Bernstein at 100 at CU

CU Boulder and College of Music join in world-wide celebration

By Peter Alexander

It started Aug. 31 with the CU Marching Band’s half-time show.

Bernstein_2000_07_cropped

Leonard Bernstein

“It” is the CU Boulder contribution to the world-wide juggernaut that is the 2018 centennial of Leonard Bernstein’s birth. If the CU-CSU “Rocky Mountain Showdown” seems an unusual place to celebrate the former director of the New York Philharmonic, Leonard Bernstein is a unique figure in American music. He famously wrote everything from serious symphonies to smash-hit Broadway shows. Indeed, he was such a protean figure that he is identified on the university’s Webpage as a “composer, conductor, educator, musician, cultural ambassador, and humanitarian.

For the record, the marching band played arrangements from West Side Story at the CU-CSU game in Denver. They will repeat the performance, with assistance from the Dance and Theatre Department at the Folsom Field halftime shows Saturday, Sept. 15, and Friday, Sept. 28.

Locally, the observance of the Bernstein centennial actually started long before August. Last April, the Boulder Philharmonic presented a sold-out performance of West Side Story in concert, and several of the concerts at the Colorado Music Festival this last summer were arranged around music Bernstein wrote, conducted, or was influenced by.

Cooperstock1

Andrew Cooperstock

With nearly 20 events on the calendar, the CU celebration will be the most wide-ranging Bernstein festival in the region. “We wanted to feature the University of Colorado, and involve as much of the College of Music as possible,” says Andrew Cooperstock, professor of piano in the College of Music and artistic director of CU Bernstein at 100.

“I think we’ve done that pretty well. We have faculty chamber music, we have student performances, we have all of the major ensembles, opera and wind symphony, and orchestra—and marching band! We have music theory and musicology as well, and extramural partnerships with the Program in Jewish Studies and the Department of Cinema Studies and Moving Image Arts.”

Cooperstock also noted the wide variety of Bernstein’s interests as a motivating aspect for the broad range of events. “Bernstein said he didn’t differentiate among different kinds of music,” Cooperstock says. “He had an interest in the Beatles, and Mahler, and jazz, and everything in between.”

Information about the CU Bernstein at 100 project can be found on their Web page, which also includes a calendar of all the CU Bernstein events. The calendar includes concerts and other performances, lectures, a masterclass, film screenings, and a full production of West Side Story by the Eklund Opera Theater. You can also find a page about Bernstein that has a brief bio and links to videos and essays about various aspects of his career written by people who knew him.

Jamie.b

Jamie Bernstein, the composer/conductor’s daughter

Among the authors is Jamie Bernstein, Leonard Bernstein’s daughter, whose remarkable book Famous Father Girl: A memoir of growing up Bernstein was published in June. Jamie Bernstein will be one of three special guests at CU during the week of Sept. 24–28, along with Glenn Dicterow, former concertmaster of the New York Philharmonic Orchestra, and Carol Oja, the William Powell Mason Professor of Music at Harvard University and one of the leading scholars on Bernstein and his music.

Events involving these guests will be covered in more detail later this month.

 

 

 

 

 

 

Advertisements

Grace Notes: Brief news items from the classical music scene in Boulder

gracenote4 blue

By Peter Alexander Aug. 20 at 9:45 p.m.

Boulder Chamber Orchestra hires executive director—The Board of Directors of the Boulder Chamber Orchestra announced earlier this summer that Courtney Huffman has been appointed as the organization’s executive director.

The executive director’s responsibilities had been handled by Bahman Saless, founder and artistic director of the BCO. After 14 years, he is now ready to leave administrative duties to Huffman in order to focus on the music.

Picture1

Courtney Huffman

“I have loved and cherished very moment and I am ready to take a step back and lighten the administrative load knowing that the orchestra is in good hands,” he said in a news release.

Huffman first joined the BCO organization three years ago as managing director. She had left in 2017 to work for an educational non-profit organization in Denver, but returned to Boulder when offered the position with the BCO.

