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A word from
MAYOR JIM GUNNING In December, the City of Lone Tree released the results of our bi-annual Resident Survey. This survey helps City staff and officials better understand citizens’ satisfaction with the work we do on their behalf. It provides us important data and benchmarking to ensure we’re carrying out the wishes of our constituents and providing the best quality of life we can. The results started out strong and just got better from there. 98% of all Lone Tree residents rate our overall quality of life as “excellent” or “good”. Further review highlights our terrific leisure amenities as top reasons why citizens are so pleased. Building the Arts Center was a bit of a gamble; would it be worth it? Would it make our city more attractive? Would it add to our quality of life? Since the doors opened, we’ve been flooded by positive feedback about the staff, artistic choices, and overall environment; we knew people liked the Arts Center… but would the survey reflect that? Clearly, it did. 96% of respondents rate the Lone Tree Arts Center as a positive addition to our community – and almost half of our City’s population has attended an Arts Center event in the past year. The Arts Center is the highest ranked amenity Lone Tree has to offer. The Arts Center was built to serve the entire South Metro area, and it does. But it is a tremendous affirmation to learn that those citizens whose vote passed a bond to build the Arts Center are as pleased with the results as we are. Enjoy the show! Mayor Jim Gunning
A word from
Executive Director Lisa Rigsby Peterson Earlier in January, I went to the Association of Performing Arts Presenters (APAP) conference in New York. You know what show was getting all the buzz - the “must have” show for next year? The Doo-Wop Project! I felt so proud; once again, Lone Tree is ahead of the curve! The hit show is playing here before continuing on to major venues at cities across the country - just another way we’re trying to surpass every mark set for us here at LTAC. From sell-out crowds at summer concerts and holiday shows to LEED certification to top-notch programming, our talented staff share your enthusiasm for and dedication to this incredible Arts Center. Three years ago, as the Arts Center moved from a dream to an actual building project, one thing struck us about LTAC: we could be different. This could be a place that combined the warm, welcoming feeling of an intimate community center with top-notch professional theater and entertainment options. Since the day our doors opened, we have tried to capture that spirit in all that we do. While our second season is halfway over, there is still a HUGE second half to see! Internationally recognized SFJAZZ Collective will share the music of Chick Corea in a new and exciting way; the playwright and original director of Hank Williams: Lost Highway is joining us to direct this fabulous biographical musical; we’ll celebrate Black History Month with a live radio broadcast on the world’s fastest man, Jesse Owens; the funniest play I have ever seen will keep us out of the winter doldrums when Nick Sugar directs Noises Off; and two vibrant performances by the Colorado Symphony are sure to leave you breathless. Add in our wonderful Chamber Music and Essential Jazz series and I think you’ll agree, we’re on a roll! I hope you are excited as I am about this fantastic line-up. We look forward to welcoming you back through our doors soon. Lisa Rigsby Peterson
LONE T R EE A RT S CEN T ER
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LONE TREE STAFF LISTINGS Lone Tree City Council Mayor Jim Gunning Mayor Pro Tem Jacqueline Millet Councilmember Harold Anderson Councilmember Kim Monson Councilmember Susan Squyer
Lone Tree City Management Jack Hidahl City Manager Seth Hoffman Deputy City Manager
Lone Tree Arts Center Staff Lisa Rigsby Peterson, Executive Director, spent ten years at the Denver Center for the Performing Arts (DCPA), working as the Director of Administration for the Denver Center Theatre Company and as Associate Director of Development for the DCPA. Her twentyfive year career in Denver arts management includes positions with PHAMALY, Curious Theatre Company, Opera Colorado, and the Colorado Children’s Chorale. Lisa has served on the Board of Directors for Curious Theatre Company, the Colorado Theatre Guild, and the national Executive Committee of the League of Resident Theatres. She served as the International (UK) Tour Coordinator for the DCPA/Royal Shakespeare Company production of Tantalus in 2001, and worked with the London International Festival of Theatre as well as the Theatre Royal, Plymouth. A Colorado resident since 1975, Lisa holds degrees from the University of Colorado and the Yale School of Drama. Paul Ackerman, Technical Director,
is a native of Long Island, NY. Paul received his degree in Technical Theatre and Design from the University of Virginia. He has worked in Atlanta with The Alliance Theatre/Atlanta Children’s Theatre, Atlanta Ballet, and the Georgia Institute of Technology where he participated in the 1996 Cultural Olympiad. Paul comes to the Lone Tree Arts Center from Blue Man Group where he was their Senior General Manager of Production.
