Filed under: Reviews | Tags: Alexis Junker, Boulder Symphony, Brian Jack, Dale Day, Dan Smathers, Devin Hughes, K. 361, Karie Vedder, Mike Roper, Mozart, Niwot Timberline, Rebekah Durham, Stauss, Stravinsky, The Soldiers Tale, Tracy Fielder
The former Niwot Timberline orchestra, under the leadership of conductor Devin Hughes, is going through some big changes. They have changed their name to the Boulder Symphony Orchestra, and they have changed their venue from Niwot High School to the First Presbyterian Church in Boulder. I have heard the Niwot Timberline Orchestra perform before, but it was nothing like the performance I heard Saturday night in Boulder. True, the performance on Saturday was not the full orchestra. It was the woodwinds, horns, and contrabass performing a concert of all woodwind ensemble music. Even so, I do not remember the woodwinds section of the old Niwot orchestra performing so well. The move to the First Presbyterian Church in Boulder will certainly have a profound influence on the orchestra. If for nothing else, it will make them much more accessible than they were in Niwot. And I am certainly eager to hear the entire orchestra now after hearing such vast improvement in the woodwinds.
The concert opened with Richard Strauss’ Serenade for Winds, Opus 7. This work is the first truly important composition by Strauss and it is the first work of his to find a stable position in woodwind ensemble repertoire. It was written when Strauss was seventeen years old, and the writing for the horns certainly reflects the influence of good horn performance he grew up with listening to as his father, Franz Strauss, was one of Europe’s notable French horn virtuosos. It also attracted the attention of the conductor Hans von Bülow, who proceeded to encourage Richard Strauss and help him become established as a composer. While the structure of this Serenade is in the classical style, i.e., the sonata allegro form, it is not a mere imitation of Mozart, let us say. It has the delicacy of Mendelssohn, but the harmonies that Strauss uses, even at the age of seventeen, began pushing the envelope. It contains some absolutely wonderful, rich sound, especially at the beginning of the recapitulation section (the sonata form has three sections; exposition, development, and recapitulation) where the French horns (a wind ensemble always has French horns) are at their most mellifluous.
The performance of this piece was quite excellent. The entire group was very precise in their entrances, and the phrases were well shaped with dynamics and truly flowed. I was again struck by Devin Hughes’ conducting in that it is not necessarily demonstrative as one usually thinks when considering other conductors. His movements are very economical, but when the music demands it, he can shape the phrases with large sweeping motions. I have always been in the audience when Mr. Hughes conducts – as opposed to being in the ensemble he is conducting – so I do not know what facial expressions he uses to emphasize the movements he makes. Most conductors do rely on facial expressions to help communicate the composer’s requirements to the orchestra. You must understand that the conductor’s job is to be the intermediary between the composer and the orchestra. Devin Hughes does the job well.
Next on the program came the wonderful Serenade for Winds, K. 361, by Mozart. Nowadays, there is very little doubt that this work was inspired by his friendship with Anton Stadler, a fine clarinet player who Mozart met shortly after arriving in Vienna in 1781. Stadler was also the inspiration and recipient of Mozart’s immortal Clarinet Concerto, K. 622. I stated above that there is no longer any doubt as to why this work was written, but there are still those who state that it was written for Mozart’s wedding to Constanze Weber, to be played at their wedding reception. To make a very long story short, this idea was promulgated by the mistranslation (I am being polite, here, in using that word) of a letter by Mozart in which he supposedly explains the origin of K. 361. Thorough scholarship has proven otherwise, but some individuals with less meticulous motives still say that it was for Constanze.
No matter what its origins, the performance Saturday night was truly excellent. The work is in seven sections and begins with a slow introduction to the opening fast movement. The precision of this group was readily noticeable. Their attacks and releases were excellent as was their tune. And certainly, in this particular work, Hughes’ conducting style fit perfectly. Always expressive, but very controlled. There is no question that this ensemble is accustomed to Hughes conducting and that they respect it. It would be interesting to see one of their rehearsals; I suspect they are quite rigorous. Certainly, woodwinds players need to be capable of extremely good breath control, but I was quite dazzled by the very long phrases and held notes performed by the oboist, Alexis Junker. And I might point out, that her tone control was quite remarkable as well. Everyone in this ensemble, and it needs to be stated again, was really at the top of their form, especially in the Theme and Variation movement which is the sixth out of the seven. The only noticeable irregularity occurred at the opening of the fifth movement, Romance, where the entrance was ragged. But truly, that was the only fuzzy spot in the first half of the program.
