Filed under: Reviews | Tags: Alexei Tyukov, Carin Higgins Goodson, Denise Sanderson, Friedann Parker, Gil Boggs, Igor Vassine, Janelle Cooke, Jesse Marks, Lillian Covillo, Marie Belew Wheatley, Marie Mosina, Martin Leuthauser, Patricia Renzetti, Sharon Wehner
There were several poignant moments Thursday night at the Colorado Ballet’s 50 Year Celebration event. I say event is because it was more than a party, and yet, more than a ballet. It was a history of the Colorado Ballet in honor of the Lillian Covillo and the late Freidann Parker. These two women were the founding members of the Colorado Ballet, and they both shared a vision of ballet and dance to fulfill that need here in the city of Denver.
The program began at seven o’clock with opening remarks by the Colorado Ballet’s Artistic Director, Gil Boggs. Mr. Boggs introduced Lillian Cavillo who was in the audience, and who was greeted with a hearty round of applause. He gave a short synopsis of the history of the ballet and the audience then presented a video showing excerpts of past performances and wonderful pictures of Lillian Cavillo and Friedann Parker. The guest speakers included Denise Sanderson, Board Chair, Carin Higgins Goodson and Martin Leuthauser former members of the Colorado Ballet who had danced under the direction of the Lillian Covillo and Friedann Parker. Patricia Renzetti, a former Colorado Ballet Principal was also a speaker. These three individuals discussed what it was like to be members of the company and to see the kind of leadership that the two founders provided. The three of them described an amazing development over the years carefully watched by two individuals, Covillo and Parker, who were so totally dedicated to their art and the artistic excellence that they wished to instill in all of the dancers. Some of the remembrances were humorous, some were statistical, some were quite emotional, and all were occasionally interrupted by rounds of applause from the audience. It was abundantly clear that Patricia Renzetti was very moved by her memories of the Colorado Ballet and dancing with such a marvelous ballet company. Jesse Marks, who is currently dancing Renfield in the Colorado Ballet’s production of Dracula also spoke. He pointed out something that I have often suspected about this ballet company and that I have mentioned in past reviews. Mr. Marks said that all of the dancers help each other when it was needed – perhaps a little technical advice, a little moral support, and sometimes some emotional support when the day was not going as one would hope. Every rehearsal that I have attended, and the way the dancers performed with each other on stage, have indicated to me that there are no professional jealousies in this company as I have seen in other companies. Perhaps part of that is becase all the dancers are so equally skilled, and I can assure you that that fact makes this company so thrilling to watch when they are on stage.
Last but not least of the speakers was the new Executive Director, Marie Belew Wheatley. I have been in charge of several arts organizations in my life, as well as a university department. It must be an incredible experience to step into a position of Executive Director where the organization is so good that one does not have to get rid of deadwood on the board, set up a new accounting system, or try to fire up a lackadaisical staff. Granted, she certainly has much work ahead of her when it comes to fundraising, but she strikes me as being someone who is not only quite charming, but someone who really knows how her position works, how to succeed, and also is willing to allow those under her to succeed. I am confident that the Colorado Ballet has found an Executive Director who knows and agrees with one aesthetic that absolutely everyone from the office staff to all of the dancers believes in: good is the enemy of excellence.
In the second half of the program, excerpts from ballets and a choreographed poem were presented. The first ballet excerpt was from Giselle. This is one of the most famous ballets and it is a favorite of Ms. Lillian Covillo. The ballet tells the story of a peasant girl named Giselle whose ghost, after her death at a young age, protects her lover from the vengeance of a group of evil female spirits called the Wilis. The score was composed by Adolphe Adam and the choreography was originally done by Jean Coralli and Jules Perrot, though I’m fairly sure that modern productions of this ballet use the choreography by Marius Petipa. This excerpt was danced by Sharon Wehner and Alexei Tyukov, and even if one did not know the story behind this ballet, one could sense the bond between the two characters. It is remarkable to me, at least, how two such expressive dancers can fill their motions with such grace and such an amazing strength. It is always easy to see, for example, a violinist or a pianist fill their performance with the emotion that the composer intended. But I still believe that the dancers in the Colorado Ballet are exceptional in bringing that kind of emotion to the way they dance. I might add that Ms. Wehner never lost her presence – even when she came out for her final bow she was full of grace in her curtsy to the audience.
