CMF ends 2019 with spectacular performance

Sold out Chautauqua Auditorium cheers orchestra, conductor, choirs and soloist

By Peter Alexander Aug. 4 at 12:23 a.m.

The Colorado Music Festival ended its 2019 season in spectacular fashion last night (Aug. 3).

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Peter Oundjian

Music Director Peter Oundjian led the Festival Orchestra in a wonderful performance of a wonderful symphony, Mahler’s Symphony No. 3 for large orchestra, alto soloist, women’s chorus and children’s chorus. At the end of this very long work—about 100 minutes of music—the sold-out Chautauqua Auditorium was cheering, and no doubt already looking forward to Oundjian’s next season with the festival.

Many factors made this a splendid performance, but two in particular should be mentioned. The first was Oundjian’s management of the sprawling work. His control of sound and dynamics across long stretches of music gave impact to every climax of orchestral sound—and there are many. The performance was more than a series of splendid moments—though it could also be heard that way. More than that, it was a whole, each phrase driving to a destination and the whole driving to the end.

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Peter Oundjian. Photo by Sian Richards.

In particular, Oundjian and the players maintained near perfect balance among the parts across long crescendos, so that the orchestra swelled and subsided, bloomed and retracted as one. This is a specially great achievement since so many phrases started from near silence, with remarkably controlled pianissimo phrases that grew over long, long spans of time.

Particularly in the final movement, a long slow movement, he kept careful control as the sound grew to a high point, then fell back to near silence, ascended to an even higher point and fell back again, all with the goal of making the final cadence, with timpani pounding and brass sustaining almost to the point of collapse, the true destination and end point of the entire symphony.

Oundjian exercised a similar control of dynamics and tempo in the other movements, with their many moods from a dawn-like awakening, to a jubilant march, to a pastoral delicacy, The fourth movement’s portent of doom and the fifth movement’s simple joys were equally well achieved.

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Concertmaster Calin Lupanu

The second factor is the quality of the individual players in the orchestra, not only to play individual solos beautifully, but to give and take with others in chamber music fashion, and then to play in a section with unanimity of pitch and phrasing and dynamics. There were many wonderful solos, by trombone, by horn, by clarinet and piccolo and on through the wind sections, and including the concertmaster, Calin Lupanu.

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CMF Principal Trumpet Jeffrey Work

One solo needs special notice, the long offstage posthorn solo that lends a note of nostalgia and melancholy to the third movement. Principal trumpet Jeffrey Work floated the high notes beautifully, while shaping the individual phrases with exquisite control.

I should also mention the wonderful CMF percussion section, who were in my direct line of sight. Parts of the symphony were a masterclass in soft percussion playing. Everyone noticed the loud climaxes, but who knew that a bass drum could be heard at such a soft level, and make such a delicate musical effect?

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Janice Chamdler-Eteme

The outstanding vocal soloist for the fourth and fifth movements, Janice Chandler-Eteme, is generally billed as a lyric soprano, even though Maher asks for an alto. Clearly the lower range is no obstacle. She found the right sound and expressive palette for both movements, bringing an ominously dark tone to the fourth movement, appropriate for a text that begins “O Man! Take Heed!” And then her sound was enjoyably bright and more forward for the cheerful fifth movement.

The women of the St. Martin’s Festival Singers were solid in their small part, and the Boulder Children’s Chorale rang out bravely with their “Bimm Bamm” imitations of church bells.

But it is the final movement that is the key to the symphony. Under the title “What Love Tells Me,” it is one of Mahler’s longest and most beloved slow movements. Oundjian and the CMF orchestra achieved what everyone aims for, a long arc of sheer beauty leading to an overwhelming finish.

After that, what can we expect next year? You will have to wait for the announcement of the CMF 2020 season after the first of the year to answer that question. In the meantime, there are many fine musical groups in Boulder who would welcome your support.

Oundjian returns to CMF for memorable concert

Pieces by Shostakovich and Berlioz are not to be missed

By Peter Alexander July 26 at 12:30 a.m.

