Music by Ravel, Castelnuovo-Tedesco and Stravinsky performed with energy, enjoyment

By Peter Alexander

The Pro Musica Colorado Chamber Orchestra opened their 2017–18 season last night (Oct. 21) with a program conductor Cynthia Katsarelis calls “probably the happiest concert we’ve ever done.”

Cynthia Katsarelis and Pro Music Colorado Chamber Orchestra (photo from a prior season)

The program featured three ebullient neo-classical works written between the First and Second World Wars. This is music that is ideal for a chamber orchestra of Pro-Musica’s size and quality, and it was performed with obvious energy and enjoyment. Pace Katsarelis, it was not happy throughout, since there were moments of melancholy here and there, but on the whole the program was indeed light in texture and mood.

The opening work, Ravel’s Le Tombeau de Couperin (“The tomb of Couperin,” a form of musical homage to a deceased composer), is one of the great works for smaller orchestra. Originally composed for piano, it is a set of Baroque dances stylistically descended from the great keyboard suites of Françoise Couperin. Ravel orchestrated four of the original six dances in the years immediately after World War I.

There is a slight sense of melancholy beneath the surface, since every movement is dedicated to the memory of one or more of Ravel’s friends who had died in that terrible war. But the graceful Baroque-style dances are more reflective of cherished memories than mourning, and the music can be enjoyed without knowing the deeper motivation.

From the first moment, the crucial wind parts were crystal clear and well played. The strings were occasionally less distinct, but the sound was warm and lovely to hear. The players were secure and achieved a sense of ensemble under Katsarelis’ direction. The final movement (Rigaudon) was particularly enjoyable, with nice contrast among the different sections.

Ideally, the orchestra should breathe and move together like the two hands of a single pianist. A certain amount of rhythmic expansion and contraction is an essential part of the style. Instead, I found the interpretation a little rigid and too steady of tempo, but never less than enjoyable.

Guitarist Nicolò Spera

The Concerto No. 1 for Guitar and Orchestra of Mario Castelnuovo-Tedesco, performed by CU music faculty member Nicolò Spera as soloist, was a real highlight. Spera is clearly a master of his instrument who plays with a palpable love and joy in every note. His easy virtuosity made this piece, one of the great concertos for guitar, look easy. He has the ability to take expressive freedom with the music without every losing a strong sense of beat, of meter, and of phrase.

The second movement, described by Katsarelis as a sort of farewell to the composer’s homeland of Tuscany before he had to flee Mussolini’s Italy, is wistful throughout. Probably the least “happy” music on the program, it was eloquently performed by Spera and the orchestra. The finale, marked Ritmico e cavalleresco (“rhythmic and knightly”), was delightful from beginning to end.

Katsarelis and the orchestra provided stylish support for the soloist. Spera’s joy in playing this music was contagious to all, orchestra and audience alike, making this a performance to relish and remember.

Cynthia Katsarelis

The final piece on the program, Stravinsky’s Suite from Pulcinella, is a good example of why we “play” music. Here there is nothing but happy music, and when performed as it was by Katsarelis and Pro Musica, it is fun for conductor, for players, and for the audience. The performance had great energy and drive.

The score is filled with solo bits for nearly every instrument in the ensemble, some quite showy, all played with evident virtuosity. Concertmaster Stacy Lesartre gave outstanding technical and expressive leadership for the ensemble, and while I hesitate to list individuals for fear of slighting someone, I have to praise string bassist Paul Erhard, another CU faculty member. I have never heard the bass solos played with greater beauty and purity of sound. The entire wind section—flute, oboe, bassoon, horn, trombone—was outstanding.

The only criticism was that the sound was occasionally a little heavy-footed. This may be due to the venue, which is new for Pro Musica: Boulder’s Mountain View Methodist Church. The very high A-frame ceiling may reinforce the longer wave lengths; certainly the bass was well heard all evening. But it was never muddy and the texture was generally clear, which cannot be said of the sound in their prior home, First United Methodist in downtown Boulder.

Mountain View has another great advantage over any of the downtown venues: its own parking lot. This is not a musical issue, but it is an important one. Boulder lacks a decent concert venue with adequate parking, and in particular the crowding in central Boulder on busy weekends may discourage some people from making the effort to go to live performances. I see no downside to using Mountain View: the entryway makes a suitable lobby, the sanctuary is comfortable, the sound is good, and the parking seems like a luxury after all the nights I have cruised downtown neighborhoods looking for an open space.

I hope Pro Musica will make the move permanent.

Edited to correct minor typos 10/22.