Program - Rachmaninoff Piano Concerto No. 3

CLASSICS

2019/20

2019/20 SEASON PRESENTING SPONSOR:

RACHMANINOFF PIANO CONCERTO NO. 3 PERFORMED BY YOUR COLORADO SYMPHONY BRETT MITCHELL, conductor LUKÁŠ VONDRÁČEK, piano DOMENICO LUCIANO, choreographer SHERIDAN GUERIN, ALEJANDRO PEREZ-TORRES, JACOB RAY, artists of Colorado Ballet

Friday, JANUARY 24, 2020 at 7:30pm Saturday, JANUARY 25, 2020 at 7:30pm Sunday, JANUARY 26, 2020 at 1:00pm Boettcher Concert Hall

COPLAND Suite from Billy the Kid

Introduction: The Open Prairie

Street in a Frontier Town

Mexican Dance and Finale

Prairie Night (Card Game at Night)

Gun Battle

Celebration (After Billy’s Capture)

Billy’s Death

The Open Prairie Again BERNSTEIN Facsimile: Choreographic Essay for Orchestra I. Solo II. Pas de deux III. Pas de trois IV. Coda — INTERMISSION —

RACHMANINOFF Piano Concerto No. 3 in D minor, Op. 30

Allegro ma non tanto Intermezzo Finale CONCERT RUN TIME IS APPROXIMATELY 1 HOUR AND 42 MINUTES WITH A 20 MINUTE INTERMISSION. Friday's Concert is Gratefully Dedicated to Col. Philip Beaver and Mrs. Kim Beaver Saturday's Concert is Gratefully Dedicated to Dr. Christopher Ott and Mr. Jeremy Simons Sunday's Concert is Gratefully Dedicated to Slobodan Todorovic & Vesna Jevtovic-Todorovic PROUDLY SUPPORTED BY SOUNDINGS

2 0 1 9/2 0

PROGRAM 1

CLASSICS BIOGRAPHIES

PHOTO: ROGER MASTROIANNI

BRETT MITCHELL, conductor Hailed for delivering compelling performances of innovative, eclectic programs, Brett Mitchell was named the fourth Music Director of the Colorado Symphony in September 2016. He served as the orchestra’s Music Director Designate during the 16/17 season and began his four year appointment in September 2017.

Mr. Mitchell concluded his tenure as the Associate Conductor of The Cleveland Orchestra in August 2017. He joined the orchestra as Assistant Conductor in 2013 and was promoted to Associate in 2015, becoming the orchestra’s first Associate Conductor in over three decades and only the fifth in its 98 year history.

In this role, he led the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour. Mr. Mitchell also served as the Music Director of the Cleveland Orchestra Youth Orchestra (COYO), which he recently led on a four-city tour of China, marking the ensemble’s second international tour and its first to Asia. In May, 2019 he returned to the Cleveland Orchestra to lead subscription performances of An American in Paris.

In addition to his work in Cleveland and Denver, Brett Mitchell is in consistent demand as a guest conductor. Recent and upcoming guest engagements include subscription debuts with the Minnesota Orchestra and the Dallas, San Antonio, Vancouver and New Zealand symphonies and the Orquesta Sinfonica del Principado de Asturias in Spain, as well as debuts with the Grant Park Music Festival in downtown Chicago and the Indianapolis Symphony during the orchestra’s summer festival at Conner Prairie. He has also appeared with the Detroit, National, Houston, Milwaukee and Oregon symphonies, the Rochester Philharmonic, and the Saint Paul Chamber Orchestra among others.

From 2007 to 2011, Brett Mitchell led over one hundred performances as Assistant Conductor of the Houston Symphony. He also held Assistant Conductor posts with the Orchestre National de France, where he worked under Kurt Masur from 2006 to 2009, and the Castleton Festival, where he worked under Lorin Maazel in 2009 and 2010. In 2015, Mr. Mitchell completed a highly successful five-year tenure as Music Director of the Saginaw Bay Symphony Orchestra, where an increased focus on locally relevant programming and community collaborations resulted in record attendance throughout his tenure.

