TENOR PAUL LEWIS...6. Im Rhein, I heiligen Strome 7. Ich grolle nicht 8. Und wüssten’s die Blumen...

JOHANNES BRAHMS Es liebt sich so lieblich im Lenze, Op. 71, no. 1(1833-1897) Sommerabend, Op. 85, no. 1 Mondenschein, Op. 85, no. 2 Es schauen die Blumen alle, Op. 96, no. 3 Meerfahrt, Op. 96, no. 4 Der Tod, das ist die kühle Nacht, Op. 96, no. 1

GUSTAV MAHLER Rückert-Lieder(1860-1911) Blicke mir nicht in die Lieder Ich atmet’ einen linden Duft Liebst du um Schönheit Um Mitternacht Ich bin der Welt abhanden gekommen INTERMISSION ROBERT DichterliebeSC HUMANN 1. Im wunderschönen Monat Mai(1810-1856) 2. Aus meinin Tränen sprießen 3. Die Rose, die Lilie, die Taube, die Sonne 4. Wenn ich in deine Augen seh’ 4a. Dein Angesicht so lieb und schön 4b. Lehn deine Wang’ 5. Ich will meine Seele tauchen 6. Im Rhein, I heiligen Strome 7. Ich grolle nicht 8. Und wüssten’s die Blumen 9. Das ist ein Flöten und Geigen 10. Hör’ ich das Liedchen klingen 11. Ein Jüngling liebt ein Mädchen 12. Am leuchtenden Sommermorgen 12a. Es leuchtet meine Liebe 12b. Mein Wagen rollet langsam 13. Ich hab’ im Traum geweinet 14. Allnächtlich im Träume 15. Aus alten Märche winkt es 16. Die alten bösen Lieder

MARK PADMORETENOR

PAUL LEWISPIANOJANUARY 16 , 2019

D E N V E R

MARK PADMORE tenor

MARK PADMORE, TENORMark Padmore has established an international career in opera, concert, and recital. His appearances in Bach Passions have gained particular notice, especially his renowned performances as the Evangelist in the St Matthew and St John Passions with the Berlin Philharmonic Orchestra and Sir Simon Rattle.

In opera Padmore had leading roles in Harrison Birtwistle’s The Corridor and The Cure at the Aldeburgh Festival and Linbury Theatre, Covent Garden; Captain Vere in Britten's Billy Budd and the Evangelist in a staging of the St Matthew Passion for the Glyndebourne Festival Opera; Third Angel/John in George Benjamin’s Written on Skin with the Royal Opera, Covent Garden. Recent projects have included the world premiere of Tansy Davies’s Cave with the London Sinfonietta. Future opera plans include a new Royal Opera House production of Death in Venice.

In addition to performing with the world’s leading orchestras, Padmore was named Artist in Residence with the Berlin Philharmonic Orchestra for the 2017-18 season. His work with the Orchestra of the Age of Enlightenment, exploring both Bach St John and St Matthew Passions, attracted worldwide acclaim.

In recitals worldwide, Padmore has performed all three Schubert song cycles in Amsterdam, Barcelona, Birmingham, London, Liverpool, Paris, Tokyo, Vienna, and New York. Composers who have written for him include Sally Beamish, Harrison Birtwistle, Jonathan Dove, Thomas Larcher, Nico Muhly, Alec Roth, Mark-Anthony Turnage, Huw Watkins, Ryan Wigglesworth, and Hans Zender.

His extensive discography includes recent releases: Beethoven’s Missa Solemnis and Haydn’s Die Schopfung with Bernard Haitink and the Bavarian Radio Symphony Orchestra on BR Klassik, and lieder by Beethoven, Haydn, and Mozart with Kristian Bezuidenhout for Harmonia Mundi. Other Harmonia Mundi recordings include Handel’s arias As Steals the Morn with the English Concert

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(BBC Music Magazine Vocal Award); Winterreise Schubert cycles with Paul Lewis (2010 Gramophone magazine Vocal Award); Schumann’s Dichterliebe with Kristian Bezuidenhout (2011 Edison Klassiek Award) and Britten’s Serenade, Nocturne and Finzi’s Dies Natalis with the Britten Sinfonia (ECHO/Klassik 2013 award).

Padmore was voted 2016 Vocalist of the Year by Musical America and awarded an Honorary Doctorate by Kent University in 2014. He is Artistic Director of the St. Endellion Summer Music Festival in Cornwall.

PAUL LEWIS, PIANOPaul Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received critical acclaim worldwide. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason D’or de l’Année, the Preis der deutschen Schallplattenkritik, the Premio Internazionale Accademia Musicale Chigiana, and the South Bank Show Classical Music award.

Lewis’s recital career takes him to venues such as London’s Royal Festival Hall, Alice Tully and Carnegie Hall in New York, the Musikverein and Konzerthaus in Vienna, the Théâtre des Champs Elysées in Paris, the Concertgebouw in Amsterdam, and the Berlin Philharmonie and Konzerthaus. He is also a frequent guest at some of the world’s most prestigious festivals, including Tanglewood, Ravinia, Schubertiade, Edinburgh, Salzburg, Lucerne, and the BBC Proms, where in 2010 he became the first person to play a complete Beethoven piano concerto cycle in a single season.

The 2017-18 season saw the start of a two-year recital series exploring connections between the sonatas of Haydn, the late piano works of Brahms, and Beethoven’s Bagatelles and Diabelli Variations, which Lewis is continuing through the 2018-19 season.

PAUL LEWIS piano

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NOTESProgram Notes © Elizabeth Bergman

His award winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas, concertos, and the Diabelli Variations, Liszt’s B minor Sonata and other late works, all of Schubert’s major piano works from the last six years of his life, including the three song cycles with tenor Mark Padmore, solo works by Schumann and Mussorgsky, and the Brahms D minor piano concerto with the Swedish Radio Symphony Orchestra and Daniel Harding.

Lewis studied with Joan Havill at the Guildhall School of Music and Drama in London and later with Alfred Brendel. He holds honorary degrees from Liverpool, Edge Hill, and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen’s Birthday Honours. He is co-Artistic Director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK, and the Leeds International Piano Competition.

