Eklund Opera will present Tchaikovsky’s Eugene Onegin in Russian with English titles

‘Wonderfully Romantic piece’ is musically appealing, educationally valuable

By Peter Alexander March 14 at 1:22 p.m.

The University of Colorado Eklund Opera Program is doing something it has never done before: perform a full opera in Russian, with English surtitles.

AC_Eugene_Glenn-Asakawa

Publicity still for CU Opera production of Eguene Onegin. (Photo by Glenn Asakawa/University of Colorado)

The opera is Tchaikovsky’s Eugene Onegin, one of the most well known and popular Russian operas, in and outside of Russia. Performances will be March 15–17 in Macky Auditorium. The cast of CU students will be directed by Leigh Holman, director of the Eklund Opera Program, and conducted by Nicholas Carthy, the program’s music director.

Eugene Onegin is about the unrequited love between Onegin, a bored ne’er-do-well aristocrat, and Tatyana, a naive country girl whose sister is engaged to Onegin’s friend, Lensky. Tatyana impulsively writes a letter declaring her love to Onegin, who brushes her aside.

Soon after, Onegin kills Lensky in an impetuous duel that neither man wants, and then wanders the world for several years in despair. Returning to St. Petersburg, he realizes he is in love with Tatyana, now married to an older nobleman. When he declares his love, Onegin finds the shoe is on the other foot, as Tatyana turns him aside out of loyalty to her husband.

Carthy.in.nordlanden

Nicholas Carthy

Carthy has wanted to conduct Eugene Onegin since he coached singers in a production at the Salzburg Festival 30 year ago. “I thought, ‘I really need to do this,’ and I’ve been waiting ever since,” he says.

Because it requires bigger voices, Onegin is not an opera that a university company can always perform. This year the stars aligned and the singers were available for Onegin at CU. Holman called Carthy while he was on sabbatical last year to say she thought this would be the year.

“We’re just excited to have the big voices now that can do [Onegin]”, she says.

Read more in Boulder Weekly.

# # # # #

EugeneOnejin-X4 copyEugene Onegin by Tchaikovsky
CU Eklund Opera Program
Leigh Holman, director and Nicholas Carthy, conductor
Sets designed by Peter Dean Beck, costumes by Tom Robbins

7:30 p.m. Friday and Saturday, March 15 and 16
2 p.m. March 17
Macky Auditorium

Sung in Russian with English titles

Tickets 

 

 

Advertisements

Boulder Chorale brings Mardi Gras music from New Orleans

Guerrilla Fanfare Brass Band adds solid “second line” sound

By Peter Alexander March 7 at 8 p.m.

Conductor Vicki Burrichter and the Boulder Chorale want their audiences to have a good time.

holiday-2015-photo-by-bob-evans

Conductor Vicki Burrichter with members of the Boulder Chorale

Mardi Gras just being over, “a good time” suggests New Orleans’s raucous celebration of that festival. And so Boulder Chorale’s next concert this Saturday and Sunday (4 p.m. March 9 and 10 at First United Methodist Church in Boulder) is titled “A Very Boulder Mardi Gras.” With some of the music and the traditions of the famous New Orleans Mardi Gras as part of the performance, it will be, Burrichter says, “pretty fun and rowdy.”

“What I’m trying to do is get as close to an authentic New Orleans experience as we can.”

GettyImages_645726914.0

Mardi Gras in New Orleans

That means more than just having a few Dixieland tunes played during the concert, she says. “For me that’s not very authentic. There’s so much more to the music of New Orleans than Dixieland.”

To get closer to the real thing, she invited guests, including the Guerilla Fanfare Brass Band, to recreate the atmosphere of the New Orleans “second line” parades. There will be music by New Orleans musicians including Trombone Shorty and Dr. John. The concert program ends with the traditional Mardi Gras song “Iko, Iko,” followed by a second-line style parade out of the church to the music of the Rebirth Brass Band’s “Do Whatcha Wanna.”

french-quarter-paradejpg-893b1c43dd7d58d2

New Orleans second-line parade

If you are unfamiliar with the New Orleans second-line tradition, it can be described as the parade after the parade—the people who follow the official parade, dancing and singing and generally enjoying themselves. This has turned into a form of parade with a brass band leading and a crowd following—what has been described as “a jazz funeral without a body.”

