Legends of The Abduction from the Seraglio

Abduction from the Seraglio
Mozart was just 26 years old when he was commissioned to write the opera Die Entführung aus dem Serail or The Abduction from the Seraglio and it was not only a huge success, but also a trendy work the likes of which hadn’t been seen before. Everything Turkish was all the rage and not only did Mozart set the opera in a Turkish harem, but he also flavored the music with unconventional instruments like cymbals, triangles, and big drums to evoke the Janissary bands of Turkey. The poet Goethe said that it “knocked everything else sideways.” But it was the words of the Emperor Joseph II (who commissioned the work) that are forever associated with the opera.

In the movie “Amadeus”, the Emperor said of the opera, “Too many notes. Just cut a few and it will be perfect.” While there are many aspects of the film that are at the very least, exaggerated, this quote is actually based somewhat in truth (although disputed). Reportedly, the Emperor complained to Mozart that the work was “too fine” for his ears, remarking that “there are too many notes” to which Mozart replied, “There are just as many notes as there should be.” The exchange was recorded in Bartlett’s Book of Anecdotes, but some scholars doubt the authenticity of the story because the reference book contained the original German and the translation was dubious. Still, whether true or not, the legend has stuck with the work and certainly comes to mind when listening to even just the overture (which you can hear us perform on February 23!).

Another interesting legend around “Abduction” is the similarity between the story in the opera and Mozart’s personal life, almost like he purposely infused his own experiences into the work. At the time he was commissioned to compose it, Mozart was trying to take his life into his own hands. He had just moved to Vienna after being dismissed by his employer, the Archbishop of Salzburg Hieronymus Colloredo, a man he was said to have “hated to the point of madness”. He rented a room from the Weber family, and fell in love with the family’s daughter Constanze. Much like the the opera’s female protagonists who wish to be rescued from their harem, Mozart himself knew the feeling of being confined and wishing for freedom.

During this time, Mozart was also waging a battle via letters with his father. His father continued to try to exert influence over him while he attempted to convince his father to agree to his marriage with Constanze Weber. This is very much like the hero, Belmonte, who struggles against Pasha Selim to win freedom and the right love Konstanze. It’s also worth noting that the opera’s heroine bears the same name as the composer’s love interest (and future wife). Perhaps the composer was making a statement about his own life in writing “Abduction” or maybe he was just drawing on it for inspiration.

The Abduction from the Seraglio was a triumph from its opening night, becoming Mozart’s most popular and legendary work in his lifetime. It greatly raised Mozart’s standing with the public as a composer. The first two performances brought in a large sum and the work was repeatedly performed in Vienna throughout the rest of his life. It is firmly ensconced in the opera repertoire today and there are at least 52 complete recordings in circulation.

Be sure to hear us perform the Overture from The Abduction from the Seraglio on February 23 at 7:30 PM.

Who Is Peter Warlock?


Peter Warlock Composer

Who is Peter Warlock? The name is probably not familiar to you, even if you are a self-proclaimed classical music buff. The short answer is Peter Warlock is Philip Heseltine.

Born in London in 1894, Heseltine was a music critic (and a combative one at that), editor, and founder of the musical journal The Sackbut. His critical writings were all listed with his given name, but he took on the pseudonym Peter Warlock for his music compositions.

Keep reading and you’ll also see, this wasn’t his only pseudonym!

Why the name Peter Warlock?

As a music critic, Heseltine had become known as a controversial figure, regarded with suspicion and hostility in the London music circle. So in 1918 when he sent seven recently composed songs to a publisher, he used the pseudonym Peter Warlock. The name is said to have originated from his involvement and interest in the occult.

Peter Warlock’s Music

Unlike many well-known composers, Peter Warlock was not formally trained in the area of music composition. He was largely self-taught, but he received encouragement from fellow English composers like Frederick Delius. His body of work consists mainly of songs for solo voice and piano and song cycles (150 of them) like The Curlew and Candlelight, but his Capriol Suite, in particular, stands out and remains his most popular composition.

The Capriol Suite is a set of dances originally written for piano duet. Warlock later scored it for both string and full orchestras. Written in 1926, it was based on tunes in Renaissance dances and in today’s world would be recognized as a sort of “throwback” piece with a few modern harmonies incorporated. It isn’t surprising that he would be inspired to write in an early English music form. Over his lifetime, he made well over 500 transcriptions of early works including compositions from Henry Purcell, John Dowland, and Thomas Ravenscroft. Though the work has six movements, it only takes about 10 minutes to perform. Be sure to check out our performance of it on February 23!