“I am beyond excited to be returning to Boulder to lead the orchestra,” she said in the BCO’s news release. “I have loved classical music since I was a little girl, and this organization feels like home to me. I am honored to be able to ring in the orchestra’s 15thseason.”

Grace note red

MahlerFest also hires an executive director—Colorado MahlerFest recently hired its first executive director.

DSC_1964-reduced

Ethan Hecht

In a decision announced in July, MahlerFest hired Ethan Hecht as executive director after 31 seasons of performances. MahlerFest’s announcement notes that the festival has grown since the 2015 hiring of Kenneth Woods as the its second artistic director. The festival has added both workshops and a masterclass for young conductors, and introduced “festival artists” who are featured both in the MahlerFest orchestra and in chamber music performances during the festival.

According to the announcement from the festival, “the board looked to expand the administrative operations of the festival.” Hecht has performed at MahlerFest as the orchestra’s principal violist, and he has extensive administrative experience with Colorado Music Festival and Pro Musica Colorado Chamber Orchestra. He is currently executive director of the Boulder Chorale.

MahlerFest board president David Auerbach was quoted in the announcement of Hecht’s appointment: “This is a major investment in the future of the festival . . .We are very excited [Hecht] has joined the team.”

Grace note red

Pro Music Colorado announces 2018–19 season—The Pro Musical Colorado Chamber Orchestra has announced their 2018–19 season, titled “Classical Evolution!”

Photography by Glenn Ross. http://on.fb.me/16KNsgK

Cynthia Katsarelis

The central performance and likely audience favorite of the season will be Handel’s Messiah, to be presented Saturday and Sunday, Dec. 1 and 2, at Mountain View United Methodist Church, 355 Ponca Place in Boulder. The performance under conductor Cynthia Katsarelis will feature guests soloists to be announced later and the Boulder Chamber Chorale with artistic director Vicki Burrichter.

Mountain View Methodist, which has ample on-site parking, has become the orchestra’s home base in Boulder. All three of the season’s programs will be presented there. In addition, their September concert will be performed in Denver at Central Presbyterian Church, and the season-closing concert in February will be performed at the First Baptist Church of Denver and at the Stewart Auditorium in Longmont.

Here is the full 2018-19 season of Pro Musica Colorado Chamber Orchestra:

“Women Among Men”
7:30 p.m. Saturday, Sept. 22, Central Presbyterian Church, Denver
2 pm. Sunday, Sept. 23, Mountain View Methodist Church, Boulder
Cynthia Katsarelis, conductor, with Yumi Hwang-Williams, violin, and Amanda Balestrieri, soprano

Wolfgang A. Mozart: Serenade No. 6 for Orchestra in D major K. 239, Serenata notturna
Grazyna Bacewicz: Concerto for String Orchestra
Franz Joseph Haydn: Violin Concerto in C Major
Johann Sebastian Bach: Die Schätzbarkeit der weiten Erde (The treasure of the world), aria from Cantata 204

Handel’s Messiah
Cynthia Katsarelis, conductor, with the Boulder Chamber Chorale, Vicki Burrichter, conductor, and soloists tba.
7:30 p.m. Saturday, Dec. 1, Mountain View Presbyterian Church, Boulder
3 p.m. Saturday, Dec. 2, Mountain View Presbyterian Church, Boulder

“21st-Century Style”
Cynthia Katsarelis, conductor, with Jory Vinikour, harpsichord
7:30 p.m. Friday, Feb. 22, First Baptist Church of Denver
7:30 p.m. Saturday, Feb. 23, Mountain View Methodist Church, Boulder
2 p.m. Sunday, Feb. 24, Stewart Auditorium, Longmont

Max Wolpert: Harpsichord Concerto No. 1, “Baroque in Mirror” (World Premiere)
Philip Glass: Concerto for Harpsichord and Chamber Orchestra
Joseph Haydn: Symphony No. 22 (“The Philosopher”)

More information and tickets here.