As an opera conductor, Brett Mitchell has conducted nearly a dozen productions, principally during his tenure as Music Director of the Moores Opera Center in Houston, where he led eight productions from 2010 to 2013. His repertoire spans the core works of Mozart (The Marriage of Figaro and The Magic Flute), Verdi (Rigoletto and Falstaff), and Stravinsky (The Rake’s Progress), to contemporary works by Adamo (Little Women), Aldridge (Elmer Gantry), Catán (Il Postino and Salsipuedes), and Hagen (Amelia).

In addition to his work with professional orchestras, Mr. Mitchell is also well-known for his affinity for working with and mentoring highly talented young musicians aspiring to be

PROGRAM 2

C O L O R A D O SY M P H O N Y.O R G

CLASSICS BIOGRAPHIES professional orchestral players. His work with COYO during his Cleveland Orchestra tenure was highly praised and he is regularly invited to work with the orchestra at the Cleveland Institute of Music as well as at summer orchestral training programs such as the Texas Music Festival, National repertory Orchestra, Interlochen and Sarasota Music Festival.

Born in Seattle in 1979, Brett Mitchell holds degrees in conducting from the University of Texas in Austin and composition from Western Washington University, which selected him as its 2014 Young Alumnus of the Year. He studied at the National Conducting Institute and was selected

by Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship. Mr. Mitchell was also one of five recipients of the League of American Orchestras’ American Conducting Fellowship Program from 2007 to 2010.

PHOTO: IRENE KIM

LUKÁŠ VONDRÁČEK, PIANO Following recent debuts with the Pittsburgh and Tokyo Metropolitan symphony orchestras, hrSinfonieorchester, and Royal Scottish National Orchestra, Lukáš Vondráček has a season packed with highlights ahead of him. In 2019/20 the indisputable winner of the International Queen Elisabeth Piano Competition 2016 will make his debuts with London symphony, Utah symphony, and North Carolina symphony orchestras and has been reinvited to perform with Colorado Symphony Orchestra, Belgian National Orchestra, and Orchestre Philharmonique Royal de Liège to just mention a few. Over the last decade Lukáš Vondráček has travelled the world working with orchestras such as the Philadelphia and Sydney Symphony orchestras, Orquestra Sinfônica do Estado de São Paulo, Philharmonia, Oslo Philharmonic, and Netherlands Philharmonic orchestras. Recitals have taken him to Hamburg’s Elbphilharmonie, Deutschlandfunk Cologne, the Flagey in Brussels, Leipzig’s Gewandhaus, Wiener Konzerthaus, the Concertgebouw, and to festivals such as Menuhin Festival Gstaad and PianoEspoo in Finland. Lukáš Vondráček made his first public appearance at the age of four. His debut as a fifteen-year-old in 2002 with the Czech Philharmonic Orchestra and Vladimir Ashkenazy was followed by a major US tour in 2003.

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 3

CLASSICS BIOGRAPHIES COLORADO BALLET Presenting exceptional classical ballet and innovative contemporary dance through performances, training, education and community engagement, Colorado Ballet continues to inspire and grow an increasingly diverse audience base in Denver, Colorado. Established in 1961

by Lillian Covillo and Freidann Parker, Colorado Ballet is a non-profit organization celebrating 59 years of excellence. As a world-class professional company, Colorado Ballet presents 55 performances annually to sold-out audiences in the 2,000 seat Ellie Caulkins Opera House. The Company’s 32 professional dancers and 21 studio company dancers come from all over the world. Colorado Ballet’s The Armstrong Center for Dance, a 35,000 square foot building, boasts eight state-of-the-art professional dance studios and amenities for the professional Company.

Under the direction of Artistic Director Gil Boggs, Colorado Ballet performs classical ballet masterpieces, full-length story ballets and its critically-acclaimed repertory production Ballet MasterWorks, featuring varied works from neoclassical ballets to world premieres. The Raydean Acevedo Colorado Ballet Academy serves over 1,200 students from toddlers to seniors each year.

Colorado Ballet’s Education and Community Engagement programming serves under-resourced students, teachers, families, people with disabilities and lifelong learners, reaching more than 35,000 contacts in 300 schools and organizations annually. For more information please visit COLORADOBALLET.ORG.

