MARK PADMORE TENOR PAUL LEWIS PIANO DENVER JANUARY 16, 2019

JOHANNES BRAHMS Es liebt sich so lieblich im Lenze, Op. 71, no. 1 (1833-1897) Sommerabend, Op. 85, no. 1 Mondenschein, Op. 85, no. 2 Es schauen die Blumen alle, Op. 96, no. 3 Meerfahrt, Op. 96, no. 4 Der Tod, das ist die kühle Nacht, Op. 96, no. 1

GUSTAV MAHLER Rückert-Lieder (1860-1911) Blicke mir nicht in die Lieder Ich atmet’ einen linden Duft Liebst du um Schönheit Um Mitternacht Ich bin der Welt abhanden gekommen

INTERMISSION

ROBERT Dichterliebe SCHUMANN 1. Im wunderschönen Monat Mai (1810-1856) 2. Aus meinin Tränen sprießen 3. Die Rose, die Lilie, die Taube, die Sonne 4. Wenn ich in deine Augen seh’ 4a. Dein Angesicht so lieb und schön 4b. Lehn deine Wang’ 5. Ich will meine Seele tauchen 6. Im Rhein, I heiligen Strome 7. Ich grolle nicht 8. Und wüssten’s die Blumen 9. Das ist ein Flöten und Geigen 10. Hör’ ich das Liedchen klingen 11. Ein Jüngling liebt ein Mädchen 12. Am leuchtenden Sommermorgen 12a. Es leuchtet meine Liebe 12b. Mein Wagen rollet langsam 13. Ich hab’ im Traum geweinet 14. Allnächtlich im Träume 15. Aus alten Märche winkt es 16. Die alten bösen Lieder MARK PADMORE, TENOR Mark Padmore has established an international career in opera, concert, and recital. His appearances in Bach Passions have gained particular notice, especially his renowned performances as the Evangelist in the St Matthew and St John Passions with the Orchestra and Sir .

In opera Padmore had leading roles in Harrison Birtwistle’s The Corridor and The Cure at the Aldeburgh Festival and Linbury Theatre, Covent Garden; Captain Vere in Britten's Billy Budd and the Evangelist in a staging of the MARK PADMORE St Matthew Passion for the Glyndebourne Festival Opera; tenor Third Angel/John in George Benjamin’s Written on Skin with the Royal Opera, Covent Garden. Recent projects have included the world premiere of Tansy Davies’s Cave with the Sinfonietta. Future opera plans include a new Royal Opera House production of Death in Venice.

In addition to performing with the world’s leading orchestras, Padmore was named Artist in Residence with the Berlin Philharmonic Orchestra for the 2017-18 season. His work with the Orchestra of the Age of Enlightenment, exploring both Bach St John and St Matthew Passions, attracted worldwide acclaim.

In recitals worldwide, Padmore has performed all three Schubert song cycles in Amsterdam, Barcelona, Birmingham, London, Liverpool, Paris, Tokyo, Vienna, and New York. Composers who have written for him include , Harrison Birtwistle, , Thomas Larcher, Nico Muhly, Alec Roth, Mark-Anthony Turnage, , Ryan Wigglesworth, and Hans Zender.

His extensive discography includes recent releases: Beethoven’s Missa Solemnis and Haydn’s Die Schöpfung with Bernard Haitink and the Bavarian Radio Symphony Orchestra on BR Klassik, and lieder by Beethoven, Haydn, and Mozart with Kristian Bezuidenhout for Harmonia Mundi. Other Harmonia Mundi recordings include Handel’s arias As Steals the Morn with (BBC Music Magazine Vocal Award); Schubert cycles with Paul Lewis (2010 Gramophone magazine Vocal Award); Schumann’s Dichterliebe with Kristian Bezuidenhout (2011 Edison Klassiek Award) and Britten’s Serenade, Nocturne and Finzi’s Dies Natalis with the Britten Sinfonia (ECHO/Klassik 2013 award).

Padmore was voted 2016 Vocalist of the Year by Musical America and awarded an Honorary Doctorate by Kent University in 2014. He is Artistic Director of the St. Endellion Summer Music Festival in Cornwall.

PAUL LEWIS, PIANO Paul Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received critical acclaim worldwide. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason D’or de l’Année, the Preis der deutschen Schallplattenkritik, the Premio Internazionale Accademia Musicale Chigiana, and the South Bank Show Classical Music award.

PAUL LEWIS Lewis’s recital career takes him to venues such as London’s Royal Festival Hall, Alice Tully and Carnegie Hall in New piano York, the Musikverein and Konzerthaus in Vienna, the Théâtre des Champs Elysées in Paris, the Concertgebouw in Amsterdam, and the Berlin Philharmonie and Konzerthaus. He is also a frequent guest at some of the world’s most prestigious festivals, including Tanglewood, Ravinia, Schubertiade, Edinburgh, Salzburg, Lucerne, and the BBC Proms, where in 2010 he became the first person to play a complete Beethoven piano concerto cycle in a single season.

The 2017-18 season saw the start of a two-year recital series exploring connections between the sonatas of Haydn, the late piano works of Brahms, and Beethoven’s Bagatelles and Diabelli Variations, which Lewis is continuing through the 2018-19 season.

friendsofchambermusic.com 1 His award winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas, concertos, and the Diabelli Variations, Liszt’s B minor Sonata and other late works, all of Schubert’s major piano works from the last six years of his life, including the three song cycles with tenor Mark Padmore, solo works by Schumann and Mussorgsky, and the Brahms D minor piano concerto with the Swedish Radio Symphony Orchestra and Daniel Harding.

Lewis studied with Joan Havill at the Guildhall School of Music and Drama in London and later with . He holds honorary degrees from Liverpool, Edge Hill, and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen’s Birthday Honours. He is co-Artistic Director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK, and the Leeds International Piano Competition. NOTES Program Notes © Elizabeth Bergman

ES LIEBT SICH SO The two songs from Opus 85 date to the middle of Brahms’s career, when he had established his reputation— LIEBLICH IM LENZE, thanks in part to Schumann’s ardent support—as an OP. 71, NO. 1 accomplished composer. “Sommerabend” (“Summer SOMMERABEND Evening”) pairs well with “Mondenschein” (“Moonlight”) because the outer sections of the first song and the middle OP. 85, NO. 1 of the second involve the same melody and counter- MONDENSCHEIN melody. The accompaniment of “Summer Evening” OP. 85, NO. 2 suggests chirping crickets and splashing water. The music also invokes breathing, enhancing the mild eros of the text, which refers to moonlight, a traveler, and a water nymph. The second song dispenses with the traveler and the nymph but maintains the moonlight, changing the symbolism from sensual to soothing as the beams dispel fears and fill the eyes of the poetic subject with tears.

