GRACE NOTES: THE HOLIDAYS MARCH ON

Pinocchio, Winter reveries, Messiah and Swingin’ Brass

By Peter Alexander Dec. 10 at 2:50 p.m.

Boulder Opera Company will present four performances of The Adventures of Pinocchio by English composer Jonathan Dove over the coming weekend (Dec. 14 and 15; details below).

Based on the familiar book by Italian author Carlo Collodi, Dove’s one-hour opera tells the story of the wooden puppet who becomes a boy in 20 brief scenes that range from Gepetto’s hut to the Blue Fairy’s cottage, Funland and the inside of a big fish. Described by Boulder Opera as “A magical opera for all ages,” The Adventures of Pinocchio will be accompanied by an ensemble orchestra led by music director Mario Barbosa, and stage directed by Zane Alcorn.

Zane Alcorn

In the company’s press release, Alcorn is quoted saying “Pinocchio is is a coming-of age story meant to subtly teach children how selfishness will always harm you. Whenever Pinocchio makes a selfish choice like skipping school, lying or going to Funland, he is punished rather quickly, but when he helps the community and saves this father, this leads to the ultimate reward, becoming a real boy.”

The moral of the story is, he says, “those who help others help themselves.”

Dove is highly regarded composer of operas, choral works and instrumental music. His opera Flight, based on the real-life experiences of a refugee trapped in the Charles DeGaulle Airport in Paris for 18 years, has been widely performed around the world, including a premiere at the Glyndebourne Festival, at the Opera theatre of St. Louis, Des Moines Metro Opera, Seattle Opera and the Museum of Flight in Washington, D.C.

The Adventures of Pinocchio was commissioned by Opera North and Sadler’s Wells and first performed in Leeds, U.K., Dec. 21, 2007. It has subsequently been performed by Minnesota Opera as well as companies in Germany, South Korea and Russia.

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Boulder Opera
Mario Barbosa, conductor, and Zane Alcorn, stage director

  • Jonathan Dove: The Adventures of Pinocchio

2 and 4 p.m. Saturday, Dec. 14
1 and 3 p.m. Sunday, Dec. 15
eTown Hall

TICKETS

All the constituent groups of the Boulder Chorale will come together to perform “Winter Reverie,” this year’s edition of their annual Holidays program, Saturday and Sunday in Boulder (Dec. 14 and 15; details below). 

Also appearing with the Chorale will be the Boulder Philharmonic String Quartet: Yenlik Weiss and Reagan Kane, violin; Lee Anderson, viola; and Kimberlee Hanto, cello.

In addition to the full Concert Chorale and the adult Chamber Chorale, the performance will feature all four age groups from the Boulder Children’s Chorale: Bel Canto, Volante, Prima Voce and Piccolini. They will each sing alone and together, including a concluding piece with the full adult Concert Chorale. 

Boulder Chorale and Children’s Chorales at a previous holidays program. Photo by Glenn Ross.

The program opens with the combined children’s groups performing an arrangement of Leroy Anderson’s evergreen Holiday favorite, “Sleigh Ride.” Other performances by the children’s groups include the Jewish traditional song “Maoz Tzur,” “Winter Dreams’ by the prolific composer PINKZEBRA, and the youngest singers performing “Chrissimas Day” with auxiliary percussion accompaniment. 

The adult Chamber Chorale will perform Morten Lauridsen’s setting of the James Agee text “Sure on this Shining Night” and the Magnificat setting of Latvian composer Ēriks Ešenvalds. In addition to traditional holiday numbers, the program also features works by CU faculty member Daniel Kellog and Norwegian composer Ole Gjeilo. The program concludes with the combined adult and children’s ensembles performing in English and Spanish David Kantor’s “Night of Silence/Noche de Silencio,” which incorporates the familiar carol “Silent Night.” Audience members will be invited to sing along.

The director of the adult choirs and co-artistic director of the Boulder Chorale is Vicki Burrichter. Guest director for this concert is Larisa Dreger. Co-artistic director Nathan Wubbena is director of the Children’s Chorale and leads Bel Canto, the oldest children’s group. Directors of the other children’s groups are Anna Robinson, Prima Voce; Larisa Dreger, Volante; and Melody Sebald, Piccolini.

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“Winter Reverie”
Boulder Chorale and children’s chorales, Vicki Burrichter and Nathan Wubbena, co-artistic directors
With the Boulder Philharmonic String Quartet and collaborative pianists Susan Olenwine, Caitlin Strickland, Matthew Sebald, Margaret Schraff and Joanna Lynden

  • Leroy Anderson: “Sleigh Ride” (arr. Hawley Ades)
  • Jewish Traditional: “Maoz Tzur” (arr. Matt Podd)
  • Mary Donnelly and George L.O. Strid: “Winter’s Beauty”
  • Christina Witten Thomas: “Snow Song”
  • PINKZEBRA: “Winter Dreams”
  • Morten Lauridsen: “Sure on This Shining Night”
  • Ēriks Ešenvalds: Magnificat
  • English Traditional: “Chrissimas Day” (arr. Shirley W. McRae)
  • Irish Traditional: “Frosty Weather” (arr. Margaret Scharff)
  • French Traditional: “Pat-a-Pan” (arr. Andy Beck)
  • Andrew Parr: “Winter’s Stillness”
  • Jewish Traditional: “Hanerot Halalu: These Chanukah lights we kindle” (arr. Becky Slage Mayo)
  • Daniel Kellog: “Sim Shalom
  • Ola Gjeilo: “Ecce Novum”
    “Tundra”
  • David Kantor: “Night of Silence” (arr. Nathan Wubbena)

3 p.m. Saturday, Dec. 14 and 5 p.m. Sunday, Dec. 15
First United Methodist Church, Boulder
Livestream 5 p.m. Sunday, Dec. 15

In person and livestream TICKETS

The Longmont Symphony Orchestra (LSO) will perform Handel’s Messiah for their annual Holiday “Candlelight Concert” on Saturday (4 p.m. Dec. 14), in the Vance Brand Civic Auditorium. Elliot Moore will conduct.

