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Bending Towards the Light, a Jazz Nativity An exhilarating evening of great theatre combined with the soaring notes of jazz that interprets the beautiful, traditional Christmas story in a new, unique way! December 1, 2 & 3, 2012 7:30 pm. Doors open at 6:45 pm. Broadmoor Community Church, 315 Lake Ave. Featuring an all- professional, all-Colorado Springs cast! Produced by Katherine Loo and Judith Sellers QUESTIONS: Call 719-471-1834 or judysell@aol.com www.towardsthelight.us “You dance in your seat - fervent jazz and wondrous joy” “Amen and Halleluiah-you made a joyful noise happen for each one of us!” 12 TICKETS: VIP:$40, General Admission $20 Available at the Fine Arts Center Box Office 30 West Dale Street, 634-5583 www.csfineartscenter.org
Ludwig van Beethoven Egmont Overture, op. 84 Overview: Ludwig van Beethoven Born: December 16, 1770, in Bonn, Germany Died: March 26, 1827, in Vienna Work Composed: 1809 – 1810 Why It Matters: Beethoven was a revolutionary inspired by the American and French revolutions and a voice for freedom of expression throughout much of the world. His dramatic music about revolutionary figures occupies a special, personal place in his repertoire. Keep your eye on him; he will make the world talk about him some day.—Mozart, after meeting Beethoven, in a letter to Beethoven’s father dated 1787. Beethoven was the pillar of smoke that led to the Promised Land.—Franz Liszt. One of the first things Josef Härtl did, after taking over the management of the Vienna Court Theaters in 1808, was to put into process a revival of plays by Goethe and Schiller with specially composed music. Beethoven was a natural choice for such a project, and composed music for Goethe’s Egmont, supplying an overture, four entr’actes, two songs for the heroine (Clärchen), the music for Clärchen’s death, a “melodrama” and, for the finale, a “Triumph Symphony.” The premier took place at the Hofburg Theater in Vienna on May 24, 1810. Egmont, op. 84, was hardly a “sure thing,” however. Beethoven and Goethe had been notoriously fond of each other’s talents, even to the point of drawing jibes from critics as something of a mutual admiration society. Perhaps to distance himself, Beethoven originally requested to write music for Schiller’s William Tell, but theater politics sent that project to Adalbert Gyrowetz, a Bohemian composer. Behind the scenes, the real drama was that Beethoven and Goethe didn’t have the mutual Program Notes Voyage on the winds 13 admiration society their critics alleged. Goethe sheds light on the situation in a personal letter: “I made the acquaintance of Beethoven at Teplitz. His talent astonished me prodigiously, but he is, unfortunately, a wholly untamed person. It is true that he is not utterly wrong when he finds the world detestable, but this will not make it more enjoyable for himself and for others. Yet he is to be excused and much pitied, for he has lost his hearing, which is, perhaps, of less injury to his art than to his social relations. Already laconic by nature, he will be doubly so by reason of the infirmity.” Beethoven, meanwhile, complained to Härtl: “Goethe is too fond of the atmosphere of the court; fonder than becomes a poet. There is little room for sport over the absurdities of the virtuosi when poets, who ought to be looked upon as the foremost teachers of the nation, can forget everything else in the enjoyment of court glitter.” The hero for Goethe’s tragedy, Count Egmont (1522 – 1568), played a critical role in the early upheavals of the Low Countries, which later resulted in their liberation from the Spanish. He was first a captain under Charles V in the campaign against the French. His success in the campaign, however, earned him the envy and enmity of the Duke of Alba, while his countrymen chose to honor him as an emancipator who had rescued Flanders from the French. Charles V’s successor, Philipp II, tried to turn Flanders into a Spanish dependency, but Egmont protested—a gesture seen as tantamount to open rebellion. As a result, when the Duke of Alba went to the Netherlands in 1567 to quell uprisings, Egmont was imprisoned and put to death at Brussels on June 4, 1568. His execution made Egmont a martyr to his cause. About Ludwig van Beethoven: Beethoven was born in the provincial court city of Bonn, Germany, probably on December 16, 1770. Beethoven’s talent was such that, at the age of 12, he was already assistant Program notes continue on page 14
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