Boulder Chamber Orchestra performs concert of instrumental colors for Mother’s Day

“Earthly Delights” program includes music of Debussy, Ravel and Mozart

By Peter Alexander May 9, 2019, at 2 p.m.

The next concert by the Boulder Chamber Orchestra is titled “Earthly Delights,” but it’s not about the famous painting by Hieronymus Bosch.

“This is more of an atmosphere concert,” BCO conductor Bahman Saless says. “You’ve got Debussy and Ravel in a concert and their music conjures up impressions rather than emotions. So, I thought that was nice title to put there.”

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Cobus do Toit

The full program, to be performed Friday in Lone Tree and Sunday afternoon in Boulder (see details below), features Debussy’s Prelude to the Afternoon of a Faun and Ravel’s Ma mere l’Oye (Mother Goose) Suite. Also on the program are Mozart’s Overture to The Marriage of Figaro and Concerto for flute and harp, featuring BCO principal flutist Cobus du Toit and harpist Jennifer Ellis.

The keystone to the program is the Mozart concerto. “The main theme of the concert was the musical colors that are portrayed with harp and flute,” Saless says. “It’s not performed very often, and you have to have an excellent flautist and harp player. Then the question comes, what will I program it with?

“That’s really tough because you have to think, well, I’d better use the flute and harp maybe somewhere else. That’s where I decided that it might be good to putThe Afternoon of a Faun in there.”

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Jennifer Ellis

Even that did not solve all the problems, though. Debussy’s atmospheric score is usually performed by a large orchestra with two harps, but the BCO’s venues did not have space for that many players. Saless found a version with the two harp parts combined into one, and with that version and the players squeezed into a tight space, they can make it work.

Afternoon of the Faun has always been one of my ultimate pieces to conduct,” he says. Saless has never conducted a performance although it is, he says. “a staple of conducting aptitude tests,” and he has studied it in workshops. “If you can conduct The Afternoon of the Faun you are in a class of people that probably should say, ‘Hey, I conducted it.’”

“I’ve conducted it in workshops before, but I haven’t dared to do it in public,” he adds.

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Marurice Ravel

Ravel’s Ma mere l’Oye is another piece Saless learned in a conducting workshop “I really did not know anything about it until last summer, where I also got exposed to it in a workshop,” he says. “It’s one of the most delightful pieces that I know, and we’ve never performed Ravel. He doesn’t have many pieces you can perform with a chamber orchestra. This is one of them, and I’m totally excited about performing it.”

Apart from it’s musical pleasures, Saless chose Ravel’s score—“Mother Goose Suite”—in a punning tribute to Mother’s Day, the date of the Boulder performance. “It does have five movements that are like little stories that we know. It fits a family concert atmosphere, which I was planning to put out there for Mother’s Day. So I’m hoping that if mothers come with their kids, they will enjoy the ‘Mother Goose Suite’ as much as the mothers do.”

The five movements of Ma mere l’Oye, all derived from better or lesser known fairy tales, are “Pavane of Sleeping Beauty,” “Tom Thumb,” “Empress of the Pagodas,” “Conversation of Beauty and the Beast,” and “The Fairy Garden.”

“The last movement is a gorgeous piece of music,” Saless says. “Ravel is an amazing composer, but he doesn’t usually touch you so deeply emotionally (as this movement), just because of the style of impressionist music. The last movement is just so beautiful!

“And the colors! The whole concert is colors. The conductor has the biggest challenge in that every few bars have to show a different color, and that’s just really fabulous.”

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“Earthly Delights”
Boulder Chamber Orchestra, Bahman Saless, conductor
With Cobus do Toit, flute, and Jennifer Ellis, harp

Mozart: Overture to The Marriage of Figaro
Mozart: Concerto for flute and harp
Debussy: Prelude to the Afternoon of a Faun
Ravel: Ma mere l’Oye (Mother Goose)

7:30 p.m. Friday, May 10, Jubilee Christian Church, Lone Tree
3:30 p.m. Sunday, May 12, Boulder Adventist Church

Tickets

Boulder Chamber Orchestra’s Gift of Music: “An adventure for the listener”

Mozart concerto, Handel, Corelli, and a kinder, gentler Schoenberg

By Peter Alexander

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Pianist David Korevaar

You know it’s an unusual Christmas concert when one of the composers is the fearsome atonal composer Arnold Schoenberg.