A longstanding seasonal offering from the LSO, the “Candlelight Concert” has presented Handel’s oratorio in some years, including 2019 and 2022. The latter year also featured a Messiah singalong for audience members to sing the popular choral numbers with the LSO. In other years they have offered “A Baroque Christmas” or other Holiday-themed performances. 

Although not strictly a Christmas piece, since the entire oratorio goes through the Easter story and the Resurrection, Messiah is undoubtedly one of the most popular pieces of the Christmas season. The first section tells the Christmas story in music that has touched audiences since the first performance in Dublin in 1742. 

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Candlelight Concert
Longmont Symphony Orchestra and Longmont Chorale, Elliot Moore, conductor
With Julianne Davis, soprano; Elijah English, countertenor; Charles Moore, tenor; and Andy Konopak, bass-baritone

  • Handel: Messiah

4 p.m. Saturday, Dec. 14
Vance Brand Civic Auditorium

TICKETS 

The Boston Brass brings their Holiday show, “Christmas Bells are Swingin’,” to Macky Auditorium at 7:30 p.m. Saturday, Dec. 14. They will be joined for the performance by the Brass All-Stars Big Band, an ensemble recruited by the Boston Brass from local musicians, including members of the CU College of Music Faculty.

Founded in 1986, the Boston Brass performs brass quintet arrangements of classical music and jazz standards as well as original works for brass. They have toured throughout the United States and to more than 30 countries world wide. In addition to they quintet performances, they also perform with orchestras, bands and jazz bands.

Boston Brass

Their numerous recordings include one released in 2007 with the same title as their Macky program—“Christmas Bells are Swingin’”—recorded with the Syracuse University Wind ensemble. Pieces on both the CD and the Macky concert program include arrangements of three dances from The Nutcracker, the Sousa-carol blend “Jingle Bells Forever,” and Irving Berlin’s “White Christmas.”

Other works on the concert program are Stan Kenton’s arrangement of “Joy to the World” and several familiar Christmas Carols, including “God Rest Ye Merry Gentlemen,” “Angels We Have Heard on High,” and “The Holy and the Ivy.”

The Boston Brass’s latest album, titled “Joe’s Tango,” features the world premiere of Five Cities Concerto by Jorge Machain. Recorded with the University of Nevada-Las Vegas Wind Orchestra, the album also features New York Philharmonic trombonist Joe Alessi performing with the Boston brass.  

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“Christmas Bells are Swingin’”
Boston Brass and Brass All-Stars Big Band

  • Anon.: “God Rest Ye Merry Gentlemen” (arr. Ralph Carmichael)
  • John Henry Hopkins, Jr.: “We Three Kings of Orient Are” (arr. Carmichael)
  • Traditional: “Angels We Have Heard on High” (arr. Carmichael)
  • Tchaikovsky: Dances from The Nutcracker (arr. J.D.Shaw)
  • Robert W. Smith: “Jingle Bells Forever” (arr. Shaw)
  • “The Grinch” (arr. William Russell)
  • “Ho, Ho, Ho” (arr. Rick DeJonge)
  • Traditional: The Twelve Days of Christmas (arr. Carmichael)
  • Leroy Anderson: “Sleigh Ride” (arr. Shaw)
  • Jack Rollins: “Frosty the Snowman” (arr. Shaw)
  • Franz Xaver Gruber: “Silent Night” (arr. Chris Castellanos)
  • Anon.: “Good King Wenceslas” (arr. Carmichael)
  • Henry Gauntlett: “Once in Royal David’s City” (arr. Carmichael)
  • Traditional: “The Holly and the Ivy” (arr. Carmichael)
  • David Cutler: “Faithful”
  • Irving Berlin: “White Christmas” (arr. Shaw)
  • Anon.: “Greensleeves” (arr. Shaw)

7:30 p.m. Saturday, Dec. 14
Macky Auditorium

TICKETS

GRACE NOTES: Holiday Music Here and There

Warning! The most popular shows are selling out

By Peter Alexander Dec. 4 at 4:50 p.m.

The CU-Boulder College of Music’s annual “Holiday Festival” has limited tickets still available for the four performances Friday through Sunday (Dec. 6–8 in Macky Auditorium; details below).

The annual holiday extravaganza features orchestras, bands, jazz ensembles and world music groups and individual performers from the School of Music, in addition to faculty and guests. Based on previous years, it is almost a certainty that the performances will sell out by the weekend. If you wish to attend, move fast!

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“Holiday Festival”
Performers from the CU College of Music:
—Chamber Singers, Coreen Duffy, conductor
—Holiday Festival Chorus, Coreen Duffy and Elizabeth Swanson, conductors
—Holiday Festival Orchestra, Gary Lewis and Matthew Dockendorf, conductors
—Trumpet Ensemble, Ryan Gardner conductor
—Holiday Festival Jazz, Brad Goode, conductor
—Holiday Festival Brass, Elias Gillespie conductor
—West African Highlife Ensemble, Maputo Mensah, director
—Andrew Garland, baritone; Daniel Silver, clarinet; and Bobby Pace, carillon 

  • Program of selected music for the Holidays

7:30 p.m. Friday, Dec. 6 LIMITED TICKETS
1 p.m. and 4 p.m. Saturday 7 LIMITED TICKETS
4 p.m. Sunday, Dec. 8 LIMITED TICKETS

TICKETS

The “Gentle Nutcracker,” a sensory-friendly, abridged version of Tchaikovsky’s Nutcracker ballet presented by Boulder Ballet and the Longmont Symphony Orchestra (LSO) for individuals with special needs and their families, has limited tickets available for Saturday’s performance in Longmont’s Vance Brand Auditorium (1 p.m. Dec. 7; details below).

