2019/20 SEASON PRESENTING SPONSOR:
HOLIDAY
2019/20
HANDEL’S MESSIAH PERFORMED BY YOUR COLORADO SYMPHONY TAYLOR MARTIN, conductor DUAIN WOLFE, creative director ANNA CHRISTY, soprano CORRIE STALLINGS, mezzo-soprano DEREK CHESTER, tenor ANDREW GARLAND, bass Friday, December 20, 2019 at 7:30pm Saturday, December 21, 2019 at 7:30pm Boettcher Concert Hall
HANDEL Messiah PART I Overture Comfort ye, my people Ev’ry valley shall be exalted And the glory of the Lord shall be revealed Thus saith the Lord But who may abide the day of his coming? And he shall purify Behold! A virgin shall conceive O thou that tellest good tidings to Zion For behold, darkness shall cover the earth The people that walked in darkness For unto us a child is born Pastoral Symphony There were shepherds abiding in the field And lo, the angel of the Lord came upon them And the angel said unto them continued next page
Friday's Concert is Gratefully Dedicated to IMA Financial Saturday's Concert is Gratefully Dedicated toTed and Donna Connolly PROUDLY SUPPORTED BY SOUNDINGS
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HOLIDAY
2019/20
And suddenly there was with the angel Glory to God Rejoice greatly, O daughter of Zion Then shall the eyes of the blind be opened He shall feed his flock Come unto Him His yoke is easy — INTERMISSION — PART II Behold the Lamb of God He was despised Surely, he hath borne our griefs And with his stripes we are healed All we, like sheep, have gone astray All they that see him laugh him to scorn He trusted in God Thy rebuke hath broken his heart Behold, and see if there be any sorrow He was cut off out of the land of the living But thou didst not leave his soul in hell Lift up your heads, O ye gates Unto which of the angels said he at any time Let all the angels of God worship him The Lord gave the word How beautiful are the feet Why do the nations so furiously rage together? Let us break their bonds asunder He that dwelleth in heaven Thou shalt break them Hallelujah PART III I know that my redeemer liveth Since by man came death Behold, I tell you a mystery The trumpet shall sound Worthy is the Lamb CONCERT RUN TIME IS APPROXIMATELY 2 HOURS 30 MINUTES WITH A 20 MINUTE INTERMISSION. FIRST TIME TO THE SYMPHONY? SEE PAGE 8 OF THIS PROGRAM FOR FAQ’S TO MAKE YOUR EXPERIENCE GREAT! PROGRAM 2
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HOLIDAY MESSIAH TEXT MESSIAH Music by George Frederick Handel Libretto by Charles Jennens OVERTURE Prologue The earth was without form and void And darkness was upon the face of the deep And God said, Let there be light. And there was light. The people that walked in darkness have seen a great light. Upon them hath the light shined. For the Kingdom of this world is become the Kingdom of our Lord – and of his Christ – MESSIAH Let all the nations be gathered together and let the people be assembled They shall mount up with wings of eagles They shall run and not be weary They shall walk and not faint
Tenor Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness; prepare ye the way of the Lord; make straight in the desert a highway for our God. Every valley shall be exalted, and every mountain and hill made low; the crooked straight and the rough places plain.
Chorus And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it. Bass Thus saith the Lord, the Lord of hosts: Yet once a little while and I will shake the heavens and the earth, the sea and the dry land. And I will shake all nations; and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to His temple, even the messenger of the SOUNDINGS
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HOLIDAY MESSIAH TEXT Covenant, whom you delight in; behold, He shall come, saith the Lord of hosts.
Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.
Alto But who may abide the day of His coming, and who shall stand when He appeareth? For He is like a refiner’s fire.
