Program - Carmina Burana and Let's Dance: Celebration of David Bowie

SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG PROGRAM 1

MASTERWORKS • 2015-2016

CARMINA BURANA COLORADO SYMPHONY ANDREW LITTON, conductor

AUDREY LUNA, soprano

ANDREW SKOOG, tenor

MATTHEW WORTH, baritone

COLORADO SYMPHONY CHORUS, DUAIN WOLFE, director

COLORADO CHILDREN’S CHORALE, DEBORAH DESANTIS, directorTHE EVANS CHOIR, CATHERINE SAILER, director

Friday, 20, 2016 at 7:30 pmSaturday, May 21, 2016 at 7:30 pmSunday, May 22, 2016 at 1:00 pmBoettcher Concert Hall

COPLAND Appalachian Spring, Ballet for Orchestra

— INTERMISSION —

ORFF Carmina burana, Cantiones profanae for Orchestra, Chorus, Children's Chorus, Soprano, Tenor, and Baritone Soloists

Fortuna Imperatrix Mundi I. Primo Vere II. In Taberna III. Cour d'Amours Fortuna Imperatrix Mundi

Friday’s concert is grateFully dedicated to david and char campbell

saturday’s concert is grateFully dedicated to northern trust sunday's concert is grateFully dedicated in memory oF don scott

PROGRAM 2 SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG

MASTERWORKS BIOGRAPHIESANDREW LITTON, conductor

Colorado Symphony Music Director Andrew Litton is the newly appointed Music Director of the New York City Ballet. Mr. Litton also serves as Bergen Philharmonic Music Director Laureate, Artistic Director of the Minnesota Orchestra’s Sommerfest, and Conductor Laureate of Britain’s Bournemouth Symphony Orchestra. He guest conducts the world’s leading orchestras and opera companies, and has a discography of over 120 recordings with awards including America’s Grammy, France’s Diapason d’Or, and many other honors. Besides his Grammy®-winning Walton’s Belshazzar’s Feast with Bryn Terfel and the Bournemouth Symphony Orchestra, he

also recorded the complete symphonies by Tchaikovsky and Rachmaninov, a Mahler cycle with the Dallas Symphony, and many Gershwin recordings as both conductor and pianist. Mr. Litton is a graduate of the Fieldston School, New York, and received his bachelor’s and master’s degrees from The Juilliard School in piano and conducting. The youngest-ever winner of the BBC International Conductors Competition, he served as Assistant Conductor at Teatro alla Scala and Exxon/Arts Endowment Assistant Conductor for the National Symphony under Rostropovich. His many honors in addition to Norway’s Order of Merit include an honorary Doctorate from the University of Bournemouth, Yale University’s Sanford Medal, and the Elgar Society Medal. An accomplished pianist, Litton often conducts from the keyboard and enjoys performing chamber music with his orchestra colleagues. For further information, visit www.andrewlitton.com.

AUDREY LUNA, soprano

Soprano Audrey Luna, who Opera News says “has power and a blazing coloratura facility that most lyric sopranos can only dream of,” continues to be one of the world’s most sought after performers of contemporary and classical music repertoire. In the 2015-16 season, Audrey Luna reprises Ariel in Adès’ The Tempest in a return to Wiener Staatsoper, debuts with Teatro La Fenice di Venezia as Queen of the Night in Die Zauberflöte, and is soloist in Bach’s Magnificat with Hawaii Symphony Orchestra. In the summer of 2016, Ms. Luna makes her Salzburg Festival debut as Leticia in the world premiere of Thomas Adès’s new opera Exterminating

Angel, and she reprises the role of Leticia for her Royal Opera House, Covent Garden debut in the 2016-17 season. Other engagements in 2016-17 include Venus & Gepopo in Ligeti’s Le grand macabre under Sir Simon Rattle with Berliner Philharmoniker and London Symphony Orchestra, soloist in Eötvös’ The Sirens cycle on tour in Europe with the Calder Quartet, and Ligeti’s Requiem with Seattle Symphony. Recent highlights include the title role in Lakmé with L’Opéra de Montréal, Zerbinetta in Ariadne auf Naxos with Virginia Opera, and Carmina Burana with Minnesota Orchestra. Ms. Luna made her debut with the Metropolitan Opera as Queen of the Night, with returns as Olympia in Offenbach’s Les Contes d’Hoffmann and Ariel in The Tempest. Her performance of Ariel can be heard on the French Diapason d’or and Grammy awarded DVD released by Deutsche Grammophon.