The same is true for one performance of the full Nutcracker ballet, Saturday at Vance Brand (4 p.m. Dec. 7). While Sunday’s performance is sold out, a few more tickets are available for Saturday.  All performances will be led by the LSO music director Elliot Moore.

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Boulder Ballet with the Longmont Symphony, Elliot Moore, conductor

“Gentle Nutcracker”

1–2 p.m. Saturday, Dec. 7
Vance Brand Civic Auditorium

TICKETS 

The Nutcracker

4 p.m. Saturday, Dec. 7 LIMITED TICKETS
2 p.m. Sunday, Dec. 8 SOLD OUT 
Vance Brand Civic Auditorium

TICKETS

Ars Nova Singers will celebrate the winter solstice with “Light/Shadow,” a program featuring rarely heard seasonal music that welcomes the return of light after winter’s darkness. A series of four concerts in Denver, Boulder and Longmont opens Saturday at the St. Paul Community of Faith in Denver with conductor Tom Morgan (Dec. 7; full concert details below).

Additional performances will be Sunday, Dec. 8 in Longmont; Thursday Dec, 12 at Mountain View Methodist  church in Boulder; and Friday, Dec. 13, at First Church in Boulder. All performances are at 7:30 p.m. In addition to the Ars Nova Singers, the performances will feature violist Matthew Dane and flutist Christine Jennings.

Highlights of the program will include the Magnificat by the Estonian composer Arvo Pärt, featuring the composer’s “tintinnabuli” style. This style, which Pärt introduced in the 1970s, combines a chant-like voice moving in stepwise motion with a “tintinnabular voice” that moves mostly in arpeggios. One of Pärt’s most popular works, the Magnificat is characterized by its gentle lyricism and calm mood.

Also noteworthy on the program is the U.S. premiere of the Vocalise for viola and choir by the Bulgarian composer Emil Tabakov. Known as both a conductor and composer in Bulgaria, Tabakov has written extensively for large ensembles, including 10 symphonies and a Concerto of Orchestra as well as a number of concertos. In that respect, the restrained and meditative Vocalise is exceptional among his works. 

Also on the program are pieces by the African-American composer B.E. Boykin, Shira Cion, the American singer/songwriter/actress Sara Bareilles, and arrangements of seasonal music by Morgan.

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“Light/Shadow”
Ars Nova Singers, Tom Morgan, conductor
With Matthew Dane, viola, and Christina Jennings, flute

  • Phillipe Verdelot: Beata es Virgo Maria
  • Anton Bruckner: Virga Jesse floruit
  • Joan Szymko: Illumina le tenebrae
  • B. E. Boykin: O magnum mysterium
  • Arvo Pärt: Magnificat
  • Emil Tabakov: Vocalise for solo voila and choir (U.S. premiere)
  • Abbie Betinis: “Be Like the Bird”
  • John Rutter: Musica Dei donum
  • Mykola Leontovych: “Carol of the Bells”
  • Italian Carol: Dormi, dormi (arr. Guy Turner)Israeli song: Ma navu (arr. Shira Cion)
  • “The Angels and the Shepherds” (arr. Paulus/Morgan)
  • Sara Bareilles/Ingrid Michaelson: “Winter Song” (arr. Morgan)
  • Traditional “The Holly and the Ivy” (arr. Morgan)

7:30 p.m. Saturday, Dec. 7
St. Paul Community of Faith, 1600 Grant St., Denver

7:30 pm. Sunday, Dec. 8
United Church of Christ, 1500 9th Ave., Longmont

7:30 p.m. Thursday, Dec. 12
Mountain View United Methodist, 355 Ponca Place, Boulder

7:30 p.m. Friday, Dec. 13
First Church, 1421 Spruce St., Boulder

TICKETS

NOTE: Matthew Dane is the correct name of the guest violist for this concert. The original posting had his name correctly in the text by misspelled as “Dance” in the program listing below.

GRACE NOTE: Chamber music with piano, viola and clarinet

The Academy University Hill presents free concert Sunday

By Peter Alexander Nov. 26 at 5:40 p.m.

A musical trio assembled for the occasion—called, fittingly, “The Ad Hoc Trio”—will perform three works by Brahms and Mozart on a free concert at The Academy University Hill Sunday (7 p.m. Dec. 1; details below).

The retirement community does not charge admission for performances held in their Chapel Hall at 883 10th St. in Boulder, but audience members are asked to RSVP in advance HERE.

Sunday’s performers will be CU Boulder College of Music faculty member Erika Eckert, viola; Boulder resident Stephen Trainor, clarinet; and Grinnell College (Iowa) faculty member Eugene Gaub, piano. They will play a trio by Mozart and two sonatas by Brahms, one each performed by viola with piano, and clarinet with piano. 

In 1890 Brahms had decided to give up composition, but the following year he heard the clarinetist Richard Mühlfeld. He was so impressed with Mühlfeld’s playing that he changed his mind and wrote two sonatas for him, as well as a trio and quintet with clarinet. The last chamber music Brahms wrote, the sonatas effectively opened the door for later composers’ sonatas for clarinet and piano.

After completing the sonatas, Brahms later arranged them for viola instead of clarinet, making minor alterations to fit the instrument. These versions are rightly known as sonatas for viola and piano, but it is rare to hear both instruments playing these works on the same program. Eckert and Trainor decided to split the two op. 120 sonatas between them, so that the audience has a rare opportunity to hear both instruments in some of Brahms’ most notable chamber music.

Mozart wrote his “Kegelstatt” Trio for his piano student Franziska von Jaquin and the clarinet virtuoso Anton Stadler, for whom he also wrote the Clarinet Concerto and other works. Mozart took the viola part with his two friends in the first performance of the trio, in von Jacquin’s home in 1786. The name “Kegelstatt” means the place where skittles, one of Mozart’s favorite games, is played. 