The earlier song “Es liebt sich so lieblich im Lenze” (“So Lovely Is Love in Spring”) sets a text by Heinrich Heine, Schumann’s favorite poet. It begins gently before turning grim with a shepherdess weaving flowers, a knight who was

2 friendsofchambermusic.com once her lover, and the song of a nightingale—a familiar ES SCHAUEN DIE Romantic symbol of heartbreak. The music is pictorial and BLUMEN ALLE, painterly, suggesting both the galloping of the knight’s OP. 96, NO. 3 horse and the tossing of the flowers into a river. Heine’s, and perhaps Brahms’s, delight at the springtime eruption of MEERFAHRT OP. 96, emotion is also manifest in the bright major key at the end. NO. 4 The first two songs from Opus 96, again set to a text by DER TOD, DAS IST Heine, speak of love as well as loss. The first describes the DIE KÜHLE NACHT, sun and sea but has a dark lining—a sense of transience, OP. 96, NO. 1 decay, and disintegration captured in the almost panicked introduction. The poetic subject expresses hope for love, represented by Brahms in a vocal ascent. That hope is thwarted, however, in the final F-sharp pitch, held high and aloft before seeming to melt into the mist. The second song from Opus 96 has a nautical subject, captured by Brahms with the grand sweep in the piano introduction. The text tells of a pair of lovers in a helpless situation. The music bitterly and ironically suggests a blissful oasis or safe harbor. A mournful horn call, however, speaks of loss. “Der Tod, das ist die kühle Nacht,” Op. 96, no.1 (“Death is the Cool Night”) welcomes death as a respite from the heat of life. The pulsing accompaniment evokes a slowing heartbeat. Warmer, brighter moments recall the warmth of the day and so suggest that love, unlike the light, remains undying.

The oldest of six surviving children born to a tavern-owner GUSTAV MAHLER, in what is now the Czech Republic, Gustav Mahler was largely self-taught as a musician until the age of 15, when RÜCKERT LIEDER he entered the Vienna Conservatory, where he studied piano and composition. But his true ambition was to be a conductor, and he composed only part-time, during the summers. His first stint as a conductor came in 1880 at a small, underfunded summer theater, but he parlayed the experience into a better position the following year in Ljubljana, the present-day capital of Slovenia. Slowly he won ever more prestigious postings in Kassel, Prague, Leipzig, Budapest, and Hamburg before landing the job he coveted, in 1897, at the Vienna Opera.

His Rückert Lieder date to 1901 when Mahler was at the height of his creative powers. The songs set texts by Friedrich Rückert, a professor of East Asian studies and poet, who produced a group of German lyric poems that friendsofchambermusic.com 3 Program Notes appealed to Mahler. Then, as now, his music was generally Continued understood to relate to his life. Yet “Blicke mir nicht in die Lieder” (“Look not into my songs”) admonishes us to avoid mapping the man onto the music and vice versa. If the man is not in the music, then where is he to be found? “Ich atmet’ einen linden Duft” (“I breathed a gentle fragrance”) suggests a synesthetic experience with the senses of overlapping and transporting the subject to a far-away land; the music draws on tropes of the East as imagined at the turn of the twentieth century. “Liebst du um Schönheit” (“If you love for beauty”), whose subject is an unattractive artist, was composed as a gift to Mahler’s wife Alma in a gesture of self-deprecation. The longest song, “Um Mitternacht” (“At Midnight”), asks the most possibly profound question: Where is the soul to be found? The song is rigidly constructed, the repetition of phrases and rhythm patterns that pull the ear deeper and deeper into spiritual contemplation. “Ich bin der Welt abhanden gekommen” (“I am lost to the world”), which Mahler described as a kind of self-portrait, shares much in common with the first song, “Blicke mir nicht in die Lieder.” The two are in the same key, and similar turns define their melodies.

The songs were conceived for orchestra, but there is little in the set to suggest the immensity of Mahler’s symphonies. Whether the singer is heard with orchestra (the musical equivalent of a luxurious painting) or piano (akin to a line drawing), these are delicate, filigreed pieces. Complex emotions in the texts are communicated in simple melodic lines. Certain passages even suggest a commingling of senses, translating sound into sight and scent, as the world itself becomes a work of art.

ROBERT Robert Schumann primarily wrote piano music until 1840, SCHUMANN, when he suddenly turned to vocal composition. This was his so-called Liederjahr (year of songs), perhaps inspired DICHTERLIEBE by his engagement to Clara Wieck, a concert pianist and fellow composer. Schumann produced major collections of six to sixteen (or more) songs, many setting poems about love in all its phases and facets.

The song cycle Dichterliebe, which dwells on love and marriage, seems to stem from a temporary rupture in 4 friendsofchambermusic.com Schumann’s relationship with Wieck. He had his doubts about whether they would be allowed to marry, and the music is fittingly mercurial. Although the first song begins “In the wondrous month of May,” for example, the key is a rather moody F-sharp minor. The song ends inconclusively, suggesting that all may not end well.

The sixth song “Im Rhein, im heiligen Strome” (“In the Rhine, the holy river”), hints that this love has been unrequited. The poet likens his beloved to an image of the Madonna in a cathedral on the banks of the Rhine. Thus she is something to contemplate—not to hold close. The distant, holy image is captured in music inspired by Bach’s chorale preludes. The piano knows what the words only suggest, with its powerful descending motive. And in the next song, “Ich grolle nicht” (“I bear no grudge”), the poet reveals his heartbreak. The operatic style of the voice is matched to an orchestral outburst in the piano accompaniment with aggrieved, pounding octaves. Obviously, he does bear some bitterness.

Heartbreak defines the eighth song, “Und wüßten’s die Blumen, die kleinen” (“If the little flowers knew”). It begins calmly enough, but then explodes in fury. The first three stanzas contrast the innocent beauty of nature with the inner suffering of a poet with a broken heart. “If only the flowers knew” of his sorrow, the protagonist laments, they too would shed tears and offer comfort. But, our pained poet notes, there is indeed someone who knows he sorrows, yet she will not shed any tears in sympathy. His beloved has torn his heart apart. The poet’s rage cannot be expressed in words, so the piano reflects his wrath. Throughout the cycle, the piano proves no accompaniment to the voice, but another voice itself that gives us greater insight into feelings words cannot capture.