Warlock’s music generally well-received by the public and critics. Ralph Vaughan Williams was reportedly “delighted” with the reception of Warlock’s Three Carols which Vaughan Williams conductor in 1923. Heseltine/Warlock conducted a performance of the Capriol Suite in August 1929 – the only public conducting engagement of his life. The audience recalled him four times after that performance.

Peter Warlock’s Legend

The legend of Peter Warlock is surrounded by controversy and rumor. In addition to his combative and argumentative nature and his interest in the occult, he was said to have experimented with a variety of unconventional practices including cannabis tincture and flagellation. He was also said to enjoy composing obscene limericks and he even edited an anthology in praise of drinking under a new pseudonym, “Rab Noolas” which is “Saloon Bar” backwards.

Although the early 1920’s, particularly 1925-1929, were a fruitful time for Warlock, he found his creativity waning in 1929. Life became even bleaker in 1930 when there was little demand for his songs and he turned to music criticism and transcription again to support himself. He suffered from severe depression and in December 1930, he was found dead in his flat from gas poisoning. The coroner determined that there was insufficient evidence on whether it was suicide or an accident.

His life has inspired numerous characters in both literature and film. D.H. Lawrence based his character, Julius Halliday, on Warlock in the novel Women in Love. Warlock also inspired characters in Aldous Huxley’s Antic Hay and Jean Rhys’ short story “Till September Petronella”. His life was depicted in the films Voices From a Locked Room and Peter Warlock, Some Little Joy, although it was highly fictionalized in the former.

In 1963, the Peter Warlock Society was created and interest in his works began to increase. While some music experts acknowledge that his music today is often regarded as “programme filler” and encore items, his Capriol Suite is still performed frequently to this day. In fact, you can hear the Parker Symphony Orchestra perform it on February 23.

11 Amazing Facts About Porgy and Bess

Photo courtesy of The New York Times – http://www.nytimes.com/2012/01/13/theater/reviews/audra-mcdonald-in-the-gershwins-porgy-and-bess-review.html

Porgy and Bess is one of George Gershwin’s best-known works (along with Rhapsody in Blue and An American in Paris). It is an English-language folk opera featuring a cast of African-American singers based on a play and a book named “Porgy”. When it debuted in 1935, it was a daring artistic choice given the racially charged theme, but despite some controversy, it gained popularity especially after the 1970’s and is now a frequently performed opera. Even if you’ve never seen it performed (or seen the movie adaptation), chances are you’ve heard some of its songs like “Summertime” which is frequently recorded separately.

There’s more to this American opera, though, than “Summertime”, “I Got Plenty o’ Nuttin'”, and racial controversy. Here are 11 cool facts about Porgy and Bess to keep in mind the next time you see it or hear its amazing music (you can hear the Parker Symphony perform selections from Porgy and Bess on February 23).

“and Bess” was an afterthought: The opera was originally named “Porgy” throughout its creation. The “and Bess” portion was added to avoid confusion with the novel and play it was based on. The thought was also that the “and Bess” made it sound more operatic.

It was a box office flop: Porgy and Bess debuted on Broadway in 1935 (after its world premiere in Boston). Its original run included 125 performances which by opera standards is a huge success. However, for Broadway, that’s a theatrical failure.

Its performance resulted in an integrated audience: After the Broadway run, the opera went on tour to Philadelphia, Pittsburgh, Chicago, and, finally, Washington DC. In Washington, the cast, led by lead actor Todd Duncan, staged a protest of segregation at the National Theater. The theater intended to offer a special “blacks only” performance, but Duncan and the cast said they would never perform in a theater that prevented them from purchasing a ticket because of race. Management gave into their demands and the result was the first integrated audience for a performance of any show at that venue.

It has faced racial controversy over the years: Duke Ellington was said to have objected to its depiction of African Americans, although he later said the opposite. Harry Belafonte turned down the role of Porgy in the film version and the role when to Sidney Poitier. It is thought, however, that Gershwin never meant to insult African Americans. On the contrary, he insisted that it could only be sung by a black cast, a tradition upheld by Ira Gershwin that has launched the careers of several prominent black opera singers. George Gershwin sought to write a true jazz opera and he felt that the Met staff singers couldn’t master the genre.