Today second-line parades are a regular part of the New Orleans music scene.

Burrichter was inspired to bring second lining to Boulder when she experienced it first hand. A few years ago she was at a conference in New Orleans and had Sunday off. “I went and joined a second line,” she says. “Every Sunday there’s a band that will do that, and they take different routes through the various neighborhoods.

“You dance and you sing, and it was one of the most incredible artistic experiences I’ve ever had. It was very, very moving and fun, so I thought if I ever do a concert about New Orleans, I want to have a second line band there.“

GuFa.1

Guerrilla Fanfare Brass Band

The group she invited to fill that role, the Guerrilla Fanfare Brass Band, was founded in 2015 by tuba player Zach Brake and some friends from the University of Colorado. In 2018 they were named Colorado’s best brass band by Denver’s Westword magazine. Today the full group numbers 12 musicians, trumpets, trombones, saxophone and drums.

They play typical second-line tunes from the Rebirth Brass Band, a Grammy winning New Orleans band, as well as traditional jazz, pop covers, and their own original music. “Our big thing is we’re really energetic,” Brake says.

“If possible we try to get off the stage and walk around. The bigger the crowd is, the more we get into it.”

Performing in concert with the Chorale is different from their usual shows, Brake says, but that’s a good thing. “It’s pretty outside what we normally do,” he says. “This one has been pretty exciting to do.”

379394a1-e7d0-4bb0-8d63-8d97ef598e53-2060x1236

Bob Chilcott

In addition to music from the New Orleans Mardi Gras celebration, there will be one composed piece for choir. The central piece on the program will be “A Little Jazz Mass” by former member of The King’s Singers Bob Chilcott, which Burrichter included to show the influence of New Orleans and jazz around the world

“It’s just a stunning piece,” she says. “The chorus loves it. I think the audience will love it, too.”

Other pieces on the listed program include “Ring Shout/Piece of Mind” from Wynton Marsalis’s Congo Square, arranged by Adam Waite and featuring vocalist Craig Robertson; “I Feel Like Funkin’ It Up” from the Rebirth Brass Band; Dr. John’s “Goin’ Back to New Orleans”; “Basin Street Blues”; and Trombone Shorty’s “Hurricane Season,” as a tribute to New Orleans’s suffering and recovery from hurricane Katrina.

Other guest artists will include a jazz trio for Chilcott’s “Little Jazz Mass”: Neil Dreger, bass; Kyle Liss, piano; and Ari Rubinstein, percussion.

Burrichter stresses that the program is full of fun music for everyone. In fact, outside of the 12-minute “Little Jazz Mass,” there is not any traditional concert music where the choir stands still and sings. “This is a family concert,” she says. “Bring the kids and everybody can dance.

“This is not going to be an uptight concert.”

# # # # #

“A Very Boulder Mardi Gras”Ripley-BC-adults-12-2016-crop

Boulder Concert Chorale, Vicki Burrichter, director
With Guerilla Fanfare Brass Band
4 p.m. Saturday and Sunday, March 9 and 10
First United Methodist Church. Boulder

Tickets

Tafelmusik will turn Macky Auditorium into a musical coffee house

“Tales of Two Cities” explores the coffee houses of Damascus and Leipzig

By Peter Alexander March 1 at 6:15 p.m.

It takes a person with a very creative imagination to turn the history of coffee into a concert combining Baroque and middle-eastern music.

Screen Shot 2019-02-26 at 12.55.11 PM

“Tales of Two Cities.” Photo by Bruce Zinger

The Toronto-based Baroque orchestra Tafelmusik has such a person in bass player Alison Mackay, and the multi-media, cross-cultural program she created, “Tales of Two Cities: the Leipzig-Damascus Coffee House,” comes to Boulder Monday (7:30 p.m. March 4 in Macky Auditorium). The program includes music by Bach and Telemann, both of whom led coffee-house ensembles in Leipzig, as well as Handel, Torelli and a few other composers of the Baroque era; and performances by Trio Arabica, performing music from Syria.