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Peter Oundjian with the CMF Orchestra. Photo by Michael Quam.

Music Director Peter Oundjian has been absent from the Colorado Music Festival podium for the past two weeks, but last night (July 25) he returned for a memorable concert with music by Shostakovich (Cello Concerto No. 1 with soloist Kian Soltani) and Berlioz (Symphonie Fantastique).

The concert will be repeated tonight. If you love those composers as I do, you will not want to miss it.

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Vivan Fung

The program began with a little known piece by Vivian Fung, a Canadian composer of mixed heritage who combines western and various Asian and other folk musical idioms. Dust Devils begins with bright, whirling sounds built from fragments and outbursts of sound that do indeed recall a progression of dust devils. A central section of static chords, marked by slowly changing colors and eerie wails rises to a clouded culmination in the brass.

This entertainingly descriptive piece was played with verve and energy by the Colorado Music Festival Orchestra, who were all smiles at the end. So were many in the audience.

Born in Austria to a family of Persian musicians, Soltani has recently risen to prominence as a soloist with Daniel Barenboim’s West Eastern Divan Orchestra. I had not heard him before, but Oundjian has described him as “an extraordinary talent and a very intense player,” which was evident in his performance of the Shostakovich Concerto.

One of the most demanding pieces in the cello repertoire, the concerto is far more powerful when heard live. The spatial element, separating the voices and putting the cellist full view of the audience, makes both the musical textures and the virtuoso demands of the concerto visible.

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Kian Zoltani. Photo by Juventino Mateo.

Soltani attacked the Concerto with confidence and élan from the very first solo introduction. His playing was full of fire when it needed to be, particularly throughout the intense first movement.

For the second movement Soltani, Oundjian and the orchestra slipped into an entirely different world—one of calm and beauty, with meditative moments bordering on melancholy. The warmth of the cello sound and the delicacy of Soltani’s phrasing made this a high point—at least until the written out cadenza of the third movement, where Soltani’s perfect sense of drama kept the audience rapt. Here the most delicate pianissimos drew the audience in, lest they miss a single nuance.

The finale went off in a burst of energy, ending with an almost shocking series of timpani strokes followed by silence. Soltani’s mastery of the Concerto’s demands was unmistakable throughout, and earned a standing ovation that for once seemed more than routine.

Parts of the Concerto, particularly in the first movement, are virtually a double concerto for cello and horn. Special mention should be made of the orchestra’s outstanding principal horn Catherine Turner, whose clarion calls rang out repeatedly. With no place to hide, she was splendid.

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Hector Berlioz

In introducing Berlioz’s Symphonie Fantastique, Oundjian noted that it was written only three years after Beethoven’s death. What orchestra players in 1830 could have made of Berlioz’s psychedelic masterpiece with its revolutionary instrumental colors, its unprecedented demands on the players, its startling syncopations, the sheer buildup of orchestral sound, its fantastic story of love, death and insanity—much less how they could have played it—is hard to imagine.

The list of innovation in the score is long—violins using the wood of the bow, multiple timpani, two harps, enlarged wind sections, use of the piercing E-flat clarinet—and a testament to Berlioz’s unconstrained imagination. This is a work of staggering originality when it was premiered.

Whatever the players thought then, the Symphonie Fantastique is well within players’ experience and ability today, and I can only believe that Berlioz would have been thrilled with last night’s performance. To mention only a few high points, the introduction was beautifully dreamy and delicate, with Oundjian finding all the momentary outbursts of intensity that needed emphasis.

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Conductor Peter Oundjian

Once the movement got moving, the rhythmic momentum became irresistible, carrying everyone with it. Oundjian perfectly managed the flow and pauses of the second movement waltz. The solo oboe and English Horn of the third movement (“Scene in the country,” the movement with the most obvious precedents in its time) were played beautifully. Throughout the movement, the quietest and most delicate moments were carefully balanced and nuanced.

