Boulder Phil in D.C., episode II

“A great sense of pride in representing our hometown”—Michael Butterman

By Peter Alexander

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Boulder Philharmonic warming up on the Kennedy Center stage (March 28)

Michael Butterman, music director of the Boulder Philharmonic, reported his thoughts late last night (March 28), after the orchestra’s concert in the Kennedy Center in Washington D.C, where they were playing as part of the inaugural Shift Festival of American Orchestras.

“It was a peak experience for me, and, I think, for all of us at the Phil,” he wrote. “I have conducted quite a number of concerts on that stage, but to be there with our orchestra, with that crowd and with that repertoire—it was something I shall never forget.

“More than anything, we had a great sense of pride in representing our hometown.  The audience seemed to absolutely love every piece, and got a real taste of how deeply we value the natural world.”

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Michael Butterman (r) performs in front of the Jefferson Memorial with violinist Jennifer Carsillo (l) (March 29)

Butterman and others who attended the concert have reported that the Kennedy Center Concert Hall, with a capacity of 2,155, was full last night, and that the audience response was more than enthusiastic. “There was incredible energy from the crowd,” Butterman wrote.

“It felt like a pep rally. The orchestra sounded like a million bucks—they were in top form and clearly gave it their all in terms of concentration and focus.”

In a Facebook posting, Boulder Phil executive director Kevin Shuck wrote, “No words. Boulder Phil and [Boulder’s] Frequent Flyers bring down the (PACKED) house at the Kennedy Center!”

Today (March 29), small ensembles from the Boulder Phil performed “pop-up concerts” at various locations around Washington’s Tidal Basin.

On Monday (March 27), Boulder Open Spaces and Mountain Parks naturalist Dave Sutherland led guided musical hikes in Rock Creek Park, similar to the musical hikes he has presented in connection with Boulder Phil concerts in recent seasons.

 

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Boulder Phil at the Kennedy Center

“An amazing evening”—Holly Hickman

By Peter Alexander

The Boulder Philharmonic Orchestra played tonight (March 28) in the Kennedy Center in Washington, D.C, as part of the very first Shift Festival of American Orchestras.

The program was the same one they played in Boulder March 25.

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Shift Festival banner in Washington, D.C.

“It was really an amazing evening,” reports Holly Hickman, a longtime arts supporter in Boulder who accompanied the orchestra on their trip to D.C. Hickman is the founder of Up Tempo Marketing, specializing in “spirited marketing for music organizations,” and serves as marketing consultant to the Boulder Phil.

She sent several pictures of the evening.

“The audience loved the concert,” she wrote after the performance. “The orchestra sounded great. We came across as a high-energy, non-stuffy orchestra.”

Further reports from composer Stephen Lias and others with the Boulder Philharmonic will appear here as soon as I hear from them.

“Nature and Music”: one of Boulder Phil’s best performances

Green bandanas waving, the orchestra departs for Washington, D.C.

By Peter Alexander

The concert opened with the swirling, magical sounds of a new score from Stephen Lias, and ended with the players waving green bandanas in the air.

Last night (March 25), the Boulder Philharmonic and conductor Michael Butterman presented “Nature and Music,” the same program they will perform Tuesday, March 28, in the Kennedy Center Concert Hall in the nation’s capital as part of the first Shift Festival for American Orchestras.

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Michael Butterman and the Boulder Philharmonic

The Boulder Phil is one of only four orchestras invited to the festival, and the only regional orchestra. As reported earlier in Boulder Weekly, their application to the festival, based on the orchestra’s programming, community outreach, and collaborative performances, was considered by the festival panel to be the “gold standard” of what they were looking for.

To represent the Boulder Phil’s recent emphasis on music written to celebrate nature, their program for the festival featured a new orchestral score commissioned from Lias as part of the National Endowment of the Arts’ “Imagine Your Parks” initiative, celebrating the 2016 centennial of the National Parks Service. Titled All the Songs that Nature Sings, it was inspired by Rocky Mountain National Park.

Other works on the program were drawn from previous concert programs: Jeff Midkiff’s Mandolin Concerto, with Midkiff as soloist; Ghosts of the Grassland by Steve Heitzig; and Copland’s Appalachian Spring, performed with choreography by Boulder’s Frequent Flyers Aerial Dance company.