The concert is performed inside a set inspired by a room from 18th-century Damascus. The performance also features projections of images, maps and film, and a narrator who will present Mackay’s script To facilitate the movement of the players onstage, the entire program is performed from memory.

20160517TafelMusik_Tale-of-two-Cities

Alison Mackay on the set for “Tales of Two Cities.” Photo by Bruce Zinger

This is the fourth multi-media program that Mackay has created for Tafelmusik. Each of them has included projections and stage sets, and the music has all been memorized. “That’s a tall order,” Mackay says, in what may be a significant understatement.

“We all learn to memorize pieces when we’re young, but memorizing the inner part of a Handel concerto grosso is a verytall order. It’s an orchestra full of passionate people, so it was a large conversation [the first time], but in the end people decided to take it on and everyone has been thrilled at the way it’s worked out.”

While the multi-media productions get a lot of attention, most of what Tafelmusik does is traditional concerts. “It’s not as if we think that the audience needs the bells and whistles, but from time to time we do put our repertoire in a historical or a cultural context,” Mackay says. “It’s exciting for us to be able to explore the music in a different way.”

“Tales of Two Cities” grew from research Mackay was doing for another multi-media program featuring the music of J.S. Bach. In the course of doing research in Leipzig, she discovered that there was a large collection of manuscripts from Damascus at the University of Leipzig.

“I read an article about an amazing private collection of manuscripts, copied in the 17th and 18th centuries, that belonged to a family in Damascus,” Mackay says. ”There was a department of Arabic studies at the University of Leipzig. The university bought this collection, and within that collection [were] of dozens of leather-bound performer’s books that had belonged to a storyteller in the coffee houses in Syria.”

As Mackay looked into this fascinating bit of historical evidence, she started to discover how much Leipzig and Damascus had in common. Both were important cities at crossroads of commercial routes, and became centers for international trade fairs. Both were also centers of scholarship and learning.

And they had thriving coffee-house cultures at the same time.

Zimmermannsches_Caffeehaus

Zimmermann’s Coffee House. Detail from an engraving by Johann Georg Schreiber, 1732.

It was well known that both Telemann and J.S. Bach had conducted Leipzig’s Collegium Musicum, a club for students musicians that performed weekly concerts at Zimmermann’s Coffeehouse. This happened at exactly the time that coffee houses became centers of social and intellectual activity across Europe.

The first coffee houses opened around 1700, at the same time the development of public street lighting made it possible for respectable people to be out after dark. At that time “there starts to be this rise of places where you can go for entertainment,” Mackay explains. “It goes hand in hand with political conversation and performances of music.”

The unexpected parallels between the two cities inspired Mackay to put together the program for “Tales of Two Cities.” For the Leipzig end, she used music that could be tied to the city in some way. “Not that is much known about specific pieces that were played in Zimmerman’s Cafe, but I deliberately picked the kind of small orchestral and chamber music that would have been played by Bach’s Collegium Musicum,” Mackay says.

Telemann and J.S. Bach were shoe-ins for the program, and Mackay looked for other connections as well. “It’s known that Handel visited Telemann in Leipzig when they were both young law students interested in music, so I’ve included music by Handel,” she says.

“There’s an anecdote written by someone who was in a coffee-house ensemble in Leipzig, about the violinist (Johann Georg) Pisendel coming to play. It’s a very humorous account, and it says that he played a concerto by his teacher, Torelli. So I’ve included a movement from a concerto by Torelli.”

Other music—for example, a piece by the Venetian composer Monteverdi—illustrates the history of coffee as it moved from Syria and Turkey through Venice and then to Paris London, and Leipzig.

20160517TafelMusik_Tale-of-two-Cities

Trio Arabica with Tafelmusik. Photo by Bruce Zinger

For the music from Damascus, Mackay invited the Trio Arabica to join with Tafelmusik. In the concert program notes, she has written that “The public coffee houses of Syria were venues for musicians who performed settings of strophic poems called muwashshahs, instrumental doulabs and improvised taqsims—forms of classical Arabic music that are the specialty of Trio Arabica.”

