“A CELLO-BRATION”: THE CELLO TAKES THE SPOTLIGHT

Soloist Zuill Bailey joins the Boulder Phil for an intimate, cello-centric program. 

By Izzy Fincher March 11 at 9:35 p.m.

“Why write for violin when there is cello?” Rachmaninov asked. 

There is something particularly captivating about the cello, with its sonorous tenor and subtle grandeur. It is wildly expressive—lyrical, passionate and romantic, yet also mournful and solemn, and profound in a way that captures the heart and soul.

Zuill Bailey

To celebrate this instrument, the Boulder Phil will present “A Celebration of Cello” with soloist Zuill Bailey, streamed from 7:30 p.m., on Saturday, March 13.

The cello-centric program includes a reduced instrumentation of Schumann’s Cello Concerto and a double-cello concerto by contemporary Italian composer Giovanni Sollima. Other works on the program are a violin trio by the Phil’s own Paul Trapkus, plus works by Debussy and Wagner.

Bailey, a Grammy-award winning cellist, will lead the “cello-bration.” He will appear on two contrasting concertos, which displays the cello’s multifaceted personality. In Schumann’s Concerto in A minor, the cello’s sensitive lyricism is shown, while Sullima’s double- concerto, to be performed with Boulder Phil principal cellist Charles Lee, exhibits more of the cello’s boldness and virtuosity.

“In Schumann’s concerto, the cello is refined and elegant,” Boulder Phil conductor Michael Butterman says. “Whereas in Sollima’s (double concerto), the cello is an outgoing, extroverted rebel. The cadenza feels like rock’n’roll—it shreds. It’s crazy, with a lot of flash, energy and edginess.”

Lee believes the energetic double-cello concerto, titled “Violencelles, Vibrez!” (Cellos, vibrate!), will be a highlight of the program. Sollima, an Italian cellist and post-minimalist composer, juxtaposes the cello’s different moods, moving from brooding, dark echoes to a sweet, lyrical duet to a brisk, vivacious cadenza. 

Charles Lee at rehearsal with the Boulder Phil

“It starts very mysterious and lyrical with long, romantic lines, using lots of vibrato, sustaining sounds,” Lee says. “The added element of two cellists alternating gives it a special effect, like an echoing cave.” 

In the opening, the two cello lines weave together, nearly indistinguishable from each other. “At first, it’s not so striking that there are two cellos when you don’t focus on the visuals,” Lee says.

Later, the distinct cello parts emerge in captivating musical dialogue, riffing off each other’s energy in a virtuosic display. Lee described the cadenza with Bailey as exciting but very challenging to play. 

The rest of the program focuses on orchestral works, adapted for a smaller chamber setting, including Debussy’sPrelude to the Afternoon of a Faun and Wagner’s Siegfried Idyll,” an intimate musical love letter to his wife Cosima. 

Prelude to the Afternoon of a Faun has been arranged for chamber orchestra, created by Schoenberg’s student Benno Sachs during World War I. It was first played for Schoenberg’s Society for Private Musical Performances, a chamber concert series held in Vienna from 1918 to 1921. 

During the war and the 1918 Flu Pandemic, chamber series like this one were popular in Europe due to limited financial resources and available musicians. Now, in our current pandemic, the reorchestration is once again ideal for a smaller, socially-distanced orchestra. 

Though the cello isn’t directly in the spotlight in either work, it still plays a more prominent role than usual. “When you adapt a large work for a smaller ensemble, the cellos become even more noticeable and exaggerated,” Lee says.

“We usually aren’t the go-to melody instrument (in larger works). When the cellos take the melody, it’s a treat.”

The violin, however, does snatch back the orchestral spotlight with Trapkus’ Trio for 3 Violins. Trapkus, a former violinist for the Boulder Phil, is also an active composer, who has written four works for string quartet and string ensemble. “Trio for 3 Violins,” written in 2012, features the three violins as equal soloists, and its energetic, minimalistic aesthetic is similar to Sullima’s Violencelles, Vibrez!.  