But conductor Bahman Saless, who has programmed the Schoenberg Christmas Music for concerts with the Boulder Chamber Orchestra Dec. 21 and 22, assures listeners it is thoroughly enjoyable, not written in the composer’s dissonant and fiercely intellectual style. Instead, it is a gentle fantasia on Praetorius’ familiar carol “Es ist ein Ros’ entsprungen” (Lo, how a rose e’er blooming).

“I think in in his spare time he wrote some stuff for fun,” Saless says. “He was probably tired of his own intellect.”

In addition to Schoenberg’s Christmas Music the program will feature Corelli’s Concerto Grosso in B-flat, known as the “Christmas Concerto”; another Concerto Grosso in B-flat by Handel; some regular Christmas carol arrangements; and pianist David Korevaar playing and conducting Mozart’s Piano Concerto in B-flat, K595.

Read more in Boulder Weekly.

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“The Gift of Music”
Boulder Chamber Orchestra, Bahman Saless, conductor
With David Korevaar, piano

Mozart: Piano Concerto No. 27 in B-flat major
Handel: Concerto Grosso in B-flat major, Op 3 no. 1
Arnold Schoenberg: Christmas Music
Corelli: Concerto Grosso in G minor, Op. 6 no. 8 (“Christmas Concerto”)
Holiday carols

7:30 p.m. Friday, Dec. 21, Broomfield Auditorium, 3 Community Park Rd., Broomfield
7:30 p.m. Saturday, Dec. 22, Boulder Adventist Church, 345 Mapleton Ave., Boulder

Tickets

Boulder Chamber Orchestra presents Seasons from Italy and Argentina

Violinist Chloe Trevor plays music by Vivaldi and Piazzolla, Friday and Saturday

By Peter Alexander Nov. 29 at 9:25 p.m.

Violinist Chloe Trevor is above all true to herself.

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Violinist Chloe Trevor

This weekend she will play music by two very distinct and different composers in concerts with conductor Bahman Saless and the Boulder Chamber Orchestra. The program features portions of the well loved Four Seasons of Baroque composer Antonio Vivaldi, combined with the complete Cuatro Estaciones Porteñas (Four Seasons of Buenos Aires) by the innovative composer of the “New Tango,” Argentine Astor Piazzolla.

The concerts—Friday evening in Broomfield and Saturday evening in Boulder—will also include the Suite for Strings by Czech composer Leoš Janáček.

While both Vivaldi and Piazzolla represent distinct styles—the 18th-century string style of Baroque Italy, and the sensual tango of early 20th-century Argentina—Trevor does not feel that she has to create strict versions of either. “I’m playing it more in my style than anything else,” she says.

She’s not saying you can play any way you want, but once you understand a style, you should play what you believe in. “You learn the rules so that you’re aware of them,” is how she explains it. “Once you’ve gotten used to it, you say, ‘Now, I’m going to put my own spin on the whole thing.’ If you’re trying to do it a different way, it sounds like you’re trying too hard.”

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Astor Piazzola

Written as four separate pieces between 1965 and 1970, Piazzolla’s Seasons were originally composed for the composer’s own quintet. They were arranged for violin and orchestra as a companion to Vivaldi’s Seasons in the 1990s by Russian composer Leonid Desyatnikov. That version became something of a sensation in 1999 when violinist Gidon Kremer and his Kermerata Baltica ensemble recorded both the Vivaldi and the Piazzolla-Desyatnikov sets on a CD titled “Eight Seasons.”

“I got Kremer’s recording when it came out,” Trevor says. “I was in my early teens and I remember being completely fascinated by them. When I finally did get the first opportunity to perform it last year, I was just ecstatic.”

The Piazzolla Seasons are often performed separately, because putting the two sets together on one concert is a challenge. The Vivaldi set is four complete concertos, each comprising three movements, while each of the Piazzolla Seasons is a one-movement work in itself. Played together, both works complete would take at least an hour, which is certainly too long for a soloists’ portion of a standard orchestral concert.