Following the Giselle excerpt was a choreographed poem entitled Lightning Chain (no, that is not a misspelling). The poem was choreographed by Andrew Thompson, a former Principal with the Colorado Ballet, per the request of Lillian Covillo. This piece was originally performed in honor of Friedann Parker at her Celebration of Life Memorial Serivce in 2002. The poem was written by Friedann Parker and was read by Andrew Thompson. It was absolutely wonderful to see this danced by Janelle Cooke who returned for this performance. Ms. Cooke is now in California and her dancing is sorely missed. The poem tells of Calamity Jane and her encounter with Wild Bill Hickok. It is a humorous poem and Janelle Cooke danced the role in Levi’s, western shirt, and western boots. While she danced, I looked around at the audience, and even in the semi-dark, one could see the smiles of recognition and appreciation on the faces in the audience. It was clear that they miss Janelle Cooke as much as they admire her artistic ability.
Next, came the pas de deux from Swan Lake danced by the incomparable Maria Mosina and Igor Vassine. These two are extraordinary and absolutely beyond compare. Simply put, I would willingly match them with any other dancers in the country. Their ability to anticipate each other’s moves, their trust in each other’s ability, and their concentration on the smallest of artistic details absolutely boggles the mind. Toward the end of their pas de deux, Maria Mosina executed a dance step that I don’t recall seeing ever before. Keep in mind that she is a swan in this pas de deux. She moved her right foot (with her back to the audience while she was embracing Igor Vassine) in a rapid trembling motion which was at once very animalistic and yet full of incredible passion. It resembled a petit battement, but I am not at all sure that’s what one would call it. It was stunningly effective, and I might add that I could hear gasps from those sitting around me. It was very sensuous.
The final excerpt of the evening was comprised of The Faraway. The music for this ballet was taken from the compositions of Dmitri Shostakovich. Use was made of his first piano concerto and his first jazz suite. The choreographer is Matthew Neenan. This was a premier danced for the first time by the Colorado Ballet when they performed their opening at the Newman Center on the DU campus at the beginning of the season. The dancers in this excerpt were Dana Benton, Cara Cooper, Casey Dalton, Shelby Dyer, Chandra Kuykendall, Asuka Sasaki, Caitlin Valentine-Ellis, Sharon Wehner, Christopher Ellis, Jesse Marks, Sean Omandam, Rylan Schwab, Adam Still, Kevin Gaël Thomas, Dmitry Trubchanov, and Luis Valdes. This is a wonderful ballet with tinges of poignancy and a little darkness, but by and large it seems like a celebration. And why not? For the whole evening was a celebration for the remarkable Colorado Ballet.
I use the word remarkable very carefully and with its full meaning. This semester, I am teaching a course on the history of ballet at the Academy For Lifelong Learning. And I point out with fervent thanks, that the Colorado Ballet has been essential in my presentation of this course. Anne O’Connor, Director of Education and Outreach, Marlene Strang, Education Programs Manager, Katrina Tamminga, Public Relations Manager, and two members of the ballet corps, Morgan Buchanan and Gregory DeSantis, were instrumental in assisting me with this class. I also point out that we were invited to rehearsal for Dracula, where the Artistic Director, Gil Boggs, took time out from his busy rehearsal schedule and addressed my class. This organization is so accessible and so dedicated to their art that we in Colorado must make every effort to preserve their longevity. In honor of the founders of the Colorado Ballet, Lillian Covillo and Freidann Parker, the Colorado Ballet has established a Founders Fund. I encourage you to donate to this fund so that we can be sure that this organization is around for another 50 years. Simply call 303-399-1629, or on the web go to development@coloradoballet.org.
The Colorado Ballet is an organization which, as it becomes more widely known, and I guarantee you that it will, will be the envy of the entire country. They are that good and they are that committed to the art. We must help them celebrate.
Filed under: Reviews | Tags: Adam Flatt, Alexi Tyukov, Cara Cooper, Charles Lee, Christopher Ellis, Dana Benton, Deborah Wilbur, Denis Malinkine, Dracula, Evan Orman, Gill Boggs, Gregory Gonzales, Igor Vassine, Jesse Marks, Maria Mosina, Michael Pink, Michelle Orman, Phillip Feeney, Sayaka Karasugi, Sharon Wehner, Viacheslav Buchkovskiy
To borrow a few words from Arnold Schoenberg and paraphrase them: Everyone associated with the Colorado Ballet feels the artistic necessity to have the stamina and courage to make everything connected with dance and music a very special case.
