Filed under: News
Thursday & Friday February 19-20 – 7 & 9 PM $25
About Nicholas Payton: Nicholas Payton is widely considered one of the greatest artists of our time. Hailed as a virtuoso before he was even out of high school, his maturation and talent has earned him praise and accolades, as well as insured his place in musical history. When he was barely in his 20s, Nicholas Payton made his major-label recording debut as a leader with From This Moment (Verve). Since then, Payton has consistently committed himself to developing his distinct voice. He says: “As a musician, as an artist, you’re always trying to zero in on the bull’s eye as a means of becoming a better version of yourself. I’ve been able to find the kind of music that’s more inclusive of all of my life. The approach and the ideas of my music have become more singular, more cohesive. I have no agenda in terms of a specific genre or style, only to be true to who I am.” Nicholas Payton was born in New Orleans, Louisiana, into a musical family. Encouraged by his mother, a pianist and vocalist, and his father the legendary bassist, composer and educator Walter Payton, Nicholas showed talent for music at a very early age. He received his first trumpet at age four and by age nine was sitting-in with local bands including the Young Tuxedo Brass Band. By the age of 12, he was a member of the All Star Brass Band that performed and toured extensively. As he grew up and studied, Nicholas successfully learned how to play several instruments. In addition to being an accomplished trumpeter, Nicholas plays piano, bass, drums, tuba, trombone, clarinet and saxophone, et al. During his high school years, Payton attended the New Orleans Center for Creative Arts to study with Clyde Kerr Jr. and after graduation attended the University of New Orleans where he studied with Harold Battiste and Ellis Marsalis.
For Bookings or more info contact:
Kevin Lee – Kevin@DazzleJazz.com
930 Lincoln St.
Denver, CO 80203
Filed under: News
Colorado Ballet’s 2014 production of The Nutcracker broke records for attendance and revenue, making it the most successful Nutcracker run in the Company’s history.
The 2014 production had ticketing revenue of $2.47 million, shattering the previous record set in 2013 of $2.39 million. In addition, the 2014 run had one performance less than the previous year, with 24 performances in 2014 and 25 performances in 2013. The Company considers a performance sold out at 2,000 patrons in the Ellie Caulkins Opera House and the average attendance in 2014 was 2,062 per show, breaking the previous average attendance record of 1,981 per show set in 2012.
“For the past few years, The Nutcracker has continued to grow and break records,” said Colorado Ballet Artistic Director Gil Boggs. “We could not sell out nearly every performance of this holiday classic without the support of the people of Denver. Our dancers and musicians were so grateful to receive standing ovations from more than 2,000 patrons at every performance this season.”
Ticketing revenue from The Nutcracker accounts for approximately one-third of Colorado Ballet’s total annual budget. This season, Colorado Ballet’s goal for The Nutcracker was $2.23 million.
“Performing The Nutcracker is essential for the economic stability of most professional ballet companies,” said Boggs. “It makes or breaks a season for us. Without The Nutcracker, we could not afford to present other ballets. Luckily, The Nutcracker is as popular as ever and we have been honored to present it on stage for the past 54 years.”
Colorado Ballet also set a fundraising record by receiving just shy of $1 million between capital and operating contributions in the month of December. The contributed revenue reflects a robust annual fund campaign and the continued success of the ballet’s capital campaign for The Armstrong Center for Dance, which is more than 90 percent complete.
“As a non-profit organization, we depend heavily on donations from our generous supporters to continue to present world-class ballet performances and dance education in Denver,” said Boggs. “Colorado Ballet’s patrons and stakeholders continue to demonstrate their faith in the Company by investing in our future. We are fortunate to have their support.”
The record-breaking Nutcracker ticket sales and December fundraising follows a trend of positive news from Colorado Ballet. In August 2014, the organization moved into its new state-of-the-art studios at The Armstrong Center for Dance in Denver’s Art District on Santa Fe—the first time in its 54-year history that the organization has owned its home. In addition, the Company’s 2013-2014 season was the most successful in its history, exceeding budget goals and breaking revenue records for three of its productions and attendance records for two of its productions.
