On Behalf of the Board of the Colorado Mahlerfest, Kenneth Woods, Our Wonderful Musicians and Scholars, and Our Generous Supporters, Welcome to Mahlerfest XXXI

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On behalf of the board of the Colorado MahlerFest, Kenneth Woods, our wonderful musicians and scholars, and our generous supporters, Welcome to MahlerFest XXXI Mon (5/14) & Thu (5/17) at 7pm, Tue (5/15) & Fri (5/18) at 6pm – Open Rehearsal – Macky Auditorium Tuesday – May 15 – 12:00pm – Concert – Canyon Theater at the Main Boulder Library o Jesse Jones and Craig Butterfield Wednesday – May 16 – 7:30pm – Concert – Gordon Gamm Theater at The Dairy Center o R. Strauss: Sextet for Strings from Capriccio Op. 85 o J. McCabe: Pilgrim – Sextet for Strings (US Premiere) o J. Brahms: Quintet for Clarinet and Strings in B minor Op. 115 o Daniel Silver – Clarinet, Jorja Fleezanis and Karen Bentley Pollick – Violin o Erika Eckert and Lauren Spalding – Viola o Parry Karp, Andrew Brown and Kenneth Woods – Violoncello Thursday – May 17 – 1:30pm – Master Class - Atonement Lutheran Church o The Conducting Fellows, Kenneth Woods and chamber orchestra o Mahler: Das Lied von der Erde – Chamber version (Schönberg, Riehn) Friday – May 18 – 2:00pm – Concert – The Academy, Boulder o A. Zemlinsky: Three Pieces for Cello and Piano o J. Brahms: Sonata No. 2 for Cello and Piano in F major, Op. 99 o J. Jones: Phantasma for solo Cello o G. Enescu: Sonata No 3. for Violin and Piano in A minor, Op. 25 o Karen Bentley-Pollick – Violin, Parry Karp – Violoncello, Jennifer Hayghe – Piano Saturday – May 19 – Symposium – 9:00am – 3:30pm – C-199 – Imig Building, CU Boulder o Stephen E. Hefling – Case Western Reserve University (Emeritus) . “’The most personal thing I have yet created’: Mahler’s Lied von der Erde” o Ofer Ben-Amots – Chair, Department of Music – Colorado College . “Time Formation in Mahler's Compositional Technique” o Kenneth Woods – Artistic Director and Conductor, Colorado MahlerFest . “Conducting Mahler and Sibelius” o Jack Sheinbaum – Lamont School of Music – University of Denver . “Suspension, Fulfillment, and Fin de Siècle Orchestral Timbre in Das Lied von der Erde” o David Auerbach – President, Colorado MahlerFest Board of Directors . “Sibelius and His Seventh Symphony” o Juha V. Mäkikalli - Honorary Consul of Finland, Colorado . “Sibelius and His Importance to the Finnish People – Historical and Modern” o Lunch: $15.00 – Tickets on sale at the Symposium – Lunch in the Atlas Atrium Saturday – May 19 – 7:30 pm – Orchestral Concert – Macky Auditorium, University of Colorado Sunday – May 20 – 3:30 pm – Orchestral Concert – Macky Auditorium, University of Colorado o Jean Sibelius: Symphony No. 7 in C major, Op. 105 o Gustav Mahler: Das Lied von der Erde o Stacey Rishoi (Mezzo-soprano) and Brennen Guillory (Tenor) o Kenneth Woods conducting the Colorado MahlerFest Orchestra o Pre-concert Lecture by Kenneth Woods at 6:30pm on Saturday and 2:30pm on Sunday All venues are in Boulder, CO: Macky Auditorium (1595 Pleasant St, 80309) – IMIG (1020 18th Street, 80302) Boulder Public Library (1001 Arapahoe Ave, 80302) – Gordon Gamm at the Dairy Center (2590 Walnut St, 80302) Atonement Lutheran Church (685 Inca Parkway, 80303) – The Academy (970 Aurora Ave, 80302) .