The Ad Hoc Trio
Erika Eckert, viola; Stephen Trainor, clarinet; and Eugene Gaub, piano

  • Brahms: Sonata for clarinet and piano in F minor, op. 120 no. 1
    —Sonata for viola and piano in E-flat major, op. 120 no. 2
  • Mozart: Trio in E-flat major for clarinet, viola and piano, K498 (“Kegelstatt”)

7 p.m. Sunday, Dec. 1
Chapel Hall, Academy University Hill
883 10th St., Boulder

Admission free; RSVP HERE

GRACE NOTES: From Brahms to Taylor Swift

Mini Chamber concert in Boulder and Groovin’ in Longmont

By Peter Alexander Nov. 19 at 11:40 p.m.

The Boulder Chamber Orchestra (BCO)will present “Mini-Chamber 2,” the second of its chamber music programs for the 2024–25 season, Saturday (7:30 p.m. Nov. 23; details below).

The program features guest pianist Adam Żukiewicz performing quintets for piano and strings by Brahms and Théodore Dubois with members of the BCO string sections. Żukiewicz appeared on a Mini-Chamber concert last spring, and will be the soloist with the orchestra when they perform in New York in Zankel Hall at Carnegie Hall next spring.

Dubois was a prominent French composer in the late 19th and early 20th centuries. After winning the Prix de Rome in1861, he became organist and choirmaster at several churches in Paris and was professor of harmony at the Paris Conservatory 1871–91 and composition until 1896. He became director of the Conservatory in 1896, but had to resign from the position over his hostility to the adventurous student works of Ravel.

Adam Żukiewicz

Dubois was as conservative in his compositions as he was as a leader of the Conservatoire. He wrote orchestral chamber and choral works. most of which have disappeared from the standard repertoire, while his theoretical books are still used for teaching.

Brahms wrote in Piano Quintet in F minor over a number of years, first as a string quintet, then as a sonata for two pianos. The first version dates to 1861, and the final form, the Quintet for piano and strings, was completed in 1864 and premiered in 1868. Widely considered one of the great works of chamber music from the 19th century, it comprises four movements that last around 45 minutes in performance.

A native of Poland, Żukiewicz has studied at the Royal Academy of Music in London and the Jacobs School of Music at Indiana University, and holds a doctorate from the University of Toronto, where he also served on the faculty. He won first prize both the 2011 Canada Trust Music Competition and the 2012 Shean Piano Competition in Canada, and was a medalist at several other contests. Since 2018 he has been a judge for the Steinway Piano Competition.

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Boulder Chamber Orchestra: Mini-Chamber 2
Adam Żukiewicz, piano, with members of the BCO

  • Théodore Dubois: Piano Quintet in F major
  • Brahms: Piano Quintet in F minor, op. 34

7:30 p.m. Saturday, Nov. 23
Boulder Adventist Church

TICKETS

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The Boulder Philharmonic Orchestra will repeat its “Groove” concert, first presented at Planet Bluegrass in September, next Monday at the Dickens Opera House in Longmont (6:30 p.m. Nov. 25).

The concert is one in the Boulder Phil’s new “Shift” series, designed to bring the orchestra’s musicians into informal spaces and present them in smaller groups. Each program in the “Shift” series will be presented first at Planet Bluegrass in Lyons, and then taken to smaller venues in Longmont and Boulder.  

“Groove” features the Boulder Philharmonic String Quartet, principal players from each of the orchestra’s string sections. The program includes music by pop sensations from Lizzo to Taylor Swift alongside pieces by living composers including Philip Glass and Jessie Montgomery. And neither a pop sensation nor living, Vivaldi shows up on the program with one piece as well. 

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“Groove”
Boulder Philharmonic String Quartet: Ryan Jacobsen and Hilary Castle-Green, violin; Stephanie Mientka, viola; and Amanda Laborete, cello

  • Takashi Yoshimatsu: Atomic Hearts Club Quartet, Movement I
  • Justin Bieber: “Peaches” (arr. Alice Hong)
  • Dinuk Wijeratne:Two Pop Songs on Antique Poems: “Letter from the afterlife”
  • Carlos Simon: “Loop”
  • Michael Begay: “Forest Fires”
  • Lizzo: “ Good As Hell” (arr. Alice Hong)
  • Jessie Montgomery: “VooDoo Dolls”
  • Philip Glass: String Quartet No. 3: VI “Mishima/Closing”
  • Taylor Swift: “All Too Well” (arr. Alice Hong)
  • Wijeratne: Two Pop Songs on Antique Poems: “I will not let you go”
  • Ed Sheeran: “Shape of You” (arr. Alice Hong)
  • Due Lipa: “Dance the Night” (arr. Zack Reaves)
  • Jessica Meyer: “Get into the NOW”: III. “Go Big or Go Home”
  • Vivaldi: Summer: Movement III (arr. Naughtin)

6:30 pm. Monday, Nov. 25
Dickens Opera House, Longmont

TICKETS

Seicento introduces new director with Handel oratorio

Coreen Duffy will conduct ‘Judas Maccabeus’ Friday-Sunday

By Peter Alexander Nov. 13 at 5:55 p.m.

Seicento Baroque Ensemble is starting the concert season with a new conductor and a Handel oratorio that is likely new for many in the audience.

Coreen Duffy, newly hired as Seicento’s artistic director and as director of choral activities at the CU College of Music, is a specialist in Jewish choral music. She will conduct the singers of Seicento and an orchestra of Baroque period instruments in a performance of Handel’s oratorio Judas Maccabeus. Performances will be Friday through Sunday in Longmont, Boulder and Denver (Nov. 15–17; details below).

