m. Film Boulder Public Library Auditorium Fritz Lang's De Nibelungen Part 1-"Siegfied" P art 2:' I

All events are free of admission exceptthe Donors'Wine Reception on January 13 and the Concert on January 15 Colorado MahlerF est VIil

Tuesday, |anuary 10, 7:30 p.m. Boulder Public Library Auditorium Die Nibelungen

Part 1-66Siegfried" Part 2 -('Kriemhild's Revenge" (Part2 will be repeated on Saturday, April 14 at 1:00 p.m.-Room C-199, Imig Building)

This film is considered a classic cinematographic re-creation of the medieval world, and has been praised as a masterpiece of expressionism and Germany's answer to the contemporary screen epics of Italy and the USA. The primary source used by Lang and Thea von Harbou (co-author and Lang's wife at the time) was the medieval minstrel saga Das Nibelungenlied, This saga, in turn, was one of the primary sources of ideas and names for Wagner's classic operatic tetralogy Der Ring des Nibelungen.The film's relevance to the MahlerFest is by way of underscoring Mahler's international renown as a great conductor, stage manager and producer of the Ring and other Wagnerian . This film is an American version, and is in two parts: Siegfried, and Kriemhild's Revenge. The original film and parts are under study in Germany for reconstruction to their original form, including some scenes, such as an animation sequence, not included in the USA version.

A.G. Eowrnns SalurES ExcnILENCE rN THE PpnroRMrNG Anrs MnursnFssr VIII

Thomas E. Mahoney Canyon Center 1881 gth. Street, Suite1000 Boulder, Colorado 80302 (303) 449-2800. (800) 426-5174. (303) 44s-Os2O FAX "A century of excellence in serving your investment needs"

N.4ember SIPC 1994AG Fdwerds& Sons lnc Colorado MahlerF est VIil Saturday, ]anuary 14,7:30 p.m. Boulder Public Library Auditorium

Emily Bullock, Mezzo-Soprano Patrick Masory Baritone Terese Stewart, Pianist Marc Heeg, Pianist

The Lied in Mahler's Time

Der Musikanl (Joseph von Eichendorfl) 1888 Hugo Wolf (1860-1903) Analcreons Grab (Johann Wolfgang von Goethe) 1888 Befrert (Op. 39, R. Dehmel) 1898 (1864-1944) Nichts (Op. 10, H. von Gilm) 1885 from Opus 2 (1896) Alexander von Zemlinsky (1871-1942) Heilige Nacht (Afanasrl Fet) Der Traum (Victor von Bliithgen) F r lilin g stag ( Carl Siebel) Altdeuts che s Minnelied (Des Knaben Wunderhorn) Patrick Mason and Terese Stewart

Lieder eines fahrenden Gesellen (poems by Mahler) Gustav Mahler (1860-1911) Wenn mein Schatz Hochzeit macht Ging heut'morgen iiber's Feld Ich hab' ein gliihend Messer Die zwei blauen Augenvonmeinem Schatz Emily Bullock and Marc Heeg

- INTSRMISSIoN - Interview with Annette Graener, granddaughter of Paul Graener Jeanna Wearing

from Galgenlieder, Opus 42a () Paul Graener (1872-194) Der Seuf'zer Gespenst Philantropisch Palmstrom Mr. Mason and Ms, Stewart fromBrettl-lieder (1901) Arnold Schoenberg (L87+1951) Galathea (Otto Bierbaum) Der genilgsame Liebhaber (H. Salus) Mahnung (G. Hochstetter) Seit ich so viele Weiber sah from Aus dem Spiegel Arcadien (E. J. Schikaneder) Ms. Bullock and Mr. Heeg Colorado MahlerF est VIII

Sunday, January 15,3:30 p.m. Macky Auditorium

SvupHoNY No. 8 rN E-FIAT MAIoR ("symphony of a Thousand")

Part I. Hymn-Veni, Creator Spiitus Part II. Fina1 Scene of Goethe's Faust

Robert Olson, Conductor with

Oksana Krovytska, Soprano Sheila Smith, Soprano Shauna Southwick, Soprano Julie Simson, Mezzo-Soprano Kristine Jepson, Mezzo-Soprano Kurt R. Hansen, Brian Steele, Baritone Eugene Green, -Baritone

Colorado MahlerFest Orchestra Colorado MahlerFest Chorale, Mary Louise Burke, Director Colorado Mormon Chorale, J. C. Cook, Director Colorado Children's Chorale, Duain Wolfe, Director Program Notes

