David Korevaar is appointed CU College of Music’s second distinguished professor

Two recent CDs illustrate his breadth and depth as performerSept. 18 at 3:50 p.m.

By Peter Alexander Sept. 18 at 3:50 p.m.

The University of Colorado, Boulder, has appointed prof. of piano David Korevaar as a distinguished professor.

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Distinguished Professor of Piano David Korevaar

Korevaar, the Helen and Peter Weil Faculty Fellow in the College of Music, joined the CU faculty in 2000. He is one of 106 CU faculty to receive that honor, and only the second faculty member from the College of Music. The first was former director of bands Allan McMurray in 2004.

According to the announcement from the university, Korevaar said “I got a phone call out of the blue from [University of Colorado president Mark] Kennedy. While I’d been fully aware that my name had been put in the pool, I did not expect the honor to come to me given the amazing contributions of so many in so many fields in the CU system. I’m completely blown away at the support I received from friends and colleagues both within and outside the university.”

Illustrating the remarkable breadth of Korevaar’s performing career, two CDs by him have recently be released by MSR Classics. Both come from relatively unexplored areas of the repertoire, reflecting Korevaar’s adventurous and energetic approach to music as well as the depth of his interpretations.

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Liebermann discLowell Liebermann: Piano Music, Volume 3: Nocturnes No. 8–11, Variations on a Theme of Schubert, op. 100; Two Impromptus, op. 131; and Piano Sonata No. 3, op. 82. David Korevaar, piano. MSR Classics MS 1688.

Korevaar has now released three volumes of the piano music of Lowell Liebermann, a contemporary pianist and composer who lives in New York and teaches composition at Mannes College/The New School of Music. The latest volume features both shorter and longer works, ranging from impromptus of about four and five minutes length, and a sonata that is nearly 18 minutes.

The four nocturnes on the recording are filled with sparkling flourishes that recall the legacy that Chopin and the Irish composer John Field first bestowed on the genre. Korevaar’s restraint and transparency serves these passages well, but the delicacy of the decoration conceals a much more complex texture that Korevaar makes audible beneath the ornamentation.

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Lowell Liebermann

Liebermann’s Variations on a Theme of Schubert is for me the most intriguing work on the disc. Based on the lovely and uncomplicated song Heidenröslein (Little heather rose), the variations start with a simple statement of the song theme, then goes immediately into a variation that declares, regardless of the origin of the theme, that this is not music from an 1820s Viennese salon.

The music becomes increasingly distant from Schubert’s world, until the theme seems to disappear, with only passing diatonic passages to suggest where the journey started. Liebermann uses traditional variation techniques, including imitation and sequence, as he builds ever more complex and dense variations. Then approaching the end, the melody emerges again from the complex texture, and his briefly heard in its pure state.

All of this is easily described and followed because Korevaar’s playing is so clean, the texture is always transparent, and the emotional profile is so well defined. It is hard to imagine the piece played better.

The same is true of the Sonata, which however requires a different set of pianistic tools. This is adventurous pianism: Korevaar in his liner notes refers to a “frenzied outburst” of “desperate virtuosity” in the “wildly virtuosic finale.” If it sounds less than frenzied on the disc, you can attribute that to Korevaar’s calm control and his mastery of the necessary virtuosity.

Fan’s of Liebermann’s music or contemporary piano works will want to own this disc, which presents an attractive variety of works, beautifully played.

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Perrachio coverLuigi Perrachio: Nove Poemetti/25 Preludi per pianoforte. David Korevaar, piano. MSR Classics MS 1710.

Korevaar’s most recent recording certainly exemplifies his adventurous approach to repertoire. He came across the music of Luigi Perrachio, a mostly forgotten Italian pianist, music teacher and composer from the first half of the 20thcentury, in the CU Music Library and was immediately intrigued. In this, the first recording of Perrachio’s Nove Poemetti (Nine little poems) and 25 Preludes, Korevaar makes a very strong case for the composer and his music.

Described as an “Italian Impressionist,” Perrachio wrote music that shows the influence of Debussy and Ravel, both of whom the composer met in Paris. This influence is shown in the poetic titles of the Nove Poemetti, including Sera (Evening), Zefiro(Zephyr) and Danzatrici a Lesbos (Dancers in Lesbos), as well as the atmospheric and somewhat dreamy style of the music.

These impressionistic sketches are the most successful pieces in the set, clearly reflecting their titles in music of gentle expressivity. Other movements (La notte del morti, The night of the dead) seem more abstracted, less tethered to an image or expressive current.

In contrast to the Poemetti, the Preludes are more direct, not nearly as delicate or atmospheric. The program notes describe the Preludes as muscular and neo-classical in style; to me, they recalled the Preludes of Chopin rather than those of Bach or any Classical-era composers.

Korevaar’s playing captures the mood and expression of each of the miniatures on the disc. His delicate touch and transparency of sound are particularly effective in the Nove Poemetti, but he is more than up to the stronger profile and more robust style of the preludes.

These are all attractive and worthwhile pieces that deserve a place in the repertoire. I hope that Korevaar’s beautiful and convincing performances will bring Perrachio to wider notice and his accessible, smaller works find a place on piano recital programs.

Longmont Symphony announces 2019–2020 season, “Music is Life”

Handel’s Messiah and ongoing Beethoven cycle will be among season’s highlights

By Peter Alexander May 15 at 2:15 p.m.

The 53rdseason of the Longmont Symphony will include a performance of Handel’s Messiah, two programs in the orchestra’s ongoing Beethoven cycle, and two performances each of two chamber orchestra programs in the Longmont Museum’s Stewart Auditorium.