After the intermission, the Boulder Symphony winds performed one of the great 20th century compositions: Igor Stravinsky’s “The Soldiers Tale.” I first heard this piece when I purchased a recording of it way back in 1955 or 1956. I cannot remember which ensemble performed it, but as I recall – and I could be wrong here – it was narrated by Sir John Gielgud. I do know that Gielgud, who died in the year 2000, did make recordings of this as the narrator. This remarkable piece is for violin, contrabass, clarinet, bassoon, trumpet, trombone, and percussion. Though it was originally written for these seven instruments, it also features four speaking parts; the devil, the soldier, a princess, and unseen narrator. In the original version, the devil and the princess are also required to dance. However, the most common concert performance is as a suite without narration. I must say that I did miss the narration. The Soldiers Tale is a fable about a soldier whose soul is eventually captured by the devil after the devil challenges him to playing his violin. Make no mistake about it: this is a very difficult piece. It involves all of Stravinsky’s many gifts of rhythm complexity and instrumental virtuosity. For example, the sixth movement is named Three Dances: Tango, Waltz & Ragtime. The violin begins the tango with just a short snippet and the percussion finishes the rhythm. There is no question that as a member of the ensemble, if one listens to the other instruments, rather than watches the conductor and count, all will be lost in a mass of confusion. This is another example of its difficulty, for trained musicians find it difficult not to listen, but all reliable musicians must count.
The musicians that participated in the Stravinsky were Rebekah Durham, violin; Dale Day, contrabass; Katie Vedder, clarinet; Brian Jack, bassoon; Dan Smathers, trumpet; Mike Roper, trombone; and Tracy Fielder, percussion. I wish that the program had contained biographical information on these musicians. They were all quite excellent. I do know that the violinist, Rebekah Durham, has a very impressive background – she has the coveted Artist Diploma, as well as her Bachelor’s degree Magna Cum Laude from the Lamont School of Music, and she has performed with this orchestra previously in the Brahms Violin Concerto. She has won many competitions and awards and is now a graduate student at the Juilliard School. After this performance, she is headed to Korea where she will perform Glazunov’s Violin Concerto. Her performance in the Stravinsky was, as usual, exceptional from every point of view. She is a very exciting violinist. The other members of the ensemble were truly fine, as well.
In 1966, I had the marvelous opportunity to speak with Igor Stravinsky for about two hours. I asked him about this piece and told him how much I admired it. He said that he was always a little surprised by its great reception, and that it had been written in 1918 when times were hard. You must remember that 1918 was post-World War I, and many composers were deprived of royalties because of the revolution. So many lost so much. I, for one, will never forget that early recording that I owned, and the narrator’s opening soliloquy, “Down the hot and dusty road tramps a soldier with his load…” This performance brought back many memories.
If this performance was any indication of what lies ahead for conductor Devin Hughes and the newly named Boulder Symphony Orchestra, then their future is bright indeed. This is a community orchestra, and its woodwind section and horn section and contrabass section have proved to be exceptional. In many ways, it is not like the old days.
Filed under: Reviews | Tags: University of Denver, YOA, Youth Orchestra of The Americas, Felipe Hildago, Eddy Marcano, Adam Blackwell, Fernando de la Rúa, Jim Polsfut, Robert Coombe, Carlos Chávez, Phillip Glass, Carlos Zamora, Astor Piazzolla, Aldemaro Romero, Denver Biennial of The Americas
Friday night, July 9, a truly fine concert was presented by the Youth Orchestra of the Americas at the Newman Center on the DU campus. It was in collaboration with Denver’s new celebration entitled the Biennial of the Americas. For those of you who may yet be unfamiliar with the Biennial of the America’s, it is a month long celebration of innovation, imagination, and the artistic achievement of the entire Western Hemisphere of 35 countries hosted by the City of Denver.
Preceding the concert was a reception that included many dignitaries and persons of note. University of Denver Chancellor Robert Coombe was the host of the concert, and the esteemed guests included the former president of Argentina, Fernando de la Rúa, Amb. Adam Blackwell from the Organization of American States, and Jim Polsfut, President of the Americas Roundtable, Biennial of the Americas.
