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January 30 & 31, 2010
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Thank You!
The members of the Chamber Orchestra play “for the love of music”, and for you, our audience. Our
music is brought to you by the support of generous individuals, foundations and corporations who share
the vision of the Chamber Orchestra of the Springs being a vital part of the artistic life of our community.
We are very grateful for their contributions; they are appropriately identified and acknowledged on
pages 16 & 17.
The Chamber Orchestra of the Springs welcomes corporate sponsorships for its programs and activities. Please
contact the Chamber Orchestra at 633-3649, for information on sponsorships and benefits.
Special Appreciation to...
The people with an eye for
investments salute the people
with an ear for music.
We proudly salute the Chamber Orchestra of the Springs
Colorado Springs Symphonic Guild for their support of this concert series
Blueprints, Inc. for printing services
Sylvia Hutson for her work with graphic design and layout
First Christian Church for the use of their wonderful sanctuary
Broadmoor Community Church for the use of their beautiful facilities
Graner Music for distribution of sheet music
KCME-FM 88.7, A Voice for the Arts, for concert publicity
Tom Kratz for the use of the podium
Ruth Hjelmstad for professional assistance with accounting
First Lutheran Church for use of their rehearsal space
Thanks for listening! Now we’d like to hear from you! Contact us at
[email protected] with your questions and comments. We’re all ears!
for its outstanding contribution to the music arts in our community.
February 21
“The Invited Guest”
Herman Tiemens II
Hamilton Harty - A Comedy Overture
Elgar – Cello Concerto
featuring cellist Jurgen De Lemos
Hovhannes – Mysterious Mountain (Symphony #2)
Financial Advisor
90 South Cascade Avenue, Suite 900
April 25
“A Final Treat”
719-520-3688
www.ubs.com/fa/hermantiemens
David Rutherford
Conductor
UBS Financial Services Inc. is a subsidiary of UBS AG. ©2008 UBS Financial Services Inc. All rights reserved. Wealth management services in
the U.S. are provided by UBS Financial Services Inc., a registered broker-dealer offering securities, trading, brokerage, and related products
and services. Member SIPC. Member FINRA. 7.12_5.75x7.25_LZ1112_TieH
2
P.O. Box 7911
Colorado Springs, CO 80933–7911
Colorado Springs, CO 80903
8FBMUI
.BOBHFNFOU
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(719) 633–3649
www.chamberorchestraofthesprings.org
Liadov - Mazurka (Village Scene by the Inn)
Holst - Somerset Rhapsody
Concerto Competition Winner TBD
Brahms – Symphony #2
All Concerts at 3:00 p.m. at Coronado High School
1590 W. Filmore St.
Call for tickets or information 685-6468 or
go to www.pikespeakphil.org
19
“For the Love of Music”
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P.O. Box 7911
Colorado Springs, CO 80933–7911
(719) 633–3649
www.chamberorchestraofthesprings.org
! B; G<?L-L= B?MNL
;
I@NB?1JL CHAM
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Strengthening Nonprofits
Advancing Equality
Building a Better Colorado
The Chamber Orchestra of the Springs provides a unique opportunity for people in the Pikes
Peak region to hear and appreciate the wealth of orchestral music for small orchestras. Through
discovery, detailed rehearsal and exceptional performances, the Chamber Orchestra of the
Springs presents great classical repertoire, uncovers forgotten gems of the past, and brings new
music to our community.
Cpbse!Pg!Usvtufft
President: Charlease Bobo
Vice President: Lynn Hurst
Secretary: Anita Maresh
Treasurer : Jay Norman
Nasit Ari
Tori Bardin
Michael Grace
Bettina Swigger
Phyllis White
We wish to express our sincere appreciation to the following organizations:
Printing Services
Print Media Sponsor
18
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Thomas Wilson is currently Music Director of the
Chamber Orchestra of the Springs, Associate Conductor
of the Colorado Springs Philharmonic, Cover Conductor
for the New York-based pops show Symphonic Night at the
Oscars, serves on the music faculties at Colorado College
and the Colorado Springs Conservatory, and maintains an
active guest conducting schedule. Mr. Wilson previously
conducted for the Colorado Springs Youth Symphony
program and founded the Young Concert Artists of
Colorado Springs.