Katie Maltais, Marketing Director,
is originally from Iowa. She has lived in Colorado since earning her BA in Arts Administration & Theatre from Drury University in Springfield, MO. Before joining Lone Tree Arts Center, Katie worked for TRG Arts in Colorado Springs where she was the Manager of Accounts and Services. She has a broad range of marketing experience with fine arts venues, working with such notable organizations as Nederlander Alliances, Center Theatre Group, Alley Theatre, and Arts Club Theatre Company.
Rebecca Grabler, Development Director,
is a Colorado native and received her Bachelors of Arts from University of Denver and Masters of Business Administration from Daniels College of Business. She spent four years in events, fundraising and development for the Colorado Symphony Orchestra. Additional experience in the Denver area includes Membership Sales Manager for the Denver Metro Convention & Visitors Bureau, Director of Development and Marketing for the Denver Metro Sports Commission and Director of Communications for a national Sorority Headquarters.
Kirstin Fletcher, Education & Programming Coord.,
a native of Colorado, received her Bachelor Degree at the School of Journalism and Mass Communication from the University of Colorado at Boulder. Kirstin worked in public relations and special events for organizations including: University of Colorado Hospital, Make A Wish Foundation, the Women’s Professional Softball League and Crestline Sports. She previously worked as Special Events Coordinator for the City of Aurora, before becoming the Arts, Recreation and Events Coordinator for the City of Lone Tree in 2007. After several years developing and managing events and public art for the City of Lone Tree, Kirstin transferred her role to cultivate public art, education and children’s programming for the Lone Tree Arts Center.
Doug Evans, Box Office Manager,
is from Wichita, KS and currently lives in Denver. He received his MEd in Sports Administration from Wichita State University. He has worked with 1st Bank Center, Pepsi Center, and The Denver Center for the Performing Arts. Doug comes to the Lone Tree Arts Center from the Denver Center Theatre Company, where he worked as a Show Lead.
Rich Harris, House Manager Thaddeus Valdez, Assistant House Manager Allen Shapiro, Assistant Technical Director
Jennifer Kiser, Don Post, Bre Giellisen, Richard Spomer, David Laughlin, Randy St. Pierre, Stacie Cisco CMP, Rentals & Sales Coordinator, Technical Staff is a Colorado native. She received her communications degree from Kathy Denzer, Administrative Assistant Metropolitan State College of Denver. Stacie has worked in the meetings industry for over fifteen years. Before joining the Arts Center staff, she worked for Destination Management Company, overseeing meetings and events for 20 up to 5000 guests. Stacie received her Certified Meeting Professional designation in 2007 and is currently the VP of Education for Meeting Professionals International Rocky Mountain Chapter.
LONE T R EE A RT S CEN T ER
Brian Brooks, Miles Hooley, Matthew Kepler, Cecilia McNeel, Box Office Representatives The Lone Tree Arts Center would like to thank our volunteers for their many hours of service. Your time & talents help make the LTAC the welcoming environment we all enjoy.
For every stage in life. Holly Creek Retirement Community is proud to support Lone Tree Arts Centerâ€™s 2012â€“13 season of concerts, plays and exhibitions.