“Ich hab’ im Traume geweinet” (“I wept in my dream”) finds the poet retreating into himself, wounded and melancholic. The poetry is odd: three times the protagonist recalls a dream that has moved him to tears and shaken him awake. A girl abandoned him, then died. Finally, he dreams that she still loves him. The friendsofchambermusic.com 5 Program Notes accompaniment is again crucial. In the first two stanzas, Continued the piano part is extremely sparse—just a couple of notes that punctuate the vocal line without following or doubling the voice. In the third stanza, when the poet is animated by the memory of a happy past, the music truly comes to life. Yet remembering again the loss of his beloved, the poet loses his voice. What follows is merely a repetition of the piano accompaniment from the opening – a long silence interrupted by a couple of short notes, followed again by an excessively long silence in turn interrupted by two short notes in the piano. The song ends as if dissolved in tears.

This version of the cycle includes four additional songs that Schumann cut before publication in 1844. These songs form two pairs. The first pair, “Dein Angesicht so lieb und schön” (4a, “Your face, so dear and fair”) and “Lehn deine Wang” (4b, “Rest Your Cheek”), imagine the premature death of his beloved. The second pair, “Es leuchtet meine Liebe” (12a, “My love it shines”) and “Mein Wagen rollet langsam” (12b, “My coach rolls slowly”), seeks closure; the staccato chords in the accompaniment pierce through the veil of romantic passion and interrupt the arpeggios of poetic illusion. DENVER CHAMBER MUSIC FESTIVAL June 3 - 9, 2019 Artists: Tessa Lark, violin David McCarroll, violin Ayana Kozasa, viola John Stulz, viola Julio Elizalde, piano Alice Yoo, cello & co-artistic director Matt Zalkind, cello & co-artistic director Presented in partnership with:

For more information, visit www.DenverChamberMusicFestival.org

6 friendsofchambermusic.com TRANSLATIONS

Brahms: Selected Songs Texts by Heinrich Heine (1797-1856) Translations from The Fischer-Dieskau Book of Lieder: The Original Texts of Over Seven Hundred and Fifty Songs, Limelight Editions, 2004

Es liebt sich so lieblich im Lenze, Op. 71, no. 1 Es liebt sich so lieblich im Lenze So Lovely Is Love in Spring Die Wellen blinken und fließen dahin, The waves go glittering by, Es liebt sich so lieblich im Lenze! so lovely is love in spring! Am Flusse sitzet die Schäferin The shepherdess sits by the river, Und windet die zärtlichsten Kränze. Weaving most delicate garlands.

Das knospet und quilt und duftet und blüht, A budding, scenting, gushing, blooming, Es leibt sich so lieblich in Lenze! so lovely is love in spring! Die Schäferin seufzt aus tiefer Brust: The shepherdess deeply sighs: “Wem geb ich meine Kränze?” ‘To whom shall I give my garlands?’

Ein Reiter reitet den Fluß entlang, A horseman beside the river rides, Er grüßet so blühenden Mutes, and so gallantly salutes, Die Schäferin schaut ihm nach so bang, Alarmed, the shepherdess stares after, Fern flattert die Feder des Hutes. his hat plume floats afar. Sommerabend, Op. 85, no. 1 Sommerabend Summer Evening Dämmernd liegt der Sommerabend Dusky lies summer evening Über Wald und grünen Wiesen; over forest and green meadow; Goldner Mond am blauen Himmel, from blue sky a golden moon Strahlt herunter, duftig labend. shines fragrant, reviving, down.

An dem Bache zirpt die Grille, By the brook the cricket chirps, Und es regt sich in dem Wasser, there is a stirring in the water, Und der Wandrer hört ein Plätschern the wanderer hears a splashing Und ein Atmen in der Stille. and a breathing in the stillness.

Dorten an dem Bach alleine, There, by the brook, alone, Badet sich die schöne Elfe; the fair elf bathes; Arm und Nacken, weiß und lieblich, arms and neck, white and lovely, Schimmern in dem Mondenscheine. shimmer in the moonlight.

friendsofchambermusic.com 7 Mondenschein, Op. 85, no. 2 Mondeschein Moonlight Nacht leigt auf den fremden Wegen, Night lies on the unfamiliar ways – Krankes Herz und müde Glieder; – sick heart and tired limbs; – Ach, da fließt, wie stiller Segen, then, ah as silent blessing, streams Süßer Mond, dein Licht hernieder. down, sweet moon, your light.

Süßer Mond, mit deinen Strahlen Sweet moon, with your beams Scheuchest du das nächt’ge Grauen; you drive away night’s horror; Es zerrinnen meine Qualen, my torments vanish, Und die Augen übertauen. and my eyes melt into tears.

Es schauen die Blumen alle, Op. 96, no. 3 Es schauen die Blumen alle All the flowers gaze Es schauen die Blumen alle All the flowers gaze Zur leuchtenden Sonne hinauf; up to the brilliant sun; Es nehmen die Ströme alle All the streams run Zum leuchenden Meere den Lauf. to the gleaming sea.

Es flattern die Lieder alle All songs flutter Zue meinin leuchtenden Lieb – to my bright love – Nehmt mit meine Tränen und Seufzer, Take along with you my tears and sighs, Ihr Lieder, wehmütig und trüb! You songs so mournful and dreary. Meerfahrt, Op. 96, no. 4 Meerfahrt Sea Voyage Mein Liebchen, wir saßen beisammen, My love, we sat together Traulich im leichten Kahn. cozily in our skiff. Die Nacht war still, und wir schwammen The night was still, we floated Auf weiter Wasserbahn. upon a broad waterway.

Die Geisterinsel, die schöne, The lovely Isle of Spirits Lag dämmrig im Mondenglanz; lay dim in the moonlight gleam; Dort klangen liebe Töne, upon it sweet sounds rang out, Und wogte der Nebeltanz. and dancing vapours surged.

Dort klang es lieb und leiber, Sweeter the sounds and sweeter, Und wogt’ es hin und her; this way and that the surge; Wir aber schwammen vorüber, but past the isle we floated, Trostlos auf weitem Meer. forlorn on the wide sea.