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MASTERWORKS BIOGRAPHIESANDREW SKOOG, tenor

Andrew Skoog, tenor, has appeared in Carnegie Hall as tenor soloist in Messiah with the Brooklyn Philharmonic Orchestra then returned as tenor soloist in Carmina Burana, with Andrew Litton and the Dallas Symphony Orchestra. Skoog has also sung with the American Symphony Orchestra in Avery Fisher Hall. Skoog made his international debut in 2006 singing Carmina Burana with the Bergen Philharmonic (Norway). He has also performed this work with the Minnesota Orchestra, Buffalo Philharmonic, Albany Symphony, Columbus Symphony, Toledo Symphony, Bangor Symphony, Baton Rouge Symphony, Oklahoma City Philharmonic,

Tulsa Symphony, Victoria Symphony, Midland Symphony and the Valley Symphony Orchestra. Other recent engagements include Rachmaninoff’s The Bells in a return appearance with the Buffalo Philharmonic Orchestra, which was recorded for broadcast on National Public Radio’s Performance Today, Mendelssohn’s Die Erste Walpurgisnacht with the Tulsa Symphony, Berlioz’ Requiem with the Knoxville Symphony, as well as Britten’s Saint Nicolas, Brahms’ Liebeslieder Waltzes, and Mozart’s Requiem. Skoog recently performed Messiah with the Duke University Chapel Choir and Symphony Orchestra, the Shreveport Symphony and with numerous orchestras throughout the United States. He also has performed Dvorak’s Stabat Mater with members of the Dallas Symphony Orchestra, Mendelssohn’s Elijah with the Choral Society of Durham at Duke University, Franck’s Die Sieben Worte Jesu am Kreuz, Rossini’s Stabat Mater and Petite Messe Solonnelle, Beethoven’s Christus am Ölberge and Mass in C Major, and Dvorak’s Mass in D. Twice a Metropolitan Opera Regional Finalist, Skoog is the Sandra G. Powell Excellence Professor of Voice at the University of Tennessee.

MATTHEW WORTH, baritone

Matthew Worth is quickly becoming the baritone of choice for innovative productions and contemporary works on the operatic leading edge. Last season, he led the world premiere of David T. Little & Royce Vavrek’s JFK with Fort Worth Opera as John F. Kennedy. Also last season was his role debut with Opera Birmingham in Ricky Ian Gordon’s Green Sneakers, his debuts with both the Colorado Symphony and the Hartford Symphony Orchestra, and another work by David T. Little: the southeastern premiere of Soldier Songs in Matthew’s Atlanta Opera debut. Upcoming engagements include Naga, a world premiere with Beth Morrison

Projects, his debut with the Aspen Chamber Symphony led by Robert Spano, and returns to the Atlanta Opera for Silent Night and the Atlanta Symphony Orchestra for Fauré Requiem. Highlights of recent seasons include the title role in Eugene Onegin with Chautauqua Opera, the world premiere of The Manchurian Candidate with Minnesota Opera, his European debut with Wexford Festival Opera in Silent Night, Moby Dick at Washington National Opera and Orphée with Pittsburgh Opera. Lauded for his work in the standard operatic repertoire, Matthew’s Guglielmo (Così fan tutte) was deemed “vocally impeccable…open and incisive” by the Boston Classical Review. Other notable roles include Figaro (Il barbiere di Siviglia), Mercutio (Roméo et Juliette), Valentin (Faust), Harlequin (Ariadne auf Naxos), and Papageno (Die Zauberflöte). He has performed leading roles at Santa Fe Opera, Lyric Opera of Chicago, Castleton Festival, Tanglewood Festival, Boston Lyric Opera, and Opera Theatre of Saint Louis, under such luminary conductors as James Levine, Lorin Maazel, and Sir Andrew Davis. matthewworthbaritone.com

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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 31st 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 21st 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.

COLORADO SYMPHONY CHORUS

2015/16 Colorado Symphony season marks the 32nd year of the Colorado Symphony Chorus. Founded in 1984 by Duain Wolfe at the request of Gaetano Delogu, then the Music Director of the Colorado Symphony, the chorus has grown over the past three decades into a nationally respected ensemble. This outstanding chorus of 180 volunteers joins the Colorado Symphony for numerous performances (more than 25 this year alone), and radio and television broadcasts.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. The Colorado Symphony Chorus is featured on a recent Hyperion release of the Vaughan Williams Dona Nobis Pacem and Hough’s Missa Mirabilis. In 2009, in celebration of the 25th anniversary of the chorus, Duain Wolfe conducted the chorus on a three-country, two-week concert tour of Europe, presenting the Verdi Requiem in Budapest, Vienna, Litomysl and Prague. The Chorus will return to Europe in 2016 for concerts in Paris, Strasbourg and Munich. The Colorado Symphony continues to be grateful for the excellence and dedication of this remarkable all-volunteer ensemble. For an audition appointment, call 303.308.2483.