You must understand that the Youth Orchestra of the Americas is comprised of 24 members between the ages of 18 and 30 and they represent some of the finest young musicians in this hemisphere from nineteen different nations. The auditions for this string orchestra are rigorous, and it seems to me that virtually every member of the orchestra could easily be a soloist. And by the way, one of the members of this orchestra is DU’s own Sarah Johnson. This orchestra brought with them two conductors, Felipe Humberto Hidalgo Harris of Chile, and Eddy Marcano of Venezuela.
Harris’ career as a conductor began with the founding of the Youth Orchestra of Santiago (1996). In 1998 he conducted the Symphonic Bows and Youth Orchestras of Falcon in Venezuela. In 2000 he was appointed resident conductor of the Philharmonic Orchestra of the Fifth Region. He has created numerous children’s orchestras in various parts of Chile. He is director of the Metropolitan Student Orchestra (OSEM) which is a major Symphony Orchestra of the Foundation for Youth and Children Orchestras of Chile. He has led in the OSEM orchestra since 2003. He has also toured with the National Youth Chamber Orchestra to Cuba.
As a violinist, he was the first concertmaster of the National Youth Symphony Orchestra of Chile since its inception, concertmaster of the Chamber Orchestra of the Teatro Municipal, and Principal Second Violin with the Philharmonic Orchestra at Carnegie Melon (Pittsburgh). Hidalgo has performed as soloist with various orchestras and groups throughout Chile (Concepción Symphony, Orchestra USACH, and UC Chamber Orchestra among others). He was also one of the founders the Ensemble Quidrivium, and has conducted and performed numerous premieres of contemporary Chilean, Latin American, and American works, such as the South American premiere of George Crumb’s Black Angels. He has recorded five CDs of Chilean contemporary music.
Eddy Marcano is one of the great violinists and conductors of Venezuela and is recognized as one of the leading exponents of the instrument throughout Latin America. As an orchestra member, he is first violinist of the renowned Simón Bolívar Symphony Orchestra, a position for which he has received the highest decorations. As a soloist, he has performed with leading orchestras in Venezuela and around the world, receiving the highest accolades. He has participated in national and international festivals throughout Latin America and in Germany, Spain, the United States and England.
Marcano is professor of violin at the Simon Bolivar Conservatory of Music and the Emil Friedman School. He also served as President of the Nueva Esparta Symphony Orchestra Foundation and director of the Junior Orchestra af the Mantalban Academic Center. He has been engaged by UNESCO and the Organization of American States (OAS) in establishing youth and infant orchestras in Honduras, Mexico, Uruguay, Paraguay and Guatemala, for which orchestras he has also served as conductor and violin professor. He is a member of the UNESCO Music of Venezuela Council.
The program opened with a work by Philip Glass, entitled “Company.” Glass is an American composer – he was born in 1937 – and is considered one of the most influential composers of this century. He is known as a minimalist composer who uses music with repetitive structures, but recently, he has been avoiding that particular label. This work, “Company”, certainly fills the description minimalist. It is a brief work which has driving rhythms and a sense of urgency, even though the first movement is relatively slow. The second movement ends rather suddenly leading to a flowing third movement. The final movement is fast, and recalls many of the ideas of the previous movements, but it also ends rather suddenly. This is a difficult work and it was immediately apparent that this is, in spite of its youth, a very professional orchestra. Their playing is exciting, very precise while being extremely passionate. Glass arranged this work for string quartet. This is the first time I have heard the string orchestra version and I think that I prefer it, especially when it is performed with such remarkable musicianship.
Following the Glass, the YOA performed the Sinfonia Nr. 5 by the great Mexican composer, Carlos Chávez (1899-1978). Chávez had a very wide range of abilities; he was a conductor, a composer, pianist, a musical scholar of great ability, and the executive director of the National Bureau of Fine Arts. His first published compositions come from his early twenties, and if one looks hard enough, one can still find some of his songs in print, which have always reminded me of Henri Duparc. His fifth symphony is a neoclassical work that contains some very imaginative writing in its elaboration of themes and instrumental technique. In the first movement, the themes are very closely related, in fact they seem almost like different rhythmic variations of the same theme. There are groups of 16th notes that seem to unify the entire structure. It is very different from the second movement which seems almost improvisational and ends very quietly. The third movement contains some contrapuntal rising which makes it very easy to assign the label “neoclassical.” This is also a very difficult piece and the Maestro Eddy Marcano seemed more comfortable in this work than he did in the Glass. His conducting was very expressive and also very expansive. The orchestra had absolutely no problem with the difficult rhythms and dynamics that changed with great suddenness. It was also obvious that the orchestra enjoyed playing this piece, as well as being a member of a group that was able to perform well in public.