Continuing the Colorado Ballet’s 50th Anniversary Celebration, “Dracula” was performed Friday night, October 15. It follows the novel written by Bram Stoker very closely. And what is so remarkable is that the members of this ballet company are so skilled not only in dance, but also in acting. They easily convey so many emotions: fear, passion, revulsion, and the grotesque. And once again, they have taken upon themselves the rather heavy duty of performing a ballet which is very far from one’s concept of what a ballet is. They also did that last year with their production of “Echoing of Trumpets.” I will quote Gil Boggs, who is the gifted Artistic Director of the Colorado Ballet: “While it does demonstrate the dancers’ classical technique, there is also a great deal of focus on characterization, music and costumes. These elements coupled with [Choreographer Michael] Pink’s mesmerizing and sensual choreography makes it seem much more like a theatrical production and offers something completely distinctive and in a class of its own.”
Michael Pink is an internationally known choreographer. And I quote from the program notes: “Michael Pink began his tenure as Artistic Director of the Milwaukee Ballet Company in December of 2002. Since that time, he has established himself as a prominent member of the Milwaukee arts community, demonstrating his commitment to the future of dance through education and collaboration. Mr. Pink’s dramatic production of Romeo & Juliet took narrative dance drama to a new level of interpretation. His new productions of The Nutcracker and Swan Lake both received critical acclaim. Other works for the Milwaukee Ballet include Solstice and The Red Dress.”
Most of you who attend the ballet on a regular basis probably know that when a ballet is choreographed, that original choreography has to be followed to the letter. There are a few deviations allowed, to take into consideration the ability and strength of the dancer. If the original choreographer cannot attend the rehearsals, then an individual known as a Repetiteur coaches the dancers. In this case of Dracula, the Repetiteur was Denis Malinkine. I was fortunate to attend a studio rehearsal and I saw him work with the dancers. He is an excellent coach and communicated easily with the dancers in the company. Did you know that it takes one hour to choreograph one minute of dancing? That’s why the dancers in the Colorado Ballet practice up to six hours a day. Sometimes, in order to warm up for their practice, that time extends to eight hours.
The score for Dracula was composed by Philip Feeney. “Philip Feeney studied composition at the University of Cambridge with Robin Holloway and Hugh Wood, and at the Accademia di Santa Cecilia in Rome under Franco Donatoni. His works have been performed extensively throughout Europe, and he is most noted for his work in ballet and dance. After a period as pianist/composer for the Teatrodanza di Roma from 1980 to 1984, he returned to London and has been Composer in Residence for the Central School of Ballet and Musical Director for their national tour ever since. It was for Christopher Gable and Michael Pink that, in 1996, he wrote the highly acclaimed score for Dracula.” The music for this ballet is absolutely sensational. I would hope that some of the local orchestras would perform some of his ballet music or other works. He is a marvelous composer.
And speaking of the music, conductor Adam Flatt carries out his duties with consummate skill. And I use the word duties, because conducting a ballet is not at all like conducting a concerto with a solo instrument and orchestra. When a concerto is performed, the conductor can sense the phrasing and the agogics from the soloist. But in a ballet, the conductor has to be aware of every single movement the dancer makes. For example, certain movements have to be followed or accompanied very precisely by the beats in the musical score. If the dancer lifts another dancer into the air, that gesture has to arrive on a certain beat of the music. If one dancer looks over her shoulder to the male partner that she is dancing with and extends her hand for him to grasp, that “grasp” has to occur on a certain beat. Dracula has a complex score, and with such complex choreography where the movements come in rapid-fire succession, that Maestro Flatt’s abilities are taxed to the maximum, but he never fails. And, keep in mind that each performance is different because the dancers usually change with each performance; there is always a subtle difference between them. The Colorado Ballet Orchestra is excellent. There was some fine cello playing from Charles Lee and Evan Orman, in fact, the entire string section sounded spectacular. Michelle Orman and Deborah Wilber, the clarinetists, had some very rapid slides and gestures in the score. In fact, Feeney’s writing didn’t omit anyone in the orchestra; they all were able to demonstrate their consummate ability.
