Rbbert,, n, son, Afii$tiC,,,, Director

January ,1 1i16, .::1994

The Colorado MahlerFest

ahler was the first composer to shatter the Victorian tradition of blandrationality and blind optimism. His vision of the world, so clearly mirrored inhis works, reflected the problems of life, of love, of achievement and failure,

of happiness and fame from the viewpoint of death. Periodically, Victorian audienceswere utterly perplexed by both the emotional honesty and emotional complexity of thisapproach. However, today's generation of listeners finds itself increasingly in accordwith 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 publicreaction to Mahler: "For the audience of Mahler's own day, and perhaps even for thosebetween 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 echoin the experiences of many hundreds of thousands. They are those for whom thecircumstances of war, of over-developed technology and under-developedhumanity,...have posed the hard-core questions of faith in human destiny that Mahlef,as a solitary individual, tried to answer. Now that his problems have, in a sense, becomecommon 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 promotefrequent performances of the great symphonies of Mahle4, other than the popular Firstand Fourth Symphonies. Complete works of hundred-piece orchestras and choirs, lastingnearly two hours and demanding extraordinary performance skills, still find only periodicinclusion in orchestra sessions, and then only with major, professional orchestras.

Thus came the idea to create a Festival dedicated to the performance and study ofthe entire repertoire of Mahleq, a Festival where one may program "Songs of a Wayfarer"and the First Symphony on the same concert because of their similarities; a Festival inwhich dedicated amateur and professional musicians gather from different orchestrasacross the State-and, as it furns out, across the Continents-to perform what are generallyconsidered the greatest symphonic creations in the repertoire; a Festival which attracts a

timpanist to travel from London, a soprano to travel from Chicago, a violinist to comefrom Oklahoma. "ASymphony is like the world; it must embrace everything..." Mahleronce declared. Every ]anuary the Colorado MahlerFest allows its participants andaudiences to explore one of history's greatest musical prophets.

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

The Scientific and Cultural Facilities District, administered by the Boulder County Commissioners

The Foundalionfor the Arts and Humanities

The Boulder Library Foundation

Bank One

Neodata

Colorado MahlerF est

BOARD OF DIRECTORS

St an Rutt enb er g, P r e sident

Cl aud e M cMillan, Vi ce -P r e si dmtP at Rutt enb er g, S e cret ary

IeffeV BarishSteoen BrunsDiane CollisonSaraVanDyke

Daoid Hummer, Past PresidentCharles D emare st, Tre asurer

I ennifer Moty cka, legal as sist ance

lulie BirschbachBob Collins

L. Daoid IsnisleannaWearing

ARTISTIC STAFF

ARusrrc Dnncron aup ColoucroRRobert Olson

DmncroB op Cot-t-oeutlStanen Bruns

CoNcrRtuasrsRAnnamnie lhracsony

ADMINISTRATTVE AND PRODUCTION STAFF

PruNcpLl Srace MeNeceRRobert Arentz

Sracs MeNecsRBrian St.lohn

AssrsreNr ro rHE DlnncronRichardThomas

Assrsreur CowpucroRBrinn St.lohn

RrconplNc TucHtucnNGlenn Sherutood

GRapHrc Anrs

Bob Collins

The Colorado MahlerFest is co-hosted by theUniversity of Colorado College of Music,

Dr. Daniel Sher, Dean

Se R&!berq, PEidetrtDr OdeMcMilld Vice-Psidenl

iom

Dr SBpo BrumBob ColliNDiam CollisooL David lsisDr. JeodterMffikaDr. Roben Otso'i9B Vil Dyke

Co[orafo Mafi[erfestP.O. Box 1314, BouldeI, CO 80306-1314

Robert Olson, Artistic Director

Telephone: (303) 494-1 632

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Dear fe[[oat tutafifer Entfrusia*:

,I,lefcone to tfrz Co[orafo fo{ofrterfe*, It k ourgreat p[easure to present tfris Mafi[erfest l/ttfeaturing of course, tfie Sympfiony 9{o. 7. tn afiitinn, tfianfu to tfie co[[a6oratinn raitfi tfie

Eoutder eu6[it.ciirory, zae fiaae an eaening of some Mafifer songs, anf tfiz fourtfr mouement

from fiX Tourtfr Syrupfiony, zaitfi totafi[er fritnse[f ot tfic pinno.

An innwatinn for tfiis yeor is an eoening of 6a[[et, lanced 6y tfie'Iilestern Cfiamber Ba[[e.t to

cfioreograpfry of its Diector, Mar(Car[son. our Boarf fiaf liscussef tfic possiiiltty of a

Sattct eztening set to Mafi[er's music, 6ut zae frnf not gotten mucfi \eyonf, tfre "zaou[[n't it 6e

great tf . . ," pfinse. Mar(sat ne4t to us at one of tfu seminars arrangel 5y tfie regi^ona[funf,-

inggroups. !{e recognizef, tfie MofitzrTe* |utton I atos uearing an[ intro[uce[ frinsetf.,tlitfrni* a feu sentences 1otfi of us rea[izel tfint a fruitfut partnersfrip zaoufd 5e possi6[e.

tfiis story mafus a conzteniznt se7ue into tfre topit of fun[ing agencies, 'l,le are ruo* grateful

to seztero[ fu"[i"g sources tfi.at enaLfe us to mnfo fu{afi[erf e* 'I/I I Lroaler an[ 1etter tfian

eoer, f or eaarup[e, ate receiae[ funling frotn tfre AQ.odata f ounfatinn for tfic Arts, managed

tfi-rougfi.tfrz Arts and l{nnanities Assem|ty of Boutler (AL{AR), anf Ban(one.'tfizir frzfp

assuref, our abitity to Buarafltee tfre eaenings of 1atkt, 'Lle ako tfran(tfie Scientific an[Cu[tura[ foci[ities Oistrbt (SC|D); tfuir arceptancz of our yroposaffor 1994 raas insfi'wtun-

taf in getting tfic p[onning of lv{ofrteffest t/tt o/f on o so[il foun[ation, q4)e ako tfran(tfu

ffLony supporters zafio fiaae tafun odaertkemzflts it. tfiis progratn.'I,l/e fiope tfrat zafien you

patronke tfrese frienf,s you ui[[mention tfiat you sau/) tfreb af in tfiz lVtafi[e*fest Prografit,

'I,le tfrnn(yout our audiencz, for ffiany contriiutions.