DOMENICO LUCIANO, choreography, Colorado Ballet Academy principal Domenico Luciano, former principal dancer with Colorado Ballet, joined Colorado Ballet Academy after a 20 year career. Mr. Luciano danced with Deutsche Oper am Rhein in Dusseldorf, Germany, Europadance in France, Maggio Danza in Florence, Teatro Dell’ Opera in Rome and Teatro di San Carlo in Naples. In 2004, Mr. Luciano came to the United States and joined Tulsa Ballet as a Demi-Soloist. In 2005, he joined Dominic Walsh Dance Theater in Houston as Principal Dancer, where he danced until coming to Colorado Ballet in 2013. Mr. Luciano’s repertoire includes many leading classical principal roles as well as a vast repertoire of contemporary works from masters of the 20th and 21st centuries. Mr. Luciano’s training includes a variety of methods and techniques. His early years were formed with the Vaganova curriculum, establishing strong and clear foundations for classical ballet. Subsequently he trained with teachers from the National Ballet of Cuba, developing a much more athletic and dynamic way of dancing. During the last two years of his training he implemented the French style, refining his technique and quality of movement as he studied with teachers from Paris Opera Ballet. Along with his classical training, Mr. Luciano trained in modern and contemporary techniques including Graham, Horton, Gaga, folkloric Spanish dances, ballroom and character dances. In 1999, he graduated from Royal Teatro di San Carlo Ballet School in Naples. Mr. Luciano has been teaching and choreographing for Colorado Ballet Academy since 2014. Students who have danced his contemporary

PROGRAM 4

C O L O R A D O SY M P H O N Y.O R G

CLASSICS BIOGRAPHIES choreography have been recognized with top placements at Youth America Grand Prix and his choreography for Academy performances has been met with rave reviews from students and audience members alike. Mr. Luciano works closely in the after-school Academy and Pre-Professional Division daytime training program and oversees the continued development of the Men’s Training Program.

DANCERS OF COLORADO BALLET SHERIDAN GUERIN, artist of Colorado Ballet Sheridan Guerin was born in Ft. Worth, Texas and began her training at age 12. She trained under Lisa Slagle at Ballet Academy of Texas. She has attended American Ballet Theater’s summer intensive in New York for four years in a row and was nominated to be their National Training Scholar for two years. She has competed at YAGP and has placed first overall in both contemporary and classical divisions. She has also had the opportunity to perform at YAGP New York as a finalist. In 2017, Sheridan was accepted as a Studio Company member at Oklahoma City Ballet where she had the opportunity to perform in ballets such as Swan Lake, The Nutcracker and The Little Mermaid. In 2018, Sheridan went on to join Atlanta Ballet’s school under the leadership of Sharon Story. At Atlanta Ballet, she had the opportunity to perform in Yuri Possokhov’s world premiere of The Nutcracker. Sheridan was then hired as a Studio Company member for Colorado Ballet’s 2019/20 season where she continues to pursue her dancing carrier.

ALEJANDRO PEREZ-TORRES, artist of Colorado Ballet Born to two Mexican parents, Alejandro Perez-Torres was raised in Denver, Colorado. From a very young age, Alejandro has been immersed in the arts. He was first introduced to the world of music while taking a music elective class at Godsman Elementary under the tutelage of Amy Golden. There, he began playing the piano and the violin and, most importantly, fell in love with singing. When he was eight years old, Alejandro began singing in school choirs and school talent shows. Two years later, at age ten, he auditioned and was accepted into the Denver School of the Arts (DSA) as a vocal major. At DSA, Alejandro spent three years in the Vocal Music Department learning from Scott Shively and Robert Styron, who further broadened his knowledge for classical music and music theory. DSA gave him the opportunity to be exposed to other art forms, and Alejandro eventually discovered his true love and passion for ballet. At the age of thirteen, he re-auditioned for DSA and was accepted into the Dance and Movement

SOUNDINGS

2 0 1 9/2 0

PROGRAM 5

CLASSICS BIOGRAPHIES Department. It was at this time that Alejandro was also accepted into Colorado Ballet Academy with a full scholarship. After one year of exploring his love of dance, Alejandro transferred to Denver Online High School and began intense, full-time ballet training as a member of Colorado Ballet’s Pre-Professional Division. There, Alejandro improved his technique and artistry under the direction of Valerie Madonia and Erica Fischbach. As a pre-professional student, Alejandro was given lead roles in academy performances, including Siegfried in Swan Lake and Hilarion in Giselle, as well as the opportunity to perform in several of the professional company’s productions, such as Romeo and Juliet, The Wizard of Oz, Swan Lake, Firebird, The Little Mermaid and The Nutcracker. He was also able to compete in the Youth America Grand Prix and the Denver Ballet Guild, where he received recognition and scholarships for his talent. Throughout his time at Colorado Ballet Academy, Alejandro cultivated and nurtured close relationships with life-long friends and mentors. At the age of seventeen, after four years of rigorous training with the academy, Alejandro was offered a professional contract with Colorado Ballet. He is now eighteen and is dancing as a member of Colorado Ballet’s Studio Company under the artistic direction of Gil Boggs. As his career flourishes, Alejandro continues to learn more about himself and his abilities as an artist, and is constantly striving to become a better dancer and person.