There are several main characters in this ballet which, as I said, follows Bram Stoker’s novel very carefully. The ballet begins with Harker reliving his journey to Transylvania in a dream. He is tormented by three vampire maidens, Cara Cooper, Dana Benton, and Sayaka Karasugi. All three executed exquisite port de bras. Harker, who was danced by Viacheslav Buchkovskiy, sets off for the region of Transylvania, where he has dealings with Count Dracula’s purchase of land in England. He is accompanied on his journey by Mina, danced by Sharon Wehner, and Dr. Van Helsing, danced by Gregory Gonzales. Harker witnesses a sacrificial ceremony conducted by the villagers which protects them from the dangers that threaten on All Souls Night. And from there, the story continues with all of the dancers: Jesse Marks as the insane Renfield, Christopher Ellis as Quincy, Alexei Tyukov as Arthur, and last but certainly not least, Maria Mosina as Lucy. One by one the characters are placed in a trance by Dracula. By his bite, he transforms Lucy forever into one of the undead. His main conquest is Mina, who manages to survive Dracula’s unspeakable horror. These dancers are so artistic in their depiction of emotions and drama that they truly create another world. And it is a world where the remarkable dancer, Igor Vassine as Dracula, rules with arrogance, terror, and an epicene sensuality. His haughty confidence is unmistakable, and he relies on his supernatural ability to suspend time – as in the slow-motion sequence in the Grand Hotel – to put all of those who interfere with his pursuit of Mina into a state of suspended animation. Igor Vassine slithered and coiled across the stage, sometimes reminding us of an evil viper that lives in permanent darkness and soil. And, likewise, Jesse Marks, who danced Renfield, and picked flies and blood off the floor, licking his hands greedily. Jesse Marks did an amazing pas de deux with Sharon Wehner as Mina, where he was in a straitjacket and could not use his arms. But he rolled Sharon Wehner across his back, lifting her from the floor, as he tried to warn her of the evils of Dracula and of Dracula’s pursuit of her, but each time failing because of his insanity. His earnestness and despair were absolutely palpable. And that is one of the aspects that make the Colorado Ballet so enthralling to watch. Their sense of drama allows every single dancer in the company to portray their character with great power. It does not matter whether they are dancing Dracula, Beauty and the Beast, Eventually, or The Nutcracker. This is one of the best ballet companies in the United States, if not the best. In my reviews, I have never said this before, but it certainly does no harm that every single female dancer is a raving beauty, and all of the male dancers are dashing. But I hasten to point out, that their dancing ability and their sense of drama far surpasses their physical attributes.
Gregory K. Gonzales is the guest artist for this production of Dracula. He has spent the large majority of his career with the Colorado Ballet is a principal dancer and Choreographer in Residence. His portrayal of Van Helsing was desperate and frantic in his challenge to keep Mina, Harker, Arthur, and Quincy from falling under the spell of the evil Count. He has already lost Lucy, and is even more determined to save the others. Maria Mosina as Lucy, covered in blood in a terrifying scene, lures a small child to her death. Mosina always has power on stage, no matter what role she dances.
I would encourage all of you who love ballet to support this company. And I would encourage all of you who have never seen a ballet to attend a performance because you will be amazed. The expenses of a ballet company are considerable. A pair of ballet shoes can be $75 and may last for only one performance. Typically, the Colorado Ballet spends $100,000 a year on shoes. Insurance, design royalties, and cleaning of costumes can be as high as $30,000-$90,000. The fake blood used in Dracula costs $500 per performance. If you attend the performance, you will clearly see that all of these costs are validated and necessary. Every individual in this company is worth every cent.
I have seen ballet companies in Chicago and New York. Trust me. We are unbelievably fortunate to have this ballet company with these individuals in Denver.
Filed under: Reviews | Tags: Adam Flatt, Cathy Thayer, Denver Philharmonic Orchestra, Hisng-ay Hsu, Horst Buchholz, Lisa Bahn, Shaun Burley
This Friday evening, October 8, the Denver Philharmonic orchestra opened its concert season with a program of Schumann, Beethoven, and Liszt. Their next performance will be November 19, when they will perform the Stravinsky Firebird and the Tartini violin Concerto with soloist Lina Bahn.
It is hard to believe, but this concert season marks the 63rd year for the Denver Philharmonic Orchestra. And what a history they have had. Over the years, it is easy to point to one conductor who has had a profound impact on the orchestra, and that was Dr. Horst Buchholz. After Buchholz left, I feel that the orchestra fell into a period of malaise. However, I must tell you that they now have a conductor who will surely establish himself as one of the conductors in their history. That conductor is Maestro Adam Flatt.