Pastoral Symphony: Shepherds are tending their flocks
Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. Alto Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel, God with us. Alto and Chorus O thou that tellest good tidings to Zion, get thee up into the high mountain. O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, behold your god! Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. Bass For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of thy rising. The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined. Chorus For unto us a child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called
PROGRAM 4
Soprano There were shepherds abiding in the field, keeping watch over their flocks by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid. And the angel said unto them: Alto “Fear not, for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Savior, which is Christ the Lord.” Soprano And suddenly there was with the angel, a multitude of the heavenly host, praising God, and saying: Chorus of the Heavenly Hosts “Glory to God in the highest, and peace on earth, good will towards men.” Soprano Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem! Behold, thy King cometh unto thee; He is the righteous Savior, and He shall speak peace unto the heathen. Rejoice. Bass, Alto, Tenor, Alto Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
C O L O R A D O SY M P H O N Y.O R G
HOLIDAY MESSIAH TEXT Alto He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. Soprano Come unto Him, all ye that labor, come unto Him that are heavy laden, and He will give you rest. Take his yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. Chorus and Soloists His yoke is easy, and His burden is light.
INTERMISSION Chorus Behold the Lamb of God, that taketh away the sin of the world. Alto He was despised and rejected of men, a man of sorrows and acquainted with grief. Chorus Surely He hath borne our griefs, and carried our sorrows! He was wounded for our transgressions. He was bruised for our iniquities;. The chastisement of our peace was upon Him. And with His stripes we are healed. All we like sheep have gone astray; we have turned every one to his own way. And the Lord hath laid on Him the iniquity of us all. Tenor All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying:
Chorus “He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.” Tenor Thy rebuke hath broken His heart: He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort him. Behold, and see if there be any sorrow like unto His sorrow. Alto He was cut off out of the land of the living: for the transgressions of Thy people was He stricken. Soprano But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption. Chorus Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors; and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts. He is the King of Glory. Alto Unto which of the angels said He at any time: Tenor “Thou art My Son, this day have I begotten Thee?” Chorus Let all the angels of God worship Him. Chorus and Soloists The Lord gave the word. Great was the company of the preachers.
SOUNDINGS
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Soprano and Alto How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things. Bass Why do the nations so furiously rage together, and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed. Chorus Let us break their bonds asunder, and cast away their yokes from us. Tenor He that dwelleth in Heaven shall laugh them to scorn; The Lord shall have them in derision. Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter’s vessel. Chorus Hallelujah: for the Lord God Omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. King of Kings, and Lord of Lords. Hallelujah!
Soprano I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits of them that sleep. Chorus Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. Bass Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed in a moment, in the twinkling of an eye, at the last trumpet. The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. Chorus and Soloists Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing. Blessing and honor, glory, and power be unto Him that sitteth upon the throne, and unto the Lamb, forever and ever. Amen.
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HOLIDAY BIOGRAPHIES TAYLOR MARTIN, conductor Taylor Martin is an emerging conductor and sought-after educator in the greater Denver area. He has served as Assistant Conductor of the Colorado Symphony Chorus since 2017 and is making his Colorado Symphony debut conducting these performances of Handel’s Messiah. While with the Colorado Symphony, Taylor has prepared the chorus for The Flaming Lips, Video Games Live, Zelda Symphony of the Goddess, and has participated in the preparation of dozens of Masterworks programs. Since 2016 Taylor has served as the Artistic Director of the innovative chamber choir, ELUS Vocal Ensemble. His passion for creative and thought-provoking programming has led the ensemble to considerable acclaim for their immersive presentations of repertoire ranging from great orchestral masterworks to new, imaginative works for unaccompanied choir. Having studied conducting with Catherine Sailer, John Alexander, and David Hayes, Taylor now serves on the faculty of the Metropolitan State University of Denver as the Director of the University Basso Choir, and he maintains a long-standing relationship as a Teaching Artist for El Sistema Colorado.
