Johann Baptist Strauss Jr. (October 25, 1825-June 3, 1899) 

Rosen aus dem Süden (Roses from the South), Op. 388 (1880)

Dedicated to King Umberto I of Italy, Roses from the South includes two themes from the operetta Das Spitzentuch der Königin (The Queen's Lace Handkerchief): “Trüffel-Couplet” (Act 1; first waltz) and “Wo die wilde Rose erblüht” (“Where the Wild Rose Blossoms”; Act 2; second waltz). 

This waltz is one of Strauss’s most popular, frequently performed at the Vienna Philharmonic’s New Year's Concert. After the introduction, the four waltzes build in character from teasing to bubbly to graceful to forthright. The Coda reprises the previous waltzes, and then the full orchestra takes over to bring this dance to a joyous close. This famous piece has been used in television, video games, and films.

—Dr. Jeffrey Snedeker

Ludwig van Beethoven (December 16, 1770-March 26, 1827)

Overture to Fidelio, op. 72c (1814)

Fidelio, originally titled Leonore, or The Triumph of Marital Love, is Beethoven’s only completed opera. The plot tells how Leonore, disguised as a prison guard named “Fidelio,” rescues her husband, Florestan, from death in a political prison. The scenario fits Beethoven’s political views: a story of personal sacrifice, heroism, and eventual triumph. First performed in 1805, Beethoven continued to revise the opera for several years, with a final version premiering on May 23, 1814, also in Vienna.

For the 1814 premiere, Beethoven decided to compose a brand-new overture. The aggressive opening measures get the audience’s attention, followed by gentle chords in the winds. The mood intensifies, and the introduction transitions smoothly to the main section of the overture, with fanfare-like melodic figures and heroic flourishes. A brief moment of calm is followed by a return of the aggressive fanfares and a triumphant ending.

—Dr. Jeffrey Snedeker

Nancy Ives

Immortal Beloved (2025)

Immortal Beloved was born from a conversation between violinist Denise Dillenbeck and composer Nancy Ives in the summer of 2023.  Following a deep dive into Beethoven scholarship, Dillenbeck had become fascinated by the mystery of the passionate love letter found hidden in Beethoven’s effects when he died in 1827 in which he addresses his “immortal beloved,” but never by specific name. As someone who has been deeply engaged with the continuing struggle for women’s equality, she perceived the mystery from a female perspective. "Beethoven is the most well-known composer of all time," she notes, "but the women who historians have proposed as candidates for the Immortal Beloved have remained unknown to the public. Societal constraints led them down harrowing paths, which included being bargained off into unhappy but socially approved marriages, suffering abuse, and having their children taken from them. While things have changed since 1812, women continue to fight issues like these around the world." 

Ives’ first concerto for violin unfolds in three parts. Part I opens with a Prologue evoking the dungeon scene from Beethoven's only opera, Fidelio, which depicts a courageous, empowered woman. The opening chord uses notes F-B♭-A, representing "VON" in the composer's musical cipher, a motif that recurs throughout the piece to symbolize the class barrier between Beethoven, a commoner, and these women, and to highlight its impact on their freedom of choice.

In "The Letter," musicians whisper the beginning of the famous letter and a horn melody intones the words: "Mein engel, mein alles, main ich" (My angel, my everything, my self). Musical lines continue to reflect the body of the letter, sometimes as simple, recitative-like notes, sometimes as more expressive melodies, with the piano and the trumpet often representing Beethoven’s presence. This section flows into a portrait of Antonie von Brentano, née Birkenstock, using themes from the Diabelli Variations (dedicated to her) to trace her life story: from her cultured youth in Vienna through her marriage to Franz von Brentano, including the touching episode of Beethoven playing piano to comfort her during illness. The warm and enduring friendship between Antonie and Ludwig and her long and ultimately contented life sets the tone for the final passages of Part I. 

