Program - Carmina Burana Conducted by Brett Mitchell

CLASSICS

2018/19

2018/19 SEASON PRESENTING SPONSORS:

CARMINA BURANA CONDUCTED BY BRETT MITCHELL COLORADO SYMPHONY BRETT MITCHELL, conductor MARY WILSON, soprano CHRISTOPHER PFUND, tenor ELLIOT MADORE, baritone COLORADO SYMPHONY CHORUS, DUAIN WOLFE, director COLORADO CHILDREN’S CHORALE, DEBORAH DESANTIS, artistic director Friday, May 24, 2019, at 7:30 p.m.

Saturday, May 25, 2019, at 7:30 p.m.

Sunday, May 26, 2019, at 1:00 p.m.

Boettcher Concert Hall

ADAM SCHOENBERG American Symphony Fanfare White on Blue Rondo Prayer Stars, Stripes and Celebration — INTERMISSION —

ORFF Carmina burana, Cantiones profanae

for Orchestra, Large and Small Choruses,

Children’s Chorus, Soprano, Tenor and

Baritone Soloists Fortuna Imperatrix Mundi I. Primo Vere II. In Taberna III. Cour d’Amours Fortuna Imperatrix Mundi This Weekend’s Performances are Gratefully Dedicated in Memory of John Low Friday’s Concert is Gratefully Dedicated to DaVita Saturday’s Concert is Gratefully Dedicated to Michael and Sandra Wilson​

PROUDLY SUPPORTED BY

SOUNDINGS

2018/19

PROGRAM 1

CLASSICS BIOGRAPHIES BRETT MITCHELL, conductor

PHOTO: ROGER MASTROIANNI

Hailed for presenting engaging, in-depth explorations of thoughtfully curated programs, Brett Mitchell began his tenure as Music Director of the Colorado Symphony in July 2017. Prior to this appointment, he served as the orchestra’s Music Director Designate during the 2016/17 season. He leads the orchestra in ten classical subscription weeks per season as well as a wide variety special programs featuring such guest artists as Renée Fleming, Yo-Yo Ma, and Itzhak Perlman.

Mitchell is also in consistent demand as a guest conductor. Highlights of his 2018/19 season include subscription debuts with the Minnesota Orchestra and Vancouver Symphony Orchestra, and return appearances with the orchestras of Cleveland, Dallas, and Indianapolis. Other upcoming and recent guest engagements include the Detroit, Houston, Milwaukee, National, Oregon, and San Antonio symphonies, the Grant Park Festival Orchestra, the Rochester Philharmonic, the Saint Paul Chamber Orchestra, and the New Zealand Symphony Orchestra.

Mitchell also regularly collaborates with the world’s leading soloists, including Yo-Yo Ma, Renée Fleming, Rudolf Buchbinder, Kirill Gerstein, James Ehnes, Augustin Hadelich, Leila Josefowicz, and Alisa Weilerstein.

From 2013 to 2017, Mitchell served on the conducting staff of The Cleveland Orchestra. He joined the orchestra as Assistant Conductor in 2013, and was promoted to Associate Conductor in 2015, becoming the first person to hold that title in over three decades and only the fifth in the orchestra’s hundred-year history. In these roles, he led the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour.

From 2007 to 2011, 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, Mitchell completed a highly successful five-year appointment as Music Director of the Saginaw Bay Symphony Orchestra.

Born in Seattle in 1979, Mitchell holds degrees in conducting from the University of Texas at Austin and composition from Western Washington University, which selected him as its Young Alumnus of the Year in 2014. He also 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. Mitchell was also one of five recipients of the League of American Orchestras’ American Conducting Fellowship from 2007 to 2010.

For more information, please visit www.brettmitchellconductor.com

PROGRAM 2

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

CLASSICS BIOGRAPHIES

PHOTO: JACQUE BRUND

MARY WILSON, soprano In high demand on the concert stage, Mary Wilson has most-recently appeared with the Boston Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Orchestra, St, Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Nashville Symphony Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, and at the Hollywood Bowl. She has worked with conductors including Nicholas McGegan, Bernard Labadie, Martin Pearlman, Martin Haselböck, JoAnn Falletta, and Leonard Slatkin. An exciting interpreter of Baroque repertoire, especially Handel, she has appeared with Musica Angelica, American Bach Soloists, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Baltimore Handel Choir, Florida Bach Festival, and the Carmel Bach Festival. On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World premiere performances of Dove’s Flight (Controller), Glass’ Galileo Galilei (Grand Duchess Christina), and Petitgirard’s Joseph Merrick dit L’Elephant Man (Le Colorature). She has appeared most-recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Brooklyn Academy of Music, and the Goodman Theatre.

CHRISTOPHER PFUND, tenor Highly lauded for his irreverent portrayals of the Roasting Swan in Carmina burana, tenor Christopher Pfund has made the role a pillar of his career, performing it with countless orchestras across North America. In recent seasons he has performed Carmina burana with the symphony orchestras of Alabama, Des Moines, Cleveland, Fort Wayne, Hartford, Houston, Indianapolis, Jacksonville, Nashville, Philadelphia, Pittsburgh, Reading, and San Diego. In addition to his signature concert role, Pfund has appeared in concert performing Beethoven’s Symphony No. 9 with the Charlotte and Stamford symphonies; Handel’s Messiah with the Buffalo Philharmonic, National Arts Centre Orchestra, Rochester Philharmonic, Syracuse Symphony, and Virginia Symphony; and Haydn’s Creation with the Louisiana Philharmonic. He also appeared at Carnegie Hall with the Rochester Philharmonic as a part of the Spring for Music Festival as Sir Gower Lackland in a concert performance of Howard Hanson’s Merry Mount. He created the role of Rev. Eugene Hendrix in a world-premiere concert performance of Gregory Vajda’s opera Georgia Bottoms with the Huntsville Symphony Orchestra. Pfund’s recordings include the title role in Britten’s Albert Herring on the Vox label and Distant Playing Fields: Vocal Music of Amy Beach and William Maye on Newport Classics. A Colorado native, Christopher Pfund holds degrees from both the University of Northern Colorado and Manhattan School of Music. He was an opera apprentice with the Santa Fe, Glimmerglass, and Chautauqua operas, and was a 20th Century Song Recitalist at the Banff Centre.