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Stephen Lias in Rocky Mountain National Park

Lias took his title from the writings of Enos Mills, “The Father of Rocky Mountain National Park.” Accompanied by slides of the park selected by Lias, the music suggests a cinematic view of the park’s high country, starting with streams and lakes, culminating with rocky crags and ridges, and ending with mountain wildflowers.

Lias has written a thoroughly engaging piece. The almost impressionistic haze of sound of the opening measures pulls the listener into a world of nature at its most lovely and benign. As the music swells, lyrical melodies and powerful chordal passages are enlivened by rippling lines and repeated chords, forming a musical metaphor for scenes in nature that are always in motion: water rippling, leaves fluttering, light flickering.

The score reaches a rugged climax with stark brass chords, accompanied by views of the park’s most impressive peaks. It then ends gently, with a tender violin solo that was ably played by the Phil’s concertmaster, Charles Wetherbee.

Butterman and the Boulder Phil had the music well under control from the beginning to the end. As played last night, the cinematic sweep of the score created a clear outline. This is a thoroughly successful piece that should find appreciative audiences wherever it is performed.

Jeff Midkiff

Jeff Midkiff

Midkff’s Mandolin Concerto, subtitled From the Blue Ridge, is a mix of classical idioms with folk and bluegrass, all of it sounding comfortably American. The lightening lines of the first movement do not have much to suggest music from the Blue Ridge Mountains, other than the folksy sound of the mandolin. The second movement recalls Copland ‘s Americana, filled with a nostalgic sweetness. The finale settles into a jazzy bluegrass groove that fits the mandolin and its natural idioms perfectly.

From the rapid fire opening, to the plaintive slow movement, to the down-home finale, Midkiff was on top of every mood, and his final virtuoso flourish brought the audience to their feet. He rewarded the cheering crowd with his own arrangement of “Monroe’s Hornpipe” by the great bluegrass mandolinist/songwriter Bill Monroe.

It does no dishonor to Heitzig’s Ghosts of the Grassland to say that it has the emotional immediacy of a good film score. It is easy to imagine the dramatic gestures and mood changes representing—what exactly? The dramatic weather of the American prairie, or a primordial scene of bison and prairie grass (both represented in the percussion section)?

But everyone has their own imagination. Once again the Boulder Phil conveyed the musical drama well, and piping squeals notwithstanding, I believe that no prairie dogs were harmed in the performance.

Originally written as a ballet, Copland’s Appalachian Spring is obviously suited to various forms of interpretation, of which Frequent Flyer’s aerial dance represents one of the more original. As realized by Nancy Smith, the choreography has some magical moments that are almost ritualistic in effect, especially the beginning and the end.

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Frequent Flyers with the Boulder Philharmonic

In between, the dancers, for all their impressive strength and grace, did not always avoid an element of spectacle. What they do is so obviously difficult, so unimaginable to most in the audience, that it becomes hard to translate admiration for the athleticism of the performance into appreciation for its artistry. Nonetheless, their Appalachian Spring is a remarkable achievement.

As impressive as Frequent Flyers were, it would be a mistake to overlook the orchestra. Clearly primed for the festival, they presented just about the finest standard work I have heard them perform. You may hear more splashy performances, but Butterman’s restrained approach is more in keeping with Copland’s original conception, and it brings out all of the score’s considerable tenderness.

This is a very attractive program, and one that fits the orchestra’s strengths. Word is that the Boulder Phil is outselling the other orchestras in the festival, and they stand to make a very solid impression.

As for the green bandanas: The Shift Festival sent bandanas to every orchestra—”because we like bandanas,” Butterman said, sounding bemused. And so as the audience stood and cheered its well wishes to the orchestra for their trip to Washington, the players stood and waved their bandanas in response.

Maybe that’s what they were for: I could not imagine a more cheerful bon voyage than 80 green bandanas waving from the Macky stage. I join all of Boulder in wishing them a safe trip and a great reception at the Shift Festival.

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Shift Festival of American Orchestras

Nature & Music
Boulder Philharmonic Orchestra, Michael Butterman, music director

All the Songs that Nature Sings by Stephen Lias (world premiere)
Mandolin Concerto, From the Blue Ridge by Jeff Midkiff
Jeff Midkiff, mandolin
Ghosts of the Grassland by Steve Heitzig
Appalachian Spring by Aaron Copland
With Frequent Flyers Aerial Dance
Nancy Smith, choreographer

Kennedy Ctr

John F. Kennedy Center for the Performing Art, Washington, D.C.