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Elliot More with there Longmont Symphony. Smiling Elk Photography.

Under the title “Music is Life,” the 2019–20 season is the third under music director Elliot Moore. There will be six concerts in the LSO’s home, Vance Brand Auditorium, including a Pops concert, “LSO at the Movies!” (May 9, 2020), and a family concert (Jan. 18, 2020; see full schedule below).

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Elliot Moore

During Moore’s first two years with the LSO, the Beethoven cycle included performances of the First and Second symphonies by a chamber orchestra in Stewart Auditorium. For 2019–20, the cycle moves into Vance Brand Auditorium for a performance of the Third Symphony by the full LSO (Nov. 9), followed by the Fourth Symphony performed by the Longmont Chamber Orchestra back in Stewart Auditorium (March 7 & 8).

A longstanding tradition of the LSO, performances of Tchaikovsky’s Nutcracker with Boulder Ballet, will continue on Dec. 7 & 8. The “Gentle Nutcracker,” a sensory-friendly performance of the beloved ballet designed for individuals with special needs and their families, will be presented Dec. 7.

The Main Series opening night, Oct. 5, will feature organist Brian du Fresne playing Francis Poulenc’s Concerto for Organ and the organ part of Camille Saint-Saëns’ Symphony No. 3 “avec orgue” (with organ), popularly known as the “Organ Symphony.” Other soloists during the season will include Russian cellist Adrian Daurov, playing Shostakovich’s Cello Concerto No. 1 (Nov. 9); the return to Longmont of violinist Andrew Sords for John Corigliano’s Violin Concerto “The Red Violin” (Feb. 15); and percussionist Cameron Leach performing Jennifer Higdon’s Percussion Concerto (April 4).

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Christie Conover

The Messiah performance (Dec. 15) will feature the Longmont Chorale Singers and vocal soloists TBA. Soprano Christie Conover and bass Joshua South will perform Stravinsky’s complete Pulcinella ballet with the Chamber Orchestra in Stewart Auditorium (Oct. 19­–20), on a program that will also include Conover singing Mozart arias with the orchestra.

Kicking off the entire season is the LSO’s annual free concert July 4 in Thompson Park. As in past years, the program will be shared with the Longmont Chorale and the Longmont Youth Symphony.

Six‐concert subscription packages for the LSO’s 53rdseason go on sale on Monday, May 20 (call 303‐772‐5796;10 a.m.–2 p.m. Mondays; and 10 a.m.–4 p.m. Tuesdays, Thursdays and Fridays). Series subscribers receive up to 20% off single ticket prices. Single tickets for Main Series concerts are $25 for adults, $22 for seniors and active military, $5 for children/students ($10 for the Pops and Messiah performances).

All LSO Museum concerts are $35 (includes a glass of wine and post‐concert reception). Handel’s Messiah tickets are $30 for adults; children/students $10. Family Concert tickets are $10. Single tickets go on sale on Monday, Aug. 26, via phone and online here.

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JULY 4TH CONCERT IN THE PARK

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LSO in Thompson Park. Photo by Peter Alexander.

Thursday, July 4, 11:30 a.m.
Thompson Park, 420 Bross Street, Longmont (Free and open to the public)
11:30 a.m. – Longmont Youth Symphony
12:30 p.m. – Longmont Chorale
1 p.m. – Longmont Symphony, Elliot Moore, conductor

MAIN SERIES CONCERTS
All Main Series Concerts are conducted by Elliot Moore and performed at Vance Brand Civic Auditorium at Skyline High School. 

Opening Night: The Organ Symphony
7:30 p.m. Saturday, Oct. 5
With Brian du Fresne, organ

J.S. Bach, arr. Stokowski: Passacaglia and Fugue
Francis Poulenc: Concerto for Organ
Saint‐Saëns: Symphony No. 3, “Organ Symphony” 

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Adrian Daurov

Beethoven Cycle
7:30 p.m. Saturday, Nov. 9
With Adrian Daurov, cello

George Enescu: Prelude in Unison
Shostakovich: Cello Concerto No. 1
Beethoven: Symphony No. 3, “Eroica”

The Force of Destiny
7:30 p.m. Saturday, Feb. 15
With Andrew Sords, violin

Verdi: Overture to La forza del destino
John Corigliano: The Red Violin Violin Concerto
Paganini: Violin Concerto No. 2, Rondo (“La Campanella”)
Respighi: The Pines of Rome

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Cameron Leach

A Fanfare for All: Sidebyside with the Longmont Youth Symphony
7:30 p.m. Saturday, April 4
With Cameron Leach, percussion

Gwyneth Walker: Open the Door
Jennifer Higdon: Percussion Concerto
Copland: Symphony No. 3

Pops Concert: LSO at the Movies!
7:30 p.m. Saturday, May 9

Music from Chariots of Fire, Cinema Paradiso, Batman, Titanic, Lord of the Rings, and other films

MUSEUM CONCERTS
Stewart Auditorium, Longmont Museum

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La Commedia dell’arte
Longmont Chamber Orchestra
Elliot Moore, conductor, with Christie Conover, soprano; tenor TBA; and Joshua South, bass

7 p.m. Saturday, Oct. 19
4 p.m. Sunday, Oct. 20

Mozart: Overture to Le nozze di Figaro
Mozart: Selected arias for soprano and orchestra
Stravinsky: Pulcinella (complete ballet)

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Beethoven. Portrait by Christian Horneman, 1803

Beethoven Cycle: Schubert & Beethoven
Longmont Chamber Orchestra, Elliot Moore, conductor

7 p.m. Saturday, March 7
4 p.m. Sunday, March 8

Schubert: Symphony No. 5
Beethoven: Symphony No. 4

 

HOLIDAY EVENTS

 The Nutcracker with the Boulder Ballet
Music by Tchaikovsky
Elliot Moore, conductor

4 p.m. Saturday, Dec. 7,
2 p.m. Sunday, Dec. 8
Vance Brand Civic Auditorium 

The Gentle Nutcracker
1 p.m. Saturday, Dec. 7, 1 p.m.
Vance Brand Civic Auditorium

A sensory‐friendly performance for individuals with special needs and their families.