PHOTO: DARIO ACOSTA
ANNA CHRISTY, soprano Praised by The New York Times as “nimble of voice, body and spirit,” soprano Anna Christy continues to impress and delight audiences with an extraordinary blend of sparkling voice, powerful stage presence, and innate musicality. The 2018-2019 season saw Ms. Christy as Tytania in Robert Carsen’s production of A Midsummer Night’s Dream with Opera Philadelphia. She also debuted with Colorado Symphony singing In Terra Pax conducted by Brett Mitchell. Last season, Anna returned to the Canadian Opera Company as Gilda in Rigoletto. She also returned to Japan for performances of Lauretta in Gianni Schicchi with Seiji Ozawa. Other roles included the title role in Lucia di Lammermoor with the Florida Grand Opera, Marzelline in Fidelio with Boston Baroque, and Adele in Die Fledermaus with Des Moines Metro Opera. Anna Christy made her role debut as Gilda in Christopher Alden’s production of Rigoletto at the English National Opera. She was also seen at the Lyric Opera of Kansas City as Adele in Die Fledermaus and Susanna in Le nozze di Figaro and Baby Doe in The Ballad of Baby Doe at Central City Opera. Ms. Christy made a triumphant debut in her signature role of Cunegonde in Candide at the Tanglewood Festival with the Boston Symphony Orchestra. Ms. Christy began the 2012-2013 season as Cleopatra in a new production of Handel’s Julius Caesar at English National Opera, followed by concerts of Ravel’s L’enfant et les sortilèges and Stravinsky’s Le rossignol with Charles Dutoit and the NHK Symphony in Tokyo.
SOUNDINGS
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HOLIDAY BIOGRAPHIES CORRIE STALLINGS, mezzo-soprano Mezzo-soprano Corrie Stallings is quickly earning acclaim for her work on both the operatic and concert stage. She was awarded a first prize in the 2017 Gerda Lissner International Vocal Competition and performed in the winners concert at Carnegie Hall’s Zankel Hall. Ms. Stallings also recently completed her second year as a Resident Artist at Pittsburgh Opera, where she returned to perform Cherubino in Le Nozze di Figaro in November 2017 before making her company and role debut as Isoletta in Bellini’s La Straniera with Washington Concert Opera. Other roles she performed while with Pittsburgh Opera were Jo in Little Women, Rosina in Il Barbiere di Siviglia, Bertarido in Rodelinda, and Mercédès in Carmen. After completing her summer as an Apprentice Artist with Santa Fe Opera in August 2016, Ms. Stallings made her role and company debut in the title role of La Cenerentola with Syracuse Opera in October of that year. In April of 2016, she performed Berlioz’s cantata La Mort de Cléopâtre with the Erie Symphony, where she also sang the alto solos in the Mozart Requiem and the Beethoven Mass in C. For her debut with the Pittsburgh Symphony Orchestra, in December of 2015, Ms. Stallings sang as the alto soloist in Mozart’s Coronation Mass under the baton of Manfred Honeck, later appearing in Denver to perform the alto solos in Handel’s Messiah with the Colorado Symphony. http://www.corriestallings.com/
DEREK CHESTER, tenor Praised by The New York Times for his “beautifully shaped and carefully nuanced singing”, Derek Chester has quickly established himself as a preeminent interpreter of early music, oratorio repertoire, and a teacher of the vocal arts. Recent concert appearances include Handel’s Jephtha with Ars Lyrica Houston, Handel’s Messiah and Bach’s St. Matthew Passion with the Colorado Symphony, Dvorak’s Stabat Mater with the Handel Society of Dartmouth, Haydn’s Creation with the Fort Worth Symphony Orchestra and the Pacific Symphony Orchestra, a reconstruction of Bach’s St. Markus Passion with Barokksolistene of Norway, Monteverdi’s Vespers of 1610 with Boston Baroque and the Bach Collegium San Diego, Beethoven’s Missa Solemnis at the Berkshire Choral Festival, Britten’s War Requiem with the Korean Broadcasting System Symphony Orchestra, and all of the major works of Bach with American Bach Soloists. Though his career is concentrated primarily in concert work, Chester is also passionate about opera and opera history, with theater credits including Ferrando in Così fan tutte, Belmonte in Die Entführung aus dem Serail, Nemorino in L’Elisir d’Amore, Oronte in Alcina, Acis in Acis and Galatea, and Mack the Knife in Three Penny Opera. Chester received his bachelor’s degree in Vocal Performance from the University of Georgia and his Master’s Degree in Vocal Performance of Oratorio, Early Music, Song, and Chamber Music on full scholarship from the Yale School of Music and Institute of Sacred Music. As a Fulbright Scholar, he spent a year in Germany working as a freelance musician and furthering his training. Chester received his DMA in Voice Performance and Opera Studies with full scholarship and a graduate teaching fellowship from the University of North Texas, with a dissertation on the juvenile song compositions of Samuel Barber. As a well-regarded pedagogue PROGRAM 8
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HOLIDAY BIOGRAPHIES Chester was invited to participate in the 2016 NATS Intern Program and has given master classes at the San Francisco Conservatory, Colorado Mesa University, Western Michigan University, the American Bach Soloists Academy, the University of Georgia, and at the 2015 Colorado Wyoming Regional NATS auditions. He currently serves as Assistant Professor of Voice at the University of Northern Colorado and is a featured soloist at the Staunton Music Festival and the Colorado Bach Festival. Upcoming performances include the Evangelist in Bach’s St. Matthew Passion with the Kalamazoo Symphony, the Evangelist in Bach’s St. John Passion with the American Baroque Opera Company and Allesandro in Cavilli’s Eliogabalo with West Edge Opera. For more information, follow on Facebook at www.facebook.com/dchestertenor.