Robert McFerrin sang the role of Porgy: Bobby McFerrin’s father, Robert, sang the role of Porgy in the 1959 film version. His voice was dubbed over Sidney Poitier’s.

The libretto was co-written by a former insurance agent: The libretto (the text used in the opera) was written by both Ira Gershwin and DuBose Heyward. Heyward was the co-author of the original “Porgy” novel which he wrote with his wife while he was working as an insurance agent.

The setting is fictional, but the inspiration is real: Porgy and Bess is set in the fictional neighborhood of Catfish Row, South Carolina. However, the setting and the story were inspired by the James Island Gullah community in South Carolina. In fact, most of the characters speak in the Gullah dialect. George Gershwin moved to Folly Beach, an island near Charleston, South Carolina, to draw inspiration from the Gullah community while composing the score.

It has been on Broadway seven times: Despite its initial failure, Porgy and Bess has been produced on Broadway seven times to date – 1935, 1942, 1943, 1944, 1953, 1976, 1983, and 2012. The 2012 production had the longest run at 321 performances.

It was a “first” for La Scala: Porgy and Bess was the first opera by an American-born composer to be performed at the famous opera house in Milan. The performance took place in 1955 and Maya Angelou was among the cast.

It was referenced in Sesame Street: The opera has undeniably made its mark in American music and culture, so much so that it was referenced in an episode of Sesame Street’s 36th season. Hoots the Owl sang a parody version of “A Women Is A Sometime Thing” to Cookie Monster called “A Cookie Is A Sometime Food”.

“Summertime” may be more popular than you know: Not only is it a memorable aria, but it has also been covered over 33,000 times by groups and solo performers.


Join the Parker Symphony Orchestra on February 23, 2018 to hear selections from Porgy and Bess and more. Tickets for Gone Too Soon are on sale now.

Vasily Kalinnikov – Russian Master, Gone Too Soon



Kalinnikov - Russian Composer Master Gone Too SoonChances are you’ve never heard the name Kalinnikov. Tchaikovsky, Rachmaninoff, Stravinsky, Rimsky-Korsakov…of course. But Kalinnikov’s name should be among these other Russian giants. It is estimated that had he lived longer, he most certainly would have had a very successful career and, as a result, would be more well-known internationally today. Unfortunately, he died at a very young age from tuberculosis and we’ll never know what amazing music could have been. Still, he left the classical music world with some beautiful melodic pieces, including two symphonies with obvious Russian character and several piano, vocal, choir, and orchestral pieces.

Kalinnikov was born in 1866 in Voina to a police officer. His father, who played the guitar and sang in the local choir, encouraged him to pursue music. He started violin lessons at an early age. The family moved to Oryol and thanks to his family’s ecclesiastic ties, he attended seminary, becoming the director of the seminary choir at the age of 14.

Though he entered the Moscow Conservatory in 1884, he was forced to quit after a few months due to his inability to pay tuition. However, he did win a scholarship as a bassoon player for the Moscow Philharmonic Music School where he studied bassoon and composition.

Poverty throughout his life caused Kalinnikov to find work as much as he could. He played violin, bassoon, and timpani with theater orchestras. He also worked as a copyist and his teacher, Kruglikov, also provided financial help.

His talent, however, did not go unnoticed. Tchaikovsky recognized his potential and in 1892, recommended him as conductor for the Maly Theater and, later, the Moscow Italian Theater. Unfortunately, his health took a turn for the worse just a year later in 1893 and he had to resign. He had contracted tuberculosis.

Kalinnikov moved to the warmth of South Crimea in search for a cure and it was there that he completed both of his symphonies and a variety of instrumental works. Through his music, he strove to portray rural Russian life and its scenery. He created colorful orchestrations and relied on melodies and rhythm to evoke traditional folk songs. His symphonies, in particular, show influence of the Russian masters like Tchaikovsky and Rimsky-Korsakov, but his Second Symphony also includes sudden and obscure modulations reminiscent of Borodin.