SOUNDINGS

2018/19

PROGRAM 3

CLASSICS BIOGRAPHIES

PHOTO: CYRILL MATTER

ELLIOT MADORE, baritone Canadian baritone Elliot Madore has been praised for his “movie star quality” (Merkur) and “exceptional” artistry (New York Times). In the 20182019, Madore returns to the Dutch National Opera in the European premiere of John Adams’ Girls of the Golden West directed by Peter Sellars, a role he premiered at the San Francisco Opera last season. He also returns to the Zurich Opera in a new production of Sweeney Todd as Anthony Hope and debuts as Figaro in Il barbiere di Siviglia at Manitoba Opera. He sings Carmina burana with the Kalamazoo Bach Festival, Kitchener-Waterloo Symphony, and Colorado Symphony having previously sung it with the Cleveland Orchestra.

In his signature role of Pelléas in Pelléas et Melisande, he made his Bayerische Staatsoper debut in a new production at the Prinzregententehater. He has also sung Pelléas with the Croatian National Opera in Stéphane Braunschweig’s famous production, with Franz Welser-Möst and the Cleveland Orchestra in a fully-staged production by Yuval Sharon, at Opéra-Théâtre de Limoges, with the Bremen Kammerphilharmonie conducted by Mirga Gražinytė-Tyla and with the Sydney Symphony Orchestra under Charles Dutoit. Madore made his Metropolitan Opera mainstage debut as Lysander in their original baroque fantasy The Enchanted Island conducted by William Christie, as well as singing the Novice’s Friend in Billy Budd as a member of Lindemann Young Artist Development Program. Since then, he has appeared as Figaro in The Barber of Seville and Mercutio in the new production of Roméo et Juliette conducted by Gianandrea Noseda which was broadcast worldwide in HD.

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. 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 as Chorus Director for the Canadian National Arts Centre Orchestra for the past 13 years.

PROGRAM 4

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

CLASSICS BIOGRAPHIES COLORADO SYMPHONY CHORUS The 2018/19 Colorado Symphony concert season marks the 35th year of the Colorado Symphony Chorus. 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 Orchestra and Chorus has released a world-premier recording of William Hill’s The Raven. In 2009, in celebration of the 25th anniversary of the chorus, Duain Wolfe conducted the chorus on a three-country, twoweek concert tour of Europe, presenting the Verdi Requiem in Budapest, Vienna, Litomysl, and Prague, and 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 continues to be grateful for the excellence and dedication of this remarkable all-volunteer ensemble! For an audition appointment, visit the symphony website for an on-line sign up form. www. coloradosymphony.org

SOUNDINGS

2018/19

PROGRAM 5

CLASSICS 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, Danni Snyder, Pianists; Eric Israelson, Barbara Porter, Chorus Managers SOPRANO I Black, Kimberly Brazell, Madeline Brown, Jamie Causey, Denelda Choi, LeEtta H. Coberly, Sarah Coppage, Zoie Dirksen, Sarah Emerich, Kate A. Gile, Jenifer D. Gill, Lori C. Graber, Susan Heintzkill, Mary-Therese Hinkley, Lynnae C. Hittle, Erin R. Hofmeister, Mary Hupp, Angela M. Jordan, Cameron Joy, Shelley E. Knecht, Melanie Levy, Juliet Long, Lisa Look, Cathy Maupin, Anne Mitchell, Angela Moraskie, Wendy L. Porter, Barbara A. Ropa, Lori A. Schawel, Camilia Sladovnik, Roberta A. Stegink, Nicole J. Tate, Judy Wuertz, Karen Young, Cara M. SOPRANO II Ascani, Lori Blum, Jude Bowen, Alex S. Brauchli, Margot L. Coberly, Ruth A. Colbert, Gretchen Collins, Suzanne Cote, Kerry H. Dakkouri, Claudia Dean, Lindsay Houlihan, Mary Irwin, Emily K. Kendall, Chelsea

PROGRAM 6

Kittle, Grace A. Kraft, Lisa D. Kushnir, Marina Linder, Dana Machusko, Rebecca E. Montigne, Erin Nesbit, Angie Nyholm, Christine M. O’Nan, Jeannette R. Pflug, Kim Rae, Donneve S. Rider, Shirley J. Roth, Sarah Ruff, Mahli Saddler, Nancy C. Timme, Sydney 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 Cauthen, Rachael Claggett, Sara Clauson, Clair T. Conrad, Jayne M. Fairchild, Raleigh Franz, Kirsten D. Frey, Susie Gayley, Sharon R. Groom, Gabriella D. Guittar, Pat Haller, Emily Holst, Melissa J. Hoopes, Kaia M. Kim, Annette Kolstad, Annie Kraft, Deanna LeBlanc, Genevieve McNulty, Emily McWaters, Susan Moreno, Melissa Nordenholz, Kristen Passoth, Ginny Pringle, Jennifer Rudolph, Kathi L.