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Lone Tree Arts Center in conjunction with Starkey Theatrix presents
Hank Williams: Lost Highway By Randal Myler and Mark Harelik Director . . . . . . . . . . . . . . . . .Randal Myler Music Director . . . . . . . . . .Dan Wheetman Scenic Designer . . . . . . . . . . . .Caitlin Ayer Lighting Designer . . . . . . . . . . . .Jen Kiser Costume Designer . . . . . . . .Bob Blackman Stage Manager . . . . . . . . . . . . .Lyle Raper* Assistant Stage Manager .Randy St. Pierre* CAST Hank . . . . . . . . . . . . . . . . .Ryan Nearhoff* Jimmy . . . . . . . . . . . . . . . . .Brian Gunter* Hoss . . . . . . . . . . . .David Anthony Lewis* Leon . . . . . . . . . . . . . . . . . .Drew Perkins* Miss Audrey . . . . . . . .Jamie Ann Romero* Mama Lily . . . . . . . . . . . . .Kathleen Brady* Tee-Tot . . . . . . . .Mississippi Charles Bevel* Pap . . . . . . . . . . . . . . . . . . .Randy Moore* Waitress . . . . . . . . . . . . . .Rhonda Brown* Shag . . . . . . . . . . . . . . . . . . .Russ Wever *Member of Actorsâ€™ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.
Sponsors: Prof. Michael R. Harris & Charlotte Min-Harris
LTAC would like to extend its thanks to the Denver Center Theatre Company for their support with props and set dressings for this production. Also, we would like to thank Jay and Cindy Gutterman Productions LLC. for their assistance in providing backdrops and costumes for this performance.
BIOGRAPHIES Randal Myler (Writer/Director) received a Tony Award nomination (Best Musical/Best Book of a Musical) and a Drama Desk nomination (Best Musical Revue) for It Ain’t Nothin’ But the Blues, which he staged at both NYC's Lincoln Center and Broadway’s Ambassador Theatre. Love, Janis, Mr. Myler’s musical biography of Janis Joplin, reached over 700 performances at the former Village Gate, while his highly-successful musical Hank Williams: Lost Highway has been performed both Off-Broadway (garnering Mr. Myler a ‘Best Director’ nomination from the Outer Critic’s Circle) and throughout the United States, as has his coal mining musical (co-written with Dan Wheetman) Fire On The Mountain, which received five Joseph Jefferson Awards in Chicago. His many regional directorial credits also include both the Kennedy Center and the Arena Stage in Washington D.C., both the Mark Taper Forum and the Geffen Playhouse in Los Angeles, the Grand Ole Opry in Nashville, Arizona Theater Company, Denver Center, Dallas Theater Center, Houston’s Alley Theater, Seattle Repertory Theater, Actor’s Theatre of Louisville, San Diego’s Old Globe Theater, Alabama Shakespeare Festival, Cincinnati Playhouse, Chicago’s Royal George, Northlight Theater and many others. Dan Wheetman (Musical Director) had his first professional theater gig at the Denver Center Theatre Company in 1985. He has appeared in productions all over the US as an actor and musician. He’s written several plays with Randal Myler, including It Ain’t Nothin’ But the Blues, Appalachian Strings, Fire On The Mountain, Mama Hated Diesels, and Lowdown Dirty Blues. He has garnered several LA Critics’ Circle awards for Musical Direction and a Tony nomination as a writer for It Ain’t Nothin’ But the Blues at the Lincoln Center in New York. Along with his theater work Dan has recorded several solo albums and plays in a very eclectic band, Marleys Ghost.