ES LIEBT SICH SO LIEBLICH IM LENZE, OP. 71, NO. 1

SOMMERABEND OP. 85, NO. 1

MONDENSCHEIN OP. 85, NO. 2

The two songs from Opus 85 date to the middle of Brahms’s career, when he had established his reputation—thanks in part to Schumann’s ardent support—as an accomplished composer. “Sommerabend” (“Summer Evening”) pairs well with “Mondenschein” (“Moonlight”) because the outer sections of the first song and the middle of the second involve the same melody and counter-melody. The accompaniment of “Summer Evening” suggests chirping crickets and splashing water. The music also invokes breathing, enhancing the mild eros of the text, which refers to moonlight, a traveler, and a water nymph. The second song dispenses with the traveler and the nymph but maintains the moonlight, changing the symbolism from sensual to soothing as the beams dispel fears and fill the eyes of the poetic subject with tears.

The earlier song “Es liebt sich so lieblich im Lenze” (“So Lovely Is Love in Spring”) sets a text by Heinrich Heine, Schumann’s favorite poet. It begins gently before turning grim with a shepherdess weaving flowers, a knight who was


once her lover, and the song of a nightingale—a familiar Romantic symbol of heartbreak. The music is pictorial and painterly, suggesting both the galloping of the knight’s horse and the tossing of the flowers into a river. Heine’s, and perhaps Brahms’s, delight at the springtime eruption of emotion is also manifest in the bright major key at the end.

The first two songs from Opus 96, again set to a text by Heine, speak of love as well as loss. The first describes the sun and sea but has a dark lining—a sense of transience, decay, and disintegration captured in the almost panicked introduction. The poetic subject expresses hope for love, represented by Brahms in a vocal ascent. That hope is thwarted, however, in the final F-sharp pitch, held high and aloft before seeming to melt into the mist. The second song from Opus 96 has a nautical subject, captured by Brahms with the grand sweep in the piano introduction. The text tells of a pair of lovers in a helpless situation. The music bitterly and ironically suggests a blissful oasis or safe harbor. A mournful horn call, however, speaks of loss. “Der Tod, das ist die kühle Nacht,” Op. 96, no.1 (“Death is the Cool Night”) welcomes death as a respite from the heat of life. The pulsing accompaniment evokes a slowing heartbeat. Warmer, brighter moments recall the warmth of the day and so suggest that love, unlike the light, remains undying.

The oldest of six surviving children born to a tavern-owner in what is now the Czech Republic, Gustav Mahler was largely self-taught as a musician until the age of 15, when he entered the Vienna Conservatory, where he studied piano and composition. But his true ambition was to be a conductor, and he composed only part-time, during the summers. His first stint as a conductor came in 1880 at a small, underfunded summer theater, but he parlayed the experience into a better position the following year in Ljubljana, the present-day capital of Slovenia. Slowly he won ever more prestigious postings in Kassel, Prague, Leipzig, Budapest, and Hamburg before landing the job he coveted, in 1897, at the Vienna Opera.

His Rückert Lieder date to 1901 when Mahler was at the height of his creative powers. The songs set texts by Friedrich Rückert, a professor of East Asian studies and poet, who produced a group of German lyric poems that

ES SCHAUEN DIE BLUMEN ALLE, OP. 96, NO. 3

MEERFAHRT OP. 96, NO. 4

DER TOD, DAS IST DIE KÜHLE NACHT, OP. 96, NO. 1

GUSTAV MAHLER, RÜCKERT LIEDER

ROBERT SCHUMANN, DICHTERLIEBE

Program NotesContinued


appealed to Mahler. Then, as now, his music was generally understood to relate to his life. Yet “Blicke mir nicht in die Lieder” (“Look not into my songs”) admonishes us to avoid mapping the man onto the music and vice versa. If the man is not in the music, then where is he to be found? “Ich atmet’ einen linden Duft” (“I breathed a gentle fragrance”) suggests a synesthetic experience with the senses of overlapping and transporting the subject to a far-away land; the music draws on tropes of the East as imagined at the turn of the twentieth century. “Liebst du um Schönheit” (“If you love for beauty”), whose subject is an unattractive artist, was composed as a gift to Mahler’s wife Alma in a gesture of self-deprecation. The longest song, “Um Mitternacht” (“At Midnight”), asks the most possibly profound question: Where is the soul to be found? The song is rigidly constructed, the repetition of phrases and rhythm patterns that pull the ear deeper and deeper into spiritual contemplation. “Ich bin der Welt abhanden gekommen” (“I am lost to the world”), which Mahler described as a kind of self-portrait, shares much in common with the first song, “Blicke mir nicht in die Lieder.” The two are in the same key, and similar turns define their melodies.

The songs were conceived for orchestra, but there is little in the set to suggest the immensity of Mahler’s symphonies. Whether the singer is heard with orchestra (the musical equivalent of a luxurious painting) or piano (akin to a line drawing), these are delicate, filigreed pieces. Complex emotions in the texts are communicated in simple melodic lines. Certain passages even suggest a commingling of senses, translating sound into sight and scent, as the world itself becomes a work of art.

Robert Schumann primarily wrote piano music until 1840, when he suddenly turned to vocal composition. This was his so-called Liederjahr (year of songs), perhaps inspired by his engagement to Clara Wieck, a concert pianist and fellow composer. Schumann produced major collections of six to sixteen (or more) songs, many setting poems about love in all its phases and facets.

The song cycle Dichterliebe, which dwells on love and marriage, seems to stem from a temporary rupture in


Schumann’s relationship with Wieck. He had his doubts about whether they would be allowed to marry, and the music is fittingly mercurial. Although the first song begins “In the wondrous month of May,” for example, the key is a rather moody F-sharp minor. The song ends inconclusively, suggesting that all may not end well.

The sixth song “Im Rhein, im heiligen Strome” (“In the Rhine, the holy river”), hints that this love has been unrequited. The poet likens his beloved to an image of the Madonna in a cathedral on the banks of the Rhine. Thus she is something to contemplate—not to hold close. The distant, holy image is captured in music inspired by Bach’s chorale preludes. The piano knows what the words only suggest, with its powerful descending motive. And in the next song, “Ich grolle nicht” (“I bear no grudge”), the poet reveals his heartbreak. The operatic style of the voice is matched to an orchestral outburst in the piano accompaniment with aggrieved, pounding octaves. Obviously, he does bear some bitterness.

Heartbreak defines the eighth song, “Und wüßten’s die Blumen, die kleinen” (“If the little flowers knew”). It begins calmly enough, but then explodes in fury. The first three stanzas contrast the innocent beauty of nature with the inner suffering of a poet with a broken heart. “If only the flowers knew” of his sorrow, the protagonist laments, they too would shed tears and offer comfort. But, our pained poet notes, there is indeed someone who knows he sorrows, yet she will not shed any tears in sympathy. His beloved has torn his heart apart. The poet’s rage cannot be expressed in words, so the piano reflects his wrath. Throughout the cycle, the piano proves no accompaniment to the voice, but another voice itself that gives us greater insight into feelings words cannot capture.