Schmicker, Kate Stevenson, Melanie Thayer, Mary B. Virtue, Pat Voland, Colleen York, Beth ALTO II Boothe, Kay A. Cox, Martha E. Daniel, Sheri L. Deck, Barbara Dominguez, Joyce Eslick, Carol A. Golden, Daniela Holmes, Kelsey Hoskins, Hansi Jackson, Brandy H. Janasko, Ellen D. LeBaron, Andrea London, Carole A. Maltzahn, Joanna K. Marchbank, Barbara J. Nittoli, Leslie M. Schalow, Elle C. Scooros, Pamela R. Trierweiler, Ginny 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. Richardson, Tyler Roach, Eugene Thompson, Hannis Zimmerman, Kenneth TENOR II Babcock, Gary E. Bradley, Mac Carlson, James

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

Davies, Dusty R. Dinkel, Jack Fuehrer, Roger Gale, John H. Ibrahim, Sami Jin, Yi Kolm, Kenneth E. Lively, Mark McCracken, Todd Meswarb, Stephen J. Milligan, Tom A. Ruth, Ronald L. Seamans, Andrew J. Shaw, Kyle Sims, Jerry E. BASS I Adams, John G. Cowen, George Drickey, Robert E. Gray, Matthew Hesse, Douglas D. Hume, Donald Hunt, Leonard Jirak, Thomas J. Mehta, Nalin J. Quarles, Kenneth Ragan, Jimmy Ravid, Frederick Smith, Benjamin A. Struthers, David R. BASS II Friedlander, Robert Grossman, Chris Israelson, Eric W. Jackson, Terry L. Kent, Roy A. Morrison, Greg A. Nuccio, Eugene J. Phillips, John R. Potter, Tom Skillings, Russell R. Skinner, Jack Smedberg, Matthew Swanson, Wil W. Taylor, Don Virtue, Tom G.

CLASSICS BIOGRAPHIES DEBORAH DESANTIS, artistic director, Colorado Children’s Chorale Deborah DeSantis has been instrumental in the growth and success of the Colorado Children’s Chorale since 1983. She directs tour choir and regularly conducts performances throughout metropolitan Denver and has led numerous tours, nationally and internationally. Her passion for artistic excellence and music education has been a driving force in the development of the Chorale’s School Partnership program, which she established in 1994. In addition to designing and directing community performance residencies for the Chorale, she frequently serves as guest clinician and conductor for school and community children’s choral programs throughout the nation. Debbie has conducted seminars and workshops for Chorus America, the American Choral Director’s Association, Colorado Music Educators Association, the Choristers’ Guild and the Suzuki Institute and has served as co-chair of Chorus America’s Children/Youth Choir Constituency.

COLORADO CHILDREN'S CHORALE Celebrating their 45th Anniversary Season, the Colorado Children’s Chorale has brought its artistry and charm to audiences throughout the world. With a diverse repertoire ranging from fully staged opera and musical theater to standard choral compositions in classical, folk and popular traditions, the Chorale performs with an innovative stage presentation and a unique theatrical spirit. In recognition of its artistic quality, the Chorale was awarded the Governor’s Award for Excellence in the Arts, the Mayor’s Award for Excellence in the Arts and the prestigious El Pomar Award for Excellence in Arts and Humanities. Under the leadership of Artistic Director Deborah DeSantis and Executive Director Meg Steitz, the Colorado Children’s Chorale annually trains 500 members between the ages of 7 and 14 from all ethnicities and socio-economic backgrounds representing more than 170 schools in the Denver metro area and beyond. Since its founding in 1974, the Chorale has sung countless performances with some of the world’s finest performing arts organizations, performed for numerous dignitaries, and appeared in several television and radio broadcasts. The Performance Program includes a series of selfproduced concerts, numerous performances with other Colorado arts organizations and touring around the world. The Chorale presents annual performances of Christmas with the Children’s Chorale and Spring with the Children’s Chorale at Boettcher Concert Hall, A Classical Jazz Evening at Saint John’s Cathedral plus Performing Small Miracles and Spring Fling Sing! which are presented in venues across the metro area. This season also includes War Requiem, A Colorado Christmas and Carmina burana with the Colorado Symphony, Billy Budd with Central City Opera and Tosca with the Philadelphia Orchestra for Bravo! Vail.

SOUNDINGS

2018/19

PROGRAM 7

CLASSICS BIOGRAPHIES COLORADO CHILDREN'S CHORALE CONCERT CHOIR Mary Louise Burke, Director Roster of Chorale Performers Mara Baldwin Lauren Becker Madi Bishop Karsten Braun Saniyah Brooks Sophie Call Logan Chamberlain Carly Crile Cayden Culwell Bianca Curtiss-Schmidt Sophia Dai Carolynn Dominguez Raeya Engstrom Makenzi Ewing Annie Fialka Eryn Franklin Clara Frey Amelia Gassen Sofia Gessler Lyla Getsch Noelle Gibson Migui Guajardo Tihun Hann Jackson Hasserd Emilia Heeres Erin Hoglund Adedoyin Jaiyesimi

PROGRAM 8

Rachel Johnson Jake Jui Tess Jui Alyscia Lansing Ariana Lavezza Maddie Lopez Eli Maize Mackenzie Malloy Niko Maniatis Abigail Martineau Sofie Mason Vaughn Mason Micah Mays Adah Meyerhoff Silvana Mezzacapo Bella Mitchell Beth Mitchell Sloane Moritz Bianca Morris Amelia Muldrow Raditya Muljadi Kate Natale Kason Nicholas Sophie Park Clara Park Taytum Peterson Jonathan Pitzer