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Chloe Trevor

Trevor’s solution is to play the Piazzolla pieces framed by individual movements from Vivaldi. When she first got the music, “I took a few weeks to figure out an order that I wanted,” she says.

“The way I picked it was, what I felt was best to start and end with. It makes the most sense to start with the first movement of Vivaldi’s Spring—it’s one everyone’s familiar with, so it’s the best opener. And I wanted to end with the last movement of Vivaldi’s Summer. That’s the most bombastic movement—it’s a flashy ending. Unfortunately, none of the Piazzolla Seasonshave a great ender.”

In between, she arranged Vivaldi movements around the Piazzolla pieces based on connections that made sense to her. Here is what she settled on: The fist movement from Vivaldi Spring; Piazzolla Spring; a movement of Vivaldi Autumn; Piazzolla Autumn; a movement of Vivaldi Winter; Piazzolla Winter; a movement of Vivaldi Summer; Piazzolla Summer; and ending with the final movement of Vivaldi Summer.

Trevor believes it all makes sense when you hear it. As for switching between Baroque and contemporary tango styles, she says “the pieces are written in such a way that it’s not difficult to go between one and the other. They (each) have their own energy, so you get caught up in that.”

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Bahman Saless

Saless noted that he has done music by Janáček before, but the Suite for Strings is harder than others he has done. “This is a difficult one,” he says.

“It has a lot of deep sentiment and you can tell he’s sort of experimenting with his own skill set as a string writer. But it’s got some absolutely gorgeous sonorities. It’s one of those pieces where you hear it and go, ‘Oh my God, why I have not heard that before?’”

Saless has often worked with Trevor’s father, conductor Kirk Trevor. Because of that, he has known Chloe since she was still a child studying with her mother, violinist Heidi Trevor, a member of the Dallas Symphony. Naturally, Saless and Chloe Trevor enjoy times when they can perform together.

“It’s always wonderful to work with Bahman,” Trevor says. “There’s a lot of dreams being realized. The (Vivaldi and Piazzolla Seasons) are such great pieces, and I couldn’t be more thrilled to be here and have a chance to play them again.”

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bconew_1.jpgThe Seasons
Boulder Chamber Orchestra, Bahman Saless, conductor
With Chloe Trevor, violin

Vivaldi/Piazzolla: Four Seasons
Janáček: Suite for Strings

7:30 p.m. Friday, Nov. 30, Broomfield Auditorium
7:30 p.m. Saturday, Dec. 1, Boulder Adventist Church

Tickets

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

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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.

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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.”

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

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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.”

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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.

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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.

 

 

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.

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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.

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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.

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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

Bahman Saless is in a party mood for season-ending concert

Boulder Chamber Orchestra plays music by Haydn and Mozart, May 19–20

By Peter Alexander May 16 at 10:15 a.m.

It’s the end of the concert season, and Bahman Saless, conductor of the Boulder Chamber Orchestra, has his mind on parties.

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Boulder Chamber Orchestra and Bahman Saless are in a party mood.

The group’s final concert of the 2017–18 season, to be presented Saturday and Sunday (May 19–20) in Lone Tree and Boulder, features two symphonies where he hears party music: Haydn’s Symphony No. 95 in C minor and Mozart’s Symphony in C major K 425 (“Linz”). The program, titled “Papa Haydn and Wolfgang,” also includes Haydn’s Sinfonia Concertante in B-flat major for violin, cello, oboe, bassoon and orchestra.

It was the last of those, the Sinfonia Concertante, that inspired Saless for this program. He had conducted it 12 years ago, in one of the BCO’s early seasons, but had not thought about it since then. “I hadn’t listened to it for a while, and I heard it on the radio,” he says.

“I thought, ‘Oh my god, we’ve got to do this’! It’s such a great piece, one of his most refined pieces, and it’s a wonderful piece with an orchestra with good soloists.”

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Kaori Uno-Jack

The four solo players are all section leaders in the BCO: violinist and concertmaster Annamaria Karacson, principal cellist Joseph Howe, principal oboist Max Soto, and co-principal bassoonist Kaori Uno-Jack. The first three have had several solos with the orchestra in the past, so Saless is particularly happy to feature Uno-Jack this time.

“One of the hidden gems in the orchestra is our bassoon section,” he says. “They are just ridiculously good bassoonists, and this gives a chance to Kaori to really shine.”

