Guest conductor Danzmayr leads an energetic concert at CMF

Music by Bartók, Piazzolla and Schubert—all drawn from folk sources

By Peter Alexander July 9 at 12:35 a.m.

DAVID-DANZMAYR-

David Danzmayr, guest conductor at CMF

David Danzmayr, the summer’s second guest conductor at the Colorado Music Festival (CMF), selected three pieces for last night’s chamber orchestra concert (July 8), all with roots in folk music.

In comments before the concert began, he noted that the three composers—Bartók, Piazzolla and Schubert—seem to have little in common, but the common thread is music reflecting their individual national cultures—from Hungary, Argentina and Austria, respectively.

The specific pieces he selected were Bartók’s Romanian Folk Dances, based on dances that the composer recorded in Hungarian villages as part of his folk music research; Piazzolla’s Four Seasons of Buenos Aires, drawn from the native tango music of Argentina; and Schubert’s Symphony No. 3, incorporating music of the Austrian countryside.

All are pieces that benefit from high energy, and that Danzmayr provided. Not that the performance was unblemished, but the energy comfortably overcame any imperfections.

Originally composed for piano, Bartók’s seven Romanian Folk Dances were performed in the composer’s own setting for small orchestra. The challenge is to create the rhythmic freedom of eastern European folk dances within orchestral sections. This is well accomplished in three movements, where Bartók hands the melody to solo players—clarinet in the second dance, piccolo in the third, and solo violin in the fourth. The soloists played with appropriate verve, with firm orchestral support.

Danzmayr gave the full ensemble portions of the score all the rhythmic impulse that a folk dance needs, driving right past a few moments when the texture became thick and murky.

Quint by Lisa Marie Mazzucco

Philippe Quint. Photo by Lisa Marie Mazzucco

The hit of the evening was the Piazzolla Seasons of Buenos Aires, a response to Vivaldi’s famous set of concertos, performed by the CMF strings with soloist Philippe Quint. A player who has his own ties to the style of Piazzolla’s music, Quint delivered a passionate performance. This is music that should be enjoyed, and everyone on stage seemed to be having fun. The audience’s enjoyment was evident by the applause, hesitantly between movements and raucously at the end.

The program had the seasons listed out of order—Summer, Winter, Fall, Spring—but in the event Quint played them in the usual order: Summer, Fall, Winter Spring. This is music of rapidly shifting moods, sometimes capturing the rough tango of Buenos Aires dance halls, sometimes more sultry, sometimes fiery. Quint seems to have them all in his hip pocket, moving from one mood to the next with no visible strain, and then filling the hall with a beautiful tone in the last movement’s lyrical moments. Conductor, orchestra and soloist danced together without a stumble.

To close the concert, Danzmayr and the orchestra gave a sparkling performance of Schubert’s Third Symphony. A native of Salzburg, Danzmayr said in an earlier interview that when you grow up playing the music of the Austrian countryside, as he did, “you have [the style] in your bones and in your feelings.”

He also said that this symphony is one of his favorites, and that was reflected in the performance. His enthusiasm for the music was evident, while his attention to detail, in the selection of tempos, in the phrasing, in the application of dynamics, made every gesture and phrase effective. The solemn slow introduction was followed by a cheerful romp and the sprightly, folkish “slow” movement positively danced along.

The minuet’s bumptious beginning suggests that Schubert had heard some Beethoven, but it then settled into a pleasingly pastoral second theme and trio. The bustling finale suffered only the occasional smudge in the strings, showing how close to the edge Danzmayr’s tempo really was. As so often in Schubert the composer’s delight in his own music made it hard for him to let go, as the movement rushed to a rousing finish.

The good cheer, the light orchestra texture, the sheer joy of the music makes the symphony seem less impressive than it really is, but careful attention to last night’s performance revealed its beauty.

Boulder Phil marks Valentine’s with Legendary Lovers and Red Violin

heart-roses1By Peter Alexander

Valentine’s will be a day for heart-shaped candies; lacy greeting cards; special dinners with your sweetheart; and—thanks to the Boulder Philharmonic—music about a red violin.

Violinist Philippe Quint will join conductor Michael Butterman and the orchestra Saturday evening (7:30 p.m. Feb. 14 in Macky Auditorium) to perform John Corigliano’s Red Violin Concerto. The concert, titled “Legendary Love,” will also feature the Prelude and Liebestod (Love Death) from Wagner’s Tristan und Isolde and Tchaikovsky’s Fantasy-Overture Romeo and Juliet.

Michael Butterman. Photo by Glenn Ross.

Michael Butterman. Photo by Glenn Ross.

As part of a season of musical “Legends,” a concert on Valentine’s Day suggests obvious possibilities. “Fortunately for us, there is no shortage of good pieces that have dealt with this particular topic—literary couples and so on,” Butterman says. “We thought the date was a mixed blessing (but) we hope that people will choose to make it an evening out and make it part of their Valentine’s plans.”

Philippe Quint. Photo by Lisa Marie Mazzucco.

Philippe Quint. Photo by Lisa Marie Mazzucco.

If you don’t know Corigliano’s Red Violin Concerto, Quint thinks you are in for a treat. “Expect the unexpected,” he says.

“Prepare for an emotional roller coaster. It will really take you from a space of meditation into an absolute emotional frenzy and back, and back again.”