Paul Trapkus

Butterman is excited for the Boulder Phil to perform Trapkus’s trio for the first time. He believes the Boulder Municipal Airport’s hangar, where the concert was filmed last fall, is an ideal setting for the trio, far more intimate than Macky Auditorium.  

“(The trio) is a work that I found interesting, tuneful and appealing on first hearing,” Butterman says. “It uses a lot of repeated, minimalistic patterns. There’s a lot of interplay, exchanges of ideas and taking turns between the three equal violin parts.”

Despite the brief violin interlude, the concert is still a “cello-bration” through and through. For cello lovers, it should be a special treat—a musical extravaganza with two talented soloists.

As Bailey comments, “I always say the only thing better than a cello is two cellos.”

# # # # #

“A Celebration of Cello”
The Boulder Philharmonic, Michael Butterman, conductor. with
Zuill Bailey and Charles Lee, cellos

Debussy, arr. Schoenberg: Prelude to the Afternoon of a Faun
Schumann, arr. Philip Lasser: Cello Concerto in A minor, Op. 129
Paul Trapkus: Trio for 3 Violins
Giovanni Sollima: Violencelles, Vibrez!
Wagner: Siegfried Idyll

Tickets can be purchased for $40 here. The concert can be streamed starting at 7:30 p.m., on Saturday, March 13. 

Boulder Philharmonic has a full season for 2020-21—all of it online

Players are currently rehearsing and recording six of the eight programs

By Peter Alexander Sept. 21 at 10:30 a.m.

There were airplanes coming and going at the Boulder Municipal Airport last week, there were mechanics working on airplanes, pilots picking up brake fluid for airplanes—all the activity you would expect.

And there was an orchestra.

Members of the Boulder Philharmonic and conductor Michael Butterman rehearse in the Brungard Aviation hangar at Boulder Municipal Airport Sept. 15.

In fact, the Boulder Philharmonic was busy rehearsing their fall 2020 season in the Brungard Aviation hangar. It’s not usual activity at the airport, but if the pilot picking up brake fluid was taken aback, he didn’t show it.

This is part of the Boulder Phil’s answer to keeping the music alive during the pandemic. As conductor Michael Butterman explains, he and the orchestra spent several months looking for a way to have a 2020–21 season.

“This is probably the 40th iteration of ‘20–‘21,” he says. “Throughout the summer we kept changing our thoughts about what we’re going to be able to do.”

They finally found a way to stream the season online. Seven of the eight concerts will be available individually or by subscription through the Boulder Phil Web page. The eighth concert, the holiday program, will be available free with voluntary contributions. Each concert will be available for a limited time after its online premier. (See the full schedule below.)

Who are those masked violinists? Rehearsals in the time of COVID.

To rehearse and record, Butterman realized, the players would have to be safely distanced and most playing with a mask. For that to be possible, they would have to use a reduced orchestra, mostly strings, and they would have to have a large space. For the former, there is a lot of available repertoire, but where would they find an appropriate space?

Michael Butterman at rehearsal in the Brungard Aviation hangar, Sept. 15

“It occurred to me that we have had galas at an airplane hangar at Rocky Mountain Airport,” Butterman says. “We ended up locating an opportunity at Boulder Municipal Airport, at Brungard Aviation’s hangar, and we’re grateful to them for that.”

Over a two week period—Sept. 15–20 and Sept. 22–27—players from the orchestra will rehearse and record for later streaming six of the eight concerts scheduled for the season. There will be three rehearsals and one three-hour recording session for each program.

The last two concerts—one a collaboration with the CU-Boulder Department of Theatre and the other with Frequent Flyers Aerial Dance—will be recorded later. That gives flexibility in working with the collaborating organizations and keeps open the possibility that some kind of live performance might be possible by the end of the season.

Simone Dinnerstein. Photo by Lisa Marie Mazzucco

Two artists who have appeared with the Boulder Phil in the past—pianist Simone Dinnerstein and cellist Zuill Bailey—were invited to collaborate in chamber or chamber orchestra performances. “Zuill and Simone are wonderful to work with,” Butterman says. “The fact that we’ve had them both to Boulder already, and that they’ve been very popular with our audience, they were obvious choices.”