SCFD incfudes a fine famity of arts groups, ffinrly of ntfiXfi afso perform tfie gforious tnnsic of

$ustazt Mafiter. f or e4arnp[2, tfie Coforafo Syrupfiony performz[ tfiz 9tfi Syrupfrony fast

October anf zait[ ptay tfu 1st ne4t Apri[, '\fu Co[oraf,o lvtusb festiaa[ perfonne[ Des \naben,l,lunf,erfrorn f,uring tfie 7gg3 se^tott an[ is scfiefuting tfu stfi Sympfiony for tfrz 1994 sunl-

ffrzr season. ,Ifre goufier tPfrilfiarmonit ui[[ present Mari[yn ilorne hL tfiz frikfurt Liz[er in

februory 1994. See you ot tfrese upcoruing eaettts, Ifie fotore Mafrfer tfu Retter!

l,llitfr sincere frope tfint you wi[[ enjoy tfiz lvtafi[effe* 't/tt,

Ston th*tenl er g, 9 r aifunt, B o ar d ol Q ir utor s.

Colorado MahlerF est VIIRobert Olsory Artistic Director and Conductor

)anuary L1-16,7994

Dedicated to the performance and study of the entire Mahler repertoire

ScHnours oF EvENrs

Tuesday, January 11

8:00 p.m. Song Recital and Dance Preview Boulder Public LibraryJulianne Best, sopranoSteven Bruns, C.U. School of MusicMark Carlson, Western Chamber BalletGustav Mahleq, piano rollsPatrick Mason, baritoneRobert Olsoru Colorado MahlerFestStan Ruttenberg, Colorado MahlerFest

Julie Simson, mezzo-sopranoRobert Spillman, piano

Thursday, ]anuary 13

8:00 p.m. Western Chamber Ballet Watts-Hardy Space for DanceSymphony No. 1, Third movementSymphony No. 5, Fourth 116vsms1f-AdagiettoSymphony No. 1, Second movementDer Abschied from Das Lied uon der Erde

Friday, ]anuary 1-4

3:00 p.m. Lecture: ln Search of Mahler's Sketchbooks Imig Music Building, College of Music, C-113Dr. James L. Zychowrcz, AR Editions, Madisory Wisconsin

8:00 p.m. Western Chamber Ballet Watts-Hardy Space for DanceSymphony No. 1, Third movementSymphony No. 5, Fourth movement-AdagiettoSymphony No. 1, Second movementDer Abschied ftom Das Lied oon der Erde

Saturday, ]anuary 1-5

L:30 p,m. Film Premiere: To Liae, I Wiil Ae - Gustaa Mahler lmig Music Bldg., Coll. of Music, C-199

3:30 p.m. Panel Discussion: The Recordings of Mahler's Seoenth C-1.99Robert Olsory Artistic Director, Colorado MatrlerFestStanley Ruttenberg, President Colorado MahlerFestDr. James L. Zychrowicz, AR Editions, Madisory Wisconsin

Jearura Wearing, Director of Classical Music, KPOF, Moderator

6:45 p.m. Lecture: Mahler's Seoenth SymphonyThrough Eight Decades C-199Dr. James L. Zychowicz

8:00 p.m. Concert: Symphony No.7 Grusin Music HqllRobert Olson, Conductor

Sunday,]anuary 15

2:00 p.m. Film Premiere: To Lioe, I Will De-Gustao Mahler Imig Music Bldg., Coll. of Music, C-199

4:00 p.m. Lecture: Mahler's Seaenth SymphonyThrough Eight Decades C-1.99Dr. James L. Zychowicz

5:30 p.m. Concert: Symphony No.7 Grusin Music HallRobert Olson, Conductor

Colorado MahlerF est VIITuesday, ]anuary 11

Boulder Public Library

]ulianne Best, sopranoPatrick Masory baritone

|ulie Sims ott, mezzo-soprano

Gustav Mahleq, piano rollsRobert Spillman, piano

Introduction to Mahler's songs from Des KnsbenWunderhorn(Steoen Bruns, School of Music, Uniaersity of Colorado)

Selected Songs from Des KnabenWunderhorn

Verlor'ne Miih'( Simson, Mason, Spillmnn)

Wo die schiinen Trompeten blasen(Mason, Spillman) '

Rheinlesendchen(Simfin, Spillman)

Lie d das Verfolgten im Turm( Simson, M.ailn, Spillmnn)

Das irdische Leben(Simson, Spillman)

Lob des hohen Verstandes(Mason, Spillman)

kost im Umsliick( Simson, Iflason, Spillmnn)

Symphony No. 4, fourth movemen tz D as himmlis che Leb en(Best, Mahler)

- IxrsRurssroN -

Developing Choreography to the Music of Mahler(Mark Carlson, Western Chamber Ballet)

Video Clips of Rehearsals for the MahlerFest Ballet Evenings

The Coming Years of the Colorado MahlerFest(Robert Olson, Artistic Director; Stan Ruttenberg, President)

Color ado MahlerF est VIIThursday, ]anuary 13 - Friday, January 14

Watts-Hardy Space for Dance

Western Chamber Ballet

Mark Carlsory Artistic DirectorCarol Roderick, Ballet Mistress

Eric DonovanSandra KerrCori Lucero

|esse Roderick

Symphony No. 1, Third movement(I srael Philhnrmonic, Zubin Mehta, conductor )

Symphony No. 5, Fourth movement, Adagietto(London Symphony Orchestra, Gilbert Kaplan, Conductor)

Symphony No. 1, Second movement(Londo n Sy rnphony Orche str a, I ascha Hor enstein, conductor )

- INrpRvrrssroN -

Der Abschied fuom DasLied aon der Erde(Christa Ludtoig, soprano; Nao Philharmonia Orchestra, Otto Klemperer, conductor)