 

Handel’s Messiah
Longmont Chamber Orchestra and Longmont Chorale Singers
Elliot Moore, conductor, with vocal soloists TBA

4 p.m. Sunday, Dec. 15
Westview Presbyterian Church, Longmont

FAMILY CONCERT

 

Longmont Symphony Orchestra, Elliot Moore, conductor
4 p.m. Saturday, Jan. 18
Vance Brand Civic Auditorium

Saint‐Saëns: Selections from Carnival of the Animals
Bizet: Les Toreadores from Carmen
Prokofiev: Peter and the Wolf 

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Subscription tickets for the LSO go on sale Monday, may 20. Call 303-772-5796. Single tickets will go on sale Monday, Aug. 26.

Boulder Phil unveils new season, new motto, new logos

2019–20 season, labelled “Let’s play,” features pop elements throughout

By Peter Alexander April 7 at 3 p.m.

The Boulder Philharmonic Orchestra—now officially aka “Boulder Phil”—unveiled their coming season, a new logo, and a new motto at an event for friends and supporters of orchestra Thursday evening, April 4.

B.Phil logoAcknowledging popular practice, the name “Boulder Phil” has been incorporated into the official logo. The logo itself is actually three related symbols, all of them playfully swirling swoops and curls. And in the same spirit, the new motto, for the orchestra and for the season, is “Let’s play.”

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Jonny Greenwood of Radiohead

All of that reflects the 2019–20 season’s programming, which includes some familiar classical masterpieces and also elements popular in the culture at large and with Boulder audiences: Music by Jonny Greenwood of the alt-rock band Radiohead and by Jon Lord of Deep Purple; the return to the Boulder Phil of the piano duo Anderson & Roe, a Boulder audience favorite since their 2016 performance with the orchestra; a screening of the popular film Raiders of the Lost Ark with the John Williams score performed live onstage; and a concert of “The Music of Queen.”

The mixture of popular and classical ingredients is obvious from the very first concert, titled “Gritty/Pretty” (Oct. 12–13). Two of the works on the program are by Greenwood and Lord, two successful rock musicians who have turned to classical composition. Greenwood has written several orchestral scores for film, including the Academy Award-winning There will be Blood. The Phil will perform a suite from Greenwood’s score for the film, which suggested the “Gritty” part of the concert’s title.

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Jon Lord

Lord, who was both a Rock and Roll Hall of Fame inductee and honorary Doctor of Music, was a composer of orchestral scores for more than 30 years, alongside his work with Deep Purple. Boulder Phil music director Michael Butterman says that he heard Lord’s To Notice Such Things, a six-movement suite for solo flute, piano and strings, while driving, and was so taken with the music that he stopped to find out what it was.

Not being up on rock performers, he admits that he thought “who?” when the piece was announced, but he went on to learn about Lord, and the piece, which was written in memory of one of Lord’s close friends. The Phil performance will feature the orchestra’s principal flutist, Elizabeth Sadilek-Labenski.

Also on the same program is Schubert’s Fifth Symphony which, along with Lord’s score, suggested the “Pretty” part of the title.

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Anderson & Roe. Photo by Ken Schles.

Other nods to popular music in the program will be obvious: “Raiders of the Lost Ark in Concert” (Oct. 27) and “The Music of Queen” (Feb. 15, 2020) from Windborne Music, the same organization that produced “The Music of David Bowie” for the current season (May 4). Not directly from the pop music canon, but certainly popular with Boulder audiences will be the return of the piano duo Anderson and Roe (Jan. 25), whose highly entertaining performance style captivated Boulder Phil audiences in 2016.

Two pieces on the program will be arrangements by Greg Anderson, half of the duo: Ragtime alla Turca, based on Mozart’s “Rondo all turca” for piano, and Danse macabre bacchanale, based on music by Saint-Saëns. The same program will see Butterman join Anderson and Roe for Mozart’s Concerto for Three pianos, and a performance of Mozart’s joyful “Haffner” Symphony.

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Zuill Bailley

Other returning guest soloists during the season will be cellist Zuill Bailey, playing Michael Daugherty’s Tales of Hemingway for cello and orchestra (Feb. 22) and violinist Jennifer Koh, playing Beethoven’s Violin Concerto (April 25). The latter concert will feature two pieces with accompanying visuals. Circuits by Cindy McTee will have visuals by computer graphics artist Aleksi Moriarty; and Alan Hovhaness’ Symphony No. 2, Mysterious Mountain, will have visuals by adventurer-composer Stephen Lias, whose compositions Gates of the Arctic and All the Songs that Nature Sings were premiered by the Boulder Phil in past seasons.

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Frequent Flyers Aerial Dance with the Boulder Phil (2013)

Frequent Flyers Aerial Dance will appear with the Boulder Phil for the first time since their joint performance at the Kennedy Center in Washington, D.C. in 2017, providing aerial choreography for the Butterfly Lovers Concerto by Chinese composers He Zhanhao and Chen Gang. The violin solo will be played by the Phil’s concertmaster, Charles Wetherbee.