Caitlin Ayer (Scenic Designer) is delighted to join the Lone Tree Arts Center in 2013! Recent design credits include Time Stands Still (Curious Theatre Company), Drag Machine (Off-Center at the Denver Center for the Performing Arts), A Year with Frog and Toad (Peninsula Youth Theatre), and Camelot (The Arrow Rock Lyceum Theatre). Assistant credits include Book of Mormon (First National Tour) and two seasons with the Denver Center Theatre Company. Caitlin recently exhibited work in the Young Designers’ Forum at the United States Institute for Theatre Technology’s yearly conference, where she won the W. Oren Parker Award for Scenic Design. She holds a BFA in Theatre Arts from Webster University. Jen Kiser (Lighting Designer) is a freelance lighting designer and the Assistant Technical Director here at the Lone Tree Arts Center. Favorite jobs include Master Electrician at Goodspeed Musicals, instructor and lighting designer at the Greater Hartford Academy of the Arts, lighting staff at the Guggenheim Museum, and assisting lighting designers at venues including Papermill Playhouse, Carnegie Hall, the Lincoln Center Festival and Broadway’s By Jeeves. Recently, Jen’s designs were seen in John Denver Holiday Concert and Home for the Holidays here at LTAC. Lyle Raper (Stage Manager) served as production stage manager for the Denver Center Theatre Company from 1983 through 2010. Prior theatres include Berkeley Rep, Oregon Shakespeare Festival, Lizard Head Theatre, Shakespeare in Santa Fe and the Pacific Conservatory of the Performing Arts. She has enjoyed touring productions both nationally and internationally along with teaching at DU. Randy St. Pierre (Assistant Stage Manager) is a veteran of Colorado theatre and happy to be back at Lone Tree Arts Center after performing the role of Bob Wallace in White Christmas and The Soldier in Home for the Holidays. Country Dinner Playhouse credits include Tommy in Brigadoon, Sky Masterson in Guys and Dolls, Barrett in Titanic and Reverend Shaw Moore in Footloose, for which he won a Denver Post Ovation award. He has also performed at the
Arvada Center as Father in the musical Violet, receiving a Denver Drama Critics Circle Award for Best Supporting Actor in a musical. DCTC credits include A Christmas Carol and Almost Heaven: Songs and Stories of John Denver. Favorite roles include Tony: West Side Story, Billy: Carousel, Erik: Phantom, and Che in Evita. He has performed regionally at the Ascot Theatre, Heritage Square Music Hall, Wayside Inn Dinner Theatre, Town Hall Arts Center, and the Crystal Palace in Aspen.
New York. Other favorites over the years include The Caine Mutiny Court-Martial and Anna Christie at San Jose Rep, The Grapes of Wrath at Barksdale Theatre in Virginia, In The Belly of the Beast with Clavis Theatre in Milwaukee, and Randal Myler’s Fire on the Mountain with Florida Studio Theatre. In 2006 Brian toured Austria, Italy, and the Czech Republic with This Land is Your Land, another musical inspired by the life and art of Woody Guthrie. Raised in Kansas, Brian holds a BA in Theatre from Wichita State University and an MA in Theatre from Northwestern University. He lives in the Catskill Mountains.
Ryan Nearhoff (Hank). Originally from southern California, Ryan is a New York based actor/musician. Credits Woody include: Guthrie’s American Song (Arizona Theater Company), Altar Boyz (Sacramento Music Zombie Circus), Wedding (NY Fringe Festival), Hello Dolly (Gateway Playhouse), and the national tours of High School Musical and Almost Heaven: The Songs of John Denver. Ryan is grateful to work again with Randy Myler and thankful to the folks at Lone Tree Arts Center for the opportunity to portray such an amazing individual. Ryan is also the arranger, guitarist, and drummer for the Brooklyn based band, Emily Danger. “Thank you to my wonderfully supportive family, my utterly loving and talented fiancée, and to Hank for giving me this music to sing.”
David Anthony Lewis (Hoss) is honored to be among these fine performers here in Lone Tree. A resident of Seattle, David graduated from Cornish College of the Arts with a BFA in Acting, Emphasis in Classical Text. Some of his favorite roles have included le Vicomte de Valmont in Les Liaisons Dangereuses, Mr. Hyde in Dr. Jekyll and Mr. Hyde, Tybalt in Romeo and Juliet, Franz Liebkind in The Producers, Levin in Anna Karenina, a dozen or so roles in Cider House Rules, and two seasons with the Oregon Shakespeare Festival. He would like to thank his wife and children for all of their love and support; he couldn’t do any of this without them.
Brian Gunter (Jimmy) is a veteran of four previous productions of Hank Williams: Lost Highway, including runs in New York, California, Texas, and most recently, Ohio with Cincinnati Playhouse in the Park. His regional credits include over a dozen productions of Woody Guthrie’s American Song, including runs at the Alliance Theatre in Atlanta, Northlight Theatre in Chicago, Delaware Theatre Company, Missouri Rep and Berkeley Rep, for which he received a Bay Area Critic’s Circle Award. Last year Brian created and performed a one-man show of poetry by T. S. Eliot, which premiered at the Depot Theatre in upstate
Drew Perkins (Leon) is pleased to be doing his first production at Lone Tree Arts Center. Drew studied viola at the Lamont School of Music, U. of Denver, and played with the Riverside and Columbia Orchestras in New York City. He has toured the country with Lost Highway, Always Patsy Cline, Fair and Tender Ladies, It Ain’t Nothin’ But The Blues, Honkytonk Angels, and the great Minnie Pearl. In his adopted state of Virginia, Drew has music-directed and acted in The Sanders Family Trilogy, Keep On The Sunnyside, Cotton Patch Gospel, Blue Ridge Mountain Christmas and played violin and guitar in Spring Awakening.