Seicento in 2022 with founding director Evanne Browne

Handel’s Judas Maccabeus was composed in 1746, the 18th of the composer’s remarkable output of 18 or 19 oratorios, depending on how you count them. Based on the historical event of the rebellion of the Jewish people against the Greek Seleucid Empire in the years 170–160 BCE, the libretto was written by Thomas Morell who wrote several oratorio texts for Handel.

The story of Judas Maccabeus is tied to the Jewish holiday of Hanukkah, which celebrates the return of Jewish worship to the Second Temple in Jerusalem during the revolt. Eventually the revolt led to victory over the Greeks and their expulsion from Judea.

George Frideric Handel

Handel wrote Judas Maccabeus at a time that his oratorios were losing their popularity. To revive his success, he wrote Judas Maccabeus to celebrate the 1746 victory of the English over the Scots at Culloden. To appeal to the British audience, the libretto stresses the military victory of the Jewish people, rather than the “The Festival of Lights” and the Hanukkah story of lamps that miraculously burned for eight days. The premieretook place at in London on April 1, 1747, nearly a year after the battle of Culloden.

The oratorio comprises 68 separate musical numbers organized in three acts, much like Messiah. It includes 17 choruses, as well as arias for the soloists who portray Judas Maccabeus, his brother Simon, a messenger and other characters in the story.

Because it never achieved the broad popularity of Handel’s Messiah, Judas Maccabeus is often regarded as secondary to the more famous work. However, it does contain one of Handel’s most popular choruses, “See, the Conqu’ring Hero Comes!” This chorus has been adapted several times, including a set of variations for cello and piano by Beethoven, a hymn tune, and a movement of Henry Wood’s Fantasia on British Sea Songs.

A performance of Judas Maccabeus is a major undertaking. Seicento will feature its full choir, four soloists—Alice Del Simone, soprano; Alexandra Colaizzi, mezzo-soprano; Javier Abreu, tenor; and James Robinson, bass—and an orchestra with local Baroque-instrument string players and a number of period wind-instrument specialists, most brought in from outside Boulder. 

Duffy links the oratorio firmly to the celebration of Hannukah. She has written of the upcoming performance, “The Jewish High Holy Day season (is) a time of intense contemplation, when we consider the past year in retrospect, make amends with each other and set goals for the coming year.

“This year, the Seicento Baroque Ensemble has set an exciting performance goal . . . one of Handel’s greatest—yet under-performed—oratorios, Judas Maccabaeus. This Chanukah oratorio tells the story of the Maccabees’ fight for religious tolerance and freedom from persecution. Handel’s music soars over the conflict, desolation, and joy, lifting the Chanukah story up for new generations.”

Coreen Duffy

Duffy replaces the founding director of Seicento, Evanne Browne. Her duties at the College of Music include leading the graduate program in choral conducting at both the master’s and doctoral levels. She earned degrees from the University of Michigan (bachelors degree with honors in English), the University of Michigan Law School (Juris Doctor), the University of Miami Frost School of Music (masters in conducting) and the USC Thornton School of Music (doctorate in choral music).

Before coming to CU-Boulder, Duffy was on the faculty of the University of Montana and the University of Miami Frost School of Music, and practiced law in California. She is excited to join the faculty at CU, saying “it’s a legacy program . . . the envy of the country in terms of the gold standard for choral literature studies.”

At Seciento, she says, “it’s a wonderful opportunity to continue the amazing work that Evanne Browne had done. We’re taking on the enormous project from the get-go this fall, with Judas Maccabeus. Next spring the title of the concert is “Renaissance women.” It will be all women composers of the Renaissance and Baroque.

“That will be really fun to do—music that doesn’t get done very often.”

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Seicento Baroque Ensemble, Coreen Duffy, director
With Alice Del Simone, soprano; Alexandra Colaizzi, mezzo-soprano; Javier Abreu, tenor; and James Robinson, bass
Orchestra of Baroque-era period instrumentalists

  • Handel: Judas Maccabeus

7 p.m. Friday, Nov. 15, Stewart Auditorium, Longmont
7 p.m. Saturday, Nov. 116, Congregational Nevei Kodesh, Boulder
3 p.m. Sunday, Nov. 17, St. Thomas Episcopal Church, Denver

TICKETS (Students under 18 free)

CORRECTION: The name of bass soloist is James Robinson. It was originally incorrectly listed as James Robins.

“Guitar Masterworks” program comes to Boulder

Spanish virtuoso Pablo Sáinz-Villegas plays at Macky Saturday

By Peter Alexander Nov. 7 at 2:25 p.m.

Pablo Sáinz-Villegas, a classical guitarist from Logroño, La Roja, near the Basque Country in Northeastern Spain, will perform a program of “Guitar Masterworks” as part of the CU Presents Artist Series in Macky Auditorium at 7:30 p.m. Saturday (Nov. 9; details below).

Pablo Sáinz-Villegas. Photo by Bernardo Arcos Mihailidis.

His program will feature his own arrangement of the Chaconne from Bach’s Partita in D minor for solo violin, as well as works by Vila-Lobos, Albéniz, Agustín Barrios-Mangoré and Carlo Domeniconi.

The Five Preludes are the last of many works that Brazilian composer Heitor Villa-Lobos wrote for guitar. Each of the five preludes is titled as an homage. The third is an homage to Bach, but the others recognize aspects of Brazilian life and culture: “The Brazilian Backcountry,” “The Scoundrel from Rio,” “The Brazilian Indians” and “The Social Life.”

The instantly recognizable piece by Isaac Albeniz known as Asturias is one of the most popular works for classical guitar. However, it was originally written for piano and titled simply “Prelude.” The title Asturias (Leyenda) was applied after Albeniz’s death by the German publisher Friedrich Hofmeister when he published it in 1911. Hofmeister also included Asturias in what he called the “complete version” of the Suite española, although Albeniz had not included it as part of a larger work at all.