Zuill Bailey

To make the video recordings, the Boulder Phil recruited the service of sound and video engineer Michael Quam. There will be 10 cameras recording each piece, providing a wide variety of camera angles for the streamed performances.

Streamed concerts offer both a challenge and an opportunity. “This season may offer opportunities for greater access for some people,” Butterman says: “anybody who has problems with transportation, who has a schedule conflict Saturdays at 7:30, who lives far enough from Boulder that they don’t want to drive in.” And of course the hope is that the convenience of being able to see concerts on demand will attract new audiences 

The necessity of limiting the number of performers led to some thoughtful  programming. For example, during the years after World War I and during the Spanish flu, Stravinsky and other composers did not have access to large orchestras. Instead, they wrote music for smaller groups, including Stravinsky’s L’Histoire du Soldat for seven players, which is ideal for the pandemic year. It will be on the April 3 program. 

Other works will be performed in arrangements for reduced ensembles, such as Beethoven’s Sixth Symphony on April 24, arranged for a string sextet, and Ellen Taaffe Zwillich’s Cello Concerto, which the composer re-arranged for chamber ensemble, on March 13.

In fact, Butterman says, “the idea of this being a re-imagined season is embodied in each of the programs. We’re presenting pieces that themselves have undergone some amount of transformation. In the case of Vivaldi (recomposed by Max Richter, on the Oct. 17 concert), that’s obvious. The least obvious example is the Bach concert (Nov. 14), but any time you’re playing Bach on piano, that is a bit of a re-imagining.

“We’re obviously retooling the concert experience. I think there’s some very, very strong upsides to that, including bringing you inside the experience, and making the access wider.”

And if they find new fans among the mechanics at Brungard Aviation, or pilots that need brake fluid, so much the better.

# # # # #

Boulder Phil 2021: Reimagined
All performances streamed online
Tickets available through the Boulder Phil Web page

Vivaldi Recomposed
Michael Butterman, conductor
Charles Wetherbee, violin

Jesse Montgomery: Strum
Benjamin Britten: Simple Symphony
Recomposed by Max Richter: Vivaldi, The Four Seasons

Available from 7:30 p.m. Saturday, Oct. 17

The Beauty of Bach
Simone Dinnerstein, pianist and conductor
Christina Jennings, flute, and Charles Wetherbee, violin

J.S. Bach/Philip Lasser: Erbarm’ Dich
J.S. Bach: Orchestral Suite No. 2 in B minor
Keyboard Concerto in D minor
Brandenburg Concerto No 5 in D major

Available from 7:30 p.m. Saturday, Nov. 14

Happy Holidays from the Phil
No tickets required; contributions welcomed
Available from 3 p.m. Sunday, Dec. 13

Zuill and Zwillich
Zuill Bailey, cello, with Michael Butterman and Jennifer Hayghe, piano

Rachmaninoff: Vocalise  for cello and piano
Ellen Taaffe Zwillich: Cello Concerto (chamber version)
Schubert: Piano Quintet in A major (“The Trout”)

Available 7:30 p.m. Saturday, Jan. 23

Mozart and Mendelssohn
Simone Dinnerstein, piano

Scott Joplin: “Solace” and “Bethena”
Mozart/Ignaz Lachner: Piano Concerto in C major, K467
Mendelssohn: Octet for Strings

Available from 7:30 Saturday, Feb. 13

A Celebration of Cello
Michael Butterman conductor, with Zuill Bailey, cello

Debussy/Schoenberg: Prelude to the Afternoon of a Faun
Schumann/Philip Lasser: Cello Concerto in A minor
Paul Trapkus: Trio for Three Violins
Giovanni Sollima: Violencelles, Vibrez!
Wagner: Siegfried Idyll

Available 7:30 p.m. Saturday, March 13

The Soldier’s Tale
Michael Butterman, conductor 
CU Department of Theatre and Boulder Ballet

Stravinsky: L’Histoire du soldat (The soldier’s tale)

Available 7:30 p.m. Saturday, April 3

Beethoven 6 and Frequent Flyers
Michael Butterman, conductor
Frequent Flyers Aerial Dance

George Walker: Lyric for Strings
Korine Fujiwara: Suite from Claudel
Beethoven: Symphony No. 6 in F major (“Pastoral”; arr. for string sextet by M.G. Fischer)

Available 7:30 p.m. Saturday, April 24

Boulder Phil unveils new season, new motto, new logos

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

By Peter Alexander April 7 at 3 p.m.