“Ich hab’ im Traume geweinet” (“I wept in my dream”) finds the poet retreating into himself, wounded and melancholic. The poetry is odd: three times the protagonist recalls a dream that has moved him to tears and shaken him awake. A girl abandoned him, then died. Finally, he dreams that she still loves him. The


accompaniment is again crucial. In the first two stanzas, the piano part is extremely sparse—just a couple of notes that punctuate the vocal line without following or doubling the voice. In the third stanza, when the poet is animated by the memory of a happy past, the music truly comes to life. Yet remembering again the loss of his beloved, the poet loses his voice. What follows is merely a repetition of the piano accompaniment from the opening – a long silence interrupted by a couple of short notes, followed again by an excessively long silence in turn interrupted by two short notes in the piano. The song ends as if dissolved in tears.

This version of the cycle includes four additional songs that Schumann cut before publication in 1844. These songs form two pairs. The first pair, “Dein Angesicht so lieb und schön” (4a, “Your face, so dear and fair”) and “Lehn deine Wang” (4b, “Rest Your Cheek”), imagine the premature death of his beloved. The second pair, “Es leuchtet meine Liebe” (12a, “My love it shines”) and “Mein Wagen rollet langsam” (12b, “My coach rolls slowly”), seeks closure; the staccato chords in the accompaniment pierce through the veil of romantic passion and interrupt the arpeggios of poetic illusion.

Program NotesContinued

Presented in partnership with:

For more information, visit www.DenverChamberMusicFestival.org

DENVER CHAMBER MUSIC FESTIVAL

June 3 - 9, 2019

Artists:Tessa Lark, violin

David McCarroll, violinAyana Kozasa, viola

John Stulz, violaJulio Elizalde, piano

Alice Yoo, cello & co-artistic directorMatt Zalkind, cello & co-artistic director

TRANSLATIONS Brahms: Selected Songs


Es liebt sich so lieblich im Lenze

Die Wellen blinken und fließen dahin,Es liebt sich so lieblich im Lenze!Am Flusse sitzet die SchäferinUnd windet die zärtlichsten Kränze.

Das knospet und quilt und duftet und blüht,Es leibt sich so lieblich in Lenze!Die Schäferin seufzt aus tiefer Brust:“Wem geb ich meine Kränze?”

Ein Reiter reitet den Fluß entlang,Er grüßet so blühenden Mutes,Die Schäferin schaut ihm nach so bang,Fern flattert die Feder des Hutes.

Sommerabend

Dämmernd liegt der SommerabendÜber Wald und grünen Wiesen;Goldner Mond am blauen Himmel,Strahlt herunter, duftig labend.

An dem Bache zirpt die Grille,Und es regt sich in dem Wasser,Und der Wandrer hört ein PlätschernUnd ein Atmen in der Stille.

Dorten an dem Bach alleine,Badet sich die schöne Elfe;Arm und Nacken, weiß und lieblich,Schimmern in dem Mondenscheine.

So Lovely Is Love in Spring

The waves go glittering by,so lovely is love in spring!The shepherdess sits by the river,Weaving most delicate garlands.

A budding, scenting, gushing, blooming,so lovely is love in spring!The shepherdess deeply sighs:‘To whom shall I give my garlands?’

A horseman beside the river rides,and so gallantly salutes,Alarmed, the shepherdess stares after,his hat plume floats afar.

Summer Evening

Dusky lies summer eveningover forest and green meadow;from blue sky a golden moonshines fragrant, reviving, down.

By the brook the cricket chirps,there is a stirring in the water,the wanderer hears a splashingand a breathing in the stillness.

There, by the brook, alone,the fair elf bathes;arms and neck, white and lovely,shimmer in the moonlight.

Sommerabend, Op. 85, no. 1

Es liebt sich so lieblich im Lenze, Op. 71, no. 1

Texts by Heinrich Heine (1797-1856)Translations from The Fischer-Dieskau Book of Lieder: The Original Texts of Over Seven Hundred and Fifty Songs, Limelight Editions, 2004


Es schauen die Blumen alle

Es schauen die Blumen alleZur leuchtenden Sonne hinauf;Es nehmen die Ströme alleZum leuchenden Meere den Lauf.

Es flattern die Lieder alleZue meinin leuchtenden Lieb –Nehmt mit meine Tränen und Seufzer,Ihr Lieder, wehmütig und trüb!

Meerfahrt

Mein Liebchen, wir saßen beisammen,Traulich im leichten Kahn.Die Nacht war still, und wir schwammenAuf weiter Wasserbahn.

Die Geisterinsel, die schöne,Lag dämmrig im Mondenglanz;Dort klangen liebe Töne,Und wogte der Nebeltanz.

Dort klang es lieb und leiber,Und wogt’ es hin und her;Wir aber schwammen vorüber,Trostlos auf weitem Meer.

All the flowers gaze

All the flowers gazeup to the brilliant sun;All the streams runto the gleaming sea.

All songs flutterto my bright love –Take along with you my tears and sighs,You songs so mournful and dreary.

Sea Voyage

My love, we sat togethercozily in our skiff.The night was still, we floatedupon a broad waterway.

The lovely Isle of Spiritslay dim in the moonlight gleam;upon it sweet sounds rang out,and dancing vapours surged.

Sweeter the sounds and sweeter,this way and that the surge;but past the isle we floated,forlorn on the wide sea.

Es schauen die Blumen alle, Op. 96, no. 3

Meerfahrt, Op. 96, no. 4

Mondeschein

Nacht leigt auf den fremden Wegen,Krankes Herz und müde Glieder; –Ach, da fließt, wie stiller Segen,Süßer Mond, dein Licht hernieder.

Süßer Mond, mit deinen StrahlenScheuchest du das nächt’ge Grauen;Es zerrinnen meine Qualen,Und die Augen übertauen.

Moonlight

Night lies on the unfamiliar ways – sick heart and tired limbs; –then, ah as silent blessing, streamsdown, sweet moon, your light.

Sweet moon, with your beamsyou drive away night’s horror;my torments vanish,and my eyes melt into tears.

Mondenschein, Op. 85, no. 2


Blicke mir nicht in die Lieder

Blicke mir nicht in die Lieder!Meine Augen schlag’ ich nieder,Wie ertappt auf böser Tat.Selber darf ich nicht getrauen,Ihrem Wachsen zuzuschauen.Deine Neugier ist Verrat!