The Symphony No. 1 (written between 1894-1895) was dedicated to Kruglikov, his teacher who also helped him financially. Kruglikov was thoroughly impressed by the score and sent it to leading conductors in Russia. The work was premiered at the Russian Musical Society in Kiev in 1897 to an audience that gave both the second and third movements an encore. If you’re curious why, come hear the Parker Symphony Orchestra perform the second movement in February!

Unfortunately, Kalinnikov would spend his remaining days in Crimea. He received some financial relief from Rachmaninoff who visited and saw his poor living conditions. Rachmaninoff also contacted his publisher who paid for three of Kalinnikov’s songs and offered to publish the Second Symphony. Rachmaninoff also arranged for the publication of the piano arrangement of his First Symphony.

Sadly, Kalinnikov died before he was able to benefit from most of these arrangements, around the time of his 35th birthday. The publisher offered Kalinnikov’s widow an unexpectedly high payment for the remaining manuscripts because the composer’s death multiplied the value of his works by ten.

In Russia, his First Symphony remains in the repertory and his place in Russian musical history is secure. And hopefully with more performances in the US and elsewhere, his name will become more familiar with music fans worldwide.

If you’d like to hear the second movement from his First Symphony, come hear the Parker Symphony Orchestra in February.

Obscure & Uncommon Classical Christmas Music


Tired of the usual Christmas carols on the radio? Have you heard Sleigh Ride or Winter Wonderland one too many times this season? Then check out our list of uncommon classical Christmas music including rare choral pieces and obscure symphonic compositions.

Past Three O’Clock

Past Three O’Clock is loosely based on the traditional cry of the city night watchman. It was written by George Ratcliffe Woodward and published in 1924. Although it has been recorded by a number of choirs including the Choir of King’s College and Cambridge, it doesn’t typically make the cut among popular music artists.




In Terra Pax – Gerald Finzi

In Terra Pax was one of the last pieces British composer Gerald Finzi wrote. It was composed in 1954 and was set to the words of a poem entitled “Noel: Christmas Eve, 1913” by Robert Bridges. Finzi explained that the work is the Nativity story becoming a vision seen by “a wanderer on a dark and frosty Christmas Eve in our own familiar landscape”. Like his other works, it has hints of inspiration from other British composers like Elgar and Vaughan Williams.




Riu Riu Chiu

Although it has crossed into some popular music recordings, Riu Riu Chiu remains relatively unknown by most. Sometimes attributed to Mateo Flecha the Elder who died in 1553, the basic theme of the song is the nativity of Christ and the immaculate Conception. The words “ríu ríu chíu” are nonsense syllables that represent the call of the kingfisher.




Christmas Overture – Samuel Coleridge-Taylor

Samuel Coleridge-Taylor was a British composer of African descent. His father was a Sierra Leone Creole physician. His mother, an Englishwoman. He showed promise at an early age as a violinist and then as a composer. He became fairly well-known in England as well as in the US where he was dubbed the “African Mahler”. His Christmas Overture was derived from The Forest of Wild Thyme and arranged by Sydney Barnes after Coleridge-Taylor’s death. In it, you’ll hear familiar tunes like “God Rest Ye Merry Gentlemen”, “Good King Wenceslaus”, and “Hark the Herald Angels Sing”.




Gaudete

Another medieval carol, Gaudete or Gaudete, Christus est natus is a sacred Christmas song that was published in 1582. When it was published, no music was given for the verses, but it is typically sung to a tune that comes from older liturgical books. The title translates as “Rejoice, rejoice! Christ has born”.




Carol Symphony – Victor Hely-Hutchinson

Victor Hely-Hutchinson was a British composer born in Cape Town, Cape Colony (now South Africa). His best known work is his Carol Symphony – a four movement work that incorporates several well-known Christmas carols. The first movement is based on O Come All Ye Faithful. The second is a scherzo on God Rest Ye Merry Gentlemen. The third is a slow movement loosely based on both the Coventry Carol and The First Noel. And the finale incorporates Here We Come A-Wassailing and O Come All Ye Faithful again.




Sleigh Ride (Winter Night) – Frederick Delius

Another English composer, Delius is best known for lyrical music influenced by other European composers like Edvard Grieg and Richard Wagner as well as music he heard while in America. His Winter Night is an atmospheric portrayal of a moonlit, snowy sleigh ride complete with sleigh bells.