Part II presents a kaleidoscopic succession of seven women who have been proposed as the mysterious beloved, each introduced by her name through melodic cipher played by the solo violin. Dorothea von Ertmann, a renowned pianist and Beethoven's student, is portrayed through elements of Piano Sonata No. 28, which he dedicated to her. The singer Amalie Sebald appears in music drawn from Symphony No. 8, written around the time they first met in 1811. A more robust candidacy is enjoyed by Julie “Giulietta” Guicciardi, dedicatee of the famous “Moonlight” Sonata, who was introduced to Beethoven by her cousins Therese and Josephine von Brunsvik in 1801. There may well have been infatuation (on Beethoven’s part) and possibly a proposal that she refused. Countess Marie von Erdödy, who secured Beethoven's imperial annuity and offered him both practical support and friendship, is represented by themes from the "Ghost" Trio and references to Haydn's Imperial anthem, reflecting her tumultuous relationship with Vienna's nobility. Virtuosic passages for the solo violin pay tribute to her powerful personality and drive. Therese Malfatti, rumored recipient of a marriage proposal and dedicatee of "Für Elise," appears through that familiar melody. Thérèse von Brunswick, whose letters and memoirs provide crucial historical documentation, is honored with references to Piano Sonata No. 24. The movement concludes with Bettina von Arnim, née Brentano, who was constantly in the news for both artistic achievements and scandalous exploits. She is introduced by music inspired by the  Egmont Overture, written around the time she and Ludwig first met and which represents her progressive political activism. A writer and composer herself, the list of her friends is a who’s who of Romantic era artists, including Goethe, who she introduced to Beethoven. (The two artistic titans did not hit it off.) She actively fanned the flames of suspicion that she was the Immortal Beloved, going so far as to fabricate letters as evidence!

Part III focuses on Josephine von Brunsvick, whom many scholars consider the most likely recipient of the Immortal Beloved letter. Beethoven began teaching piano to the Brunsvick children in 1799. Seeing the mutual attraction between teacher and pupil, Josephine's mother hastily arranged her marriage to Count Joseph von Deym. Josephine continued to study with Beethoven, who was a regular guest in the Deym home, and the three Op. 31 piano sonatas, which do not bear a dedication, are thought to have been written for her during 1801 and 1802. The Andante Favori, originally written for the "Waldstein" Sonata, serves as a musical love letter to Josephine, its melody matching the rhythm of her name in German. After becoming a widow in 1804, Josephine grew closer to Beethoven, exchanging love letters. However, marrying a commoner would have resulted in losing custody of her children. The violin cadenza depicts Josephine’s internal struggle between love and duty, employing music from “Komm, hoffnung,” Leonore’s aria in Act 1 of Fidelio in which she is marshaling her courage for the difficult task at hand. 

In the summer of 1812, Josephine’s second marriage was failing and she was in Prague at the right time and place to have had the assignation that preceded Beethoven’s time in Teplitz writing the letter. The trumpet plays the melody from An die Hoffnung, leading to a musical climax that the listener is welcome to perceive as a very direct metaphor.  

Josephine's life took tragic turns: her second husband took her children away, and a subsequent relationship resulted in another child who was also taken from her. In 1816, Josephine was seen walking arm in arm with Beethoven in Baden. The music depicting this poignant episode employs the cipher for PEPI, Josephine’s nickname, and the trumpet plays a melody from the Op. 110 Piano Sonata. Her sister Thérèse referred to this sonata as a “requiem for Josephine,” who died without her children around her in 1821. 

The concerto concludes with the orchestra whispering the letter's final words: "forever thine, forever mine, forever us." It is dedicated "to the women who inspired Beethoven and continue to inspire us today with their resilience in the face of society's constraints. We honor all women fighting for freedom and equality. May their stories compel us to listen and their strength inspire us to act.”

—Nancy Ives

Denise Dillenbeck 

A radiant violinist that delivers extraordinary performances imbued with imagination and insight, Denise Dillenbeck is “simply first-rate.” (San Francisco Chronicle) Celebrated for her work as a soloist, Dillenbeck offers “gripping and technically accomplished [interpretations]… at once soulful and well-reasoned,”  (The Oregonian) of both classic repertoire and breathtaking new masterworks. With her “long-lined phrases and unflagging focus,” (The Oregonian) Dillenbeck inspires and thrives in leadership roles as Concertmaster and within the region’s leading chamber ensembles. Through her board membership, volunteer work, and by modeling and mentoring empowered female roles, Dillenbeck enriches her communities with visionary thought leadership. 