KeyBank sponsored the 2014 production of The Nutcracker.
About Colorado Ballet
Established in 1961 by Lillian Covillo and Freidann Parker, Colorado Ballet is a non-profit organization celebrating 54 years of presenting world-class classical ballet and superior dance in Denver. Under the direction of Artistic Director Gil Boggs, Colorado Ballet presents more than 50 performances annually. Colorado Ballet enhances the cultural life of Colorado through performances of the professional company, training at the Academy, and Education & Outreach programs. Visit http://www.coloradoballet.org.
Filed under: Reviews | Tags: Anton Bruckner, Brook Ferguson, Catherine Beeson, Claude Sim, J. S. Bach, Judith Galecki, Mark Wigglesworth, Paul Primus, Silver Ainomäe, Simone Dinnerstein, William Hill, Yumi Hwang-Williams
Friday evening I attended the Colorado Symphony Orchestra concert entitled Going Baroque. The title is taken from the fact that the first half of the program was devoted to J. S. Bach’s famous Brandenburg Concerto Nr. 5. The guest artist in the Bach was the well-known American pianist, Simone Dinnerstein. Performing with her as soloists was CSO Concertmaster Yumi Hwang-Williams and CSO Principal Flautist, Brook Ferguson. These three individuals were part of an ensemble that was authentic in size. That is to say, that it was a small group of musicians that would have been roughly the same size as Bach may have had when the piece was performed initially. It was a shame that the other members of this small chamber orchestra were not mentioned in the program. Regrettably, I do not know all of those individuals by name, but I did recognize Claude Sim, violin; Paul Primus, violin; Silver Ainomäe, cello; Judith Galecki, cello; and Catherine Beeson, viola. Given the artistry and ability of all the instrumentalists on stage, I do not understand why the other musicians in this small group were not named. They are the reason that the CSO is one of the finest orchestras in the country: these musicians have truly helped make that so.
Simone Dinnerstein is not only a renowned American pianist, but one aspect of her performance and dedication to music deserves special mention. She actively seeks to present music to students in the public schools, and there is no doubt that she recognizes that efforts such as this will excite young people to become interested in good music, and in some instances, may lead them to careers in music as an art. I will quote the portion of her biographical statement from her website that details a portion of what she does with young students:
“Dedicated to her community, in 2009 Dinnerstein founded Neighborhood Classics, a concert series open to the public hosted by New York City public schools. The series features musicians Dinnerstein has met throughout her career, and raises funds for the schools. The musicians performing donate their time and talent to the program. Neighborhood Classics began at PS 321, the Brooklyn public elementary school that her son attended and where her husband teaches fourth grade. Artists who have performed on the series include Richard Stoltzman, Maya Beiser, Pablo Ziegler, Paul O’Dette and many more. In addition, Dinnerstein has staged three all-school “happenings” at PS 321 – a Bach Invasion, a Renaissance Revolution, and a Violin Invasion – which immersed the school in music, with dozens of musicians performing in all of the school’s classrooms throughout the day. In early 2014, she launched her Bachpacking initiative, bringing a digital piano provided by Yamaha from classroom to classroom in public schools, presenting interactive performances and encouraging musical discussion among the students.
“Dinnerstein is a graduate of The Juilliard School where she was a student of Peter Serkin. She was a winner of the Astral Artist National Auditions, and has received the National Museum of Women in the Arts Award and the Classical Recording Foundation Award. She also studied with Solomon Mikowsky at the Manhattan School of Music and in London with Maria Curcio. Simone Dinnerstein (pronounced See-MOHN-uh DIN-ner-steen) lives in Brooklyn, New York with her husband and son. She is managed by Tanja Dorn at IMG Artists and is a Sony Classical artist.”