Bienen, wenn sie Zellen bauen,Lassen auch nicht zu sich schauen,Schauen selber auch nicht zu.Wann die reichen HonigwabenSie zu Tag gefördert haben,Dann vor allen nasche du!

Ich atmet’ einen linden Duft

Ich atmet’ einen linden Duft!Im Zimmer standEin Zweig der Linde, Ein AngebindeVon lieber Hand.Wie lieblich war der Lindenduft!

Wie lieblich ist der Lindenduft!Das LindenreisBrachst du gelinde!Ich atme leisIm Duft der LindeDer Liebe linden Duft.

Der Tod, das ist die kühle Nacht

Der Tod, das ist die kühle Nacht,Das Leben ist der schwüle Tag.Es dunkelt schon, mich schläfert,Der Tag hat mich müd’ gemacht.Über mein Bett erhebt sich ein Baum,D’rin signt die junge Nachtigall;Sie singt von lauter Liebe,Ich hör’ es, ich hör’ es sogar im Traum.

Look not into my songs

Look not into my songs!My eyes I lower,as if I were caught in an evil deed.I can’t even trust myselfto watch them growing.Your curiosity is a betrayal!

Bees, when they build their cells,also let no one observe them; they don’t even watch themselves.When the rich honeycombsare carried out to the light of day,then you shall taste them beforeeveryone else!

I breathed a gentle fragrance

I breathed a gentle fragrance!In the room there wasa sprig of linden, a giftfrom a dear hand.How lovely was the fragrance of linden!

How lovely is the fragrance of linden!That sprig of lindenyou broke off so gently!Softly I breathedthe fragrance of linden,the gentle fragrance of love.

Death is the Cool Night

Death is the cool night,Life is the sultry day.It now grows dark, I am sleepy,The day has tired me.Above my bed rises a tree,The young nightingale sings therein;It sings of naught but love,I hear it, I hear it even in my dream.

Mahler: Rückert-Lieder

Der Tod, das ist die kühle Nacht, Op. 96, no. 1

Text by Friedrich Rückert (1788-1866)Translations from The Fischer-Dieskau Book of Lieder: The Original Texts of Over Seven Hundred and Fifty Songs, Limelight Editions, 2004


Um Mitternacht

Um MitternachtHab’ ich gewachtUnd aufgeblickt zum Himmel;Kein Stern vom SterngewimmelHat mir gelachtUm Mitternacht.

Um MitternachtHab’ ich gedachtHinaus in dunkle Schranken.Es hat kein LichtgedankenMir Trost gebrachtUm Mitternacht.

Um MitternachtNahm ich in achtDie Schläge meines Herzens;Ein einz’ger Puls des SchmerzensWar angefachtUm Mitternacht.

Um MitternachtKämpft’ ich die Schlacht,O Menschheit, deiner Leiden;Nicht konnt’ ich sie entscheidenMit meiner MachtUm Mitternacht.

Um MitternachtHab’ ich die MachtIn deine Hand gegeben;Herr über Tod und LebenDu hältst die WachtUm Mitternacht!

At Midnight

At midnightI awokeand gazed up to the heavens;No star in the entire firmamentsmiled down at meat midnight.

At midnightI projected my thoughtsbeyond the dark barriers.No thought of lightbrought me consolationat midnight.

At midnightI paid attentionto the beating of my heart;a single pulse of painflared upat midnight.

At midnightI fought the battle,O humanity, of your suffering;I could not conclude itwith my strengthat midnight.

At midnightI surrendered my strengthinto your hand;Lord! over death and lifeYou keep watchat midnight!

Liebst du um Schönheit

Liebst du um Schönheit, o nicht mich liebe!Liebe die Sonne, sie trägt ein gold’nes Haar!

Liebst du um Jugend, o nicht mich liebe!Liebe der Frühling, der jung ist jedes Jahr!

Liebst du um Schätze, o nicht mich liebe.Liebe die Meerfrau, sie hat viel Perlen klar!

Liebst du um Liebe, o ja, mich liebe!Liebe mich immer, dich lieb’ ich immerdar!

If you love for beauty

If you love for beauty, then do not love me!Love the sun, with its gold hair!

If you love for youth, then do not love me!Love the spring it is young each year!

If you love for treasure, then do not love me!Love the mermaid she has many bright pearls!

If you love for love, then yes, do love me!Love me forever, as I’ll always love you!


Ich bin der Welt abhanden gekommen

Ich bin der Welt abhanden gekommen,Mit der ich sonst viele Zeit verdorben,Sie hat so lange nichts von mir vernommen,Sie mag wohl glauben, ich sei gestorben.

Es ist mir auch gar nichts daran gelegen,Ob sie mich für gestorben hält,Ich kann auch gar nichts sagen dagegen,Denn wirklich bin ich gestorben der Welt.

Ich bin gestorben dem Weltgetümmel,Und ruh’ in einem stillen Gebiet.Ich leb’ allein in mir und meinem Himmel,In meinem Lieben, in meinem Lied.

Im wunderschönen Monat MaiAls alle Knospen sprangen, Da ist in meinem HerzenDie Liebe aufgegangen.

Im wunderschöen Monat Mai,Als alle Vögel sangen,Da hab’ ich ihr gestandenMein Sehnen und Verlangen.

Aus meinen Tränen sprießenViel blühende Blumen hervor,Und meine Seufzer werdenEin Nachtigallenchor.

Und wenn du mich lieb hast, Kindchen,Schenk’ ich dir die Blumen all’Und vor deinem Fenster soll klingenDas Lied der Nachtigall.

Schumann: Dichterliebe

I am lost to the world

I am lost to the worldwhere I used to waste too much time.It has heard nothing from me for so longit may very well think me dead.

It is of no consequence to meIf the world thinks I am dead.I cannot deny it,For, truly, I am dead to the world.

I am dead to the world’s tumult,I lie in quiet realms.I live alone in my heaven,In my love, in my song.

In the wondrous month of May,when the buds were bursting open,then it was that my heartfilled with love.

In the wondrous month of May,when the birds were singing,then it was I confessed to hermy longing and desire.

From my tears burstmany full-blown flowers,and my sighs becomea nightingale chorus.

And if you love me, child,I’ll give you all the flowers,and at your window shall soundthe song of the nightingale.