After engaging the trio, she says, “we would meet together. I had a few ideas of places where the music could intersect, and so we spent a long time thinking about suitable pieces. There are several places where a piece of theirs is juxtaposed with pieces of ours, or a couple of places in the program where we play together.“

The one thing Mackay wants the audience to notice is that everyone is playing from memory. “It’s terrifying,” she admits. “Sometimes when you’ve done all that work, people don’t notice.

“Musicians always notice!”

# # # # #

Tales of Two Cities: The Leipzig-Damascus Coffee House
20160517TafelMusik_Tale-of-two-CitiesTafelmusik Baroque Orchestra, Elisa Citterio, music director
With Trio Arabica and Alon Nashman, narrator
Conceived, programmed and scripted by Alison Mackay

Music by Telemann, J.S. Bach, Handel, Monteverdi, Torelli, Lully, Omar Al-Batsh Mohamed Al-Qasabji, and Sheikh Abul Ela Mohamed

7:30 p.m. Monday, March 4
Macky Auditorium

Tickets

Boulder Philharmonic pairs ‘complementary’ composers Beethoven and Elgar

Program highlights cellist Astrid Schween, new work by Boulder native Kristin Kuster

By Peter Alexander Feb. 28 at 12:40 p.m.

Astrid-Schween-by-Steve-Sherman 2015-01_preview

Astrind Schween will play the Elgar Cello Concerto with the Boulder Philharmonic. Photo by Steve Sherman

Michael Butterman, music director of the Boulder Philharmonic, thinks that Beethoven and the English composer Sir Edward Elgar go well together, but he’s not quite sure why.

“I always think of Beethoven and Elgar as complementary,” he says. “It’s a gut sense, and I can’t put my finger on it.”

Finger on it or not, when the guest soloist for Saturday’s concert, cellist Astrid Schween, was selected to play the Elgar Cello Concerto, Butterman picked Beethoven’s Fourth Symphony for the same program. Also on the program is the first Colorado performance of Dune Acres, a new work by Boulder native Kristin Kuster.

Read more in Boulder Weekly.

# # # # #

“Elgar and Beethoven”
Boulder Philharmonic Orchestra, Michael Butterman, music director
With Astrid Schween, cello

Kristin Kuster_preview

Composer Kristin Kuster

Kristin Kuster: Dune Acres (Colorado premiere)
Edward Elgar: Cello Concerto
Beethoven: Symphony No. 4

7:30 p.m. Saturday, March 2, Macky Auditorium
Tickets

There will a free pre-performance program at 6:30 p.m. in Macky Auditorium, hosted by Marilyn Cooley of Colorado Public Radio, with Michael Butterman, Astrid Schween and Kristin Kuster.

Ars Nova Singers offer “The Earthquake Mass,” but no actual earthquake

Twelve-voice Mass setting by Antoine Brumel

By Peter Alexander Feb. 21 at 4:50 p.m.

Morgan.mtntop

Thomas Edward Morgan

Conductor Thomas Edward Morgan and Boulder’s Ars Nova Singers must really like Renaissance music that has many more than the usual four or five separate voice parts.

About this time last year, they performed a 36-voice canon by Johannes Ockeghem. The year before that, it was a 19-voice motet by Robert Carver. And in 2016, it was two separate pieces for 40 voices, the largest number ever called for in the Renaissance, by Thomas Tallis and Alessandro Striggio.

Screen Shot 2019-02-21 at 4.52.04 PM

The original manuscript of Brumel’s “Earthquake Mass” (1570)

This year’s offering is not quite on that scale, but it is unusual: a Mass by Antoine Brumel for 12 voices—the only Renaissance choral setting of the Mass for such large forces (performances Saturday in Boulder and Sunday in Denver). It is known as “The Earthquake Mass,” not because of the earth-shaking nature of the music, but because it is based on a tiny bit of sacred chant, originally sung to the words “Et ecce terra motus” (“And behold, the earth moved”).

It was customary in the Renaissance to build larger pieces on a short phrase of chant. This is not unlike jazz that is based on the bass line from a standard song, except that in the Renaissance the quoted phrase would be placed in an inner voice and might not be heard or recognized by the listener.