Thomas began studying piano at the age of four. Later
studies included trumpet, percussion, string bass and voice,
before concentrating his efforts on trumpet, conducting
and composition. Thomas graduated summa cum laude
from the University of Northern Colorado, receiving
the School of Music’s highest honor—the Departmental
Scholar Award.
A primary focus of Mr. Wilson’s conducting career has been collaborations between performing arts
organizations, which he sees as essential to artistic growth and a unified arts community. Thomas has
led the Colorado Springs Philharmonic and the Chamber Orchestra of the Springs in collaborative
performances with the Colorado Springs Children’s Chorale, Colorado Vocal Arts Ensemble, Young
Concert Artists, Colorado Springs Youth Symphony, Pikes Peak Ringers, The United States Army Field
Band, Ballet Society of Colorado Springs, Peak Ballet Theatre, Fusion Pointe Dance Company, Ormao
Dance Company, and the Colorado Springs Conservatory, just to name a few. Thomas frequently
conducts new works by local composers, including the world premier of Mark Arnest’s Pike’s Dream,
about the life and times of Zebulon Pike. Thomas’ recent recording projects include the world premier
recording of Kevin McChesney’s Ring of Fire and a live, 2-CD release of the Flying W Wranglers with
the Colorado Springs Philharmonic.
Winner of international recognition as a trumpeter, Mr. Wilson has extensive experience performing
and recording with orchestras, ensembles, and artists. He is one of only three trumpeters ever selected
as a finalist for both the International Trumpet Guild Orchestral and Solo Performance Competitions
in the same year. As a composer and arranger, Thomas has dozens of published titles and is currently
arranging new artist features and a Big Band jazz program for the Philharmonic.
Mr. Wilson has been called “someone to watch” and “a very exciting conductor” by Michael Tilson
Thomas, one of the foremost conductors of our time.
4
Chamber Orchestra of the Springs
Supporters
Friend (continued)
Becky and Jon Medved
Ms. Dion F. Mercier
Stan Morton
Ann J. Nelson
Jay Norman
Deborah Perlet & Gloria Kondrk
In Memory of Daniel Kautzman
Ted and Phyllis Roth
David and Barbara St. Andre
John and Elaine Sartoris
Lt. Col. Murl Sickbert
Bettina Swigger and Aaron Retka
Charles Guy Theriot
Frederica A. Thrash
William Tunstill
Eric Umenhofer
Karen Wagner
Mary C. Wieger
The Chamber Orchestra of the Springs makes every attempt to list our donors accurately. If your name was inadvertently omitted or
listed incorrectly, we sincerely regret the error and ask that you contact us at (719)633-3649 or [email protected]
The Colorado Springs
Conservatory
THE MISSION of the Colorado Springs
Conservatory is to inspire, motivate, and
challenge all students to aspire to their
highest potential as artists and as human
beings through arts immersion studies and
community arts advocacy participation.
Would you like the opportunity to share
in the diverse and stimulating
musical experience that is the
Chamber Orchestra of the Springs?
Here is your chance.
Chamber Orchestra of the Springs
announces openings for:
Concertmaster • Principal Viola
Principal Bass • Principal Trumpet
Section Bass
(719)577-4556
To obtain excerpts and sign up for an
audition, contact
[email protected]
or call 719-635-6173.
1600 North Union Blvd.
Colorado Springs, Colorado 80909
www.coloradospringsconservatory.org
For more information about the orchestra,
check out the website at
www.chamberorchestraofthesprings.org.
17
Chamber Orchestra of the Springs
Supporters
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Thomas Wilson, Music Director
The following members of our 2009-2010 Season audience are as passionate about the activities of the
Chamber Orchestra of the Springs as are its players and Board of Directors. We offer them our heartfelt gratitude.