Colorado MahlerF est VIISaturday, January 15; Sunday,Ianuary 16

Grusin Music Hall

Colorado MahlerFest OrchestraRobert Olsory Conductor

Symphony No. 7

I. Langsam (Adagio): Pii mosso

[. Nachtmusik Allegro moderato

m. Scherzo:Schattenhaft

fV. Nachtmusik: Andante amoroso

V. Rondo - Finale: Tempo ordinario

Program Notes

Western Chamber Ballet - The Music

Symphony_ No._ 11 Mahler begancomposing this symphony in 1884, beforeBrahms' Fourth Sumphony was published in1885. It broke all the romantic molds andtraditions and puzzled its hearers, except foryoung musicians who saw in it the new musicMahler was initiating. This work is fromMahler's Wunderhorn yeats, when he wassetting many of the Wunderhorn poems tomusic. Some of this music enters into thissymphony, as well as into the three thatfollowed.

In the second movement, according toDeryck Cooke,

"The A Major LAndler, with its stampingsand yodelings (partly out of the song Hansund Grete), and its clattering trumpets andwhooping horns, conjures up the primitivepleasures of country life, witnessed so oftenin childhood; the F Major trio voices againthe longing to return."

Whooping horns, and longing for hisearlier life (although it was unhappy) as wellas f or the bucolic life, are Mahleriantrademarks.

Of the third movement, again Cooke:

"..,Mahler makes a sinister funeral marchout of a children's nusery tune, the Cermanvariant of Frire lacques (Brother Martin, areyou sleeping?). Over muffled drum-beats,the tune whined sepulchrally by a mutedsolo double bass, is taken up in ghostlycanon...."

Near the close of the movement, Mahleragain betrays his childhood roots with the so-called "Jewish Music."

9ymphqny_ No._ 5._ \d.qgteL|g: Gilb ertKaplan quotes sources, including Alma Mahlerand Willem Mengelberg, Mahler's Amsterdamchampion, as saying that this was composedas a love song to Alma, whom he was courtingat the time. Kaplan believes Mahler intendedthat the tempo should not drag, and that themovement should be played in about eightmrnutes instead of the more usual ten or eleven.

Der Abschied from Das Lied aon der Erde'.Mahler was entranced by some ancient Chinesepoems translated into German under the nameof The Chinese Flute. This song cycle begins

with five shorter songs, then ends with a verylong setting of two of the poems that treat theimpressions of a person waiting for the promisedappearance of a "friend. " Various commentators tryto describe this heavenly music in words, but it isnot necessary; the soaring vocal line and the gentleforest accompaniment tell more than mere words.After a long musical interval separating the twopoems, brought to an agonized end by low chordsin the brass, the second poem tells of the mysteryof "forever," or perhaps the beauty of the hereafteras Mahler, ever the mystic, hoped it would be, themusic ending with delicate accompaniment to thewords " Ewig, Ewig" ("forever, forever") fading intonothingness. As with the Ninth Symphony, Mahlernever heard Das Lied performed, and it truly seemsto be his anticipated larewell.

-Slan Rutlenberg

Western Chamber Ballet - The Dance

The music of Mahler forms the connectingthread in this evening of ballet. There is no story,per se; the selections of music, as explainedabove, are excerpts from three different works,chained together and interpreted by the samefour dancers.

The first dance, Symphony No. 1, Thirdmovement, is a mix of a French nursery rhyme(not uncommon also in other languaf es)

-and

Jewish folk music. The dance reflects that folkelement, as well as the foreboding undertonesof the nursery rhyme.

The second dance, Symphony No. 5,Fourth movement, Adagietto, evokes beauty,love, sadness and unobtainable fulfillment. Asdescribed above, there is good evidence that itwas a love offering for Alma Schindler, whomMahler was courting at the time.

The third dance, Symphony No. 1, Secondmovement, is perhaps not typical of Mahler, butits exuberance ls typical of dance and is treatedas such.

Finally, the fourth dance, Der Abschied,fuomDas Lieduon der Erde, exemplifies a partingor farewell to what once was, but cannot besustained.

Mahler's music certainly presentschallenges for its interpretation through dance,but it also offers opportunities not found withinthe work of any other comPoser'

M ark Carrson

Symphony No. 7

I. Langsam (Adagio) : Pii mossoII. Nachtnusik Allegro moderato

III. Scherzo: SchattenhaftIV. Nachbnusik Andante amorosoV. Rondo-Finale: Tempo ordinario

Gustav Mahler (1860-1911) composed hisSeventh Symphony between 1904 and 1905 andconducted its premiere in the fall of 1908. During thattime Puccini completed Madama Butterfly, Straussfinished Salome, and Bartok composed his first StringQuarteU the world saw the production of the firstModel-T autos and Einstein developed his specialtheory of relativity. Consistent with all theseinnovations, Mahler's Seventh Symphony is a modemwork, although one firmly rooted in the Romantictradition.

Mahler once confided his programmaticintentions for the Symphony to the conductor WillemMengelberg-ideas that Mahler chose not to publish.According to Mengelberg, the Seventh is about thetransformatron fircm night to day. Night falls at theoutset, giving way to a noctumal procession. The darkSchrzo follows and it gives way to an aubade, theaffectionate nocturne found in the second Nach tmusik.Day breaks in the final movement, a work removedin structure, mode and spirit from the opening, yettied to the first movementby motives and gestures.

The first movement is a large-scale sonata thatopens with an extended slow inhoduction. Mahleronce remarked that the opening sound echoed that ofoars shiking the water of a lake inthe Salzkammergut.

The sound of strings and tenor hom that opens themovement pnrvides a point of departure for the sonata

that comprises the greater part of the movement. Themusic contains several short motives and quartal

sonorities that Mahler develops within the movement.Some motives are related to ideas found in the SixthSymphony, while others reach forward to music thatoccurs in the Eighth.