The Sinfonia Concertante was written in 1791, during the first of Haydn’s two visits to London. To gain audience support for his commercial concerts, he often featured soloists who were local favorites, which is probably the reason that he wrote a piece with four solo parts. It’s a hybrid piece, partly in the style of the classical symphony and partly a throwback to the Baroque-era Concerto Grosso style that matched a small group against a larger group.

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Joseph Haydn

“It’s a symphony in the sense that the soloists also play the [orchestra] parts,” Saless explains. “So it’s a symphony, but every once in a while the principals play solos, so it’s a cross between a symphony and a concerto. But it’s not a virtuoso piece—it’s an ensemble concerto.”

Symphony No. 95 was written in 1792, during the same visit to London. It is the only one of the 12 London symphonies written in a minor key. Less popular than the others at the time, it has also been somewhat neglected since then. “It’s one of those gems that is not played very often,” Saless says.

“It’s more Beethoven-esque, especially the first movement. The next two movements are really fabulous. The second is a theme and variations, which introduces a solo cello, and the third movement is probably the most powerful movement of the symphony. The entire trio is solo cello, and it’s very cool.”

But it’s the finale where Saless hears a party breaking out. “It’s just a huge crazy orgy of different motives, all entering and leaving,” he says.

And after that, another party springs up in the Mozart Symphony, written in 1783 when Mozart was visiting friends in the Austrian city of Linz. “I’ve been to Linz, so I was trying to figure out, is there imagery that comes with it?” Saless says.

Linz in a party mood

Party time in downtown Linz

“The first movement is really cool, because it’s got this very regal introduction. It kind of starts slow and kind of curious, and then suddenly—it’s party time!

“Honestly, that’s how I saw Linz. First you cross a bridge and you enter the town. You’re kind of looking around, walking from block to block, and then suddenly when you get to the center, it really is a huge party town!”

Close study of the score doesn’t confirm that interpretation, but Saless is sticking with it. “That’s how I’m conducting it,” he says. But then he adds, with a laugh: “You should see the faces of my orchestra when I tell them crazy stuff like that.”

Crazy, but also an engaging way to think about a symphony and a town. “In fact,” Saless says, “a trip to Linz would be a great vacation after the season.”

If you want to find him next week, you know where to look.

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“Papa Haydn and Wolfgang”
Boulder Chamber Orchestra, Bahman Saless, conductor

Haydn: Sinfonia Concertante in B-flat major
Haydn: Symphony No. 95 in C minor
Mozart: Symphony No. 36 in C major, K425 (“Linz”)

7:30 p.m. Saturday, May 19, Lone Tree Arts Center
3 p.m. Sunday, May 20, Boulder Adventist Church

Tickets

Boulder Chamber Orchestra returns to Mozart’s Requiem with Boulder Chorale

Performance will be more transparent than before—and ‘happier’

By Peter Alexander March 29 at 10:15 p.m.

bconew_1Bahman Saless and the Boulder Chamber Orchestra are returning to old territory and making new discoveries.

Friday and Saturday(March 30–31) Saless and the BCO are performing the Mozart Requiem, which they first performed in 2011. But there will be a number of differences from that earlier performance: then they performed with Ars Nova singers, now they will perform with the Boulder Chorale Chamber Choir under Vicki Burrichter. Then they had about 50 singers, now they will have 40 singers and a smaller orchestra.

Then Saless left the choral preparation and the coaching of the soloists entirely to Ars Nova’s conductor, Thomas Edward Morgan; now he is taking a larger role in both. And, he says, he performance will be more transparent and more polished.

He almost makes it sound like a different piece. But it’s not the piece that has changed; it’s Saless, who admits to having been intimidated by the work the first time.

Read more in Boulder Weekly.

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Mozart: Requiem
Boulder Chamber Orchestra and Boulder Chorale
Bahman Saless, conductor
With Ekaterina Kotcherguina, soprano; Clea Huston, mezzo-soprano; James Baumgardner, tenor; and Malcolm Ulbrick, bass

7:30p.m. Friday, March 30, Broomfield Auditorium, Broomfield
8 p.m. Saturday, March 31, Seventh-Day Adventist Church, Boulder

Tickets