In this way, Brumel’s Mass was composed “just from that one little snippet of chant, which is the basis of the whole thing,” Morgan says. On the other hand, he adds, “there’s a section where he probably was thinking about the ground moving or something dramatic, because there’s a couple of vigorous and dramatic shaking moments in the piece.”

Such a large number of different voices creates a rich sound that Morgan and the choir relish. “For the ensemble it’s fun because there’s not many groups that can have 12 independent lines and really be confident that they’re going to all be there,” Morgan says.

“So it’s building on the capabilities of the group, but I just find that there’s nothing quite sonically like it again until the 20th century. I find (multi-part pieces) to be very interesting, because you’re listening for small changes in texture, and being able to hear it go from large sonic structures to much more intimate things, and to hear places where the voices come together and present something at the same time.”

At the same time there is a drawback to presenting music with so many parts intricately woven together. “It’s very dense, to the point where you just hear a lot of activity in the voices, and you hear little snippets of melody that go around the choir. Some (fragments of melody) are very clearly presented one after the other and some are layered in such a way that you can’t even perceive them any more because they’re right on top of each other.”

Morgan has structured the program so that the more dense music is not heard in a single, unbroken stretch. The five movements of the Mass will be performed in three sections at the beginning, the middle, and the end of the program, with other, more intimate pieces presented in between.

ann-marie-morgan

Ann Marie Morgan

Ann Marie Morgan, a member of Ars Nova and an internationally known instrumental performer, will play a variety of music on the viola da gamba, and at one point the singers will present a four-voice motet by Josquin Des Prez, conducted by Brian Dukeshier, Ars Nova’s new assistant conductor.

“I decided to give the singers a little break, and when you have a world-class viola da gamba player in your midst, it’s nice to use her occasionally,” Morgan says. “She’s put together a couple of little sets of (pieces). The intention is to create a context that draws the ear of the listener out of these large, dense textures and into a very intimate space.”

The viola da gamba pieces would not have been heard in services of the Mass in Brumel’s time, but it is not inauthentic to interrupt the larger musical portions of the program. In the church of the time, the various movements of the Mass would be heard at different times during the service, with chant and other events between, so that the listeners would not sit straight through 30 minutes of dense choral music.

Renaissance music is often performed that way in concerts, but listening that way “can be a bit of a challenge,” Morgan says, “because it’s just so much of the same kind of texture. Even within the mass we’re varying the texture in that we have sections that are being done by one voice on a part. So we have two little 12-tet groups that are presenting certain parts.”

Josquin’s motet introduces another kind of variety into the program. “It’s a four-part piece in the midst of all of this,” Morgan says. “It’s for choral variety, but it’s also a little bit for tessitura (voice range) variety, because it’s a considerably higher-pitched piece than the Mass. So we hear the sopranos go up in their register a little bit.”

Morgan has no hesitation recommending the Brumel Mass to new listeners of Renaissance music. “It’s so sonically lush that I think people will enjoy it,” he says. “You don’t perceive the underlying chant, but you hear the changes of harmony, and when it moves from one large tonal area into another, it has this kind of surge like a wave that arrives and then it recedes.

“It’s very gracious to listen to. I find it meditative in a way, because it does transport you into a place where you’re not trying to figure it out.”

# # # # #

arsnova_018

Music of the Renaissance: “The Earthquake Mass”
Ars Nova Singers, Tom Morgan, artistic director
With Ann Marie Morgan, viola da gamba

Antoine Brumel: Missa Et ecce terra motus (“The Earthquake Mass”)
Josquin Des Prez: Ave Maria…virgo serena
Music and arrangements for viola da gamba by various composers

7:30 p.m. Saturday, Feb. 23, St. John’ Episcopal Church, 1419 Pine St., Boulder
Tickets

4 p.m. Sunday, Feb. 24, St. Paul Community of Faith, 1600 Grant St., Denver
Tickets 

Pro Musica Colorado looks backward, forward and outward

Music by J.S. Bach, Haydn, and world premiere by Max Wolpert

By Peter Alexander Feb. 21 at 4:45 p.m.