ANDREW GARLAND, baritone Baritone Andrew Garland is widely recognized as a leader in recital work with dozens of performances around the country including Carnegie Hall with pianist Warren Jones and programs of modern American songs all over the Unites States and in Canada. Jones, Marilyn Horne, Steven Blier, a number of American composers, and several major music publications all endorse him as a highly communicative singer leading the way for the song recital into the 21st Century. He brings his highly communicative style to the concert stage with orchestras including the Atlanta Symphony, Boston Baroque, The Handel and Haydn Society, Boston Youth Symphony, National Philharmonic, Albany Symphony, Colorado Symphony, Washington Master Chorale at the Kennedy Center, and National Chorale at Lincoln Center. His latest solo CD American Portraits (with Donna Loewy, piano) went to Number 1 on Amazon classical. Garland has five other recordings on the Telarc, Naxos, Roven Records, and Azica Labels. In addition to sustaining a busy performance schedule, Garland has recently joined the voice faculty at The University of Colorado-Boulder.
DUAIN WOLFE, director, Colorado Symphony Chorus Recently awarded two Grammys® for Best Choral Performance and Best Classical Recording, Duain Wolfe is founder and Director of the Colorado Symphony Chorus and Music Director of the Chicago Symphony Chorus. This year marks Wolfe’s 35th season with the Colorado Symphony Chorus. The Chorus has been featured at the Aspen Music Festival for over two decades. Wolfe, who is in his 25th season with the Chicago Symphony Chorus has collaborated with Daniel Barenboim, Pierre Boulez, Bernard Haitink, Riccardo Muti, and the late Sir George Solti on numerous recordings including Wagner’s Die Meistersinger, which won the 1998 Grammy® for Best Opera Recording. Wolfe’s extensive musical accomplishments have resulted in numerous awards, including an honorary Doctor of Fine Arts from the University of Denver, the Bonfils Stanton Award in the Arts and Humanities, the Governor’s Award for Excellence in the Arts, the Mayor’s Award for Excellence in an Artistic Discipline, and the Michael Korn Award for the Development of the Professional Choral Art. Wolfe is also founder of the Colorado Children’s Chorale, from which he retired in 1999 after 25 years; the Chorale celebrated its 40th anniversary last season. SOUNDINGS
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HOLIDAY BIOGRAPHIES For 20 years, Wolfe also worked with the Central City Opera Festival as chorus director and conductor, founding and directing the company’s young artist residence program, as well as its education and outreach programs. Wolfe’s additional accomplishments include directing and preparing choruses for Chicago’s Ravinia Festival, the Bravo!Vail Festival, the Berkshire Choral Festival, the Aspen Music Festival, and the Grand Teton Music Festival. He has worked with Pinchas Zuckerman and Alexander Shelly as Chorus Director for the Canadian National Arts Centre Orchestra for the past 17 years.