Poems from Lyrisches Intermezzo by Heinrich Heine (1797-1856)Translations from The Fischer-Dieskau Book of Lieder: The Original Texts of Over Seven Hundred and Fifty Songs, Limelight Editions, 2004


Die Rose, die Lilie, die Taube, die Sonne,Die liebt’ ich einst alle in Liebeswonne.Ich lieb’ sie nicht mehr, ich liebe alleineDie Kleine, die Feine, die Reine, die Eine;Sie selber, aller Liebe Wonne,Ist Rose und Lilie und Taube und Sonne.Ich liebe alleineDie Kleine, die Feine, die Reine, die Eine

Wenn ich in deine Augen seh’,So schwindet all’ mein Leid und Weh;Doch wenn ich küsse deinen Mund,So werd’ ach ganz und gar gesund.

Wenn ich mich lehn’ an deine Brust,Kommt’s über mich wie Himmelslust;Doch wenn du sprichst: ich liebe dich!So muß ich weinen bitterlich.

Dein Angesicht so lieb und schön,Das hab' ich jüngst im Traum geseh'n;Es ist so mild und engelgleich,Und doch so bleich, so schmerzenreich.

Und nur die Lippen, die sind rot;Bald aber küßt sie bleich der Tod.Erlöschen wird das Himmelslicht,Das aus den frommen Augen bricht.

Lehn deine Wang' an meine Wang',Dann fließen die Tränen zusammen;Und an mein Herz drück' fest dein Herz,Dann schlagen zusammen die Flammen!

Und wenn in die große Flamme fließtDer Strom von unsern Tränen,Und wenn dich mein Arm gewaltig umschließt -Sterb' ich vor Liebessehnen!

Ich will meine Seele tauchenIn den Kelch der Lilie hinein;Die Lilie soll klingend hauchen.Ein Lied von der Liebsten mein.

Das Lied soll schauern und beben.Wie der Kuß von ihrem Mund,Den sie mir einst gegebenIn wunderbar süßer Stund’.

Rose, lily, dove, sun—All once I blissfully loved.I love them no more, alone I love one who is small, fine, pure, rare;she, most blissful of all loves,is rose and lily and dove and sun.Alone I loveone who is small, fine, pure rare.

When into your eyes I look,all my sorrow flies;but when I kiss your lips,then I am wholly healed.

When I recline upon your breast,over me steals heavenly bliss;But when you say: it’s you I love!Then bitter tears must I shed.

Your face, so dear and fair,that I have recently seen in a dream;it is so mild and angelic,and yet so pale, so rich in sorrow.

And only your lips are red;but soon they will be kissed pale by death.Extinguished shall be the heavenly light,which streams from those innocent eyes.

Rest your cheek against my cheek,then shall our tears flow together;and against my heart press firmly your heart,then together shall our flames pulse!

And when into the great flameflows the stream of our tears,and when my arm holds you tight - I shall die of love's yearning!

My soul will I bathein the lily’s chalice;the lily shall breatheA song of my beloved.

The song shall tremble and quiverlike the kiss her lipsbestowed on me once,in a sweet and lovely hour.


Im Rhein, im heiligen Strome,Da spiegelt sich in den Well’nMit seinem großen Dome,Das große, heilige Köln.

Im Dom da steht ein Bildnis,Aug goldenem Leder gemalt;In meines Lebens WildnisHat’s freundlich hineingestrahlt.

Es schweben Blumen und Eng’leinUm unsre liebe Frau;Die Augen, die Lippen, die Wänglein,Die gleichen der Liebsten genau.

Ich grolle nicht, Und wenn das Herz auch bricht,Ewig verlor’nes Lieb! Ich grolle nicht.Wie du auch strahlst in Diamantenpracht,Es fällt kein Strahl in deines Herzens Nacht.Das weiß ich längst.

Ich grolle nicht,Und wenn das Herz auch bricht.Ich sah dich ja im Traume,Und sah die Nacht in deines Herzens Raume,Und sah die Schlang’, die dir am Herzen frißt,Ich sah, mein Lieb, wie sehr du elend bist.Ich grolle nicht.

Und wüßten’s die Blumen, die kleinen,Wie tief verwundet mein Herz,Sie würden mit mir weinen,Zu heilen meinen Schmerz.

Und wüßten’s die Nachtigallen,Wie ich so traurig und krank,Sie ließen fröhlich erschallenErquickenden Gesang.

Und wüßten sie mein Wehe,Die goldenen Sternelein,Sie kämen aus ihrer Höhe,Und sprächen Trost mir ein.

Sie alle können’s nicht wissen,Nur Eine kennt meinen Schmerz;Sie hat ja selbst zerrissen,Zerrissen mir das Herz.

In the Rhine, the holy river,mirrored in the waves,with its great cathedralis great and holy Cologne.

The cathedral has a picture,painted on gilded leather;into my life’s wildernessfriendly rays it has cast.

Flowers and angels floatabout Our Lady dear;eyes, lips, cheeksare the image of my love’s.

I bear no grudge, though my heart breaks,loved one forever lost! I bear no grudge.However you may gleam in diamond splendour,no ray falls into the night of your heart.I’ve known that long.

I bear no grudge, though my heart breaks.For I saw you in my dream, saw the night within your heart,and saw the serpent gnawing at your heart,saw, my love, how pitiful you are.I bear no grudge.

If the little flowers knewhow deeply my heart is hurt,with me they would weepto heal my pain. If the nightingales knewhow sad I am and sick,joyously they’d let soundrefreshing song. And if they knew my grief,the golden little stars,from the sky they’d comeand console me. But none of them can know,one only knows my pain,for she it was who brokemy heart, broke my heart in two.


Das ist ein Flöten und Geigen,Trompeten schmettern darein;Da tanzt wohl den Hochzeitreigendie Herzallerliebste mein.

Das ist ein Klingen und Dröhnen,Ein Pauken und ein Schalmei'n;Dazwischen schluchzen und stöhnenDie lieblichen Engelein.

Hör' ich das Liedchen klingen,Das einst die Liebste sang,So will mir die Brust zerspringenVon wildem Schmerzendrang.

Es treibt mich ein dunkles SehnenHinauf zur Waldeshöh',Dort löst sich auf in Tränenmein übergroßes Weh'.

Ein Jüngling liebt ein Mädchen,Die hat einen Andern erwählt;Der andre liebt eine andre,Und hat sich mit dieser vermählt.

Das Mädchen nimmt aus ÄrgerDen ersten besten MannDer ihr in den Weg gelaufen;Der Jüngling ist übel dran.

Es ist eine alte Geschichte,Doch bleibt sie immer neu;Und wem sie just passieret,Dem bricht das Herz entzwei.