The second movement, Nachtmusik, is arondo,with its principal theme based on a triadic idea.Throughout the piece Mahler manipulates minor andmajor modes, often shifting the quality of a chordwhile it resounds. \ [hile still chromatic, harmoniesare simpler than those found in the first movement,and the structure is of smaller dimensions. Thismovement harks back to music he composed in hisearlier "Wunderhorn" symphonies, as do the twomovements that follow.

At the center of the Symphony is the Scherzo,

which also playsbetween the minor and major modes.Its melodic motion is characterizedby chromatic,rather than triadic movement, its themes parody thedances that Mahlerevoked in earlier works. The halFstep motive that opens the movement is all thatremarns when the Scherzo concludes. The Scherzo isno less a night-piece than the movements that flank itand is also related to similar pieces in Mahler's othersymphonies.

Inconhast to theScherm,the second Nachtmusikis a warmer piece. Unlike the more sectional structuresof the previous two movements,the Andante amoroso

contains morc continuous music. It is a serenade, amore intimate work, with the orchestration limited tostrings and winds. As with the other Nachtunusik, thefourth movement reverts to earliel, Romantic models.Mahler told his wife that the second Nachtmusikhadits inspiration in the poetry of the Romantic poetEichendorff.

As the sounds of the Andante amoroso fade, thetimpani fanfare opens the Rondo-Finale.The finalmovement is strucfurally comparable to the first one.A complex work, it contains abrupt changes of tempoand melody. Quotations of music by variouscomposers occur almost randomly. The Rondo-Finaleis, in a way, as di$ointed as the conscious min4 an

example of musical realism.Critics like TheodorAdomo haveassailed Mahler for creating a

movement that is too positive, tooaffirming. Yet the Rondo-Finale isconvincing in the context of theSymphony as a whole. It is thecrowning gesfure of an ambitiouswork. To find less challengingmusic would not be appropriateto the structure Mahler created inthe tuventh Symphony.

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The Artists and ParicipantsRobert Olson, Conductor

He is also in his fourth year as Director of Orchestras andProfessor of Conducting at the Conservatory of Music at theUniversity of Missouri - Kansas City, where he conducts thesymphony orchestra, chamber orchestra, and opera productions.The orchestra, under Olson's leadership, has become one of the premrere Conservatory orchestrasin the midwest.

He is in his eleventh year as Music Director of the Longmont Symphony in Colorado, anorchestra that has consistently received rave reviews from Colorado critics. During his tenure, theorchestra has flourished, presenting a ten concert season to capacity audiences, and increasing itsoperating budget almost ten-fold.

Prior to his move to Kansas City, he was on the faculty of the University of Colorado Collegeof Music for stxteen years, where he was music director of the opera program and AssociaieConductor of the Orchestras. Local audiences also know him as conductor for years of the ColoradoGilbert & Sullivan Festival.

He has held conducting posts with the Omaha Symphony, Boulder Baroque ChamberOrchestra, the Boulder Civic Opera, Arapahoe Chamber Orchestra, Arvada Chamber Orchestra,the Colorado Lyric Theatre, and the Rocky Ridge Music Festival.

As an active guest conductor, Robert Olson has guest conducted many orchestras in the UnitedStates, making his European debut in 1990 in Belgium, resulting in engagements in Venezuela in1997 andreturn invitations to Belgium. During the7993-9 season he will guest conduct the KansasCity Symphony, the Royal Conservatory Orchestra of Lidge, Belgium, the original "Mannheim"orchestra in Karlovy Yary, Czech Republic (Europe's oldest orchestra), and the TransylvaniaPhilharmonic in Romania. He is recorded on the CRS label,

As a recipient of the coveted Fulbright Scholar Award, he studied with the legendarypedagogue, Hans Swarovsky of the Vienna Philharmonic. In addition to Slvarovsky, Olson studiedwith Yuri Krasnapolsky of the New York Philharmonic, and such well known conductors as LeonardBernstein, Lorin Maazel, Zubin Mehta, and Georg Solti. Twice in recent years he was selected asone of four conductors from around the country to work with Maestro Andr6 Previn of the LosAngeles Philharmonic and Herbert Blomstedt of the san Francisco symphony.

Until his move to Kansas City, Olson was also an internationally recognized bassoonist. Hisrecital and concert tours took him to Japan, three times to Europe, and throughout half the UnitedStates. He performed on the 1990 Vienna International Music Festival and recorded forCzechoslovakian Radio.

He is married to violist Victoria Hagood Olson and has two beautiful children, Tori (6) andChelsea (3).

Robert Olson began the Colorado MahlerFest on a dream and $400.00 seven years ago, and ithas flourished to become, in the words of a critic, "one of Boulder's most valuable cultural assets."

Robert Spillman, piano

Robert SpillmanisChairman of the PianoFaculty at the Universityof Colorado at Boulder.He studied at theEastman School ofMusic, receiving a B.M.degree and Performer'sCertrficate in piano andan M.A. degree in musictheory. Spillman taughtat Eastern Kentucky

State University for one year, then served in theUnited States Army from 1960 to 1963 as a piarustin the U.S. Military Academy Band at West Point.He then studied with Artur Balsam and SergiusKagan in New York City and accompaniedrehearsals and performances of Porgy and Bess atthe NewYorkCity Opera Company withWilliamWarfield, Veroruca Tyler and Robert Guillaume.He joined the faculty at Eastman in1973, wherehe coached opera and taught accompanying andvocal literature. Professor Spillman is currentlyCo-Director of the Opera Center at the AspenMusic Festival, where his duties include teachingpiano, opera and languages, performingfrequently rn chamber concerts, and conductingopera performances. He has compositionspublished through E dition Mus i cus . His textb ook,The Art of Accompanying, was published bySchirmer Books in 1985 and another textbook,Sightreading at the Keyboard,waspublished rn 1990.His recording of Mozart's lieder wlth sopranoTeresa Ringholz has recently been released onArabesque Records. Mr. Spillman has remainedactive throughout the United States asaccompanist for such artists as Sylvia Rosenberg,Yehudi Hanaru, Paul Sperry and Lucy SheltorUand he has performed withnumerous orchestras.He is also busy as a clinician and teachel, workingwith both pianists and singers.