Adam Flatt came to Denver in 2001 as associate conductor with the Colorado Symphony with Marin Allsop. In the same year he began his seven-year appointment as Music Director of the Denver Young Artists Orchestra, and led them on tours of central Europe and South America. It was at this time that the DYAO earned a reputation as one of the most exciting and well-trained youth orchestras in the nation. Maestro Flatt also currently conducts the Newport Symphony in Oregon. Aside from the Denver Philharmonic Orchestra, Adam Flatt also conducts the Colorado Ballet Orchestra where he has had a profound impact on the quality of the performance.
Now, Mr. Flatt is with the Denver Philharmonic Orchestra, and I do not think that I have ever seen an orchestra change its ways so rapidly. Friday night’s performance was a complete turnaround from the lethargy that I feel the DPO had fallen into. The performance absolutely sparkled. True, there were some ringers (those are additional instrumentalists who are not regular performers with the orchestra) added to Friday’s performance, because several orchestra members simply could not attend the performance that evening. Nonetheless, the credit has to go to the orchestra itself, and certainly to Adam Flatt. I was fortunate to attend a rehearsal for this performance, and Maestro Flatt worked on small exercises with all the sections to make sure they understood it was their responsibility to play in tune. The performance Friday was extremely musical, and all of the members played with new dedication and renewed conviction. What a change a conductor can make!
The DPO opened the evening’s performance with the Manfred Overture, Opus 115. Schumann composed this piece as incidental music for Lord Byron’s Manfred. Schumann, one of the most important progenitors of the Romantic period, was always interested in, and associated with, literature. His concept of Romanticism in music was very closely tied with authors such as E.T.A. Hoffman, and involved mystery and fantasy. When he got the chance to write incidental music to Byron’s Manfred, he literally jumped at the chance. He had, after all, attempted a novel at one time, and he published one of the most important magazines on new music, Neue Zeitschrifft für Musik, along with his future father-in-law Friedrich Wieck. While the overture is certainly one of Schumann’s finest orchestral compositions, the rest of the work is somewhat uneven. Schumann wanted this incidental music not sung with Byron’s text, but spoken while the orchestra performed. The text was somber and full of abject despair, and Schumann, in his overture, communicates those moods very well.
The work begins with three explosive chords from the orchestra followed by a very soft section primarily in the strings. Friday evening, I was a little alarmed by this soft entrance because it was ragged. But I needn’t have worried, as it turned out it was just one of the little things that sometimes happens, and it certainly was not a portent of things to come. Maestro Flatt’s conducting was more expansive than I remember seeing from him. There were some huge sweeping motions, almost in a Leonard Bernstein fashion, but it certainly inspired the orchestra. The low strings of the DPO have always been consistent in their excellence, as have the woodwind section. But by the end of this work, it was apparent of the change that Maestro Flatt has brought to this orchestra. The violin section, which, in the past, I have singled out, played well and really responded to the demands placed upon them by Flatt.
Following the Schumann came the Piano Concerto Nr. 4 in G major, Opus 58, by Beethoven. It was performed by Hsing-ay Hsu, who is on the faculty at the University of Colorado in Boulder.
I shall quote from the program notes: “Since making her stage debut at age 4, Chinese pianist Hsing-ay Hsu (Sing-I Shoo) has performed at such notable venues as Carnegie Hall, the Kennedy Center, Alice Tully Hall at Lincoln Center, and abroad in China, Japan, Taiwan, the Czech Republic, Denmark, and France. Upon reaching the age of eligibility in her freshman year at Juilliard, Hsu captured the 1996 William Kapell International Piano Competition Second Prize. She is also winner of the prestigious Juilliard William Petschek Recital Award in 2000, a 2003 McCrane Foundation Artist Grant, a 1999-2001 Paul & Daisy Sows Graduate Fellowship, and a 1997 Gilmore Young Artist Award.”
The notes go on to list her awards and honors which are so many that there is not space in this article for them. But I will tell you that she is a true advocate of new music, and she is married to Daniel Kellogg, who is on the composition faculty at the University of Colorado in Boulder. What a rare thing it is for a young pianist to proselytize new music! To continue from the concert program: “Recent projects include collaborations with the Colorado Ballet, choreographers David Capps and Viki Psihoyos, pipa artist Fan Wei, and a series of lecture-recitals for Olivier Messiaen’s centennial year in 2008. …She has served as visiting piano facuIty at Ohio University and Uniersity of Colorado, given residencies at the University of Missouri at Kansas City and Xiamen University, and regularly teaches masterclasses. Ms. Hsu is currently the Artistic Administrator of the Pendulum New Music Series at the University of Colorado in Boulder, where she resides with her husband, composer Daniel Kellogg.”