Wassail Song – Ralph Vaughan Williams

The “Wassail Song” is part of Vaughan Williams’ Five English Folk Songs, a transcription of melodies from England’s vast vocal tradition of folk music. It was written in 1913 with cheer and charm to end the collection of five songs.




Santa Claus Symphony – William Henry Fry

William Henry Fry holds the distinction of being the first composer born in the United States to write for a large symphony orchestra. His Santa Claus Symphony was written in 1853 and was very well received by audiences. It may be the first orchestral use of the saxophone which was invented just barely a decade before.


Parker Symphony Orchestra Celebrates 24th Season

Small version of Parker Symphony Orchestra - all members

2017-2018 marks the 24th season for what we now know as the Parker Symphony Orchestra. However, for the first 17 years of its existence, the orchestra was known as the South Suburban Community Orchestra. Founded by Denver resident Alan Long in 1994, the SSCO started as a small orchestra which performed in various churches around Denver and Centennial. Joe Larkin, a graduate of DU, led the orchestra as its Music Director from its inception in 1994 until 2006. René Knetsch has been the Music Director of the orchestra since the Fall of 2006.

The 2010-2011 season was a turning point for the orchestra. SSCO was performing at Grace Presbyterian Church in Centennial that year. The building was sold, which left the orchestra without a venue for performances. As luck would have it, the magnificent PACE center was being built in Parker at that time. René contacted the Executive Director of the PACE, pointing out that we had an orchestra without a performance venue, and PACE was a performance venue without an orchestra. Two of the staff members from PACE attended one of the last concerts at Grace. Liking what they heard, they graciously invited the orchestra to perform on the PACE stage, later naming the orchestra as one of the PACE’s Artistic Partners. The orchestra changed its name to the Parker Symphony Orchestra before the first concert at PACE in November 2011.

Highlights from the past 6 seasons at PACE include: collaborations with the Legend High School choir, annual holiday concerts with the Parker Chorale, children’s concerts with the Young Voices of Colorado children’s choir, a Veteran’s Day concert featuring the Mormon Chorale, several professional guest soloists, a high energy concert of Latin music featuring the amazing tango group “Extasis”, and, of course, performances of many of the greatest classical music compositions ever composed.

Our current season opens with the October 27 concert titled “Sounds of the Deep”. A collection of classical music masterpieces that have a “Halloween-esque” feel to them, including the overture to “Die Fledermaus” (the bat), and the very famous “Orpheus in the Underworld” (think – “Can-Can”). December 1, 2, and 3 will be our traditional “Classic Parker Holiday” with the Parker Chorale, which always includes may well-known holiday favorites. February 23, 2018 we will present a concert we are calling “Gone Too Soon”, which will be music composed by composers who passed away at a much too early age including composers like Mozart, Gershwin, and Bizet. The final concert for the season is May 11 and will feature Heidi Leathwood, piano professor at DU’s Lamont School of Music, performing the gorgeous “Piano Concerto in A minor” by Edvard Grieg.


Handel’s “Messiah” FAQs



Handel's MessiahHandel’s “Messiah” is one of the most widely played pieces during the Christmas season and certainly the most popular oratorio (a musical composition for orchestra, choir, and soloists). It’s also, however, the subject of a wide variety of myths, misconceptions, and questions ranging from things as simple as its title to why we stand during the famous “Hallelujah” chorus.

Let’s take a moment to explore answers to these key frequently asked questions about “Messiah”.

What is Handel’s Messiah?

Handel’s “Messiah” is a large work for orchestra, choir, and solo singers called an oratorio. It was composed in 1741 and is typically performed around Christmas. The most famous part is the “Hallelujah” chorus which has been used in popular culture in movies, cartoons, and even commercials. While many people refer to it as “The Messiah”, its official name is just “Messiah”.

What is the story of Handel’s Messiah?

It doesn’t tell story. Instead, the libretto, written by Charles Jennens, is a series of contemplations on the Christian theme of redemption through the life of Christ. The work is in 3 parts: the first part foretells Jesus’ birth and the Christmas story, the second part leads up to and includes the crucifixion, and the third part talks about the spread of Christianity and eternal life. Interestingly, despite its Christian message, most of the text is from the Old Testament.

Where was Handel’s Messiah first performed?