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

Vivian Pitzer Kaitlyn Potts Marion Powers Claire Prior Selina Rakhmanova Julia Rippons Ian Rocklin Grace Ross Elena Russell Sara Schott Elijah Scott Marley Scott Parker Seeman Conor Sharpe Drew Shoup Hayley Smith Zach Talmage Sofia Tkachenko Asha Wagner Brooke Walton Joy Wiebel Ella Williams Mary Kate Wilson Maddie Windes Johnson Zhu Addison Zink

CLASSICS PROGRAM NOTES ADAM SCHOENBERG (B. 1980): American Symphony Adam Schoenberg was born on November 15, 1980 in Northampton, Massachusetts. American Symphony was composed in 2010 and premiered on March 4, 2011 by the Kansas City (Missouri) Symphony, conducted by Michael Stern. The score calls for three flutes (third doubling piccolo), three oboes (third doubling English horn), three clarinets (third doubling bass clarinet), three bassoons (third doubing contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano (doubling celesta), and strings. Duration is about 25 minutes. This is the first performance by the orchestra.

Adam Schoenberg, born in the western Massachusetts town of Northampton in 1980, grew up in a musical environment, improvising and playing piano from age three. Schoenberg received his baccalaureate in music composition from Oberlin (2002) and master’s degree (2005) and doctorate (2010) from Juilliard, where he was a C.V. Starr Doctoral Fellow. He has taught at the UCLA Herb Alpert School of Music and lectured at Juilliard, Oberlin, Aspen and other noted schools and conservatories, and in 2015 was appointed to the faculty of Occidental College in Los Angeles, where he teaches composition and film scoring.

Schoenberg has received awards and grants from ASCAP, Meet the Composer, International Brass Chamber Music Festival, Southern Arts Federation and Society for New Music, and American Academy of Arts and Letters, as well as two Grammy nominations, including one for Best Contemporary Classical Composition for Picture Studies. He was a MacDowell Colony Fellow in 2009 and 2010, Guest Composer at the Aspen Music Festival and School in 2010 and 2011, and 2012 BMI Composer-in-Residence at the Blair School of Music at Vanderbilt University; he has also held residencies with the Kansas City Symphony, Lexington Philharmonic and Fort Worth Symphony. An accomplished film composer, Adam Schoenberg has scored two featurelength movies and several shorts.

Adam Schoenberg wrote that his American Symphony, composed in 2010, “was inspired by the 2008 presidential election of Barack Obama, in which both political parties asked the people to embrace change and make a difference. I was both excited and honored about ushering in this new era in our nation’s history. For the first time, I truly understood what it means to be an American.

“Aaron Copland’s Third Symphony is the quintessential American symphony, composed in 1946 — one year after World War II ended. I believe Copland wanted to bring beauty and peace into the world during a time of great turmoil. Quite serendipitously, I heard Copland’s Third three nights after President Obama was elected and, seeing that our country and world had needs similar to those of Copland’s time, I was inspired to make a difference. I set out to write a modern American symphony that paid homage to our past and looked forward to a brighter future.

“While not a patriotic work, the American Symphony reflects a respect and responsibility for the great potential of our nation and a hunger to affect positive change. It is about our collective ability to restore hope within ourselves and our neighbors, both here and around the world. The work, cast in five movements, is approximately 25 minutes in length.

“Movement I is a fanfare that introduces material which will be explored in the last movement.

It is built on intervals of major and minor thirds that travel in parallel motion throughout while constantly modulating upward. I wanted to create a succinct, swift and uplifting prelude that projects the emotions that will be captured at the end of the journey. The final climax of Movement I ends with the strings playing a harmonic cluster that fades into the beginning of Movement II. SOUNDINGS

2018/19

PROGRAM 9

CLASSICS PROGRAM NOTES “Movement II begins attaca [without pause] and is conceived as an atmospheric movement. It marks the start of the Symphony’s emotional journey by capturing the struggle, pain and need for change, and features the flute playing a mysteriously chromatic, yet tonal, solo that hovers above pedal tones played by strings and winds. Approximately half way through, a chorale is introduced and eight chords are played and repeated three different times before the movement ends. These eight chords are later developed in Movement IV. The end of the movement introduces major-triad chords in their most pure form (e.g., the pitches C–E–G) that move in parallel motion to act as a bridge to the next movement.

“Movement III also begins attaca and is the only movement that follows a traditional form.

It is written in rondo form (A–B–A–C–A–D–A) and is built on major triads that play a rhythmic motive. I call this ‘happy music.’ Influenced by electronica, my goal is to create a strong pulse that resembles club-like beats.

“Movement IV, which pays homage to such great American composers as Barber and Gershwin, is an Adagio that acts as a prayer. The chorale heard in Movement II becomes the main compositional material for this entire movement, which features solos for oboe and clarinet with subtle interactions provided by the flute, vibraphone, horns, bassoons and trumpets. This movement is dedicated to those lost in 9/11 and hurricane Katrina, as well as to all victims of violence and war.

“Movement V, the longest one, is essentially conceived in three large sections: Stars, Stripes and Celebration. The first section, Stars, contains a spiraling motive (i.e., an ostinato that transforms itself throughout the section) played by violins and orchestrated with winds. The flutes enter, playing a melody reminiscent of the opening theme in Movement I. The section continues to evolve and becomes more rhythmic with added brass chords before winding down to a chordal passage introduced by the horns and cellos. Stripes is announced with a strong, driving pulse and a rhythmic motive played by the winds and strings. The form of this section is perceived as A–B–A–B–C, where the ‘A’ sections represent the initial material represented in the winds and strings. The ‘B’ sections can be perceived as a classical interpretation of electronic dance music in thirty seconds. A chord progression built on quartal/quintal harmonies (i.e., made from the ‘open-sounding’ intervals of perfect fourths and fifths) with an aggressive series of fast, arpeggiating sixteenth notes is heard. The ‘C’ section expands on the running sixteenth notes from section ‘B,’ but this time they run more linearly. These fast, running lines played by the strings interact with a number of rhythmically jagged and angular chords built on the major and minor thirds from Movement I played by the brass and winds. This ‘C’ section acts as a bridge to Celebration, in which the running parallel eighth notes in major and minor thirds return and a soaring melody is announced. The melody continues to grow until it fades away into the final episode. The violins play an eighth-note ostinato, and new rhythmic layers are slowly added to create a canvas of sound that is harmonically open. The final sounds played by the horns and brass represent the culmination of the musical journey, and aim to express further optimism.