8 friendsofchambermusic.com Der Tod, das ist die kühle Nacht, Op. 96, no. 1 Der Tod, das ist die kühle Nacht Death is the Cool Night Der Tod, das ist die kühle Nacht, Death is the cool night, Das Leben ist der schwüle Tag. Life is the sultry day. Es dunkelt schon, mich schläfert, It now grows dark, I am sleepy, Der Tag hat mich müd’ gemacht. The day has tired me. Über mein Bett erhebt sich ein Baum, Above my bed rises a tree, D’rin signt die junge Nachtigall; The young nightingale sings therein; Sie singt von lauter Liebe, It sings of naught but love, Ich hör’ es, ich hör’ es sogar im Traum. I hear it, I hear it even in my dream.

Mahler: Rückert-Lieder Text by Friedrich Rückert (1788-1866) Translations from The Fischer-Dieskau Book of Lieder: The Original Texts of Over Seven Hundred and Fifty Songs, Limelight Editions, 2004

Blicke mir nicht in die Lieder Look not into my songs Blicke mir nicht in die Lieder! Look not into my songs! Meine Augen schlag’ ich nieder, My eyes I lower, Wie ertappt auf böser Tat. as if I were caught in an evil deed. Selber darf ich nicht getrauen, I can’t even trust myself Ihrem Wachsen zuzuschauen. to watch them growing. Deine Neugier ist Verrat! Your curiosity is a betrayal!

Bienen, wenn sie Zellen bauen, Bees, when they build their cells, Lassen auch nicht zu sich schauen, also let no one observe them; Schauen selber auch nicht zu. they don’t even watch themselves. Wann die reichen Honigwaben When the rich honeycombs Sie zu Tag gefördert haben, are carried out to the light of day, Dann vor allen nasche du! then you shall taste them before everyone else! Ich atmet’ einen linden Duft I breathed a gentle fragrance Ich atmet’ einen linden Duft! I breathed a gentle fragrance! Im Zimmer stand In the room there was Ein Zweig der Linde, Ein Angebinde a sprig of linden, a gift Von lieber Hand. from a dear hand. Wie lieblich war der Lindenduft! How lovely was the fragrance of linden!

Wie lieblich ist der Lindenduft! How lovely is the fragrance of linden! Das Lindenreis That sprig of linden Brachst du gelinde! you broke off so gently! Ich atme leis Softly I breathed Im Duft der Linde the fragrance of linden, Der Liebe linden Duft. the gentle fragrance of love.

friendsofchambermusic.com 9 Liebst du um Schönheit If you love for beauty Liebst du um Schönheit, o nicht mich liebe! If you love for beauty, then do not love me! Liebe die Sonne, sie trägt ein gold’nes Haar! Love the sun, with its gold hair!

Liebst du um Jugend, o nicht mich liebe! If you love for youth, then do not love me! Liebe der Frühling, der jung ist jedes Jahr! Love the spring it is young each year!

Liebst du um Schätze, o nicht mich liebe. If you love for treasure, then do not love me! Liebe die Meerfrau, sie hat viel Perlen klar! Love the mermaid she has many bright pearls!

Liebst du um Liebe, o ja, mich liebe! If you love for love, then yes, do love me! Liebe mich immer, dich lieb’ ich immerdar! Love me forever, as I’ll always love you!

Um Mitternacht At Midnight Um Mitternacht At midnight Hab’ ich gewacht I awoke Und aufgeblickt zum Himmel; and gazed up to the heavens; Kein Stern vom Sterngewimmel No star in the entire firmament Hat mir gelacht smiled down at me Um Mitternacht. at midnight.

Um Mitternacht At midnight Hab’ ich gedacht I projected my thoughts Hinaus in dunkle Schranken. beyond the dark barriers. Es hat kein Lichtgedanken No thought of light Mir Trost gebracht brought me consolation Um Mitternacht. at midnight.

Um Mitternacht At midnight Nahm ich in acht I paid attention Die Schläge meines Herzens; to the beating of my heart; Ein einz’ger Puls des Schmerzens a single pulse of pain War angefacht flared up Um Mitternacht. at midnight.

Um Mitternacht At midnight Kämpft’ ich die Schlacht, I fought the battle, O Menschheit, deiner Leiden; O humanity, of your suffering; Nicht konnt’ ich sie entscheiden I could not conclude it Mit meiner Macht with my strength Um Mitternacht. at midnight.

Um Mitternacht At midnight Hab’ ich die Macht I surrendered my strength In deine Hand gegeben; into your hand; Herr über Tod und Leben Lord! over death and life Du hältst die Wacht You keep watch Um Mitternacht! at midnight!

10 friendsofchambermusic.com Ich bin der Welt abhanden gekommen I am lost to the world Ich bin der Welt abhanden gekommen, I am lost to the world Mit der ich sonst viele Zeit verdorben, where I used to waste too much time. Sie hat so lange nichts von mir vernommen, It has heard nothing from me for so long Sie mag wohl glauben, ich sei gestorben. it may very well think me dead.

Es ist mir auch gar nichts daran gelegen, It is of no consequence to me Ob sie mich für gestorben hält, If the world thinks I am dead. Ich kann auch gar nichts sagen dagegen, I cannot deny it, Denn wirklich bin ich gestorben der Welt. For, truly, I am dead to the world.

Ich bin gestorben dem Weltgetümmel, I am dead to the world’s tumult, Und ruh’ in einem stillen Gebiet. I lie in quiet realms. Ich leb’ allein in mir und meinem Himmel, I live alone in my heaven, In meinem Lieben, in meinem Lied. In my love, in my song.

Schumann: Dichterliebe Poems from Lyrisches Intermezzo by Heinrich Heine (1797-1856) Translations from The Fischer-Dieskau Book of Lieder: The Original Texts of Over Seven Hundred and Fifty Songs, Limelight Editions, 2004

Im wunderschönen Monat Mai In the wondrous month of May, Als alle Knospen sprangen, when the buds were bursting open, Da ist in meinem Herzen then it was that my heart Die Liebe aufgegangen. filled with love.

Im wunderschöen Monat Mai, In the wondrous month of May, Als alle Vögel sangen, when the birds were singing, Da hab’ ich ihr gestanden then it was I confessed to her Mein Sehnen und Verlangen. my longing and desire.

Aus meinen Tränen sprießen From my tears burst Viel blühende Blumen hervor, many full-blown flowers, Und meine Seufzer werden and my sighs become Ein Nachtigallenchor. a nightingale chorus.