Contrary to myths about London, it was actually first performed on April 13, 1742 in Dublin, Ireland as a charity concert benefiting three charities: prisoners’ debt relief, the Mercers Hospital and the Charitable Infirmary. Handel sought and was given permission from St. Patrick’s and Christ Church cathedrals to use their choirs and he even had his own organ shipped to Ireland for the performance. To ensure that the audience would be the largest possible, gentlemen were asked to remove their swords and women were asked not to wear hoops in their dresses. The takings from the concert were around £400 and each charity received about £127 which secured the release of 142 indebted prisoners.

Why do you stand for Handel’s Messiah?

Audiences typically stand only during the “Hallelujah” chorus. The reason for this has its origins in a legend that may or may not be true. The often repeated story is that King George II was so moved by the chorus during the London premiere that he rose to his feet. Because of protocol, the audience in attendance also stood and thus the tradition was born. However, many experts agree that there is no evidence that King George II was even in attendance at the premiere. Newspapers of the time did not mention his attendance and it would be unlikely they would leave out the detail of a royal presence. The first written documentation of this story was a letter written 37 years after the London premiere. The London premiere also received a rather cool reception unlike the Dublin premiere which was a hit. All of this has led to numerous debates and countless passive-aggressive battles between sitters and standers.

Why is Handel’s Messiah so popular at Christmas?

The premiere in Dublin was held in April and Handel himself associated “Messiah” with Lent and Easter. In fact, only one-third of the piece deals with Jesus’ birth and the Christmas story. So why is a piece that’s really an Easter work so popular during Christmas? Laurence Cummings, conductor of the London Handel Orchestra, once told Smithsonian Magazine that the custom may have come out of necessity stating that while there is so much fine Easter music like Bach’s St. Matthew Passion, there is little great sacral music written for Christmas. Regardless of the reason, “Messiah” has been a regular December staple since the 19th century, especially in the US.

How long is Handel’s Messiah?

Handel wrote the original version of “Messiah” in three to four weeks. Some accounts estimate just 24 days. We say “original version” because Handel rewrote parts to better meet the abilities of specific soloists and depending on availability of instruments. In 1789, Mozart re-orchestrated it to give it a more modern sound.

The time it took Handel to write the work is amazingly short when you consider the score is 259 pages. NPR music commentator Miles Hoffman estimated that there are roughly a quarter of a million notes in it which means Handel had to keep a continuous pace writing 15 notes per minute.

Typical performances of the entire “Messiah” are usually around 2 1/2 to 3 hours long.

8 Facts About Samuel Coleridge-Taylor




If you’re like me, when you heard the name Samuel Coleridge-Taylor, you thought, “Isn’t that the guy who wrote Rime of the Ancient Mariner? The English poet?” Nope, that’s Samuel Taylor Coleridge. However, Coleridge-Taylor’s mother did name him after the famous poet (he was born only 41 years after the poet died).

No, Samuel Coleridge-Taylor was an English composer of numerous works including his most celebrated cantata, Hiawatha’s Wedding Feast, a piano quintet, a symphony, a once missing opera named Thelma, and his festive Christmas Overture which we will be performing in December.

Here are some other interesting facts about this British composer:

1. He earned the nickname the “African Mahler”. Coleridge-Taylor’s mother was English and his father was Dr. Daniel Peter Hughes Taylor, a Creole from Sierra Leone. His father descended from African-American slaves who were freed by the British and evacuated from the colonies at the end of the Revolutionary War.

2. He met President Theodore Roosevelt. On his first tour of the US, the composer was received by President Roosevelt at the White House which was a rare event for anyone of African descent.

3. He died young. Coleridge-Taylor was only 37 when he died from pneumonia. King George V granted his widow an annual pension which was considered evidence that he held the composer in high regard.

4. He wrote a work inspired by his near-namesake. Coleridge-Taylor wrote a piece called The Legend of Kubla Khan after the poem “Kubla Khan, Or, A Vision in a Dream: A Fragment”.

5. He almost didn’t attend college. The Royal College of Music hesitated over Coleridge-Taylor’s race, apparently worried that other students might object. Ultimately, he did admit Samuel at age 15 as a violin student. After 2 years, Samuel swapped violin for composition.