From the beginning of the “March to the Scaffold” through the following “Dream of a Witches’ Sabbath” the momentum grew inexorably to the final chord. Oundjian carefully controlled both volume and tempo, so that the final, culminating crescendo never became distorted and the final accelerando was achieved without loss of clarity or precision.

The program will be repeated tonight (July 26) at 7:30 p.m. at the Chautauqua Auditorium. Tickets are available though the Chautauqua Box Office.

Clean and businesslike, Danzmayr leads CMF orchestra

Pianist Gabriella Montero plays Grieg Concerto and spectacular improvisation

By Peter Alexander July 19 at 12:30 a.m.

Guest conductor David Danzmayr teamed with an impressive Gabriela Montero last night (July 18) at the Colorado Music Festival for an utterly enjoyable Grieg Piano Concerto. Also on the program were Sideriusby Osvaldo Golijov and the Sixth Symphony (Pathétique) of Tchaikovsky.

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David Danzmayr

Danzmayr is a very clear, very business-like conductor. He does not emote on the podium, leaving the emotion largely to the players, which the CMF Festival Orchestra for the most part provided. Like his manner, his performances were distinctly business like—professional, very direct in their interpretation, but not always refined or carefully balanced. At times, he allowed the middle of the texture to become muddy, to the detriment of his interpretations.

The concert opened with Siderius, an eight-minute “Overture for Small Orchestra,” as the composer’s subtitle calls it. Starkly contrasting material—dark menacing chords from the brass and fluttering, repetitive passages in strings and woodwinds—were well delineated. The performance was clean and solid, if cut and dried in effect.

For Grieg, Danzmayr was an attentive accompanist, taking cues from Montero’s Romantic approach to the score. Throughout the first movement, she was at her best in the lyrical, more gentle passages. I heard lovely parts and pieces, but not a whole.

The slow movement opened with gorgeous string sounds and a lovely horn solo, preparing Montero’s delicate, sparkling piano entrance. Long passages of distilled Romantic dreaminess, effectively evoked by the soloist, dominated the movement, with a lively middle interruption.

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Gabriela Montero

In the dance-like finale, Danzmayr found the drama to support Montero’s energetic performance. Except for another lovely, dreamy interlude at the center of the movement, her playing was infectiously buoyant and bouncy, full of contained energy. Here it all added up, making for a delightful performance.

But for Montero, one suspects that the concerts are merely an excuse for what she most likes to do, which is to play improvised encores. Entirely on her own ground, she was spectacular, taking a suggestion from the audience to improvise on “Blue Moon.” After a delicate opening, where she was finding her footing and no doubt thinking of possibilities, she gave first an impressively contrapuntal Bach/Liszt version, followed by a raggy Scott Joplin variation that was breathtaking.

The second half of the concert was taken with the Tchaikovsky symphony. In the first movement, Danzmayr led the orchestra through the shifting sands of Tchaikovsky’s many contrasting musical episodes with a clear sense of the road map. From the beginning the orchestra pulsed with a nervous energy that paid off as the movement continued; many delicate moments were beautifully shaped. But once again a murky texture marred many passages.

The five-beat “waltz” of the second movement was workmanlike, elevated by moments of great grace and flow. The third movement march was brisk, with a lot of compelling forward motion but an absence of careful balance among sections. The movement built impressively to the climactic ending, with the usual result—a burst of applause from the audience.

The finale was rough-hewn but passionate. Danzmayr was attuned to the tragic impulses and suggestions in the music. With careful attention to the destination, Danzmayr let symphony end, as it must, fading mysteriously and fatally into silence.

The program will be repeated tonight (July 19) at 7:30 p.m. at the Chautauqua Auditorium—most likely with an all new, unique, one-time-only improvisation by Montero. Tickets are available though the Chautauqua Box Office.

Jean-Marie Zeitouni, David Danzmayr return to CMF

Guest conductors will lead orchestra concerts for the next two weeks

By Peter Alexander July 11 at 4 p.m.