The Symphony ends suspended in mid-air to remind us that even though we have made positive strides toward being a better America, we are still searching. Although this American Symphony has come to an end, the journey that we take as human beings continues to move forward.”

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PROGRAM 10

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

CLASSICS PROGRAM NOTES CARL ORFF (1895-1982): Carmina burana, Cantiones profanae for Orchestra, Large and Small Choruses, Children’s Chorus, Soprano, Tenor and Baritone Soloists Carl Orff was born on July 10, 1895 in Munich and died on March 29, 1982 in Munich. Carmina burana was composed in 1935-1936. Bertil Wetzelberger conducted the premiere at the Frankfurt Opera House on December 8, 1937. The score calls for three flutes (second and third doubling piccolo), three oboes (third doubling English horn), three clarinets (second doubling E-flat clarinet, third doubling bass clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, celesta, two pianos, and strings. Duration is about 60 minutes.

Andrew Litton was on the podium when the piece was last performed on May 20-22, 2016.

About thirty miles south of Munich, in the foothills of the Bavarian Alps, is the abbey of Benediktbeuren. In 1803, a 13th-century codex was discovered among its holdings that contains some 200 secular poems which give a vivid, earthy portrait of Medieval life. Many of these poems, attacking the defects of the Church, satirizing contemporary manners and morals, criticizing the omnipotence of money, and praising the sensual joys of food, drink and physical love, were written by an amorphous band known as “Goliards.” These wandering scholars and ecclesiastics, who were often esteemed teachers and recipients of courtly patronage, filled their worldly verses with images of self-indulgence that were probably as much literary convention as biographical fact. The language they used was a heady mixture of Latin, old German and old French. Some paleographic musical notation appended to a few of the poems indicates that they were sung, but it is today so obscure as to be indecipherable. This manuscript was published in 1847 by Johann Andreas Schmeller under the title, Carmina burana (“Songs of Beuren”), “carmina” being the plural of the Latin word for song, “carmen.”

Carl Orff encountered these lusty lyrics for the first time in the 1930s. He was immediately struck by their theatrical potential and chose 24 poems from the Carmina burana as the basis for a new work. Since the 13th-century music for them was unknown, all of their settings are original with him. Orff’s Carmina burana is disposed in three large sections with prologue and epilogue. The three principal divisions — Primo Vere (“Springtime”), In Taberna (“In the Tavern”) and Cour d’Amours (“Court of Love”) — sing the libidinous songs of youth, joy and love. However, the prologue and epilogue (using the same verses and music) that frame these pleasurable accounts warn against unbridled enjoyment. “The wheel of fortune turns; dishonored I fall from grace and another is raised on high,” caution the words of Fortuna Imperatrix Mundi (“Fortune, Empress of the World”), the chorus that stands like pillars of eternal verity at the entrance and exit of this Medieval world. They are the ancient poet’s reminder that mortality is the human lot, that the turning of the same Wheel of Fortune that brings sensual pleasure may also grind that joy to dust. It is this bald juxtaposition of antitheses — the most rustic human pleasures with the sternest of cosmic admonitions — coupled with Orff’s elemental musical idiom that gives Carmina burana its dynamic theatricality.

The work opens with the chorus Fortuna Imperatrix Mundi, depicting the terrible revolution of the Wheel of Fate through a powerful repeated rhythmic figure that grows inexorably to a stunning climax. After a brief morality tale (Fortune plango vulnera — “I lament the wounds that fortune deals”), the Springtime section begins. Its songs and dances are filled with the sylvan brightness and optimistic expectancy appropriate to the annual rebirth of the earth and the spirit. The next section, In Taberna (“In the Tavern”), is given over wholly to the men’s voices.

SOUNDINGS

2 0 1 8 / 1 9 PROGRAM 11

CLASSICS PROGRAM NOTES Along with a hearty drinking song are heard two satirical stories: Olim lacus colueram (“Once in lakes I made my home”) — one of the most fiendishly difficult pieces in the tenor repertory — and Ego sum abbas Cucaniensis (“I am the abbot of Cucany”). The third division, Cour d’Amours (“Court of Love”), leaves far behind the rowdy revels of the tavern to enter a refined world of sensual pleasure. The music is limpid, gentle and enticing, and marks the first appearance of the soprano soloist. The lovers’ urgent entreaties grow in ardor, with insistent encouragement from the chorus, until submission is won in the most rapturous moment in the score, Dulcissime (“Sweetest Boy”). The grand paean to the loving couple (Blanzifor et Helena) is cut short by the intervention of imperious fate, as the opening chorus (Fortuna), like the turning of the great wheel, comes around once again to close this mighty work. ©2019 Dr. Richard E. Rodda FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) 1. O fortuna Chorus O fortuna, velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

O fortune!

Like the moon everchanging, rising first then declining; hateful life treats us badly then with kindness, making sport with our desires, causing power and poverty alike to melt like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Dread destiny and empty fate, an ever turning wheel, who make adversity and fickle health alike turn to nothing, in the dark and secretly you work against me; how through your trickery my naked back is turned to you unarmed.