Mark CarlsonDirector, Western Chamber Ballet

Mark Carlson trarned with Paul Petroff, whowas Premier Danseur with the origrnal Ballet Russede Monte Carlo. Carlsonhas danced solos and lead-ingroles with Les Grands Ballets Canadiens; Stora

Teattem in Swedery Badische Staatstheatre in Ger-many; and the Royal Ballet of Flanders in Belgium.As a teacher he hastaught for the CalifomiaBallet School and theAmerican Ballet School inCalifornia; the Academyvoor Klasiek RussischeBallet in Belgium; andKurverksamheten,Stockholm University inSweden. Carlson hasserved as Ballet Masterfor Ostg6ta Ballet in Swe-den and for Rrverside Ballet Theater rn Califomia.He was Associate Director of Northwest ChamberBallet in Oregory and Arhstc Director for both theSpringfield Ballet in Missouri and Classical BalletEnsemble rn Califomia. As current Director of theWesternChamber Ballet, he has ctroreographed themusic of Bactu Handel, Satie, Debussy, Mahler andRodrigo.

Julianne Best, Soprano

Julianne Best, a

graduate sfudent in Vo-cal Performance, holds aNonsAwardatC.U. andis a past Spencer Awardwinner. A recent finalistfor the 1993 Merola Pro-gramwiththe SanFran-cisco Opera, she has ap-peared with the Colo-rado Symphony, theColorado Music Festi-

val, the Boulder Philharmonic, and the SouthTexas Symphony. She was a national finalist forthe N.F.M.C. Young Artists Awards in 1993 andreceived second place in the 1991 NationalM.T.N.A. Voice Competition, as well as receivingawardsinthe Denver Lyric Opera Guild Compe-titions and the district regional levels of the Met-ropolitanOpera Competrtions and the district andregional levels of the Metropolitan Opera Com-petitrons 1n1992 and1993. Julianne recently per-formed the leading role in The Ballad of Baby Doeat C.U., and she will debut with Opera Coloradoin next spring. Julianne has sfudied at NorthernArizona University and the Staatliche Hochschulefur Musik in Stuttgart, Germany.

Patrick Masory Baritone

Baritone PatrickMason is known for hiscommand of an ex-tremely wide variety ofmusical styles from thetenth century to thepresent. A noted inter-preter of medieval andrenaissance music, Mr.Mason has appeared inperformances and re-cordings with the

Waverly Consort, the Boston Camerat4 the FolgerConsort, Schola Antiqua and the Ensemble forEarly Music. His recent concentration in Liturgi-cal Drama has included appearances at London'sSouthbank Festival, the Utrecht Early Music Fes-

tival in Holland and a tour of Italy with the Ludus

Danielis (Ihe Play of Daniel).Patrick Mason's commrtment to the music

of our time has involved him in performances andrecordings with composers Leonard Bernstein,George Crumb, Elliot Carter and StephenSondheim. He recently sang John Adams' awardwinning compositron, TheWound Dresser,with the

Rochester Philharmonic under the direction ofMark Elder. He has sung the lead in Tod

Machover's science fiction opera, VALIS, atTokyo's Bunkamura Theatre and at MIT inCambridge, Massachusetts, where Richard Dyerof the Boston Globe declared him "...a superbsinging actor who dominated everything." Hisrecording of VALIS for Bridge Records won a "Bestof the Year" award from the New York Times. Inthe summer of 1.993 he portrayed the greatSpanish writer, Cervantes, in the musical Man ofLaMancha at the Lyric Theatre Festival in Bouldeq,Colorado.

For over twenty years Mr. Mason hascollaborated with renowned guitarist, DavidStarobin, in numerous concerts and recordings.They have performed in London's Wigmore Hall,Kaufman Auditorium and Merkin Hall in NewYork City, the Candlelight Series in Baltimore, theWlltz Festival in Luxembourg, Ijsbreker inAmsterdam, the American Center in Paris andthroughout the United States. Their recordings ofcontemporary music have received criticalacclaim.

In the 7992-93 season, Mr. Mason sang allthree song cycles of Franz Schubert in recitals inwestern New York with pianist Phyllis East. He isa guest artist with the New York Festival of Songand has performed worksbyJohn Musto and oth-ers rvith that ensemble. He has appeared at theSkaneateles Festival r,vhere he sang Leonard

Bernstein's Ariqs and Bar-carolles, and at the VorpalGallery in San Franciscowhere, in conjunctionwith the Peabody Con-servatory of Music, hepresented a sung tributeto John Charles Thomas,the famous Americanbaritone. ln 1992, he wasinvited to be a soloist atthe First American VocalCongress where he ap-peared with prominentyoung artists of his gen-eration.

A former head ofthe voice area at the StateUniversity College atFredonia, Patrick Masonis now on the faculty ofthe University ofColorado at Boulder.

longmontsymphony

27 th Concert Season772-5796 for Ticket Informatior-r

orchestra

Ben Savevitch, Colin Carr

]ulie Sims on, Mezz o-s oprflno

Julie Simson hassung with opera com-panies throughout theUnited States, includ-ing Opera Colorado inDenver, Houston Op-era, Dallas Opera,Santa Fe Opera, andOpera Memphis, per-forming such roles as

Emilia in Ot ello, H anselin H ans el an d Gr e t el, the

Composer in Ariadne auf Naxos, and Suzuki inMadama Butterfly. She has also performed as

soloist in major oratorio works with the Den-ver, Colorado Springs, Cedar Rapids, and Mil-waukee Symphonies.

In 1985 she received a grant to study andperform in Europe where she subsequentlywon the prestigious Mozart Prrze at theInternational Belvedere Competition in Vienna.She was also a finalist in the Luciano PavarottiInternational Competition in Philadelphia andthe G. B. Dealey National Awards in Dallas.Miss Simsonwonthe 1989 East and WestArtrstsInternational Competition for a New YorkDebut and was presented in recital at CarnegieHall. She was also a winner of the 1990National Association of Teachers of SingingArtist Award Competition, providing her withconcerts and recitals throughout the nation.