Season Underwriter:
$5,000 to $9,999
The Bee Vradenburg Foundation
Concert Sponsor:
$2,500 to $4,999
Colorado Springs Symphonic
Guild
The Gay & Lesbian Fund for
Colorado
Conductors Circle:
$1,000 to $2,499
The Dusty and Kathy Loo Fund
of the Pikes Peak Community
Foundation
Giddings Foundation
Samuel and Mary Alice Hall
Libby Rittenberg and Nasit Ari
John Carter and Virginia Snow
Benefactor:
$500 to $999
Raymond and Barbara Brown
Susan and Michael Grace
The Progressive Insurance Co.
Norton Bain
Anita Maresh
Pamela T. Marsh
James Montgomery
in honor of Carol and Jim
Montgomery
Dr. and Mrs. Darryl Thatcher
Thomas G. Wilson
Sustainer:
$250 to $499
Judy Bridewell Biondini
Charlease Bobo
Raymond and Barbara Brown
Richard and Sandra Hilt
Sheldon and Betty Jones
Doris Kneuer
Terry and Elizabeth Lilly
Sara McDaniel
Lisa and Bob Rennick
Supporter:
$100 to $249
Susanne and Michael Anselmi
Larry and Eve Barrett
William Becker
Charles and Anne Bobo
In honor of Charlease Bobo
Elizabeth Bockstahler
Martha Hopkins Booth
Walter and Harriet Brooks
Judy and Duncan Burdick
David Campbell
Dr. Robert Carlton
Judy and Chris Cunningham
Dr. and Mrs. Donald Dickenson
Jane Dillon
Judy Fair-Spaulding
Joanna and Lindsay Fischer
Andrea Flak
Carla and Jim Greenhalgh
Walter and Esther Harder
Mr. and Mrs. Dunning Idle IV
Dan and Dorothy Kautzman
Cherry and Jack Kinney
Dr. Lorence T. and Shirley Kircher
Alison and Duncan Kruse
In Memory of Daniel Kautzman
Bonnie S. Linder
Dr. and Mrs. George L. Merkert Jr.
Margorie J. Merritt
Lynne Miller
Oliver S. and Gerda Nickels
Ms. Betty J. Rickel
Col. Jim Rynning
Colonel and Mrs. Charles Shay
Peggy Houston Shivers
16
Edie Green and Alan Siegel
Herb and Rhea Siegel
Christopher and Wendy Seglem
Margaret Smith
Joyce and Steve Stivers
Darrell and Beverly Weaver
Don and Marilyn Werschsky
Phyllis White
Harry and Louise Wilson
Anonymous
Friend: $1 to $99
Barbara M. Arnest
Ann Axelrod
David Ball
Judith Benton
J.W. Bolin
Ann Brosh
Dale and Gundi Brunson
Mrs. A.N. Champion
Kathleen Fox Collins
Kathleen Cooke
Paul and Janet Davidson
Phyllis DeHart
Steve D’Ippolite
Dorothy Farthing
Elaine Freed
Timothy and Kalah Fuller
Don and Barbara Gazibara
Adam and Alicia Gold
in honor of Sam and Mary Alice Hall
Sherry L. Hall
Ingrid Hart
Coral and Kyle Healey
Frank and Elfriede Jopp
Marilyn Kastel
Mrs. Helene Knapp
John and Linda LeFevre
Patricia Lipton
Richard and Jean McChesney
Mary Elizabeth McKinley
Vonbudife!Fmfhbodf
Saturday, January 30, 2010 7:00 p.m. Broadmoor Community Church
Sunday, January 31, 2010 2:30 p.m. First Christian Church
Franz Joseph Haydn
(1732-1809)
Organ Concerto in C Major, Hob.XVIII:1
I.
Moderato
II.
Largo
III.
Allegro molto
Carol Wilson, organ
Ottorino Respighi
(1879-1936)
Ancient Airs and Dances, Suite III
I.
Anonymous: Italiana
II.
Jean-Baptiste Besard: Ari di corte
III.
Anonymous: Siciliana
IV.
Lodovico Roncalli: Passacaglia
INTERMISSION
Edward Elgar
(1857-1934)
Introduction and Allegro, op. 47
Veronika String Quartet
Felix Mendelssohn
(1809-1847)
Symphony No. 1 in C Minor, op. 11, “1824”
I.
Allegro di molto
II.
Andante
III.
Menuetto: Allegro molto
IV.