The piano piece was written to imitate the sound of flamenco guitar, and it has been transcribed for guitar several times, including by the great Spanish guitarist Andrés Segovia. In addition to its wide popularity among classical guitarists, it has also been used in by rock and pop groups, including The Doors and Iron Maiden.

Agustín Barrios-Mangoré

The other composers on the program are well known to guitarists but may not be familiar to classical audiences in this country. Agustín Barrios-Mangoré was a guitarist and composer from Paraguay who lived in the first half of the 20th century. Also known as Nitsuga (Augustin spelled backwards!) Mangore and Augstín Pío Barrios, he began university studies in music and other fields when he was only 15.

He was known for both his brilliantly virtuosic performances on guitar and for his poetry. He had numerous students, including 12 that he taught while living in El Salvador who were known as “The Twelve Mangoreanos.”

Many of his works for guitar were influenced by South and Central American folk music. Un sueño en la floresta (A dream in the forest) is known for its extensive use of complex tremolos and its ending on a high C that requires one more fret than are found on most guitars.

Carlo Domeniconi

Italian guitarist and composer Carlo Domeniconi spent many years living in Istanbul, Turkey. That experience led to Koyunbaba, a suite inspired by Turkish music. The title refers to a region of Turkey, and also means “shepherd.” Domeniconi’s best known work, Koyunbaba uses “scordatura” (an alternative tuning of the strings) to create exotic effects and evoke the Turkish origin of the music.

After musical studies in his native province of La Roja, Sáinz-Villegas has lived and managed his career in New York. Since his debut with the New York Philharmonic with conductor Rafael Frühbeck de Burgos, he has played in more than 40 countries with orchestras including the Berlin Philharmonic, Chicago Symphony, Philharmonic of Israel, Los Angeles Philharmonic, and the National Orchestra of Spain. Most memorably, he has performed before members of the Spanish Royal Family as well as other heads of state and international leaders.

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CU Presents Artist Series: Guitar Masterworks
Pablo Sáinz-Villegas, guitar

  • Heitor Villa-Lobos: Five Preludes
  • J.S. Bach: Chaconne from the Partita in D minor for solo violin (arr. Sáinz-Villegas)
  • Isaac Albéniz: Asturias (Leyenda) from Suite Española
  • Agustín Barrios-Mangoré: Un sueño en la floresta (A dream in the forest)
  • Carlo Domeniconi: Koyunbaba

7:30 p.m. Friday, Nov. 9
Macky Auditorium

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Moons and planets in Macky Auditorium

Boulder Phil to premiere a new work about the solar system Sunday

By Peter  Alexander Nov. 6 at 2:55 p.m.

Gustav Holst’s seven-movement orchestral suite The Planets is one of the best known and most popular pieces in the orchestral repertoire. But did you know there is a new piece about the moons in our solar system to go with it?

That new piece, Moons of the Giants by Colorado composer John Heins, will receive its world premiere from the Boulder Philharmonic on a program that includes Holst’s score at 4 p.m. Sunday (Nov. 10; details below). The performance will be led by guest conductor Scott O’Neil, who is staff orchestrator and conductor for the Colorado Symphony. He replaces the Boulder Phil’s music director Michael Butterman, who will be out for the remainder of 2024 for health reasons.

John Heins

Heins wrote the piece without a commission, just from his own inspiration, and then hoped to find an orchestra that would play it. Butterman said he liked the score as soon as he took a look at it, and even though he won’t be able to conduct in it Boulder he plans to perform it with the Shreveport Symphony in Louisiana, which he also directs, in January. 

“I’m just sorry that I won’t get to conduct the premiere,” he wrote in an email.

In an online interview, Heins said “I’ve always been really interested in astronomy and space exploration. The Holst (Planets) is one of my favorite pieces, and I’ve thought about writing some type of piece like that. I came up with the idea to write about some of the moons of some of the planets.

“I narrowed it down to the so-called ‘gas-giant’ planets—Neptune, Uranus, Jupiter and Saturn—and picked one or two moons of each of these planets. . . . I picked six of the moons. Each one has a different character and mood. (The score is) pretty programmatic and moody, just trying to bring across the impression that the moons had on me when I researched them.”

In his written communication, Butterman noted that “Heins’ work will be presented along with video prepared by CU’s Fiske Planetarium.”

Gustav Holst

The second half of the program, comprising Holst’s Planets, is presented in honor of the 150th anniversary of the composer’s birth. Holst wrote The Planets over a three-year span from 1914 to 1917. Each movement describes not the physical nature of the planet but its astrological significance and the mythological character for which it is named. 

The first performance, given in London in 1918, was initially met with hostility from some critics, due to Holst’s imaginative use of color and harmony. Nevertheless, the suite quickly gained popularity with audiences. Today it is one of Holst’s most widely performed pieces, and has been recorded more than 80 times.

Sarah Gillis and violin on the Polaris Dawn spaceship

The concert will be preceded by a pre-performance talk starting at 3 p.m. featuring SpaceX astronaut Sarah Gillis who is a Boulder native. She studied Suzuki violin and played in the Youth Orchestra in Boulder, went to CU-Boulder, and even babysat for Butterman’s daughter during his first years with the orchestra. 

While on the recent Polaris Dawn mission, Gillis played her violin in orbit and completed a space walk. She will be onstage with conductor Scott O’Neil, and will be joined virtually by Butterman from Shreveport. 

Guest conductor Scott O’Neill

O’Neil recently completed a nine-year tenure as Resident Conductor with the Colorado Symphony in Denver. During his time there he performed with renowned soloists, including Itzhak Perlman, Joshua Bell, Nadja Salerno-Sonnenberg, Pinchas Zukerman and Van Cliburn. O’Neil has also created and developed a series of educational concerts titled “Inside the Score” that combined art, entertainment and enlightenment to engage audiences.