Johann Sebastian Bach (1685-1750) was at the court in Cöthen where he worked as he composed the Brandenburg Concertos. These exuberant six concertos are modeled on the concerto form that Antonio Vivaldi perfected, however, Bach’s reliance in the six concertos on wind instruments, and, at least the wind sound (the clarino trumpet, recorders, and violino piccolo) set them apart from the Vivaldi concertos. The fifth concerto which was performed Friday evening combines the flute and violin with the harpsichord – Maestra Dinnerstein used the piano Friday evening – but truly, it is the piano which Bach emphasizes in this Fifth Brandenburg. As a point in fact, Bach’s skillful use of the piano culminates in a cadenza in Brandenburg Nr. 5, and that truly means that this is the first important harpsichord (piano) concerto that we know of. There is no question that Bach was beginning to recognize the inadequacies of the harpsichord, and though these pieces were written in 1721, in his later years he encouraged harpsichord manufacturers to build an instrument that could at least change dynamics. I am absolutely sure that if Bach had had a modern grand piano, he would have been thrilled. There are still those individuals who count it as sacrilege if one performs Bach on the piano rather than a harpsichord. (Some of you readers may remember a misquoted statement by Wanda Landowska, who supposedly told Rosalyn Tureck that Bach should always be played on the harpsichord.)
The performance that all of the musicians on stage gave of this Brandenburg Concerto was absolutely marvelous. Dinnerstein, Hwang-Williams, and Ferguson performed this piece as if it was the first time they had ever seen: it was absolutely exultant, and their mutual concepts of the counterpoint was solid and thoroughly delightful. Everyone on stage was musically well-balanced, which allowed the contrapuntal imitation to be exposed. In the cadenza, Dinnerstein’s remarkable technique was absolutely crystal clear and astounding. Dinnerstein is known for her Bach performances, and I can guarantee you that her phenomenal technique was not used for display only. She infused this piece with an irresistible charm, as did the Yumi Hwang-Williams and Brook Ferguson. As I sat and listened to the remarkable performance of this renowned piece, I could not help but think of the portraits of Bach wherein he looks so stern and serious, and I thought to myself that these three women certainly demonstrated that, at least on this occasion, he smiled. These musicians received a very well deserved standing ovation.
Following the intermission, the CSO performed Anton Bruckner’s Symphony Nr. 4 in E-flat Major, which carries the subtitle, “Romantic.” It was conducted by guest conductor, Maestro Mark Wigglesworth. And, I hasten to point out that Wigglesworth, like Dinnerstein, is concerned with teaching young people music. I will quote from the biographical statement on his website:
“Born in Sussex, England, Mark Wigglesworth studied music at Manchester University and conducting at the Royal Academy of Music in London. He won the Kondrashin International Conducting Competition in The Netherlands in 1989, and since then has worked with many of the leading orchestras and opera companies of the world.
“In 1992 he became Associate Conductor of the BBC Symphony Orchestra and further appointments included Principal Guest Conductor of the Swedish Radio Symphony Orchestra and Music Director of the BBC National Orchestra of Wales. Highlights of his time with the BBCNOW included several visits to the BBC Proms, a performance of Mahler’s Tenth Symphony at the prestigious Amsterdam Mahler Festival, and a six-part television series for the BBC entitled Everything To Play For.
“In addition to concerts with most of the UK’s orchestras, Mark Wigglesworth has guest conducted many of Europe’s finest ensembles, including the Berlin Philharmonic; Amsterdam Concertgebouw; La Scala Filarmonica, Milan; Accademia Nazionale di Santa Cecilia Orchestra, Rome; Stockholm Philharmonic; Salzburg Mozarteum Orchestra and the Budapest Festival Orchestra. He has been just as busy in North America having been invited to the Cleveland Orchestra; New York Philharmonic; Philadelphia Orchestra; Chicago Symphony; Los Angeles Philharmonic; San Francisco Symphony; Orchestre Symphonique de Montreal; Toronto Symphony; and the Boston Symphony. He often visits the Minnesota Orchestra, and has an on-going relationship with the New World Symphony. Further a field he regularly works with the Symphony Orchestras of Sydney, Adelaide, Melbourne, and Tokyo.