Grace note red

CU Faculty Tuesdays start Aug. 28—The CU College of Music’s “Faculty Tuesdays” series starts next week, at 7:30 p.m. Aug. 28, in Grusin Hall of the Imig Music Building.

The first of the fall series of faculty recitals at CU will feature violinist Charles Wetherbee and pianist David Korevaar, performing three works: the Sonata for Violin and Piano in B minor of Ottorino Respighi; the Poeme op. 25 by Ernest Chausson; and one of the great masterpieces of violin repertoire, Beethoven’s Violin Sonata in A major op. 47, known as the “Kreutzer” Sonata.

You may check the full fall schedule for “Faculty Tuesdays” on the College of Music Web page. Note also that if you cannot make the trip to the CU campus for any of the performances, they are live-streamed every week through this Web page.

 

 

Boulder Philharmonic announces program change for 2018–19 season

Season Finale April 27 will be “The Dream of America”

By Peter Alexander Aug. 10 at 6:30 p.m.

The Boulder Philharmonic has announced a change in the final concert of their upcoming 2018–19 season, scheduled for 7:30 p.m. Saturday, April 27, in Macky Auditorium.

“The Dream of America,” a concert program that pairs Dvořák’s popular “New World” Symphony with Ellis Island: The Dream of America by Peter Boyer, will replace the previously announced performance of Peter Schaffer’s play Amadeus. The change was announced today (August 10) in a message sent to ticket buyers from Boulder Phil executive director Katie Lehman.

Fri1-404_EllisIsland-screen-ferry-docking-at-EI

A scene from the PBS broadcast of Peter Boyer’s “Ellis Island: The Dream of America,” performed by the Pacific Symphony with conductor Carl St. Clair

The program was selected by Boulder Phil music director Michael Butterman, who will conduct the performance.

Nominated for a Grammy, Ellis Island is a piece for actors and orchestra that was presented recently on the PBS series “Great Performances.” Based on stories from the Ellis Island Oral History Project, the score weaves together monologues, a full orchestral score and projected images from the Ellis Island archives. At the center of the piece are the stories of seven immigrants among the many thousands who entered the U.S. through Ellis Island between 1910 and 1940.

According to information released by the Boulder Philharmonic, the rights to present Amadeus had become unavailable due to plans to mount a major theatrical revival.

Patrons who already purchased tickets for April 27 who wish to keep their tickets need not do anything; their tickets will be mailed in September. Those who wish to exchange tickets for another performance, receive a refund, or donate their tickets back to the Boulder Phil should contact the orchestra’s office, at 303-449-1343 (11 a.m. to 4 p.m., Monday–Friday).

Boulder Philharmonic season information and tickets are available on their Web page.

BPOFB-Cover_2018-19

Madama Butterfly, Billy Budd to be presented by Central City Opera in 2019

The schedule also includes smaller works by Debussy and Poulenc

By Peter Alexander July 27 at 5:20 p.m.

While you were busy watching the operas, Central City Opera Company slipped some news into the program book.

CCO House by Ashraf Sewaiilam

Central City Opera House (photo by Ashraf Sewailam)

Page 10 of the deluxe 2018 season book lists the 2019 season, which will offer the opportunity to hear one of the most popular operas ever, as well as three works that are genuine rarities in the opera house. The latter include two smaller works more often classified as oratorios, and one major opera by a truly great opera composer.

The season will follow the pattern of recent years, with two large-scale productions in the Central City Opera House, and two smaller one-act works in more intimate venues in Central City:

* Madama Butterfly by Giacomo Puccini
* Billy Budd by Benjamin Britten
* La Damoiselle élue (The blessed damozel) by Claude Debussy
* Litanies à la Vierge noire (Litanies to the Black Virgin) by Francis Poulenc

CCO Butterfly 2010 Yunah Lee.Chad Shelton

Yunah Lee and Chad Shelton in Madama Butterfly, Central City 2010

According to the Web site Operabase, Butterfly was the seventh most frequently performed opera in 2017–18, with 2,428 performances world wide. It was last performed by CCO in 2010. That production will be returning, but with a different director.