Am leuchtenden SommermorgenGeh' ich im Garten herum.Es flüstern und sprechen die Blumen,Ich aber wandle stumm.

Es flüstern und sprechen die Blumen,Und schaun mitleidig mich an:Sei unsrer Schwester nicht böse,Du trauriger, blasser Mann.

What a fluting and fiddling,and a blaring of trumpets!There, dancing her wedding dancewill be my dearest love. What a clashing and clanging,drumming and piping;and sobbing and groaningof delightful angels.

When I hear the songmy love once sang,my heart almost breaksfrom the wild rush of pain. Vague longing drives meup to the high forest,where my immense griefdissolves in tears.

A boy loves a girl,she chooses another,the other loves anotherand her he weds.

The girl out of spite,takes the first manto come her way;the boy‘s badly hurt.

It is an old, old story,remains though ever new,and he to whom it‘s happenedhis heart is broken in half.

One bright summer morningI walk in the garden.Flowers whisper and speak,but I walk silently. Flowers whisper and speak,and gaze at me in pity:"Be not angry with our sister,sad, pale man."


Es leuchtet meine Liebe,In ihrer dunkeln Pracht,Wie'n Märchen traurig und trübe,Erzählt in der Sommernacht.

Im Zaubergarten wallenZwei Buhlen, stumm und allein;Es singen die Nachtigallen,Es flimmert der Mondenschein.

Die Jungfrau steht still wie ein Bildnis,Der Ritter vor ihr kniet.Da kommt der Riese der Wildnis,Die bange Jungfrau flieht.

Der Ritter sinkt blutend zur Erde,Es stolpert der Riese nach Haus.Wenn ich begraben werde,Dann ist das Märchen aus.

Mein Wagen rollet langsamdurch lustiges Waldesgrün,durch blumige Täler, die zaubrischim Sonnenglanze blüh'n.

Ich sitze und sinne und träume,und denk' an die Liebste mein;Da grüßen drei Schattengestaltenkopfnickend zum Wagen herein.

Sie hüpfen und schneiden Gesichter,so spöttisch und doch so scheu,und quirlen wie Nebel zusammen,und kichern und huschen vorbei.

Ich hab' im Traum geweinet,Mir träumte du lägest im Grab.Ich wachte auf, und die TräneFloß noch von der Wange herab.

Ich hab' im Traum geweinet,Mir träumt' du verließest mich.Ich wachte auf, und ich weinteNoch lange bitterlich.

Ich hab' im Traum geweinet,Mir träumte du wär'st mir noch gut.Ich wachte auf, und noch immerStrömt meine Tränenflut.

My love, it shinesin its dark splendor,like a fairy-tale, sad and bleak,told on a summer night.

In a magic garden appeartwo lovers, mute and alone;the nightingales are singing,the moonlight is shimmering.

The maiden stands still as a portrait,the knight before her kneels.Then comes the giant of the wilderness,the fearful maiden flees.

The knight sinks, bleeding, to the earth,then the giant stumbles home.When I am buried,then the fairy-tale is over.

My coach rolls slowlythrough the merry forest green,through blooming valleys, which magicallybloom in the sun's gleam.

I sit and reflect and dream,and think on my beloved;then I am greeted by three shadowy formsnodding at the coach.

They hop and make faces,so mocking and yet so shy,and whirl like mist together,and snicker and scurry by.

I wept in my dream,I dreamt you lay in your grave.I woke, and tearsstill flowed upon my cheek.

I wept in my dream,I dreamt you were leaving me.I woke, and wept onlong and bitterly.

I wept in my dream,I dreamt you loved me still.I woke, and stillmy tears stream.


Allnächtlich im Traume seh' ich dich,Und sehe dich freundlich grüßen,Und laut aufweinend stürz' ich michZu deinen süßen Füßen.

Du siehest mich an wehmütiglich,Und schüttelst das blonde Köpfchen;Aus deinen Augen schleichen sichDie Perlentränentröpfchen.

Du sagst mir heimlich ein leises Wort,Und gibst mir den Strauß von Cypressen.Ich wache auf, und der Strauß ist fort,Und's Wort hab' ich vergessen.

Aus alten Märchen winkt esHervor mit weißer Hand,Da singt es und da klingt esVon einem Zauberland;

Wo bunte Blumen blühenIm gold'nen Abendlicht,Und lieblich duftend glühenMit bräutlichem Gesicht;

(Und grüne Bäume singenUralte Melodei'n,Die Lüfte heimlich klingen,Und Vögel schmettern drein;

Und Nebelbilder steigenWohl aus der Erd' hervor,Und tanzen luft'gen ReigenIm wunderlichen Chor;

Und blaue Funken brennenAn jedem Blatt und Reis,Und rote Lichter rennenIm irren, wirren Kreis;

Und laute Quellen brechenAus wildem Marmorstein,Und seltsam in den BächenStrahlt fort der Widerschein.)

Ach! könnt' ich dorthin kommen,Und dort mein Herz erfreu'n,Und aller Qual entnommen,Und frei und selig sein!

Nightly in my dreams I see you,see your friendly greeting,and weeping loudly, hurl myselfat your sweet feet. You look at me wistfullyshaking your little fair head;from your eyes stealtear-drops of pearl.

A soft word you whisper me,and give me a garland of cypress.I wake, the cypress is gone,and the word forgotten.

A white hand beckonsfrom fairy tales of old,song there is, and soundsof a magic land,

where colorful flowers bloomin golden evening light,and, sweet scented, glowwith bride-like faces.

(And green trees singold, old melodies,stealthy breezes murmurand birds warble;

and misty shapes rearfrom the earth,and dance airy dancesand strange throng;

and blue sparks blazeon every leaf and twig,and red fires racein mad, wild circles;

and loud springs burstfrom living marble, andstrange in the brooksthe reflection shines.)

Oh! could I but go there,there gladden my heart,from all pain removed,blissful and free!


Ach! jenes Land der Wonne,Das seh' ich oft im Traum,Doch kommt die Morgensonne,Zerfließt's wie eitel Schaum.

Oh, that land of joy,in dreams I see it often,but, come morning sun,it‘s gone like foam.

The bad old songs,the dreams wicked and bad,let us now bury them,fetch a great coffin.

Much will I lay in it,though what, I won’t yet say;a bigger coffin must it bethan the Vat of Heidelberg.

And fetch a bier,and planks firm and thick,the bier must be longerthan the bridge at Mainz.

And twelve giants fetch me,who shall be even strongerthan St. Christopher the Strongin Cologne Cathedral on the Rhine.