Und wenn du mich lieb hast, Kindchen, And if you love me, child, Schenk’ ich dir die Blumen all’ I’ll give you all the flowers, Und vor deinem Fenster soll klingen and at your window shall sound Das Lied der Nachtigall. the song of the nightingale.

friendsofchambermusic.com 11 Die Rose, die Lilie, die Taube, die Sonne, Rose, lily, dove, sun— Die liebt’ ich einst alle in Liebeswonne. All once I blissfully loved. Ich lieb’ sie nicht mehr, ich liebe alleine I love them no more, alone I love one who is Die Kleine, die Feine, die Reine, die Eine; small, fine, pure, rare; Sie selber, aller Liebe Wonne, she, most blissful of all loves, Ist Rose und Lilie und Taube und Sonne. is rose and lily and dove and sun. Ich liebe alleine Alone I love Die Kleine, die Feine, die Reine, die Eine one who is small, fine, pure rare.

Wenn ich in deine Augen seh’, When into your eyes I look, So schwindet all’ mein Leid und Weh; all my sorrow flies; Doch wenn ich küsse deinen Mund, but when I kiss your lips, So werd’ ach ganz und gar gesund. then I am wholly healed.

Wenn ich mich lehn’ an deine Brust, When I recline upon your breast, Kommt’s über mich wie Himmelslust; over me steals heavenly bliss; Doch wenn du sprichst: ich liebe dich! But when you say: it’s you I love! So muß ich weinen bitterlich. Then bitter tears must I shed.

Dein Angesicht so lieb und schön, Your face, so dear and fair, Das hab' ich jüngst im Traum geseh'n; that I have recently seen in a dream; Es ist so mild und engelgleich, it is so mild and angelic, Und doch so bleich, so schmerzenreich. and yet so pale, so rich in sorrow.

Und nur die Lippen, die sind rot; And only your lips are red; Bald aber küßt sie bleich der Tod. but soon they will be kissed pale by death. Erlöschen wird das Himmelslicht, Extinguished shall be the heavenly light, Das aus den frommen Augen bricht. which streams from those innocent eyes.

Lehn deine Wang' an meine Wang', Rest your cheek against my cheek, Dann fließen die Tränen zusammen; then shall our tears flow together; Und an mein Herz drück' fest dein Herz, and against my heart press firmly your heart, Dann schlagen zusammen die Flammen! then together shall our flames pulse!

Und wenn in die große Flamme fließt And when into the great flame Der Strom von unsern Tränen, flows the stream of our tears, Und wenn dich mein Arm gewaltig umschließt - and when my arm holds you tight - Sterb' ich vor Liebessehnen! I shall die of love's yearning!

Ich will meine Seele tauchen My soul will I bathe In den Kelch der Lilie hinein; in the lily’s chalice; Die Lilie soll klingend hauchen. the lily shall breathe Ein Lied von der Liebsten mein. A song of my beloved.

Das Lied soll schauern und beben. The song shall tremble and quiver Wie der Kuß von ihrem Mund, like the kiss her lips Den sie mir einst gegeben bestowed on me once, In wunderbar süßer Stund’. in a sweet and lovely hour.

12 friendsofchambermusic.com Im Rhein, im heiligen Strome, In the Rhine, the holy river, Da spiegelt sich in den Well’n mirrored in the waves, Mit seinem großen Dome, with its great cathedral Das große, heilige Köln. is great and holy Cologne.

Im Dom da steht ein Bildnis, The cathedral has a picture, Aug goldenem Leder gemalt; painted on gilded leather; In meines Lebens Wildnis into my life’s wilderness Hat’s freundlich hineingestrahlt. friendly rays it has cast.

Es schweben Blumen und Eng’lein Flowers and angels float Um unsre liebe Frau; about Our Lady dear; Die Augen, die Lippen, die Wänglein, eyes, lips, cheeks Die gleichen der Liebsten genau. are the image of my love’s.

Ich grolle nicht, I bear no grudge, Und wenn das Herz auch bricht, though my heart breaks, Ewig verlor’nes Lieb! Ich grolle nicht. loved one forever lost! I bear no grudge. Wie du auch strahlst in Diamantenpracht, However you may gleam in diamond Es fällt kein Strahl in deines Herzens Nacht. splendour, Das weiß ich längst. no ray falls into the night of your heart. I’ve known that long.

Ich grolle nicht, I bear no grudge, though my heart breaks. Und wenn das Herz auch bricht. For I saw you in my dream, Ich sah dich ja im Traume, saw the night within your heart, Und sah die Nacht in deines Herzens Raume, and saw the serpent gnawing at your heart, Und sah die Schlang’, die dir am Herzen frißt, saw, my love, how pitiful you are. Ich sah, mein Lieb, wie sehr du elend bist. I bear no grudge. Ich grolle nicht.

Und wüßten’s die Blumen, die kleinen, If the little flowers knew Wie tief verwundet mein Herz, how deeply my heart is hurt, Sie würden mit mir weinen, with me they would weep Zu heilen meinen Schmerz. to heal my pain.

Und wüßten’s die Nachtigallen, If the nightingales knew Wie ich so traurig und krank, how sad I am and sick, Sie ließen fröhlich erschallen joyously they’d let sound Erquickenden Gesang. refreshing song.

Und wüßten sie mein Wehe, And if they knew my grief, Die goldenen Sternelein, the golden little stars, Sie kämen aus ihrer Höhe, from the sky they’d come Und sprächen Trost mir ein. and console me.

Sie alle können’s nicht wissen, But none of them can know, Nur Eine kennt meinen Schmerz; one only knows my pain, Sie hat ja selbst zerrissen, for she it was who broke Zerrissen mir das Herz. my heart, broke my heart in two. friendsofchambermusic.com 13 Das ist ein Flöten und Geigen, What a fluting and fiddling, Trompeten schmettern darein; and a blaring of trumpets! Da tanzt wohl den Hochzeitreigen There, dancing her wedding dance die Herzallerliebste mein. will be my dearest love.

Das ist ein Klingen und Dröhnen, What a clashing and clanging, Ein Pauken und ein Schalmei'n; drumming and piping; Dazwischen schluchzen und stöhnen and sobbing and groaning Die lieblichen Engelein. of delightful angels.

Hör' ich das Liedchen klingen, When I hear the song Das einst die Liebste sang, my love once sang, So will mir die Brust zerspringen my heart almost breaks Von wildem Schmerzendrang. from the wild rush of pain.

Es treibt mich ein dunkles Sehnen Vague longing drives me Hinauf zur Waldeshöh', up to the high forest, Dort löst sich auf in Tränen where my immense grief mein übergroßes Weh'. dissolves in tears.

Ein Jüngling liebt ein Mädchen, A boy loves a girl, Die hat einen Andern erwählt; she chooses another, Der andre liebt eine andre, the other loves another Und hat sich mit dieser vermählt. and her he weds.