JACOB RAY, artist of Colorado Ballet Jacob Ray was born in Irvine, California, and moved with his family to Michigan when he was two years old. Jacob began dancing and gymnastics at an early age, later deciding to focus primarily on ballet.

In Michigan, he trained at the Grand Rapids Ballet Company under the Artistic Direction of Patricia Barker and was a member of the Grand Rapids Ballet Junior Company. After moving back to Southern California, Jacob continued his training primarily at Dmitri Kulev Classical Ballet Academy in Laguna Hills under the artistic direction of Dmitri and Jennifer Kulev.

Jacob has attended summer programs at American Ballet Theatre in California and Bolshoi Ballet Academy Summer Intensive in New York on full scholarship, where he was invited in 2017 to train year-round in Moscow Russia for full-time study. In 2018, Jacob was chosen as a semifinalist in the Los Angeles Music Center Spotlight Awards. Jacob joined Colorado Ballet’s Studio Company in 2019.

PROGRAM 6

C O L O R A D O SY M P H O N Y.O R G

CLASSICS PROGRAM NOTES Aaron Copland (1900-1990): Suite from Billy the Kid Aaron Copland was born on November 14, 1900 in Brooklyn, New York and died on December 2, 1990 in North Tarrytown, New York. He composed Billy the Kid during the summer of 1938 in Paris and the MacDowell Colony in Peterboro, New Hampshire. The American Ballet Caravan gave the premiere at the Chicago Civic Opera House on October 16, 1938. Early the following year, Copland extracted a concert suite from the score. William Steinberg conducted the first performance of that version on November 9, 1940 on a broadcast with the NBC Symphony Orchestra. The score calls for piccolo plus woodwinds in pairs, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, and strings. Duration is about 21 minutes. The Suite was last performed on September 17, 19, and 20, 2009, with Jeffrey Kahane conducting.

In the mid-1930s, at the time when he was trying to find an approachable, distinctly American style that would alleviate what he called ”an increasing dissatisfaction with the relations of the music-loving public and the living composer,” Aaron Copland met Lincoln Kirstein, director of the American Ballet Caravan, the adventurous predecessor of the New York City Ballet — when Kirstein asked him to write a ballet about Billy the Kid, the notorious outlaw of the Old West famed in ballad and legend, Copland jumped at the opportunity. For inspiration, Kirstein gave him a book of cowboy tunes, though Copland admitted a marked antipathy to such music at the time. As he studied the simple, unaffected songs, however, he came to realize that they were not only an excellent source of material for the new ballet, but that they also opened a path to the more straightforward, popular style he sought. His fondness for those songs grew as he worked with them, and he later admitted that he could not imagine Billy the Kid without them.

Among those he included in the score were The Old Chisholm Trail, Git Along, Little Dogies, Great Granddad, Good-bye, Old Paint, and Bury Me Not on the Lone Prairie, but he omitted Home on the Range. “I had to draw the line somewhere,” he said.

Alfred Frankenstein, a noted critic and the long-time program annotator for the San Francisco Symphony, wrote of the factual Billy the Kid, “His real name was William Bonney. He was born in New York City in 1859, but grew up in Silver City, New Mexico, where his mother kept a boarding house. He murdered his first man in a saloon in Silver City when he was twelve years old, and for the next nineteen years was one of the most industrious and generally admired bandits of the Southwest. Eventually he was captured, tried for murder, and condemned to death. He made a sensational escape from the sheriff’s deputies, but one day he was shot down by Pat Garrett, a sheriff, who was once his friend.”

Copland prefaced the score with a synopsis of the ballet’s plot: “The action begins and closes on the open prairie. The central portion of the ballet concerns itself with the significant moments in the life of Billy the Kid. The first scene is a street in a frontier town. Familiar figures amble by.