They shall bear off the coffin,and sink it in the sea;for such a big coffinbelongs in a big grave.

Do you know why the coffinshould be so heavy and big?I would put my love inand my sorrow too.

Die alten, bösen Lieder,Die Träume bös' und arg,Die laßt uns jetzt begraben,Holt einen großen Sarg.

Hinein leg' ich gar manches,Doch sag' ich noch nicht was.Der Sarg muß sein noch größerWie's Heidelberger Faß.

Und holt eine Totenbahre,Von Bretter fest und dick;Auch muß sie sein noch längerAals wie zu Mainz die Brück'.

Und holt mir auch zwölf Riesen,Die müssen noch stärker seinAls wie der starke ChristophIm Dom zu Köln am Rhein.

Die sollen den Sarg forttragen,Und senken in's Meer hinab;Denn solchem großen SargeGebührt ein großes Grab.

Wißt ihr warum der Sarg wohlSo groß und schwer mag sein?Ich senkt' auch meine LiebeUnd meinen Schmerz hinein.

Pre-Concert Happy Hours at the Pioneer!Join us prior to each concert for tacos, margaritas, and conversation at the Pioneer Bar, 2401 S. University Blvd., just around the corner from the Newman Center. We will have an

area reserved for Friends of Chamber Music to gather for food and drinks beginning at 6:00 p.m. Whether you are a new subscriber or a longtime supporter, we hope you will stop by for a chance to get to know your fellow concert-goers.


MUSIC IN THE GALLERIES Clyfford Still Museum

1250 Bannock St., Denver

SUNDAY, MARCH 10, 20191:00 & 2:00 PMViolamore Duo

Join us for “Music in the Galleries” featuring the Violamore Duo with the husband-wife duo of violists Koko Dyulgerski and Leah Kovach. Their program will include works by Garth Knox, Kenji Bunch, and Paul Colette.

SUNDAY, MAY 12, 20191:00 & 2:00 PMAltius Quartet

Altius Quartet returns to “Music in the Galleries” with an innovative program of music for string quartet.

Music is free with admission to the galleries. Through this partnership the museum is offering FCM patrons $5 half price tickets (if purchased in advance) to enter the museum on performance days. The link to purchase discount tickets is available on our website. Note: Seating is limited and available on a first come, first served basis.

BOARD OF DIRECTORS

Alix Corboy, PresidentMary Park, Vice PresidentWalter Torres, SecretarySue Damour, Treasurer

BOARD MEMBERS

Lisa BainDietrich HoefnerJohn LebsackKathy NewmanAnna PsitosMyra RichChet SternEli WaldAnne WattenbergAndrew Yarosh

PROJECT ADMINISTRATOR

Desiree Parrott-Alcorn

EMERITUS BOARD

MEMBERS

Rosemarie MuraneSuzanne Ryan


SIR ANDRÁS SCHIFFWED, FEB 20, 2019 | 7:30 PM

One of the most celebrated pianists of our time, world-renowned Sir András Schiff is also a conductor, pedagogue, and lecturer. In June 2014 he was awarded a knighthood for services to music by Her Majesty Queen Elizabeth II.PROGRAM:

Program includes works by Janácek and Schumann.

PIOTR ANDERSZEWSKIWED, APR 10, 2019 | 7:30 PM

Polish pianist and composer Piotr Anderszewski has been singled out for high profile awards throughout his career. He will be performing Beethoven’s Diabelli Variations for the first time in FCM’s 65-year history. "Every one of the 33 variations seemed freshly imagined, with their dizzying contrasts of wit and pathos, explosive energy and communing stillness . . . " – THE GUARD IAN

PROGRAM:

Program features selections from Bach's Well-Tempered Clavier and Beethoven's Diabelli Variations.

T ICKETS :

PIANO SERIES2018 -19

Single tickets available at www.friendsofchambermusic.com or Newman Center Box Office | 303-871-7720 | www.newmantix.com

LEGACY GIFTSFor those who want to leave a musical legacy, a planned or deferred gift to Friends of Chamber Music is a meaningful way for you to help ensure our future artistic excellence and stability while potentially providing enhanced tax benefits. Visit our website for more information.

THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!

$25,000+Bonfils-Stanton FoundationScientific and Cultural Facilities District, Tier III

$5,000 +Colorado Creative IndustriesThe Denver FoundationAnn LevyEstate of Sam WagonfeldSara Zimet

$2,500+Carol Ehrlich in memory of Max Ehrlich Tour West, a program of WESTAF (Western States Arts Federation,

supported by a grant from the National Endowment for the Arts)

$1,000+AnonymousLisa & Steve BainBob & Cynthia Benson **Howard & Kathleen BrandBucy FundDavid S. CohenAlix & John CorboySusan & Tim Damour *C. Stuart Dennison Jr.Brian & Kathy DolanEllen & Anthony EliasFackler Legacy Gift **Joyce FrakesRobert S. GrahamDon & Amy HarrisMichael Huotari & Jill StewartMcGinty Co.Robert & Judi NewmanMyra & Robert RichJeremy & Susan ShamosEdie SonnReed & Claire StilwellPhilip & Margaret Verleger

$500+Anonymous Patsy & Jim Aronstein *

Linda & Dick BatemanBarbara BohlmanPeter Buttrick & Anne Wattenberg Donna & Ted ConnollyGrynberg FamilyStephen & Margaret HagoodChristy HonnenDavid & Lynn HurstAnn & Douglas JonesCynthia & John KendrickJohn Lebsack & Holly BennettJohn & Terry LeopoldTheodor LichtmannRex & Nina McGeheeKim MillettDouglas & Laura MoranKirsten & David MorganKathy Newman & Rudi HartmannJohn & Mary Ann ParfreyMary Park & Douglas HsiaoJohn RichardsonAyliffe & Fred RisJudith, Stacey & James Rosenbaum, in loving memory of Allan RosenbaumRay SatterHenry R. Schmoll **David & Patty SheltonRic Silverberg & Judith CottMarlis SmithChet & Ann SternDick & Kathy SwansonPhillip Wolf

$250+AnonymousCarolyn & Ron BaerJan BaucumPam BeardsleyKate BerminghamTheodore BrinAndrew & Laurie BrockGerri CohenFran CorselloBarbara & Herschel CravitzAnne CulverJudy FredricksKathe & Michael Gendel