“Mark has a commitment to making music with young people. Having conducted the Dutch National Youth Orchestra on several occasions since 1990 he has collaborated with many of Holland’s finest musicians from the earliest stages of their careers. Passionate about passing on his experiences to a younger generation, he has also performed with the European Union Youth Orchestra, the National Youth Orchestra of Great Britain, and the Aspen Music Festival Orchestra, as well as giving Conducting Masterclasses in London, Stockholm, and Amsterdam.”
Much has been made, deservedly so, of the Wagnerian influence upon Anton Bruckner. Certainly, he revered Wagner but there seems to be an almost naïve quality to his symphonies when one compares it to the music of Wagner. And that is said merely as a description, not necessarily is hard fact. However, the difference between Bruckner and Wagner, aside from harmonies, is the fact that Bruckner wrote no works that were programmatic or symbolic as did Wagner and Liszt. To find similarities to another composer, one must return to the Classical period and the four movement Beethoven symphonies. That is also the root of Brahms. Indeed, the opening grandiloquence of his Symphony Nr. 4 brings one’s thoughts immediately to Wagner, but the second theme is lyrical and charming and has a decided innocent and pastoral quality.
The minute Maestro Wigglesworth began to conduct this symphony, I was struck by the difference in style with which he approached it. Most conductors seem to “dig in” with exaggeratedly firm motions and great emphasis. That is, of course, what it takes to conduct Wagner. But right away, Wigglesworth’s motions conveyed the fact that this was not Wagner, it was Bruckner, and his motions were considerably more fluid as if to announce that Bruckner was totally different. And, he is. Wigglesworth emphasized the lyricism and naïveté of Bruckner’s music. Before I am jumped upon by using the word naïveté, I use it only to emphasize that there is no grandiose program to Bruckner’s music such as there is in Wagner and Liszt. It is absolutely beautiful music, and, in comparison, seems to be almost dream-like. Wagner captures one’s attention by the musical descriptions of a program; Bruckner captures one’s attention by the harmonic serenity which is full of grace and almost bliss. Wigglesworth certainly understood this, and he led the orchestra in a manner which reflected Bruckner’s ambition: beauty from the repose, rather than drama based upon drama. He led the orchestra through pianissimos that were almost inaudible, and I don’t recall hearing the CSO ever play so softly, yet keeping every single sound audible.
At every CSO performance, there is usually, or perhaps, one musician who stands out and demands one’s attention. Friday night during the Bruckner it was timpanist William Hill. I was sitting in Mezzanine 4, and I could clearly see his hands for the first time. When the score demanded a continuous role at an incredibly soft level, he controlled the sticks with his third, fourth, and fifth fingers, while holding them between his thumb and index finger. As the dynamic range grew louder, he began to use his wrist, and when it was truly loud, he used his whole arm. This allowed him remarkable control over the entire dynamic range, and I began to understand how meticulous the timpanist must be. During the softest parts of the Bruckner, his playing was never obtrusive, but it matched the dynamic level of the rest of the orchestra. Clearly, it was long experience, and the ability to take a great deal of mental time in producing the sound that Bruckner wanted. The audience gave Wigglesworth and the CSO a standing ovation, and I wished there had been more people in the audience to hear, and then testify, to this fine performance.
As I left the hall, I was convinced that I had heard Bruckner in a way that was totally fresh and new, and in a way that he would been overjoyed to hear. The Bach on the first half of the program, was perfect. The CSO is comprised of amazing musicians, all of whom could be soloists.