MASTERWORKS BIOGRAPHIES


COLORADO SYMPHONY CHORUS

Duain Wolfe, Founding Director and Conductor; Mary Louise Burke, Associate Conductor;Travis Branam, Assistant Conductor; Taylor Martin, Staff Conductor;Eric Israelson, Chorus Manager; Barbara Porter, Associate ManagerBrian Dukeshier, Joshua Sawicki, Danni Snyder, Accompanists

Soprano IJamie BrownLindsay R. CampbellDenelda CauseyLeEtta H. ChoiGretchen ColbertKaylin E. DanielsLaura DukeshierKate A. EmerichJenifer D. GileLori C. GillSusan GraberJennifer HarpelLynnae C. HinkleyAngela M. HuppShelley E. JoyMary E. KirschnerKrista KuhnMarina KushnirCathy LookAnne MaupinStephanie MedemaWendy L. MoraskieBarbara A. PorterLori A. RopaKelly G. RossKathi L. RudolphCamilia SchawelRoberta A. SladovnikStephanie A. SolichNicole J. SteginkJudy TateCourtney WilliamsCara Young

Soprano IIJude BlumAlex S. BowenAthanasia ChristusRuth A. CoberlyKerry H. CoteClaudia DakkouriEsther J. GrossLisa D. KraftErin MontigneChristine M. NyholmJeannette R. O’NanKim PflugDonneve S. RaeRebecca E. Rattray

Shirley J. RiderNancy C. SaddlerLynne M. SnyerStacey L. TravisSusan Von RoedernMarcia L. WalkerSherry L. WeinsteinSandy Woodrow

Alto IPriscilla P. AdamsLois F. BradyEmily M. BranamKimberly BrownAmy BuesingClair T. ClausonJayne M. ConradJane A. CostainSheri L. DanielAubri K. DunkinKirsten D. FranzSharon R. GayleyGabriella D. GroomPat GuittarEmily HallerMelissa J. HolstKaia M. HoopesCarol E. HorleAnnie KolstadDeanna KraftSusan McWatersLeah MeromyKristen NordenholzGinny PassothJennifer, PringleMary B. ThayerPat VirtueHeather Wood

Alto IIKay A. BootheCass ChatfieldMartha E. CoxBarbara DeckJoyce DominguezCarol A. EslickDaniela GoldenHansi HoskinsOlivia IsaacBrandy H. Jackson

Ellen D. JanaskoJanice KiblerCarole A. LondonJoanna MaltzahnBarbara MarchbankKelly T. McNultyBeverly MendicelloLeslie M. NittoliKali PaguiriganLisa PakPamela R. ScoorosLisa TownsendGinny Trierweiler

Tenor IJames DeMarcoDustin DouganBrian DukeshierJoel C. GeweckeFrank Gordon, Jr.Forrest Guittar, Jr.Chris E. HassellDavid K. HodelRichard A. MoraskieGarvis J. MuesingTimothy W. NicholasWilliam J. O’DonnellWilliam G. ReileyRyan WallerKenneth A. Zimmerman

Tenor IIGary E. BabcockMac BradleyDusty R. DaviesStephen C. DixonRoger FuehrerJohn H. GaleKenneth E. KolmTaylor S. MartinBrandt J. MasonStephen J. MeswarbTom A. MilliganRonald L. RuthJerry E. SimsJeffrey P. Wolf

Bass IJohn G. AdamsTravis D. BranamGrant H. CarltonGeorge CowenRobert E. DrickeyBenjamin EickhoffCorey FalterMatthew GrayDouglas D. HesseDonald HumeThomas J. JirakNalin J. MehtaKenneth QuarlesTrevor B. RutkowskiDavid R. StruthersBenjamin WilliamsBrian W. Wood

Bass IIBob FriedlanderDan GibbonsChris GrossmanEric W. IsraelsonTerry L. JacksonRoy A. KentMike A. KraftRobert F. Millar, Jr.Kenneth MoncrieffGreg A. MorrisonEugene J. NuccioJohn R. PhillipsRussell R. SkillingsWil W. SwansonTom G. Virtue



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 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. She has served as co-chair of Chorus America’s Children/Youth Choir Constituency.