The Colorado Music Festival hosts the return of two guest conductors for the central portion of the six-week festival, July 11–23.

For orchestral concerts July 11-12 and July 14, Jean-Marie Zeitouni, principal guest conductor of the festival, returns to lead the Festival Orchestra and Chamber Orchestra. David Danzmeyer, who appeared as guest conductor in 2015 and 2018, will lead the CMF orchestra July 18-19 and 21.

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Jean-Marie Zeitouni. Photo by David Curleigh

“I’m excited about coming back” says Zeitouni, who was the festival music director 2015–17. “I share so much beautiful music making with the CMF orchestra, that it’s really heartwarming for me. And I have my favorite spot for good coffee, a good meal, a good hike, a good sunset, so this is fun.”

Zeitouni opens his CMF visit with a pair of concerts titled “Romantic Duos,” Thursday and Friday (July 11–12. Three of the pieces have romantic couples in their titles: Pelleas et Mélisande by Gabriel Fauré,Romeo and Julietby Tchaikovsky, and Bacchus et Arianeby Albert Roussel. Also on the program is Brahms’s Double Concerto for violin and cello, played by the real-life romantic duo of Mira Wang and Jan Vogler, who are married.

Zeitouni’s second CMF concert is part of the summer series tracing Beethoven’s reach into the future. Titled “Beethoven’s Path to Neoclassicism,” it will feature Beethoven’s First Symphony and Stravinsky’s Symphony in Three Movements played with alternating movements. Completing the program is Prokofiev’s Third Piano Concerto played by pianist Lilya Zilberstein.

Read more in Boulder Weekly.

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Colorado Music Festival
July 11–23
All performances at 7:30 p.m. in the Chautauqua Auditorium

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

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Lilya Zilberstein

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

Beethoven: Symphony No. 1 and Stravinsky: Symphony in Three Movements (movements played alternately)
Prokofiev: Piano Concerto No. 3

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

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”)

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”)

Tuesday, July 23
RUSSIAN MASTERS
CMF Chamber Players

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

Tickets from the Chautauqua Box office.

 

CMF: Jazz, pizzazz, patriotism and a lot of fun

Pianist Jon Kimura Parker performs Gershwin, plus Billy Joel

By Peter Alexander July 6 at 12:25 a.m.

The Colorado Music Festival offered a concert titled “Revolution and Freedom” for its not-quite-the-Fourth of July concert last night (July 5). The program offered equal bits of jazz, pizzazz and patriotism, and a whole lot of fun.

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Peter Oundjian

After starting with a brisk performance of the National Anthem, conductor Peter Oundjian and the Festival Orchestra took up the more serious parts of the program, starting with Aaron Copland’s Outdoor Overture. The performance was bright and forceful, with more vigor than clarity in the opening section. The following lyrical passages were enhanced by lovely solos from flute and clarinet.

Oundjian delineated the contrasting sections well, and brought precision and a welcome energy to the performance. Though Canadian-English-Scottish by ancestry, Oundjian shows that he understands American styles of music—or at least how to unleash an American orchestra.

The American theme continued with Gershwin’s Concerto in F for piano and orchestra, with the assured and spirited Jon Kimura Parker as soloist. From the very beginning, he made the concerto his with a strong and sure interpretation. Listening, you might think, “This is what Gershwin wanted his Concerto to sound like!”

Oundjian was an attentive accompanist, finding both playful moments and powerful climaxes in the score. He maintained a truly precise connection between soloist and orchestra: I did not hear a single moment when they were not right together. Several times he and Parker—friends since their student days at Juilliard—exchanged beaming smiles.

The bluesy second movement offers its own challenge. The CMF performance was nicer than real blues—but was it a cautious interpretation, or Gershwin’s desire to write concert music that created that result? It was atmospheric, expressive, but stayed well away from anything that could be mistaken for dirty blues.

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Jon Kimura Parker. Courtesy of Colorado Music Festival.