 

The concert—rather hopefully titled “Rebirth of Spring”—will be presented March 21 and 22. Other works on the program will be Resurrexit by Mason Bates, Rimsky-Korsakov’s Russian Easter Overture and Stravinsky’s Suite from The Firebird.

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Aldo López Gavilan

“Latin Fire & Boléro,” the concert scheduled Nov. 3, will introduce a new soloist to Boulder audiences, Aldo López Gavilán. The Cuban-born composer/pianist will play his own Emporium, a concerto for piano and orchestra, on a program that also features two works by Argentinian composers: Astor Piazzolla’s Tangazo, and Alberto Ginastera’s virtuoso orchestral piece Variaciones concertantes, which assigns each of nine variations to a different solo instrument from the orchestra. Closing out the program will be Ravel’s Boléro.

Other events that will be part of the season will be the annual Nutcracker performances with Boulder Ballet, Nov. 29–Dec. 1; and a new Holiday concert, “Christmas with the Phil,” Dec. 21–23. The latter will feature the Christmas section of Handel’s Messiah, and other seasonal music. Performances will be in more intimate venues than Macky Auditorium, including Boulder’s Mountain View United Methodist Church.

The full 2019–20 season of the Boulder Phil is listed below. Season tickets are currently on sale here.

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Boulder Phil 2019–20 Season
All concerts at Macky Auditorium unless otherwise specified

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“Gritty/Pretty”
Michael Butterman, conductor, with Elizabeth Sadilek-Labenski, flute

Jonny Greenwood: Suite from There Will Be Blood
Jon Lord: To Notice Such Things
Schubert: Symphony No. 5

2 p.m. Saturday, Oct. 12, 7:30 p.m.
Sunday, Oct. 13, 2 p.m. at Pinnacle PAC

51K8ouYrHeL._SY445_“Raiders of the Lost Ark in Concert”
Film screening with live orchestral performance of John Williams’s score
Gary Lewis, conductor
4 p.m. Sunday, Oct. 27

“Latin Fire & Boléro”
Michael Butterman, conductor, with Aldo López Gavilán, piano

Astor Piazzolla: Tangazo
Aldo López Gavilán: Emporium
Alberto Ginastera: Variaciones concertantes
Ravel: Boléro

7 p.m. Sunday, Nov. 3

Nutcracker Ballet by Tchaikovsky
With Boulder Ballet
Gary Lewis, conductor

Photo-by-Eli-Akerstein

Boulder Ballet’s Nutcacker. Photo by Eli Akerstein

2 p.m. Friday, Nov.29
2 and 7 p.m. Saturday, Nov. 30,
2 p.m. Sunday, Dec. 1

“Christmas with the Phil”
Gary Lewis, conductor

Handel: Messiah (Part I: Christmas section) and other works

7 p.m. Saturday, Dec. 21, Vilar Performing Arts Center, Beaver Creek, Colo.
2 p.m. Sunday, Dec. 22, Mountain View United Methodist Church, Boulder
7:30 p.m. Monday, Dec. 23, Lone Tree Arts Center, Lone Tree, Colo.

“Anderson & Roe Return!”
Michael Butterman, conductor, with Greg Anderson and Elizabeth Joy Roe, duo-pianists

Gabriel Fauré: Masques et Bergamasques
Mozart: Concerto for Three Pianos, K242
Mozart/Anderson: Ragtime alla Turca
Mozart: Symphony No. 35 (“Haffner”)
Saint-Saëns/Anderson: Danse macabre bacchanale

Saturday, Jan. 25, 7:30 p.m.

“The Music of Queen”
Brent Havens, conductor
7:30 p.m. Saturday, Feb. 15

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Michael Daugherty

“Hemingway Portraits & Sibelius”
Michael Butterman, conductor, with Zuill Bailey, cello

Michael Daugherty: Tales of Hemingway
Sibelius: Symphony No. 2

Saturday, February 22, 7:30 p.m.

“Rebirth of Spring”
Michael Butterman, conductor, with Frequent Flyers Aerial Dance and Charles Wetherbee, violin

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Mason Bates. Photo by Lydia Danmiller

Mason Bates: Resurrexit,
He Zhanhao and Chen Gang: Butterfly Lovers Concerto
Rimsky-Korsakov: Russian Easter Overture
Stravinsky: Suite from The Firebird (1919)

7:30 p.m. Saturday, March 21
2 p.m. Sunday, March 22, at Pinnacle PAC

“Beethoven & Beyond”
Michael Butterman, conductor, with Jennifer Koh, violin

B.Phil logo.2Cindy McTee: Circuits, with visuals by Aleksi Moriarty
Alan Hovhaness: Symphony No. 2, Mysterious Mountain, with visuals by Stephen Lias
Beethoven: Violin Concerto

7:30 p.m. Saturday, April

Tickets and more information: Five- and six-concert subscription packages are now available; click here or call 303-449-1343. Single tickets go on sale June 1, 2019.

 

CU Presents’ 2019–20 season features Grammy winners and nominees

Kronos Quartet returns, Eklund Opera presents It’s a Wonderful Life

By Peter Alexander April 4 at 4:15 p.m.

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CU Macky Auditorium

The coming season of CU Presents at Macky Auditorium will feature the return of the Kronos Quartet, not heard in Boulder since 2014; the first appearance here by A Far Cry string orchestra; and the combination return/first local performance of Jake Heggie’s and Gene Scheer’s opera It’s a Wonderful Life, workshopped at CU in June 2018 and now scheduled for a full production by CU’s Eklund Opera Program.

These and other music, dance and theater events have been announced as part of the 2019-20 season of CU Presents. The full schedule for the season is listed here; see a schedule of the music events below .