In March, 1992, s};re participated in theGeorge Crumb Festival in Prague,where she performed Ancient Voices ofChildren and Madrigals, Book l. MissSimson received her degrees fromWestern Michigan University and theUniversity of Illinois and is currentlyArtist Teacher and Assistant Professorof Voice at the University of Coloradoat Boulder.

Gustav Mahler (1850 - LSLL),piano rolls

Besides the wonderful legacy oftris music, Mahler's conducting leftmany legends and narratives of his in-terpretations and opera stagings. Evenin an age when other conductors were

being recorded acoustically, Mahler made norecordings of his orchestral or opera perfor-mances. Howevel, on Novemb et 9, 1905, Mahlerwent to the Leipzig studios of M. Welte & Sohneto sit before a special piano to play four of hiscompositions: Ging heut' morgen ilbers Feld, lchging mit Lust durch einen grunenWald, the fourthmovement from the Symphony No. 4, and thefirst movement from the Symphony No. 5. Hisplayrng, with all its dy- &*; ;namics and expression,was recorded onWelte-Mignon piano rolls.Many other illustnousartists also made such ;=:recordings. The piano --*7 \rolls are played back onaVorsetzer, a device thatsits in front of a piano,much like a performe4,and with wooden fin-gers covered with felt, plays the keys much as

did the artist who made the recording.There is a story that many Welte-Mignon

piano rolls were buried dunng WWII and werefound later. Whatever the real story, the oldmechanisms were rebuilt and some of theserollswere issued on LP records, with various degreesof success. Thanks to the Gilbert Kaplan Foun-dation, these four Mahler piano rolls have beentransferred to a compact disc with the utmostcare to preserve the original trmings. This CD isavailable on Pickwick Golden Legacy, GLRS 101.

This CD presents these four rolls in two forms:piano alone the wayMahler recorded them,and then repeated wrthYvonne Kenny andClaudine Carlson sing-ing the vocal lines. TheCD also includes somereminiscences ofMahler compiledbythemusicologist WilliamMalloch in interviewswith people who knewhim and Musicians whoplayed under him inNewYork. A11 rn all, thisis a valuable CD forMahler enthusiasts.

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Steven Bruns, Dircctor of Colloquia

Dr. Bruns is Assistant Professor of Music atthe University of Colorado, where he teaches un-dergraduate and graduate music theory courses.He taught prevrously at Western Michigan Uni-versity and Western Kenfucky University. He re-ceived hrs Ph.D. from the University of Wiscon-srn-Madison where his dissertation was an ex-tended analytical study of the drafts for the Ada-glo movement of Mahler's unfinished Tenth Sym-phony.In the surrner of 7990, he was awarded agrant from the National Endowment for the Hu-mamties to study the operas of Richard Wagnerwith Robert Bailey at New York Uruversity. In ad-dition to co-directing the Boulder George CrumbFe stival in Octob er o f 1992, Dr. Bruns planned thePrague Crumb Symposium where he conducteda public interview with the composer and deliv-ered three lectures. This is his seventh appearanceat the MahlerFest.

Carol Roderick, Ballet Mistress

Carol Roderick trained in Boston and atButler University in L:rdiana. She has taught atthe Arvada Centeq, was ballet mistress for CleoParker Robinson Dance Theate4, School Drectorfor the Colorado Ballet and Program Manager forthe Bolshoi Ballet Academy at Vail. Carol iscurrently Artistic Director of the South WestCreative Dance Center in Lakewood.

Eric Donovan,Dancer

Enc Donovan of Daytona Beach, Flonda,studied withthe School of Ballet WestinSalt LakeCity and Houston Ballet Academy. After servingas an apprentice with the Houston Ballet, Ericjoined the Colorado Ballet. This is his secondappeErance with Western Chamber Ballet; Ericwas feafuredinWater Music andFebruary in thecompany's |uly performance.

Sandra Kerr,Dancer

Sandra Kerr was born in Singapore andstudied at the American Ballet School in San

Diego. For two years she performed with TheBallet of the Deutsche Oper am Rhein inDiisseldorf, Germ any. Prevr ously she dance d withthe Classical Ballet Ensemble of California andNorthwest Chamber Ballet. Sandra is co-drectorof the Classical Ballet Conservatory and soloistwith the Western Chamber Ballet.

Cori Lucero,Dancet

Cori Lucero, a Denver native, trained withCarol Roderick and is an rnstructor at the SouthWest Creative Dance Center in Lakewood,Colorado. Cori has danced with Boston Ballet II,the Colorado Ballet, and with the David TaylorDance Theater. This is her first appearance withthe Western Chamber Ballet.

)esse Rodetick, Dancer

Jesse Roderick is a Denver native andtrained primarily with Carol Roderick. Sheattended the Bolshoi Ballet Academy in Moscowand Boston Ballet School. This is Jesse's debutperformance with the Western Chamber Ballet.

]ames L. Zychowicz, Lecturer and Panelist

James L. Zychowrcz studied at the Univerutyof Toledo, College of Educatiory where he receivedhis Bachelor of Music Educatrory magna cum laude,1977.Then he continued at Bowling Green StateUniversity, College of Musical Arts, where hereceived a Master of Musrc degree rn Performanceand in Music History 1981. He received the Ph.D.in Musicology frornthe University of Cincinnati,College-Conservatory of Music in 1988; hisdissertationbeing titled Sketches andDrafts of GustaaMahler, 1892-1901. He studied in Vienna under aFulbright Scholarship; he has participated inconferences and semrnars, has researched Mahler'sFourth Symphony, and helped orgamze a seminarin Paris on Mahler's Seventh Symphony, editing itsproceedings. He is currently Executrve Director ofAR Publications, Madison, Wisconsin, whichspecializes in high-quality publication of music,electronic music scanning, and computerized musrctypesetting.