BIOGRAPHIES Last year he completed a commission for the Barter Theatre to rescore, Swampgas and Shallow Feelings. This is his 17th production of Lost Highway! Jamie Ann Romero (Miss Audrey) is thrilled to join the cast of Lost Highway. Some Colorado credits include The Three Musketeers (Kitty) and Sunsets and Margaritas (Bianca) with the Denver Center Theatre Company, Boeing Boeing (Gabriella) and The Seagull (Nina) with TheatreWorks, Hamlet (Ophelia, Denver Post Ovation Award) and Romeo & Juliet (Juliet, Best of Westword Award) with the Colorado Shakespeare Festival. Recently, Jamie traveled with CSF to Vladivostok, Russia to perform in a bilingual production of Noises Off (Brooke) with the Maxim Gorky Theatre. Kathleen Brady (Mama Lily) has been a part of the theatre community here in Colorado for over 25 years. As a Resident Company Member of the Denver Center Theatre, she has performed in over 100 productions including musicals, comedies, dramas and the classics, and has garnered many awards over her 40 years as an actress both here and in the Bay Area of San Francisco. She is the voice of the National Woman’s Western Museum in DC. She has worked in commercials, film and television. Favorite roles include every Maggie she has ever played, her favorite being Maggie in The Beauty Queen of Leenane. She toured with Quilters under the direction of Randal Myler and was the very first Mama Lilly in the Hank Williams project done at Pacific Conservatory for the Performing Arts (PCPA) where she was a resident actress for 13 years prior to coming to Denver.
Mississippi Charles Bevel (Tee-Tot) is delighted to return to Denver where his professional theatre career began in 1994 with the world premiere of It Ain’t Nothin’ But The Blues at the Denver Center Theatre Company. Co-written by Mississippi and four others, Blues garnered a Tony Nomination for Best Book in its Broadway debut in 1999. Regionally, Mississippi has played leading roles with Crossroads Theatre Company, San Diego Repertory Theatre, The Cleveland Playhouse, The Goodman Theatre, McCarter Theatre, Berkeley Repertory Theatre, Arena Stage, Seattle Repertory Theatre, Northlight Theatre, Shakespeare Festival, Cincinnati Palyhouse and others. Other nominations and awards include two Jeff Awards (Chicago), a Woodie Award (St. Louis), and a Helen Hayes nomination (Washington). Randy Moore (Pap) was a member of the acting company of the Dallas Theater Center from 1961-1994. Among his over 200 roles there, favorites include Cyrano de Bergerac, Marc Anthony Caesar), (Julius Prospero (The Tempest), Salieri (Amadeus), Norman (The Dresser), Dysart (Equus), and Col Kincaid (The Texas Trilogy). A company member at the Denver Center Theater since 1995, his roles there have included Grandpa (You Can’t Take It With You), Argan (The Imaginary Invalid), Harpagon (The Miser), Scrooge (Christmas Carol), and Polonius (Hamlet). Other regional theaters include The Alley, Old Globe, and Baltimore Center Stage.
Rhonda Brown (Waitress) is a two-time Denver Post Ovation Award winner for Best Actress in a play (Bug & End Days, both at Curious Theatre), a two time “Best of Westword” winner (supporting actress for The Fourth Wall & best actress in a comedy for Fiction) and a Henry Award winner for Best Actress in a Play for Bug. She just finished a sold-out run of Red Hot Patriot with The Lida Project and the amazing Brian Freeland. Rhonda is thrilled to be making her Lone Tree Arts Center debut and working with all these amazing folks! Russ Wever (Shag) plays the steel guitar to put the ‘cry and the moan’ into Hank Williams’s music. Russ is pleased to be making his first appearance at Lone Tree Arts Center. With a musical career has spanned over forty years, Russ has performed at The Grand Ole Opry, is a favorite at the annual International Steel Guitar Convention, and has appeared in numerous musical theatre productions, including the award-winning Off-Broadway production of Hank Williams: Lost Highway.