COLORADO SYMPHONY CHORUS The 2019/20 Colorado Symphony concert season marks the 36th season of the Colorado Symphony Chorus, celebrating their official 35th Anniversary in the autumn of 2019 with a performance of Verdi’s Requiem. Founded in 1984 by Duain Wolfe at the request of Gaetano Delogu, then the Music Director of the Symphony, the chorus has grown over the past three decades into a nationally respected ensemble. This outstanding chorus of 185 volunteers joins the Colorado Symphony for numerous performances (more than 25 this year alone), and radio and television broadcasts, to repeat critical acclaim. The Chorus has performed at noted music festivals in the Rocky Mountain region, including the Colorado Music Festival, the Grand Teton Music Festival and the Bravo! Vail Valley Music Festival, where it has performed with the New York Philharmonic, the Philadelphia Orchestra and the Dallas Symphony. For over two decades, the Chorus has been featured at the world-renowned Aspen Music Festival, performing many great masterworks under the baton of notable conductors Lawrence Foster, James Levine, Murry Sidlin, Leonard Slatkin, Robert Spano, and David Zinman. Among the seven recordings the Chorus has made is a NAXOS release of Roy Harris’s Symphony No. 4, as well as a remarkable recording of Beethoven’s Symphony No. 9. The Chorus is also featured on a Hyperion release of the Vaughan Williams’ Dona Nobis Pacem and Stephen Hough’s Missa Mirabilis. Most recently, the Colorado Symphony and Chorus released a world-premiere recording of William Hill’s The Raven. In 2009, in celebration of their 25th anniversary, Duain Wolfe conducted the Chorus on a 3-country, 2-week concert tour of Europe, presenting the Verdi Requiem in Budapest, Vienna, Litomysl, and Prague, In 2016 the chorus returned to Europe for concerts in Paris, Strasbourg, and Munich. From Evergreen to Brighton, and Boulder to Castle Rock, singers travel each week to rehearsals and performances in Denver, totaling about 80 a year. The Colorado Symphony and Denver community continue to be grateful for the excellence and dedication of this remarkable all-volunteer ensemble. For an audition appointment, visit the symphony website for an online sign up form. www.coloradosymphony.org
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HOLIDAY BIOGRAPHIES COLORADO SYMPHONY CHORUS Duain Wolfe, Founding Director and Conductor; Mary Louise Burke, Associate Conductor; Travis Branam, Taylor Martin, Assistant Conductors; Brian Dukeshier, Hsiao-Ling Lin, Pianists; Eric Israelson, Barbara Porter, Chorus Managers SOPRANO I Black, Kimberly Brazell, Madeline Brown, Jamie Causey, Denelda Choi, LeEtta H. Coberly, Sarah Collins, Suzanne Coppage, Zoie Emerich, Kate A. Gile, Jenifer D. Gill, Lori C. Graber, Susan Hedrick, Elizabeth Heintzkill, Mary-Therese Hinkley, Lynnae C. Hittle, Erin R. Hofmeister, Mary Jordan, Cameron Joy, Shelley E. Levy, Juliet Look, Cathy Machusko, Rebecca E. Maupin, Anne Mitchell, Angela Moraskie, Wendy L. Plender, Elizabeth Porter, Barbara A. Ropa, Lori A. Saddler, Garlyn Schawel, Camilia Schweitzer, Laura Solich, Stephanie Sladovnik, Roberta A. Stegink, Nicole J. Wuertz, Karen Young, Cara M. SOPRANO II Ascani, Lori Barker, Ashley Blum, Jude Bowen, Alex S. Brauchli, Margot L. Coberly, Ruth A. Cote, Kerry H. Dakkouri, Claudia Dean, Lindsay Headrick, Alaina Heimann, Abigail Kraft, Lisa D.