Das Mädchen nimmt aus Ärger The girl out of spite, Den ersten besten Mann takes the first man Der ihr in den Weg gelaufen; to come her way; Der Jüngling ist übel dran. the boy‘s badly hurt.

Es ist eine alte Geschichte, It is an old, old story, Doch bleibt sie immer neu; remains though ever new, Und wem sie just passieret, and he to whom it‘s happened Dem bricht das Herz entzwei. his heart is broken in half.

Am leuchtenden Sommermorgen One bright summer morning Geh' ich im Garten herum. I walk in the garden. Es flüstern und sprechen die Blumen, Flowers whisper and speak, Ich aber wandle stumm. but I walk silently.

Es flüstern und sprechen die Blumen, Flowers whisper and speak, Und schaun mitleidig mich an: and gaze at me in pity: Sei unsrer Schwester nicht böse, "Be not angry with our sister, Du trauriger, blasser Mann. sad, pale man."

14 friendsofchambermusic.com Es leuchtet meine Liebe, My love, it shines In ihrer dunkeln Pracht, in its dark splendor, Wie'n Märchen traurig und trübe, like a fairy-tale, sad and bleak, Erzählt in der Sommernacht. told on a summer night.

Im Zaubergarten wallen In a magic garden appear Zwei Buhlen, stumm und allein; two lovers, mute and alone; Es singen die Nachtigallen, the nightingales are singing, Es flimmert der Mondenschein. the moonlight is shimmering.

Die Jungfrau steht still wie ein Bildnis, The maiden stands still as a portrait, Der Ritter vor ihr kniet. the knight before her kneels. Da kommt der Riese der Wildnis, Then comes the giant of the wilderness, Die bange Jungfrau flieht. the fearful maiden flees.

Der Ritter sinkt blutend zur Erde, The knight sinks, bleeding, to the earth, Es stolpert der Riese nach Haus. then the giant stumbles home. Wenn ich begraben werde, When I am buried, Dann ist das Märchen aus. then the fairy-tale is over.

Mein Wagen rollet langsam My coach rolls slowly durch lustiges Waldesgrün, through the merry forest green, durch blumige Täler, die zaubrisch through blooming valleys, which magically im Sonnenglanze blüh'n. bloom in the sun's gleam.

Ich sitze und sinne und träume, I sit and reflect and dream, und denk' an die Liebste mein; and think on my beloved; Da grüßen drei Schattengestalten then I am greeted by three shadowy forms kopfnickend zum Wagen herein. nodding at the coach.

Sie hüpfen und schneiden Gesichter, They hop and make faces, so spöttisch und doch so scheu, so mocking and yet so shy, und quirlen wie Nebel zusammen, and whirl like mist together, und kichern und huschen vorbei. and snicker and scurry by.

Ich hab' im Traum geweinet, I wept in my dream, Mir träumte du lägest im Grab. I dreamt you lay in your grave. Ich wachte auf, und die Träne I woke, and tears Floß noch von der Wange herab. still flowed upon my cheek.

Ich hab' im Traum geweinet, I wept in my dream, Mir träumt' du verließest mich. I dreamt you were leaving me. Ich wachte auf, und ich weinte I woke, and wept on Noch lange bitterlich. long and bitterly.

Ich hab' im Traum geweinet, I wept in my dream, Mir träumte du wär'st mir noch gut. I dreamt you loved me still. Ich wachte auf, und noch immer I woke, and still Strömt meine Tränenflut. my tears stream.

friendsofchambermusic.com 15 Allnächtlich im Traume seh' ich dich, Nightly in my dreams I see you, Und sehe dich freundlich grüßen, see your friendly greeting, Und laut aufweinend stürz' ich mich and weeping loudly, hurl myself Zu deinen süßen Füßen. at your sweet feet.

Du siehest mich an wehmütiglich, You look at me wistfully Und schüttelst das blonde Köpfchen; shaking your little fair head; Aus deinen Augen schleichen sich from your eyes steal Die Perlentränentröpfchen. tear-drops of pearl.

Du sagst mir heimlich ein leises Wort, A soft word you whisper me, Und gibst mir den Strauß von Cypressen. and give me a garland of cypress. Ich wache auf, und der Strauß ist fort, I wake, the cypress is gone, Und's Wort hab' ich vergessen. and the word forgotten.

Aus alten Märchen winkt es A white hand beckons Hervor mit weißer Hand, from fairy tales of old, Da singt es und da klingt es song there is, and sounds Von einem Zauberland; of a magic land,

Wo bunte Blumen blühen where colorful flowers bloom Im gold'nen Abendlicht, in golden evening light, Und lieblich duftend glühen and, sweet scented, glow Mit bräutlichem Gesicht; with bride-like faces.

(Und grüne Bäume singen (And green trees sing Uralte Melodei'n, old, old melodies, Die Lüfte heimlich klingen, stealthy breezes murmur Und Vögel schmettern drein; and birds warble;

Und Nebelbilder steigen and misty shapes rear Wohl aus der Erd' hervor, from the earth, Und tanzen luft'gen Reigen and dance airy dances Im wunderlichen Chor; and strange throng;

Und blaue Funken brennen and blue sparks blaze An jedem Blatt und Reis, on every leaf and twig, Und rote Lichter rennen and red fires race Im irren, wirren Kreis; in mad, wild circles;

Und laute Quellen brechen and loud springs burst Aus wildem Marmorstein, from living marble, and Und seltsam in den Bächen strange in the brooks Strahlt fort der Widerschein.) the reflection shines.)

Ach! könnt' ich dorthin kommen, Oh! could I but go there, Und dort mein Herz erfreu'n, there gladden my heart, Und aller Qual entnommen, from all pain removed, Und frei und selig sein! blissful and free!

16 friendsofchambermusic.com Ach! jenes Land der Wonne, Oh, that land of joy, Das seh' ich oft im Traum, in dreams I see it often, Doch kommt die Morgensonne, but, come morning sun, Zerfließt's wie eitel Schaum. it‘s gone like foam.

Die alten, bösen Lieder, The bad old songs, Die Träume bös' und arg, the dreams wicked and bad, Die laßt uns jetzt begraben, let us now bury them, Holt einen großen Sarg. fetch a great coffin.

Hinein leg' ich gar manches, Much will I lay in it, Doch sag' ich noch nicht was. though what, I won’t yet say; Der Sarg muß sein noch größer a bigger coffin must it be Wie's Heidelberger Faß. than the Vat of Heidelberg.