"Yott fColorado MahlerF estl are fast becoming the centre of Mahlerian culture in the llnited States"

-Avik Gilboa, president, Gustav Mahler Society of America

Do You Enjoy The Colorado MahlerFest?

lf so, Read On...The Colorado MahlerFest, along with many, many other arts organizations in the Front

Range, would not exist were it not for the benefits realized from the creation in 1g88 of theScientific and Cultural Facilities District (the SCFD). lt came into being when, several yearsago, the public of Adams, Arapahoe, Boulder, Denver, Douglas and Jefferson counties voted inf avor of a one-tenth-of -a-percenttax increase to supporl various arts groups such as the Museumof Natural History, the Botanical Gardens, the Colorado Symphony, the Colorado Music Festival,and many other organizations. lndeed, the SCFD is the single largest contributor to the ColoradoMahlerFest. We have several good reasons for thanking the citizens of the Front Rangecounties in our area for authorizing the 0.1% sales tax to support the SCFD; thecultural facilities and arts programsstate and enhance the quality of life incontribute mightily to our economy.missioned by the Coloradoshows that $460 or so million wasarea in 1993. Of this, $126 millionas for staff, operations and capitalemploy nearly four thousand staff ,

supported by SCFD nourish our mentalColorado. Moreover, the arts also

A study by Deloitte &Touche, com-Business Committee for the Arts,associated with the arts in thiswas for direct expenditures suchequipment. Arts organizationsmaking them the twelfth largest

private industry with a total payroll Scientific & Culnrral of some $46 million. Another 9253million is estimated to have been Facilities District spent on transportation, babysitters, various goods and services purchased by caterers orcontractors for the arts organizations, eating out before performances and such. Most surprisingis that even though the Colorado Rockies established new records in 1993, attendance at thethree major professional sports organizations in 1992-93 (the Broncos, the Nuggets and theRockies) was about 60% of the attendance at 96 of the 128 Arts and Cultural organizations'events supported by the SCFD. Even if college and university sports were to be added in, thearts are winners in terms of public participation. The sales tax (ust one dollar for every thousandyou spend) is thus seen to have a tremendous multiplying factor for the local economy, as wellas enriching the lives of the public.

The current proposal expires in 1994, and the public will be asked to vote on the continuationof the 0.1% tax.

The Colorado MahlerFest and the hundreds of people associated with it actively solicityour support for the continuation of the SCFD next November.

Vote Y E S U to continue supporting the SCFD!

" l couldn't be more pleased that the idea of doing both performing aersions of the Sixth Symphonyturned out zoell."

-Gilbert Kaplan, noted Mahlerian conductor

Help the MahlerEest with the Ooerwhelming"Symphony of a Thousand"

\Atrhile the Colorado MahlerFest has a major undertaking on its hands every year, all previous years'efforts will be overshadowed by the forces required by the magnificent "symphony of a Thousand"next year. First performed with 857 musicians (and hence the name), this work requires a mammothorchestra, eight soloists, a boys' choir and two mixed chors. Grusin Music Hall will no longer be ourperforming venue, and the MahlerFest hopes to present one performance in Denver. We need yourhelp in mounting this massive project.

The Colorado Mahleffest is unique in all the world - thereis not another like it anywhere!

It is successful in part because of the musical envrronment unique to our area. But the scope of theFestrval has grown to a point where additional resources, both human and financial, must be securedin order to guarantee the contrnued success and quality.

We invite you to become a contnbuting member of the Colorado MahlerFest. Membership will bringyou special privileges throughout the existence of the festival, e.g. donors in the "Patron" level will beinvited to a special reception held at the conclusion of each festrval for the guest artists and boardmembers. Your tax deductible gtft wilt go a long way to ensure the continued quality of the ColoradoMahlerFest.

CovrnmuuNc CATEGoRTES

Patrons Over $100Friends Under $100

Please make your checkpayable to "Colorado MahlerFest" and send it to:Colorado MahlerFest, P.O. Box 1314, Bouldel, CO 8030G1314

MahlerFest Founding Members

Pat ons (ooer $700)Chdles De@stRobert 6E Louise DudleyFuller FomdationDavid S. & Jmet Hume!Amemrie MaNerRobert & Victoria OlsonMaragement RobotiaPat & Stan Ruttenberg

Pattons (ooer $700)AnonymousBob CollinsDale DayHomi FadyDavid S. & Janet HumerMamgement RobotieJennifer L. MotyckaPaul & Elizabeth Reynolds

Fiends (under $700)Johr M. BownLloyd & Mary GeknmViota HaertlingMarion HigmnDavid & Gertrude HoltslagWillim & MaryAme Jercme

Loraine KaimelAndEw & Anne Keller)ulius & Dorothy LondonChules 6r Muim Mathesonf im MitchellDr. & Mrs James Donald MonkHarry (z Jean Nachron

Tonny-Brce PdkinGert & Walt PedlowKaEn RipleyEmest RostRobert L. ResseguieChester F.ShmsLeo & HelenAnn Saidel

Andrew & Mary TrembouClm S UdisAlice Dodge WallaceEd 6z Mary Wolff

In-kind ContibufionsAlJalfa sWolfumg LesowskyThe PeppercomLa Petite Boulagerie, Siem Sq.

Pour La FranceWorld Fare CateringJemWeuing

Alm & Kay ShapleyPat & Stan RuttenberBU5 WESTAlica Dodge walla@

Fiends (under $100)Gary & Martha DicksGritz Ritter GrapfucJulius & Dorothy London

Current Contributors(as of December 31, 1994)

Dorcthy MandelShaw & Judith MafthewsClaude 6r Sue McMillanJim 6. Doyen MitchellMarBNt G OatesAndy & Mary SkumichElena SusserMr and Mm. E. Lee SuggSam & Ruth SulskyEdwin L WoIft

MahleiestWllPerformance FundJoseph CaivanoBob CottrnsR. Anthony LeeClaude & Sue McMillanPat & Stan RuttenberBElena Slusser