Kushnir, Marina Lang, Leanne Linder, Dana Long, Lisa McLaughlin, Sarah Montigne, Erin Nesbit, Angie Nyholm, Christine M. O’Nan, Jeannette R. Pflug, Kim Rae, Donneve S. Roth, Sarah Ruff, Mahli Saddler, Nancy C. Sullivan, Madeleine Tate, Judy Timme, Sydney Travis, Stacey L. Von Roedern, Susan K. Walker, Marcia L. Woodrow, Sandy Zisler, Joan M. ALTO I Adams, Priscilla P. Branam, Emily M. Braud-Kern, Charlotte Brown, Kimberly Buesing, Amy Cauthen, Rachael Clauson, Clair T. Conrad, Jayne M. Fairchild, Raleigh Franz, Kirsten D. Frey, Susie Gayley, Sharon R. Groom, Gabriella D. Guittar, Pat Guttmann, Emily Henningson, Linnea Holst, Melissa J. Hoopes, Kaia M. Kim, Annette Kolstad, Annie McNulty, Emily McWaters, Susan Nordenholz, Kristen Passoth, Ginny Pringle, Jennifer Rudolph, Kathi L. Schmicker, Kate
Stevenson, Melanie Thaler, Deanna K. Thayer, Mary B. Tiggelaar, Clara Virtue, Pat York, Beth ALTO II Bender-Moore, Jane Boothe, Kay A. Cox, Martha E. Daniel, Sheri L. Deck, Barbara Dominguez, Joyce Eslick, Carol A. Gangware, Elizabeth Golden, Daniela Holmes, Kelsey Hoskins, Hansi Jackson, Brandy H. Janasko, Ellen D. LeBaron, Andrea London, Carole A. Maltzahn, Joanna K. Marchbank, Barbara J. Nelson, Annélise Nittoli, Leslie M. Schalow, Elle C. Scooros, Pamela R. Townsend, Lisa Worthington, Evin TENOR I Dougan, Dustin Gordon, Jr., Frank Guittar, Jr., Forrest Hodel, David K. Jordan, Curt Moraskie, Richard A. Mosser, Shane Muesing, Garvis J. Nicholas, Timothy W. Rehberg, Dallas Reiley, William G. Roach, Eugene Thompson, Hannis Zimmerman, Kenneth TENOR II Babcock, Gary E. Bradley, Mac
Carlson, James Davies, Dusty R. Dinkel, Jack Fuehrer, Roger Gale, John H. Ibrahim, Sami Jin, Yi Kolm, Kenneth E. Lively, Mark McCracken, Todd Meswarb, Stephen Milligan, Tom A. Richardson, Tyler Ruth, Ronald L. Seamans, Andrew J. Shaw, Kyle Sims, Jerry E. BASS I Adams, John G. Cowen, George Gray, Matthew Grossman, Chris Hesse, Douglas D. Hume, Donald Hunt, Leonard Jirak, Thomas J. Lingenfelter, Paul Plakorus, Ryan Quarles, Kenneth Ragan, Jimmy Ravid, Frederick Smedberg, Matthew Snyder, Kyle Struthers, David R. BASS II Friedlander, Robert Israelson, Eric W. Jackson, Terry L. Kent, Roy A. Morrison, Greg A. Nuccio, Eugene J. Phillips, John R. Potter, Tom Skillings, Russell R. Swanson, Wil W. Taylor, Don Teplansky, Alexander Virtue, Tom G.
COLORADO SYMPHONY CHAMBER CHORUS SOPRANO Denelda Causey Kimberly Black Susan Graber Mary-Therese Heintzkill Mary Hofmeister Angie Nesbit Sarah Roth Karen Wuertz
ALTO Emily Branam Charlotte Braud-Kern Kaia Hoopes Hansi Hoskins Barbara Marchbank Emily McNulty Jennifer Pringle Deanna Thayer
TENOR Jack Dinkel David Hodel Sami Ibrahim Mark Lively Shane Mosser Tim Nicholas Andrew Seamans Ken Zimmerman
SOUNDINGS
BASS Bob Friedlander Matthew Gray Chris Grossman Don Hume Terry Jackson Tom Jirak Jimmy Ragan Matthew Smedberg
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HOLIDAY PROGRAM NOTES MESSIAH 2019 Notes from the Creative Director, Duain Wolfe Awake! Awake to the thrill of awakening the wonders of Handel’s masterpiece in our lives, MESSIAH. We all remember our first experience with this great oratorio, whether as a student or as a veteran musician or as an avid music patron. I was 15 when I attended my first performance of MESSIAH (yes, nearly 60 years ago…). I had never heard music like this, or drama like this, or emotional power like this, and I was transported. When the chorus and orchestra burst their lungs at “Worthy is the Lamb”, I knew at that moment that my life would be a life in music. That one moment directed my career path, and I am eternally grateful to those performers, while I am especially grateful to Handel himself, who over two hundred years earlier had penned notes that would transform the lives of millions, just as those notes transformed me. He was an opera composer, passionate about the stage and the drama inherent in telling a story. His oratorios, whether sacred or historical, are imbued with the power of weaving a compelling narrative. MESSIAH is quintessential drama. The drama of the Prophecies. The drama of the Nativity. The drama of the Passion. The drama of the Resurrection, the Transfiguration, and finally, the Redemption.