Und holt eine Totenbahre, And fetch a bier, Von Bretter fest und dick; and planks firm and thick, Auch muß sie sein noch länger the bier must be longer Aals wie zu Mainz die Brück'. than the bridge at Mainz.

Und holt mir auch zwölf Riesen, And twelve giants fetch me, Die müssen noch stärker sein who shall be even stronger Als wie der starke Christoph than St. Christopher the Strong Im Dom zu Köln am Rhein. in Cologne Cathedral on the Rhine.

Die sollen den Sarg forttragen, They shall bear off the coffin, Und senken in's Meer hinab; and sink it in the sea; Denn solchem großen Sarge for such a big coffin Gebührt ein großes Grab. belongs in a big grave.

Wißt ihr warum der Sarg wohl Do you know why the coffin So groß und schwer mag sein? should be so heavy and big? Ich senkt' auch meine Liebe I would put my love in Und meinen Schmerz hinein. and my sorrow too.

Pre-Concert Happy Hours at the Pioneer! Join us prior to each concert for tacos, margaritas, and conversation at the Pioneer Bar, 2401 S. University Blvd., just around the corner from the Newman Center. We will have an area reserved for Friends of Chamber Music to gather for food and drinks beginning at 6:00 p.m. Whether you are a new subscriber or a longtime supporter, we hope you will stop by for a chance to get to know your fellow concert-goers.

friendsofchambermusic.com 17 BOARD OF DIRECTORS Alix Corboy, President Mary Park, Vice President Walter Torres, Secretary Sue Damour, Treasurer

BOARD MEMBERS Lisa Bain Dietrich Hoefner John Lebsack Kathy Newman Anna Psitos MUSIC IN THE GALLERIES Myra Rich Clyfford Still Museum Chet Stern 1250 Bannock St., Denver Eli Wald Anne Wattenberg Andrew Yarosh SUNDAY, MARCH 10, 2019 1:00 & 2:00 PM PROJECT ADMINISTRATOR Desiree Parrott-Alcorn Violamore Duo Join us for “Music in the Galleries” featuring the EMERITUS BOARD MEMBERS Violamore Duo with the husband-wife duo of violists Rosemarie Murane Koko Dyulgerski and Leah Kovach. Their program Suzanne Ryan will include works by Garth Knox, Kenji Bunch, and Paul Colette. SUNDAY, MAY 12, 2019 1:00 & 2:00 PM Altius Quartet Altius Quartet returns to “Music in the Galleries” with an innovative program of music for string quartet.

Music is free with admission to the galleries. Through this partnership the museum is offering FCM patrons $5 half price tickets (if purchased in advance) to enter the museum on performance days. The link to purchase discount tickets is available on our website. Note: Seating is limited and available on a first come, first served basis. 18 friendsofchambermusic.com 2018-19 PIANO SERIES SIR ANDRÁS SCHIFF WED, FEB 20, 2019 | 7:30 PM One of the most celebrated pianists of our time, world-renowned Sir András Schiff is also a conductor, pedagogue, and lecturer. In June 2014 he was awarded a knighthood for services to music by Her Majesty Queen Elizabeth II. PROGRAM: Program includes works by Janácˇek and Schumann.

PIOTR ANDERSZEWSKI WED, APR 10, 2019 | 7:30 PM Polish pianist and composer Piotr Anderszewski has been singled out for high profile awards throughout his career. He will be performing Beethoven’s Diabelli Variations for the first time in FCM’s 65-year history. "Every one of the 33 variations seemed freshly imagined, with their dizzying contrasts of wit and pathos, explosive energy and communing stillness . . . "

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PROGRAM: Program features selections from Bach's Well-Tempered Clavier and Beethoven's Diabelli Variations.

TICKETS: Single tickets available at www.friendsofchambermusic.com or Newman Center Box Office | 303-871-7720 | www.newmantix.com

LEGACY GIFTS For those who want to leave a musical legacy, a planned or deferred gift to Friends of Chamber Music is a meaningful way for you to help ensure our future artistic excellence and stability while potentially providing enhanced tax benefits. Visit our website for more information.

friendsofchambermusic.com 19 THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!

$25,000+ Linda & Dick Bateman Sissy Gibson Bonfils-Stanton Foundation Barbara Bohlman Edward Goldson Scientific and Cultural Facilities Peter Buttrick & Anne Wattenberg Paula & Stan Gudder District, Tier III Donna & Ted Connolly Norman D. & Grynberg Family Pamela E. Haglund $5,000 + Stephen & Margaret Hagood Joseph & Renate Hull Colorado Creative Industries Christy Honnen Dan Hyman The Denver Foundation David & Lynn Hurst Hannah Kahn & Arthur Best Ann Levy Ann & Douglas Jones Theresa & Bob Keatinge Estate of Sam Wagonfeld Cynthia & John Kendrick Michael & Wendy Klein Sara Zimet John Lebsack & Holly Bennett Barb & Kip Kolkmeier John & Terry Leopold Edward Karg & Richard Kress $2,500+ Theodor Lichtmann Carol & Lester Lehman Carol Ehrlich in memory of Rex & Nina McGehee Judy & Dan Lichtin Max Ehrlich Kim Millett Nira & Alan Lipner Tour West, a program of WESTAF Douglas & Laura Moran Evi & Evan Makovsky (Western States Arts Federation, Kirsten & David Morgan Philippa Marrack supported by a grant from the Kathy Newman & Alex & Kathy Martinez National Endowment for Rudi Hartmann Robert Meade the Arts) John & Mary Ann Parfrey Bert & Rosemary Melcher Mary Park & Douglas Hsiao Pamela Metz & Charlene Byers $1,000+ John Richardson Marilyn Munsterman & Anonymous Ayliffe & Fred Ris Charles Berberich Lisa & Steve Bain Judith, Stacey & James Rosemarie & Bill Murane Bob & Cynthia Benson ** Rosenbaum, in loving memory David S. Pearlman Howard & Kathleen Brand of Allan Rosenbaum Barbara Pollack Bucy Fund Ray Satter Tim & Kathryn Ryan David S. Cohen Henry R. Schmoll ** Richard & Jo Sanders Alix & John Corboy David & Patty Shelton John & Pat Schmitter Susan & Tim Damour * Ric Silverberg & Judith Cott Alan & Gail Seay C. Stuart Dennison Jr. Marlis Smith San Mao Shaw Brian & Kathy Dolan Chet & Ann Stern Bobbi & Gary Siegel Ellen & Anthony Elias Dick & Kathy Swanson Steven Snyder Fackler Legacy Gift ** Phillip Wolf Margaret Stookesberry Joyce Frakes Steve & Phyllis Straub Robert S. Graham $250+ Marcia Strickland Don & Amy Harris Anonymous Walter & Kathleen Torres Michael Huotari & Jill Stewart Carolyn & Ron Baer Norman Wikner & Lela Lee McGinty Co. Jan Baucum Joseph & Barbara Wilcox Robert & Judi Newman Pam Beardsley Greta Wilkening * Myra & Robert Rich Kate Bermingham Andrew Yarosh * ** Jeremy & Susan Shamos Theodore Brin Jeff Zax & Judith Graham Edie Sonn Andrew & Laurie Brock Reed & Claire Stilwell Gerri Cohen $100+ Philip & Margaret Verleger Fran Corsello Barton & Joan Alexander Barbara & Herschel Cravitz Jim & Ginny Allen $500+ Anne Culver Truman & Catherine Anderson Anonymous Judy Fredricks Anonymous Patsy & Jim Aronstein * Kathe & Michael Gendel Shannon Armstrong