COLORADO CHILDREN’S CHORALE

For more than forty years 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 excellence, 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 180 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 self-produced 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 in the Denver Performing Arts Complex, A Classical Afternoon at Montview Presbyterian Church and Performing Small Miracles at Colorado Heights Theater. Spring Fling Sing! is presented in venues across the metro area. This season also includes A Colorado Christmas, Sierra Boggess in Concert, A Midsummer Night’s Dream and Carmina Burana with The Colorado Symphony, and Ballad of Baby Doe and Tosca with Central City Opera.



COLORADO CHILDREN’S CHORALEDeborah DeSantis, Artistic Director and Conductor Mary Louise Burke, Associate Director and Conductor

CONCERT CHOIRNick AngeliniWest ArlethNathan AshworthKelton AyarsKsenia BalabanovaLouise BarnacleAshley BlondoCatherine BorowskyEmily BustamanteAlicia ChavezChase ChavezGabriella ChernoffLogan Day-RichterJack DiamantCaroline DonnellyMargaux DufreneReagan DukeshierAdrienne EsselMolly FrohneDiego GonzalesHaylee GonzalesMadeline GreenbergElla HallEmma HarmonSophia HaynesAna HendersonCody HermanSamantha HodsonChristina HoenerAlyssa HootenMary HopkinsMegan Jaco

Reed JacobsBeckett JansenEmily JohnsonZena JohnsonZoe JohnsonCamryn KaleugherMichael Lee KastnerKuyla KimKuyper KimKyle KimClaire KoenigCampbell KreiderJulia KungQuincy LaMontagneEvelyn LeeVivianne LeeKeira LeuthauserKathryn LowreyClaire MannSophia MarksLuke McAdamsAva McClureCollin McClureAeddon McPhersonBelle MetcalfOlivia MobusGenesis MontanoLinna Mora-CalderonLila MouchantatMarisa MulryanCarl NorthNick OrndoffKyle Peitzmeier

William PerroneChristian PetersJack PetersonCharlie ProkopBen RaganAlyssa RaileyMorgan RooksAnna RussellJaydie RyuJaylyn RyuKeeley ScanlanGreta SchmitzMargot SchmitzCole SchuetzMary SeamanTalia ShierChloe SlaneAudra SnyderTeddy SopkinLily SuchomelJuliana TalbertHenry TraskBridget TrujilloMax Trujillo-AcevedoAnnisa TunnellCheranne WangJosie WilgerAbigail WilsonJames Winter-DecigaOwen WolfingerBen York



CATHERINE SAILER, The Evans Choir, directorCatherine Sailer, Director of Choral Studies at the University of Denver Lamont School of Music, conducts the Lamont Chorale, Lamont Women’s Chorus, and the independent chamber choir, the Evans Choir. She is also the Associate Conductor of the Colorado Ballet Orchestra. Conducting credits include the Santa Fe Symphony, Northeastern Pennsylvania Philharmonic, Beijing Symphony, National Opera of China, Cabrillo Festival of Contemporary Music Orchestra, Central City Opera, Bravo! Vail Valley Festival, Aspen Music Festival, Oregon Bach Festival Chorus and Orchestra, Madrigal Vocale (Brazil), Rheinpfalz International Choir, and the Shanghai

International Choral League. She has collaborated as conductor or chorus master with singers William Warfield and Marilyn Horne and conductors Bramwell Tovey, Robert Spano, Ed Spanjaard, Eric Whitacre, Bictor Yampolsky, Marius Szmolig, Stephen Alltop, David Amram, Tan Dun, David Fanshawe, and Marin Alsop, and prepared choruses for performances with the Dallas Symphony Orchestra, New York Philharmonic, Colorado Symphony, Aspen Festival Orchestra, and Cheyenne Symphony Orchestra. Catherine Sailer received the Doctor of Music with honors in conducting from Northwestern University and the Bachelor and Master of Music degrees in Piano Performance and Conducting from the University of Denver. She is president of Colorado ACDA, and was selected as an ICEP exchange fellow to China. She was named the winner of the Robert Shaw Fellowship in 2005, chosen by Chorus America and supported by Warner Brothers and the National Endowment for the Arts. Her other awards include first place at the American Choral Director’s Association Conducting Competition.