It was long been the ambition of CCO’s general/artistic director Pelham G. Pearce, Jr., to present all of the operas by Benjamin Britten in Central City. “Oh, I love Britten!” he says.

Of the Britten operas yet to be done at Central City, Billy Budd, which calls for a very large cast of all men and takes place on a British man-o’-war, would seem to pose the greatest challenge in the intimate Central City Opera House.

glyndebourne-billy-budd

Billy Budd at the Glyndebourne Festival

Billy Budd is at this point the biggest show we will ever have done inside the theater,” Pearce says. “I’m really excited about it. There are so many people in Billy Budd it’s just crazy, but it’s such a glorious work. I swear the roof is going to come off in that space!”

In contrast, the smaller works next year will feature female voices. “Because Billy Budd is all male, outside of the main stage we will be staging Debussy’s Blessed Damozel, which is all female” Pearce says. “And going along with that will be The Litany of the Black Virgin by Poulenc, also for all female voices.”

Offering two shorter works each year is a plan that Pearce has become attached to. “We do really well with these (shorter) shows,” he says. “And they provide a really great opportunity to show off young artists. So I’m pleased with them.

“It provides me the opportunity to play a little bit in areas of repertory that we normally don’t get into. There’s a whole lot of stuff that’s written that’s not a full evening in the theater, and that often gets neglected. So having the opportunity to play in that pond of work has been really a lot of fun for me.”

Pat.Pearce.2018

Pelham (Pat) Pearce

Pearce is especially happy to offer the two works for all female voices. “I have a thing about just women voices,” he says. “Blessed Damozel is a gorgeous piece that (Debussy) wrote when he was very young. He originally wrote it for just piano, which is how we’re going to do it. It’s glorious music, (and all) you’re going to have to do is walk into the church, sit down, and be immersed in the sound.”

He first heard Blessed Damozel years ago when he bought a recording. He had never heard it before, but, he says, “I put this on and said ‘My god, that’s the most beautiful thing I’ve heard in my life!’ So that’s been stuck in the back of my head for years. And now I have an opportunity to do it!”

Although the season has been announced, tickets are not yet available for 2019. Cast members and production details are generally announced in the fall, with subscriptions going on sale in December and single tickets in the spring preceding the summer season. Watch for further announcements on the CCO Web page.

 

Three Classical Music groups announce seasons for 2018–19

Boulder Chamber Orchestra, Ars Nova and Boulder Opera set their schedules

By Peter Alexander July 12 at 1:45 p.m.

Three different classical musical organizations in Boulder—Boulder Chamber Orchestra, Ars Nova Singers and Boulder Opera—have recently made public their planned season for the coming year. The full season for each group is listed below.

First out of the blocks will be the Boulder Opera Company, with a free concert in the Boulder Bandshell at 7 p.m. Saturday, Aug. 18. The performance with piano, co-sponsored by the City of Boulder, will feature highlights from Puccini’s La Bohème and other popular operas.

Boulder Opera

Boulder Opera Company

Over the three days span Dec. 7–9, Boulder Opera will present the Colorado premiere of Little Red Riding Hood by Russian composer Cèsar Cui. All six matinee performances of this 35-minute work will be accompanied by piano and string quartet, and will offer the opportunity for children to sing ensemble parts. Part of Boulder Opera’s educational program, Little Red Rising Hood will also be taken to after-school programs and the Center for Musical Arts in Lafayette.

The season will conclude May 3 through 12 with the paring of two one-act operas, the comedy Signor Deluso by Thomas Pastieri, sung in English; and the tragic Cavalleria Rusticana (Rustic Chivalry) by Pietro Mascagni, sing in Italian with English titles.

In addition to these performances, Boulder Opera will present a public masterclass in Italian opera Tuesday, Aug. 14, and a fund-raising Gala Concert, featuring highlights from the season Friday, Oct. 12.

Executive/artistic director of Boulder Opera is Dianela Acosta. More information on Boulder Opera can be found here.