8 p.m. Tuesday, March 28, Kennedy Center Concert Hall, Washington, D.C.
Tickets: 202-467-4600

 

Evanne Browne says farewell with Handel

Seicento performs two early psalm settings composed in Italy

By Peter Alexander

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Seicento Baroque Ensemble

Over the weekend—Friday to Sunday, March 24–26—Evanne Browne will conduct her farewell concerts with Seicento, the Baroque performing group that she founded only six years ago.

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Evanne Browne

The program comprises entirely music by Handel, including settings of Psalm 110, Dixit Dominus, and Psalm 117, Laudate Pueri. Both are set for choir and soloists with strings and will be accompanied by a small orchestra of period instruments, including harpsichord and small organ. There will also be sections of secular cantatas to fill out the program. Performances will be in Denver, Boulder and Estes Park (see below for details).

“It’s my last concert, but it’s the beginning of a new energy with Seicento,” Browne says. “We’re financially sound, we’re finishing the sixth year, and we’ve been well received. People say, ‘oh, that’s your baby,’ but the baby has grown up and is ready for a new influence.”

Interviews have already been held for a new director and auditions will be conducted next week. Browne said the board hopes to announce the new director in April.

Browne moved to the Washington, D.C., area, where she had lived and worked before coming to Boulder, in September and has travelled back to Colorado for all the Seicento’s concerts this year. In the meantime, she has been singing professionally and teaching in the D.C. area since her move.

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Amanda Balestrieri

She picked the program for the concert before she knew it would be her last with Seicento, but the choice is appropriate. “I have known Dixit for along time and wanted to do it,” she says. “Dixit is one of his most incredible choral pieces, and both pieces are chorally flamboyant, and difficult choral singing. If you think Messiah has lots of runs, Dixit is that times two or three.”

The second Psalm setting, Laudate Pueri, was pointed out to Browne by Mark Alan Filbert, who has served as musical director in Browne’s absence this year. Both pieces were written in 1707, when Handel was 22. He was living in Rome, where the Pope had banned opera but sacred music filled the void. Roman choirs of the time seem to have been particularly capable, which explains the difficulty of the music in both Psalm settings.

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Kathryn Radakovitch

While living in Italy, Handel “was influenced by Corelli and other Italians,” Browne says. “He was into an Italian expressiveness, which is so much about word painting and florid vocal lines. And the crunchiness of the dissonances is very Corelli-like. He took that style into his later works, his operas and his oratorios, but I think he’s really exploring the craft here.”

The two Psalm settings do not quite make an hour of music, so Browne selected movements from three of Handel’s cantatas to fill out the program. She chose them, she says, because they contain music that the audience will recognize—the original versions of melodies that appeared later in Messiah.

“People will recognize [the tunes],” she says. “One is ‘For Unto Us a Child is Born,’ and the other is ‘And He shall Purify.’ It’s great fun to hear these Italian texts and especially the Messiah melodies that we know so well in their original form. It’s so familiar but it’s so different.”

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Barbara Hollinshead

Soloists for the performances will be sopranos Amanda Balestrieri and Kathryn Radakovitch and tenor Todd Teske, all from the Boulder area, and mezzo-soprano Barbara Hollinshead who performs in Washington, D.C. There will also be short bass solos from members of Seicento.

“We have fabulous soloists,” Browne says. “There are two duets and one solo cantata, and the women who are doing the cantatas—oh my gosh, they can sing runs, and beautifully! It’s going to be a lot of fun to hear that.”

Just six years ago, Seicento became one of the first historical performance groups in the Boulder area. “When I first came to Boulder, there was very little Baroque vocal music going on, and a little bit of Baroque stringed period-instrument music,” Browne says, pointing out how much more there is now. “I am very, very proud of this organization and the way it has been managed,” she says.

“I’m grateful and I’m excited for the future of Seicento.”

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Seicento Baroque Ensemble
Evanne Browne, artistic director and conductor
Sopranos Amanda Balestrieri and Kathryn Radakovitch, mezzo-soprano Barbara Hollinshead and tenor Todd Teske

Handel: Dixit Dominus and Laudate Pueri
Selections from Italian secular catnatas

7:30 p.m. Friday, March 24
St. Paul Lutheran Church & Catholic Church, 1600 Grant. St. Denver

7:30 p.m. Saturday, March 25
First United Methodist Church, 2412 Spruce St., Boulder

2 p.m. Sunday, March 26
Stanley Hotel Concert Hall, 333 east Wonder View, Estes Park

Tickets

 

The gold standard

Boulder Phil previews its Kennedy Center performance

By Peter Alexander

Creative programming, extensive community engagement and thoughtful collaborations have paid off for the Boulder Philharmonic.

