Three recent CDs feature artists with Boulder connections

Albums from Takács Quartet, Sphere Ensemble and violinist Karen Bentley Pollick

By Peter Alexander

Takasce SQ

Takács Quartet

A number of CD albums of interest to Boulder audiences have come onto the scene in the past several months.

Broadly speaking, they would all fall into the “classical” category. That designation seems increasingly problematic, however, since it includes not only music that is what we generally mean by “classical,” but also contemporary music that isn’t anyone’s idea of classical, music by composers who are influenced by everything from world music to rock, and music for both traditional and a wide variety of non-traditional media.

I have seen several suggestions for a new term: concert music is one that has been floating around for a while without catching on, and Cuepoint blogger Craig Havinghurst recently offered the term “composed music.”

Whatever you want to call it, here are three recordings that I have recently heard with pleasure:

Takacs albumTakács Quartet with Marc-André Hamelin, piano. Shostakovich: String Quartet No. 2 in A major, op. 68; Piano Quintet in G minor, op. 57. Hyperion CDA67987, 2014.

The oldest of the CDs on the list, the Takács Quartet’s disc of Shostakovich’s String Quartet No. 2 and, with Marc-André Hamelin, of the Piano Quintet in G minor, was recorded in 2014. It came to attention recently because it was nominated for the 2015 Grammy Award in chamber music. Although it did not win—the award went to the new-music sextet eighth blackbird—it is nonetheless a recording of great interest.

For one thing it is the quartet’s first recording of music by Shostakovich, one of two great composers of string quartets in the 20th century (along with Bartók, whose music the Takács is renowned for performing). And they are joined here by Marc-André Hamelin, one of the outstanding chamber pianists of our times.

Hamelin

Marc-Andre Hamelin. Photo by Fran Kaufman

Hamelin’s incisive pianism gives the Quintet muscularity and drive. The final two movements, veering from relentless brooding to a fragile and overwrought cheer, are particularly characteristic of the Stalin-era Shostakovich, and here they receive an exemplary performance. Hamelin and the quartet are beautifully balanced throughout their deeply expressive interpretation.

The Second String Quartet lacks the savagery some bring to its performance, but it has the clarity and refinement that mark the best Takács interpretations. The Recitative and Romance movement is especially eloquent, and the individual variations of the last movement are clearly profiled.

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Divergence coverSphere Ensemble: Divergence. Various works. Performed and self-produced by the Sphere Ensemble. 2015.

Do you like variety in your musical collection? If so, “Sphere Ensemble: Divergence”—with repertoire ranging from the plush Victorian romanticism of Edward Elgar to a cheeky mashup of Mozart and Daft Punk—is for you!

Billing itself as “Colorado’s exciting new chamber ensemble,” Sphere comprises 11 classical trained string players who currently perform with the Boulder Philharmonic, Opera Colorado, Greeley Philharmonic, Colorado Symphony, Central City Opera, Colorado Springs Philharmonic, Fort Collins Symphony, Cheyenne Symphony and Ensemble Pearl. No strangers to Boulder, Sphere performs all along the front range. Coming events are in Estes Park, Brighton, Broomfield and Loveland. <  >

Daft Punk and Elgar aside, it’s in the material between the extremes that Sphere most comes into its own, pieces that combine pop, bluegrass, jazz, elements from world music and classical bits in various proportions. After an ardent if undernourished movement from Elgar’s spacious Serenade for Strings, the CD proceeds with Regina Spektor’s “All the Rowboats,” spiced with classical quotations; the bluegrass/Irish “Butterfly Jig” of Sphere members Emily Rose Lewis and David Short; a string arrangement of Ravel’s Sonatine for piano that is easily the most ethereally detached music on the disc; and Colorado jazzman Wil Swindler’s gloomy “Divergence,” which gives the album its title.

That is only a small sample of the unexpected pleasures to be found on this disc. A series of largely pop-inflected tracks culminates with the Daft Punk-Mozart mashup, “Get Mozart,” and Leonard Cohen’s “Hallelujah.” But just when you think Sphere has settled into a pop groove, along comes the haunting “Romance” of 20th-century English song composer Gerald Finzi. Every piece is played with expression, energy, and an audible enjoyment of the journey.