The Beethoven Piano Concerto begins with the solo instrument playing unaccompanied, and it is therefore quite revolutionary because no concerto to this point had ever begun in such a fashion. Not only that, but it begins softly, and there is none of the the intensity that was surely lurking somewhere in his mind as he considered the Fifth Symphony (we do know from his many notebooks that he was already bearing this symphony in mind at the time he wrote his Piano Concerto Nr. 4). This is perhaps, due to the fact that his lawsuits and court hearings were finished, in his attempt to gain custody of his nephew from an alcoholic brother. Also, he was quite aware of his growing deafness, and the five opening chords (in D major – not G – which the orchestra answers in B major) have a certain sense of calm resignation.
Ms. Hsu has remarkable ability to obtain fine tone out of a very recalcitrant and unforgiving instrument. And here, I must interrupt and ask why it is, that when such a fine pianist is performing with an orchestra that has such a long history, that the orchestra cannot supply a decent piano for the guest artist. The piano needed to be voiced because the upper register was so hard and brittle that it sounded like broken glass. And try as she might, even Ms. Hsu could not overcome the thunking noise created in the midrange of the piano as the hammers hit the strings. The lower register sometimes sounded as if the notes were coming from a barrel. I know that many orchestras are facing financial hard times, but if they cannot supply a good instrument for any soloist, let alone a soloist of Ms. Hsu’s artistic ability, then maybe they should reconsider having a soloist. Before all of you readers scream in alarm at my words here, please be aware that I, personally, have given roughly three hundred to three hundred and fifty concerts in my life. I know what a piano is supposed to sound like, and I know what it’s like to have to perform on a bad piano. It is hard work and it takes much joy out of the performance, except for the realization that one has defeated the long odds.
But in this performance, the orchestra played with a conviction that I have never heard. Ms. Hsu’s playing was incredibly sensitive and warm. And, of course, it was fascinating to see the depth of her concentration. It was also wonderful to watch the eye contact between Maestro Flatt and Ms. Hsu. They created the impression that they had performed together many times, because they seemed quite comfortable in reading and responding to each other’s artistic abilities. I certainly hope that there were young pianists in the audience, which was quite large, so that they could see the musical interchange that was going on between these two individuals. As I have said before, an orchestra is the conductors instrument, and Adam Flatt seems to have convinced the orchestra to play as one. The second movement of this marvelous Concerto Nr. 4 is also quite revolutionary because it is only 72 measures long. Think of that! 72 measures. And Beethoven requests that the pianist hold the soft-pedal down for all 72 measures. There are so many small details in a work like this that show Beethoven changing so many rules out of his own artistic necessity. And I hasten to point out that both Ms. Hsu and Adam Flatt collaborated on allowing us to revel in Beethoven, and not flashy technique (though both certainly have that) that some pianists selfishly display. The third movement is a traditional Rondo form that begins without pause, and perhaps more than any other Beethoven concerto movement, sparkles with glittering light. And that is the way it was performed. It is interesting to note that Mendelssohn admired this concerto very much, and chose it to perform on his last concert in London in 1846. Ms. Hsu’s performance of this piece received a standing ovation which was very well deserved.
After the intermission, the Denver Philharmonic Orchestra performed Liszt’s Orpheus, which is his fourth out of twelve symphonic poems. Liszt was inspired to write this symphonic poem by his own performance as conductor of Gluck’s Opera Orfeo and Euridice when he was in Weimar. The performance of this work was extremely well done and highlighted the concertmaster Cathy Thayer’s ability to play so emotionally, as the violin depicts Orfeo pleading with Pluto to return his beloved Euridice from the underworld after she has died. There was also some wonderful clarinet work by Shaun Burley. The DPO is very fortunate to have both of these artists as members of the orchestra.