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Boulder Phil with Frequent Flyers. Photo by Glenn Ross.

The big reward comes this week. Their next concert, Saturday, March 25, will be repeated Tuesday, March 28, at the Kennedy Center in Washington D.C., where they will be recognized as one of four orchestras, and the only regional orchestra, chosen for the inaugural Shift Festival of American Orchestras. 

The program for the two concerts reflects several of the Boulder Phil’s recent initiatives, particularly the theme of “Nature and Music” that has informed several recent seasons and the collaboration with other local arts organizations. The program opens with the premiere of a new work by Stephen Lias, All the Songs that Nature Sings, commissioned as part of the National Endowment of the Arts (NEA) “Imagine Your Parks” initiative and specifically celebrating Rocky Mountain National Park.

Other works on the program represent what Butterman calls “greatest hits of the last five years.” Jeff Midkin’s Mandolin Concerto “From the Blue Ridge” and Steve Heitzig’s Ghosts of the Grasslands were both introduced to Boulder audiences in the spring of 2014 and were highly successful with audiences. And the final work on the concert will reprise one of the orchestra’s most creative collaborations: their 2013 partnering with Frequent Flyers Aerial Dance for Aaron Copland’s Appalachian Spring.

The combination of the Shift Festival and the “Imagine Your Parks” commission seemed tailor-made for the Boulder Phil. In fact, the Boulder Phil’s Executive Director Kevin Shuck says, “we had what in the words of the festival’s selection panel members was ‘the gold standard’ of what they were looking for.”

The festival will certainly put a national spotlight on the Boulder Phil, but the same activities that were the basis of the festival application have paid off locally as well. The programming of the past few years, community outreach, collaborations with Frequent Flyers and other arts groups, and educational programs have all helped build local audiences. Since 2009, overall ticket sales for the orchestra have risen 67 percent and subscription sales 44 percent. And Saturday’s concert is on track to be a sellout.

Read more in Boulder Weekly.

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Nature & Music
Boulder Philharmonic Orchestra, Michael Butterman, music director

All the Songs that Nature Sings by Stephen Lias (world premiere)
Mandolin Concert, From the Blue Ridge by Jeff Midkin
Jeff Midkin, mandolin
Ghosts of the Grassland by Steve Heitzig
Appalachian Spring by Aaron Copland
With Frequent Flyers Aerial Dance

2 p.m. Saturday, March 25
Free concert for community organizations

7:30 p.m. Saturday, March 25, Macky Auditorium
Tickets: 303-449-1343

8 p.m. Tuesday, March 28, Kennedy Center Concert Hall, Washington, D.C.
Tickets: 202-467-4600

Magic flutes, golden flutes and flutists of all ages

From Sir James Galway to CU Opera, a week of flutes at CU

By Peter Alexander

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Sir James Galway

There will be many kinds of flutes at the University of Colorado Boulder next week: Magic, golden, and from piccolo to bass.

The central event will be a two-day meeting of flutists at the College of Music, Tuesday and Wednesday, March 21–22. Under the title “Once a Flutist: Rekindling the flutist within,” this free event is open to flutists young and old.

The culminating events will be a masterclass for CU flute students with Sir James Galway —“The Man with the Golden Flute” — at 1:30 p.m. Tuesday in Grusin Music Hall, and a concert by Galway and his wife, Lady Jeanne Galway, Wednesday at 7:30 p.m. in Macky Auditorium.

Sir James Galway, who has recorded just about the entire classical flute repertoire, has performed with Stevie Wonder, Joni Mitchell and Sir Elton John, and recorded film music for The Lord of Rings, is one of the world’s best known musicians of any genre.

But before all of that gets underway, CU’s Eklund Opera Program will set the scene with Mozart’s Magic Flute, Friday, Saturday and Sunday, March 17–19, in Macky Auditorium.

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Christina Jennings organized “Once a Flutist” to celebrate her 10th year teaching flute at CU.