.ime, Mahler-Symphony No. 8 Where resolution failed the first now the plea is extended: lumcn atcendc sewibw,infunde amorem cordibw (Ill rminate our senses, pour love into our hearts). This ttrms What is all about? it out to be the central idea of the first movement. Here, Matrler An old hymn and a &amatic poem? Pentecost and Faust? sneaks up on it. The soloists sing softly, expressively, almost Or 'the invocation of divine hre by all of humankind and, in dying away. The horns and tr rmpets enter broadly and reply, the opening of heaven in all its glory!" Suely it is 'The passionately, playing ever slower andlouder, until... suddenly, Choral Symphony of theTwentieth Century", as Deryck Cooke everyone is singing accende lumen sensibus, etc. The proposes. children's chorus is heard for the hrst time. The tempo is The two texts of the symphony were written a thousand Allegro Impetuoso again. Words and music begrn to nrmble years apart, yet Mahler connected them spiritually aad over one another: sensibus, cordibtu, amorem! musically. The entire symphony is bormd together in its detarls. Without pause, the battle begins. Hostem repellas Almost every musical theme recognized for the hrst rime was longiw, pacemqru doncs protiruu @v e the enemy far from derived from an earlier theme, or presented earlier as a hint. us and give ns peace now !). Anguished cries, hostcm, pacem, The opemng Veni theme and its variations will be heard agarn rise above the chaos provided by the , playing a aud agarn. The three-beat dotted rh),tlm, 'tumm-ta-hrm", is sixfoldrepetition of a sevennote ostinrtto whichbeats against present throughout, from spiittts in the opening line, to the regular measures sung by all the voices. The plea is weihlirhe near the end. answered, not withpeace, but order, for there is no music more The eighth is unique among Mahler 's slmphomes in the orderly than the double fugue which follows, combining the inseparability of its music and text. Not only is the voice treated 6rye 6ain themes of the movement. Here, the mruic becomes as 'the most beautiful instrument of all", but as the 'bearer of more important than the text which it 'tonsumes" (Ductore poetic thoughts". The Eighth is also dramatic from start to sic tz pracvia tluough Credamw omnitempore). Indeed, the finish-its occasional contemplative interludes are also words are as hard to pick out from the music as their meaning fllamatic pauses, changes of scenery, firm ground for the next is, from the I-atin. The fugue ends with a retum to Accende, upward leap. The following guide tries to present the drama etc., elaborating the material heard just before the battle. of music and text as it moves (or is driven) from earth to heayen. The text reverts toVeni afew measures before the music repeats the opening themes. This begins a leapfrog First Movement Hy mnus : Veni, crealor spiritus - recapihrlation, skipping thre elirres to Qui P arac lit w, thetf ow Big opening organ chord. Allegro impetuoso (Fast, stanzas to new material: Da gaudiorum pratmia. Then all forceful, driving). Veni crealor spirilus. Then the four lines of that stanza are interspersed with scattered reprises and Eombones make it clear that this is Mahler! Menlc s tuorum of earlier text. The section ends withVitemw omru pesimum visila.The f,ust two lines of the hlmn preseut the two main (may we avoid every disaster), heard earlier in the fugue. musical themes of the movement. Words and notes are repea.ted An orchestral interlude leads into the Codn. Gloria Patri in a variety of permutations and variations, with a climax of Domino (Glory to the I-ord otr Father), is sung first by the Veni! Veni!. children's chorus, then by the soprano soloists, joined shortly (introduced Implc superna by the ensemble of vocal by the altos and tenor, then by both choruses. These words are joined soloists, later by the chon:ses) begins a new theme, a variously interspersed with those of the last three lines as the bit slower and a lot calmer. Again, words and notes are varied musicrushes towards its conclusion. At the end, the separately rn their repetiions. Qui Paratlihts diceris znnounces another positioned trumpets and trombones introduce a theme that theme ('?araclete"names several attributes of the Holy Spirit becomes important in the second movement. For the final helper, advocate, intercessor). With donum Dei -comforter, syllables, Gloria Patri, the score is crowded with thirty-eight ahissimi, the violns provide a hint of things to come. /qor6 staves, as every voice, every instrument concludes the vivus, ignis, carilas, and the rest of that stanza, again in movement. variation, bring us back to Veni-not a recapitulation, but a sI mmary of the lust two sections. Second Movement-Final Scene from Faust The orchestral interlude which ensues changes tempo First, Faust in a nutshell. Faust makes a pact with and mood, preparing for Infirma nostri corporis (introduced Mephistopheles. The terms: Mephistopheles serves Faust as by the altos and of one chorus, later joined by the other long as Faust continues striving, expressing no satisfaction chorus and the soloists). This plea-to strengthen the inhrmrty with his situation. After that, Faust must die and serve of our bodies with lasting vigor-is sung softly and Mephrstopheles forever. Faust debauches and dishonors the mystenotuly in a strict tempo with strongly accented syllables, innocent Gretchen, leaving her to die in prison. Faust then against a solo violin passage of quite opposite character. A lives eighty years of devil-assisted striving, destroying promise of musical resolution is stopped dead by another individuals and empires in theprocess. In old age, he expresses orchestral interlude. Thrs bizarre juxtaposition of pizzicato satisfaction, and dies. stings, staccalo homs, - choir, and In the next-to-last scene of the drama, Mephistopheles distorts the themes just heard, then leads to a second plea for marshals his devilish forces to battle the rngels for possession health. Infunwagatn, now srmg by the soloists to anew tune. of Faust's soul. In a mishmash of metamorphosis metaphor, the soul is depicted as a sort of cocoon with wings, whrch sic schlcichen stunnr.Thefiendly lions reveal that this place hides in the corpse until driven out by putrefaction. is not only wild, but holy. Mephistopheles must await that moment, present his blood Abruptly, we meet the lust anchorite, Pater Ecstaticus sigrred contract, pull off fhe wings, and consign the womilike (enor) He sings, Ewiger Wowwbrand,of the ecstasy of maq.r- soul to hell. If, however, he misses that opportunity, angels dom, seeking to be pierced by arrows, etc., until everything can bear the soul to heaven, where it will burst its pupal shell trivial has fled, leaving only the constant star of etemal love. and mature to perfection. A host of younger angels pels After an orchestral interlude, the second anchorite, Pater Mephistopheles with rose petals. He orders his devils to blow Profundus @ass) holds forth: Wic F elsenabgnnd,stormy ard the petals away, but they blow too hard and hot, melting the agrtated singing describes the cliffs, brooks, trees, wind, and petals into jelly curds which stick to his neck like pitch. Beyond lightning as Love's messengers, proclaimiag the constant that distraction, he is carnally attracted to the angels, imagines workings of the Creator. [n conclusion, he ca]ls upon God to them naked beneath their flowing robes, and tries to glimpse enlighten his worthy heart. Now an orchestral interlude prepares for the main plot. The Younger Angels (sopranos and altos of the second chonrs) arrive triumphantly, bearing Faust's soul, and proclaiming its rescue from evil, singrng Gerettet ist das edle Glied. They proceed to state the conditions for saving a soul: Striving (on earth), and Love (liom above). Before they can fmrsh, the Blessed Boys (children's chorus) appear, singing a huppy song, Hdnde venchlinget euch, as drcy fly in circles arourd the highest peak. Another orchestral rnterlude, seeming to echo the Boys, presents a lheme they will srnglater. Now the YoungerAngels continue the success on Mahler rehearsing his Eighth Symphony in Mumch story of their eath. They firs trev eal (J e rw r their bare backsides as they retreat. Only then does he realize Rosen) that tlrcir roses were obtained from the hands of holy, that the angels have won, and are remming to heaven with repentant women (who will shortly appear). Then they Farst's soul. enthusiastically describe their use of the petals to defeat The second movement opens with a depiction, not of Mephrstopheles. They conclude with Jauchzet auf, es ist Goethe's drama, but his stage directions for the final scene: gelunge n ! (Shout wrth joy, we succteded! ). 'Mormtain gorges. Forest, Cliff, Wildemess. Holy anchorites, A lengthy orchestal interlude leads to the More Perfect disposed up the mountainside, stationed in the ravines. " The Augels (variou voices of both chonrses) singing Uns bbibt ein anchorites are hermits, living in wildemess caves, entirely Erfuruest. The music is identical to the Inftrma of the first occupied by their devotions. The highest of these holy places movement. There, the prayer was to replace bodily infirmities provides a glimpse into heaven above. The music is, at fust, with health. Here, the subject is the severance of the last very sparsely scored. Eight orchestral sections generally be- remnants of earthly inadequacy so that heavenly perfection gin with a clmbal brush, quavering violins, low pizzicato can be anained: No angel can do this, only eternal Ilve (alto strings and hi gh legato winds. The inner parts of the sections solo, Kein Engel). vary in leugth, complexity, and scoringl the three beat dotted ln the following section, three things happen almost at rhythm is pervasive. Beginning with the third, most of the once, The Younger Angels notice the Blessed Boys (Ich spiir sections end with a "signature" five note hrrn jrut before the soeben, Nebelnd um Felsenhdh) and nrm Faust's soul over next brush. The ninth section brings in the choruses, to them. The Boys and Fatrst are in the most primitive of the singng Waldung, sic schwanldheran.T\e words echo each angelic states, and so should mature together for a while. The other with hushed staccato syllables, describing the woods, Boys happily receive Faust's pupal soul into their care, noting cliffs, roots, trunks, waves, and caves of this wildemess. One that he is already big and handsome (F reudig empfangen wir). more clmbal brush begins the last of these sections, liiwen, Dr. Mananus (teuor), the third anchorite, senses the heavenly goings-on, and seeks a better view (Hicrist diz Autsithtfre), Gretchen continues her plea, Vom edlen Geisterchor umgeben, He sees three women soaring upward, with the Queen of asking to be entrusted with Faust's further development. She Heaven (Mater Gloriosa) in their midst. observes thatheis scarcely awareof his new Lfe, andis blinded Now Dr. Marianus sings his devotion, Hdchste by the new day. Harrnonium, , , and harps me Herrschcin der Welt. The choruses join him in the second heard agarn, as The Mater Glsdqsn answers,Komml,invitjrtg part, J ungftau, rein im s chdnslcn Sinne. The lvlater Gloriosa Gretchen to rise to higher spheres, and assuing her that Faust soars into view; the orchestra depicts this with harmonium, rvill follorv. The chonu echoes her invitation. celesta, piano, and harps. The chonx intones Dr. Marianus's Dr. Mariamu, who has been watching this high drama, words (Dir, der Unberiihrbaren) which remind us that some rnvites all gentle penitents to look ttp (Blbket aufl to the slippery slopes. redeeming glance of the Mater Gloriosa, and implores her to The Penitent Wbmen (who provided the roses) appear, be constantly merciful (blcibe Sntfuli). The chorus takes up asking the Mater Gloriosa to hear their pleas. They are his words for a while, but in the end, the orchestra carries the represented by selected sopranos from the chorus, and by four three note, dotted rhylhm, rising theme, up, up, and out of soloists. Magna Peccatrix (soprano), and Mulier Samaritana sight and heanng. (alto) are New Testament hgures. MariaAeglptiaca (alto), is The Mystical Chorus sings the hnal stanza of the drama, a frfth cennrry saint. Each was a sirurer until a decisive moment, Alles vergtinglithe,very soltly and gently. (All our past only which each now describes, singing in tum : B ei de r I)c b e ; B e i resembles what we become here. All 6111 qpyailing striving dem Bronnl Bei dem hochgeweihlen Ortc. Then they sing becomes accomplishment here. the becoming, which cannot together in canou, in parts, and frnally in rurison, askrng that be described, is completed here. The etemal-feminine drarvs remission be granted to Faust, as it was granted to them. The us here.) The last pkase, Zicht uns hinan, is repeated as the tburth perutent is Gretchen (soprano), whom Faust destroyed tempo begrns to increase. Now a rmghty crescendo b"gt, in his early strivrng. She first asks simply that the Mater Ewig, ewig is heard, and all the voices join in a full force A//es Gloriosa look with favor on her joy at the retum of her emly vergdnglichc. At the final hinan, the separate trumpets and love: Neige, nzige ... Er kommtarrick. The mandolin is hrst trombones join the rest of the orchestra in a conclusion marked heard here, introducing and accompanyng Gretchen's prayer. by a variation of the Veru theme, now stetched from a dissonant The Blessed Boys release Faust's soul from their care, seventh to a triumphant ninth. The whole symphony is noting that he has outgrown them, Er iiberwcichst unt schon. complete. -L. David Lev,is The Conductor's Baton

The baton being used by Maestro Olson for the engaged someoneto selltheir belongingsin New York. performance o[ "The Symphony of a Thousand'' has Anton Seidl, a favored disciple of Richard Wagner, been kindly loaned to us by Gerald Fox, President, brought Wagner's operas to the USA in the late New York Mahlerites. nineteenth century. He built the German repertory at Gustav Mahler's "last" baton was given by Alma the Metropolitan , took Wagner's operas on Mahlerto Henry-l,ouis de La Grange, founder of the tours, and was a very popular and powerful musical Bibliothdque Musicale de Gustav Mahler, Paris. It is figure in New York until his most untimely death in some of 1898, of l'ood poisoning. A search was made for a on display-other there and was on display, with Mahlei's effects, at Gilbert Kaplan's Carnegie successor and Mahler lvas approached, but did not Hall Sympo sitm, Mahler in Ame r i c a, in November, follow because he rvas more 1994. interest t the time. The baton being used by Maestro Olson was In Y personal connections, and N{rs. Seidl's activity in New York music circles ;e,,H1,X"'j, aller Anton died, we believe that the baton which Jery hler's batons, Fox purchased, along with the desk and bookends, but the story of its availability lends credence to this really were Mahler's, used while he lived in New York inference. from 1907 tfuough 1911. The baton, along with a deskand a pair of wooden F-ox tells of lronard Bemstein's encounter with bookends, was available at an antique dealer in the this baton. Gerald offered it to lrnnie for a rehearsal vicinity of New York. On the back of the desk is a of the Mahler 3rd, one of lrnnie's last concerts with notatidn that the desk came from the widow of Anton the New York Phil. Seidl and had belongedtoMahler. The antique dealer's knnie said, "This is awfully heavy." mother had known Mrs, Seidl, and believed that all Fox responded, "You mean that lr{ahler had more three pieces had been acquired by Mrs. S_eidl afterthe mu Mahlers left New York in the spring of 1911. They a matter of balance." probably Ieft their household goods in storage, since did use it, and said to the Mahlerhad offered to come back for another season orc ahler's own baton. Now You with the New York Philharmomc. When he died in have to play like the very devil!" retum (until 190) and possibly , Alma did not -Stan Ruttenberg Symphony ^l[o.8

"...1 have just completed my Eighth-it is the greatest thing I have done so far. And so peculiar in content and form that it is impossible to write about it. Just imagine that the universe is beginning to sound and ring. It is no longer human voices, but circling planets and suns.. . ."

Herta Blaukopf (ed) Gustov Maller Biels, 312 (undatedletter)

"He was setting the old hymnVeni Creator Spiritus to music, having procured the text from somewhere or other. In the m-iclst of the work he noticed fhat the music was brimming olrer the text, overflowing like rvater from a full dish; or, in other words, that the structural concept of the rnusic clid not correspond to the strophic form of'thc verse. Ile iamented his distre.ss to a friend, and this friend, a philologist, pointed out to himthat this rvas natural, tbr in the version he rvas uslng the tcxt rvas incomplete; about one and a half verses rvere missing. N,Iahler thereupon had Courl Conductor Luze urgently obtain the complete text for him in Vienna. \\ih6n the hymn arrii,ed he now discovered to his boundlcss astonishment that the vi'ords matched the music exactly, ihat it rvas out of a fceling for lbrm that he had composed too much: each of the new rvords fitled effortlessly into the whole." *Emst Decsey, "stunden rntt lvlahler', Die NIttsik, vol. x no. 18, 353-54.