THE EVANS CHOIRThe Evans Choir is a chamber choir made up of professional singers and conductors in the Denver area committed to performing and promoting choral music at the highest level. Under the direction of founder-conductor Catherine Sailer, the ensemble performs a wide variety of repertoire, from the Renaissance to the Avant-Garde. The Evans Choir has collaborated in productions with the New York Philharmonic, Dallas Symphony Orchestra, Central City Opera, Asian Performing Arts of Colorado, Colorado Ballet, Christopher O’Reily, Josh Groban, the Playground Ensemble, Quattro Mani, Star Wars in Concert National Tour, Joseph Galema, and composers Tan Dun and Morten Lauridsen. Festival appearances include the Bravo! Vail Valley Festival, the Aspen Music Festival and the LA premiere of Poet Li Bai. The choir is named after Evans Chapel, where members of the choir performed together in Sailer’s first conducting recital, and the beautiful Mt. Evans.


Soprano IManda Baker Isabel Bruner Paige SentianinAna SpadoniLiz Wamukoya

Soprano IILydia ArenasSharon BillingsMegan BunessKim CowanClaire He

Alto ISara Echelberger Skye Savage

Alto IIHanna Greene Kathleen Schmidt Chelsea SmithKatherine Snyder

Tenor INathan CrowderKevin Gwinn

Tenor IISam Bernstein Nick Capozzola Tanner Kelly Felipe RangelMax ReillyTJ Simonetti

Bass IMike BallardDonald Billings Kasey Nahlovsky

Bass IIWilliam Barksdale Kraig McGee


MASTERWORKS PROGRAM NOTESAARON COPLAND (1900-1990): Appalachian Spring, Ballet for OrchestraAaron Copland was born on November 14, 1900 in Brooklyn, New York, and died on December 2, 1990 in North Tarrytown, New York. Appalachian Spring was composed for a chamber orchestra of thirteen instruments in 1943-1944; it was revised as a suite for full orchestra in 1945. The ballet was premiered at the Library of Congress in Washington, D.C. on October 30, 1944; Louis Horst conducted. The duration of the full ballet version is 35 minutes. This is the first performance of the full ballet by the orchestra; the Suite for large orchestra was last performed on September 26-28, 1997, with Marin Alsop on the podium. Last performance of the Suite for chamber orchestra was on February 23, 24, and 26, 2006, with Jeffrey Kahane conducting and performing the piano part.

Mrs. Elizabeth Sprague Coolidge, one of America’s greatest patrons of the arts, went to see a dance recital by Martha Graham in 1942. So taken with the genius of the dancer-choreographer was Mrs. Coolidge that she offered to have three ballets specially composed for her. Miss Graham chose as composers of the music Darius Milhaud, Paul Hindemith and an American whose work she had admired for over a decade — Aaron Copland. In 1931, Miss Graham had staged Copland’s Piano Variations as the ballet Dithyramb, and she was eager to have another dance piece from him, especially in view of his recent successes with Billy the Kid and Rodeo. She devised a scenario based on her memories of her grandmother’s farm in turn-of-the-20th-century Pennsylvania, and it proved to be a perfect match for the direct, quintessentially American style that Copland espoused in those years. Edwin Denby’s description of the ballet’s action from his review of the New York premiere in May 1945 was reprinted in the published score:

“[The ballet concerns] a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the 19th century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end, the couple are left quiet and strong in their new house.”

The premiere of Appalachian Spring (Miss Graham borrowed the title from a poem by Hart Crane, though the content of the poem has no relation to the stage work) was given on October 30, 1944 (in honor of Mrs. Coolidge’s 80th birthday) in the auditorium of the Library of Congress in Washington, D.C., where the limited space in the theater allowed Copland to use a chamber orchestra of only thirteen instruments (flute, clarinet, bassoon, piano and nine strings). The performance was repeated in New York in May to great acclaim, and garnered the 1945 Pulitzer Prize for Music and the New York Music Critics Circle Award as the outstanding theatrical work of the 1944-1945 season. Copland subsequently transformed the ballet score into a suite for full orchestra in 1945, but this included cuts and changes in several areas. Since the 1950s, orchestras have shown interest in restoring these cuts to the orchestral score. On May 11, 2016, a new full-orchestral version received its world premiere in Dallas, with the Meadows Symphony Orchestra and Meadows Dance Ensemble at Southern Methodist University. The new score, commissioned by the Aaron Copland Fund for Music, finishes what Copland started, yielding an orchestral version of the entire ballet; it aligns precisely with the original 13-instrument score so it can accompany the original choreography.