Allegro con fuoco
The Chamber Orchestra of the Springs
Acknowledges With Great Thanks Music Donations Made For This Concert:
Elgar: Introduction and Allegro – donated by Marguerite Hopkins
5
Program Notes, continued
European mainland to spend two years touring
Germany, Austria and Italy. He visited England
again in 1832 and 1833 and became a popular
guest with what would become the London
Philharmonic. In 1835, he took the conducting
post with the Leipzig Gewandhaus Orchestra.
In 1843, he established a music conservatory in
Leipzig, assisted by Robert Schumann. In 1847,
he made his tenth and final visit to England,
where he befriended Queen Victoria and taught
piano to Prince Albert. In May of that year, his
beloved sister Fanny died and the shock if this loss,
together with the pressure of severe overwork, led
to his own death six months later.
Mendelssohn completed twelve string symphonies,
even orchestrating the eighth for full orchestra,
before he felt ready to compose a complete
symphony for full orchestra. The result was his
Symphony No. 1 in C Minor, op. 11, completed
on March 31, 1824, when Mendelssohn was
fifteen years old. The strong influence of Weber
(particularly Der Freischütz) pervades the piece,
along with a hint of Haydn’s The Creation in
the introduction. Some sources reference a
performance on February 1, 1827, in Leipzig, but
this hasn’t been firmly established. Its official was
May 25, 1829. Mendelssohn himself conducted
the Royal Philharmonic (London) and dedicated
the symphony to the orchestra.
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6
15
The Players of the
Chamber Orchestra of the Springs
Timpani
*Carl Cook
Flute
*Phyllis White
Cheryl Stauffer
First Violin
*1Azaduhi Viera
**Anita Maresh
Kay Wehofer
Terri Moon
Erika Devins
Linda Carmona
Kelly Jeppesen
French Horn
*Mat Evans
Christina Schwartz-Soper
Oboe
Bassoon
* Nancy Brown
John Lawson
Carla Scott
Nicole Buetti
Clarinet
*Jay Norman
Alan Siegel
Viola
Second Violin
Debora Falco
Dan Masterson
Nathan Burns
Barbara Greenlee
Lydia Campbell
Charlease Bobo
Diane Israel
**Matthew Canty
Deborah Weltzer
Diana Zombola
Rebecca Harrison
String Bass
Joseph Head
Cathy CampDavidson
Cello
*Ramona McConkie
Norah Clydesdale
Tori Bardin
Thomas Wilson
Conductor
Save the Date
for
“A Garden Idyll”
The annual COS garden party
fundraiser will be held
Tuesday, June 8, 2010, 6PM
at Hillside Gardens and Nursery,
1006 S. Institute St.,
Colorado Springs.
14
Trumpet
*Bill Flitter
Dan Bell
7
*1 Acting Concert Master
*2 Acting Principal
* Principal
** Asst. Principal
FEATURED artists
Carol Wilson is currently the organist at First Christian Church in Colorado
Springs. She received her Bachelor of Music degree in organ and piano
performance at Colorado State University in 1973. Her Master of Music degree,
also in organ and piano performance, was earned at the University of Kansas in
1989. While in Kansas, she taught organ and piano at Ottawa University and
was university organist. In addition to playing at First Christian Church, Carol
teaches piano and organ, is an adjunct faculty member at Colorado College,
accompanies in the community, manages the First Christian Church Concert
Series, and is an active performer on organ and piano (and occasionally harpsichord).
Since its formation 20 years ago in Moscow, the award-winning Veronika String
Quartet (VSQ) has established itself as an outstanding ensemble, known for
its versatility and “extraordinary musicianship”. The unique sound of this allfemale quartet has led to success in international competitions as well in concert
halls throughout the U.S. and abroad.
The Quartet distinguished itself early in its career with top prizes in quartet
competitions in St. Petersburg and Moscow, leading to triumphs at the Melbourne
International Chamber Music Competition and the Chamber Music at Yellow Springs Competition
(OH). The VSQ has performed widely in the U.S., Australia, Europe, Russia, and the Middle East,
and currently resides in Southern Colorado where its members are Artists-in-Residence at Colorado
State University-Pueblo. The founding members of the VSQ are violinists Veronika Afanassieva and
Karine Garibova, joined by Moscow-trained violist Ekaterina Dobrotvorskaia, and American cellist
Mary Artmann.