VolitAmalria KilaMny, concertmster, BoulderGyong,ryer Petheo, asst.concertmster, BoulderPaul Wilre& prin, Tailequa\ OklahomJulie Warery ast principd Tailequa\ OklahomArlette Aslmian, BoulderFrmcis Atallah BoulderStephanie Bater; LoveladCanie Beeder! DenverMartha Dicks, LongmontAl Dufford EvergreenEmily Fenwick, BerthoudJill Mmt Ferguson, DenverChilles FerBusor! DenverLisa Fisher-Wade, BoulderSusan Hall, BoulderJodi [. Lamowu, Wmnville, [LAdwyn Lirrq BoulderMeritt Mdtin, Estes ParkShaw Matthewt NiwotBarb MerelJ, LongmontDorethy Nelsory AwadaRhea Pareons, LongmontRebecca S. Reed, WestminsterRebecca RuttenberB, Ja( kson, MississippiSusan Schade, BoulderCyndy Shker; Bou)derAndrea Spangler, GreeleyElaine Taylot Boulder

VolqJuliet Bezenyi, principalEva Mesmer, asst. principal, LyonsSandra Anderson, BoulderAm Cudwell, BroomfieldJudy Cole, BoulderChalotte Friedm4 BoulderWendy Hmson, LontmontPatty Macheq BoulderMiguel Rmos, BoulderEileen Saili, BoulderDean Smith, BoulderCindy Story LongmontSusm Kahler; GoldenKarcline Va$, Boulder

Orchestra Afiliations of theMembers of the MahlerFest

Orchestra

Arapahoe PhilhamonicAekestra PirataBoulder Bach FestivalBoulder Chamber OrchestraBoulder Philhamonic OrchestraBoulder SinfoniaCasper Symphony OrchestraCentemial Philhamo nic OrchestraCentral City Opera OrchestraCheyeme Symphony OrchestraColorado Ballet OrchestraColorado Music FestivalColorado Springs ChEhber OrchestraColumbhe Chamber OrchestraEstes Pilk Chmber OrchestraEveryreen Chmber OrchestraFort Collhs Symphony OrchestraFon Smith Symphony (Oklahom)Greeley Philhmoniclefferson Symohony OrchestraKanes City SymphonyLittleton SymphonyLongmont Symphony OrchestraMissisippi Symphony OrchestraMostly Strauss OrchestraNorth€st Symphony Orchestra (Oklahom)Northeast Symphony (Missuri)Phoenir SymphonyRichmond Orchestra (United Kingdom)Rocky Momtah SymphonyTimberlhe OrchestraUnivereity o{ Colorado OrchestraUnivercity of Northem Colorado Orchestra

Color ado MahlerE est Or chestraRobert Olson, Artistrc Director and Conductor

CelloBarth Story prhcipal LongmontKevh Johrmn, ast principa| BoulderHmai Alkire, LongmontGeorgia Blur4 BoulderNancy Crcw, DenverNada Fisher, LyonsRichard Rupp, LongmontDina 5asrcne, BroomfieldMary Schlesinge4 BoulderMargret Smith, BoulderKathryn Stary Boulder

B4ssDale Day, principal, Boulder

Jenniler Motycka, asst. principal, LongmontBrcck Chambers, DenverMike Fitzmurie, Boulder.f im Haldemn, LatewoodBob Orerchio, BoulderJean Porekany, BoulderGlen Sheruood Longmont

HorpLinda Nash, principalLean Riddick

ManilolinChulie Provencale, Idledale

GuiturIoe Pecorare, Boulder

FluteKay Lloyd, principal, LongmontPeggy BMs, LouisvilleDeborai Cardenro, DenverLori Winlelbauer, Boulder

OboeMargmt Davis, principal, ThomtonKathy Kucm, Boulder|ennifer Longstaff, Boulderlack Bartow, (tnglish Homt, Boulder

ClaiwtPhil Aaholrn, principal Bo uJ derTom Hesq LongmontMaryJungemarq BoulderSteve Traa, BoulderBrian Collins (dd Bass Clil.), NederlandDavid Odom (and E l)

BqssoonSue Hess, prhcipal LontmontDebbie Torp, DenverLarel Kallenbach, BoulderPaul Crcwley (and contra) Westminster

HofrDevon Puk, principal, DenverDain Schulel, asst. prircipal, Bou.lderRonald Torp, DenverJoha Limon, BoulderEd Collins, BoulderJames EmeNort Denver

TflmpetKeith Benjamin, principal, Kmsro City, MissouiLeonild Fahrni, asst principat, LakewmdKenAikin, BoulderGret HerinB, Boulder

Tef,or HofrThoms D Schreinet Erie

TrortboneRick Stames, principal, LongmontMike Roper, LafayetteGary Dicks, Longmont

TtbaTom Stei4 Purvis, Mississippi

T'tnpaniAlm Yost MiddJesex, Englmd

PenssionBruce Moore, principal BoulderEd Blasewib, BoulderBill Ferguso4 LongmontDoug Madiso4 Boulder

Colorado MahlerFestRecord of Works Performed

Piano Quartet .......... 1988LiederundCesiingeausdetlugendzzit....................... 1,988,7993Lieder einesfahrenden Gesellen . 7988,1993Des KnsbenlNunderhorn ........... 7989,1994Son9stoPoemsbyRiickert........... ............................1989Suite from BWV 1057 and BWV 1058 (Bach/Mahler) ...................... 1989Kindertotenlieder........................ .......... 199{)Vier Stiicke filr Klqrinette und Kloaier lBerg) ........................................ 1990Sieben Friihe Lieder (Berg) ................. 1990Fiinf Lieder (Alma Mahler) ................ 1991Vier Lieder (Alma Mahler) ................ 1991Symphony No.4, tV (Schoenberg Society arrangement) ......,,........ 1991Symphony No. 4, IY Mahler performing piano version ................. L994Lleder (Richard Strauss) .................... 1993Symphony No. 5, two piano version (Zemlinsky) ............................ 1993Der Abschied IrornDasLied uon der Erde (choreographed) ............... L994Symphont No. 1 ........................ ......... 1988Symphony No. 2................ ..........,..,. 1989Symphony No. 3................ ............... 1990Symphony No.4............ .................,. 1997Symphony No. 5........... ............. ... 1992Symphony No. 6 ................ ............... 1993Symphony No.7................ ............... 1994

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