When not performing in musical theatre, Russ is popular at various steel guitar concerts throughout the country. Born and raised near Chicago, Russ and his lovely wife Carla currently reside in Kansas City with their two adorable Yorkies. Starkey Theatrix, a division of Starkey Productions is a full service Theatrical Company serving South Denver. Recent LTAC productions with Starkey Theatrix include Home for the Holidays, Alexander and the … Day, Noises Off and White Christmas.
The Colorado Symphony
The Art of Baroque Frank Nowell, Leader and Harpsichord Julie Thornton, Piccolo Purcell Abdelazar Overture Rondeau Vivaldi Piccolo Concerto in C Major, Op 44 Allegro Largo Allegro molto Bach Brandenburg Concerto No. 5 Allegro Affettuoso Allegro
Bach Brandenburg Concerto No. 3 (Allegro) Adagio Allegro Corelli Concerto Grosso No. 4 in D major, Op. 6 Adagio – Allegro Adagio – Vivace Allegro – Allegro
BIOGRAPHIES Frank Nowell, Harpsichordist Frank Nowell founded the Baroque Chamber Orchestra of Colorado in 2005, and the ensemble quickly garnered acclaim for its “artistic vision, authenticity, and devotion” under his leadership as Artistic Director and harpsichordist. Founding the orchestra fulfilled a long-held dream to expand the Denver arts scene to include a professional orchestra devoted to historically inspired performances of music from the 17th and 18th centuries. An active performer as a Baroque keyboard specialist and “early music entrepreneur,” Mr. Nowell was previously co-founder of the early music group Diverse Passions and founder of the Denver Handel Festival. He is a frequent guest artist, collaborator, and soloist, including recent appearances with Up Close and Musical, Colorado Music Festival, Boulder Bach Festival, St. Martin’s Chamber Choir, and the Ambrosian Choristers. As an organist he earned Associate certification (AAGO) from the American Guild of Organists and has held numerous church-music positions. Mr. Nowell takes joy in introducing people of all ages and backgrounds to Baroque music, and in particular working with young musicians to explore Baroque performance practices. He received the Master of Music degree in choral conducting and music history from the University of Colorado, and a Bachelor of Arts degree with honors from Princeton University.
Julie Duncan Thornton, Piccolo Julie has been a member of the Colorado Symphony since 1997. She played the 199899 season with the New York Philharmonic, recording and touring with them, and has also performed with the Saint Louis Symphony, the Houston Symphony and the Minnesota Orchestra. Each summer, Julie performs as Principal Flute with the Washington Island Music Festival in Door County, Wisconsin. She has also performed with the Grand Tetons Festival Orchestra, and Strings in the Mountains. As a student, Julie performed with many prestigious ensembles. These include the Solti Orchestral Project at Carnegie Hall, the National Repertory Orchestra, the National Orchestral Institute, the Music Academy of the West and she held the Piccolo Fellowship with the Aspen Music Festival for three summers. In High School, Julie was a finalist in the Seventeen Magazine General Motors National Concerto Competition and the National Flute Association High School Solo Competition. A native of Mercer Island, Washington, Julie holds a Bachelor’s degree from Northwestern University and a Master’s Degree from the Eastman School of Music. She also completed her coursework towards a Doctoral degree at Rice University. Her primary teachers include Walfrid Kujala, Bonita Boyd, Leone Buyse, Carol Wincenc, and Anne DienerGiles. Julie is married to Michael Thornton, Principal Horn of the Colorado Symphony. They are the proud parents of their two young daughters.