“There are a lot of flute players out there,” she says. “I can’t tell you how many times [I’ve met] people who say, ‘I used to play the flute!’ Or ‘My daughter plays the flute!’

“The idea for this festival came from that.”

Jennings will play a recital March 21 for the College of Music “Faculty Tuesdays” series, at 7:30 p.m. in Grusin Hall. But she will not hog the stage: appearing with her will be a flute orchestra of no fewer than 60 players, all on the Grusin stage.

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Astronaut-flutist Catherine Coleman, playing on the International Space Station. Photo courtesy of NASA.

Another guest is literally an out-of-this-world flute player: astronaut Cady Coleman, who took her flutes onto the International Space Station. In 2011 she played live from orbit on National Public Radio.

Now well into his eighth decade, Galway shows no sign of slowing down. “That’s what I do,” he says. “That’s why I’m here: to play the flute.”

The Macky concert will feature both Galways with Cathal Breslin, a young Irish pianist who is accompanying the flutists on their current U.S. tour. The program will include a sonata by Philippe Gaubert, who Galway describes as “The Brahms of the flute.”

“And we’re playing a few little pieces which I’m well know for as encore pieces — we’re putting those in the middle of the program,” he says. “And Carnival of Venice, which everybody knows.”

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Michael Hoffman inThe Magic Flute. Photo by Glenn Asakawa.

The CU production of The Magic Flute will be directed by Herschel Garfein, a Grammy Award-winning librettist, a composer and a stage director. And if you know the rather fantastic plot of The Magic Flute, he wants you to know that he does not see the opera as a fairy tale.

“From the beginning, I’ve seen it as sort of a metaphysical comedy of manners,” Garfein says. “I think it can be taken both more seriously, and more comically, than usual. There’s a very compelling love story between Prince Tamino and Pamina, and there’s also a huge strain of philosophical thought that runs through the opera.”

Read more at Boulder Weekly.

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The Magic Flute by W.A. Mozart
University of Colorado Eklund Opera Program
Nicholas Carthy, conductor
Herschel Garfein, stage director
Peter Dean Beck, stage and lighting design

7:30 p.m. Friday and Saturday, March 17–18
2 p.m. Sunday, March 19
Macky Auditorium

Tickets

Christina Jennings

Christina Jennings

Once a Flutist: Rekindling the flutist within!
Tuesday and Wednesday, March 21–22
CU Imig Music Building

All events free and open to the public, including:

James Galway Master Class
1:30 p.m. Tuesday, March 21, Grusin Hall

Christina Jennings, flute, recital with Eisenhower Elementary School and CU Choirs, CU Family Flute Orchestra
7:30 p.m. Tuesday, March 21, Grusin Hall

Lady Galway Master Class
1 p.m. Wednesday, March 22, Macky Auditorium

Full schedule online at http://www.colorado.edu/music/academics/departments/woodwinds/flute-studio/once-flutist

Sir James and Lady Jeanne Galway and Friends
7:30 p.m. Wednesday, March 22
Macky Auditorium

Tickets

Priests, thugs and pickpockets all part of the program for Boulder Bach Festival

Concerts in Boulder, Denver and Longmont explore music from Spain and the Americas

By Peter Alexander

The Boulder Bach Festival has become an explorer through the history of music.

That is the work of artistic director Zachary Carrettin, who has led the festival since the fall of 2013. A Baroque violinist, electric violinist and conductor of broad tastes, he has played early music and various styles of chamber music around the world, but also shared the stage with Yanni, Ray Charles and Cake. And as director of the Boulder Bach Festival (BBF), he wants to broaden audiences’ knowledge of the music of the past and all the ways it can be experienced.

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Zachary Carrettin. Photo by Courtney Lee.

The festival’s next program, to be presented Thursday through Saturday in Boulder, Denver and Longmont (see below) is a case in point. Titled “Spain and the Americas,” it will not include a single piece by Bach. It will, however, bring to light a repertoire from just before and during Bach’s lifetime that is little known today. And like most performances Carrettin has presented with the BBF, it will explore ways the music can be presented, using both guitar and lute with the bass part and different combinations of instruments with solo voice.

“It is part of my personal mission that we examine performance practices, but not only with the mission of authenticity, or bringing back to life old practices,” Carrettin says. “Also I’m engaging in a dialog about the various instruments then and now, and how they influence our approach to the various musics we play and sing.”