In addition to CU’s own Takacs Quartet in their annual series on campus, the Grammy winners on the schedule are Kronos Quartet and the Chick Corea trio. A Far Cry was nominated for Grammys in 2014 and 2018.

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A Far Cry sting orchestra. Photo by Yoon S. Byun.

Founded in Boston in 2007, A Far Cry is an adventurous string orchestra. They are a democratic, self-conducted ensemble in which decisions are made collectively and leadership rotates among the players—or “Criers,” as they like to call themselves. They were recently part of a commissioning project with pianist Simone Dinnerstein for Philp Glass’s Third Piano Concerto, which Dinnerstein played with the Boulder Philharmonic as part of the orchestra’s 2017–18 season.

A Far Cry will perform a new program for the tour that will bring them to Boulder on Feb. 8, 2020. Under the title “Memory,” the program will comprise works by Mozart, Tchaikovsky, Elgar and Arvo Pärt.

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Kronos Quartet. Photo by Jay Blakesberg.

Over 46 years, Kronos Quartet has been known for the innovative programming and presentation of music for string quartet, and especially new works. More than 900 works have been written for Kronos, by composers from all over the world. Their extensive discography, including more than 40 studio albums, has its own Wikipedia entry that also lists compilation albums, video albums, film soundtracks, and Kronos’ contributions with other artists ranging from Linda Ronstadt to Nine Inch Nails.

Kronos has been nominated for a Grammy 11 times, and won twice. In recognition of the 2014 centennial of World War I, in 2014 they presented the film Beyond Zero in Macky. A reconstruction by Bill Morrison of film from World War I, Beyond Zero featured a score by Aleksandra Vrebalov played live by Kronos. For their performance at Macky in March 19, 2020, they will present a new program, “Music for Change: The 60s,” including a celebration of Pete Seeger’s music and a work inspired by Martin Luther King, Jr.

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Houston Grand Opera world premiere production of It’s a Wonderful Life

Heggie and Scheer’s It’s a Wonderful Life was commissioned by the Houston Grand Opera, with the San Francisco Opera and the Jacobs School of Music at Indiana University. The opera is based on the 1946 film of the same name, directed by Frank Capra and starring James Stewart, Donna Reed, Lionel Barrymore and Henry Travers.

The original production premiered in Houston Dec. 2, 2016, with subsequent performances in San Francisco and Bloomington, Ind. Prior to the premiere, the opera received workshop performances in Boulder in June 2016, through the Eklund Opera’s New Opera Workshop (CU NOW).

The Eklund Opera will present an all-new production of the opera Nov. 15–17, 2019, in Macky Auditorium.

Music events from CU Presents’ 2019–20 season are listed below:

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Artist Series at Macky Auditorium

Music events

Chick Corea Trilogy
with Christian McBride and Brian Blade
7:30 p.m. Wednesday, Oct. 9, 2019,
Bassist Christian McBride and drummer Brian Blade join Chorea for an evening of Corea classics and jazz standards.

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Nobuntu

Nobuntu
7:30 p.m. Wednesday, Oct. 30
“Nobuntu”—an expression meaning feminine familial love, humility and kindness—is the name of a female a cappella quintet from Zimbabwe that performs traditional Zimbabwean songs, Afro jazz and gospel.

Pierre-Laurent Aimard, piano
7:30 p.m. Tuesday, Nov. 19

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Natalie McMaster and Donnell Leahy

Natalie MacMaster and Donnell Leahy
“A Celtic Family Christmas”
7:30 p.m. Tuesday, Dec. 17

A Far Cry string orchestra
“Memory”
Music by Mozart, Tchaikovsky, Arvo Pärt and Elgar
7:30 p.m. Saturday, Feb. 8, 2020

Kronos Quartet
“Music for Change: The 60s, The Years That Changed America”
7:30 p.m. Thursday, March 19, 2020

Holiday Festival

Dec. 6-8, 2019
CU Boulder’s Holiday tradition featuring student choirs, bands and orchestras—along with faculty performers—in a concert of holiday favorites

Takács Quartet at Grusin Music Hall

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Takács Quartet

Chamber Series:
4 p.m. Sundays Sept. 8, Oct. 27, Jan. 12, March 8, May 3
Encore Series:
7:30 p.m. Mondays Sept. 9, Oct. 28, Jan. 13, March 9, May 4

4 p.m. Sunday, Nov. 10, and 7:30 p.m. Monday, Nov. 11: The Takacs Quartet presents the Tesla Quartet

Eklund Opera Program

It’s a Wonderful Life
Music by Jake Heggie; Libretto by Gene Scheer
Nov. 15-17 at Macky Auditorium

The Marriage of Figaro
Music by Wolfgang Amadeus Mozart; Libretto by Lorenzo Da Ponte
March 13-15 at Macky Auditorium

Béatrice et Bénédict
Music and libretto by Hector Berlioz, based on Shakespeare’s Much Ado About Nothing
April 23-26 at the Music Theatre

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Season tickets for these and other events presented by CU Presents are now on sale and my be purchased here. The complete listing of the CU Presents 2019–20 season, including dance performances and productions of the CU Department of Theater and Dance, may be found here.

 

 

Michael Christie, former music director of CMF, wins Grammy for Best Opera Recording

Live Recording from Santa Fe Opera also features CU alumnus Wei Wu

By Peter Alexander Feb. 12 at 12 noon

Michael Christie, who was music director of the Colorado Music Festival 2001–2013, won a Grammy for a live recording from the Santa Fe Opera.

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Santa Fe Opera: The (R)evolution of Steve Jobs. Photo by Ken Howard.