Sissy GibsonEdward GoldsonPaula & Stan GudderNorman D. & Pamela E. HaglundJoseph & Renate HullDan HymanHannah Kahn & Arthur BestTheresa & Bob KeatingeMichael & Wendy KleinBarb & Kip KolkmeierEdward Karg & Richard KressCarol & Lester LehmanJudy & Dan LichtinNira & Alan LipnerEvi & Evan MakovskyPhilippa MarrackAlex & Kathy MartinezRobert MeadeBert & Rosemary MelcherPamela Metz & Charlene ByersMarilyn Munsterman & Charles BerberichRosemarie & Bill MuraneDavid S. PearlmanBarbara PollackTim & Kathryn RyanRichard & Jo SandersJohn & Pat SchmitterAlan & Gail SeaySan Mao Shaw Bobbi & Gary SiegelSteven SnyderMargaret StookesberrySteve & Phyllis StraubMarcia StricklandWalter & Kathleen TorresNorman Wikner & Lela LeeJoseph & Barbara WilcoxGreta Wilkening *Andrew Yarosh * **Jeff Zax & Judith Graham

$100+Barton & Joan AlexanderJim & Ginny AllenTruman & Catherine Anderson AnonymousShannon Armstrong


Don Bachner & Linda HenryCatherine BeesonL.D. Jankovsky & Sally BergaDell & Jan BernsteinSandra BoltonCarolyn & Joe BorusDarrell Brown & Suzanne McNittJoan & Bennie BubPeter & Cathy BuirskiSusan Lee Cable **Bonnie CampNancy Kiernan CaseMarlene ChambersCecile CohanDana & Brent CohenKeith CorretteGary & Dorothy Crow-WillardStephen & Dee DanielsCynthia DashKevin & Becky DurhamRobert C. FullertonBarbara Gilette & Kay KotzelnickSandra GoodmanDonna & Harry GordonKazuo & Drusilla GotowMelanie GrantJohn S. GravesJacqueline & Gary GreerEileen GriffinDarlene HarmonLarry HarveyRichard W. HealyEugene Heller & Lily ApplemanDavid & Ana HillWillam T. HoffmanStanley JonesBill Juraschek Michael & Karen KaplanBruce KindelRoberta & Mel KleinEllen Krasnow & John BlegenElizabeth KreiderDoug & Hannah KreningGeorge KrugerJack Henry KuninRichard LeamanSeth LedererIgor & Jessica LeventalMark & Lois LevinsonPhilip LevyPenny LewisMarilyn Lindenbaum

Charles & Gretchen LobitzJohn & Merry Low Elspeth MacHattie & Gerald ChapmanJay Mead **Mary MendenhallPaul & Barb MoeBob & Ilse NordenholzRobert N. O’NeillTina & Tom ObermeierDee & Jim OhiDesiree Parrott-AlcornJohn PascalMary PlattCarol PrescottMichael & Carol ReddyRichard Replin & Elissa SteinGene & Nancy RichardsGregory Allen RobbinsHerb Rothenberg, in memory of Doris RothenbergCheryl SaborskyMichael & Carol SarcheDonald Schiff, in memory of Rosalie SchiffLouise Schottstaedt & Charles RayeCle SymonsAaron & Becky SzalajBerkley & Annemarie TagueJim WadeEli & Ashley WaldAnn Weaver, in memory of Marlin WeaverPhillip WhiteKaren Yablonski-TollR. Dale Zellers

$50+Varda AbrahamssonLorraine & Jim Adams Mrs. Martin E. AndersonBarbara CaleyGarth Englund, Jr.Nancy & Mike FarleyJanet & Arthur FineJohn & Debora FreedMartha FulfordBarbara GoldblattCarol & Henry GoldsteinSanders GrahamJennifer Heglin

Bill InamaFrank & Myra IsenhartKaty JacarusoSuzanne KallerLeonard & Abbey KapelovitzAnn KileySheila Kowal and Blake ChamblisDoris Lackner, in memory of Edwin KornfeldDonna LeveneDella & Jeff LevyJanet & Drew MalloryEstelle MeskinChris & Karen MohrJoanna MoldowMary MurphyLarry O’DonnellCarolyn & Garry Patterson Don & Becky PerkinsGeorgina PierceSarah PrzekwasRobert RasmussenMargaret RobertsSuzanne RyanJo ShannonArtis SilvermanLois SollenbergerGreg Sorensen **Glenn & Kathleen SpringPaul SteinHarry & Vicki SterlingMichael & Michelle SternMagdeline StoutSteve SusmanMorris & Ellen SusmanKaren SwisshelmBarbara & Edward TowbinCarol Trotter & Steve MillsJocy UptonSuzanne WaltersBarbara Walton Cia Wenzel, in honor of Martha FulfordJames WilliamsRuth Wolff

* Gift made to FCM Endowment** Legacy Donor


UPCOMING CONCERTS

SPECIAL THANKS

Gates Concert Hall • Newman Center for the Performing Arts • University of Denverfriendsofchambermusic.com

C HAMBER SERIESTafelmusik Wednesday, March 6, 2019

Tetzlaff-Tetzlaff-Vogt Trio Tuesday, April 30, 2019

Emerson String Quartet Wednesday, May 15, 2019

PIANO SERIESSir András Schiff, piano Wednesday, February 20, 2019

Piotr Anderszewski, piano Wednesday, April 10, 2019

SPECIAL EVENTS“Music with Friends” Ensemble Faucheux Tuesday, February 26, 2019 6:00 PM Syntax Physic Opera 554 S. Broadway

“Music in the Galleries” 1:00 & 2:00 PM Clyfford Still Museum 1250 Bannock St., Denver

Violamore Duo Sunday, March 10, 2019

Altius Quartet Sunday, May 12, 2019

SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)for supporting FCM’s outreach efforts through school residencies and master classes

COLORADO PUBLIC RADIO (KVOD 88.1 FM)for broadcasting FCM concerts on its “Colorado Spotlight” programs

BONFILS-STANTON FOUNDATIONfor sponsorship of FCM’s Piano Series and audience development programs in memory of Lewis Story

ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHELfor providing lead gifts to the FCM Endowment Fund

RICOLACough drops provided by Ricola and an anonymous donor in honor of FCM’s Board President.

All Chamber and Piano Series concerts begin at 7:30 pm at Gates Hall, 2344 E. Iliff Avenue, Denver

TENOR PAUL LEWIS...6. Im Rhein, I heiligen Strome 7. Ich grolle nicht 8. Und wüssten’s die Blumen...

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Transcript of TENOR PAUL LEWIS...6. Im Rhein, I heiligen Strome 7. Ich grolle nicht 8. Und wüssten’s die Blumen...