Cowboys saunter into town, some on horseback, others with their lassoes. Some Mexican women do a Jarabe that is interrupted by a fight between two drunks. Attracted by the gathering crowd, Billy is seen for the first time as a boy of twelve with his mother. The brawl turns ugly, guns are drawn, and in some unaccountable way, Billy’s mother is killed. Without an instant’s hesitation, in

SOUNDINGS

2 0 1 9/2 0

PROGRAM 7

CLASSICS PROGRAM NOTES cold fury, Billy draws a knife from his cowhand’s sheath and stabs his mother’s slayers. His famous career has begun. In swift succession we see episodes from Billy’s later life. At night, under the stars, in a quiet card game with his outlaw friends. Hunted by a posse led by his former friend Pat Garrett. Billy is pursued. A running gun battle ensues. Billy is captured. A drunken celebration takes place. Billy in prison is, of course, followed by one of Billy’s legendary escapes. Tired and worn in the desert, Billy rests with his girl. Starting from a deep sleep, he senses movement in the shadows.

The posse has finally caught up with him. It is the end.”

 Leonard Bernstein (1918-1990): Facsimile, Choreographic Essay for Orchestra Leonard Bernstein was born on August 25, 1918 in Lawrence, Massachusetts and died on October 14, 1990 in New York City. The ballet Facsimile was composed in 1946 and premiered on October 24, 1946 in New York and the “Choreographic Essay” based on it was premiered on March 5, 1947 in Poughkeepsie, New York; both performances were conducted by the composer. The score calls for , two flutes (second doubling piccolo), two oboes, two clarinets (second doubling E-flat clarinet), two bassoons, four horns, two trumpets, cornet, two trombones, tuba, timpani, percussion, piano, and strings. Duration is about 19 minutes. Facsimile was last performed on May 21-23, 1998, with Marin Alsop leading the orchestra.

In 1944, the 26-year-old Leonard Bernstein composed Fancy Free for New York’s Ballet Theatre, a production that marked Jerome Robbins’ début as a choreographer. Fancy Free was a smash, playing 99 times in New York that season and serving as the basis of the hit Broadway musical On the Town later that year. In 1946, Bernstein agreed to collaborate with Robbins again and they hammered out the scenario for the new ballet — Facsimile — in five days; Bernstein finished the score in just three weeks. He made a piano recording of the music for Robbins and the dancers to work out the choreography soon thereafter, and conducted the premiere at the Broadway Theatre, on October 24, 1946. Facsimile, with its unsettling theme of loneliness and its explosive interpersonal relations (i.e., a “facsimile” of a true, meaningful relationship), did not draw the warm critical and public responses that had greeted Fancy Free, however, and it has been infrequently revived as a ballet. Bernstein, eager to promote his career as a concert composer, revised the ending of the score to create what he called a “Choreographic Essay for Orchestra,” and conducted the Rochester Philharmonic in the work’s premiere at Vassar College in Poughkeepsie, New York on March 5, 1947.

The composer provided the following synopsis of the ballet’s music and plot: “The action of the ballet is concerned with three lonely people — a woman and two men — who are desperately and vainly searching for real interpersonal relationships. The music can be divided roughly into four sections, which follow closely the action: “I. Solo: The woman is alone in an open and desolate place [a deserted beach in Oliver Smith’s design for the premiere], trying (and failing) to escape from herself.

PROGRAM 8

C O L O R A D O SY M P H O N Y.O R G

CLASSICS PROGRAM NOTES “II. Pas de Deux (in two sections):

“A. Meeting with the first man, flirtation (waltz), and sudden passionate climax.

“B. Sentimental scene (muted strings with two solo violins and solo viola). The love interest peters out, leaving the pair bored and hostile.

“III. Pas de Trois (in two sections):

“A. Entrance of a second man (scherzo, featuring extended piano solo passages).

Forced high spirits, triangular intrigue, brittle, and sophisticated interplay, leading to ...

“B. Denouement: Discovery of a triangle-situation, reproaches, abuses, imprecations, threats. The three are now convinced that they are ‘really living’ — or at least emotionally busy — only to arrive at a point of painful recognition of the absurdity of their behavior, and the emptiness of their feelings.

“IV. Coda: One after the other, the men make embarrassed exits, the relationships obviously exhausted, leaving the woman alone, no richer in real experience than she was at the start.