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MASTERWORKS PROGRAM NOTESCARL ORFF (1895-1982): Carmina burana, Cantiones profanae for Orchestra, Chorus, Children’s Chorus, Soprano, Tenor and Baritone soloistsCarl 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 large and small mixed choruses, boy’s chorus, soprano, tenor and baritone soloists, and a large orchestra of two piccolos, three flutes (2nd and 3rd doubling piccolo), three oboes (3rd doubling English horn), E-flat clarinet, 2 clarinets (2nd 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. The last performance of the work was on April 2&3, 2011, with Antoni Wit conducting.

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.”

The German composer Carl Orff encountered these lusty lyrics for the first time in the 1930s, and he was immediately struck by their theatrical potential. Like Aaron Copland and Virgil Thomson in the United States, Orff at that time was searching for a simpler, more direct musical expression that could immediately affect listeners. Orff’s view, however, was more Teutonically philosophical than that of the Americans, who were seeking a music for the common man, one related to the everyday world. Orff sought to create a musical idiom that would serve as a means of drawing listeners away from their daily experiences and closer to the realization of oneness with the universe. In the words of the composer’s biographer Andreas Liess, “Orff’s spiritual form is molded by the superimposition of a high intellect on a primitive creative instinct,” thus establishing a tension between the rational (intellect) and the irrational (instinct). The artistic presentation of the deep-seated psychological self to the thinking person allows an exploration of the regions of being that have been overlaid by accumulated layers of civilization. To portray the connection between the physical and spiritual spheres, Orff turned to the theater. His theater, however, was hardly the conventional one. Orff’s modern vision entailed stripping away not only the richly Romantic musical language of traditional opera, but also eliminating its elaborate stagecraft, costumes and scenery, so that it was reduced to just its essential elements of production. Orff’s reform even went so far as to question the validity of any works written before 1935, including his own, to express the state of modern man, and he told his publisher to destroy all his music (i.e., Orff’s) which “unfortunately” had been printed. The first piece that embodied Orff’s new outlook was Carmina burana.

Though Carmina burana is most frequently heard in the concert hall, Orff insisted that it was intended to be staged, and that the music was only one of its constituent parts. “I have never been concerned with music as such, but rather with music as ‘spiritual discussion,’ ” he wrote. “Music is the servant of the word, trying not to disturb, but to emphasize and underline.”


MASTERWORKS PROGRAM NOTESHe felt that this objective was best achieved in the theater, but Carmina burana still has a stunning impact even without its visual element. Its effect arises from the monumental simplicity of the musical style by which Orff sought to depict the primitive, instinctive side of mankind. Gone are the long, intricate forms of traditional German symphonic music, the opulent homogeneity of the Romantic orchestra, the rich textures of the 19th-century masters. They are replaced by a structural simplicity and a sinewy, electric muscularity that is driven by an almost primeval rhythmic energy. “The simpler and more reduced to essentials a statement is, the more immediate and profound its effect,” wrote Orff. It is precisely through this enforced simplicity that Orff intended to draw listeners to their instinctual awareness of “oneness with the universe.” Whether he succeeded as philosopher is debatable. Hanspeter Krellmann wrote in the New Grove Dictionary of Music and Musicians, “The four aspects of Orff’s musical theater [tragedy of archetypes, visionary embodiment of metaphysical ideas, bizarre fantasy and physical exuberance] are usually intertwined; and it is apparent from the works that Orff’s main concern is not with the exposition of human nature in tragedy, nor with whimsical fancy, nor with the statement of supernatural truths, nor with joyous exultation. His intention seems to be to create a spectacle.” So what then is Carmina burana: a set of ribald songs? a Medieval morality play? a philosophical tract? Perhaps it is all of these. But more than anything, it is one of the most invigorating, entertaining, easily heard and memorable musical creations of the 20th century.

Orff chose 24 poems from the Carmina burana to include in his work. Since the 13th-century music for them was unknown, all of their settings are original with him. The work 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. 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, seductive 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.

©2015 Dr. Richard E. Rodda


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.

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.

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!

Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur fronte capillata, sed plerumque sequitur occasio calvata.

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

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice — caveat ruinam! Nam sub axe legimus Hecubam reginam.

Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que canto celebratur.

Flore fusus gremio Phebus novo more risum dat, hoc vario iam stipatur flore. Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore.

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World)

1. O fortuna Chorus

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.

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.