6. He was a pioneer in integrating African music in his music. He sought to do what Brahms had done with Hungarian music and Dvorak with Bohemian music by integrating African and traditions of the African diaspora into his compositions. Examples of this include his Four African Dances, Concert Overture, Toussaint L’Ouverture, and the Symphonic Variations on an African Air.

7. His Christmas Overture appeared posthumously. In 1925, Sydney Baynes arranged the work which features “God Rest Ye Merry Gentlemen”, “Good King Wenceslaus”, and “Hark The Herald Angels Sing” and is thought to have been derived from Coleridge-Taylor’s The Forest of Wild Thyme, a fairy drama for children.

8. Both of his children also had distinguished careers as conductors and composers. His son, Hiawatha, adapted his father’s works. His daughter, Gwendolyn, became a conductor and composer using the professional name Avril Coleridge-Taylor.


Die Fledermaus? At A Halloween Concert?



If you’re familiar with the famous waltzes of Johann Strauss II (think “The Blue Danube”), you might be asking yourself, why on earth are we performing the overture from Die Fledermaus for a Halloween concert? It’s not creepy or spooky or scary. In fact, it’s quite the opposite – filled with sweet melodies and bouncy rhythms that act as a preview of the rest of the operetta which is filled with humorous plot twists, cases of mistaken identity, and a final chorus in honor of champagne.

Despite all that, there are 3 great reasons to perform the Die Fledermaus Overture for Halloween:

1. The opera is about a masquerade: The operetta (a term used to describe a short opera with a light or humorous theme) is centered around a masquerade ball. And what’s more Halloween than dressing up in costumes?

2. The title means “The Bat”: Die Fledermaus is German for “the bat”. The operetta’s main character, Eisenstein, left his friend Dr. Falke abandoned and drunk on the street. Dr. Falke was dressed in a bat costume and from that point on he took on the nickname of “Dr. Bat”. Interestingly, “fledermaus” does not translate to “flying mouse”. “Fleder” is an old form of “flattern” which means “flutter”. So “fledermaus” is “fluttermouse”.

3. It’s fun!: Who says Halloween music has to be creepy? After all, it is meant to be a fun holiday and what’s more fun than clapping or swaying along with the famous waltz melody of this overture once called the “pièce de resistance” of the operetta by a Viennese critic. In fact it was so well-received at its premiere that it was interrupted several times by applause.

Be sure to join us on October 27, 2017 and hear us perform this and other Halloween music at “Sounds of the Deep”

Parker Symphony Halloween 2017 Concert - Die Fledermaus


2017 Halloween Events In Parker, CO


Updated 10/11/2017

Denver area city and town calendars are absolutely filled with Halloween events throughout October and especially the weekend before the holiday and Parker’s is no exception. From costumes and trick or treating with the little ones to spooky concerts for adults, here’s a list of Parker, Colorado Halloween Events (and activities near the town) to help you have a fun and festive time.

Denver Area Halloween Concert in ParkerSounds of the Deep: Explore the darker side of classical music with the Parker Symphony Orchestra and Parker Arts. The program includes Debussy’s “The Sunken Cathedral”, selections from “Phantom of the Opera”, “Orpheus in the Underworld”, and more. There will even be a performance of a piece by Parker, CO composer Ryan Smith. October 27 at 7:30 at PACE Center, 20000 Pikes Peak Ave., Parker, CO 80138 Tickets available: parkerarts.ticketforce.com

Parker Colorado Halloween Event Treat or Treat MainstreetTrick or Treat on Mainstreet: Kids of all ages (and well-behaved dogs) can dress up and join the festive fun on Mainstreet, run by the Cherry Creek Valley Rotary Club. Shop owners along East Mainstreet and in the Baskin Robbins shopping center will have candy and treats for your little ones and you can browse the booths of other local businesses along the way. Parking is available at The Parker Station Parking lot and at the PACE Center. For more information, visit the main site here trickortreatonmainstreet.com or ourparkercolorado.com. Downtown Parker, Colorado along Mainstreet east of Parker Road from 3:30 pm -7:00 pm