The final movement was all energy and (that word again!) precision. Parker commanded attention with every entrance, driving the performance as a soloist should. After a rapturous ovation, he played a virtuosic version of Billy Joel’s “Scenes from an Italian Restaurant” as an encore, while a beaming Oundjian stood beside the piano.

The second half of the concert was all dessert, starting with a bouncy and bumptious Overture to La Gazza Ladra by Rossini. From the multiple snare drums trading off the solos that open the overture, it was all a good show, with great individual playing through the wind sections—horns, piccolo, and clarinet being especially noticeable—and as loud as it needed to be at climaxes. It was all, Rossini would agree, “stupendo!”

If any piece in the repertoire can be called a potboiler, it is Tchaikovsky’s 1812 Overture. Played for Independence Day concerts everywhere, it is an easy piece for orchestras and conductors to toss off thoughtlessly, but Oundjian took pains to say that it is “always a joy to play this piece! It is remarkable and beautiful, even before the canons come in.”

His interpretation lived up that statement. He showed great attention to musical details from the very opening hymn played by solo cellos and violas through to the end. While parts of it were “very noisy,” as the composer himself once said, with occasional blare in the brass sound, it was never less than thrilling.

The remainder of the program comprised three marches by John Philip Sousa, Washington Post, The Liberty Bell  and of course, Stars and Stripes Forever. All were spirited and great fun to hear in the concert hall, if a little toned down from the best band performances. Stars and Stripes was faster than I am used to hearing it, but did not suffer from the tempo.

A word about the central march: Oundjian selected an enthusiastic audience member from the back of the hall, to conduct The Liberty Bell. A young percussionist with some band experience, the impromptu conductor showed that he had played the piece before. He gave appropriate cues throughout, including offbeat chimes near the end, and got the orchestra to follow a dramatically slower tempo for the very final strain.

Loud cheers followed the final, conclusive “stinger.” Did I say it was a lot of fun? Clearly a good time was had by all. What more could you want for a holiday concert?

Colorado Music Festival gets off to a festive beginning

First concert has everything you could want for opening night

By Peter Alexander June 28 at 12:25 a.m.

The Colorado Music Festival got off to a genuinely festive start last night (June 27).

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CMF Festival Orchestra—photo by Michael Quam

The opening night concert, conducted by Peter Oundjian with pianist Natasha Paremski as soloist, had everything you could want for opening night: spectacular orchestral fireworks, a virtuosic concerto with a virtuoso soloist, and not one but two exciting overtures.

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CMF Music Director Peter Oundjian

To judge by the performance, Oundjian is not afraid to let loose the horses—meaning the impressively solid and forceful brass section of the CMF Festival Orchestra—when called for. More on that later, but the entire orchestra made a very strong impression. Let us hope that Oundjian has steadied the festival after several awkward transitions, and will carry CMF forward on a consistent and high artistic level.

The program, which will be repeated at 7:30 p.m. tonight (June 28) in the Chautauqua Auditorium, began with a clean, solid performance of Beethoven’s Overture to Egmont. Oundjian paced the performance well, bringing out the contrasts of dynamics and tempo leading to a powerful “Victory Symphony” to end the overture.

Egmont’s presence on the program reflects the summer’s theme, “Beethoven’s Path to the Future,” wherein many of the concerts will include a work by Beethoven, and then pieces that in some way reflect Beethoven’s foreshadowing of later musical developments.

The meaning of that theme was best described by Oundjian in his remarks at the concert. It’s not that Beethoven directly influenced every composer that came after him; rather, he said, “Beethoven gave license to future composers” to follow their inspiration in unexpected directions.

The short overture was followed by a very long break while the piano was brought on stage and chairs repositioned for Paremski and the Rachmaninoff Second Piano Concerto. The break was too long; however awkward it might look, I would prefer to have the piano onstage during the overture, with the lid down, than to have so much dead time between pieces.