Filed under: News
Late January highlights include Simone Dinnerstein debut, H.M.S Pinafore and Cirque Musica
All performances at Boettcher Concert Hall, Denver Performing Arts Complex
GOING BAROQUE: BRANDENBURG CONCERTO NO.5
Friday, January 16 & Saturday, January 17, 7:30 pm
Mark Wigglesworth, conductor
Simone Dinnerstein, piano
Yumi Hwang-Williams, violin
Brook Ferguson, flute
BACH Brandenburg Concerto No. 5 in D major, BWV 1050
BRUCKNER Symphony No. 4 in E-flat major, “Romantic”
Making her Colorado Symphony debut, Simone Dinnerstein has been celebrated for her mastery of the Baroque style most notably her interpretations of J.S. Bach’s music. Mark Wigglesworth leads a dynamic performance of Bruckner’s emotionally compelling Symphony No. 4.
GILBERT & SULLIVAN: H.M.S. PINAFORE
Saturday, January 24, 7:30 pm & Sunday, January 25, 1 pm
Colorado Symphony Chorus; Duain Wolfe, director
New York Gilbert & Sullivan Players
Otherwise known as The Lass who Loved a Sailor, Gilbert & Sullivan’s comic opera opened in 1878 and was the one of the longest-running musical theater pieces. Get ready to laugh along with the members of the celebrated New York Gilbert & Sullivan Players. This semi-staged production is suitable for music lovers of all ages.
Friday, January 30, 7:30 pm & Saturday, January 31, 2:30 pm
Scott O’Neil, resident conductor
Cirque Musica takes audiences on a musical journey to a land of dazzling beauty, mystery, and suspense. The show blends the grace and thrills of the world’s greatest circus performers with stunning symphonic music from classical, pops, and popular repertoire. Cirque Musica is a concert and visual experience for the entire family, blending the spell-binding grace and dare-devil athleticism of today’s greatest circus performers with the sensory majesty of the greatest music of all time. It is the perfect opportunity for the entire family to experience great music from classical, pops, and popular repertoire, while enjoying an edge-of-your-seat circus experience. Cirque Musica features top circus performers from around the world performing in this over-the-top spectacular.
ABOUT THE COLORADO SYMPHONY
One of the leading orchestras in the United States, the Colorado Symphony performs more than 150 concerts annually at Boettcher Concert Hall in downtown Denver and across Colorado. Led by internationally renowned Music Director Andrew Litton, the Colorado Symphony is home to eighty full-time musicians, representing more than a dozen nations, and regularly welcomes the most celebrated artists from the world of symphonic music and beyond. Every season, the Colorado Symphony serves more than 250,000 people from all walks of life, performing a range of musical styles, from traditional to contemporary. Recognized as an incubator of innovation, creativity, and excellence, the Colorado Symphony continually expands its reach through education, outreach, and programming. The Colorado Symphony partners with the state’s leading musical artists, cultural organizations, corporations, foundations, sports teams, and individuals to expose diverse audiences to the transformative power of music. To learn more, visit http://www.coloradosymphony.org
Filed under: News
Top Three Finalists at Jefferson Symphony International Young Artists Competition Win with Rachmaninoff Concertos 1, 2 & 3
If you love listening to Rachmaninoff piano concertos, you would have been in heaven at this weekend’s Jefferson Symphony International Young Artists Competition (JSIYAC) Winners’ Recital. Each of the top three finalists won by performing a different Rachmaninoff concerto. And all three winners performed their complete concertos at the evening recital on Saturday, January 10. Sherry Kim, first place winner gave a stunning performance of Rachmaninoff’s Concerto No. 1. Second place winner, Ruixue Zhang, performed beautifully on Rachmaninoff’s Concerto No. 2. And third place winner Alex Chien offered an impressive performance of Rachmaninoff’s Concerto No. 3.