As an arranger/orchestrator, O’Neil has created and orchestrated numerous works for the Colorado Symphony. He continues to guest conduct and to lead his own ensemble, the Rosetta Music Society, in Denver.

Heins’s compositions have been performed throughout the United States, Canada and Europe. His works include music for symphonic band and orchestra as well as solo piano works and chamber music. He received a bachelor’s degree from the University of Montana and a master’s degree from the University of Colorado, Boulder. He has taught at Rocky Mountain College in Billings, Montana.

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“Moons and Planets”
Boulder Philharmonic Orchestra, Scott O’Neil, guest conductor

  • John Heins: Moons of the Giants (world premiere)
  • Gustav Holst: The Planets

4 p.m. Sunday, Nov. 10
Macky Auditorium

3 p.m.: Pre-performance discussion in the Macky Auditorium with O’Neill and SpaceX astronaut Sarah Gillis

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Central City Opera announces 2025 season

A barber, a regional first and a Broadway show

By Peter Alexander Oct. 31 at 2:20 p.m.

The Central City Opera (CCO) has announced its 2025 summer season—or at least two thirds of it.

As in recent years, there will be two operas and a Broadway musical performed in the historic opera house in Central City. For 2025 the two operas will be Rossini’s enduring comic masterpiece The Barber of Seville, and a new work by Serbian-American composer Aleksandra Vrebalov, The Knock

The Broadway musical has not been announced, although a recent news release from CCO says, coyly, “We won’t be shy about announcing the title of the Golden-Age musical comedy after it ends its limited run on Broadway in January.” I won’t speculate, but you can fuel your imagination by looking up the shows currently on Broadway.

The French playwright Pierre Beaumarchais wrote three plays about the cagey character of Figaro, starting with The Barber of Seville. It was adopted several times as an opera, including a popular version by Giovanni Paisiello. When Rossini’s version premiered in Rome in 1816 it was booed on opening night but—thanks to the brilliant score—soon vanquished all previous versions. 

In the play and opera, Figaro cleverly outwits the elderly Dr. Bartolo, who has designs on his young ward, Rosina, and arranges her marriage to her lover, Count Almaviva. In addition to several comic ensemble scenes, the score includes Figaro’s famous entry aria “Largo al factotum” and Rosina’s virtuosic showpiece “Una voce poco fa.”

Aleksandra Vrebalov

Born in Serbia, Vrebalov came to the United States to study in 1995 and became a U.S. citizen in 2005. She holds a doctorate in music from the University of Michigan. Her works have been performed by the Kronos Quartet, Glimmerglass Opera with Cincinnati Opera, the English National Ballet and the Belgrade Philharmonic, among others. 

A patriotic story of military wives awaiting news of their deployed husbands, The Knock is Verbalov’s third opera. It was commissioned by the Cincinnati Opera, but due to the COVID pandemic the stage premiere was postponed. The first performance was recorded on film with the Glimmerglass Festival Orchestra. That performance was directed by Alison Moritz, now the artistic director of Central City Opera. 

The CCO production will represent a regional premiere, following sold-out onstage performances in Cincinnati.

Quartet Integra will perform on Takács series at CU

Prize-winning quartet from Japan will play Haydn, Ligeti and Brahms

By Peter Alexander Oct. 30 at 4:55 p.m.

Quartet Integra, the 2024 guest ensemble on the Takács Quartet’s campus concert series at CU Boulder, will perform in Grusin Music Hall Sunday afternoon and Monday evening (4 p.m. Nov. 3 and 7:30 p.m. Nov. 4; details below).

Following a traditional program format of classical-contemporary-Romantic works, they will perform Haydn’s String Quartet in B minor, op. 33 no. 1, György Ligeti’s String Quartet No. 2 and Brahms’s String Quartet No. 3 in B-flat major. Tickets are available for both in-person and online attendance.

Quartet Integra

The Quartet Integra—violinists Kyoka Misawa and Rinato Kikuno, violist Itsuki Yamamoto and cellist Ye Un Park—formed in 2015 and began their studies at the Toho Gakuen School of Music in Tokyo. They continued their academic work as a quartet as Fellows at the Suntory Hall Chamber Music Academy. They are currently enrolled in the Chamber Ensemble-in-Residence Program at the Colburn School in Los Angeles.

The Quartet won Second Prize and the Audience Award at the 2022 ARD International Music Competition, First Prize at the 2021 Bartók World Competition, and First Prize, the Prize of Beethoven and Grand Prix Award at the 2019 Akiyoshidai Music Competition. Upcoming performances include a New York debut at the Schneider Concert series at the New School, a contemporary recital at Boston Court, a recital as part of the Discovery Series at the La Jolla Music Society and the ECHO Chamber Music Series in El Cajon, California, among others. 

Past festival performances include the Suntory Chamber Music Garden Festival, the Kanazawa, Hukuyama and Takefu International Festivals. Quartet Integra has commissioned many new works from Japanese composers and given more than a dozen world premieres.

In 1779 Haydn’s employer, Prince Nicolaus Esterhazy, granted the composer the right to sell his works to publishers. One of the first sets of works where Haydn took advantage of that freedom was his set of six string quartets, composed in 1781 and known as Op. 33. Haydn wrote to a number of amateur musicians inviting them to subscribe to manuscript copies of the quartets, which he said were written “von einer Neu, gantz besonderer Art” (a new and entirely special way).

There is disagreement whether the six quartets truly represent a “new way” of composition, or the phrase was just salesmanship by Haydn. Either way, the set is regarded as one of Haydn’s major works defining the classical style. In addition to the manuscript parts Haydn offered, the quartets were published separately in Vienna, Berlin and London. Consequently, they were widely known, and may have been the inspiration for the six quartets Mozart wrote 1782–85 and dedicated to Haydn.

György Ligeti

The second of Hungarian composer György Ligeti’s four string quartets was written in 1968 and dedicated to the La Salle Quartet, who played in the premiere in 1969. The five movements share related material but represent five different styles of musical motion, from gentle lyricism to mechanical pizzicato to fast and aggressive, and other stops in between.