ANScircleground

Ars Nova Singers

Ars Nova Singers title their 2018–19 season “New Horizons.” Over four concerts the season covers a wide musical spectrum, from the opening concert of “Sacred Jazz” in October, featuring Will Todd’s Mass in Blue for soprano, choir and jazz ensemble, described as “religious doctrine meets funk”; to February’s program featuring the Renaissance “Earthquake Mass” of Antoine Brumel, which has been called “one of the true marvels of Renaissance choral writing.”

The annual Ars Nova Holiday concert in December will feature the Colorado premiere of The Consolation of Apollo by Kile Smith, a work celebrating the 1968 Christmas Eve broadcast by the crew of Apollo 8. The program will also include music for the holiday season.

Ars Nova will conclude the season with “A Celebration of Colorado Artistry: Shared Visions 2.” The Arts Nova Web page describes this multi-disciplinary collaborative project: “In the summer of 2018, an online gallery of works by Colorado visual artists will be assembled. Then, poets from across the state will view the gallery and use the images as a basis for writing new poetry. This new poetry will be assembled into an anthology, and Arts Nova will commission four Colorado composers to use this anthology to create new music for chorus.”

The artistic director and conductor of Ars Nova is Thomas Edward Morgan. More information on Ars Nova Singers can be found here.

Boulder Chamber Orchestrawill present five full orchestral concerts during the year under music director Bahman Saless, plus a season-opening chamber music concert by violinist Lindsay Deutsch and her piano trio Take 3, with pianist Susan Boettger and cellist Lila Yang.

bconew_1

Boulder Chamber Orchestra

Over the season, the BCO will feature several soloists from the CU faculty: pianist David Korevaar playing Mozart in December; violinist Edward Dusinberre, also playing Mozart in February; and violist Geraldine Walther playing an arrangement for viola and strings of Brahms’s Clarinet Quintet. Violinist Chloe Trevor will be a guest soloist in November, playing the Vivaldi Four Seasons concertos as well as the Piazzolla Four Season of Buenos Aires.

In addition to Mozart, the December program will include Corelli’s “Christmas Concerto” and settings of holiday carols. Among the latter will be one of the more unusual pieces of the BCO season, Weihnachtsmusik by Arnold Schoenberg, which is actually a little known but perfectly lovely setting of the familiar German Christmas hymn Es ist ein Ros entsprungen (known as “Lo, how a rose e’er blooming”).

The season will end in May with a concert featuring BCO members Cobus DuToit, flute, and Bridget Kibbey, harp, playing Mozart’s Concerto for Flute and Harp.

Not on the schedule this year will be a New Year’s Eve concert, which BCO has made part of their season for several years. According to Saless, more and more orchestras are filling that slot in the calendar, so the BCO performance was no longer unique.

More information on the Boulder Chamber Orchestra can be found here.

# # # # #

 

BOULDER OPERA
Dianela Acosta, artistic director
2018–19 season

Italian Opera Masterclass with Anthony Michaels-Moore
Congregation Nevei Kodesh, 1925 Glenwood Dr., Boulder
2 p.m. Tuesday, Aug. 14

Opera in the Park
Boulder Bandshell
7 p.m. Saturday, Aug. 18
Free

Gala Concert
The Studio, 3550 Frontier Avenue, Boulder
7 p.m. Saturday, Oct. 12

Family Series
Cèsar Cui: Little Red Rising Hood
The Nomad Playhouse, 1410 Quince Ave, Boulder
1 & 4 p.m. Friday, Dec. 7
2 & 4 p.m. Saturday, Dec. 8
1 & 3 p.m. Sunday, Dec. 9
Sung in English

Thomas Pastieri: Signor Deluso (Sung in English)
Pietro Mascagni:Cavalleria Rusticana (Sung in Italian with English titles)
The Nomad Playhouse, 1410 Quince Ave, Boulder
7:30 p.m. Friday, May 3
7:30 p.m. Saturday, May 4
7 p.m. Wednesday, May 8
7:30 p.m. Saturday, May 11
3 p.m. Sunday, May 12