The two-CD set of composer Mason Bates’ and librettist Mark Campbell’s The (R)evolution of Steve Jobs was recorded during the world premiere run of the opera at the Santa Fe Opera’s summer festival in 2017. It was released on the PENTATONE label. It beat a recording from the Metropolitan Opera and three other nominees to win the category.

Christie, who was recently appointed music director of the New West Symphony in Thousand Oaks, Calif., conducted the opera in Santa Fe, and later at the Indiana University Opera Theater in Bloomington, Ind.

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Wei Wu celebrates his Grammy.

Among other cast members, the recording includes a performance by bass Wei Wu, an alumnus of the CU College of Music, as Jobs’ guru Kobu. Others in the cast included tenor Garrett Sorenson, mezzo-soprano Mariya Kaganskaya, mezzo-soprano Sasha Cooke, baritone Kelly Markgraf, baritone Edward Parks, and soprano Jessica Jones.

Christie is currently conducting performances of Verdi’s La Traviata at the Lyric Opera of Chicago and was unable to attend the Grammy ceremonies. He issued a statement this morning: “I can say the whole experience was quite surreal.

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Michael Christie

“I’m in Chicago at the moment getting ready to open La Traviata at the Lyric Opera of Chicago so couldn’t be present in LA for the award. I have to tell you though, I’m not sure I could have handled being in the audience waiting for that envelope to be opened! Instead, I was in Macy’s (so grateful they provided wifi in the store!!!) alternately shopping for socks and watching the live stream when the award was announced! I just started laughing.

“Any one of the five outstanding nominees should have won and yet they called out ours. I’m so grateful to Santa Fe Opera, our marvelous colleagues of the Santa Fe Opera Orchestra and its powerful chorus, (CD producer) Elizabeth Ostrow, creators Mason Bates and Mark Campbell, my amazing colleagues on stage.

“I also want to shout out to the extraordinary artists at Indiana University who gave the second performances of the opera in September. You all made an indelible impression on the piece and you share in its history.

“Congratulations to everyone involved!”

Christie joins a distinguished roster of Grammy winners in the Best Opera Recording category, including Seiji Ozawa, James Conlon, Alan Gilbert, Kent Nagano and Sir Charles Mackerras.

The recording of The (R)evolution of Steve Jobs can be purchased from ArkivMusik or Amazon.

Other nominees for Best Opera Recording were John Adams’ Doctor Atomic by the BBC Symphony and BBC Singers John Adams conducting; Jean-Baptiste Lully’s Alceste by Les Talents Lyriques and Choeur de Chamber de Namur, Christophe Rousset conducting; Richard Strauss’ Der Rosnekavalier by the Metropolitan Opera Orchestra and Metropolitan Opera Chorus, Sebastian Weigle conducting; and Verdi’s Rigoletto by the Kaunas City Symphony Orchestra and the Men of the Kaunas State Choir, Constantine Orbelian conducting.

Colorado Music Festival announces Music Director and 2019 season

Peter Oundjian takes the helm for a season exploring Beethoven’s influence

By Peter Alexander Feb. 5 at 6 p.m.

Peter Oundjian, Music Director of the Toronto Symphony Orchestra

Peter Oundjian. Photo by Dale Wilcox.

The Colorado Music Festival has announced that distinguished conductor and violinist Peter Oundjian will be the festival’s music director.

Oundjian, who served as the Artistic Advisor for the 2018 festival, becomes the fourth music director in CMF’s 42-year history. Previous music directors were Giora Bernstein (1977–2000), Michael Christie (2001–2013) and Jean-Marie Zeitouni (2015–2017). Oundjian will lead seven concert programs during the six-week summer season, which runs June 28 to Aug. 3.

Other conductors appearing with the CMF orchestra will be the former music director Jean-Marie Zeitouni, for two concert programs; David Danzmayr, who appeared as guest conductor in 2018, for two concert programs; and Pittsburgh Symphony associate conductor Earl Lee, who will lead the family concert July 7 (see full schedule below).

The move to CMF marks a transition in Oundjian’s career. The former first violinist of the Tokyo String Quartet (1981–95), he recently concluded tenure as music director of the Toronto Symphony (2004–18) and the Scottish National Orchestra (2012–18). In a news release from the CMF, Oundjian is quoted: “After leading a number of orchestras year-round, this [summer festival] is an exciting change of pace.”

Elizabeth McGuire, the CMF’s executive director, said that Oundjian’s appearances at the festival in 2018 convinced the CMF board to offer him a contract. “His rapport with the audience is at a level that I’ve never experienced,” she says. “He makes each individual audience member feel as if he’s talking directly to them.”

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Peter Oundjioan with the CMF Festival Orchestra. Photo by Michael Quam.

She also praised his ability to make connections between different pieces and programs in a way that fits the Boulder audience. “He has a real depth of understanding of the history and the people and their lives, and he really makes deep connections between the pieces,” she says. “In 2018, that was one of the things that really appealed to us.

“Because he’s so knowledgeable, he’s able to extract details from that big picture and make connections between concerts that are really interesting and play into Boulder’s sense of highly-educated concertgoers. And despite his amazing talents as a performer, he’s very down to earth and he doesn’t take himself too seriously. That’s what makes him good for Boulder.”

The 2019 festival continues the basic pattern of recent seasons: Festival Orchestra concerts on Thursday and Friday evenings, separate orchestral programs on Sunday evenings, and chamber concerts on Tuesdays. Four of the six Festival Orchestra concerts will be presented twice, as Thursday-Friday pairs. The season opens Thursday, June 27, and concludes with the “Season Finale” concert Saturday, Aug. 3. All performances are at 7:30 p.m. in Boulder’s historic Chautauqua Auditorium.