The final work on the program was another of Liszt’s compositions, the Hungarian Rhapsodie Nr. 2, in C minor. Liszt visited Hungary in 1839 and was inspired to write several works based on Hungarian themes. All of the Hungarian rhapsodies derive from a Hungarian dance style called verbunkos, which contain at least two contrasting sections, slow (or lassu) and fast (friss). In Rhapsodie Nr. 2, the slow section is in C sharp minor and the fast section is in F sharp major. There are sudden changes between the two sections and there is an amazing race to the end. The orchestra performed this piece of unparalleled spirit. As a matter of fact, it was almost downright rowdy – and, after all, that is the way this dance should be performed. The audience responded enthusiastically with another standing ovation.
Adam Flatt and the Denver Philharmonic Orchestra were in partnership, and it is quite clear that the orchestra genuinely appreciates what he brings to them. I must say that I sincerely look forward to their next performance on November 19, because I genuinely feel this orchestra is headed in the right direction. I invite all of you readers to attend, and I am confident that you will see I am correct.
Filed under: Reviews | Tags: Charles H. Spurgeon, Chip Michael, Chip Michael Clark, Devin Hughes, K.318, Kenneth Dempster, Stephne Davismoon, William Hill, You Can't Catch Rabbits With Drums, Zaide
Saturday evening, October 2, the Boulder Symphony Orchestra presented a fine program in their new venue, the First Presbyterian Church in Boulder. Their next performance will be Saturday, November 13, when they will collaborate with the Cantabile Singers at the Mountain View United Methodist Church in Boulder.
You will recall that the Boulder Symphony is the newly renamed Niwot Timberline Orchestra. It is quite possible that a name change can produce all kinds of magic in an organization, and that magic seems to be continuing for the Boulder Symphony. Under the direction of Maestro Devin Hughes, they are rapidly creating a new reputation to go along with their name, and it is a good one.
Saturday evening’s concert was also a collaboration, this time with the Longmont Youth Symphony regularly conducted by Keynes Chen. The program opened with both orchestras intermingled, playing Mozart’s Symphony Number 32 in G. Major, K. 318. This is an unusual symphony for Mozart because it was written in one movement. And, in addition, it is written in an Italian style – there are three distinct sections (as a miniature Symphony might contain) but the fast first movement has no recapitulation. And even in the slow movement which is in a rondo form, Mozart chooses not to bring the rondo theme back to complete the form, but instead, goes directly into the third movement. At the end of the work, there is another surprise because the main theme from the first movement, appears as a coda. The fact that this Symphony was written in one movement has led many to believe that it was indeed an overture to an opera, and even Alfred Einstein, the musicologist, goes so far as to say that it was written for the Singspiel à la française, Zaide. (Singspiel is a German musical play wherein there is spoken and sung dialogue). Einstein, no doubt, was influenced by the comments of Ludwig Ritter von Köchel who cataloged Mozart’s creative output in 1862. Köchel also called this work an overture because of its appearance, and he also said that it was for Zaide. Neither scholar stopped to think that an overture for an opera would be the last piece written because one has to have all of the themes used in the opera available. (Plus the fact that the dates simply don’t add up. They do not correspond with the autograph). It is also interesting to note that this was the first symphony of Mozart’s to be published in total. The work was written in 1779 after Mozart returned from an unproductive trip to Paris where he was able to write only one symphony (Number 31) most likely because he was totally preoccupied with the death of his mother.
The combined orchestras gave this work a remarkable sparkle, and Maestro Hughes had no trouble in keeping it light and airy. Occasionally one could tell that there were some very young musicians playing because a few of the entrances were a little ragged and sometimes they were out of tune. However, it was still a great piece to open the program simply because it is not heard all that often in live performance.
The next work on the program was the American premiere of the last movement of a symphony written by Chip Michael (b. 1962). Mr. Michael [he does not use his last name which is Clark] has named this work, “You Can’t Catch Rabbits With Drums.” This enigmatic title was taken from a 19th century Baptist preacher, Charles H. Spurgeon, and to quote from the program notes:
“… Spurgeon once claimed, ‘You can’t catch rabbits with drums, or pigeons with plums. A thing is not good out of its place.’ Haydn, Beethoven and Mozart were three of perhaps thousands of classical composers vying for their compositions to be performed in Vienna, the contemporaneous musical capitol of the western world. What keeps us talking about them today is their ability to take all the abundant raw materials of their day – melodies, harmony, rhythms, instruments – and put them in their ‘place’ by weaving into magical creations works that to this day continue to transport the listener on a tremendously thrilling journey as they awaken the spirit within us.”