kxt, with English translation, of Symphony l'{o. 8

Part 1.: Hymn-VENI, CREATOR SPIRITUS

Tu septiformis munere, Thou, oJ seven-Jold Gruce, Veni, Creator Spiritus Come, Creative Animus, Digitus paternae dexterae Finger oJ Gotl's right hand, Mentes tuorum visita, May Thy Spirit visit these souls, [Tu rite promissum Patris, Thou, the Father's promise, Imple supema gratia, Andfill thern with heavenly Grace Sermone ditans guttura. ]x Gives the GiJt oJ Speech to our Mouths. Quae tu creasti pectora. Wfutm Thou hast created. Per te sciamus da Patrem, Through thee, may we know the Father, Qui diceris Paraclitus Thou, our appointed Intercessot, Noscamus [atque] Filium, By your Spirit, may we know the Son, Altissima donum Dei, Highest Gilt oJ God, fle utriusquel Spiritum May we experience the Essence of both Fons vivus, ignis, caritas Lite's Fountain, Fire, C ompas s ion, Credamus omni tempore And come to believe. Et spiritalis unctio. And the Soul's annointing. Da gaudiorum praemia, Grant to us the Joy oJHeaten, Infirma nostri corporis Our Bodies trail Da gratiarum munera, Bestow upon us the Gift of Grarc, Virtute firmans perpeti, With eterrul virtues endow; Dissolve litis vincula, [Jnloosen the teners oJ striJe, Accende lumen sensibus, Our Minds with Reason enlighten, 'With Adstringe pacis foedera. And assist us to preserve Pea.ce. Infunde amorem cordibus, love our Hearts enlarge. Gloria Patri Domino Glory be to the Fathen our Sovereign lord, Hostem repellas longius Drive the Enemy Jar away, Deo sit gloria et Filio Glory be to God, and to the Son, Pacemque dones protinus, Grant w perpefi.al peace. Natoque, qui a mortuis In Flesh incarnate, who died and Ductore sic te praevio Through all Perils guide us Surrexit, ac Paraclito Was resurrected as an Intercessor Vitemus omne pessimum. Thnt we may be spared all evil. In saeculorum saecula. For this age and ages to come.

x Brackets indicate text omitted by Mahler. PART II: FINAL SCENE FROM GOETHE'S TAUST

(Mountainous r ilderness. Holy Choir of Blessed Boys (circling the towering peaks) Anchorites, shelte itioned at various Hiinde verschlinget euch Enckupedyour Hatds keudig zum Ringverein, Joyfully in a ring, Choir of Anchorites and Echo Regt euch und singet Bestir yourselves and sing Heil' ge Gefilhle drein ! Wilhholy Ecsktcy. Waldung sie schwankt heran, Forests waJt upwanls, Gcrttlich belehret, Divircly instntcted, Rlserl sie lasten dran, Granite rocks weigh them down, Diirft itr vertrauen, You muy rrust confdently Wurzeln, sie klammem an Rtnts entwine the ms e lv e s Den itr verehret, ln Him whom you worship, Stamm dicht an Stamm hinan Onthe thickly growing tnoil

This translation O 1995 by Jeanna Wearing. All rights reserved. The Artists and Participants

Robert Olson, Conductor opera program and Associate Conductor of the "... one of the majorAmerican conductors" wrote Orchestras. Local audiences also know him as Musique in Belgium; conductor for years of the Colorado Gilbert & Sullivan "A performance I shall long cherish." wrote The Festival. American Record Guide; He has held conducting posts with the Omaha "...master of Mahler" wrote the Boulder Daily Symphony, Boulder Baroque Chamber Orchestra, the Camera; Boulder Civic Opera, Arapahoe Chamber Orchestra, "The orchestra loved you, the public loved you." Arvada Chamber Orchestra, the Colorado Lyric Karlovy Vary Symphony Orchestru, Czech Republic; Theatre, and the Rocky Ridge Music Festival. ". . . a fine orchestra and an outstanding conductor" An active guest conductor, he has guest conducted wrote the Longmont Times-Call', many orchestras in the , and made his "The St. Louis Symphony, under the direction of European debut in 1990 in Belgium, resulting in Robert Olson, sounded as good as engagements in Venezuela (1991) they do in concert." wrote the St. and return invitations in Belgium. Louis Dispatch (re: ballet During the 1993-94 season he performances). conducted the Kansas City Such is a sampling of reviews Symphony, the Royal Conservatory of Maestro Robert Olson, artistic Orchestra of Liege, Belgium, and director and conductor of the the Karlovy Vary Symphony in Colorado MahlerFest since its Czech Republic (Europe's oldest inception eight years ago. He brings orchestra). Forthe 1994-95 season an amazingly active and varied he is scheduled to conduct in career to the podium, currently Portugal and Sicily, and will again holding conducting posts with four conduct the Karlovy Vary Symphony different organizations, including the at a major European Beethoven entire spectrum of the concert Festival. He is recorded on the CRS stage-symphony, opera, and ballet label. and presenting sixty-five to seventy As a recipient of the coveted performances a year. Fulbright Scholar Award, Olson Currently a resident of Kansas City, he is in his studied with the legendary pedagogue, Hans third year as conductor for the State Ballet of Missouri, Swarovsky of the Vienna Philharmonic. In addition to presenting over forty performances a year. With the Swarovsky, Olson studied with Yuri Krasnapolsky of ballet, he conducts the Kansas City Symphony and the the , and such well known internationally recognized St. l,ouis Symphony. conductors as , ,Ztfiin He is also in his fifth year as Director of Orchestras Mehta, Georg Solti, Andre Previn, and Herbert and Professor of Conducting at the Conservatory of Blomstedt. Music at the University of Missouri-Kansas City, Until his move to Kansas City, Olson was an where he conducts the symphony orchestra, chamber internationally recognized bassoonist as well. His orchestra, and opera productions. The orchestra, under recital and concert tours had taken him to Japan, Europe Olson's leadership, has become one of the premiere three times, and throughout the United States. His final conservatory orchestras in the Midwest. performances were at the 1990 Vienna International He is in his twelfth year as Music Director of the Music Festival and on a recording for Czechoslovakian Longmont Symphony in Colorado, an orchestra which Radio. has consistently received rave reviews from Colorado He is married to violist Victoria Hagood Olson critics. During his tenure, the orchestra has flourished, and has two beautiful children, Tori (7) and Chelsea presenting a ten concert season to capacity audiences, (4). and increased its operating budget almost ten-fold. Olson began the Colorado MahlerFest on a dream Prior to his move to Kansas City, he was on the and $400 eight years ago, and it has flourished to faculty of the University of Colorado College of Music become, in the words of a critic, "one of Boulder's for sixteen years, where he was music director of the most valuable cultural assets". Oksana Krovytska (New York), Soprano renowned soprano Eva Likova and continues to work with Ukrainian soprano Oksana Krovytska has delighted the well-known stage director Thaddeus Motyka. She is a recent audiences both in her homeland and in the Umted States recipient of a Puccini Foundation Career Grant and a with a voice of expressive lyricism combined with a rich, Sullivan Foundation Five-Year Role Preparation Grant. Slavic timbre.T\e 1994-95 seasonwill find N4rss Krovyska with the as leading soprano in new Sheila Smith (), Soprano productions of Borodin's Since makiag her Metropolitan debut in 1986-87 with Prince lgor and Yerdi's La James Levine, Ms. Smith has sung with many of the opera Trayiata, as well as Mimi in houses of North America, Ptrcr:ni' s kt B o heme. Dl;rlrrg the including Houston Grand 1991-94 season, New York City Opera, Indianapolis Opera, Opera featured her as Liu in Kentucky Opera, Dallas , Micaela in , Opera (singing with Joan and Magda n In Rondine. Slte Sutherland and Richard also appeas with the West Virginia Bonynge), San Francisco Symphony in Beethoven's Opera, Minnesota Opera, Symphony No. 9 and the Ft. Rochester Opera, and the Walne Philhannonic ur the Verdi . . N4s. Krovyska tours She recently sang the title role America with the New York of Ariadne for Glimmerglass City Opera Company in the title rcle of Madama ButterJly Opera, where she has sung and appears at New York's Carnegie Hall and Philadelphia's many times. European Academy of Music, together with bass Paul Plishka, in performances include appeiuances with the Scottish Opera concerts of arias and the premiere of a new catrtata. and UOpera de Nice. Roles include Ariadne in Ariadne After her arrival from The Ukraine in the spring of auf Naxos , Octavian in Rosenkavalier , the Countess in 1-e 1992, New York audiences heard Ms. Krovytska as the Nozze di Figaro, Siegrune in Die Walkilre, Helete in l,a soloist in Bach's l4ass in B Minor with Ascension Music Belle Helene, and Clairon in Capriccio. (described as "superb" and "truly radiant" by Chorale, Iarr 1993). She also appeared in Rossini's Stqbqt Mqter, in Mozart's Coronation Mass anLd in a concert of opera arias Shauna (Denver), Soprano and Ukrainian songs at the Green County Music Festival, Southwick as well as in a special benefit for the Ukrainian Museum in Shauna Sargent Southwick holds a Master of Arts New York at Merkin Concert Hall. Among other concerts degree in Voice Performance and is currenfly performrng of the 1992-93 season, the Choral Arts Society of with Opera Colorado's Puppet Opera program fs1 shildren. Washington chose her for their Kennedy Center concert of She will also be seen as Emmy in Benjamin Britten's Albert Rossini's Stqbqt Mater aadBarner's Prayers of Kierkegaard. Herring this month with Opera Colorado. Ms. Southwick She has also been heard in Honneger's King David, ard in has sung a variety of opera roles with the San Luis Valley Handel's Messiah. Opera Theater, Opera Ft. Ms. Krovl.tska's recent engagements with the Kiev Collins, Colorado State Opera include Tatiana in -Eug ene Onegin, Marguerite in University, and Adams State Faust,Iolanta in Tchaikov sky's lolanta, Xenia in Borls College includingAdele in Dle G o du nov, and Parasia in Mus sorgsky's S o ro chy ns k F air. Fledermaus, Norina it Don She has been a frequent soloist with the Lviv Pasquale, Nedda in Philharmonic, appearing in such roles as Serpina in I , and Zerlina in Pergolesi's La Serva Pqdrona, Natalka in Lysenko's Do n G iov annl. Ms. Southwick Natalka Poltavka, as well as in concerts of Bach's has also performed with the Magnific at, Mozart's C oro natio n Mass, Pergolesi's Rio GrandeArts Center in the Stqbat Mater, and Verdi's Requiem. :!.!!!.!.!!L.ll-j r'rlti, Anativeof Lviv, Ms. Krovytskabeganhermusical,,,1,,,;,,,:1,, s studies at Solomiya Kruschelnytska Conservatory, from l::lri'i ""',,; ,i. #gry r:r E;:"' t' which she graduated as a pianist. She then studied voice ^ " Hodel in Fiddler on the Roof, at the Kiev Conservatory. A laureate of the All Ukrainian and Polly Peachum inThreepenny Opera. Vocal Competition's 'New Names", her solo concerts were Oratorio performances include sopratro soloist in broadcast by both Ukranian and Soviet television and she Messiah with the San Luis Valley Opera Theater, and in has successfully completed concert tours in Poland, Canada, Dona Nobis Pacemby Yatghn Wlliams with the combined Great Britain and the United States. In New York, Miss Cheyenne Symphony, Casper Civic Orchestra and the Uni- Krovytska has been instructed and sponsored by the versity of Wyoming Chorale and Orchestra. Julie Sinson @oulder), Meuo-Soprano repertoire and has appeared with the San Francisco Mezzo-Soprano Julie Simson has sung with opera Symphony, the Indianapolis Symphony, the Kansas City companies tbroughout the United States including Opera Symphony, and the Bach Society of Saint Louis singing Colorado-Denver, Houston Opera, Dallas Opera, Santa Fe such masterworks as Handel's Messiah, Bach's St. Mqtthew Symphony. Opera and Opera Memphis, performing such roles as Passion and Mahler's Eighth Magdelena it Meistersinger, Upcoming engagements include the Metropolitan Emilia in Otello, Hansel in Opera's productions of Corigliano's The Ghosts oJ Hansel and Gretel, the Ve r s aill e s and Wagner's P ar s ifal. She will perform the role Composer in Ariadne auf of Cherubino this summer in Cincinnati Opera's The Naxos, and Suzuki in Madama Marriage of Figaro and will again sing The Composer in Butterfly. She has also Ariadne auf Naxos this fall, this time with the Canadian performed as soloist rn major Opera Company in Toronto. She returns to Kansas City to oratorios with the Denver, sing the role of Hansel in Humperdinck's Hansel and Gretel, Colorado Springs, Cedar and will make her debut with the Cleveland Opera singing Rapids and Milwaukee the role of Stephano in Romeo and Juliet. Ms. Jepson will Strauss's Symphonies. She received a also appear in Dallas Opera's production of grant to study and perform in Elehra in early 1996. Europe where she Ms. Jepsonis anative of Iowa, andreceivedher Master subsequently won the pres- of Music degree from lndiana University. tigious Mozart Prize at the International Belvedere Kurt R. Hansen (), Tenor Competition in Vienna. She was also a finalist in the Luciano Pavarotti Intemational Competition in Philadelphia aud the "Kurt R. Hansen was the standout. His ability to G. B. Dealey National Awards in Dallas. Miss Simson was deliver Bach's high tessitura without strain [and] his presented in recital at the ClevelandArt Song Festival where exciting timbre are lhings that we should hear more often she worked with such renowned artists as Elly Ameling and in New York." Dalton Baldwin. Miss Simsou won the East & West Artists So said the New York Times of Mr. Hansen's Lincoln Iutemational Competition for a New York Debut and was Center debut as the EvangelistnBrch' s Weilmachts Oralariwn. presented in recital at Carnegie Hall. She is also a winner of His career has taken him to Europe and South America as the National Association of Singing Artist Award well as across the Uruted States. Last season he sang Competition, which provides her with concerts and recitals Honegger's King David at York Minster in England, which throughout the uation. In March, 1992, she participated in a he followed by singing both the Evangelist and the tenor symposium on the music of George Crumb where she arias of Weihnqchts Oratoriumwith the Orquestra Nacional performed An cient Voices of Children in ; this was a de Colombia in Bogota. He also sang the role of Evangelist premier performance of his music in Czechoslovakia. Miss in Bach's St. Matthew Passion with the St. Louis Bach Simson received her degrees from Western Michigau Choir. The previous year he sang the same role in Bach's University and the Umversity of and is currently St. JohnPasslon bothin St. I-ours and with the Seattle Bach Artist Teacher and Assistant Professor of Voice at the Choir. University of Colorado in Boulder. Although Mr. Hansen has a certain "passion" for the music of Bach, his repertoire includes music that ranges from Baroque through Romantic to the music of this Kristine Jepson (New York), Mezzo-Soprano century. In May, 1995 he will Mezzo-Soprano Kristine Jepson made her sing the tenor solos in Mahler's Metropolitan debut this season in the acclaimed production Eighth. Symphony with the of Britten's Death in Venice. She also achieved vast critical Omaha Symphony. I-ast season success in her Chicago Opera Theater debut, performing he sang Das Liedvon der Erde the title role in Berlioz's Beatrice and Benedict She has with the Northwestern appeared as Suzuki in and as Stephano University Symphony in Gounod's R omeo and Jullel for the Lync Opera of Kansas Orchestra. The Verdi Requiem City and was recently acclaimed in the New York Times is anolher work he has sung in for her performance in Rossini's Le Comte Ory and recent seasotrs in Chicago and Chabrier's L'Etoile with L Opera Frangais de New York. in Colorado. presented Ms. Jepson in its Kurt Hansen's operatic productions of Puccini's Suor Angelica, kokofiev's War roles include Tamino in and Peace, and Strauss's Elektra. She has also performed Mozart's Magic with the role of The Composer in Strauss's Ariadne auf Naxos Opera Southwest in with the Boston Lyric Opera and has appeared numerous Albuquerque, Ferrando in Cosl times with the Opera Theatre of Saint Louis in such van Tutte with DuPage Opera Theater in Chicago, Alfredo productions as Rossini's Il Turco in ltqliq and Mozart's in Verdi's La Traviata also with DuPage Opera Theater, Mrtridqte. Hoffhausmeister in Strauss's Der Rosenkavalier with the Ms. Jepson has also performed with Omaha Opera Chicago Symphony Orchestra under Edo de Waart, and he and was presented in recital on the stage of the Gran Teatro sang both the role of The Simpleton and of Missail in del in Barcelona. She also has a vast concert Mussorsky's Boris Godunov also with the Chicago Z-