More information here

ARS NOVA SINGERS
Thomas Edward Morgan, artistic director
2018–19 Season
“New Horizons”

Sacred Jazz
7:30 p.m. Friday, October 5, SJE (St. John’s Episcopal Church, Boulder)
7:30 p.m. Saturday, Oc.t 6, BLC (Bethany Lutheran Church, Cherry Hills Village)
Will Todd: Mass in Blue

In the Moon of Wintertime
7:30 p.m. Friday, Dec. 7, SJE
4 p.m. Sunday, Dec 9, SPDen (St. Paul Community of Faith, Denver)
7:30 p.m. Thursday, Dec. 13, SJE
7:30 p.m. Saturday, Dec. 14, FCC (First Congregational Church, Longmont)
Kile Smith: The Consolation of Apollo(Colorado premiere)
Holiday Music

Music of the Renaissance: The Earthquake Mass
7:30 p.m. Saturday, Feb. 23, SJE
4 p.m. Sunday, Feb. 24, SPDen
Antoine Brumel: Missa Et ecce terra motus (Mass “And behold the earth moved”)

A Celebration of Colorado Artistry: Shared Visions 2
7:30 p.m. Friday, April 26, BLC
7:30 p.m. Saturday, April 27, SJE
New works by Colorado composers

More information here

BOULDER CHAMBER ORCHESTRA
Bahman Saless, music director
2018–19 Season

Saturday October 6, SDA (Seventh Day Adventist Church)
Take 3: Susan Boettger, piano; Lindsay Deutsch, violin; and Lila Yang, cello

Friday Nov. 30, BA (Broomfield Auditorium); Sat. Dec. 1, SDA
Chloe Trevor, violin
Vivaldi: Four Seasons
Piazzolla: Four Season of Buenos Aires
Janáček: Suite for strings

Friday Dec. 21, BA; Sat. Dec. 22, SDA
David Korevaar, piano
Mozart: Piano Concerto in B-flat Major, K595
Handel: Concerto Grosso, op. 3 no. 1
Corelli: Concerto Grosso op. 6 no. 8, “Christmas Concerto”
Schoenberg: Weihnachtsmusik (Christmas Music)
Selected Holiday Carols

Friday Feb. 1 (BA); Sat, Feb. 2, 2019 (Boulder)
Edward Dusinberre, Violin
Mozart: Violin Concerto in G major, K216
Sibelius: Suite Mignonne
Tchaikovsky: Serenade for Strings

Friday March 29, (BA); Sat, March 30 (SDA)
Geraldine Walther, viola
Brahms: Clarinet Quintet, arranged for viola and strings
Verdi: String Quartet, arranged for string orchestra

May 12 (SDA) (Sunday Matinee)
Cobus DuToit, flute; Bridget Kibbey harp
Mozart: Concerto for Flute and Harp, K299/291c
Debussy: Prelude to Afternoon of a Faun
Mozart: Symphony No. 33

More information here
Season tickets

A LOSS FOR BOULDER’S CLASSICAL MUSICIANS

Classical music journalist/critic Kelly Dean Hansen leaves the Daily Camera

By Peter Alexander June 26, 2018, at 12:05 a.m.

Kelly Dean Hansen, the classical music critic for the Boulder Daily Camera since 2011, recently resigned his post.

Kelly Dean Hansen Camera Classical Music Writer

Kelly Dean Hansen. Boulder Daily Camera photo.

Hansen resigned as of May 27, but only announced the decision yesterday, June 24. He had written music criticism for the Camera since 2003, first as an assistant to long-time local critic/journalist Wes Blomster, and then as the newspaper’s sole classical music writer after Blomster’s death in October, 2011.

Hansen’s departure had been rumored in classical music circles for some time, and the publication by the Camera of a preview of this summer’s Colorado Music Festival—long a favored topic for Hansen—by reporter Christy Fantz on June 22 seemed to confirm the rumors. Two days later, on June 24, the Boulder Free Press Web page published an article by Hansen announcing his resignation from the Camera and explaining his decision.