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

CLASSICS PROGRAM NOTES Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria.

Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Good fortune and strength now are turned from me, Affection and defeat are always on duty.

Come now, pluck the strings without delay; and since by fate the strong are overthrown, weep ye all with me.

2. Fortune plango vulnera Chorus

Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis.

Verum est, quod legitur fronte capillata, sed plerumque sequitur occasio calvata.

I lament the wounds that fortune deals with tear-filled eyes, for returning to the attack she takes her gifts from me.

It is true as they say, the well-thatched pate may soonest lose its hair.

In fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus.

Once on fortune’s throne I sat exalted, crowned with a wreath of prosperity’s flowers.

But from my happy, flower-decked paradise I was struck down and stripped of all my glory.

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice — caveat ruinam!

Nam sub axe legimus Hecubam reginam.

The wheel of fortune turns; dishonored I fall from grace and another is raised on high.

Raised to over-dizzy heights of power the king sits in majesty — but let him beware of his downfall!

For ’neath the axle of fortune’s wheel behold Queen Hecuba.

CLASSICS PROGRAM NOTES I. PRIMO VERE (Springtime) 3. Veris leta facies Small Chorus Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que canto celebratur.

The joyous face of spring is presented to the world; winter’s army is conquered and put to flight.

In colorful dress Flora is arrayed, and the woods are sweet with birdsong in her praise.

Flore fusus gremio Phebus novo more risum dat, hoc vario iam stipatur flore.

Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore.

Reclining in Flora’s lap Phoebus again laughs merrily, covered with many-colored flowers.

Zephyr breathes around the scented fragrance; eagerly striving for the prize, let us compete in love.

Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena; salit cetus avium silve per amena, chorus promit virginum iam gaudia millena.

Trilling her song sweet Philomel is heard, and smiling with flowers the peaceful meadows lie; a flock of wild birds rises from the woods; the chorus of maidens brings a thousand joys.

4. Omnia sol temperat Baritone

Omnia sol temperat purus et subtilis, novo mundo reserat faciem Aprilis; ad amorem properat animus herilis, et iocundis imperat deus puerilis.

All things are tempered by the sun so pure and fine.

In a new world are revealed the beauties of April; to thoughts of love the mind of man is turned, and in pleasure’s haunts the youthful God holds sway.

Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas,

Nature’s great renewal in solemn spring and spring’s example bid us rejoice; they charge us keep to well-worn paths,

CLASSICS PROGRAM NOTES et in tuo vere fides est et probitas tuum retinere.

and in your springtime there is virtue and honesty in being constant to your lover.

Ama me fideliter!

Fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota.

Quisquis amat taliter, volvitur in rota.

Love me truly!

Remember my constancy.

With all my heart and all my mind I am with you even when far away.

Whoever knows such love knows the torture of the wheel.

5. Ecce gratum Chorus

Ecce gratum et optatum ver reducit gaudia, purpuratum floret pratum, sol serenat omnia.

Iamiam cedant tristia!

Estas redit, nunc recedit Hyemis sevitia.

Behold the welcome, long-awaited spring, which brings back pleasure and with crimson flowers adorns the fields.

The sun brings peace to all around.

Away with sadness!

Summer returns, and now departs cruel winter.

Iam liquescit et decrescit grando, nix et cetera; bruma fugit, et iam sugit ver estatis ubera; illi mens est misera, qui nec vivit, nec lascivit, sub estatis dextera.

Melt away and disappear hail, ice and snow; the mists flee, and spring is fed at summer’s breast.

Wretched is the man who neither lives nor lusts under summer’s spell.

Gloriantur et letantur in melle dulcedinis, qui conantur, ut untantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis.

They taste delight and honeyed sweetness who strive for and gain Cupid’s reward.

Let us submit to Venus’ rule, and joyful and proud be equal to Paris.

CLASSICS PROGRAM NOTES UF DEM ANGER (On the Green) 6. Tanz (Dance) Orchestra 7. Floret silva Chorus and Small Chorus Floret silva nobilis floribus et foliis.

Ubi est antiquus meus amicus?

Hinc equitavit, eia, quis me amabit?

The noble forest Is decked with flowers and leaves.

Where is my old, my long-lost lover?

He rode away on his horse.

Alas, who will love me now?

Floret silva undique, nach mime gesellen ist mir we.

Gruonet der walt allenthalben, was ist min geselle alse lange?

Der ist geriten hinnen, owi, wer sol mich minnen?

The forest all around is in flower, I long for my lover.

The forest all around is in flower, whence is my lover gone?

He rode away on his horse.

Alas, who will love me now?

8. Chramer, gip die varwe mir Children’s Chorus and Chorus

Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete.

Seht mich an, jungen man!

Lat mich iu gevallen!

Salesman, give me colored paint to paint my cheeks so crimson red, that I may make these bold young men, whether they will or not, love me.

Look at me, young men all!

Am I not well pleasing?

Minnet, tugentliche man, minnecliche frouwen!

Minne tuot iu hoch gemuot unde lat iuch in hohlen eren schouwen.

Seht mich an, etc.

Love, all you right-thinking men, women worthy to be loved!

Love shall raise your spirits high and put a spring into your step.

Look at me, etc.

Wol dir, werit, das du bist also freudenriche!

Ich wil dir sin undertan durch din liebe immer sicherliche.

Seht mich an, etc.

Hail to thee, O world that art in joy so rich and plenteous!

I will ever be in thy debt surely for thy goodness’ sake!

Look at me, etc.

CLASSICS PROGRAM NOTES 9. Reie (Round Dance) Chorus Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan.