As a great and much-loved Romantic concerto, the Rachmaninoff Second fit this program’s theme, “Beethoven’s Path to Romanticism.” Paremski played with an appropriately big sound without crossing into an abrasive tone quality, and from the very beginning was in total command of the score. Oundjian brought out the surging orchestral climaxes, although there were moments when the pianist’s efforts were more seen than heard.

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Natasha Paremski

Best of all was the second movement, especially the chamber-like passages, including some lovely woodwind solos that are essentially accompanied by rippling arpeggios in the piano. All the shifting moods of the Romantic palette were effectively expressed in this movement, and Paremski’s fleet passagework and sparkling trills were the icing on a very fine cake.

The finale was impressive from pianist and orchestra, fast, exciting and well controlled. Once again the CMF horses came blazing out of the corral, this time without obscuring the soloist, and the brilliant ending garnered the expected ovation.

After intermission, the orchestra returned for the Overture to Verdi’s melodramatic opera La forza del destino (The force of destiny). Oundjian steered the orchestra successfully through the overture’s many shifting moods. All the drama, pathos and nervous energy of the highly episodic piece were present and well expressed. This overture is not often heard in the concert hall, so it was a real pleasure to hear it so well performed by Oundjian and the CMF players.

Respighi’s Pines of Rome, which ended the concert, is the perfect piece to show off the Festival Orchestra’s strengths. The scintillating first movement (Pines of the Villa Borghese) was a brilliant explosion of orchestral colors. The second and third movements (portraying pines near a catacomb and on the Janiculum, respectively) featured beautiful solo wind playing—a haunting, lyrical trumpet in the second, a delicate and utterly exposed clarinet, along with flute, and oboe plus a solo cello in the third.

But it is the final movement, the grand and forceful crescendo of the Pines of the Appian Way, portraying the inexorable advance of a Roman Legion, that everyone remembers from Respighi’s colorful score. Here it was relentless and loud and utterly exciting—just what is wanted to start a season. You have one more chance to hear this program: don’t miss it.

Tickets to tonight’s concert are available through the Chautauqua Box Office.

 

“Beethoven’s Path to Romanticism” opens CMF June 27

First two weeks, June 27–July 9, set the pattern for the summer festival

By Peter Alexander June 27 at 4 p.m.

The Colorado Music Festival opens its 2019 season tonight (Thursday, June 27) with Beethoven’s Overture to Egmont, followed by a series of works that form a bridge forward into the Romantic era.

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Natasha Paremski will play Rachmaninoff’s Second Piano Concerto. Photo by Clarence Chan

CMF Music Director Peter Oundjian will conduct the Festival Orchestra, and Russian-American pianist Natasha Paremski will perform Rachmaninoff’s Second Piano Concerto. The program, also featuring Verdi’s Overture to La forza del destinoand Respighi’s Pines of Rome, will be repeated Friday (June 28).

 

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Peter Oundjian. Photo by Sian Richards

Under the title “Beethoven’s Path to Romanticism,” the program sets a pattern for other orchestra concerts during the summer: a keystone work by Beethoven, with other pieces that share a stylistic affinity. These programs and others fit into the summer’s overarching theme, “Beethoven’s Path to the Future.”

 

“The idea is to create beautiful programs with a general theme,” Oundjian says. “Obviously, every composer after Beethoven was in some way in his shadow. I don’t want to suggest that all (of them) were influenced by Beethoven. I just wanted to give a journey through each program.”

The festival opens its Sunday chamber orchestra series June 30 with Oundjian conducting a concert titled “Beethoven’s Path to Modernism,” and the annual CMF Family Concert will be Sunday, July 7

Read more in Boulder Weekly.

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Colorado Music Festival: Opening Weeks
June 27–­July 9

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

Beethoven:Egmont Overture
Rachmaninoff: Piano Concerto No. 2
Verdi: Overture to La forza del destino
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

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: Overture to La gazza ladra
Tchaikovsky: Overture 1812
Sousa: “Washington Post,” “Liberty Bell,” and “Stars and Stripes Forever”

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

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

All performances in Chautauqua Auditorium
Tickets from the Chautauqua Box office