Parker Co Halloween Event Sweet StreetSafe Halloween Sweet Street: A group of local businesses on the four corners of S. Progress Way and Plaza Drive are offering a safe and fun trick-or-treat walk perfect for Parker kids. Wear costumes, bring goodie bags, and park anywhere along the route in the parking lots. Hosted by The Perfect Fit-children’s footwear, participating businesses include The Perfect Fit, Little Monkey Bizness, J Salon, Kim & Cam’s Taekwondo, Usborne Books & More, Purgatory Cellars, Fast Signs, The Gator Loft, Elk Mountain Brewing, Dolphinz Swim School, Great Finds, Hansen Glass, Board & Brush, Honey Baked Ham, High Prarie Quilts, and Momentum Athletics. October 27 from 3 PM – 6 PM around 10350 S Progress Way, Parker, CO 80134

Parker Halloween Event Fall FestivalRocky Vista Annual Fall Festival: Rocky Vista University’s student clubs and organizations are hosting a free fall festival that’s sure to be a family hit complete with hay rides, cookie decorating, pumpkin painting, obstacle courses, and more. Wear your costume and join the fun. The event is free and open to the community and a great way to kick off your Halloween weekend. October 28 from 1 PM – 3 PM at 8401 S Chambers Road, Parker, CO 80134

Parker Halloween Event Trunk or Treat at Cherokee Trail ElementaryCTE Trunk-Or-Treat: For a family-friendly community event where kids can trick-or-treat safely, check out the “Trunk or Treat” event at Cherokee Trail Elementary. Kids will experience a fun-filled afternoon complete with a ghoulish game area featuring Witch Toss, Halloween Bingo, Pumpkin Tic-Tac-Toe, Tombstone Toss, and Pirate Hood Ring Toss – all sponsored by Home Stars of Parker. Bring bags and kick off the Halloween weekend! October 28 from 4 PM – 6 PM at Cherokee Trail Elementary, 17302 Clarke Farms Dr, Parker, CO 80134

Parker Halloween Event 17 Mile House Fall FestivalFall Festival at 17 Mile House Just outside Parker is the historic 17 Mile House Farm Park. If you haven’t been there before, October 14 is the perfect day because Arapahoe County is hosting a Free Fall Festival. Pick your favorite pumpkin, enjoy a scenic hayride, try gold panning, experience farm life, pet your favorite animals at the petting farm, take a guided tour, and enjoy music. There will even be Goat Yoga before the event from 9-10 AM. The house is a 155-year old property, which once served as an inn for pioneers traveling on wagon trails to Denver, and was a working farm for more than a century. October 14 from 11 AM – 5 PM at 8181 S Parker Rd, Aurora, CO 80016

Parker Halloween Event 17 Mile House Fall FestivalBat Encounters PACE Center isn’t just home to great concerts from the Parker Symphony. Check out this Family Discovery Series Event – Bat Encounters. Meet bats from around the world including the largest bat with a 6-foot wingspan. Bat expert and founder of the Organization for Bat Conservation Rob Mies will present a fascinating and educational program giving you insight into how bats are key pollinators in deserts and tropical forests and how they are economically important in Colorado. You’ll also learn how you can help bats in your backyard and neighborhood. October 26 at PACE, 20000 Pikes Peak Ave., Parker, CO 80138

Parker Halloween Event Fright Night at the FieldhouseFieldhouse Fright Night Welcome ghastly ghouls, spooky spirits, and wicked witches to a night of tricks and treats. Kids can make their way down the Trick-or-Treat Street, play games, experience the haunted house, conquer the climbing wall, and skate the night away (bring skates). A family costume contest will take place with different age groups. It’s sure to be a night of family-friendly fun. Cost is $6. Kids 2 and under and non-skating/non-climbing parents are Free. October 21 from 5:30 PM to 9 PM at Parker Fieldhouse, 18700 E Plaza Drive, Parker, CO 80134

Parker Halloween Event Pumpkin Festival at Tagawa GardensTagawa Gardens Pumpkin Festival: Tagawa Gardens’ Pumpkin Festival has returned for 2017. Every weekend from October 7 to October 22, the nursery offers fun family friendly activities including the bat cave, pony rides, petting zoo, mini train rides, hayride, pumpkin decorating, spider craft, wild on water bubbles, obstacle course, and more. See their website for complete schedule as activities vary by day and weekend. Some activities are free while others require tickets. Tickets can be purchased on-site. October 7 & 8, October 14 & 15, and October 21 & 22 from 10 AM to 3 PM. Tagawa Gardens, 7711 South Parker Road, Centennial, CO 80016 (at the corner of Broncos Parkway and South Parker Road)