“The score is played without pause, in one movement.”



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

SOUNDINGS

2 0 1 9/2 0

PROGRAM 9

CLASSICS PROGRAM NOTES SERGEI RACHMANINOFF (1873-1943): Piano Concerto No. 3 in D minor, Op. 30 Sergei Rachmaninoff was born on April 1, 1873 in Oneg (near Novgorod), Russia and died on March 28, 1943 in Beverly Hills, California. He composed his Third Piano Concerto in 1909 at his summer home in Ivanovka, a village north of the Black Sea, and was soloist in the first performance, on November 28, 1909 with Walter Damrosch and the New York Symphony Orchestra. The score calls for woodwinds in pairs, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. Duration is about 40 minutes. Natasha Paremski was the soloist and Andrew Litton conducted the orchestra when the piece was last performed on November 17-19, 2017.

The worlds of technology and art sometimes brush against each other in curious ways. In 1909, it seems, Sergei Rachmaninoff wanted one of those new mechanical wonders — an automobile. And thereupon hangs the tale of his first visit to America.

The impresario Henry Wolfson of New York arranged a thirty-concert tour for the 1909-1910 season for Rachmaninoff so that he could play and conduct his own works in a number of American cities. Rachmaninoff was at first hesitant about leaving his family and home for such an extended overseas trip, but the generous financial remuneration was too tempting to resist.

With a few tour details still left unsettled, Wolfson died suddenly in the spring of 1909, and the composer was much relieved that the journey would probably be cancelled. Wolfson’s agency had a contract with Rachmaninoff, however, and during the summer finished the arrangements for his appearances so that the composer-pianist-conductor was obliged to leave for New York as scheduled. Trying to look on the bright side of this daunting prospect, Rachmaninoff wrote to his long-time friend Nikita Morozov, “I don’t want to go. But then perhaps, after America I’ll be able to buy myself that automobile.... It may not be so bad after all!” It was for the American tour that Rachmaninoff composed his Third Piano Concerto.

The Concerto consists of three large movements. The first is a modified sonata form that begins with a haunting theme, recalled in the later movements, that sets perfectly the Concerto’s mood of somber intensity. The espressivo second theme is presented by the pianist, whose part has, by this point, abundantly demonstrated the staggering technical challenge that this piece offers to the soloist, a characteristic Rachmaninoff had disguised by the simplicity of the opening. The development section is concerned mostly with transformations of fragments from the first theme. A massive cadenza, separated into two parts by the recall of the main theme by the woodwinds, leads to the recapitulation. The earlier material is greatly abbreviated in this closing section, with just a single presentation of the opening melody and a brief, staccato version of the subsidiary theme.

The second movement, subtitled Intermezzo, which Dr. Otto Kinkleday described in his notes for the New York premiere as “tender and melancholy, yet not tearful,” is a set of free variations with an inserted episode.

“One of the most dashing and exciting pieces of music ever composed for piano and orchestra” is how Patrick Piggot described the finale. The movement is structured in three large sections. The first part has an abundance of themes which Rachmaninoff skillfully derived from

PROGRAM 10

C O L O R A D O SY M P H O N Y.O R G

CLASSICS PROGRAM NOTES those of the opening movement. The relationship is further strengthened in the finale’s second section, where both themes from the opening movement are recalled in slow tempo. The pace again quickens, and the music from the first part of the finale returns with some modifications. A brief solo cadenza leads to the coda, a dazzling final stanza with fistfuls of chords propelling the headlong rush to the dramatic closing gestures. Š2019 Dr. Richard E. Rodda

CLASSICS

Marin Alsop Conducts MAR 20-22 FRI-SAT 7:30 SUN 1:00 n

Marin Alsop, conductor BARBER Essay No. 2, Op. 17 COPLAND Suite from Appalachian Spring PROKOFIEV Suite from Romeo and Juliet

tickets: coloradosymphony.org

SOUNDINGS

2 0 1 9/2 0 PROGRAM 11

young professionals of the colorado symphony

expand your symphony experience Crescendo Society members attend happy hours around town, Colorado Symphony concerts, and exclusive events to support the Symphony.

new events and social hours — all year long! Check

CrescendoSociety

COLORADOSYMPHONY.ORG/CRESCENDOSOCIETY