My favorites on the album are Spektor’s “All the Rowboats,” Swindler’s “Divergence,” the tango-ish “Nueve Puntos” by Francisco Canaro, Karin Young’s Cajun-inspired “Rooster’s Wife,” and Cohen’s “Hallelujah.” That you will find your own favorites is the whole point. If you like music, you will find something to love on this CD.

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peace-piecePeace Piece: Karen Bentley Pollick plays music by Ole Saxe. Karen Bentley Pollick, violin and viola, with Justas Šervenikas and Ivan Solokov, piano, and Volkmar Zimmermann, guitar. Neptunus NEPCD012, 2015.

The extraordinary violinist/violist Karen Bentley Pollick has homes in Evergreen and in Vilnius, Lithuania. She performs widely in the U.S. and in Europe, and has performed in Boulder. (Disclosure: Pollick and I met when we were both graduate students at Indiana University and have remained friends since.)

Her recent disc “Peace Piece” is a good reflection of her interests: contemporary music, some written for her, music for both violin and viola, both accompanied and unaccompanied. In this case, the music is all by the Swedish composer Ole Saxe, and as the title suggests, most pieces are in some way related to the ideas of peace, justice, and human dignity.

Olestudio320

Ole Saxe

The centerpiece of the recording is the title track, Saxe’s “Peace Piece,” originally written for Swedish clarinetist Kjell Fageus and here arranged for violin and viola (both played by Bentley) and piano. This is the most musically dense piece on the CD, and perhaps the least approachable on casual listening. From different realms, the violin and viola seem to reach a musical accord—the symbolism is clear—and end sharing an energetic closing gesture.

The CD opens with “Human Rights Suite,” six pieces for solo violin based on six of the 30 articles of the UN “Universal Declaration of Human Rights.” Titled “Born Free,” “Right to Life,” “No Slavery,” “No Torture,” “Recognition,” and “Asylum,” the individual movements are both musically engaging and clearly expressive of their subjects.

The “Užupis Constitution Song,” celebrates the constitution of a self-declared “Republic of Užupis”—the artists’ district of Vilnius. The constitution, which may or may not be partly tongue in cheek, declares among other principles that “Everyone has the right to appreciate their unimportance,” “Everyone has the right to celebrate or not celebrate their birthday,” and “Everyone has the right to be happy”—or, alternately, unhappy. (Read it all here .) But you can easily appreciate the flowing music, depicting the river Vilnelé that flows through Vilnius and along the border of Užupis, without reading the Užupian constitution.

Other tracks on the CD are dances: Daladans based on the folk music of Dalarna, Sweden; a sultry Tango Orientale; and a cheerfully Latinesque Rhumba de la Luna, part of a suite of dances that Saxe wrote for Pollick. Between the more serious pieces is a funky version of “Happy Birthday”—celebrating the rights of Užupians who choose to celebrate that day, or not?—and a beautiful and comforting final track for viola and guitar, arranged from Saxe’s “Faith” for clarinet and cello.

Pollick is a virtuoso who makes the music sound comfortably under her fingers. It is all played with great commitment, both musically and philosophically, by Pollick and her colleagues. A CD of such ideals and musical interest should find an audience in Boulder.

(Edited 2/29/16 to correct typos.)

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Ars Nova Singers will perform pieces for 40 parts in surround sound

Music by Striggio, Tallis and Gesualdo form a “Renaissance Retrospective”

By Peter Alexander

In the history of European choral music, there are two major works that were composed for 40 different voice parts.

ANScircleground

Ars Nova Singers

Yes, that’s four-zero, 40 parts, which is really a lot, and the size alone has made these Brobdingnagian works well known. For the same reason they are not often heard live, but both will be performed on the same concert by Boulder’s Ars Nova Singers and director Thomas Edward Morgan.

Titled “Renaissance Retrospective,” the concert will be performed in Denver Friday (7:30 p.m. Feb. 19 at St. Paul’s Lutheran Church) and in Boulder Saturday (7:30 p.m. Feb. 20 at St. Johns Episcopal Church).