The main reason appears to have been the gradual reduction in the number of articles and the total space allotted by the paper for classical music. After 2017, Hansen wrote, “the cuts were unrelenting and ever increasing. . . . By the time I submitted my last piece around Memorial Day, my writing had become a shadow and shell of its peak around 2014.”

Asked to comment on Hansen’s departure, Quentin Young, the Camera’s features and entertainment editor, wrote: “The Camera, like newspapers across the country, has fewer resources than it did five or 10 years ago. But we remain committed to providing robust coverage of local news and events, including classical music.”

In a spoken conversation he added a personal note of appreciation. “Kelly had a rare mix of talents, which most importantly includes a breadth of knowledge of the subject he was writing about,” Young said. “I’m personally sad to see that go.”

Hansen expressed his own sadness in his article for Boulder Free Press, writing “the pain is real, the sense of loss is real.” Likewise, the loss to the Boulder classical music community—musicians, musical organizations and audiences—is real, for at least two reasons.

One is that Hansen had a unique and well informed perspective that cannot be completely replaced. And the second reason is that any community thrives best when multiple voices are heard.

I remember when my friends in the professional theater world used to complain about the power wielded by a single critic in New York, Frank Rich of the Times. I always maintained that the only problem with the highly opinionated and outspoken Rich was that there were not more of him. Likewise, the loss of critical voices and informed journalists in city after city across the country weakens the fabric of our artistic communities, and is always to be mourned.

“In today’s journalistic world I was an anachronism,” Hansen writes, noting the shrinkage of arts criticism in the country’s daily newspapers. “But,” he adds, “I genuinely believe that what I had to offer was both rare and treasured, which explains why I did what I did for as long as I did.”

Indeed.

Finally, my personal reaction is first of all my sadness not to see him at the concerts I attend, which has been a part of musical life since I arrived here, and also that I do not want to be the sole critical voice in Boulder’s incredibly vital classical music scene. Honestly, there is more than any one person can quite keep up with.

Besides, I love to read what others have to say, even when they have a very different perspective than mine—as Hansen often did. I learned from reading his reviews, and will happily welcome other writers to the scene, whenever they might appear.

Let us hope we do not have too long to wait.

NOTE: Edited to correct typos, 6.26.18

Boulder Bach Festival announces 38th concert season

B-minor Mass will be performed on Veterans’ Day/Remembrance Day Nov. 11

By Peter Alexander May 24 at 10:20 p.m.

The 38thconcert season of the Boulder Bach Festival, 2018–19, will include a performance of the B-minor mass, one of the great masterworks of European music, as well as a chamber concert, a guest appearance by conductor Nick Carthy from CU, a dance performance with electric instruments, and the unveiling of a new/old piano, manufactured in Paris in 1845.

ZC conducts chorus May 2017

Boulder Bach Festival Orchestra and Chorus, Zachary Carrettin, conductor

Also noteworthy will be the role of guest artists during the season, both as performers and as expert teachers of early musical performance styles, and the introduction of a Baroque orchestra and a Romantic orchestra as historically-informed performance ensembles.

The season was announced tonight (May 24) at the BBF’s final concert of the 2017–18 season. In a news release, the BBF’s director, Zachary Carrettin, commented: “The Boulder Bach Festival’s 38th season celebrates the influence of J.S. Bach across time and across cultures, and explores the musical dialogue with modern instruments, period instruments, electric instruments, and various vocal and choral forces. The guest artists contribute in performance, masterclasses, lectures, and more, adding to our rich cultural landscape.”

Hill-Robert-04

Robert Hill

The season opens Sept. 13 with a chamber concert featuring harpsichordist Robert Hill, who teaches historical keyboards and performance practice at the Hochschule für Musik in Freiburg, with Carrettin performing on Baroque violin and viola and the cello da spalla. The all-Bach program will include sonatas, a concerto, a suite, and the Chromatic Fantasy and Fugue in D Minor BWV 903. (See details of all concerts below.