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

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

greenwood1800-1402682617

Jonny Greenwood of Radiohead

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

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

Jon-Lord

Jon Lord

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

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

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

AndersonRoe+by+Ken+Schles

Anderson & Roe. Photo by Ken Schles.

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

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

Z.Bailey

Zuill Bailley

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

F.FLyers (2013)

Frequent Flyers Aerial Dance with the Boulder Phil (2013)

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

 

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

Lopez Gavilan

Aldo López Gavilan

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

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

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

# # # # #

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

B.Phil logo.3

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

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

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

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

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

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

7 p.m. Sunday, Nov. 3

Nutcracker Ballet by Tchaikovsky
With Boulder Ballet
Gary Lewis, conductor

Photo-by-Eli-Akerstein

Boulder Ballet’s Nutcacker. Photo by Eli Akerstein

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

“Christmas with the Phil”
Gary Lewis, conductor

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

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

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

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

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

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

Daugherty-2

Michael Daugherty

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

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

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

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

bates-by-lydia-danmiller-3d0998aed443c4c236f4192ab8ecd0f0a1c27726-s800-c85

Mason Bates. Photo by Lydia Danmiller

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

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

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

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

7:30 p.m. Saturday, April

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

 

Legendary Concertos Wrap Up Boulder Phil Season

Orchestra presents popular works by Dvořák and Bartók

The entire orchestra will be in the solo spotlight when the Boulder Phil performs Bartók's Concerto for Orchestra

The entire orchestra will be in the solo spotlight when the Boulder Phil performs Bartók’s Concerto for Orchestra

By Peter Alexander

The Boulder Philharmonic will conclude its season Saturday (April 24) with “Legendary Virtuosity,” a concert featuring two of the most popular pieces in the orchestra repertoire—coincidentally, both written in the United States.

Both are concertos that call on the virtuosity of the performers, although only one is written for a soloist with orchestra. Dvořák wrote his Cello Concerto in New York in 1894, near the end of his tenure at the National Conservatory of Music. And almost 50 years later, Bartók, a refugee from a European war and working at a retreat in upstate New York, had the idea of featuring the entire orchestra in his Concerto for Orchestra, completed in 1943.

The concert, at 7:30 p.m. in Macky Auditorium, will open with the atmospheric Enchanted Lake of Russian composer Anatoly Liadov. The Boulder Phil’s music director Michael Butterman will conduct, and cellist Zuill Bailey will be the soloist for Dvořák. Tickets are available from the Boulder Phil.

Zuill Bailey

Zuill Bailey

Dvořák taught at the National Conservatory during parts of three years, 1892–94. In the spring of 1894 he heard a new cello concerto by one of his colleagues at the conservatory, the Irish-American cellist and composer, Victor Herbert. Best known for his operettas, including Naughty Marietta and Babes in Toyland, Herbert was an accomplished cellist who had led the cello section at the premiere of Dvořák’s New World Symphony at Carnegie Hall the year before.

Inspired by Herbert’s concerto, and later touched by the death of his sister-in-law—by legend the one true love of his life—Dvořák wrote a work of broad and deep emotional reach. It has remained one of the most beloved works in the repertoire.

“This is a piece that gets deeper as one gets older,” Bailey says. “It is never a piece that I tire of. In fact, I’m always amazed at the goosebumps that happen before my entrance. This has never failed me.

“This is why the orchestras, and audiences, so adore this concerto. Every single time it’s another journey.”