Tallis for site

Thomas Tallis

Both works were written in the 16th century, and indeed one probably inspired the other. The first was Ecce beatam lucem by Italian composer Alessandro Striggio from the 1560s. Shortly after it was introduced in England in that decade, it was followed by the more famous Spem in alium by English composer Thomas Tallis. Those two works serve as bookends on the program, which opens with Striggio and closes with Tallis, recalling the order in which they were written.

In between, Ars Nova will perform music by Carlo Gesualdo and Orazio Vecchi, Italian composers who were working a couple of decades after Striggio and Tallis. All the music will be sung a capella.

Read more in Boulder Weekly.

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Renaissance Retrospective: Music for Many Voices

Morgan.mtntop

Thomas Edward Margan

Ars Nova Singers
Thomas Edward Morgan, artistic director
Music by Alessandro Striggio, Thomas Tallis,
Carlo Gesualdo and Orazio Vecchi

7:30 p.m. Friday, Feb. 19, St. Paul’s Lutheran Church, 1600 Grant St., Denver
7:30 p.m. Saturday, Feb. 20, St. John’s Episcopal Church, 1419 Pine St., Boulder

Tickets

Colorado Music Festival faces another transition

Executive director Andrew Bradford resigns after 18 months on the job

By Peter Alexander

The Colorado Music Festival (CMF), which underwent a full change of leadership and administration 18 months ago, faces another transition.

Bardford

Andrew Bradford

Andrew Bradford, the executive director who was hired in the summer of 2014 and started work Aug. 11 of that year, announced last Thursday (Feb. 11) that he had resigned, effective Friday, March 25, 2016. Bradford is leaving to take another position, which will be announced soon.

When Bradford was hired, the position had been open for a full year, during which time there had been one failed search for executive director (ED), and the position of musical director (MD) was also open.

The larger organization that Bradford heads includes the CMF, headquartered at Chautauqua in Boulder, and its affiliated educational arm, the Center for Musical Arts (CMA), located in Louisville.

Bradford and others say his departure will not affect the upcoming 2016 summer season. Bradford has worked with Zeitouni and the CMF staff to plan the 2016 festival, and will be in place through the public announcement of the season on March 2.

“I’m staying through the end of March, and I’ll be working full steam ahead 100% until my very last day,” he says. “We’re going to all work together to make sure that the transition is as seamless and as smooth as possible.”

Lupberger.2

Edward Lupberger

The CMF/CMA Board of Directors will oversee the transition to the next ED. Edward (Ted) Lupberger, who became the board president last month, says the directors will appoint an interim director, probably from inside the organization, and then begin a search for a permanent director.

“Right now we’re addressing what’s the best mode for moving forward,” he says. “We’re definitely starting a search, but we’re also going to the people that did the search (before). Some of the people at that time were close candidates, so we’ll start pursuing those as an option, but also in the short term before that, what we’re doing is going to the staff.

“We have a really strong staff that know how to produce a festival, they know the CMA, they know the donors and what we need to be planning for. We probably will give an interim title to someone (from the staff), because it seems that’s the prudent thing to do, and it conveys to the community that we have a person in that leadership role.”

Because he is new to the president’s job, Lupberger said he would continue to work with a team that forms “kind of an executive committee” within the board. That group, comprising Lupberger with board secretary Jane Houssiere, treasurer Dave Brunel, and director Caryl F. Kassoy, worked to facilitate Lupberger taking on the role of board president, and they will continue to work together during the search.

At this time, Lupberger says, there is not yet a specific timeline for the search and hiring process. “I’d rather take more time and get the right person than go quick and get the wrong person,” he says.

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Over the past year, the CMF/CMA has been developing a strategic plan for the organization’s future, guided by a consultant who specializes in the arts and non-profit sectors. According to Lupberger, the consultant’s recommendations, which have only recently been given to the board, include directions on how to be ready for administrative changes. “It just happened sooner than we expected,” he says.

“There’s directives for the board in what we should be doing to better support the organization, there’s directives for staff on how to do operations and what things we need to be focusing on.”

While the 100-page consultant’s report has not been made public, Lupberger does not plan on keeping the board’s plans secret. “We are working on more of an executive summary, and then I think we all want to get the world to know what we’re planning,” he says. “It’s not going to be shocking.”