CLASSICS
Strauss A Hero’s Life conducted by Brett Mitchell MAR 6-8 FRI-SAT 7:30 SUN 1:00 n
Brett Mitchell, conductor The Percussion Collective RAVEL Boléro CHRISTOPHER THEOFANIDIS Drum Circles: Concerto for 7 Percussionists and Orchestra R. STRAUSS Ein Heldenleben (A Hero’s Life)
tickets: coloradosymphony.org PROGRAM 12
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HOLIDAY PROGRAM NOTES The drama in Handel’s music invites us to make connections – text connections, musical connections, emotional connections (especially emotional connections). In this year's MESSIAH, we revisit those remarkable connections. For instance, in the Book of Isaiah, the verse “Every valley shall be exalted…and the rough places plain” is followed by “and the glory of the Lord shall be revealed”. Handel gives this line to the altos alone – in the tenor range. So, our tenor soloist sings that line, employing exactly the notes that Handel wrote, and it allows him to be part of the chorus’s exhilarating outburst of joy. These kinds of connections are peppered throughout Handel’s brilliant score, accentuating the ingenuity of Charles Jennen’s supremely connected libretto. Handel wrote MESSIAH in 1741 (King George II), famously completing the entire score in just 21 days. Oddly, there was no commission that prompted it. He wrote it because he wanted to write it – a notion that paid off in April of 1742 when he had the opportunity of premiering it in Dublin as a benefit for an orphanage – during the Lenten season, not the Christmas season. It’s a piece that is profoundly moving at any moment in the liturgical calendar, though perhaps most poignant during the Passion season of Lent. Part One sets the scene with the Old Testament prophecies and the Nativity, while Part 2 explores the Messiah’s passion and its attendant horrors, leading to the apotheosis of Part 3 – redemption. We present this performance with Handel’s affinity for drama in mind. He made stories clear in his operas by staging them and by musical/textual connections. It follows that his oratorios had the same dramatic intent that his operas had. Inspired by his genius, we reveal the inner workings of his great score by utilizing the geography of our stage and production values that were also available to him (lighting, visuals, performers’ attire). Each of these elements heightens the impact of text and music in his score. Like the divided orchestra that Handel used in MESSIAH – Ripieno (full orchestra) and Concertante (small orchestra) – our Chorus is divided into the Full Chorus and the Chamber Chorus (which performs on the stage with the soloists). When Handel premiered this oratorio, he worked with several of his favorite soloists, providing them with lines, keys, ornaments, and cadenzas that suited their voices and personalities. We too, tailor our music in these performances to our performers, always using the music that Handel provided almost three centuries ago. These elements remain faithful to the world theater of George Frederick Handel. As we developed this year's MESSIAH, we were committed to honoring Handel’s great music exactly as he wrote it, while also honoring his operatic instincts as one of the best musical story tellers of all time. Duain Wolfe, Creative Director — with great appreciation to my extraordinarily creative colleagues, Mary Louise Burke, Taylor Martin, and Travis Branam
SOUNDINGS
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2019/20 SEASON PRESENTING SPONSOR:
HOLIDAY
2019/20
HOLIDAY BRASS PERFORMED BY YOUR COLORADO SYMPHONY BRIAN BUERKLE, conductor Sunday, December 22, 2019 at 1:00pm Boettcher Concert Hall
George Vosburgh
Golden Bells
Trad. English Holiday Suite I Deck the Halls II Gloucestershire Wassail III The First Noel Michael Praetorius
Puer Natus in Bethlehem
Samuel Scheidt
In Dulci Jubilo
Pavel Chesnokov
Salvation is Created
Tchaikovsky Nutcracker Suite I March II Arabian Dance (Coffee) III Russian Dance (Trepak) Bizet Farandole – March of the Kings from L’Arlesienne Suite No. 2 — INTERMISSION — continued next page
Sunday's Concert is Gratefully Dedicated to Ken and Zoe Barley PROUDLY SUPPORTED BY PROGRAM 14
C O L O R A D O SY M P H O N Y.O R G
HOLIDAY
2019/20
Trad.