They who here go dancing round are young maidens all who will go without a man this whole summer long.

Chume, chum, geselle min Small Chorus Chume, chum, geselle min, ih enbite harte din.

Come, come, dear heart of mine, I so long have waited for thee.

Suzer rosenvarwer munt, chum un mache mich gesunt.

Sweetest rosy colored mouth, come and make me well again.

Swaz hie gat umbe Chorus Swaz hie gat umbe, etc.

They who here go dancing round, etc.

10. Were diu werlt alle min Chorus

Were diu werlt alle min von deme mere unze an den Rin, des wolt ih mih darben, daz diu chĂźnegin von Engellant lege an minen armen.

If the whole world were but mine from the sea right to the Rhine, gladly I’d pass it by if the Queen of England fair in my arms did lie.

II. IN TABERNA (In the Tavern) 11. Estuans interius Baritone

Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi, similis sum folio, de quo ludunt venti.

Seething inside with boiling rage, in bitterness I talk to myself.

Made of matter, risen from dust, I am like a leaf tossed in play by the winds.

SOUNDINGS

2 0 1 8 / 1 9 PROGRAM 17

CLASSICS PROGRAM NOTES Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti.

Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes, et adiungor pravis.

But whereas it befits a wise man to build his house on a rock, I, poor fool, am like a meandering river, never keeping to the same path.

I drift along like a pilotless ship or like an aimless bird, carried at random through the air.

No chains hold me captive, no lock holds me fast; I am looking for those like me, and I joined the depraved.

Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis.

The burdens of the heart seem to weigh me down; jesting is pleasant and sweeter than the honeycomb.

Whatever Venus commands is pleasant toil; she never dwells in craven hearts.

Via lata gradior more iuventutis, inplicor et vitiis, immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.

On the broad path I wend my way as is youth’s wont, I am caught up in vice and forgetful of virtue, caring more for voluptuous pleasure than for my health; dead in spirit, I think only of my skin.

12. Olim lacus colueram Tenor and Male Chorus

Olim lacus colueram, olim pulcher extiteram — dum cignus ego fueram.

Miser, miser!

Modo niger et ustus fortiter!

Once in lakes I made my home, once I dwelt in beauty — that was when I was a swan.

Alas, poor me!

Now I am black and roasted to a turn!

Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer.

Miser, miser! etc.

On the spit I turn and turn, the fire roasts me through; now I am presented at the feast.

Alas, poor me! etc.

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

CLASSICS PROGRAM NOTES Nunc in scutella iaceo, et volitare nequeo, dentes frendentes video.

Miser, miser! etc.

Now in a serving dish I lie and can no longer fly; gnashing teeth confront me.

Alas, poor me! etc.

13. Ego sum abbas Baritone and Male Chorus

Ego sum abbas Cucaniensis, et consilium meum est cum bibulis, et in secta Decii voluntas mea est, et qui mane me quesierit in taberna,

post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna, wafna!

Quid fecisti sors turpissima?

Nostre vite gaudia abstulisti omnia!

Wafna, wafna!

Ha, ha!

I am the abbot of Cucany, and I like to drink with my friends.

I belong from choice to the sect of Decius, and whoever meets me in the morning at the tavern by evening has lost his clothes, and thus stripped of his clothes cries out: Wafna, wafna!

What hast thou done, oh, wicked fate?

All the pleasures of this life thus to take away!

Wafna, wafna!

Ha, ha!

14. In taberna quando sumus Male Chorus In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus.

Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, si quid loquar, audiatur.

When we are in the tavern we spare no thought for the grave, but rush to the gaming tables where we always sweat and strain.

What goes on in the tavern, where a coin gets you a drink — if this is what you would know, then listen to what I say.

Quidam ludunt, quidam bibunt, quidam indiscrete vivunt.

Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur.

Ibi nullus timet mortem, sed pro Bacho mittunt sortem.

Some men gamble, some men drink, some indulge in indiscretions.

But of those who stay to gamble, some lose their clothes, some win new clothes, while others put on sack cloth.

There no one is afraid of death, but for Bacchus plays at games of chance.

Primo pro nummata vini; ex hac bibunt libertini, semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis,

First the dice are thrown for wine; this the libertines drink.

Once they drink to prisoners, then three times to the living, four times to all Christians, five to the faithful departed, SOUNDINGS

2 0 1 8 / 1 9 PROGRAM 19

CLASSICS PROGRAM NOTES sexies pro sororibus vanis, septies pro militibus silvanis.

six times to the dissolute sisters, seven to the bush-rangers.

Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus, tredecies pro iter angentibus.

Tam pro papa quam pro rege bibunt omnes sine lege.

Eight times to the delinquent brothers, nine to the dispersed monks, ten times to the navigators, eleven to those at war, twelve to the penitent, thirteen to travelers.

They drink to the Pope and king alike, all drink without restraint.

Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudus, bibit magus.

The mistress drinks, the master drinks, the soldier drinks, the man of God, this man drinks, this woman drinks, the manservant with the serving maid, the quick man drinks, the sluggard drinks, the white man and the black man drink, the steady man drinks, the wanderer drinks, the simpleton drinks, the wiseman drinks.

Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater; bibit ista, bibit ille, bibunt centum, bibunt mille.

The poor man drinks, the sick man drinks, the exile drinks and the unknown, the boy drinks, the old man drinks, the bishop drinks and the deacon, sister drinks and brother drinks, the old crone drinks, the mother drinks, this one drinks, that one drinks, a hundred drink, a thousand drink.

Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta.

Quamvis bibant mente leta, sic nos rodunt omnes gentes, et sic erimus egentes.