Both Lupberger and music director Jean-Marie Zeitouni praised the condition of the organization after Bradford’s 18 months in charge. “We’re a very healthy, strong organization,” Lupberger says.

Zeitouni_2

CMF music director Jean-Marie Zeitouni

Bradford “was a very strong asset (to CMF),” Zeitouni wrote in an email from Montreal, Canada, where he lives during most of the year. “To his credit, we are in a really good place right now: The staff is strong and enthusiastic, the board is really committed and involved, our budget is approved, the festival season is all planned and we are moving along nicely towards long-term artistic planning.”

Bradford and others have mentioned an 18% increase in ticket sales in 2015 from the previous year’s summer festival as a basis for the CMF’s current strength. While that is an important figure, the full context shows that it is a one-year increase from the 2014 season, which was the year of the music director search. Without a highly popular music director on the scene, with no central theme to the summer, and several different conductors coming in and out of Chautauqua, audiences were visibly smaller in 2014 than in the previous two or three years. Consequently, it is difficult to put the 2015 increase into the long-term context of ticket sales and revenues for the festival without consulting detailed financial records over the past five to ten years.

# # # # #

The recent history of the CMF/CMA administration provides insight into the issues faced by the board. In 2013 the organization lost both its executive director, Catherine Underhill, and the popular musical director of the summer festival, Michael Christie, in a single year. A search was undertaken immediately for a new ED to be in place before the summer of 2014, when finalists for the MD position would each lead the orchestra in a pair of concerts.

The board of CMF/CMA announced in Dec. 2013 that David Pratt of the Savannah (Georgia) Philharmonic had been selected as ED and would be in place early in 2014. Instead, he backed out in January 2014, and the board had to begin another search. Bradford was announced as the new ED in June, nearly a year after the position was first vacated, and he was present for the audition concerts by the three official MD candidates.

He and the board chose Jean-Marie Zeitouni as the new music director, announcing the appointment Sept. 8, 2014. Zeitouni conducted his first festival season last summer, July–August 2015. In the meantime, many of the top administrative positions at the CMF/CMA turned over in the first months of Bradford’s tenure, including one person who was hired early in the fall of 2014 and then left May 1, 2015. That position was covered by other staff members during the 2015 summer festival.

While no specific reasons have been given for most of the departures, Bradford is unstinting in his praise of the current staff. “I am absolutely delighted with the folks that I’ve hired,” he says. “These are fantastic, really capable people.”

Through all of this change, Lupberger believes that the CMF and CMA have remained strong. “At the end of the day, the board and the two organizations that make up the one, the Center for Musical Arts and the Colorado Music Festival, have maintained their identities—what they are, who they are—through this whole period. We have a strong orchestra, and we have a strong faculty at the Center (for Musical Arts), and that’s remained true through this whole process.”

For that reason, Lupberger remains upbeat about the future of the CMF/CMA organization. “At the end of the day, we’re talking about an organization that produces amazing music in the summer, and then educates others throughout the year,” he says.

“The core of what we do is what we should be excited about. The rest of it is less important, because what we do is a great thing and we should be proud of it and focus on that and move forward.”

_________________
Edited for clarity 2/16

CU’s Takács Quartet and Edward Dusinberre in the news

The Economist praises Dusinberre’s “fascinating book”

By Peter Alexander

Takacs.Dusinberre.CUphoto-X2

Edward Dusinberre

The Economist, the weekly newsmagazine published in London, has published an article—it is more a description of the book and its subject than a review—about Takács Quartet first violinist Edward Dusinberre’s new book on the Beethoven string quartets.

The Tákacs is the quartet-in-residence at the University of Colorado, Boulder College of Music; Dusinberre and the other members are Ralph E. and Barbara L. Christoffersen Faculty Fellows.

Beethoven for a Later Age: The Journey of a String Quartet was published in England by Faber & Faber and will be published in the U.S. by the University of Chicago Press in May. “Mr Dusinberre is the lead violinist of the Takács Quartet, one of the world’s most highly regarded string ensembles, and he has written a fascinating book about the musical life of this group of players,” the publication states in the unsigned article.