O Come, All Ye Faithful
Simon Wills
A Prelude and Fugue for Christmas
Trad.
Greensleeves – What Child is This?
Anthony DiLorenzo The Toymaker I The Golden Palace and the Steamship II The Magic Clock III The Bells of Greece and St. Nicholas Takes Flight Trad.
God Rest Ye Merry Gentlemen
CONCERT RUN TIME IS APPROXIMATELY 1 HOUR 30 MINUTES WITH A 20 MINUTE INTERMISSION.
FIRST TIME TO THE SYMPHONY? SEE PAGE 8 OF THIS PROGRAM FOR FAQ’S TO MAKE YOUR EXPERIENCE GREAT!
SOUNDINGS
2 0 1 9/2 0 PROGRAM 15
HOLIDAY BIOGRAPHIES BRIAN BUERKLE, conductor Brian Buerkle currently serves as Principal Trumpet of the Sinfonia Gulf Coast (FL) and the Kentucky Symphony Orchestra (KY), 3rd/Associate Principal of the Columbus Symphony (OH), and has previously held positions as Acting 4th/Utility in the Cincinnati Symphony Orchestra (OH), 2nd/Sub-Principal in the West Virginia Symphony Orchestra (WV), 2nd in the Lexington Philharmonic (KY), and 2nd in the State of Mexico Symphony Orchestra (MX). As an active freelance musician, Brian has traveled the world performing and recording with some of America’s finest orchestras; including the Pittsburgh Symphony, Detroit Symphony, Cincinnati Symphony and Pops, Columbus Symphony, Colorado Symphony, Seattle Symphony, Grand Rapids Symphony, Indianapolis Symphony, and Louisville Orchestra. He is also a member of several innovative chamber ensembles, including the Spectrum Brass, Canterbury Brass, Sinfonia Chamber Brass, and the Pittsburgh Brass. Brian is currently an Artistin-Residence at the Bay View Music Festival and is a former faculty member of the prestigious Boston University Tanglewood Institute. Aside from his skills as a trumpeter, Brian is also an accomplished conductor and arranger. His publications have been performed and recorded by groups worldwide, and his conducting experience ranges from brass ensembles and vocal choirs to symphony orchestras. Over the years, Brian’s guest conducting appearances have been with the Colorado Symphony (CO), Suburban East Coast Music Festival Honors Orchestra (MN), Kentucky Symphony Orchestra (KY), Bay View Chamber Brass (MI), Sinfonia Chamber Brass (OH), and in December of 2018, he made his overseas conducting debut with the New Zealand Symphony Orchestra (NZ). Brian received a Bachelor’s Degree in Music Performance from the University of Cincinnati College-Conservatory of Music (OH) and a Master’s Degree in Music Performance from Duquesne University (PA). In 2010, he was featured in an article of the International Trumpet Guild Magazine, recognizing his many achievements as a professional musician. He is also a music critic for the American Record Guide, and the Owner/President of the Southern Ohio Music Company. Brian currently resides in Cincinnati, OH, where he enjoys an active and diverse musical career.
PROGRAM 16
C O L O R A D O SY M P H O N Y.O R G