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Kenneth Woods - Conductor
Kenneth Woods - Conductor - Contents “A symphonic conductor of stature” Gramophone Biography Resumé “A conductor with Discography true vision and purpose” Acclaim Peter Oundjian References Music Director, Toronto Symphony Contact “brimming with personality, affection Management, engagements and freshly imagined drama” ABMC Productions International Washington Post Matthew Peters-Managing Director (UK and Europe) [email protected] “Woods proves in this recording to be +44 7726 661 659 a front rank conductor” Sativa Saposnek- Director of North Audiophile Audition American Operations (USA, Canada, Mexico and South America) [email protected] + 1 978.701.4914 “In 20 years of being a music critic, I have never written a story like this Special Projects and Media Relations one about Pendleton's symphony Melanne Mueller pulling out all the stops to play MusicCo International, Ltd. [email protected] Mahler's First Symphony after a UK +44 (0) 20 8542 4866 devastating fire ... The OES under USA +1 917 907 2785 Kenneth Woods, looking like a 103 Churston Drive Morden, Surrey SM4 4JE younger, dark haired William Hurt, Skype melanne4 gives Mahler the ride of his life.” The Oregonian 1 Kenneth Woods, conductor www.kennethwoods.net Kenneth Woods, conductor Biography Hailed by the Washington Post as a “true star” of the podium, conductor, rock guitarist, author and cellist Kenneth Woods has worked with many orchestras of international distinction including the National Symphony Orchestra, Royal Philharmonic, English Chamber Orchestra, Cincinnati Symphony, BBC National Orchestra of Wales, Budapest Festival Orchestra and State of Mexico Symphony Orchestra. He has also appeared on the stages of some of the world’s leading music festivals such as Aspen and Lucerne.
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MAHLERFEST XXXIV the RETURN Decadence & Debauchery | Premieres Mahler’S Fifth Symphony | 1920S: ARTISTIC DIRECTOR
August 24–28, 2021 Boulder, CO Kenneth Woods Artistic Director SAVE THE DATE MAHLERFEST XXXV May 17–22, 2022 * Gustav Mahler Symphony No. 2 in C Minor Boulder Concert Chorale Stacey Rishoi Mezzo-soprano April Fredrick Soprano Richard Wagner Die Walküre (The Valkyrie), Act One Stacey Rishoi Mezzo-soprano Brennen Guillory Tenor Matthew Sharp Bass-baritone * All programming and artists subject to change KENNETH WOODS Mahler’s First | Mahler’s Musical Heirs Symphony | Mahler and Beethoven MAHLERFEST.ORG MAHLERFEST XXXIV THE RETURN Decadence & Debauchery | Premieres Mahler’s Fifth Symphony | 1920s: ARTISTIC DIRECTOR 1 MAHLERFEST XXXIV FESTIVAL WEEK TUESDAY, AUGUST 24, 7 PM | Chamber Concert | Dairy Arts Center, 2590 Walnut Street Page 6 WEDNESDAY, AUGUST 25, 4 PM | Jason Starr Films | Boedecker Theater, Dairy Arts Center Page 9 THURSDAY, AUGUST 26, 4 PM | Chamber Concert | The Academy, 970 Aurora Avenue Page 10 FRIDAY, AUGUST 27, 8 PM | Chamber Orchestra Concert | Boulder Bandshell, 1212 Canyon Boulevard Page 13 SATURDAY, AUGUST 28, 9:30 AM–3:30 PM | Symposium | License No. 1 (under the Hotel Boulderado) Page 16 SATURDAY, AUGUST 28, 7 PM | Orchestral Concert Festival Finale | Macky Auditorium, CU Boulder Page 17 Pre-concert Lecture by Kenneth Woods at 6 PM ALL WEEK | Open Rehearsals, Dinners, and Other Events See full schedule online PRESIDENT’S GREETING elcome to MahlerFest XXXIV – What a year it’s been! We are back and looking to the future with great excitement and hope. I would like to thank our dedicated and gifted MahlerFest orchestra and festival musicians, our generous supporters, and our wonderful audience. I also want to acknowledge the immense contributions of Executive Director Ethan Hecht and Maestro Kenneth Woods that not only make this festival Wpossible but also facilitate its evolution.