“Interwoven with that is the story of Beethoven’s 16 string quartets, works of extraordinary power written over a quarter-century that moved the genre on from the earlier masters and are now regarded as the apogee of the chamber-music repertoire.” (Read the full article in The Economist.)

Takasce SQ

Tákacs Quartet. Photo by Keith Saunders.

Like most books today, Beethoven for a Later Age has already attracted a number of celebrity blurbs and reviews. For example, pianist Garrick Ohlsson comments, “Dusinberre brilliantly spans Beethoven’s life, works, and the real issues of music making for his contemporaries into our time—via the working process of a great modern quartet living with Beethoven’s creations in the twenty-first century.”

Writing in the The Telegraph, Rupert Christiansen points out that Dusinberre intends to do more than elucidate the music. “Dusinberre’s second, and perhaps more daring, aim is to reveal something of the personal dynamics of the Takács Quartet itself, generally ranked as one of the two or three finest quartets active in the world today,” he writes.

“The glimpse Dusinberre gives us of their working is fascinating, but the alchemy that makes the Takács perform as sublimely as it does remains a mystery.”

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25329.books.origjpgBeethoven for a Later Age: The Journey of a String Quartet. By Edward Dusinberre. 232 pages, 14 line drawings. Faber & Faber; £18.99. To be published in America by University of Chicago Press in May; $30. ISBN: 9780226374369; an e-book edition will also be published.

 

 

Dairy Center asks “Who is Missy Mazzoli?”

Wednesday’s Soundscape concert poses questions and offers answers

By Peter Alexander

Missy Mazzoli

Missy Mazzoli

“Who is Missy Mazzoli?”

That’s the question being asked—and at least partly answered—by the Dairy Center for the Arts and music curator James Bailey on their Soundscape program at 2 p.m. Wednesday (Feb. 10).

The short answer is that Mazzoli is an adventurous composer from New York who writes in diverse genres, from opera to chamber music. She is in Boulder for a week for a Music Alive Composer Residency with the Boulder Philharmonic. The premiere of a new orchestral version of her Sinfonia (for Orbiting Spheres) by the orchestra and conductor Michael Butterman Friday evening (7:30 p.m. Feb. 12, Macky Auditorium) is only one part of her week-long residency. (More information in Boulder Weekly; tickets for the Boulder Phil concert here.)

Missy.skyline

Mazzoli with New York skyline

But it’s a deeper answer that Bailey is after—one that showcases many facets of a complex and label-defying artist. To give that fuller picture, Mazzoli and Bailey have put together a program that seems to live up to the New York Times’s description of her as “among the more consistently inventive and surprising composers now working in New York.” There will be pieces for solo violin, for viola with electronics, for string quartet, and two pieces for piano and electronics performed by Mazzoli herself. (Click here for tickets.)

weatherbee

Charles Wetherbee

It is the pieces themselves that justify the adjective “inventive.” What is most surprising, however, is the fact that Mazzoli’s works will be presented in alternation with—of all things—the movements of Bach’s monumental Partita in D minor for solo violin, performed by Boulder Phil concertmaster and CU faculty member Charles Wetherbee.

“The motivation to include the Bach was because I have a solo violin piece called ‘Dissolve, O My Heart,’” Mazzoli explains. “It was a commission from the violinist Jennifer Koh, who did a project called ‘Bach and Beyond.’ She commissioned pieces based on existing works by Bach, and my piece (is based on) the famous solo violin Chaconne from the D-minor Partita.

“When (the Dairy Center) came to me for a program, I said why don’t we play the whole Partita and we could intersperse (my pieces). My other music doesn’t come directly out of that, but it has inspiration from Baroque material and ornamentation. There’s a lot of string pieces on this program, a string quartet, solo viola piece, electronic solo violin piece, and I’m also playing two piano pieces some with electronics.”

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Altius String Quartet

The complete list of Mazzoli’s pieces on the program will be: Tooth and Nail for viola and electronics, performed by Wetherbee; Orizzonte for piano and electronics, performed by Mazzoli; A Thousand Tongues for piano and electronics, performed by Mazzoli; Dissolve, O My Heart for solo violin—the piece based on the Bach Chaconne—performed by Wetherbee; and Quartet for Queen Mab performed by the Altius String Quartet, the award-winning Fellowship String Quartet in Residence at CU, Boulder.