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.

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.

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.

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.

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.

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.

2. Fortune plango vulneraChorus

I. PRIMO VERE (Springtime)3. Veris leta facies

Chorus

MASTERWORKS PROGRAM TEXTS


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

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

Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere.

Ama me fideliter! Fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota. Quisquis amat taliter, volvitur in rota.

Ecce gratum et optatum ver reducit gaudia, purpuratum floret pratum, sol serenat omnia. Iamiam cedant tristia! Estas redit, nunc recedit Hyemis sevitia.

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.

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

Floret silva nobilis floribus et foliis. Ubi est antiquus meus amicus? Hinc equitavit, eia, quis me amabit?

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.

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.

Nature’s great renewal in solemn spring and spring’s example bid us rejoice; they charge us keep to well-worn paths, and in your springtime there is virtue and honesty in being constant to your lover.

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.

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.

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.

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.

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?

4. Omnia sol temperatBaritone

5. Ecce gratumChorus

UF DEM ANGER (On the Green)

6. Tanz (Dance)Orchestra

7. Floret silvaChorus



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?

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!

Minnet, tugentliche man, minnecliche frouwen! Minne tuot iu hoch gemuot unde lat iuch in hohlen eren schouwen. Seht mich an, etc.

Wol dir, werit, das du bist also freudenriche! Ich wil dir sin undertan durch din liebe immer sicherliche. Seht mich an, etc.

Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan.

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

Suzer rosenvarwer munt, chum un mache mich gesunt.

Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan.

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

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?

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?

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.)

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.)

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

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

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

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

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.

8. Chramer, gip die varwe mirWomen's Chorus

9. Reie (Round Dance)

Swaz hie gat umbeChorus

Chume, chum, geselle minChorus

Swaz hie gat umbeChorus

10. Were diu werlt alle minChorus



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

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.

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

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

Olim lacus colueram, olim pulcher extiteram — dum cignus ego fueram. Miser, miser! Modo niger et ustus fortiter!

Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer. Miser, miser! Modo niger et ustus fortiter!

Nunc in scutella iaceo, et volitare nequeo, dentes frendentes video. Miser, miser! Modo niger et ustus fortiter!

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!

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.

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.

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.

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.

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!

On the spit I turn and turn, the fire roasts me through; now I am presented at the feast. Now I am black and roasted to a turn!

Now in a serving dish I lie and can no longer fly; gnashing teeth confront me. Now I am black and roasted to a turn!.

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!

II. IN TABERNA (In the Tavern)

11. Estuans interiusBaritone

12. Olim lacus colueramBaritone and Men's Chorus

13. Ego sum abbasBaritone and Men’s 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.

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.

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, sexies pro sororibus vanis, septies pro militibus silvanis.

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.

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.

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.

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.

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.

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.

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

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.

The mistress drinks, the master drinks, the soldier drinks, the cleric, 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.

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.

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.

14. In taberna quando sumusMen's Chorus



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.

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

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

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

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

Stetit puella, tamquam rosula; facie splenduit, os eius floruit. Eia, eia.

Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Manda liet, manda liet, min geselle chumet niet.

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

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

Si puer cum puellula moraretur in cellula, felix coniunctio. Amore sucrescente, pariter e medio avulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis.

Love flies everywhere and is seized by passion. Young men and women are matched. If a girl lacks a boyfriend, she misses all the fun; in the depths of her heart is darkest night: it is a bitter fate.

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 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.

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.

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

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

My breast is filled with sighing for your loveliness, and I suffer grievously. Manda liet, manda liet, my sweetheart comes not.

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

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.

III. COUR D’AMOURS (Court of Love)

15. Amor volat undiqueChildren’s Chorus and Soprano

16. Dies, nox et omniaBaritone

17. Stetit puellaSoprano

18. Circa mea pectoraBaritone and Chorus

19. Si puer cum puellulaMen's Chorus and Baritone



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

Pulchra tibi facies, oculorum acies, capillorum series, oh, quam clara species! Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior!

In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo: ad iugum tamen suave transeo.

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.

Mea me confortat promissio, mea me deportat negatio. Oh, oh, oh...(etc.)

Tempore brumali vir patiens, animo vernali lasciviens. Oh, oh, oh...(etc.)

Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh, oh, oh...(etc.)

Veni, domicella, cum gaudio, veni, veni, pulchra, iam, pereo. Oh, oh, oh...(etc.)

Dulcissime, ah, totam tibi subdo me!

Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar, ave mundi rosa, Blanziflor et Helena, Venus generosa.

O fortuna, velut luna, etc.

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

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.

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.

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.

My love brings me comfort when she promises, but makes me distraught with her refusal. Oh, oh, oh...(etc.)

In winter time the man is lazy, in the spring he will turn amorous. Oh, oh, oh...(etc.)

My chastity teases me, but my innocence holds me back! Oh, oh, oh...(etc.)

Come, my darling, come with joy, come, my beauty, for already I die! Oh, oh, oh...(etc.)

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

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!

O fortune! Like the moon...(etc).

20. Veni, veni, veniasDouble Chorus

21. In trutinaSoprano

22. Tempus est iocundumSoprano, Baritone and Children’s Chorus

23. DulcissimeSoprano

BLANZIFLOR ET HELENA (Blanziflor and Helena)

24. Ave formosissimaChorus

25. O fortuna (see text of No. 1)Chorus



POPS • 2015-201620

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Saturday, May 28, 2016 at 7:30 pmBoettcher Concert Hall

Rebel Rebel

Let's Dance

Modern Love

Blue Jean

Starman

China Girl

Ashes To Ashes

Five Years

All The Young Dudes

Space Oddity

Golden Years

Sorrow

Young Americans

Life On Mars

Panic In Detroit

Fame

Changes

LET'S DANCE: CELEBRATION OF DAVID BOWIE FEATURING JEANS 'N CLASSICS WITH THE COLORADO SYMPHONY COLORADO SYMPHONY CHRISTOPHER DRAGON, conductorJEANS 'N CLASSICS:

JEAN MEILLEUR, lead vocalsKATALIN KISS, backing vocalsKATHRYN ROSE, backing vocalsPETER BRENNAN, guitar, Jeans 'n Classics founderJEFF CHRISTMAS, drumsDAVE DUNLOP, guitarKEVIN ADAMSON, keyboardsMITCH TYLER, electric bassAARON MACDONALD, saxophone


POPS BIOGRAPHIESCHRISTOPHER DRAGON, conductor

Australian conductor Christopher Dragon began his appointment as Associate Conductor of the Colorado Symphony in the 2015/16 season. In 2013 he was appointed the inaugural Assistant Conductor of the West Australian Symphony Orchestra, a title he holds until the end of 2015. This role provided him with the opportunity to work closely with Principal Conductor Asher Fisch in addition to numerous other engagements. In April of 2015 Dragon made his debut at the Sydney Opera House conducting the Sydney Symphony Orchestra with Australian singer/

songwriter Josh Pyke. In 2016 he will be making his debut with the Adelaide Symphony Orchestra. Dragon is a member of the prestigious Symphony Services International Conductor Development Program through which he has worked with orchestras in Australia and New Zealand under the guidance of Christopher Seaman and the orchestras’ Principal Conductors. In 2014 Christopher was invited to conduct the Princess Galyani Vadhana Youth Orchestra in Thailand and earlier that year participated in the Jarvi Winter Academy in Estonia where he was awarded the Orchestra’s Favourite Conductor Prize. Dragon has also studied with numerous distinguished conductors including Paavo and Neeme Jarvi at the Jarvi Summer Festival, Fabio Luisi at the Pacific Music Festival in Japan, and conducting pedagogue Jorma Panula.

JEANS 'N CLASSICS

Peter Brennan’s Jeans ’n Classics is a winner! For 20 years now, the JnC approach to combining world class rock musicians and symphonies has been a game changer for orchestras in their quest to attract new and more expansive audiences. Jeans ’n Classics is a group of musicians who understand orchestra culture and are

committed to help in the building of younger, loyal audiences for symphony orchestras across North America. Jeans ’n Classics appeals to an age group from, but not limited to, 25 to 65. While most definitely not a tribute act, Jeans ‘n Classics faithfully interprets the music of legendary rock and pop albums and artists, with their own special and signature flair. Symphonies far and wide have heralded the quality of our orchestral scores. Our reputation precedes us for providing lush, fully realized arrangements of rock and pop classics for rock band and symphony, and top notch, easy-to-work-with performers who truly know how to deliver a great rehearsal and live show experience with professionalism, humor, and finesse. Jeans ’n Classics works with over 100 orchestras in venues throughout North America, and has created almost 1,000 original rock and pop orchestrations which are presented across 45 unique and exciting productions. Learn more at www.jeansnclassics.com.

Documents

Program - Carmina Burana and Let's Dance: Celebration of David Bowie