The VSQ has contributed immensely to the revitalization of classical music in the Southwest,
performing in a vast array of venues to a dramatically increasing audience base. Recognized
throughout the state of Colorado, the quartet has appeared frequently on NPR’s Colorado Spotlight
Series and regularly receives grants from the Colorado Council on the Arts for launching its own
popular and critically-acclaimed concert series in Pueblo and Colorado Springs. Highlights of these
exciting live performances can be found on YouTube.
Known for its innovative programming, the VSQ is committed to performing a wide range of
repertoire, from beloved classics to neglected masterpieces. The VSQ has championed compositions
by contemporary American composers in premieres and recordings, including works by Charles
Eakin, Carlton Gamer, Lawrence Leighton Smith, and Augusta Read Thomas. Collaborations with
leading chamber musicians further increase the versatility of the VSQ, and include performances
with the American and Fine Arts Quartets, Martin Lovett of the Amadeus Quartet, clarinetist
Richard Stoltzman, and pianists James Tocco and Ruth Laredo.
The Quartet has recorded for Warner Brothers, Narada, and Northword Press. Future projects
include a CD of Russian masterworks and a CD of American Women composers.
8
Program Notes, continued
Variations, 1898-99, which brought Elgar to wide
international acclaim, the first composer to gain
such recognition in 200 years. Elgar was knighted
in 1904 and appointed professor of music at
Birmingham University in 1905. He went on
to conduct the London Symphony in 191112. His wife’s death in 1920 virtually stopped
his compositional output. Elgar himself died at
Worcester on February 23, 1934.
Elgar’s first reference to the Introduction and
Allegro, op. 47 is in an excited letter to August
Jaeger, his music editor at Novello’s dated January
26, 1905: “I’m doing that string thing in time
for the [London] Sym: Orch. concert. Intro:
& Allegro—no working out part, but a devil
of a fugue.” The subsidiary theme is in a more
reflective mood. After both themes have been
briefly restated, the solo viola announces the
famous Welsh melody. A further appearance of the
forceful opening material and a final nostalgically
reflective version of the Welsh theme conclude
the Introduction. The allegro follows without a
break, beginning with the second idea from the
Introduction, played faster and transformed from
minor to major. The solo quartet then announces a
new idea of tremendous forward energy and vigor,
unmistakable in its rapid repeated note figuration.
This builds toward a pair of climaxes, both based
on the work’s opening material. Then follows the
“devil of a fugue” referred to in Elgar’s letter, which
despite the composer’s natural aversion to strict
counterpoint, displays a breathtaking mastery of
texture. After winding down with the assistance
of the repeated note theme, a slightly abbreviated
restatement of the Allegro’s opening material
follows. This builds inexorably toward a grand
final statement off the Welsh theme, followed by
a lively coda.
To the Noble Artist, who, surrounded by the Baallike worship of debased art, has been able, by his
genius and science, to preserve faithfully, like another
Elijah, the worship of true art, and once more
accustom our ear, amid the whirl of empty, frivolous
sounds, to the pure tones of sympathetic feeling and
legitimate harmony: to the Great Master, who makes
us conscious of the unity of his conception, through the
whole maze of his creation, from the soft whispering
to the mighty raging of the elements. –Inscribed in
grateful remembrance of Mendelssohn by Prince
Albert at Buckingham Palace on April 24, 1847.
Felix Mendelssohn (1809-1847) was shockingly
gifted as a child. He painted with skill, wrote
flowing poetry, succeeded in sports, spoke several
languages, played several instruments, and
completed one of the great chamber works of the
nineteenth century—his Octet for Strings—at the
age of only sixteen. He was born into a wealthy
Jewish-German family, and his talents were
encouraged by his parents and, most of all, by his
sister, with whom Felix would maintain the closest
of friendships throughout his life. He made his
concert debut in 1818, met and befriended Goethe
when he was only 12, and in 1826 (a year after the
Octet) composed his overture to A Midsummer
Night’s Dream, which established his reputation
internationally. Despite all that success, it was
after three years of study at Berlin University that
he finally decided upon a career in music!