am Rheim in Di'isseldorf Symphony Orchestra and Claudio Abbado. One of his Mignon)and appeared at Deutsche Oper fonaist memories was being chosen to siug the role of Rodrigo in Verdi's Otello with the Chicago Symphony Orche.-stra to celebrate Sir Georg Solti's seventy-fifth birthday in an internationally telecast tribute. After Mr. Hansen had sung at the Britten-Pears I-ake George Opera (Don Institute's Bach seminar in F-ngland, he joined Robert Shaw he went on to four seasons with in France and appeared with him on recordings of Giovarui, To sca, C arme n, The Cnrchle, Titming of the Shrew ), Susannah, p4c,hmanineff and Poulenc. Subsequently, Mr. Shaw asked three seasons with Sarasota Operu(Cosi fanTutte, Espagnot), Lyic him to appear as tenor soloist Le Nozze di Figaro, l,a Bohime, L'Heure Symphony atthe oPening of theLie native Nebraska at the UniversitY In the past, Mr. Hansen has sung with the orchestras of Chicagb, Milwaukee, St. Lours, Minnesota, Honolulu and Omaha. Mr. Hansen is also an active recitalist, having performed major cycles of Faur6, Schumann and Schubert toth in concert and rn live national broadcasts carried by Giovanni). United States he has appeared with the Chicago's WFMT FineArts Network. Outside the Canadian Opera Company (II Bctrbiere di Siviglia, Don Brian Steele (Kansas City, Missoutl), Barilone Posquale), and the C-aracas Opeta (Tosca, l'escaut' Brian Steele has been heard in numerous roles with the , Ernani). Central City Opera, includrng I Betweenhismanyregionalandforeignengagements many leading roles in the that of Horace Tabor it The he has found time to perlbmr Candide, Kismet, Baltad of Baby Doe, a role musical theater, including Sou th Pacific, thing Happened on the Way to the Forum, whrch he has also performed for A Funny ana Srrtlivuo roles, and has recorded the New York Ciry OPera' He numerous Gilbert Victor. has sung major roles with the for RCA Cincinnati Opera, OPera Orchestra of New York, Portland OPera, Sacramento Opera, Glimmerglass, OPera Omaha, Mobile OPera, Utah Opera Festival, and Orlando Opera. He is the featured baritone for the Kansas CitY Lync Opera, where he has performed for twentY-three the role and saved the day. In partrcular, the crucral scene ln the Thhd Act with the earth goddess, Erde, was praised by the critic of the Tucson Citizen'

Mary Louise Burke, Director, Colorado MahlerFesl Eugene Green (New York) Bass-Baritone Chorale Mary I-ouise Burke is the Eugene Green's professional debut was !:8ryT1* l-a Bohime in ^a PhiladelPhia assistant director of the Opera production. As a result of Colorado SymphonY Chorus this, he came to the notice of and the Colorado Children's NBC-TV Opera where he Chorale. OriginallY from performed many roles, Alberta, Canada, Ms. Burke rncludrng the C ottil in Iz N oue toured with the Edmonton di Figaro. George Schick Opera Ensemble. She has been recommended him to San a guest clinician at music and Francisco Opera, where he drama workshoPs throughout peformed for several seasons western Canada as well as in (Die Kluge, Die Frau ohne Colorado. As a performer, she as a guest soloist S chatte n, Die Me is ter s inger, Itt has appeared SYmPhonY B o hDme, Mata n, O tello). with the Colorado He then moved his career Orchestra and the Boulder with the Central City to Germany where he was under Bach Festival and appears regularly contract with the Krefeld Opera-in-the-SchoolJ progrr-. M . Burke has a doctorate voice performance-from the University of Colorado, Mdnchen-Gladbach Oper (Da s Rheingold, DonGiovanni,Ttr und in Zimmermann. Manon Lescaut, Nabucco, Madama Butterfly, Boulder. J. C. Cook, Director, Colorado Mormon Chorale Emily Bullock, Mezzo-Soprano J. C. Cook is a graduate Fmily Bullock was most recenfly seen as the alto soloist of for the Colorado Slmphony's Messlalr. She has appeared with where he studied both choral the Bonlder Bach Festival as a soloist inthe Magnificat and music and ancient for the New Year's Eve Concert. Ms. Bullock has sung with instruments. Over the past the Tulsa Opera, Enid twenty-five years he has Symphony, University of Tulsa conducted numerous church Orchestra, and with the ar1d sqmmunity choirs around University of Colorado Lyric the United States. He is also a Theatre Festival. In October versatile performer, having 1994 she performed in the sung withmany choirs both as University's production of choir member and as baritone L'ltaliana in Algeri. Ms. soloist, including recent Bullock is the 1994 winner of performances at the Aspen the Galen and Ada Belle Files Music Festival and at Camegre Hall. Spenser Vocal Award, and was a second place winner in both Duain Wolfe, Director, Colorado Children's Chorale the Metropolitan Opera Duain Wolfe formded the Colorado Children's Chorale National Courcil Audition and in L974 and has been artistic director and conductor since the Denver Lyric Opera Guild Auditions. Upcoming that time. His work has been recoglized through honors performances include Bach's St. Manhew Passion with the rangrng from the Bonfils-Stanton Award in the Arts and Littleton Symphony, Street Scene with the University of Humanities to the Governor's Award for Excellence in the Colorado Lyric Theatre, and Bach's Magnificat with the Arts, and the Mayor's Award for Excellence in an Artistic Colorado Symphony. Dscipline. Under Mr. Wolfe's direction, the Children's Chorale, Patrick Mason, Baritone comprised of six choirs, represents Colorado in internadonal Patrick Mason is known for his command of an touring and is managed by ColumbiaArtists Management, extremely wide variety of musical styles from the tenth Inc. for national touring. century to the present. A noted interpreter of Medieval and In addition, Mr. Wolfe is very involved in the opera Renaissance music, Mr. Mason has appeared in community. He has contributed to Central City Opera as performances and recordings rvith the Waverly Consort, the chorus master, conductor and artistic administrator, and Boston Camerata, the Folger Consort, ScholaAntiqua and curently holds the position of Director of Artists Programs. the Ensemble for Early Music. His concentration in He frequently seryes as a judge for the Metropolitan Opera Liturgrcal Drama has included appezuances at 's auditions. Southbank Festival, the Utrecht Early Music Festival in In 19M, Mr. Wolfe was asked to found the Colorado Holland and a tour of Italy with the Ludus Daniells (Ihe Symphony Orchestra Chorus, Play of Daniel), In the spring of 1994 he performed which he continues to direct. with the Genessee Baroque Players and the Boulder As a conductor, he appezlrs Bach FesLival. In the 1995 season, Mr. Mason will sing with both the Central City the part of Jesus in the S/. Matthew Passion with the Opera and with the Colorado Boulder Bach Festival and the bass arias in the same Symphony Orchestra. He also work with the Rochester Bach Festival as well as Aeneas prepared choruses for the in Purcell's Dido and Aeneas. Patrick Mason is a Teton Music Festival, Ravinia founding member of the Boulder based early music Festival, and Aspen Music ensemble, Fiori Musicali. Festival. Patrick Mason's commitrnent to the music of our After a worldwide time has involved him in performatrces and recordings search, the Chicago with composers l.eonard Bernstein, George Crumb,