At the beginning of this performance it was announced there would be some changes in the program. However, the addition was announced so quickly that I simply did not catch it, so my apologies must go to those who performed and those who read this article. The piece that they did perform displayed the amazing ability of the concertmaster and the principal cellist. Both had remarkable technique and remarkable tone production. The work was conducted by Felipe Hidalgo, and it was very interesting to have such a fine orchestra conducted by two fine conductors. At the outset, it seemed one could classify Maestro Hidalgo’s conducting as a little more emotional than Marcano’s, but I must say that both conductors received what they asked for in the way of emotion and musicianship. And, again, the orchestra played with noticeable enthusiasm as they had for Maestro Marcano.
Hidalgo also conducted the next work on the program, “Sikuris Atacameño,” by Carlos Zamora, who was in the audience. Zamora was born in Chile in 1968 and is a conductor, as well as a fine composer who has written concertos, opera, chamber works and orchestral pieces. This work, and it may seem a strange thing to say in a review, was simply beautiful, however, there is no other way to describe it. A sikuri is a folk dance, and the Atacama is a region of high desert close to the Andes. This was conducted with great sensitivity and the audience responded with great enthusiasm in greeting not only the performance, but the composer as well. This was another 20th century composition that, like all the rest on this program, was tonal centered. It is interesting that so many South American composers seem to be returning to a tonal center. It seems to me that they far outnumber American composers in that respect, even though I can think of one American composer, albeit born in Argentina, who writes with a tonal center, and that is Luis Gonzalez. An argument can certainly be made that there are many composers all around the world who have returned to tonal centered compositions, but, as noted, that direction seems to have been spearheaded in South America.
Next on the program came Muerte del Angel by Astor Piazzolla (1921-1992). Piazzolla was influenced a great deal by jazz, particularly the Gerry Mulligan octet. But it was his composition teacher, Nadia Boulanger, who convinced him to return to his roots and concentrate on the tango. La Muerte del Angel belongs to an after-the-fact cycle of five Angel pieces that use the duple meter that is quite syncopated called a “milonga” and is generally thought to be the predecessor to the tango. This work, written for solo violin and string orchestra, was performed by Eddy Marcano, and is a fugue that uses tango rhythms. It is an incredibly expressive piece. I hope that one of these days I can see the score, because it seemed to call for “scooped” pitches from the solo violin which were very reminiscent of the way Fritz Kreisler played. In any case, it added much to the ambience of the work. Marcano is an excellent violinist, and not only did the audience enjoy his playing, but it was clear that the members of the orchestra did, as well.
The YOA next performed the “Fuga con Pajarillo” from the Suite for Strings by Aldemaro Romero (1928-2007). Romero, like Piazzolla, was influenced by jazz, and this composition is a compilation of flavors – jazz and Baroque. The parajillo is a dance in triple meter, and waltz like, but the accent must be placed on the second beat rather than the first. The fugue can best be described as riveting and exciting. This was so well done, that as an encore, the orchestra repeated it. It was clear that both Marcano and the orchestra enjoyed performing the work, and the audience certainly enjoyed hearing it twice. It was absolutely spellbinding.
Deservedly, the Youth Orchestra of America received a standing ovation, and it was interesting that after the applause subsided, and the members of the orchestra were leaving the stage, spontaneous applause broke out again from the audience and everybody on stage acknowledged it. In the face of such wildly extravagant comments that serious music is dying – and there are those in Denver who say that it is – it is refreshing to see young people so very talented and working so hard. This is a fine orchestra and the musicians in it worked very hard. I also hasten to point out that nearly every state in the United States has a youth orchestra that is just as good. So where do the rumors of the death of serious music come from? My strong suspicion is that it comes from individuals who do not know or appreciate serious music and therefore dismiss it out of hand. And since when did ignorance become a point of view?