Reading about Mazzoli, one quickly becomes aware of how eclectic her work is. She has had commissions from individual artists, including Koh; from orchestras around the country; from the Kronos Quartet; and from the Grammy-nominated adventurous vocal ensemble Roomful of Teeth. Her works sometimes include electronics, sometime not, and she also performs with Victoire, an all-female band described by critic Alan Kozinn as “an art-rock band, a live electronic music group, or both.”

Glenn+and+Mizz

Mazzoli and Kotche. Photo by Michael Woody.

She and Victoire collaborated with Wilco percussionist Glenn Kotche and experimental keyboardist Lorna Dune for her recently recorded Vespers for a New Dark Age. National Public Radio’s “First Listen” asked, “Is Victoire’s music post-rock, post-minimalist or pseudo-post-pre-modernist indie-chamber-electronica? It doesn’t particularly matter. It’s just good music.”

Clearly, Mazzoli is an enthusiastic participant in many of the musical trends of our times. Writing in the Los Angeles Times, Mark Swed said that her “musical influences are John Adams, the Minimalists and the moody vocal sonorities of early sacred music, with a hint of rock.”

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Victoire. Photo by Stephen Taylor.

Mazzoli does not deny these varied sources. “Studying classical music you would be surrounded by all of that, so yeah, I claim all of them proudly,” she says. “It’s become kind of a cliché to say, oh I have so many diverse interests, I’m interested in pop music as well as classical music, but I think it’s kind of a natural state growing up in the ‘80s.

“I wouldn’t even call it a trend. It’s as if the whole palette of sound is available for composers now from throughout history. It’s not as much a self-conscious choice as just sort of pulling from everything you’ve encountered in your life.”

But Mazzoli doesn’t want listeners to get hung up on labels or influences. “I want people to just hear music for what it is,” she says, “and to maybe be intrigued by one of those phrases, because it can sound like any one of those things.

“There’s bits and pieces of all of that in there.”

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The Feb. 10 Soundscape concert is only one of many events exploring the world of contemporary musical performance to be presented by the Dairy Center this spring. The full schedule is listed below; visit the Dairy Center Webpage for updates.

 SOUNDSCAPE MATINEE SERIES

2 p.m. Wednesday, March 9: The Austin Piazzolla Quintet and the Boulder Chamber Chorale
After a sold out concert last season, the tango band from Texas returns to perform with the Boulder Chorale Chamber Singers.

Thow Down:Shot Up

CU’s Throw Down or Shut Up

2 p.m. Wednesday, April 13: Classical Music Unbuttoned
One of Boulder’s most innovative groups, Throw Down or Shut Up is a faculty quartet from the University of Colorado, Boulder. They will share the concert with Trio Cordillera another CU faculty trio, performing Argentine and Spanish music.

2 p.m. Wednesday, May 25: The Altius Quartet:  The Passion of the String Quartet
Winners of the silver medal at the 2014 Bischoff Chamber Music Competition, the Altius Quartet was selected to perform at the Melbourne International Chamber Music Competition. At the Dairy they will perform selected movements from quartets by Beethoven, Mendelssohn, Stravinsky, Bolcom—and Led Zepplin!

2 p.m. Wednesday, June 8: Youth be Served
A concert of music featuring some of Colorado’s most talented high school performers and ensembles.

ONE NIGHT ONLY SERIES

 7:30 p.m. Monday, February 22: Voxare Meets the Man with the Movie Camera
The Voxare String Quartet from New York City the soundtrack to Russian filmmaker Dziga Vertov’s remarkable 1929 silent masterpiece The Man with the Movie Camera.

Wendy_Woo

Wendy Woo

7:30 p.m. Friday, March 4: Wendy Woo—A 25 Year Retrospective
An evening with the guitarist and singer/songwriter Wendy Woo, together with musical artists from her 25 years on the Colorado music scene. The concert will be preceded by a First Friday reception in the new Dairy lobby.

7:30 p.m. Wednesday, March 30: Conversations
For Boulder Arts Week, the Dairy will present an evening of duets, including Irish, Indian and Turkish duos. Two performances will also feature Boulder’s Frequent Flyers aerial ballet group.