The evening recital followed a full day of competition for twelve finalists who ranged in age from 16 to 23 years old and represented six different countries including China, Taiwan, Peru, Canada, South Korea, and the United States, including one pianist born in Colorado. Six of the twelve finalists chose to perform a Rachmaninoff composition for the live round of competition. So the chances that the winner would be performing Rachmaninoff were good. However, no one expected the top three winners to all place with Rachmaninoff and to do it in 1, 2, 3 fashion. Sergei Rachmaninoff’s lush compositions feature memorable melodies combined with technically difficult passages, which make his concertos favorites among competitors, judges and audience members alike.
Sherry Kim, the 2015 Winner of the JSIYAC, is a 22-year-old graduate student at Manhattan School of Music. She is currently studying with Alexandre Moutouzkine after graduating from Northwestern University Bienen School of Music under the tutelage of Alvin Chow. She began playing the piano at the age of five. She recently won the Dora Zaslavsky-Koch Concerto Competition at Manhattan School of Music as well as the 2012 Elaine and Jerome Nerenberg Scholarship Competition and the 2012 Union League and Civic Scholarship Competition. She has performed at several music festivals including the Aspen Music Festival and School.
As the winner of the JSIYAC, Ms. Kim will receive the grand prize of $5,000 and the opportunity to perform her winning concerto with the Jefferson Symphony Orchestra at the March 22, 3:00pm concert at the Colorado School of Mines Green Center. Tickets can be purchased in advance at http://www.Jeffsymphony.org or by calling the JSO office at (303) 278-4237. In addition, Ms. Kim will also perform a solo recital on March 21 at 7:00pm at Rockley Music Center in Lakewood as a fundraiser for next year’s competition. For more information and tickets for this special evening of music, appetizers and drinks, please call the JSO office at (303) 278-4237.
This year’s second place winner is 20-year-old Ruixue Zhang from China. She will receive $2,000 in prize money. Ms. Zhang is currently a sophomore piano performance major at Texas Christian University in Fort Worth where she studies with Dr. Tàmas Ungàr. She began studying the piano at the age of four and has won several piano competitions including the Schlern International Competition in 2014 and the Zhou Guangren Young Pianist Award in 2012.
Sixteen year old Alex Chien placed third in this year’s competition and will receive $1,000 in prize money. He is currently a student of Mack McCray at the San Francisco Conservatory of Music. He also attends Bellarmine College Preparatory School. He has won several piano competitions including the 2014 Arthur Fraser International Piano Competition, the 2013 San Francisco Young Pianist’s Competition and the 2013 Henry and Carol Zeiter Piano Competition, to name a few. He has also given multiple solo recitals across the U.S. and England.
Honorable mentions were given to Man-Ling Bai, who performed Rhapsody on a Theme of Paganini by Rachmaninoff, and also to Soyoung Kim, who performed Concerto No. 3
In its 56th year, the JSIYAC has evolved from a local competition to an international gathering of outstanding young musicians competing for top prize money and scholarships. There is no minimum age requirement to enter the competition, but there is an age limit of 23 years of age. The competition alternates every other year between pianists and all other instrumentalists.
The first round of competition took place in October when three judges carefully reviewed the competitors’ audio recordings. Judges for the first round were Dr. Tamara Goldstein, associate professor and coordinator of keyboard studies at Metro State University, Denver; Dr. Nanette Shannon, adjunct instructor of piano at Regis University and Metro State University; and Robert Spillman, professor emeritus of the opera program at the University of Colorado at Boulder.
The twelve selected finalists then competed in the live round, which was held on Saturday, January 10, at Colorado Christian University in Lakewood. Judges for the live round were Dr. Grace Asquith, adjunct faculty member at the University of Northern Colorado and co-founder and pianist for the Chamber Ensemble con Grazia; Dr. Andrew Cooperstock, soloist and chair of the keyboard department at the University of Colorado; and Christopher Thompson, collaborative pianist and adjunct faculty member at Metro State University, Denver.