Qui nos rodunt confundantur et cum iustis non scribantur.

Six hundred coins are not enough when all these drink too much, and without restraint.

Although they drink cheerfully, many people censure us, and we shall always be short of money.

May our cries be confounded and never be numbered among the just.

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

CLASSICS PROGRAM NOTES III. COUR D’AMOURS (Court of Love) 15. Amor volat undique Children’s Chorus and Soprano Amor volat undique, captus est libidine.

Iuvenes, iuvencule coniunguntur merito.

Siqua sine socio, caret omni gaudio; tenet noctis infirma sub intimo cordis in custodia: fit res amarissima.

Love flies everywhere and is seized by desire.

Young men and women are matched together.

If a girl lacks a partner, she misses all the fun; in the depths of her heart is darkest night: it is a bitter fate.

16. Dies, nox et omnia Baritone

Dies, nox et omnia mihi sunt contraria, virginum, colloquia me fay planszer, oy suvenz suspirer, plu me fay temer.

Day, night and all the world are against me, the sound of maidens’ voices makes me weep.

I often hear sighing, and it makes me more afraid.

O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur.

O friends, be merry, say what you will, but have mercy on me, a sad man, for great is my sorrow, yet give me counsel for the sake of your honor.

Tua pulchra facies, me fey planszer milies, pectus habet glacies, a remender statim vivus fierem per un baser.

Your lovely face makes me weep a thousand tears because your heart is of ice, but I would be restored at once to life by one single kiss.

17. Stetit puella Soprano

Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit.

Eia, eia.

There stood a young girl in a red tunic; if anyone touched her, the tunic rustled.

Heigho, heigho.

SOUNDINGS

2 0 1 8 / 1 9 PROGRAM 21

CLASSICS PROGRAM NOTES Stetit puella, tamquam rosula; facie splenduit, os eius floruit.

Eia, eia.

There stood a girl fair as a rose; her face was radiant, her mouth like a flower.

Heigho, heigho.

18. Circa mea pectora Baritone and Chorus

Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere.

Manda liet, manda liet, min geselle chumet niet.

My breast is filled with sighing for your loveliness, and I suffer grievously.

Manda liet, manda liet, my sweetheart comes not.

Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris.

Manda liet, etc.

Your eyes shine like sunlight, like the splendor of lightning in the night.

Manda liet, etc.

Vellut deus, vellent dii quod mente proposui: ut eius virginea reserassem vincula.

Manda liet, etc.

May God grant, may the gods permit the plan I have in mind: to undo the bonds of her virginity.

Manda liet, etc.

19. Si puer cum puellula Male Chorus and Baritone

Si puer cum puellula moraretur in cellula, felix coniunctio.

Amore sucrescente, pariter e medio avulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis.

If a boy and a girl linger together, happy is their union.

Increasing love leaves tedious good sense far behind, and inexpressible pleasure fills their limbs, their arms, their lips.

20. Veni, veni, venias Double Chorus

Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza trillirivos ...

PROGRAM 22

Come, come, pray come, do not let me die, hyrca, hyrca, nazaza, trillirivos ...

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

CLASSICS PROGRAM NOTES Pulchra tibi facies, oculorum acies, capillorum series, oh, quam clara species!

Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior!

Lovely is your face, the glance of your eyes, the braids of your hair, oh, how beautiful you are!

Redder than the rose, whiter than the lily, comelier than all the rest; always I shall glory in you.

21. In trutina Soprano

In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia.

Sed eligo quod video, collum iugo prebeo: ad iugum tamen suave transeo.

In the scales of my wavering indecision physical love and chastity are weighed.

But I choose what I see, I bow my head in submission and take on the yoke which is after all sweet.

22. Tempus est iocundum Soprano, Baritone and Children’s Chorus Tempus est iocundum, O virgines; modo conguadete, vos iuvenes.

Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

Pleasant is the season, O maidens; now rejoice together, young men.

Oh, oh, oh, I blossom, now with pure love I am on fire!

This love is new, new, of which I perish.

Mea me confortat promissio, mea me deportat negatio.

Oh, oh, etc.

My love brings me comfort when she promises, but makes me distraught with her refusal.

Oh, oh, etc.

Tempore brumali In winter time vir patiens, the man is lazy, animo vernali in the spring he will turn lasciviens. amorous.

Oh, oh, etc.

Oh, oh, etc.

SOUNDINGS

2 0 1 8 / 1 9 PROGRAM 23

CLASSICS PROGRAM NOTES Mea mecum ludit virginitas, mea me detrudit simplicitas.

Oh, oh, etc.

My chastity teases me, but my innocence holds me back!

Oh, oh, etc.

Veni, domicella, cum gaudio, veni, veni, pulchra, iam, pereo.

Oh, oh, etc.

Come, my darling, come with joy, come, my beauty, for already I die!

Oh, oh, etc.

23. Dulcissime Soprano

Dulcissime, ah, totam tibi subdo me!

Sweetest boy, ah, I give my all to you!

BLANZIFLOR ET HELENA (Blanziflor and Helena) 24. Ave formosissima Chorus Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar, ave mundi rosa, Blanziflor et Helena, Venus generosa.

Hail to thee, most lovely, most precious jewel, hail pride of virgins, most glorious virgin!

Hail, light of the world, hail, rose of the world!

Blanziflor and Helena, noble Venus, hail!

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) 25. O fortuna Chorus O fortuna, velut luna, etc.

O fortune!

Like the moon, etc.

Carl Orff CARMINA BURANA Copyright Š 1937 by Schott Music GmbH & Co. KG, Mainz, Germany Copyright Š renewed All Rights Reserved Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, Mainz, Germany

PROGRAM 24

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