S ymphony Orchestra recently Elliot Carter and Stephen Sondheim. He recently sang appointed Mr. Wolfe to the John Adams' award winning compositiot, The Wound post of Chorus Director to succeed retiring director Margaret Dresser, with the Rochester Philharmonic under the Hillis. He assumed his new duties in May, 1994 and will direction of Mark Elder. He has sung the lead in Tod continue his work with the Colorado Symphony Orchestra Machover's science fiction opera, VALIS, at Tokyo's and the Colorado Children's Chorale. Bunkamura Theatre and at MIT in Cambridge, Massachusetts, where Richard Dyer of the Boston Globe Ms. Stewart has served as Offi cial Accompanist for both declared him "...a superb singing actor who dominated the San Francisco and Metropolitan Opera RegionalAuditions, everything. " In the summer of 1993 he portrayed the great and she has been on the artistic staff of Opera Colorado. In Spanish writer, Cervantes, in the musical, Man of La addition, she has worked with Washington Opera and Prince Mancha,at the LyncTheatre Festival in Boulder, Colorado. George Opera and is forrner Music Drector/Pianist for the For over twenty years N4r. Mason has collaborated CU Lyric Theatre Singers. with renowned guitarist, Ms. Stewart's principal teachers includeThomas Redcay, David Starobin, in mrmerous Beveridge Webster, and Beckie Amold. She holds a Doctor of concerts and recordings. They Musical Arts in Piano Performance from the University of have performed in London's Colorado, where she continues to be in demand for faculty, Wigmore Hall, Kaufman guest, and shrdent recitals. Auditorium and Merkin Hall Marc Heeg, Pianist in New York City, the Candlelight Series in As aprofessional concert artist these last eleven years, Baltimore, the \Viltz Festival Marc Heeg has played throughout the United States as well as in Luxembourg, Ijsbreker in in westem E:rope. While enjoyng occasional work as a soloist, Amsterdam, the American N4r. Heeg's stahre as ahighly sought after collaborative pianist Center in Paris and throughout conhnues to grow. the United States. Their Mr. Heeg relocated two recordings of contemporary years ago to Boulder, Colorado music have received critrcal acclaim. in order to pursue a doctorate in As an active recitnlist, Patrick Mason has been a guest piano performance. While at the artist with the New York Festival of Song and has perforrned University of Colorado, Mr. works of John Musto and others with that ensemble. He Heeg has become a prominent has appeared at the Skaneateles Festival where he sang chamber musician and specialist Leonard Bernstein's Arias and Bqrcarolles, and at the in historically informed Vorpal Gallery in San Francisco where, in conjunction with performance practices. He was the Peabody Conservatory of Music, he presented a sung the recipient of both the Robin tribute to John Charles Thomas, the famous American Sawhill Prize for Excellence in baritone. In 1992, he was invited to be a soloist at the First Piano Performance (1993-199+) American Vocal Congress where he appeared with and a Graduate Dean's Grant prominent young artists of his generation. He will appear (1993) which enabled him to with pianist Robert Spillman this coming February in a attend the Boston Early Music Festival at Harvard. Mr. Heeg's recital of French song. recent research and performances have taken him into the The former head of the voice area at the State music and aesthetics of John Cage as well as an exploration University College at Fredonia, Patrick Mason is now on into the roots of the American avant-garde. the faculty of the University of Colorado at Boulder. In addition to his work as music and choir director of the Boulder Unitarian Universalist Church, N4r. Heeg is equally interested in music and aesthetics, body/mind research as it Terese Stewart, Pianist applies particularly 1s musieians and their physiological Terese Stewart has problems, and Zen. He is also apractitioner and an accredited teacher of Chi Chih. appeared as a solo and charnber T'ai recitalist in Germany, Austria, Canada, and throughout the Dr. Stanley R. Hauer, United States. She recently I-ecturer and Panelist retumed from Germany, where Dr. Hauer is professor of she performed in concerts of philology in the Department Musikherbst and of English and Associate began recording Hugo Wolf's Deanof theCollege of liberal I t a li anis c he s Li e der buc h f or the Arts at the University of Eigenart label. I-ocally, she has Southem Mississippi. He was served as principal piamst for educated at Auburn the Denver Chamber Orchestra University, the University of and has appeared with the Tennessee, and the University Colorado Music Festival, Colorado Shakespeare Festival, of Heidelbergin Germany. His Columbine Chamber Players,Ars Nova Singers, and the newly majorheld of study is medieval forrned Chamber Orchestra of the West. Germanic languages, especially Old English and Old Norse. More recently his interests have educational film programs sponsored by the National turned to the influence of medievalism on the music of the Academy of Sciences. The first, completed in 1961, was a nineteenth century, especially in the operas of Wagaer. His thirteen partPlanet Eqrtheducational fihn series which won works have appeared in such journals as Publications of many national and international the Modern Language Association, Studies in Philology, blue ribbon awards. The Archiv fiir das Studium der neueren Sprachen und second series was a seven part Literaturen, and Nineteenth Century Music; he is currently sequel, finished in 1966, again preparing an edition of anArthurian romanre for the Early called Plqnet Eqrth, ar,d English Text Society of the Oxford University Press. produced by the PBS TV Professor Hauer has lectured widely throughout the United station WQED, Pittsburgh. States and Europe and teaches in the summers at the This series won an trmmy in University of I-ondon. 1986 and Stan was awarded Although he is heavily involved in university Honors by the Academy of administration, Dr, Hauer remains active in teaching, and Television Arts and Sciences. has twice won the University of Southem Mississippi's Stan's interest in Mahler Excellence in Teaching Awmd. blossomed rvhile in high He became a devotee of Mahler's music after heanng school in Httsburgh when he Stan Ruttenberg and "friend" the Second Symphony at the age of fifteen. discovered the recording of the Symphony No. 1 by the Minneapolis Symphony Orchestra conducted by Dmitri I)r. Steven Bruns, Lecturer Mitropoulos. Stan has traveled the world in his scientific work, and has often found opportunities to attend Mahler Dr. Bruns is Assistant Professor of Music at the concerts in many countries. He was a member of the original University of Colorado, where he teaches undergraduate and graduate music theory Board of Drectors of the MahlerFest and became President 1992 preparation MahlerFest V. courses. He taught previously in in for at Westem University and Western Kentucky Gerald Fox, Panelist University. He received his Gerald Fox, a retired senior electrical engineer for a Ph.D. from the University of Wisconsin-Madison where major aerospace company, is a founding member of the New president his dissertation was an York Mahlerites and has been the society's since 1987. in extended analytical study Deeply involved music since his early teens, he of the drafts for the Ada gi o has served on the advisory movement of Mahler's boards of the Nassau rurfinished Ien th Symphony. Symphony, The I-ong Island ln the strmmer of 1990, he Ptulharmomc, and currently was awarded a gra:rt from sits on the board of the New the National Endowment for the Humaniliss to study Virtuosi Chamber the operas of Rrchard Wagner with Robert Bailey at New York Symphony. York University. In addition to co-directing the Boulder Mr. Fox has reviewed George Crumb Festival in October of 1992, Dr. Bruns planned the Prague Crumb Symposium where he concerts zad1ss61dings for the American Record Guide since conducted a public interview with the composer and 1968, and has been an delivered three lech.res. Tbrs is his eighth appearance associate editor for four years; 31 fts L4ahlerFest. he also writes prograrn notes for the New York Virhrosi Chamber Symphony and recently wrote the liner notes for Stan Ruttenberg, P ane li s t the EMI recording of Carpenter's Slqtscrapers [CD No.-7 Stan Ruttenberg, retired from the University 49263 21. Corporation forAtmospheric Research after 30 years service An avid devotee of Mahler's music, he has lectured to NCAR and UCAR, holds degrees in Physics from MIT on the subject atYale University, the Boston Harvard Club, and UCLA, but has specialized in geophysics since 1949. and at Queen's College in New York. His main work has been in helping to plan and implement His involvement in MahlerFest began wi th MahlerFes t many international research progra-s in the study of the VII; since then he has been an active participant in the earth-ocean-atmosphere system. Aside from (his work, he intemational Mahlel symposium held last November at was a major leshnical advisor and participant in two Carnegie Hall. David Ciucevich, Panelist Annette Graener, Special Guest David Cuicevich, who plays with the Colorado Annette Graener's mother was the mrddle child of Paul MahlerFest Orchestra, is principal clarinetist of the Ft. Graener, who was a composer and conductor, and a Collins Symphony, and pertbrms professionally throughout contemporary of Grxtav Mahler (some of Paul Graener's songs the Northem Colorado area. He received his degrees in will be srrng at Sattuday's Chamber Conce0. Her mother died, music history and clarinetperforrnance from the University however, when she and her sister were five and six years old; of Northem Colorado and Georyia Southem University (where the sis ters were then adopted and reared by their grandparents , he was a kesser scholar). T qst spring, he presented his music Paul and Mimi Graener. history thesis to the American Musicological Society Paul Graener, a founder Regional Conference in Greeley. Mr. Cuicevichhas studied of the Salzburg Mozarteum, lvith James Upton, Mark Nuccio and Bil Jackson (currently met Gustav Mahler in 1909 Principal Clarinetist with the Prttsburgh Symphony), and while he (Graener) was is an active member of theAmerican Musicological Society Director of the Vienna and the International Clannet Society. Conservatory, just before Mr. Cuicevich has had a lifelong interest in the lif'e Mahler came to the United and music of Mahler. He has participated in perforrnances States. Although her of the First, Fifth and Tenth Symphonies, as well as the grandfather claimed that "to Riickert Lieder and Songs of the Wayfarer. hear Gustav Malrler conduct is the greatest experience", she herself heard conduct Mahler many times Think and "carurot believe it could be MahlerFest IX done much better." She also heard Paul Graener conduct can top this? Mahler's Second Symphony and Das Lied von der Erde. Ms. Graener is a weaver, specializing in the You'11 see. preparation ar:d weaving of buffalo fleece, she may be seen practicing her cralt at the Denver Buffalo Co. at 1109 Lincoln Street in Denver. Jeanna Wearing, Moderator and Interviewer Jeanna Wearing, broadcaster, intervierver, writer, performer, lecturer, and arts consultant, has been associated with Colorado Mahlslpsgl for six years, appeanng frequently as a panel moderator; she also co-authored, and played the part of Alma Mahler, in the MahlerFest V production of M ahler Remembere d h 7992. She is best known in "For Classic Perforrnances Colorado as host of Masters That Last a Lifetime" of Mus ic, a program broadcast each weekday afternoon on Denver's, Coloraclo's and the Rocky Mountain KPOF (910AM), as an author Region's premier store for more than of progrrm notes for many of 30 years. Frienclly, knowledgeable staff. Wiclest selec- the region's orchestras, and as tion. Speedy special order and mail orcler services. a pre-concert lecturer for the cLASSTCAL .OPERA . BROADWAY . Longmont Symphony, the IAZZ Compact Discs . Cassettes . VHS Tapes . Laser Discs University of Colorado Artist Series, the Boulder Mon-Fri 10:@-8:@ Philharmonic, the Cheyenne Saturclay lO:0o-7:oo the Symphony, Colorado Symphony and others.. Sunclay 1 l:00-6:@ She made her professional singing debut with the Cherry Denver Symphony, and has sung in concert on the West Coast Creek North 2908 E Ave and in Europe. Thlrd (Comer Thlrcl & Hllmore) Her recent "discovery" of Annette Graener (granddaughter of Paul Graener, a contemporary of Mahler) t\ 388-@87 living in Denver resulted from a chance conversation with a t-800-222-4544 mutual friend. Chorale Colorado Mormon Chorale Colorado MahlerFest The Colorado MahlerFest Chorale has been fonned