Butterman speaks of the score’s melodic richness as part of its appeal. “Like much of Dvorak’s music it has an abundance of melodic elements that just keep coming at you, one after another,” he says. “He never seemed to run dry.”

Michael Butterman

Michael Butterman

Bailey believes Dvořák not only wrote a great concerto for the cello, he changed the very nature of the concerto. “He changed the landscape of how things were done,” he says. “This is a symphony with a cello part—a very heroic cello part.”

Bailey is pleased to be making his first Boulder concerto appearance with Butterman and the Phil. “I am thrilled to be working with maestro Butterman,” he says. “I think he is one of the great collaborators out there. Every time I’ve worked with him it’s been an absolute pleasure, and it’s really terrific that we get to share the Dvořák (Concerto).”

Butterman reciprocates the compliment. “I’m delighted to have Bailey come into Boulder,” he says. “He’s a wonderful artist, a very intense and charismatic performer.”

Composer Béla Bartók

Composer Béla Bartók

If the name Bartók suggests difficult modern music, you may not know The Concerto for Orchestra. Written in the last years of Bartók’s life, it is a deliberately accessible piece that at times is downright comical. At one point the orchestra breaks into musical laughter at an interruption by a borrowed melody, and the second movement makes great fun of presenting each of the woodwind instrument pairs matched at different intervals.

“A lot of people may see the name Bartók and think about music that is written in some language that they find foreign sounding,” Butterman says. “But this is a piece that continues to be one of the most popular 20th-century works in the orchestral canon—for good reason.

“It was chosen as kind of bookend to our season opener, Scheherazade, a piece that featured our new concertmaster. (The Concerto for Orchestra) doesn’t put the spotlight on any one person, but on the orchestra as a whole, and particularly the wind section. The solo passages allow you to hear the virtuosity of the orchestra, and the different timbres that make up its character. This is a piece that is incredibly engaging rhythmically and melodically.”

Orchestra players typically relish the chance to play The Concerto for Orchestra. “It’s fun to play, but you’ve got to concentrate like mad,” Butterman says. “There’s a lot of little things that can trip you up, rhythmically in particular, but it works out so well.”

Anatoly Liadov

Anatoly Liadov

The Enchanted Lake is one of the few works left by a very talented composer who was, Butterman says, “an underperforming worker. This is a composer who famously said, ‘Naw, I don’t think I want to do that Firebird piece—there’s this kid Stravinsky, I’m sure he’ll do it for you.’”

Whether or not he really passed on composing The Firebird, Liadov created a quiet masterpiece in The Enchanted Lake, which remains one of the most performed short orchestral tone poems in the repertoire. “It’s a piece that sets a mood and does it very effectively and very beautifully,” Butterman says. “It’s gorgeous.

“The story was that he went down to this lake and just stood there for half an hour or so, watching the whole expanse of things. Essentially nothing happened, so he went home and wrote a piece about it (where) he’s trying to create an atmosphere of absolute placidity and calm and stillness. I think that is its own profundity and depth, if you’re able to capture that sense of stasis and calm.

“This is a beautiful way to begin a concert, because you’ve just come in from parking and hoofing it up the hill, and maybe you just need a moment to settle in. I think this piece allows you to get those beta brain waves flowing.”

# # # # #

logo2Legendary Virtuosity: Season Finale
Boulder Philharmonic, Michael Butterman, music director
With Zuill Bailey, cello

The Enchanted Lake by Anatoly Liadov
Cello Concerto in B minor by Antonín Dvořák
Concerto for Orchestra by Béla Bartók

7:30 p.m. Saturday, April 25
Macky Auditorium

Related events:

Musical Hike. Enchanted Lakes: Music and Pond Ecology
With naturalist Dave Sutherland
5:30–8 p.m., Tuesday, April 21, Sawhill Ponds

Café Phil open rehearsal
7:30 p.m. Wednesday, April 22, The Diary Center

Michael Butterman presents 2015-2016 season.
6:30 p.m. Saturday, April 25, Macky Auditorium (free to concert ticket holders)