The next concert by the Pro Musica Colorado Chamber Orchestra will look backward, and forward, and outward.

ct-ent-0311-classical-vinikour

Jory Vinikour. Photo by Peter Nuccio DiNuzzo.

The program, titled “Classical Evolution,” will be presented in Denver Friday (Feb. 22) and Boulder Saturday (Feb. 23) and, in a new venture for Pro Musica, in Longmont Sunday (Feb. 24).

The concert will feature works by J.S. Bach and Joseph Haydn, and the world premiere of a new work by Boulder-based fiddler/composer Max Wolpert. Music director Cynthia Katsarelis will conduct the concert, which will feature harpsichordist Jory Vinikour as soloist.

Bach’s piece on the program, the D minor Harpsichord Concerto, looks back in the sense that it probably derived from an earlier, but now lost, concerto for violin. Haydn’s Classical-era Symphony No 22 (“The Philosopher)”) looks back by starting with a movement in an earlier style from the Baroque period, and forward in the later movements by anticipating styles of the composer’s later symphonies.

And Wolpert’s Baroque in Mirror, a concerto for harpsichord and small orchestra, looks back to some revered folk performers and composers from Baroque times, outward to music of different traditions, and forward by bringing them into a contemporary setting.

Read more in Boulder Weekly.

# # # # #

“Classical Evolution”
Pro Musica Colorado Chamber Orchestra, Cynthia Katsarelis Music Director
With Jory Vinikour, harpsichord

Max Wolpert: Baroque in Mirror (World Premiere)
J.S. Bach: Harpsichord Concerto in D minor, BWV1052
Haydn: Symphony No. 22 in E-flat major (“The Philosopher”)

7:30 p.m. Friday, Feb. 22, First Baptist Church of Denver, 1373 Grant St.
7:30 p.m. Saturday, Feb. 23, Mountain View Methodist Church, 355 Ponca Pl., Boulder
2 p.m. Sunday, Feb. 24, Stewart Auditorium, Longmont Museum, Longmont

Tickets

Longmont Symphony presents “Sounds of America”

Soprano Christie Conover inspired the program with a Cowboy Song

By Peter Alexander Feb. 20 at 6:30 p.m.

The next concert of the Longmont Symphony started with, of all things, the notorious outlaw Belle Starr.

Belle_Starr,_Fort_Smith,_Arkansas,_1886

Belle Starr (l)

The program includes composer Libby Larsen’s Cowboy Songs, a set of three songs for voice and orchestra that opens with “Bucking Bronco,” a text loosely attributed to Starr. A warning to young girls, the text concludes “Now all young maidens, where e’er you reside/Beware of the cowboy who swings rawhide/He’ll court you and pet you and leave you to go/In the spring up the trail on his bucking bronco.”

Elliot Moore - credit - Photography Maestro

Elliot Moore, by Photography Maestro.

Elliot Moore, conductor of the Longmont Symphony, heard soprano Christie Conover sing the song at an audition and fell in love with it. “She sang stunningly beautifully,” he says. “I thought (the song) was fantastic and I thought that she really sold it.”

Deciding that he wanted to have Conover perform the Cowboy Songs with the LSO, Moore thought that another piece that would fit her voice would be Samuel Barber’s sweet recollection of childhood, Knoxville, Summer of 1915.  

With an American theme starting to come together, he decided that Aaron Copland’s ballet Rodeo would be the perfect companion to the Cowboy Songs. The final piece of the puzzle—or the program—is an American piece that is little known but that Moore really wanted to present, the Symphony No. 2 of Robert Kurka.

Robert Kurka

Robert Kurka

“It is an amazing American symphony that has been forgotten and deservers a spot in the repertoire,” Moore says. “Kurka was born in 1921 and died at 36, in 1957. He was being compared to Copland, (as) the next great American composer, but he died, so there’s very little of his work performed.”

The Symphony is a relatively short work in three movements. “The first movement has a gravitas to it, the second movement has kind of a lilting, dance feeling to it, and the last movement is just super, super joyful,” Moore says. “It’s been recorded I think twice, and it has remained on the shelf for 60 some odd years. It’s exciting that we have an opportunity to bring it out.”