year round, and has presented over two hun&ed performancts in i)enver and Colorado, bringlng a love of life and fellow man to Boulder metropolitan area.

Colorado Children's Chorale The pusuit of excellence and creativiry, as well as the commitrnent to innovation, characterize the Colorado Children's Chorale. Dedicated to building a series of artistically excellent chil&en's vocal ensembles, the Chorale celebrates fivenry-one years ofprofessional performances sparuring the globe from Colorado to Colorado Faster sunrise service at Red RocksAmphitheater for the China. Council of Chwches, Memonal Day celebratrors atMt. Rushmore Nanonal Memorial, Frster Protestant services at the Air Force Academy of Organi Eagle Valley Arts Festival in Vail.

Springs.' Regularengagementsinclude thcChorale's ormsubscription concert series, as well as collaborations rvilh other pcrforming arts institutions such as the Colorado Slmphony Orchestra, Opera

Over the pas t trventy-one years , the Chorale has reached over half a million audience rnembers through more than 1,400 perlbrmanc€s across the state, corultry and wor-ld, ulolving over 3,000 as Chorale members, leaming the joys sf singing, and performing."hil&"o

MahlerFest Record of Works Performed

::..:.:.:ir88, 1BB3 1988, 1993, 1995 ...... 1989, 1994 Songs to Poems by Riickert (Rickert Liede-r) --...... 19E9 Suite frorn BWV 1067 and BWV 1068 @act/Mahler) . ' 1989 Kindertotenliedzr ....-...... '.."."...... '.'.. 1990

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2095 30th. (in Aspen Plaza) RePresenting Boulden CO E0301 TneTravelerf AMERICA'S UMBRELLA' Telephone : (303) 443-8404 O 199! Thc Trv.l6 Indmnity Cooprny 8d iE At6lirt6 H.n(ord' CT 06t83 Colorado MahlerF est Orchestra Robert Olson, Artistic Director and Conductor

Violin I Viola Harp Horn Annamaria Karacsony, JulietBezenyi, Principal, Boulder Linda Nash Principal, Lyons Richard Ohlberg, Principal, Estes Concertnaster, Boulder Wendy Hanson, Assl Principal, krk Mandolin Gyongyver Petheo, Asst Lyons Dain Schuler, Asst. Principal, Charlie Provenza Idledale Concertnaster, Boulder Sandra Anderson, Boulder Botrlder Arlette A slanian, Boulder Ann Cardwell, Brmmfteld Flute Julie Pack Odess4 Texas Jesse Ceci, Denver Judy Cole, Boulder Kay Lloyd, Ptincipal, lon grnont Daniel Snifiin, Boulder Martha Dicks, l-ongmont Charlotte Friedman, Boulder kggy Bruns, Iouisville RonaldTorp, Denver FmilyRnwick, Berthoud Susan Kahler, Golden Michelle Batty, Boulder James Ernersor\ Denver Estes Park Jill Maret Rrguson, Denver Adwyr[.im, Boulder Becky Ful gham, Cape Girardeaq DougBailar( Charles Rrguson, Denver Eleanor Macdonald, Golden Missouri John Limon Boulder Christopher Eeld, Boulder Miguel Ramos, Boulder Kristen Apodac4 Boulder Susan Hall, Boulder Eleen Saiki, Boulder Marc Fulgham, co-Principal, Susan lrvine, Boulder Claire Sidle, Boulder Cape Girardeaq Missouri Catherine Limon, l-ongmont Caroline Voss, Boulder Margaret Davi s, hincipal, Keith Benjamin, co-Principal, Merritt Martin Estes Park Thomton Cello Karsas City, Missouri AnnMcCue, Boulder Kathy Kucsarl Boulder KenAikin, Boulder Stacey PaEer, Boulder Kevin Jc*rsoq Principal, Boulder Jennifer lon gstaff, Boulder David Fulker, Boulder Andrea Spangler, Greeley Christine kench Asst Principal, Diana Hellman Boulder Hal Wlson, Estes hrk Ft Collins Jack Bartow (English Horn), Trombone Hannah Alkire, l-ongmont Boulder Rick Starnes, Principal, Violin II Georgia Btum, Boulder longnont Paul Warren, Principal, Kathryn Crosby, Boulder Mike Roper, l-afayefte Tahlequatq Oklahoma NancyCrow, Denver Phil Aaholm, Principal, Boulder Steve Goldhaber, Boulder Julie Warren, Asst. Principal, Nada Esher, Lyons David Ciucevich Ft Collins Gary Dicls, l,ongrront Tahlequa[ Oklahoma Dina Sassone, Santa Fe, New Bronwll r Raser, I-ongrnont Carrie Beeder, Denver Mexico Mary Jungerman (), Tuba Usa Fischer-Wade, Boulder Mary Sctrlesin ger, B oulder Boulder Tom Stein, PLwis, Mississippi Carol J. Irizarry, l,ongmont Margaret Smith Boulder Brian Collins (E[ clarinet), Shaw Matthews, Niwot Jason Wngate, F[ Collins Nederland Maxvold, Loveland Alan Yost Middlesex, England Marilyr NorioYuki, Golden Dorothy Nelsorl Arvada Bass Yoshi Ishikawa, Principal, Percussion Rheahnons, Longmont Boulder Bruce Moore, Principal, Boulder Rebecca Ruttenberg, Boulder Dale Day, hincipal, Boulder Debbie Torp, Denver Ed BlasewiE, Boulder Susan Schade, Boulder Jennifer Motyck4 Asst hincipal, Paul Crowley, \\res tminster Bill Fergusorl lrngmont Michelle Segal, Boulder Boulder l-aurel Kallenbach Boulder Doug Madison, Boulder Cindy Sliker, Boulder Nan l-ou H. Brown Boulder Jason kanzen (contra), Boulder Lisa Spren geler, I-oveland Josh Filley, l-afayefte Organ and Harmonium Mike tr Emaurice, Boulder EaineTaylor, Boulder RichardThomas lindaWolpert Boulder AndyHolmes, I-akewmd Jache Schaeffer, Denver Keyboard Glen Sherwoo4 I-ongmont Mary Melquist, Longmont Kathryn Whiton, Boulder Zoe Erisman, Denver Off-Stage Brass Orchestra Affiliations of the Members oI the Trumpets Darryl White MahlerFest Orchestra Keith Bales Arapahoe Philharmonic . Boulder Bach Festival . Boulder Chamber Orchestra Leonard Fahmi Boulder Philharmonic . Boulder Sinfonia . Casper Symphony Orchestra Kevin Wood Cente nnial Philharmonic Orchestra o Central CiS Opera Orcherstra Dan Smathers r r Cheyenne Symphony Orchestra Chicago Symphony (retired) Colorado Ballet Orchestra Alicia Neal ( 1 . Colorado Springs Symphony Orchestra Tyson Marquardt rchestra . Columbine Chambat Orchestra chestra. Ft. Collins Symphony Orchestra David Wolfe Ft. smithSy-mphony(okrahon:li:3il,tlfSmith Symphony (Oklahoma) r Four Seasons ,llltilfi Chamber Orchestra ( Sean Marquis GreeleyGreelev Philharmonic . Gulf Coast SvmohonvSymphonynphony OrchestraOrches tra (Mississ(Mis(Mississipoi) sissippi ) Eric Walter Dewar . Hounslow Symphony (United Kingdom) Jefferson "::31"?'"',T"'lBoura"oSymphony OrchtOrchestra John Mattera Kamakura Symphony, Japan. Kansas Clty Symphony (Mrssoun) Kensingtonn eton Chamber Orchestra Orchestra Trombones Symphony Orchestra (Mis hestm (Texas) Meridian Dereck Dassatti ' MiisissippiMississippi Symphony.Symphonyny i. MostryMostlyM Northeast Symphony Orchestra (Oklahoma) . Northland Slmphony (Missouri) Mike Fal Port City Symphony (Alabama) . Reno Philharmonic (Nevada) Michael Hilton Richmond Orchestra (United Kingdom) . Rocky Mountain Symphonl' r Timberline Orchestra David Watt University of Colorado Orchestra. University ol Northern Colorado Orchestra Shannon Hurley Matt Luttrell Colorado MahlerF est Chorale Mary Louise Burke, Director Soprano Tenor Bass J. Armbrustmacher Karen Ackerman David Bartha Dennis Bansston Pamela Batchelor Lisa Bovum Frederic E. Chanman Tim Barier- Cathy Belanger Linda Biown Thomas Cunnifle David Brown Nancy Bell Susan Carlson Richard Eslick Michael Jalving l,ois Brady Gwen Cavanaugh Codv Fothereill Jim Jansen Lindsay Campbell Valeta Craw{orJ Neville Gagg"iani Thomas Jirak Mary Christ Susan Darigo Bill Goodwin Seth Irderer Sydney Ferguson Mary Dawson David HardesW John Lundeen Katy Fink Sandra Elliot Kai Helmtinger Elliott Magainick Brook Grayson Carol Eslick David Holen Nalin Mehta Gabriella Groom Diedre Feehan Jack Lieske M. E. Joseph Meyer Gwen Hagebak Patricia Gaggiani JD Mann Robert Millar Donna Hurtt Christa Gever Tom Milligan Tim Olsen Allison Kinslev- Linda Hargrave Richard Palon Frank Parce Barb Mclran Janet Jager Joe Peterson Thomas Z Robbins Maggie Milligan Anne Kerwin [*o Rurup Randall Spalding Cathv Pennak Elaine locke William Sewell Bob Starr Dani Plastino Marilvn Malv-Ward Eugene Thompson Richard Sturgeon-Berg Barbara Porter :ayne'Milligin Hannis Thompson Brian Underhill Amy Russ Ruth Most John Van Milligan Ray Vinson Roberta Sladovnik Donna Nei David Von Rosenberg Robe( Walker Judy Tate Debbie Norris Mike Ward Joan Thomason Catherine Pyle Norman Whitcomb Marcia Walker Carryl Robinson Keith Williamson Sherry Weinstein Pam Scooros Lisa Wentzel Carol Shannon Marcia Whitcomb Lil Smith Joan Whittemore Jennifer Stoneback Nancy Tynan Caroline Van Pelt