4 p.m. Sunday, June 26th: The Miami String Quartet
The internationally renowned string quartet returns to the Dairy with a new program.

JAZZ AT THE DAIRY SERIES

 7:30 p.m. Saturday, February 27: Jazz and Vonnegut

brad goode

Brad Goode

 

A concert with the David Fulker Quartet and jazz singer Robert Johnson in a program of jazz standards thematically wrapped around an unusual short story by Kurt Vonnegut.

7:30 p.m. Wednesday, May 4: The Brad Goode Quartet with Sheila Jordan
Brad Goode, Boulder’s jazz trumpet virtuoso, will appear with his traveling quartet and jazz vocalist Sheila Jordan.

SPECIAL PERFORMANCE

 4 p.m. Sunday, April 17: Never to Be Forgotten
This Dairy collaboration with the Boulder Jewish Community Center and the University of Colorado School of Religious Studies will focus on chamber music by composers who were lost in the Holocaust.

(Edited to correct typos 2/8/16)

 

 

Busy, busy, busy: Many events for Boulder Phil, composer, violinist

Friday concert culminates residency week for composer Missy Mazzoli

By Peter Alexander

Missy.skyline

Missy Mazzoli

The Boulder Philharmonic and composer Missy Mazzoli will have a busy week Feb. 6–12.

Mazzoli, who visits Boulder courtesy of a Music Alive Composer Residency, will participate in a workshop with CU composition students, a Café Phil open rehearsal, a “Meet the Artists” luncheon and a musical stargazing hike (see the list of public events, below).

That’s in addition to the concerts: “Who is Missy Mazzoli” at 2 p.m. Wednesday, Feb. 10, on the Dairy Center Soundscape series; and “Spheres of Influence,” a concert by the Boulder Phil and music director Michael Butterman at 7:30 p.m. Friday, Feb. 12, featuring the premiere of the orchestral version of Mazzoli’s Sinfonia (for Orbiting Spheres).

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Anne Akikoi Meyers

Mazzoli isn’t the only one who will be busy. Anne Akiko Meyers—who as soloist for the Mendelssohn Violin Concerto will share the Friday concert—is teaching a public masterclass at the CU on Thursday, Feb. 11, and attending the “Meet the Artists” lunch.

The full program of the Boulder Phil concert Friday will be Mazzoli’s Sinfonia, the Symphony No. 9 of Shostakovich, Tchaikovsky’s Mozartiana and the Mendelssohn Concerto. The Tuesday afternoon Soundscape concert will feature several of Mazzoli’s pieces, performed by Mazzoli, the Altius String Quartet and other local musicians, interspersed with movements of the Bach Partita in D minor for solo violin, performed by Boulder Phil concertmaster and CU music professor Charles Wetherbee.

Read more at Boulder Weekly.

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Spheres of Influence

Boulder Philharmonic Orchestra
Michael Butterman, music director, with Anne Akiko Meyers, violin

Missy Mazzoli: Sinfonia (for Orbiting Spheres) World premiere of the orchestral version
Shostakovich: Symphony No. 9
Tchaikovsky: Mozartiana
Mendelssohn: Violin Concerto

7:30 p.m. Friday, Feb. 12 (note the day)
Macky Auditorium
Tickets

Other public events

6:30 p.m. Saturday, Feb. 6, Monday, Feb. 8, and Wednesday, Feb. 10, at the Boulder Valley Ranch Trailhead (Free; dates dependent on weather)
“Stars, Spirals and Orbiting Spheres” musical hike

Tuesday, Feb. 9 at the Dairy Center: Café Phil (Free)
7:10 p.m. Composer Chat in the lobby
7:30 p.m. Open Rehearsal

2 p.m. Wednesday, Feb. 10 at the Dairy Arts Center
Soundscape Concert: “Who is Missy Mazzoli?”
Tickets

9:30 a.m. Thursday, Feb. 11, Grusin Music Hall (Free)
Masterclass with Anne Akiko Meyers

1 p.m. Thursday, Feb. 11, Chautauqua Dining Hall
Meet the Artists, Progressive Luncheon with Anne Akiko Meyers, Missy Mazzoli and Michael Butterman
Tickets