Brahms composed three string quartets that have survived, as well as a large number of early quartets that he destroyed. The one known as his Third Quartet, composed in 1875, was dedicated to Theodor Wilhelm Engelmann, an amateur cellist, in spite of which it contains no major themes or solos for the cello. Later Brahms wrote to Engelmann, “This quartet rather resembles your wife—very dainty but brilliant.”

It is one of Brahms’s most animated and cheerful works. The first and fourth movements are particularly playful, full of bouncing, propulsive rhythms. The central movements—a wistful slow movement and an agitated waltz movement—are move serious in mood.

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Quartet Integra

  • Haydn: String Quartet in B minor, op. 33 no. 1
  • György Ligeti: String Quartet No. 2
  • Brahms: String Quartet No. 3, op. 67

4 p.m. Sunday, Nov. 3 and 7:30p.m. Monday, Nov. 4
Grusin Music Hall

In-person and streaming tickets HERE

GRACE NOTES: Curiosity entertains while the Baroque blooms

Boulder Symphony celebrates Día de los Muertos; BCO presents Vivaldi and Pergolesi

By Peter Alexander Oct. 29 at 9:40 p.m.

“The Creative Spirit,” the Fall Curiosity Concert of the Boulder Symphony, will be presented Saturday (3 p.m. Nov. 2) at Grace Commons.

The Boulder Symphony and director Devin Patrick Hughes will present two Curiosity Concerts as part of their 2024–25 season, one each in the fall and the spring. Curiosity Concerts are designed as interactive, educational experiences for family audiences. They typically use humorous characters, trivia and original stories to entertain as well as educate the audiences.

Statue of La Llorana at Xochimilco, Mexico. Photo by KatyaMSL.

The Fall Curiosity Concert, lasting 45 minutes, will celebrate La Día de los Muertos (Day of the Dead). Joining the Symphony for portions of the concert will be the Niwot High School Mariachi Ensemble and the Longmont Youth Symphony. 

The performance will tell the tale of a ghostly composer who reunites with a musical partner for the premiere of their final composition, only to discover that the piece was never finished. They turn to the audience for help completing the song before the ghostly composer vanishes again. 

The program will feature not only the imaginary composer’s new work but also familiar tunes including Radiohead’s “Creep,” Kate Bush’s “Running up the Hill” and “La Llorana” (The weeping woman), a Mexican folk song based on the legend of a woman weeping over the loss of her children, or her lover. The song has often been used for Día de los Muertos festivities.

The performance will also include music from the standard classical orchestra repertoire, including Beethoven’s Seventh Symphony and Arturo Márquez’s Dánzon No. 2.

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Fall Curiosity Concert: The Creative Spirit
Boulder Symphony, Devin Patrick Hughes, conductor
With the Niwot High School Mariachi Ensemble and Longmont Youth Symphony

3 p.m. Saturday, Nov. 2, Grace Commons

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The Boulder Chamber Orchestra (BCO) will present an all-Baroque program Saturday featuring violinist Zachary Carrettin, director of the Boulder Bach Festival playing concertos by Vivaldi, for violin solo and with other strings (7:30 p.m. Nov. 2 at the Boulder Adventist Church; details below). Other soloists for two of the concertos will be members of the BCO.

Also featured on the program are soprano Jennifer Ellis Kampani and mezzo-soprano Gabrielle Razafinjatovo performing the Stabat Mater of Giovanni Battista Pergolesi. The concert will be conducted by Bahman Saless, music director of the BCO.

Published as Op. 3, L’estro armonico is a set of 12 concertos by Vivaldi for stringed instruments. The set was published in Amsterdam in 1711, making it the first set of Vivaldi’s concertos to be printed. The concertos are organized in four sets of three concertos each, with each set containing first a concerto for four violins with strings; second for two violins, cello and strings; and third for solo violin and strings. 

Zachary Carrettin

The concertos were probably written for performance by students at the Ospedale della Pietà, the orphanage/music school where Vivaldi was employed as music teacher. Later the published edition was widely circulated in Europe and the concertos were performed as both church music and secular chamber pieces. At least six of the concertos were arranged in various settings by J.S. Bach.

The BCO performance will present two of the solo violin concertos with Carrettin as soloist, as well as one each for two violins and cello, and for four violins, with Carrettin joined by members of the orchestra as additional soloists. 

Pergolesi wrote his Stabat Mater in 1736, weeks before his untimely death at the age of only 26. The manuscript was preserved at the Benedictine Abbey of Monte Cassino in Italy, which was the site of brutal battles in World War II. After being nearly destroyed, the abbey was rebuilt after the war.

While many works attributed to Pergolesi were in fact written by others, due to the survival of the original manuscript the Stabat Mater is known to be his. The title literally means “The mother was standing.” The text is a 13th-century hymn to the Virgin Mary, describing her suffering during the crucifixion of Jesus. The hymn has been set by many European composers from the 15th century to the current day.

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L’estro armonico
Boulder Chamber Orchestra, Bahman Saless, conductor
With Zachary Carrettin, violin; Brune Macary, Annamaria Karacson, Kina Ono, and Ava Pacheco, violins; Joey Howe, cello; Jennifer Ellis Kampani, soprano; and Gabrielle Razafinjatovo, mezzo-soprano

  • Vivaldi: Four concertos from L’estro armonico (The harmonic inspiration)
    Concerto No. 9 in D major for violin, RV230
    —Concerto No. 11 in D minor two violins and cello, RV565
    —Concerto  No. 6 in A minor for violin, RV 356
    —Concerto No. 10 in B minor for 4 violins, RV580
  • Pergolesi: Stabat Mater

7:30 p.m. Saturday, Nov. 2, Boulder Adventist Church

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