One theme of the 2019 season is the influence of Beethoven on the music of the 19thand 20thcenturies. This theme was developed by Oundjian in anticipation of the 250thanniversary of Beethoven’s birth, to be celebrated in 2020, and represents the kind of comprehensive season planning that McGuire likes. “We appreciated that he was able to conceive of an entire season with one underlying common denominator,” she says.

Jan-Swafford

Jan Swafford

This year many of the orchestral works include a work by Beethoven and works that are in some ways related to or influenced by Beethoven’s music. The season concludes with Mahler’s Third Symphony, which was heavily influenced by Beethoven, including references to Beethoven’s last string quartet in the symphony’s finale. As part of exploration of Beethoven’s influence on later generations, the scholar Jan Swafford, author of Beethoven: Anguish and Triumph (2014) will present an evening of discussion of the composer.

A two-concert mini-festival will be devoted to music by Mozart. Titled “Magnificent Mozart,” the concerts July 21 and 28 will feature works in several genres including symphonies, concertos and a divertimento.

The summer’s extensive list of guest artists features pianist Natasha Paremski, violinist James Ehnes, pianist Jon Kimura Parker, pianist Coco Ma, violinist Jan Vogler, violist Mira Wang, pianist Lilya Zilberstein; pianist Gabriela Montero, violinist Stefan Jackiw, cellist Kian Soltani, clarinetist Jörg Widmann, violinist Robert McDuffie, mezzo-soprano Janice Chandler-Eteme, the ensemble Really Inventive Stuff, the St. Martin’s Festival Singers, and the Boulder Children’s Chorale.

Tickets to CMF performances can be purchased through the Chautauqua Box Office (303-440-7666). The box office is currently accepting renewals of previous CMF season subscriptions. New subscriptions and single tickets will go on sale at 10 a.m. Monday, March 18.

# # # # #

COLORADO MUSIC FESTIVAL
Schedule of Concerts, 2019 Season
All performances at the Chautauqua Concert Hall

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Chautauqua Auditorium. Photo by Jonathan B. Auerbach.

7:30 p.m. Thursday& Friday, June 27 & 28
OPENING NIGHT: BEETHOVEN’S PATH TO ROMANTICISM
Peter Oundjian, conductor, with Natasha Paremski, piano

Paremski

Natasha Paremski

Beethoven: Egmont Overture
Rachmaninoff: Piano Concerto No. 2
Verdi: La forza del destino Overture
Respighi: Pines of Rome

7:30 p.m. Sunday, June 30
BEETHOVEN’S PATH TO MODERNISM
Peter Oundjian, conductor, with James Ehnes, violin

Berlioz: Roman Carnival Overture
Mendelssohn: Violin Concerto
R. Strauss: Wind Serenade
Beethoven: Grosse Fuge

7:30 p.m. Tuesday, July 2
BRAHMS & DVOŘÁK
CMF Chamber Players

Brahms: Trio for Horn, Violin and Piano in E-Flat Major
Dvořák: Piano Quintet No. 2 in A Major

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Jon Kimura Parker

7:30 p.m. Friday July 5
REVOLUTION AND FREEDOM
Peter Oundjian, conductor, with Jon Kimura Parker, piano

Copland: Outdoor Overture
Gershwin: Piano Concerto in F
Rossini: La gazza ladra Overture
Tchaikovsky: Overture 1812
Sousa: “Washington Post March”; “Liberty Bell March”; “Stars and Stripes Forever”

3 p.m. Sunday, July 7
FAMILY CONCERT “PETER AND THE WOLF”

Earl-Lee

Earl Lee

Earl Lee, conductor, with Really Inventive Stuff ensemble

Saint-Saëns: Carnival of the Animals
Prokofiev: Peter and the Wolf
Sensory-friendly Performance

7:30 p.m. Tuesday, July 9
STRINGS AT SUNSET
CMF Chamber Players

Mozart: String Trio in B Flat Major for Two Violins and Cello
Boccherini: String Trio No. 5 in G Minor
Dvořák: String Quintet in G Major

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Jean-Marie Zeitouni

7:30 p.m. Thursday & Friday July 11 & 12, 7:30 PM
ROMANTIC DUOS
Jean-Marie Zeitouni, conductor, with Mira Wang, violin, and Jan Vogler, cello

Fauré: Pelleas et Mélisande Suite
Brahms: Concerto for Violin and Violoncello
Tchaikovsky: Romeo and Juliet Overture
Roussel: Bacchus et Ariane, Suite No. 2

7:30 p.m. Sunday, July 14
BEETHOVEN’S PATH TO NEOCLASSICISM
Conductor: Jean-Marie Zeitouni, with Lilya Zilberstein, piano

Beethoven: Symphony No. 1
Stravinsky: Symphony in Three Movements
Prokofiev: Piano Concerto No. 3

7:30 p.m. Tuesday, July 16
QUINTESSENTIAL HARP
CMF Chamber Players

Arnold Bax: Quintet for Harp and String Quartet
Ravel: Introduction and Allegro for Harp, Flute, Clarinet
Ravel: String Quartet
Brahms: String Sextet No. 1 in B-flat Major

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Gabriela Montero. Photo by Colin Bell.