The Jefferson Symphony International Young Artists Competition is co-sponsored by the Jefferson Symphony Association and Colorado Christian University. Its underwriters include Frani and Ted Bickart, Colorado Creative Industries, Golden Civic Foundation, Scientific and Cultural Facilities District (SCFD), and the Wilmot Charitable Trust.
Young Artists Competition Winner Concert – March 22, 2015, 3p.m.
Màquez Dànzon No. 2
Bernstein On The Waterfront
Rachmaninoff Concerto No. 1 in F Minor
Guest Artist: Sherry Kim, Piano
Concerts are held at the Green Center, Colorado School of Mines Campus, 924 16th Street, Golden, CO on Sundays at 3p.m.
Individual concert ticket prices are Adults $25; Seniors (62+) $20; Students (11-21 year old) $10; Children (10 years and younger) $5, Group rates are available for 10 or more. Tickets can be purchased in advance at http://www.Jeffsymphony.org or by calling 303-278-4237 or at the door before the concert.
Filed under: News
Dave Devine & Friends Play the Music of Spaghetti Westerns
Sat, January 24, & Sun, January 25 2015
7 & 9 Sat, 7:00 Sun
In honor of the Conclusion of the Denver Stock Show we will be presenting Ennio Morricone’s award winning music from the Sergio Leone films “A Fistful of Dollars”, “For a Few Dollars More”, “The Good, the Bad & the Ugly” and “Once Upon a Time in the West”. Last years single night sold out in advance so to meet demand we have added another performance on Sunday night. Grab your tickets before their gone!
If every music scene requires a guitar god, a case can be made that Denver’s is Dave Devine. Possessing a musical range that reminds one of Bill Frisell and resembling a younger Thurston Moore in appearance, Devine has been deeply involved in both the jazz and rock music of Denver for the last decade. He was a member of long-time Denver rock group The Czars and also played in jazz trumpeter Ron Miles’ band. In the rock band Delby L, he worked with legendary producer Steve Albini. He’s been a member of the Ninth & Lincoln Orchestra, and, when not playing gigs in Denver, Devine often performs in New York and has appeared on the BBC in London. A guitar wizard needs a sphere of influence, also, and Devine’s has come through teaching at Metro State University and the University of Colorado-Denver. In his tenures he has taught many of the musicians who make the Denver music scene vi-brant, including members of Rubedo, ManCub, Wheelchair Sports Camp, Varlet, Achille Lauro, Paper Bird, Snake Rattle Rattle Snake and Bad Weather California. -HeyReverb.com
Filed under: News
The Boulder Chamber Orchestra (BCO) will present Romance with special guest Andrew Sords, violin on Friday, January, 30, 2015 at the First United Methodist Church of Boulder at 7:30 PM and on Saturday, January 31, 2015 at the Broomfield Auditorium at 7:30 PM.
• Dvorak, Romance for Violin and Orchestra
• Arensky, Violin Concerto
• Arensky, Tchaikovsky Variations
• Brahms, Haydn Variations
For more information and to purchase tickets please call: (303) 583-1278 or visit http://www.boulderchamberorchestra.org.
Event: Romance – Boulder Chamber Orchestra
January 30, 2015 7:30 pm at the First United Methodist Church of Boulder, 1421 Spruce St., Boulder, CO 80302
January 31, 2015 7:30 pm at the Broomfield Auditorium, 3 Community Park Rd., Broomfield, CO 80020
$25 General Admission, $18 Seniors, $12 Students, $5 Children 12 & Under
Call (303) 583-1278 or visit http://www.boulderchamberorchestra.org for tickets.
About the Boulder Chamber Orchestra
The Boulder Chamber Orchestra is a nonprofit organization committed to providing exceptional chamber music programming, education, and outreach. Our mission is to promote classical musical arts and education with live and recorded performances of the highest standard.