The BBF returns to CU Macky Auditorium for a performance of the B-minor Mass on Nov. 11, Remembrance Day in the Commonwealth nations and Veterans’ Day in the U.S. The performance by the Bach Festival Orchestra, Chorus and soloists will be under Carrettin’s direction. Audience members will be given poppies, since World War I a symbol of soldiers lost in battle, and given the opportunity to place them on the front of the stage.

carthy.02

Nicholas Carthy

Nicholas Carthy, music director of the CU Eklund Opera Program, will be guest conductor for performances Feb 14 and 16 by the BBF Fellowship Artists Baroque Orchestra. Titled “From London with Love,” the concert will feature Baroque music from England.

The BBF moves to the Dairy Arts Center April 5, 6 and 7 when the Venice on Fire electric Baroque instrument trio collaborates with 3rdLaw Dance/Theater to recreate “Obstinate Pearly,” first performed in 2014. Composers will include Barbara Strozzi, J.S. Bach and their contemporaries.

IMG_2937

1845 Érard piano

For the season finale May 23, the BBF will present a Romantic-era period instrument chamber orchestra accompanying pianist Mina Gajićin Chopin’s Piano Concerto #2 in F Minor. Past performances have introduced Gajić’s 1895Érard piano, and in this concert she will play her earlier Érard grand from 1845, an instrument built during Chopin’s lifetime. The orchestra will also perform Haydn’s Symphony No. 49 in F minor, “La Passione,” and the Fellowship Artists Vocal Ensemble will perform a motet by Brahms.

# # # # #

Boulder Bach Festival
38thSeason, 2018–19

1468860154829

Zachary Carrettin with cello da spalla

Gala opening concert
Robert Hill, harpsichord, and Zachary Carrettin, Baroque violin, viola and cello da spalla
Solo and duo works by J.S. Bach

7:30 p.m. Thursday, Sep. 13
Stewart Auditorium, Longmont Museum

Dance of Life: J.S. Bach’s B Minor Mass
Festival Chorus and Orchestra, Zachary Carrettin, conductor
With Jennifer Bird-Arvidsson, soprano; Abigail Nims, alto; Peter Scott Drackley, tenor; and Ashraf Sewailam, bass

2 p.m. Sunday, Nov. 11
Macky Auditorium

From London With Love
Songs of love and passionate concertos
Boulder Bach Festival Fellowship Artists Baroque Orchestra, Nicholas Carthy, guest conductor
With Guy Fishman, cello; Szilvia Schranz, soprano; and Claire McCahan, mezzo-soprano

7:30 p.m. Thursday, Feb. 14, 2019, Broomfield Auditorium
7:30 p.m. Saturday, Feb. 16, 2019, Stewart Auditorium, Longmont Museum

AR-07-3rdlawdance-lr

3rd Law Dance/Theater

Obstinate Pearl
Venice On Fire electric instrument trio with 3rd Law Dance/Theater
Zachary Carrettin, violin; Gal Faganel, cello; and Keith Barnhart, guitar
Katie Elliot, choreographer
Music by Barbara Strozzi, Robert de Visée, J.S. Bach and others

7:30 p.m. Friday, April 5, 2019
2 and 7:30 p.m. Saturday, April 6, 2019
7 p.m. Sunday, April 7, 2019
Dairy Arts Center

moina.courtney.lee

Mina Gajic

The Romantic Period Orchestra and Piano
Boulder Bach Festival Fellowship Artists Chamber Orchestra and Vocal Ensemble
Zachary Carrettin violin/conductor, with Mina Gajic, piano
Colorado debut of 1845 Érard grand piano

Brahms: Es ist das Heil uns kommen her
Haydn: Symphony No. 49 in F minor, “La Passione”
Chopin: Piano Concerto No. 2 in F Minor

7:30 p.m. Thursday, May 23
Boulder Adventist Church, 345 Mapleton Ave., Boulder

Season subscription tickets available May 25

image