Filed under: Commentary | Tags: Adam Flatt, Denver Phil, Denver Philharmonic Orchestra, DPO, Horst Buchholz, Russell Klein
There is some really good news which many of you may know by now, and that is that the Denver Philharmonic Orchestra has chosen Adam Flatt to be it’s new conductor. He will replace Dr. Horst Buchholz, who is still sorely missed throughout this entire community for many reasons. It is my sincere opinion that the DPO made a very wise choice and it has taken them two years to come to this decision. I will quote from an e-mail that I received from the Denver Philharmonic:
“We are delighted that our search effort has concluded with the announcement of Adam Flatt as our next music director and conductor,” says executive director Russell Klein. “Adam stood out as having the proven leadership experience, depth of musicality, and affable stage presence we were seeking. He has a strong track record of building new audiences and combining music with community service through outreach. We welcome Adam as a dynamic new leader who will play an important role in ensuring the Denver Phil continues providing metro Denver with high quality performances at affordable prices.”
The above is very true. I can scarcely imagine that no one in the Denver metro area is unaware of Adam Flatt. I will quote from his website:
“Adam Flatt is Music Director of the Newport Symphony, the only year-round professional orchestra on the Oregon coast. Adam also serves as Music Director of the Colorado Ballet in Denver, and is principal conductor of Emerald City Opera, a summer festival in Steamboat Springs, Colorado. He appears as a guest with ensembles all over the United States.
“When Marin Alsop invited Mr. Flatt to join the Colorado Symphony as Associate Conductor in 2001 he began a five-year tenure during which he conducted over 250 performances with the orchestra. His warm presence on the podium connected with the entire range of audiences, from those for classical subscription and pops, to family, outreach, and special gala events such as the annual New Year’s Eve celebration. He created and hosted family and educational concerts that reached tens of thousands of children and families in the region. Adam was the first conductor for [the] television broadcast of “Spirit of the Season,” an Emmy-winning holiday concert of the Colorado Symphony and choruses broadcast on Colorado’s CBS-4.
“In 2001 he also began his seven year tenure as Music Director of the Denver Young Artists Orchestra, during which the DYAO organization celebrated its 25th and 30th anniversaries. He led the DYAO in acclaimed concerts at home in Denver and on tours to central Europe and South America. Under his leadership, the DYAO was widely recognized as one of the most exciting and best-trained youth orchestras in the United States. Mr. Flatt made his professional debut with the Oregon Symphony, where he served as apprentice conductor for two years. He has guest conducted the orchestras of Alabama, Cheyenne, Dallas, Delaware, Houston, Lubbock, Midland-Odessa, Missoula, Monterey, Oregon, Sacramento, Saint Louis, San Juan, Santa Rosa, South Carolina, and many others. Festival appearances include the Bravo! Vail Valley, Strings in the Mountains, Cascade, Colorado, Marrowstone, and Green Music Festivals. Adam’s performances have been broadcast on NPR’s ‘Performance Today,’ and on Colorado Public Radio’s ‘Colorado Spotlight.’
“He has led performances with the major ballet companies of Portland and Salt Lake City as well as that of Denver.
“Also devoted to the operatic repertoire, Mr. Flatt returns each summer to conduct a production for Emerald City Opera, a festival in Steamboat Springs, Colorado. In addition, he has led productions for Colorado Light Opera, Eugene Opera, and Colorado Symphony collaborations with Central City Opera and Opera Colorado, including the popular “Opera on the Rocks” at Red Rocks.
“Adam Flatt has his bachelor’s degree with honors in music from the University of California at Berkeley, and his master’s degree in conducting from the Indiana University School of Music. He studied music for two years in Austria and Germany, and studied at the Aspen Music Festival.”
I sincerely hope that all of you readers will read carefully the above bio statement. Savor it. It will give you an idea of the things that are to come for the Denver Philharmonic Orchestra and its audiences and performances. As I have stated before, there is an old saying which has never made very much sense to me and it is, “The further an individual comes from, the greater the expert he is.” I am so glad that the Denver Phil chose to ignore this senseless rule. Flatt has done wonders with the Colorado Ballet Orchestra and the DYAO. He was terrific with the Colorado Symphony Orchestra.
Again, I will quote from the letter that I received from the Denver Philharmonic: “The Denver Philharmonic is one of our region’s cultural treasures,” says Maestro Flatt. “And I am delighted to be a part of it.” Mr. Flatt first led the Denver Philharmonic as guest Conductor in May 2009. “I was impressed by how truly the DPO lives up to its reputation as the best community orchestra in Colorado. The music making is vibrant and joyful, he says. ”
All of you concertgoers who truly love music must now give a warm and long welcome to Adam Flatt. He is one of the very few people that I can think of that will successfully succeed Dr. Horst Buchholz who is one of the most profound musicians Denver has seen. Adam Flatt is certainly of the same ilk.