Colorado Mormon Chorale J. C. Cook, Director Soprano AIto Tenor Bass Debra Altice Audrev Beck Bob Adamson Stan Benfels Cathy Baker Josepf,ine Binder Evan Buckwalter Greg Busch Claire Benson Sue Brown Tom Bugg Zane Chartrand Barbara Cofer Anette Clark Tim Chartrand Ken Copen Diane Ewing Dian Clawson Scott Cowley Skip Hamilton Kama Fields Meg Esplin Michael Farley Mark Hammond Joan Ford Pat Hardy Ron Gale Kirby Hylton Vera Gale Janet Harmon Roger Gallup Joe Jensen Marjie Garret Debbi Humrich Jeffrey Grossman Esther Gross Dorothy Johlson Robin Haas Stacey Harman Marilyn Kemp Beth Harris n Aicha Jocob Sandy Krieger Tony Kelker Deborah l-ewis Yvonne Monson Steve Marinelli Mike McGinnis Terri Marinelli Ada Mortenson Greg Marsh Jim Miller Jeanle McDonald-Carlson Molly Otto Gall Martin Ralph Monson Becky Messick Lois Palmer Paul Porter Kent Olson Jennifer Millet Madeline Quayle Bob Reeder Bill Page Yasmina Nguyen Cheryl Reeder Randy Reese fuchard Pexton Jill Peterson Julie Richmond Martin Rivera Ray Seierup Karen Peterson Cheryl Stavis Gordon Taylor Tom Shadle JaNae Pingree Dianne Watts Steve Thompson Frank Smith Betty Lou Richards Peg5, Weir Vaughn Stevens Carol Stanwood Sharman Wilson Dave Stochvell Ticia Stolt Tad Tweeddale Jan Tolbert Rick Watts Marje Tweedale J. Richard Williams Sherri Underwood Carolyn Val-Schmidt Marsha Walker Liza Zmolek C o lor ado C hildren's C hor ale Duain Wolfe, Director

Jennifer Aigaki Devin DeSantis Lisa Hubbard Nikolas Perleros Jimmy Thatcher AllisonAnderson Ben Durfee Scott Joiner Andy Philpott Ch arity Tillemann-Dick Janelle Anema Elizabeth Fisher Christopher Kiryluk Joshua Poole kvi Tilleman-Dick Brian Bau Mary Fisher Corey Knoebel Julia Rahe Christopher Trivedi Christian Beattie Stephanie Fisher Sarah Kramer Stephen Ross Mark Van Arsdale Tommy Binet Sydney Fisher Lara Lucas Brian Saddler David Van Duzer Paul Blanchard Michael Frazier Elexis Mariash Kelly_Schneider Jonathan Von Stroh Sierra Boggess Tom Frederiksen-Cherrv Whitney Matbers -bnn Scott Kerrv Webster Jennifer Burg Kos Galpin-Plattner James Moorhead Korinna Selstad Erin-Wilde Brima Bushnell Matthew Grocock Lindsav Muir Michael Shank-Taylor Johnathan Yelenick Kacey Coppola Bonnie Gross Allisoi Nelson Terri Shedd Courtney Zenner Kate Coppola David Gurule Chip Newcom Jon Sloven William Daniel Gabriel Hill Blake Nielsen A. J. Svanda Dena DeSantis Joe Holderby Amy Osatinski Sarah TeSlaa Gustav Mahler and the Eighth Symphony

This sym,phony is lvlahler's paem to life and ho,pel therp is capable of adapting to sin:ations. Peftaps in London he felt that scarcely any hiut of a dalk cloud anywhere. In this sei:se itdiffers the beatwas the mostimportanL" markedlyfrom the others, most of whichhave atleasta touchof Emestine Schtrmann-Heink (q*t"dh 19213): 'TIe was the finereal dtes or shadowy episodes. It is often witteir that Mahler very o,pposite of Richter. . . . He was thin andnerryous and sensitive, was demonic, neurotic, unhappy, totally inmospective, mystical, hembling to all music. It was always that he wanted and sought ascetic, of weak health, and that he worked out his own imer endlessly for perfection. He fo,rgot that there is no perfecticn in hmoil though his music. Could srch a person have written such this world. . .he forgot that when the orchesta was 6elore him it totally joyous music as the Eghth? Or, in ach:al fact the bright was only * a hun&ed men who werc not geniuses Iike "ighty andjoyous music of thelastmovements of the Fifth and Seventh, himself, but simply good worken. When the baton was in his the heavenly finale to the Fourth and fte deeply moving frnale to hand, he was a despot! But he didn't bear mali@. " the Second?Thus, our lvlahlerFestMll is an appropriate occasion Bnrno Walter (1912), his assistant at llamburg and later to pictue the real lvlahler throug! the writings and comments of elsewhere: "Andheseached fcl.brsGot accende lwnens sewlbn^s his close fnends md associates. ftindle lightrnour minds)-thatwas the yeaminginhis soul, as it By all accounts available, Mahler was a genial and gentle was the motivating force in Faust injmde unorem cordibw Qotn person, except when he was rchearsing. He was enthralled by the loveintoourhearts)-Thrs seemedtobe thepathto God, as taught beauties of natr:re, and sought natral inspirations for many of his iu the final scene of Faust." worls. He was kind and geirerous to friends-he often helped younger 66icians get a start plovided that he saw the spark of talent in them. He also knew how to enjoy hfe, taking wine or beer on occasion, but never spiris, and enjoying a good cigar after feehng good about something Catcn th,e he was composing. He was a deeply religious mm but dd not follow the organizsd orthodoxy of the Hebrew faith Encitement! into whichhe was bom, nu the Catholicfaithinto which he was baptized as a condition for attaning his &eam of n 99409 5 Dircctor of the Vienna Court Opera (now the \tenna State Opera). His religion was m intei:ral, personal one; he was sqlethingof amystic. Manyof his friends wrotethat'TIe was a God seeker."At the seme time he p65 l6tally denranding inhis rehearsals had to be perfect -everything If he did have his own personal demon, it was perfection. Yeq his concept of "perfection" was also inconsistent In reheanal, he triedmmy approaches to adiffrcultpassage, even right r.4r to the performance. When his musicians remonstrated over his change of mind, he would say something like'lesterday I thought that tbat wasdghqhrt today is ffierenl " He is quoted as saying that'tradition is only sloveuliness," yet he sought and worked hard to conducthis own works, most of which withthe exception of the Fighth were not terribly popular during his time, so that his interpretations could be noted by other condrrctors. MahlertheMan Mahler Remeruberd,compiledby Nomanl-ehecht Indiuidual. concert tickets rlow (W. W. Nc,rton, 1988, and available in the Boulder Public tjbrary) contains a wealth of material on Mahler as seen aq,)ailabl"e! though the eyes of dozens of observers. kb,recht also provides usefirlhistorical sketch€s mdinuoduces the writing Call the Symphony Office: 777-5796 of each "![ahler Obseryer" so that we know the circumstmces of the relationship and somerhing about the Vance Branci Civic Ar-rciitoriurn-i observer herself or himself. A few excerpts frcm these 600 E. Mountain Vierv, Longmont recollections will help us get a picture of the total persona; the dates indicate when the recollections were witten cr putilished. HermanKlein, mruic critic, l-ondonTimes (1%3):'Ifoud Alfred Roller (l{22) artst and Mahler's set designer in him extaordinarily modest fq a musiciau of his rae gifts md \,teura'Mable,r never hid his Jewish origlrs. But he had no joy establishedrcputaicn.. . . Ibegmtorealize theremad

the new words fittedeffortlessly." qpark. He did ty to make unends , too late. He dedicated the Eghth Some of lheexcerpts above show how @ly Mablerrevaed to Almschi, even as he knew of the Gropius matter. In a Goethe, and especrally Fausl Here is what Mahler told to Frnst confrontafion arangedby Malrler rvith Gropius, with-Alrnapresent, Dersey: 'If you take Fawt, Goethe put his lifetime's work into it he asked her to choose; she chose Mahler, but married Gropius but tlre average person, at least tlre German qpeaking opera goers, not long after Mahler died. only kuow it from Gounod's Mugmethe (the nonnal title of the opera in German)...this is the form they are familiar with. and tlre AndThen? thing atrl:ut Mu gcrethe is so well done. " -t}nttit's Stokowski sard of the Mtrnich event, ". . . the rmpresuon it gave must have been comparable to that given by the sight of the hemierof SymplronyNo E, September 12, 191Q Mmich Niagara Falls to the fint whrte man. " Stokowski gave the hrst US The Eghth was to be staged in Munich as a gala festival performancein 1916, audperformeditseveral times aftenrards rn evenl TheimEesarioFmil GuElrrncoinedthenme'Synphony Philadelphia and NewYork. ths lastperformances of the work, in of a Thousand". This name has snrck sirce. N4ahler called the 1950 at Camegie llall, are preserved and available on CD. preparations and the premier'tte Bamum and Bailey show." In the past evo concert seasons in the USA, the Eghth has