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A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them.
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ERNST KRENEK: COMPLETE PIANO CONCERTOS, VOLUME TWO – 1. THE MUSIC-HISTORIAN’S PERSPECTIVE by Peter Tregear Ernst Krenek’s reputation as a ‘one-man history of twentieth century music’ is nothing if not well deserved. Over nearly eight decades of creative life he was not only to witness but also to contribute to most of the formative art-music movements of the age. It may come as a surprise, then, to find that the concertos on this second album are quite similar in style – until one realises that all four works were composed in the ten or so years following his arrival in America, when he was coming to terms with the likelihood of an indefinite period of exile from Europe. Te prospect did not rest easy with him, not least because, as he later observed, ‘in America, I am a composer-in-residence since I am not American-born, while in Europe, I am a composer-in-absence’.1 Here he would also no longer be able to support himself through composing alone. Instead, like so many of Europe’s cultural and scientific elite who also had had to flee Nazi Germany in fear of their lives, a career in university teaching beckoned. Now in relative isolation from compositional developments in Europe and elsewhere, and faced with the necessity of forging what was essentially a new career as he approached middle age, a degree of consolidation and stock-taking in his compositional outlook was perhaps inevitable. In February 1939 Krenek commenced a two-year contract as a professor in music at Vassar College, a liberal-arts College in up-state New York, which then was followed by an offer of a Chair in Music at Hamline University in Saint Paul, Minnesota.
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Program Book
MahlerFest XXII Schedule of Events TERESE STEWART MEMORIAL CHAMBER CONCERT Wednesday, May 13, 2009, 7 :00 PM Boulder Public Llbrary Canyon Theater, 9th & Canyon Friday,May 15,7:30 PM Rocky Mountain Center for Musical Arts, 200 E. Baseline Rd., Lafayette Programr Musical Sertings of Passages from Goeth es Faust, by Beethoven, Schubert, Schumann, Liszt, Mussorgsky, and Lili Boulanger Karherine Montgomery, mezzo soprano; Joel Burcham, tenor; Patrick Mason, baritone; Christopher Zemliauskas, piano SYMPOSIUM Saturday, May 76,9100 AM - 3:30 PM Chamber Hall, Room C-799,Imig Music Building (CU-Boulder) l Marilyn McCoy, Boston, Massachusetts "Coaxing ,,'. the Universe to Resound and Ring: .:::::,::::::::. A Look at Some Climactic Moments from Mahler's Eighth Symphonf" , ,,,,,::r,,,i Robert Olson, Artistic Director, Colorado MahlerFest 'A Conductor's Perspective on Mahlers Eighth Symphony" : Jane K. Brown, University of Washington (Seattle) "Ever Onward: Goethes Fdusr around 1900" Stephen E. Hefing, Case Western Reserve University, Cleveland, Ohio :::' ,,'Accendelumensensibus,lAGreatBearerofJoy,AGifttotheNation,, SYMPHONY CONCERIS Saturday, May L6 & Sunday, May 77 ,2009 Macky Auditorium, CU Campus, Boulder The Colorado MahlerFest Orchestra, Robert Olson, conductor See page 2 for details. Fundingfor MahlerFest XXII has been prouided in part b1 grants f'on The Sciendfic and Cultural Facilities District, Tier III, administered by the Bouller Counry Commissioners; Avenir Foundation; Dietrich Foundation of Philadelphia; Boulder Public Library Foundation;
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Colorado MahlerFest Nlahler was the first composer to shatter the fin-de-siicle intellectual tradition of bland rationality and blind optimism. His vision of the world, so clearly mirrored in his works, reflected the problems of life, of love, of achievement and failure, of happiness and fame from the viewpoint of death. Predictably, audiences then were utterly perplexed by both the emotional honesty and emotional complexity of this approach. However, today's generation of listeners finds itself increasingly in accord with a composer who does not spare them the effort of stretching their emotional range. The American critic David Hall eloquently summarized the whole history of public reaction to Mahler: "For the audiences of Mahler's own day, and perhaps even for those between the two world wars, his musical message was too strong a dose of bitter medicine.... Today, what were once Mahler's private anxieties and aspirations...now find an echo in the experiences of many hundreds of thousands. They are those for whom the circumstances of war, of overdeveloped technology and underdeveloped humanity...have posed the hard core questions of faith in human destiny that Mahlel as a solitary individual, tried to answer. Now that his problems have, in a sense, become common to all of us, his music has begun to find a home throughout the world." His music may reach contemporary ears, but contemporary budgets do not promote frequent performances of the great symphonies of Mahler, other than the popular First and Fourth Syntphonies. Complete works for hundred-piece orchestras and multiple choirs, lasting nearly two hours and demanding extraordinary perfomrance skills, until recently found only sporadic inclusion in orchestra seasons, and then primarily with major, professional orchestras.