PROGRAM NOTES Purcell: Abdelazer, or the Moor’s Revenge – Overture and Rondeau Henry Purcell (1659-1695) was the first important English composer and for nearly two centuries after his death, almost the only English composer any music aficionado would have been able to name. Most famous of all his works is a set of short pieces that he wrote to accompany the play Abdelazer by Aphra Beh; it premiered in 1695, near the end of Purcell’s life.
The play would be of no lasting interest without the music that Purcell provided for it. Even the music has the 20th century English composer Benjamin Britten to thank for its revival, for it was here that Britten found the grand processional theme that would become the heart of his Young Person’s Guide to the Orchestra. It is found in the Rondeau from Abdelazer, though here in its original setting, one discovers that Purcell made more of it than the short bit that Britten borrowed. It will be preceded by the
opening overture to the entire set provided by Britten for the original play.
Vivaldi: Piccolo Concerto in C, RV 443 Antonio Vivaldi (1678 – 1741) composed well over 400 concerti, more than half of them for the instrument of which he was himself master: the violin. Solo roles in the other concerti most often fall to the care of cellos, flutes, oboes, or even bassoons, thought he composer was also known to look even further afield. As for the piccolo concerto under consideration at the moment, Vivaldi cannot have actually had the piccolo in mind, as that highest of the familiar woodwinds did not exist in Vivaldi’s time. All evidence suggests that, instead, he was thinking of the so-called “sopranino” recorder: half the size and significantly higher in pitch than the standard recorder. If fourth-grade recorder ensembles have left some listeners with a guarded opinion of the instrument, let this concert stand as proof that, in the hands of a real virtuoso, as Vivaldi envisioned, the recorder is capable of much flamboyant effect. Transfer those solo lines to the equally high-pitched but even more piercing of tone piccolo – its metallic body making it more assertive than the wooden recorder – and the result is a work of electrifying drama.
composition files. Bach was passing off old works as new ones, but in one respect, the Margrave was well served. Thanks to Bach’s efforts, the Brandenburg name is recalled fondly throughout the musical world. The two Brandenburgs featured on tonight’s program bring different instruments into the solo roles. Number 3 is scored for three violins, three violas, three cellos, one double bass, and one harpsichord. There is no actual solo group, although individual voices arise here and there. Melodic themes arise in one set of three players and move to another, giving a sense in a live performance of the music sweeping across the ensemble. In the Brandenburg no. 5, solo roles are provided for a flute, a violin, and a harpsichord. Although Bach played many instruments with finesse, including the violin, it is clear here where his sympathies lie: firmly in the camp of the keyboard, for an intricate harpsichord solo comprises nearly a third of the first movement. These fearsome, cadenza-like passages offer a glimpse of what it may have been like to hear a harpsichord concert by Bach, one of the most respected keyboardists of his day.
Corelli: Concerto grosso in D, op. 6, no. 4 JS Bach: Brandenburg Concerto no. 3 in G, BWV 1048, and Brandenburg Concerto no. 5 in D, BWV 1050 The Brandenburg Concerti – two of which are featured tonight – are technically concerti grossi. Like the Corelli work that precedes them on this program, they feature multiple soloists set against the orchestra. The name “Brandenburg” comes from the Prussian royal family, one of the younger sons of which requested the works of Johann Sebastian Bach (1685 – 1750) late in 1718. Two years passed before Bach delivered a set of six concertos scored for diverse soloists. Even once the pieces arrived, the Margrave never paid for them. Perhaps he knew then what historians have proven since: that these so-called “Brandenburg Concertos” were not new and were not newly composed for the Margrave himself. Instead, they were revisions of earlier works, essentially the leavings of his
In the work, the first two movements begin with stately and thoughtful passages before turning to livelier moods with music nimble passagework. The first movement has a larger proportion of fast music than slow, the second more slow than fast. As for the last movement, its tempo change is from fast to faster yet, ensuring that the concerto will end in a burst of fireworks. Of the soloists, it is the two violinists who seize much of the spotlight, the cellist coming into equal prominence mostly in the final movement. In scarcely a dozen minutes, and with a relatively homogeneous ensemble at his disposal, Corelli yet managed to craft a work of impressively varied moods. All program notes by Betsy Schwarm, author of “Classical Music Insights” and “Operatic Insights.”
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