Mrnrich awaited with excitemenl According to some of Mahler's been performed rrany times , for example in Houston, New Haven, biographen, manydiitaries hadcomefuthis event KrngAlbert CornecticutAspen, San kancisco, and will be performedin 1995 I of the Belgims, the Prince Regent of Bavaria and He,nry Ford I; inNew Yo,rk andOmaha. This Boulder performance is the fint rn the writers Thomas Mann and Stefan Zweig, and the theater Boulder itself and only the second in the entire front range mea. godtrerMax Reinhardr Eminentcmposers orthose destinedto Mahler sard of his work: ". . .my time will yet come. " My be so, attended Vaugfuan Williams, Rachmaninoff, Korngold, music will be appreciated from the grave. Boulder is honored to Croldmark, Schmidt, Webern, Egu, Schoenberg. Bayteuth was beprtof ft eenormousawakenrngof Matrl*'t^#riihryf#f represented in the person of Siegfried Wagner. fiahler's ; ccnte,mportry condrctss were there: Bruno Walter, and Otto

We have come to expect a Mahler work each summer during the Colorado N{usic Festival. For this coming summer we hear that Maestro Bernstein is proposing lt4ahlcr's Das Lied von der Erde, another must for Mahler fans Watch CMF announcements for furthcr details Thank you!

Presenting Mahler's "Symphony of a Thousand" has been a major undertaking, but one in which everybody involved has participated with dedication and enthusiasm. We are, however, always mindful that MahlerFest VIII could not have been realized without your highly significant part-that of generous supporter.

For that, we offer our heartfelt thanks!

Our past successes have resulted in a broader recognition than we had hoped for when MahlerFest first started; we are now recognized nationally, and attendees are coming to hear the Eighth from all corners of the country. It appears that a standard of excellence has been achieved; one which we cannot allow to diminish.

We will do our utmost to maintain the standard; we respectfully request that you in tum continue to help us with your genenous support of Colorado MahlerFest

C oxrrun unNG CATEC,oRIES

Patrons Over $100 Friends Under $100

Please make your check payable to "Colorado MahlerFest" and send it to: Colorado MahlerFest, P.O. Box 1314, Boulden, CO 80306-1314

MahlerFest Founding Members

Palrons (over $1OO) Annemarie Mahler Friends (under $100) Harry & Jean Nachman Bob Collins Management Robotics John M. Brown Tonny-Broe Parkin Dale Day Jennifer Motycka Lloyd & Mary Gelman Gert & walt Pedlow Charles Demarest Robert & Victoria Olson Viola Haertling Karen Ripley Robert & Louise Dudley Paul & Elizabeth Reynolds David and Gertrude Holslag Ernest Rost Homsi Fady Pat & Stan Ruttenberg William & Mary Anne Jerome Robert L. Resseguie Fuller Foundation US WEST Lonaine Kaimel Chester F. Shans Marion Higman Alice Dodge Wallace Andrew & Anne Keller l,eo & Helen Ann Saidel David S. & Janet Hummer Charles & Marian Matheson Andrew & Mary Trembour Jim Mitchell Clare S. Udis Dr & Mn. James Donald Monk Ed & Mary Wolff

Current Contributors (as of December 31, 1994)

Patrons (over $100) Donors (under $100) Jim & Doyen Mitchell In-kind Contribuions Susie & Wayne Banks Anonymous Dr & Mrs. J. D. Monk The Austrian Cultural Institute Jeffrey Barish Ervin & Mary Ellen Bell Rene & Merlyn Querido Boulder Book Store Bob Collins M. Gay Bossart Henry Rasof Colt Reproduction Center Louise & Robert Dudley John M. Brown Martin Reyes The Boulder Wine Merchant Dr. Kurt Heisler John Castor Leo & Helen Saidel Music For All David & Janet Hummer Tom Duncan Sara Sheldon Jeanna Wearing Claude & Sue McMillan William Ford Brian & Sonia Smith Wild Oats Community Market Jennifer & Lyle Motycka Jeannie Fuller Jean Stahly Stan and Pat Rutteuberg Lloyd & Mary Gelman Mr. & Mrs. E. lre Sugg Stephen Sarper Jorge Gonzalez Sara van Dyke Alan & Kay Shapley Dr Wells F. Hawey Eugene H. Wentworth U S WEST Hans Jordan Fiwin Wolff Alice Dodge Wallace Vivian Kuck P. Dills & H-Y Zhang Joan & Harold lrinbach Ted Zrebiec More ,*,4*{it g": Marvellous ffin*: t hi ;:,"1i"1.* H r # Mahler! aestra Alsop and the Colorado Symphony will present a most imaginative program on 21,22and23 Apnl 1995 at Boettcher Auditorium. The leremiah Symphony of Leonard Bernstein will be paired with Mahler's Symphony No. 5, Don't miss Automotive.Bolts.Builde/sHordwore.Eledriol.Elettronic.lireplorerlurniturerGorden[enhrrGreenery this chance to hear more Mahler (enler. . . Hobbies. Housewores. ldeo Points. Pet Supplies. Plumbing Sporting Goods. Stolionery Tools paired rvith a great work composedbyone of his greatest proponents.

a- crif- r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r - - -l Need more informotion qbout Colorodo MohlerFesl? We would love io include you on our moiling list, so thot we moy keep you informed obout future MohlerFest octivities, ond opprise you of how you might become on octive porticipont in them, Pleose provide the informotion requested below, ond moil your response to: Colorodo MohlerFesl P.O. Box l3l4 Boulder, CO 80306-13'l4 Pleose check your interest: tr Pleose include me on the Colorodo MohlerFest moiling list tr lom interested in helping with future MohlerFest octivities tr lom interested in performing in future MohlerFests lshould like to contribute to future MohleroFests os o g potron g friend,*

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Gontinuing the lradition oI cele[rating Golorado Mahler[Gst. ...see you at MahlerFest IX!

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The Board of Directors of Colorado MahlerFest respectfully urges you to patronize the official sponsors of MahlerFest VIII

<}, AA^A.^ A A .^'.l AA .A A AA . AO :I {l {l {l CoMMUNTTY Menxrr {l We believe that Wild Oats Markets is special. {l We are a family of natural foods markets operated {l by individuals working together in an active commitment {l to support and promot e the health and well-being of t> .l our customers, our environment and ourselves. Our l) {l uniqueness springs from our tradition of being a l> {l business with a conscience, a place in which the l> 0' vvvvvv?vv ??Y vv vY v vv vY v avv YYr c .,8

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your All favorite composers are on KVOD KVOD OPEM, Sundays at tl:00 p m , KVOD METROPOLTIAIT OPERA, Saturdays at 99.5fm. A few of our regular programs: presents fullJength operas from our library, 1i:30 a.m, (some broadcasts earlier), Live as well as broadcasts MUSIC FORAIIETSDAY, from Central City and performances from the Metropolitan Opera Opera Colorado productions tiosted by in New York, presenled by Texaco beginning at 6:00 a m, hosted by Pat in rhe Chris Mohr. McNulty weekdays and Betsy Schwarm longcst c()ntinuous sponsorship in radio history weekends, fearuring a ptpouni of classical FIRST HEARING, Monday.s at 7:10 p m., favorites and rare gems, featuring critiques new recordings the oi by DOWN TO EARTH, Saturdays at 10:0, p,m , experls KVOD's weekly folk music program hosted ADVENTURES IN GOOD MUSIC, weekdays lry Sarnson TIIE VOCAL SCEM,'l'uesdays at 7:0! p,m John at 10:00 a m, Karl Haas's conversationel stylc , with George presenting gems from and infectious enthusiasrn have made his Jellinek opera and song program a national favorite for decadcs KVOD's strategically located translators let you listen to your A TRAVEI,.ER'S TREAST]RY OF FOOD AtrID favorite composers in a variety CONCERT DRM, weekdays between DRIIK, Vednesdays at 7:10 p m, wirh Sam 5:00 p m. and 7:00 p m Terry McDonald of communiIiesl , Amold, Holly Arnold, and Bill St John presents music in a concert format ior your tupen 101.7 fm MOUNTAIN AIRE, Thursd:rys p evening commute or dinner enjoyment at tl:00 nl Boulder 101.7 fm and Sundays at 10;00 a,m Bctsy Schwarm Carbondale 100.9 fm brings you conccrts lrom around rhe Rocky DENVER AT MGIIT, nightly from midnight Colorado Springs 103 9 fm Mountain regkrn. to 6:00 a.m, Craig 106 I fm ON BROADWAY, Estes Park 92.7 fm TMDHONS, Sundays at 3:00 p m each Satirrdays a[ 10:00 a m, , Fort Collins 96J fn week highlighting a different performer or KVOD's musical theatre show, hosted by Glenwood Springs 105 5 fm ensemble, hosted by Lloyd Moss. Presented Chris Mohr Leadville/Twin Lakes 102,3 fm by Paine uflebber Steamboat Springs 98 3 fm Laramie, Vyoming 107.1 fm KV@D TUE CIaSSICAL VoICE OF DENVER

99.5fm

Program d6dgn End l.yout by Collins Publisfiing, D6nv6r Print.d on r.cyd6d pap6r at Coh Beprodudion C6ntBr, Boulds