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Colorado Mahlerfest XXIX Orchestra
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Robert Olson, Music Director :.: January 8= 10,1993 Grusin Music Hall, Imig MuSic Building' University of Colorado College of Music, B,oulder, Coloradb The Colorado MahlerF est Mahler was the first composer to shatter the Victorian intellectual tradition of bland rationality and blind optimism. His vision of the world, so clearly mirrored in his works, reflected the problemsof life,of love, of achievementand failure, of happiness and fame from the viewpoint of death. Predictably, Victorian audiences were utterly perplexed by both the emotionalhonestyandemotionalcomplexityofthisapproach. However,today'sgeneration of listeners finds itself increasingly in accord with a composer who does not spare them the trouble of stretching their emotional range. The American critic David Hall eloquently summarized the whole history of public reaction to Mahler: "For the audiences of Mahler's own day, and perhaps even for those between the two world wars, his musical message was too strong a dose of bitter medicine . Today, whatwere once Mahler's private anxieties and aspirations . now find an echo in the experiences of many hundreds of thousands. They are those for whom the circumstances of war, of over-developed technology and under- developed humanity . have posed the hard<ore questions of faith in human destiny that Mahler, as a solitary individual, tried to answer. Now that his problems have, in a sense/ become conunon to all of us, his music has begun to find a home throughout the world." FIis music may reach contemporary ears/ but contemporary budgets do not promote frequent performances of the great symphonies of Mahler, other than the popular Firsl and Fourth symphonies.
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Mahlerfest Xxxiii Visions
May 9-17, 2020 Boulder, CO KENNETH WOODS XXXIII MAHLERFEST VISIONS & VISIONARIES Mahler’s Second Symphony | Mahler and the Visual Arts | Mahler and Wagner Arts | Mahler and Visual Mahler’s Second Symphony | Mahler and the ARTISTIC DIRECTOR COLORADO ABOUT MAHLERFEST MAHLERFEST MahlerFest.org XXXIII XXXIII Saturday, May 9 – Sunday, May 17, 2020 It’s our biggest and boldest festival ever, Boulder, CO culminating in Gustav Mahler’s monumental and Gustav Mahler's Symphony No. 2 in C Minor uplifting Second Symphony. Opera Underground: Act I of Wagner's Die Walküre MahlerFest XXXIII includes our first-ever opera, Act 1 of Richard Wagner’s Die Walküre, a lieder recital, chamber music concerts, a Symposium: Exploring Mahler, Wagner, and the Visual Arts free brass ensemble concert, and a visit from one of today’s leading composers, Philip Sawyers. Through it all, we explore and celebrate Plus a lieder concert, films, chamber music concerts, a brass band the connection between eye and ear: from Wagner’s revolutionary idea concert, open rehearsals, and social events of Gesamtkunstwerk (total artwork), which would fuse music, design, and drama, through Mahler’s connection with visual artists in fin-de-siècle Vienna, and with the emergence of synesthetic explorations of sound and color in the 20th century by Wassily Kandinsky and Olivier Messiaen. We are excited to welcome a star-studded team of Festival Artists this year, including acclaimed Tickets on sale now! violinist Zachary DePue; leading singers April Fredrick, Stacey Rishoi, Brennen Guillory, and Matthew Sharp; and local favorites pianist David Korevaar, violist Erika Eckert, and MahlerFest.org clarinetist Daniel Silver.