20 friendsofchambermusic.com Don Bachner & Linda Henry Charles & Gretchen Lobitz Bill Inama Catherine Beeson John & Merry Low Frank & Myra Isenhart L.D. Jankovsky & Sally Berga Elspeth MacHattie & Katy Jacaruso Dell & Jan Bernstein Gerald Chapman Suzanne Kaller Sandra Bolton Jay Mead ** Leonard & Abbey Kapelovitz Carolyn & Joe Borus Mary Mendenhall Ann Kiley Darrell Brown & Suzanne McNitt Paul & Barb Moe Sheila Kowal and Blake Chamblis Joan & Bennie Bub Bob & Ilse Nordenholz Doris Lackner, in memory of Peter & Cathy Buirski Robert N. O’Neill Edwin Kornfeld Susan Lee Cable ** Tina & Tom Obermeier Donna Levene Bonnie Camp Dee & Jim Ohi Della & Jeff Levy Nancy Kiernan Case Desiree Parrott-Alcorn Janet & Drew Mallory Marlene Chambers John Pascal Estelle Meskin Cecile Cohan Mary Platt Chris & Karen Mohr Dana & Brent Cohen Carol Prescott Joanna Moldow Keith Corrette Michael & Carol Reddy Mary Murphy Gary & Dorothy Crow-Willard Richard Replin & Elissa Stein Larry O’Donnell Stephen & Dee Daniels Gene & Nancy Richards Carolyn & Garry Patterson Cynthia Dash Gregory Allen Robbins Don & Becky Perkins Kevin & Becky Durham Herb Rothenberg, in memory of Georgina Pierce Robert C. Fullerton Doris Rothenberg Sarah Przekwas Barbara Gilette & Kay Kotzelnick Cheryl Saborsky Robert Rasmussen Sandra Goodman Michael & Carol Sarche Margaret Roberts Donna & Harry Gordon Donald Schiff, in memory of Suzanne Ryan Kazuo & Drusilla Gotow Rosalie Schiff Jo Shannon Melanie Grant Louise Schottstaedt & Artis Silverman John S. Graves Charles Raye Lois Sollenberger Jacqueline & Gary Greer Cle Symons Greg Sorensen ** Eileen Griffin Aaron & Becky Szalaj Glenn & Kathleen Spring Darlene Harmon Berkley & Annemarie Tague Paul Stein Larry Harvey Jim Wade Harry & Vicki Sterling Richard W. Healy Eli & Ashley Wald Michael & Michelle Stern Eugene Heller & Lily Appleman Ann Weaver, in memory of Magdeline Stout David & Ana Hill Marlin Weaver Steve Susman Willam T. Hoffman Phillip White Morris & Ellen Susman Stanley Jones Karen Yablonski-Toll Karen Swisshelm Bill Juraschek R. Dale Zellers Barbara & Edward Towbin Michael & Karen Kaplan Carol Trotter & Steve Mills Bruce Kindel $50+ Jocy Upton Roberta & Mel Klein Varda Abrahamsson Suzanne Walters Ellen Krasnow & John Blegen Lorraine & Jim Adams Barbara Walton Elizabeth Kreider Mrs. Martin E. Anderson Cia Wenzel, in honor of Martha Doug & Hannah Krening Barbara Caley Fulford George Kruger Garth Englund, Jr. James Williams Jack Henry Kunin Nancy & Mike Farley Ruth Wolff Richard Leaman Janet & Arthur Fine Seth Lederer John & Debora Freed * Gift made to FCM Endowment Igor & Jessica Levental Martha Fulford ** Legacy Donor Mark & Lois Levinson Barbara Goldblatt Philip Levy Carol & Henry Goldstein Penny Lewis Sanders Graham Marilyn Lindenbaum Jennifer Heglin

friendsofchambermusic.com 21 UPCOMING CONCERTS CHAMBER SERIES SPECIAL EVENTS Tafelmusik “Music with Friends” Wednesday, March 6, 2019 Ensemble Faucheux Tuesday, February 26, 2019 Tetzlaff-Tetzlaff-Vogt Trio 6:00 PM Tuesday, April 30, 2019 Syntax Physic Opera Emerson String Quartet 554 S. Broadway Wednesday, May 15, 2019 “Music in the Galleries” PIANO SERIES 1:00 & 2:00 PM Sir András Schiff, piano Clyfford Still Museum 1250 Bannock St., Denver Wednesday, February 20, 2019 Violamore Duo Piotr Anderszewski, piano Sunday, March 10, 2019 Wednesday, April 10, 2019 Altius Quartet Sunday, May 12, 2019 All Chamber and Piano Series concerts begin at 7:30 pm at Gates Hall, 2344 E. Iliff Avenue, Denver

SPECIAL THANKS SCIENTIFIC AND CULTURAL BONFILS-STANTON FOUNDATION FACILITIES DISTRICT (TIER III) for sponsorship of FCM’s Piano Series for supporting FCM’s outreach and audience development programs in efforts through school residencies memory of Lewis Story and master classes ESTATE OF JOSEPH DEHEER COLORADO PUBLIC RADIO (KVOD ESTATE OF SUE JOSHEL 88.1 FM) for providing lead gifts to the FCM for broadcasting FCM concerts on its Endowment Fund “Colorado Spotlight” programs RICOLA Cough drops provided by Ricola and an anonymous donor in honor of FCM’s Board President.

Gates Concert Hall • Newman Center for the Performing Arts • University of Denver friendsofchambermusic.com