13
At the age of 20, Mendelssohn became a champion
of the music of Bach, which had passed into
obscurity throughout Europe. He led the first
performance of Bach’s St. Matthew Passion since
the composer’s death in 1750. Near the end of the
year, he made his first visit to England, where he
was widely lauded as both pianist and composer.
After touring in Scotland, he returned to the
Continued on page 15
Program Notes
Unmatched Elegance
I know that God has bestowed a talent upon me, and
I thank Him for it. I think I have done my duty and
been of use in my generation by my works. Let others
do the same.—Haydn
•Large Format Digital Scanning and Printing
•Large Format Color Scanning and Printing
•Specification Manual Printing • Fully Digital
Color Copies • Digital Archiving
634-4894
319 S. Nevada
Colorado Springs, CO 80903
Dibncfs!Psdiftusb!pg!uif!Tqsjoht
Wjsuvptjuz"!!!Gfcsvbsz!37* - 39-!3121
“For the love of music”
W. A. Mozart Symphony No. 10 in G Major, K.74
F. J. Haydn
Sinfonia Concertante in B-Flat Major, Hob.I:105
Frédéric Chopin Piano Concerto No. 2 in F Minor, op. 21
Paul Romero, piano 2003 Amateur Pianists International Winner
C. M. von Weber Symphony No. 1 in C Major, J.50
Tfbtpo!Gjobmf!!!Bqsjm!28.29-!3121
Sean S. Hennessy
Pikes Peak or Bust!
Gabriel Fauré Ballade in F-Sharp Major, op. 19
Susan Grace, piano
Louis Gottschalk Grande Tarantelle for Piano & Orchestra, op. 67
Susan Grace, piano
Beethoven
Symphony No. 4 in B-flat Major, op. 60
*Additional Concert on
Friday, Feb. 26, 7 p.m.
Family of Christ
Lutheran Church,
675 E. Baptist Rd
Saturdays at 7:00 p.m.
Broadmoor Community Church
Adults $17; Seniors $12; Students $5
For Tickets: Call (719) 633-3649,
or email to: [email protected]
Also available at the door
For full programs and notes, visit us at
www.chamberorchestraofthesprings.org
315 Lake Ave.
Pre-Concert lecture at 6:15 p.m.
Sundays at 2:30 p.m.
First Christian Church, 16 E. Platte
he wrote music so that “the weary and worn, or
the man burdened with affairs, may enjoy a few
moments of solace and refreshment.”
Before entering the service of the Esterházys,
Haydn had written works designed for keyboard—
either harpsichord or organ—and a simple string
ensemble. The organ pieces might well have
served their purpose at a time when Haydn was
employed as an organist and church musician in
Vienna. An autograph copy of the Organ Concerto
in C major, Hob.XVIII:1 survives, with the date
1756 added subsequently, scored for organ, two
oboes, two trumpets (or horns) and strings. It was
played on the occasion of the solemn profession
of Therese Keller, Haydn’s future sister-in-law, as a
nun in the order of Poor Clares in 1756.
Franz Joseph Haydn (1732-1809) was born in
the Austrian town of Rohrau, and in 1761, after
a conspicuously ordinary early life, was engaged
as vice-Kapellmeister by Prince Paul Esterházy, a
Hungarian nobleman. He remained exclusively
in that family’s employment for the next thirty
years, working for Prince Paul and then for his son
Nikolaus. Unlike Mozart, whose relationships
with his patrons were neither easy nor consistent,
Haydn lived happily within the confines of his
master’s world and benefited enormously from
seclusion and from having a permanent orchestra
with which to work. Haydn later remarked, “There
was no one there to confuse me, so I was forced to
become original.” In 1790, Nikolaus died and the
court musicians were dismissed by his successor.
Haydn moved to Vienna, but shortly afterward
received an invitation to visit England, where he
proved incredibly successful in 1791-92. Oxford
University even gave Haydn an honorary degree.