A graduate of the CU Boulder College of Music , Conover relates naturally to the Cowboy Songs. “I’m from Montana, and a lot of my family is still out on the farm and the ranch,” she says. “My parents both grew up on farms and ranches, and I grew up going to the farms and ranches of my family.”

After the first song, which Moore describes as “cute and fun,” the second has a bluesy quality “It’s called ‘Lift me Into Heaven,’ and it is more (about) the physical aches that come from working on the farm. It’s not about dying and going into heaven, simply ‘I need you to lift me into bed so that I can go to sleep after a hard day.’ That to me sounds like what heaven is in this song.”

conover2

Christie Conover

Moore and Conover both describe the third song as “sassy.” It’s very short, about Billy the Kid and all the people he shot, “one every morning.” “Billy was a bad man,” the song states. “One day he met a man who was a whole lot badder/And now he’s dead and we ain’t none the sadder.”

As a true Westerner, Conover knows that some of the wild-west mythology is exaggerated. “But there has to be some truth to legend, in order for the stories to take shape,” she says. “I think there’s some truth to it.”

She also believes American audiences should hear music of their own culture on concerts. “It’s our repertoire, and it is important that we experience our own culture through music,” she says. “This is who we are.”

For many Americans, so is Barber’s Knoxville: Summer of 1915, a setting of James Agee’s description of a idyllic summer evening on the front porch and in the back yard with his family. It was published as a prologue to Agee’s Pulitzer Prize-winning autobiographical novel A Death in the Family.

Ostensibly the description of a time of happiness, the poem takes on a darker meaning in connection with the novel, which relates how the death of the author’s father shatters the family. It is both a depiction of innocence through the eyes of a child, and a premonition of the loss of innocence, through the eyes of the adult recalling childhood.

“I think that Barber did such an incredible job that the sense of nostalgia and innocence paired with loss of innocence comes out in the harmonies,” Moore says.

Barber paints the images of the summer evening in the music. “As an example, the rocking of the rocking chair is painted with a triplet figure in the flute,” Moore says. “(The text) talks about street cars being noisy in the traffic, and he puts in the French horn that makes a clanging sound. There’s a lot that Barber has put into the music to really bring the text into musical relief.”

Since beginning her study to Knoxville: Summer of 1915, Conover has found a deeper meaning from becoming a mother. “I have a 5-month-old now, and it’s a child talking,” she says. “He speaks about how his mother and his father are good to him, and how amazing that we are put on this earth at the same time, and I kind of easily well up.”

She read the text over and over before learning the notes. “It has to be me singing the (words of the text), whether the specific part I think about my son, or the part I think about my own mother and my own memories. You have to have those sensations in your mind as you’re singing it.

“If you’re feeling it and you’re visualizing it, the way the music comes out of you is different. That’s what’s so great about live music!”

4-Rodeo-Gallery_Largest_816x450

Agnes de Mille’s choreography for Rodeo. Pennsylvania Ballet, photo by Alexander Ilziliaev.

Following up the cowboy theme of Larsen’s songs, Moore and the LSO will perform the entire score of Copland’s ballet Rodeo. The ballet tells the story the courting of a shy cowgirl during a party with the ranch hands. The score includes a number of folk songs and fiddle tunes from American history, including “If He’d be a Buckaroo,” “Sis Joe,” “I Ride an old Paint,” “Bonaparte’s Retreat,” and “Miss McLeod’s Reel.”

“We’re performing is the complete ballet, which includes a movement that features a saloon-style solo piano called ‘Ranch-House Party,’ and that movement is generally omitted,” Moore says. “There’s also a big clarinet solo in the ‘Ranch House Party’ that is rarely heard.

“I think it’s neat that we’re bringing the complete music of the ballet to Longmont.”

# # # # #

elliotandlso-1Sounds of America
Longmont Symphony Orchestra, Elliot Moore, music director
With Christie Conover, soprano

Robert Kurka: Symphony No. 2 (Colorado premiere)
Samuel Barber: Knoxville, Summer of 1915
Libby Larsen: Cowboy Songs
Aaron Copland: Rodeo

7:30 p.m. Saturday, Feb 23
Vance Brand Civic Auditorium, Longmont

Tickets