7:30 p.m. Thursday & Friday, July 18 & 19
TCHAIKOVSKY’S SYMPHONY NO. 6 “PATHETIQUE”
David Danzmayr, conductor, with Gabriela Montero, piano

Golijov: Sidereus
Grieg: Piano Concerto
Tchaikovsky: Symphony No. 6 (“Pathétique”)

7:30 p.m. Sunday, July 21
MAGNIFICENT MOZART MINI-FESTIVAL I
David Danzmayr, conductor, with Stefan Jackiw, violin

Mozart: Symphony No. 32
Violin Concerto No. 5 (“Turkish”)
Overture from Don Giovanni
Symphony No. 38 (“Prague”)

7:30 p.m. Tuesday, July 23
RUSSIAN MASTERS
CMF Chamber Players

Shostakovich: Piano Trio No. 1 in C Minor
Tchaikovsky: Piano Trio in A Minor

7:30 p.m. Thursday & Friday, July 25 & 26
SYMPHONIE FANTASTIQUE
Peter Oundjian, conductor with Kian Soltani, cello

Vivian Fung: Dust Devils
Shostakovich: Cello Concerto No. 1
Berlioz: Symphonie fantastique

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Jörg Widman. Photo by Marco Borggreve

7:30 p.m. Sunday, July 28
MAGNIFICENT MOZART MINI-FESTIVAL II
Peter Oundjian, conductor, with Jörg Widmann, clarinet

Mozart: Divertimento in D Major
Clarinet Concerto in A major
Symphony No. 41 “Jupiter”

7:30 p.m. Thursday, Aug. 1
BEETHOVEN’S PATH TO MINIMALISM
Peter Oundjian, conductor, with Robert McDuffie, violin

Beethoven: Symphony No. 6 (“Pastoral”)
Philip Glass: Violin Concerto No. 1

Chandler-Eteme

Janice Chandler-Eteme

7:30 p.m. Saturday, Aug. 3
FESTIVAL FINALE
Peter Oundjian, conductor, with Janice Chandler-Eteme, mezzo-soprano, St. Martin’s Festival Singers and the Boulder Children’s Chorale

Mahler: Symphony No. 3

Each Thursday and Friday night orchestral concert will be preceded by a “Talk Under the Tent,” just outside the North doors to Chautauqua Auditorium. Talks will be presented by scholars, journalists, and CMF musicians.

Previous Subscription may currently be renewed. New subscriptions and single tickets will go on sale at 10 a.m. Monday, March 18.
Purchase tickets through the Chautauqua Box Office HERE or by phone at 303-440-7666.

 

LSO’s new executive director: Longmont reminds her of her native Italy

Giorgia Ghizzoni plans for the continued growth and development of the orchestra

By Peter Alexander Jan. 14 at 3:00 p.m.

Italian native Giorgia Ghizzoni, the new executive director of the Longmont Symphony, feels right at home.

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Giorgia Ghizzoni

“There’s such an Italian feel to Longmont in the sense of community,” she says. “We found it so welcoming and inclusive. A few months was enough for us to realize that we would like to call Longmont home.”

Ghizzoni took up her duties Jan. 7, succeeding Kay Lloyd, who retired from the position after 12 years as executive director. Lloyd remains with the orchestra as principal flute and is the orchestra librarian.

“Thank God she will still be there,” Ghizzoni says. “She promised she’s going to be there in case I have questions. She has been such an asset and a value to the organization.”

Ghizzoni has an extensive background in music and business. She received a bachelor’s degree in cello performance in Italy and a bachelor’s degree in economics and business from the Utrecht (Netherlands) School of Economics. She studied arts management in Finland, and has lived in Switzerland, New York, and most recently, Sonoma County, California.

Her professional experience includes work in community outreach and audience development at Carnegie Hall and as an intern at Alliance Artist Management in New York. She also established Experience Classical Music! (ExClaM!), a company focused on artist development.

In a press release, LSO board president Robert Pilkey was quoted saying “She has an impressive musical background, stellar administrative skills, fundraising experience and an abundance of energy. She also has an appreciation for the community’s long-held love affair with its symphony orchestra.”

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LSO with conductor Elliot Moore

Ghizzoni arrives only a year and half after the arrival of the orchestra’s new music director, Elliot Moore. “Giorgia and LSO’s music director Elliot Moore speak the same language and will make a great partnership,” Pilkey wrote.

Now that she has the job, Ghizzoni has lots of ideas for the orchestra. “The Longmont Symphony is an organization full of people with gigantic hearts,” she says. “I think of the LSO as an ambassador and identity of the City of Longmont itself: fast development, new people coming in from all walks, and expansion in a welcoming and inclusive way. And everybody is looking forward to improving themselves and to being more and more meaningful to more and more people, and this is just fantastic.

“The Longmont Symphony used to be a community orchestra. In one and half years it became a semi-professional orchestra, and with this change come a lot of new needs that need to be addressed. Now we need fund raising, major sponsorship, more collaboration, so lots of research to be done. [There are] younger patrons that we would like to touch with the gift of music, so how about being active on social media? All of this is a new definition of what an executive director will do from now on.”

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Giorgia Ghizzoni

Ghizzoni fell into the position almost by accident—a lucky accident, as it turns out. She was living in Longmont and wanted to meet the director of the local orchestra. “I’m an artist developer,” she says. “If some of his orchestra musicians need me in whatever sense, I’m here.” So she and Moore met before she knew that the LSO had a position open.

“We speak for five minutes, and he’s like, ‘I’m confused. I thought you wanted to meet me about the job opening.’ ‘What job opening?’ ‘You don’t know that we just opened our executive director position?’ No, I had no idea.”

To Ghizzoni, becoming the executive director of an orchestra looked like the perfect next step in her career. “I told the search committee on my last interview ‘I was this and I was that, I was an artist developer, but I have never been the executive director of a symphony orchestra. That’s exactly my next level.’”

With all of her past travels—Italy to Finland to Netherlands to Switzerland to the US—Ghizzoni has been a bit of a nomad. How likely is she to stay put in Longmont?

“I will just tell you this much,” she says. “We were here a couple of months and we bought a house.”