Having returned from London, he bought a house
in Vienna where he taught Beethoven and others,
but in 1794 he returned to England, this time
with even more success. He returned to Europe
again in 1795, returning to employment with the
Esterházy family and concentrating all of his time
on composing. His health began to fail in 1802,
and after a long struggle, Haydn died in 1809. In
some ways, Haydn was more radical than Mozart,
experimenting with unusual-length phrases and
using unconventional forms in his symphonies.
Above all, Haydn is the most humane and
comforting of composers. In his own words,
Here is an elegant way of writing, in the sense of the
rhetoric of another day; a beautiful harmonizing; a
splendid method of orchestration; and with these a
desire to be agreeable, well-mannered, and respectable
at all costs. —Gatti.
As the descendent of a family of professional
musicians, Ottorino Respighi (1879-1936)
inherited a rich talent as part of his birthright. His
earliest music lessons were with his father, but he
progressed so rapidly that he began his professional
training in violin, piano and composition at the
age of just thirteen. As a young man, Respighi
was torn between ambitions to become a concert
violinist or a composer. He got a job as a violist
with the orchestra of the St. Petersburg Opera,
and took advantage of his time in Russia to study
Continued on page 11
12
9
Program Notes, continued
with Nikolai Rimsky-Korsakov, whose brilliant
orchestral technique was a lasting influence.
He then moved to Berlin to study violin and
composition with Max Bruch. Respighi spent the
years from 1903 to 1925 primarily in Italy, first
as a performer, then as professor of composition,
and finally as head of the Saint Cecilia Academy
in Rome. He left the Academy in 1925 to devote
himself to composition and touring, making four
trips to the United States during the next seven
years. He died of a heart attack at the age of fiftysix.
The Third Suite is scored for string orchestra.
The first movement, Italiana, is an anonymous
song of the 16th century with a beguiling lilt and
a fetching simplicity. The second movement, a
miniature suite based on several songs by JeanBaptiste Besard, opens with a doleful lament (It
is sad to be in love with you), which is followed
by two brighter melodies (Farewell forever,
shepherdess and Lovely eyes that see clearly).
Three other brief sections (The Skiff of Love,
What divinity touches my soul, and If it is for my
innocence that you love me) are heard before the
return of the sorrowful opening strain. A gently
swaying Siciliana of unknown origin occupies the
third movement. The finale is a Passacaglia by
Lodovico Roncalli from 1692.
Respighi had an abiding interest in the music of
the late Renaissance and Baroque eras, and he
edited many works by such venerable composers
as Monteverdi, Frescobaldi, Tartini and Vitali
for publication. Speaking against serialism and
mechanical/mathematical music that was being
played in some concert halls and chased away
audiences, Respighi was one of ten composers
who issued a document espousing the hallowed
philosophy of music as communication: “We
are against art which cannot and does not have
any human content and desires to be merely a
mechanical demonstration and a cerebral puzzle.
A logical chain binds the past and the future—
the romanticism of yesterday will again be the
romanticism of tomorrow.” Given most current
trends in composition, they were obviously
correct.
From the point of view of one person or another
I understand all my music has been a crime:
“Cockaigne,” the “Coronation Ode,” and the
“Imperial March.” Yes, I believe there are a good
many people who have objected to them. But I like to
look on the composer’s vocation as the old troubadours
or bards did. In those days it was no disgrace for a
man to be turned on to step in front of an army and
inspire them with a song. For my part, I know that
there are a lot of people who like to celebrate events
with music. To these people I have given tunes. Is
that wrong? Why should I write a fugue or something
that won’t appeal to anyone, when the people yearn
for things which can stir them?—Edward Elgar.
Among the most charming of Respighi’s works
based on old models are the three sets of Ancient
Airs and Dances (1917, 1924, 1932), arrangements
of Italian and French lute and keyboard pieces of
the sixteenth, seventeenth, and early eighteenth
centuries. Respighi kept the old melodies and
harmonies intact while enriching their texture and
providing them with brilliant orchestral color.
Edward Elgar was born at Broadheath, near
Worcester, on June 2, 1857. In his early musical
career, he worked as a violinist and band director,
but during the 1880s his compositions began
to be performed in London. It was his Enigma
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