This particular program is a collaboration between Carrettin and Richard Savino, a lutenist and guitarist who also directs El Mundo, a Renaissance and Baroque performance ensemble. Carrettin has played on concerts and recordings with Savino and El Mundo, and he invited Savino to appear with the BBF for this concert.

“I always enjoyed playing with (Savino and El Mundo),” Carrettin says. “His style of playing is so full of life and imagination that it influences everybody else in the band.”

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Richard Savino

Savino will play both Spanish guitar and lute on the concert, and Carrettin will be one of two Baroque violinists. A second violinist will be Adam LaMotte, concertmaster of the Portland Baroque Orchestra who has known Carrettin since they were both high school freshmen. The cello/continuo will be played by Guy Fishman, principal cellist of the Boston Handel and Haydn Society and a member of the Colorado Music Festival orchestra in the summers.

Vocal soloist for the concert will be mezzo-soprano Clea Huston, an artist-in-residence for the BBF this season. A native of Denver, Huston has sung a diverse repertoire, including music by Wagner, Verdi, Mozart, Handel and Bach.

The music for the BBF concert comes partly from one of Savino’s recordings with El Mundo, The Kingdoms of Castile, but it also reflects Savino’s long-time interest in the music of Spain and the Spanish colonies in the New World. “It’s an area of work that I’ve been researching since the mid-‘90s,” he says.

“Growing up a guitar player you’re always fascinated with Spanish music. Somewhere in the 1990s I became more and more interested in the colonial repertory of the 16th through the 19th centuries, and the music that emanated from the different missions, cathedrals, convents and court environments in Latin America.”

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Mezzo-soprano Clea Huston

The program includes music by composers from Mexico, Guatemala and Spain, as well as composers from southern Italy, which was under Spanish rule in the Baroque era. Surprisingly, there is also a piece by Handel. Although he was certainly not a Spanish composer, Handel lived for a while in Naples, the seat of the Spanish Viceroy, where he wrote a song in Spanish.

“It’s his only work in Spanish, and it says specifically on the title page ‘con chitarra Espagnola’ (with Spanish guitar),” Savino says. “He basically adopts every Spanish characteristic for it. He’s the great chameleon—he can do it all.”

Savino singles out one of the composers on the program as a favorite. “Jose Marin is a fascinating character,” he says. “He was a Catholic priest, and he was also a thug—I mean like a Tony Soprano thug. He was convicted in some kind of extortion scheme, was defrocked and run out of Madrid. He was caught trying to sneak back in, and then was implicated in a murder scheme.

“But his songs are stunningly beautiful.”

Carrettin shares Savino’s regard for Marin’s music. “We’re ending the first half with a duo by Marin, and it is just sublime,” he says. “It’s so special and intimate, it’s probably my favorite piece on the program.”

A contrasting piece is a Xacara (or Jácara), a type of lively Spanish dance song that was somehow associated with pickpockets. Oygan una Xacarilla was composed by Rafael Castellano, the chapel master at the cathedral in Guatemala City. “It’s a funky pop tune,” Savino says. “It’s great!”

Other works on the program include a set of pieces for guitar alone, by Spanish composer Gaspar Sanz; a two-part piece that opens with a slow, reserved chorale section celebrating the birth of Jesus, followed by a guaracha, a style of Cuban dance that Savino again describes as a “pop tune”; and several instrumental pieces for two violins with cello and guitar continuo.

Savino believes that the most important thing to listen for on the program is an unmistakable Hispanic, or Latino, element to the music. “There is a discernible lineage to Hispanic music that you can hear from the 16th through the 20th century,” he says.

“When you hear Tito Puente, for example, and then you hear a 17th-century guaracha, there’s a connection, and you know that they both are derived from Hispanic musical practices. You can put it together right away.

“And it’s a vibrant repertory.”

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newBBFLogoSquareWebsiteSpain and the Americas
Boulder Bach Festival, Zachary Carrettin, director
With Richard Savino, guitar and lutes
Clea Huston, mezzo-soprano
Adam LaMotte and Zachary Carrettin, Baroque violins
Guy Fishman, cello

7 p.m. Thursday, March 16, Grace Lutheran Church, 1001 13th St., Boulder
7:30 p.m. Friday, March 17, St. Andrew’s Episcopal Church,2015 Glenarm St., Denver
7:30 p.m. Saturday, March 18, Stewart Auditorium, 400 Quail Road Longmont

Tickets