“For the American Premiere of Chip Michael’s You Can’t Catch Rabbits with Drums, from his First Symphony, the composer employs the raw materials of a whisking musical motive tossing itself around the orchestra against the percussion section. These two elements give chase to each other throughout the work, representing the universal concept of the hunter and the hunted, the dreamer and the dream, the explorer and the discovery.”
The performance of this piece was really quite exciting, and the opening reminded me very much of Stravinsky’s use of orchestra and percussion. However, after awhile, the continuous percussion began to wear on the ear. I am going to assume (always a dangerous thing to do) that the percussion section was following the dynamics written in the score, but they did not seem to vary the dynamics at all. They played loudly, or to be more genteel, forte, throughout the entire work. At times it was difficult to tell what the rest of the orchestra was playing. Also, some of the rhythmic ideas seemed to be repeated again and again. Concerning the volume level of the percussion section, I could not see Maestro Hughes’face as he was conducting, but I would rather imagine that he was giving some emphatic glares in their direction. It very well could have been a very different piece, had the percussion section sometimes played softly. As to the constant use of the percussion section, well, that is up to the composer, but I hasten to point out that composers of percussion works, such as John Cage and William Hill, vary the instrumentation and the dynamics. I would also like to point out that there was a geat deal of craft in the work.
I quote from his blog: “Chip Michael [Clark] is Composer-in-Residence for the Boulder Symphony Orchestra. Conductor Devin Hughes created the appointment for the BSO 2010-2011 season. The BSO will be performing You Can’t Catch Rabbits With Drums and Exchanging Glances (commissioned by the BSO) this season. Mr. Clark returned from the UK in 2009 after studying composition with Kenneth Dempster and Stephen Davismoon in Edinburgh. Currently, Chip is studying with the Colorado Symphony Orchestra’s Principal Percussionist, William Hill, while working in the Marketing Department for the Colorado Symphony on implementing their new website. With the assistance of the Napier Development Fund, the Edinburgh Symphony Orchestra premiered Chip’s Symphony No. 1, Figuratively Speaking, in June 2008. A grant from Lloyds TSB Arts Foundation funded The Edinburgh Quartet premiere of Skimming Rock & Skipping Stones. The quartet has performed numerous other works by Chip over the past five years. The OneMile Programme funded the film Under Assured featuring Chip’s music as well as sound design.”
Before the intermission, the BSO performed Haydn’s well-known Symphony Number 90, in C Major. I say well-known, because it is in the last movement of this symphony that Haydn brings the movement to an end, then has a four measure period of silence, then begins again, softly, and truly brings the symphony to a close in the remote key of D Flat Major. In the performance of this work there was some really fine flute and oboe playing. From where I sat, I could not see those sections well, but it was no doubt the principal flutist, Kristin Stordahl, and principal oboist, Alexis Junker. Andrew Briggs, who is the principal cellist, was also excellent. There were times however when the violins as a whole seemed to be out of tune with the violas and cellos. Even though this symphony is very well known and often performed, do not doubt its difficulty. Overall, the BSO did quite well.
The final work on the evening’s concert was Beethoven’s Symphony Number 1 in C Major. It is remarkable to hear this work immediately after Haydn’s Symphony Number 90. One can clearly hear the giant steps that separate Beethoven from Haydn. I am certainly going to sit down and listen to Haydn’s Symphony 104, and then Beethoven’s 1st to see if the separation is as great as it seemed Saturday evening. Remember that Haydn was Beethoven’s teacher, but he also studied counterpoint with Albrechtberger, and sketches for this symphony date from 1795 when he was still studying counterpoint.
The BSO did quite well with this symphony, but there were some places, notably the opening of the second movement, where the violins were out of tune. Up until this point, the orchestra seemed to be playing pretty much in tune – there were a few notes here and there that could have been better. But the opening of the second movement was quite noticeable, and for two measures it just seemed as if they had not practiced. Of course this is a community orchestra, and that means the members do not have time to practice four to six hours a day. And I sincerely meant it when, above, I stated that they were rapidly becoming known as one of the better community orchestras in the state. I also admit that violin sections have been somewhat of a sore point with me. But it does seem that the first step in learning to play the violin is to play in tune. But, nonetheless… practice!
Maestro Hughes and the Boulder Symphony Orchestra deserve a lot of credit for hard work and genuine enthusiasm. The work is paying off because the level of playing in this orchestra has increased dramatically. The BSO truly is challenging other community orchestras for the title of Best Community Orchestra in the state. If you doubt me, come hear their performance on November 13.