The concerto had its origin in the Academy Award-winning score that Corigliano wrote for the 1998 film The Red Violin. The story of tumultuous and passionate events in the 300-year history of a violin that has literally been varnished with blood, the film featured music played by virtuoso violinist Joshua Bell.

While using music from the film score, the concerto is at least one step removed, since ideas from the film are reworked for a completely different genre. After finishing the film score, Corigliano, whose father was the concertmaster of the New York Philharmonic, created several concert pieces for violin from the film music. When he pulled the Red Violin music into the concerto, he was thinking of the performances he had heard his father give in Carnegie Hall.

“This is my first (concerto) for my first love, the violin,” he has written. “It is an ‘in the great tradition’ kind of concerto, because I wrote it in an attempt to write the piece my father would love to play.”

Quint concurs. “This work is mostly a throwback into the Romantic period of great violin writing,” he says. “It’s a very substantial work, where Corigliano takes it to the next level by adding these really unbelievable effects. There are going to be some sounds that you never heard.”

Philippe Quint. Photo by Philipp Jekker

Philippe Quint. Photo by Philipp Jekker

He particularly points to the concerto’s final movement, which the composer describes as “a rollicking race” between soloist and orchestra. Quint compares that movement to a famous scene from another film: “You remember those Indiana Jones movies, with the huge rock that’s running, and you’re running away. The last movement is really like that rock, it’s coming at you at this crazy speed and you’re trying to get away from it.”

By coincidence, Quint himself plays a violin that is known for the reddish tint of its varnish—although there is no blood involved. It is a Stradivarius violin from 1708—near the age of the red violin of the film—that is known as “The Ruby Strad.”

“I love to speculate that this is the violin that inspired the film,” Quint says. “But it’s a fictional story, so any such claim is false.” Noting that the violin belongs to the Stradivari Society of Chicago, Quint adds, “I feel very, very fortunate to have an opportunity to play on this violin.”

The two pieces that comprise the second half of the concert program are about legendary lovers—Tristan and Isolde, and Romeo and Juliet. Both works date from the second half of the 19th century, Wagner’s Tristan und Isolde from 1859, and Tchaikovsky’s Romeo and Juliet from 1870 (revised in 1880). But though they both celebrate famous love stories, they are in many ways very different.

Tristan and Isolde. Painting by John William Waterhouse, 1911.

Tristan and Isolde. Painting by John William Waterhouse, 1911.

Often described as the beginning of modernism in music, Wagner’s Tristan und Isolde is famous for the use of chromatic harmonies to extend a feeling of musical tension across an entire 5-hour opera. Even before it had been premiered, Wagner himself made an arrangement pairing the Prelude—the opera’s opening section, today studied in detail by all music students—and the closing passage, Isolde’s Liebestod (Love death).

“What we have in this piece in particular is, not so much the soaring high moments that one feels in romance, but the longing, the anticipation, the tension, the bittersweet aspects,” Butterman says. “That is wholly the function of Wagner’s ability to create tension and almost never quite give it resolution.”

Romeo and Juliet. Painting by Francesco-Paolo-Hayez.

Romeo and Juliet. Painting by Francesco-Paolo-Hayez.

If Wagner’s score lacks the “soaring high moments that one feels in romance,” as Butterman says, that’s just what Tchaikovsky’s Romeo and Juliet offers in its “rhapsodic, passionate melody” representing the lovers.

“The tension that Tchaikovsky creates is not so much with this use of chromatic harmony,” Butterman says, “but with his ability to bring in elements of the conflict between the families with the introduction of brass and percussion.

“You have this soaring theme and all of a sudden (brass and percussion interruptions) and then it goes back to the soaring theme. It’s not a piece where you can follow the story in a linear fashion from beginning to end. I think it is more just ideas from the drama that have gotten mixed together in a 20-minute piece.”

In addition to the Valentine’s Day performance, there will be other events leading up to the concert. From 7:30 to 10 p.m. Wednesday evening (Feb. 11), the Dairy Center in Boulder will present Café Phil—a free open rehearsal of the orchestra with Butterman. This is very much a working rehearsal, and will be without the soloist, but will be a revealing glimpse into the inner workings of the orchestra. Wine, beer, coffee, juice, snacks and pastries are available for purchase until 9:30 p.m.

There is also the opportunity to see the film of The Red Violin, which will be screened at the Dairy Center’s Boedecker Theater. Showings will be at 4 p.m. Wednesday and Friday, Feb. 11 and 13, and at 7 p.m. Thursday, Feb. 12.

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Michael Butterman and the Boulder Philharmonic in Macky Auditorium

Michael Butterman and the Boulder Philharmonic in Macky Auditorium

“Legendary Love”
Boulder Philharmonic, Michael Butterman, conductor Philippe Quint, violin
John Corigliano: Red Violin Concerto
Wagner: Prelude and Liebestod from Tristan und Isolde
Tchaikovsky: Romeo and Juliet

7:30 p.m. Saturday, Feb. 14
Macky Auditorium
Information and tickets

Café Phil open rehearsal
Boulder Philharmonic and Michael Butterman, conductor
7:30–10 p.m. Wednesday, Feb. 11
Dairy Center for the Arts Free

RedViolin400x518Screenings of The Red Violin
4 p.m. Wednesday, Feb. 11
7 p.m. Thursday, Feb. 12
4 p.m. Friday, Feb. 13
The Dairy Center for the Arts
Information and tickets