 

“A superlative violin soloist… [offering] subtlety, honesty and vulnerability, with a rarefied tone” (The Tacoma News Tribune) Dillenbeck’s recent and upcoming solo engagements include a tour of China with the American Festival Orchestra in addition to concerti by Bernstein, Richter, Saint-Saens, Sibelius, Mozart, Beethoven, Tchaikovsky, Brahms, Prokofiev, Mendelssohn and Bach, with the Bellingham Symphony, Gettysburg Chamber Orchestra, Sinfonietta Nova, Boise Baroque Orchestra, Gonzaga Symphony, Yakima Symphony, York Symphony, Lake Union Civic Orchestra, Olympia Symphony, Seattle Metropolitan Chamber Orchestra, Washington-Idaho Symphony, Salem Chamber Orchestra, Tacoma Community College Orchestra, Central Washington University Orchestra, Lake Chelan Bach Festival Orchestra, and Northwest Sinfonietta. Her discography includes solo and chamber works on the Albion and KOCH International labels.

Dillenbeck leads the Yakima Symphony, York Symphony, Lake Chelan Bach Festival Orchestra and the Northwest Sinfonietta, offering “dynamic nuances and virtuosic aplomb” (The Oregonian) as concertmaster. She has also served in that role for orchestras in America, England and Germany, as well as associate concertmaster of the Tacoma Symphony. Her extensive orchestral background includes touring Europe and America with the Philadelphia Orchestra, membership in the Oregon Symphony, and performances with the Seattle Symphony, Baltimore Symphony, Pennsylvania Ballet Theater and Philly Pops.
 

As a member of the Third Angle New Music Ensemble and Ethos Quartet, Dillenbeck capitalized on a rare combination of “skill and adventurousness… [that was] highly effective.” (The Oregonian) She has performed and coached chamber music as a part of concert series and festivals worldwide, such as the American Church of Paris, Siletz Bay Music Festival, Westminster Choir College, Bravo Summer String Institute, Max Aronoff Viola Institute, Charles Castleman's Quartet Program, and Icicle Creek Summer Academy. Additional appearances include the Oregon Bach Festival, Ernest Bloch Festival, Chautauqua Music Institute, Musicorda, and the International Congress of Strings. 
 

 
A passionate and generous teacher, Dillenbeck’s college courses include a class on viewing world history and literature through the prism of Beethoven. As a teaching artist in the Philadelphia Orchestra's Community Partnership Program, she led elementary school students in experiential music learning and directed workshops on aesthetic education. Additional leadership roles include Dean of Charles Castleman's Quartet Program and Program Coordinator of the Philadelphia Orchestra's Strings International Music Festival. Eric Booth quotes Dillenbeck at length in his seminal book, “The Music Teaching Artist's Bible,” and her thoughtful, industry-responsive writing has appeared often in the Yakima Herald. Dillenbeck studied at the New England Conservatory, the University of Minnesota, and was a Fellow at the renowned Aspen Music Festival.

Nancy Ives

Composer and cellist Nancy Ives is a musical icon, having “built a career of such spectacular diversity that no summation will do her achievements justice.” (Artslandia) As “one of Oregon’s most prominent and accomplished classical musicians,” (The Oregonian) Ives offers both depth and approachability with enduring and eloquent music inspired by the natural world. “Modernistic but melodic and compelling… [with] a refreshing musical breadth… [her work communicates] a uniquely personal voice.” (Oregon ArtsWatch)

Ives’ music features in recent and upcoming performances by the Oregon Symphony, Denver Philharmonic Orchestra - International Conductor's Workshop, Orchestre National de Bretagne, Northwest Sinfonietta, Lake Chelan Bach Festival Orchestra, Greater Rochester Women’s Philharmonic, Yakima Symphony, York Symphony, Portland Chamber Orchestra, Alaska Resounding, Fear No Music, Siletz Bay Music Festival, Oregon Bach Festival, OBF Composers Symposium, Portland Cello Project, and Friends of Rain as well as broadcasts on All Classical Portland and KBBI (Alaska). She is the Composer-in-Residence for Friends of Pando (2024-25) and for the Lake Chelan Bach Festival (2025).

A relative of the legendary composer Charles Ives, she carries on the tradition of her namesake with modern relevance, connecting historical narratives to current social and environmental issues. Ives’ projects involve working with Indigenous communities to authentically capture, amplify, and relay their stories to wider audiences. Her recent multimedia orchestral work, Celilo Falls: We Were There, traces geologic and human history with “stunning, assiduously crafted, and mostly melodic music… a many-splendored artistic experience… universal in [its] artistic, social and political impact.” (Oregon ArtsWatch) She is a Musical America New Artist of the Month (September 2024). With a DMA from the Manhattan School of Music, Ives is the Principal Cellist with the Oregon Symphony and serves on the Board of Directors for All Classical Portland.