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Robeft Olson Artistic Director 8( Conductor MAHLEKFE 5T XVI Schedule of Events
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Program Book
MAHLEKFE 5T Xvlilil Schedule of Events CHAMBER CONCERTS Wednesday, January 12, 7 :00 PM Boulder Public Library Auditorium,9th &. Canyon Friday January 14,7:30 PM Rocky Mountain Center for Musical Arts, 200 E. Baseline Rd., Lafayette An all-Mahler lieder recital: Three movements from Das Lied von der Erde (Wednesday only) Selections from Des Knaben Wunderhorn Lieder eines fahrenden Gesellen SYMPOSIUM Mu s i c rhe ater t, l#;i$3{i S:t norrhe ast c orner) "'ffii,ei#,ti#:?9 Kelly Dean Hansen, M. Mus.- Defining a "Tragic" Work Dr. Stuart Feder, M.D. - A Biographical and Psychological Context for Mahler's Ninth Symphony Dr. Stephen E. Hefling - An Analytical View of the Ninth Symphony Prof. Marilyn McCoy - Stepping, Sliding, and Soaring: Navigating Some of the Ups and Downs of the First Movement of Mahler's Ninth Symphony Jerry Fox - On Features of the Recordings of the Ninth Symphony Video (time allowing) - Leonard Bernstein on Mahler Panel Discussion, moderated by Prof. Marilyn McCoy SYMPHONY CONCERTS MahlerFest Orchestra, Robert Olson, conductor Saturday, January 15 Sunday, January L6 Macky Auditorium, CU Campus, Boulder See page 3 for details. Funding for MohlerFest Xvlll hos been provided in port by gronts from: The Boulder Arts Commission, on The Scientific ond Culturol Focilities Disu'rct, riilir:J The Boulder Li The Von Dyke Mony music lovers of the Boulder oreo ond olso from mony stotes ond countries Scientiffc & Cultural Facilities District tUakiry It Po.uihle. MAHLEKFE 5T Xvflilil Not only has Mahler's music "begun to find a home," he has become the eleventh most performed composer in the repertoire, and this almost unbelievable explosion of popularity in the last three decades has, at its core, a fundamental reason.
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Program Book
MAHLER II Robert Olson, Music Director January 14 & 15, 1989 Imig Music Building University of Colorado Boulder, Colorado L Colorado MahlerFest II Mahler was the fIrst compo er to shatter the Victorian intellectual tradition of bland rationality and blind optimism. His vision of the world, so clearly mirrored in his works, reflected the problems of life, of love, of achievement and failure, of happiness and fame from the viewpoint of death. Predictably, Victorian audiences were utterly perplexed by both the emotional honesty and emotional complexity of this approach. However, today's generation of listeners finds itself increasingly in accord with a composer who does not spare them the trouble of stretching their emotional range. The American critic David Hall eloquently summarized the whole history of public reaction to Mahler: "For the audiences of Mahler's own day, and perhaps even for those between the two world wars, his musical message was too strong a dose ofbitter medicine ... Today, what were once Mahler's private anxieties and aspirations ... now fInd an echo in the experiences of many hundreds of thousands. They are those for whom the circumstances of war, of over-developed technology and under-developed humanity .. have posed the hard-core questions of faith in human destiny that Mahler, as a solitary individual, tried to answer. Now that his problems have, in a sense, become common to all of us, his music has begun to fInd a home throughout the world." His music may reach contemporary ears, but contemporary budgets do not promote frequent performances of the great symphonies of Mahler, other than the popular First and FOUTch symphonies.
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